Dante’s outer circle

In the third season of Downton Abbey, when Matthew experiences a visual shock while entering a jazz club in London trying to rescue Rose dating a married man, Matthew proclaims aloud that the club is “Dante’s outer circle.”


(In the above photo inside Highclere Castle this spoiled girl, Rose, appears with a pink dress.) Downton Abbey is the only recent TV series that I might recommend. Even the kissing of Rose with a Negro in the next season is depicted as a silly revenge of Rose against her abusive mother. But there’s no obvious cultural or racial treason in the episodes I’ve watched as to date. (I’ve only missed the last one, the 2013 Christmas special of the fourth season).

These sort of post-war London clubs that shocked Matthew were in operation a hundred years ago. Music is infinitely worse now. Since the self-destructive defense mechanisms of abused adolescents are my specialty I’d claim that the rock classics you may listen today—for example “Tie Your Mother Down” by the group Queen that I used to like when I was the victim of an engulfing mother—are precisely silly defense mechanisms.

Now that I wrote a book confessing how I was abused as a teen I realize that a mature man may develop non-degenerate defense mechanisms to cope with past memories.

Alas, this is not the case of the overwhelming majority of white nationalists. All of them seem to fail to comprehend that it is impossible to revert back to the healthy sexual mores depicted in Downton Abbey if at the same time they don’t reject the music of Queen and the myriads of other rock groups.

In his blog’s entry of the first day of the new year, Iranian for Aryans reposted what musician Roger had said recently:

I’ve just finished reading this interview with the late Cardinal Domenico Bartolucci, former musical director of the Sistine Chapel, and I thought you might be interested by some of his comments. He is speaking primarily about liturgical music, but he also discusses about the general condition of music in this rotten century:

“[My father] was a workman at a brick factory in Borgo San Lorenzo, in the province of Florence. He loved to sing in church. And he loved the romance of Verdi and Donizetti. But at that time, everybody sang: the farmers while they were dressing the vines, the shoemakers while they were working a sole. There were bands in the piazza, during the holidays music directors came from Florence, and the area theatre had two opera seasons each year. It’s all gone now.”

Simple Italian factory workers used to love the music of Verdi and Donizetti? I wonder how this fits with the black metal apologists’ belief that classical music was historically something for a tiny bourgeois clique, and that most normal people were only familiar with folk songs.

I can remember them trying to make these arguments in the comment threads of Counter-Currents, Alternative Right and the Occidental Observer. There is no excuse these people will not use if it will enable them to continue listening to their beloved modern music. Were they serious, they would spend a moment considering why old reactionaries, who grew up before rock music became ubiquitous, are so repulsed by distorted guitars and screeching. (Modern man knows better, of course.)

When asked if the old musical traditions are disappearing, the cardinal said, “it stands to reason: if there is not the continuity that keeps them alive, they are destined to oblivion.”

I think that sums it up in a nutshell. One of my goals in 2014 is to acquire a tenor viol and start learning music by the English consort composers (as well as continental composers from the same time period). Whether it will be possible to find other violists to form a consort is another problem, but keeping the music alive with one’s own hands is a good starting point. It is undoubtedly the case that music cannot survive as a collection of digital audio files. That will turn it into a mere museum piece. If that happens, it will be sad but just. A civilised nation cannot choose to embrace African voodoo devilry at the expense of its own culture and expect to continue living with dignity.

Yup… Precisely because my mother is a piano teacher I rebelled against my family’s traditions and, like Downton Abbey’s Rose, never learnt how to play it. But now that I fully processed my pain thru a thick book I realize that my adolescent infatuation with Queen was just silly. I no longer listen rock. In fact, I just started learning piano at my relative old age!

By the way, in a most recent personal communication, Iranian commented on Roger’s above sentence: “There is no excuse these people [white nationalists] will not use if it will enable them to continue listening to their beloved modern music”:

How correct Roger is! What we have here is a degenerated breed of WNs / “traditionalists” who, basically, have no musical taste, are divorced from their superior heritage, and desire a world where bad music and pornography reign sans Jew.

Recently at Facebook, a Counter-Currents sodomite responded to Iranian that a Persian ought not dare teach him what his western cultural roots are.

