Reflections of an Aryan woman, 31

 

Chapter VI

Technical Development and Tradition

No more clattering sounds on the walls of the abyss;
Laughter, vile noises, cries of despair.
Between hideous walls, a black swarming,
No more arches of foliage at sublime depths.

Leconte de Lisle (‘La Forêt vierge’, Poèmes Barbares)

Since the disaster of 1945 we have been talking about the ‘free world’ and the ‘other world’, that is to say the world where Democracy reigns and the one dominated by Communism: the only totalitarian ideology whose adherents are in power anywhere, after the destruction of the Third German Reich.

I’ll tell you what I think of each of these enemy worlds. Their superficial differences strike you to the point of diverting your attention from their similarities, or rather their profound affinities. And you have been told and continue to