Can’t he? I am not an American either but, to my present ears, years after I processed my adolescent pain, the “music” promoted by Counter-Currents and other nationalist sites is becoming like Dante’s outer circle certainly…

Postscript of January 11: Alternative Right is gone now, but Richard Spencer has opened a new site promoting exactly the same “black metal” degeneracy.

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24 CommentsLeave a comment

  1. You rightly criticize Christianity as a malign, un-European phenomenon but you don’t realize that it was the unbalanced and repressed nature of Christianity that saw it turn against and persecute forms of music that were primal and ecstatic.

    Christianity, being a slave religion, rejects this world. It teaches that this world is a fallen, sinful world and that nature itself is spoiling and corrupting.
    It rejects the tragedy and beauty of this world and of life and seeks salvation in the beyond, in the fantasy of a post-death paradise.

    Because of this psychology Christianity hates the power, energy and fertility of nature. It hates and fears the feminine and hates the intoxicating power of eros. It rejects and condemns any invocation of these forces.

    The Ancients were not so unbalanced and malformed in their religious sensibility. They knew that for a healthy psyche the latent energies that lie within all people must be allowed to be expressed.
    It was always within defined parameters – ie, a special feast day, performance or ritual – but they must be allowed to come out. They honored the wisdom of Athena, the rationality of Apollo, but also the wild abandonment and ecstasy of Dionysus.

    They knew that if these energies are not allowed to be expressed in a healthy way they will fester in the psyche and then eventually come out anyway but in a perverted and wholly unhealthy way. (We see this clearly in Christianity where sexual repression leads to a perverted reverence for torture and pain and sometimes to the sexual abuse of children).

    Modern music such as rock-and-roll and dance music are simply the throwing off of the repression of Christianity and allowing once again the expression of the wild joy that is a part of the human life-force.

    The problem is not wild, ecstatic music itself. It is that this expression has to take place in a such a shitty environment as modern society. The problem is the denial of racial truth and the subsequent caging and wounding of the race-soul. It is the worship of money and the material. It is the alienation from nature.
    A healthy society would be one which includes and is nourished by the energy, the mystery and the joy of powerful, exuberant music such as rock and electronica.

    • Modern music such as rock-and-roll and dance music are simply the throwing off of the repression of Christianity and allowing once again the expression of the wild joy that is a part of the human life-force.

      Where the hell did you get that idea, Daniel? Any citizen of Sparta or republican Rome would have felt totally aghast and repulsed before obvious degenerate music like the heavy rock in “Tie Your Mother Down”.

      There were the Nazis themselves the ones who coined the term “degenerate music” to refer to the milder forms of degeneracy as those you listen in that club of Downton Abbey a hundred years ago. It was Hitler himself the one who embraced Wagnerian myths as a return to the pre-Christian, Germanic legends. During the Third Reich they listened to Wagnerian Richard Strauss and others, whose music was light-years away from jazz (rock represents even a lower stage in the downward spiral of degeneracy than the niggers’ jazz).

      A healthy society would be one which includes and is nourished by the energy, the mystery and the joy of powerful, exuberant music such as rock and electronica.

      Nonsense. A healthy society would forbid rock under the penalty of sending the offender to a concentration camp (as my beloved Himmler did with out-of-the-closet homos). Your views on rock remind me James O’Meara’s dream about an elite of homosexuals leading the WN movement and his preposterous claim that “homophobia is Judaic”.

      Pathetic to say the least…

      • What an answer: bravo!


      • The National Socialist label of ‘degenerate music’ was part of the broader National Socialist condemnation of degeneracy in Aryan culture under the label ‘degenerate art’. The Germanic nation did use the term negermusik to refer to negro ‘musical’ chanting/rhythms etc.

        The term negermusik does not carry any connotations of degeneracy in so far as negermusik is a genuine expression of the negro race-soul within its primal soil of sub-saharan Africa. When negermusik becomes classed under ‘degenerate music’ is the moment whites and/or blacks attempt to mix the music that expresses their race soul with the other alien races music (or musical instruments) that they have come into contact with. This would include all negro hymns from the South of the U.S. that carry white influences, but especially the later abominations, emerging from around the turn of the 19th century, named blues, jazz, swing, rhythm, rock, rap and on and on up to the present day. The Anglo-Saxon whites, primarily those in the U.S., carry the brunt of the responsibility for the spreading of degenerate music throughout the white race, but of course the remainder of whites were not slow to embrace, or at least accept, the degenerate music.

        Any form of mixing i.e. impurity will, sooner or later, weaken the race. Purity in all areas of life, biological, spiritual, cultural, but especially biological/sexual is the only solution to the long-term health i.e. survival of the white race. In other words white men must be White Men and not behave like negros, since negroes will always be better at being negroes than white men ever will.

      • Roger has responded to Daniel:


  2. This article made me think about the decline of Romanticism and the rise of the world of shit in which we are now living. Not just in music but in art, literature and philosophy. Verdi, Berlioz, Lizst, Caspar David Friedrich, Thomas Cole, Goethe, Hugo, Nietzsche made us feel overwhelming emotion, and connection to nature and nation. Modern popular music aside, don’t you find that even modern classical music is cold, sterile and emotionless? Same with modern art and literature? Do you think a new artistic and literary movement based on the ideals of Romanticism has a role to play in reversing the decline of Europe?

    • “…don’t you find that even modern classical music is cold, sterile and emotionless?”

      Modern “classical” music is barely classical insofar as it has been influenced by the Jew Schoenberg, whose influence on orchestral music has been as devastating as the influence of Jew Boas on anthropology.

      But true modern classical music is still being composed and is highly emotional, especially in soundtracks such as the magnificent soundtrack by John Williams for the third of the Harry Potter series or the piano music of the 2005 movie adaptation of Pride & Prejudice—which by the way I’ll try to be able to play.

      • Here is “Great Fairy’s Fountain Theme”, which comes from an old Nintendo game:


  3. It’s strange but understandable how differently Downton Abbey is perceived on either side of the Atlantic.Over here it is mostly regarded as a high class soap opera with,albeit,high production values.Disposable fluff nonetheless.

    In the USA it seems the show is regarded as superior TV,imbued with values and a significance that we don’t get,at least I don’t get.My wife,however,is an addict.

    • But I am not an American nor live in the US.

      See my previous post on these series:


    • America has always been the cultural, intellectual, and spiritual inferior to Europe.

      • Absolutely: and these days I have been starting to believe that Ronin is right in that Murka must burn to save the race from Mammon…

  4. Re: my postscript above.

    I just tried to post this at CC, where it is being discussed why Richard Spencer axed the site he started. But I doubt that Greg will allow it to pass through:

    “I hope you guys [Spencer and Colin Liddell] eventually apologize to one another… and hug it out, for the greater good.” – Greg Johnson

    Hugs in a movement that has yet to define itself are ridiculous, and by the way with his article where he mocked CC’s fondness of the Führer, Liddell committed the grossest offence I’ve seen on WN sites ever.

    That piece alone justified the recent erasing of AltRight. I’m so glad that Spencer nuked it: Liddell represented the worst form of what in my soliloquies I call heterosexual faggotry.

    • Please tell me more about this “heterosexual faggotry”.

      • If you compare the real Nazis with the neonazis, the latter are hetero fags in the sense of intellectual cowards: they don’t want to recognize that a couple of million of kikes or more died during WW2. No real Nazi at the top of the 3rd Reich would try to bury his head into the sand as to what was happening to the kikes, and the necessity of taking such harsh measures while the most valiant Aryans were being killed by the millions by the traitorous Allies.

        Similarly, if you compare today’s WNsts with Rockwell or Pierce—who denied the so-called holocaust but I spare them because, unlike us, they didn’t have all the data & details of the other holocaust perpetrated against the Germans, the Hellstorm holocaust—you cannot fail to notice that WNsts lack at least one testicle (sometimes both).

        Perhaps a better term for them is semi-eunuchs or complete eunuchs?

      • “they didn’t have all the data & details of the other holocaust perpetrated against the Germans”

        What do you mean by that? How can knowing about the Hellstorm be an indication in the direction that jewish holocaust is real?

  5. I only listen to classical and folk Turkish, Iranian and Arabic music. At least they have kept some of the ancient ethos, pathos.

    • Western classical music has retained the ancient ethos and pathos as well. Whereas music from the regions you aforementioned has remained stagnant, Western music has flowed into many different styles and formats. I love Levantine classical music, too, don’t get me wrong, but it is much more monothematic and monostylistic than Western music.

      • I don’t agree that it is stagnant or monotonous…the emotional palette is much wider, partly due to the non-tempered scales.

      • By stagnant I meant something akin to Orthodox art. The paintings have an unchanging quality about them whereas Western art has clearly defined periods from chant up to late romanticism. Essentially, Levantine/Middle Eastern music is similar.

        You made a good point concerning the non-tempered scales.

  6. I never could stand rock and roll. I was raised on the classics, mother used to take me to see Van Cliburn play at the local concert hall and provided piano and violin lessons, despite my distinct lack of musical talent. The only thing that grates on me as badly as rock and roll, rap and what is laughably called “country” is Opera. Never could figure that, but I note that movies glorifying the mafia, typically portray mafioso as having a love for Opera. I suspect Jews have decided that appreciation for the Opera gives them some sort of class. Like the Rothschild wife who tired using Zebras as coach horses to set her carriage apart from the hoi polloi. The Jew’s idea of class is what Yiddish refers to as “kitsch.” While never considering myself a contrarian, I have found I instinctively dislike almost everything jews like. Thus, virtually everything put forth as “popular” by our cultural arbiters rubs my fur the wrong way.

    Despite my dislike of rock and roll, there are certain groups that have struck chords within me. Early Pink Floyd, before “Dark Side of the Moon;” “Meddle” and “Atom Heart Mother” for instance. In those days people would say, “Pink who? Is that some sort of fag group?” Certain so called “new age” musicians like Vangelis create music that stirs my soul as well. Like the closing soundtrack from the movie Bladerunner. Commercial yes, yet something more. Then there is Enya, the beautiful siren who some say channels her music. Try “a day without rain” or “Sadness” if you want to enter her soul. I find even more interesting music coming out now, but I no longer spend much time on music selection.

    I have noted throughout my life, music that elevates my soul is seldom, if ever, played by the mainstream media, while music that strikes me like nails screeching on a chalkboard plays endlessly on “top forty” lists. This is even true of those classical stations that somehow decide wearing out their equipment playing renditions of Mozart, Beethoven, Bach and Mahler is more profitable than playing selections from the far wider variety offered by many other classical masters. Like art, music has always been an expression used by more highly developed beings to convey specific messages and certain truths about the human condition. Today most art and music, especially the commercial varieties, are designed and produced from greed; profit being the only motive. Those with eyes to see and ears to hear will immediately discern the difference.

  7. Interesting post… I never thought about it that way. But for years I have preferred classical music and rap/jazz/heavy death metal has always been torture to me. I am always on the look out for bands with string instruments. Wagner is amazing.

  8. Simple question: what role should music play in a liberated Aryan society?

    The Ancients sang drinking and battle songs. With the spread of Christianity, music and singing became staples of worship in Churches and Cathedrals. Later, music was something that was nurtured by patrons of the arts for its own sake, and was played at balls, parties, and the like. It also became a part of popular entertainment with operas.

    Music changed with the advent of electronics, radio, tv, etc. Electric guitars led to rock, computers led to electronica, etc. The music itself not only changed, but the way people listened to it changed. Music, which could formerly only be enjoyed while among other people, whether marching to battle, going to Church, going to a dress ball, or going to an opera, can now be listened to while driving in a car, working on the computer etc. People mainly listen to music to fill their day.

    Given this, in addition to regulating the music itself, should the way people listen to it also be regulated? For instance, should music only be performed live, in theaters and stadiums? Is personally owning pieces of music pointless? Just some ideas to ponder.

    • Music is ubiquitous. It is part of being human and, in advanced societies, it takes on divine proportions and depth. Whether one is bathing or digging a ditch, music is a constant of life. A future sane society will, by definition, be rich in music and make it a staple during almost every action or event: solo or en masse.
      I can’t fathom the idea that music for personal pleasure is a superfluity. A sign of culture is when the individual pursues it. The problem facing us today is not that the individual is inhibited when it comes to pursuing personal musical experiences, but that his choice in musical expression is debased and horridly ugly.


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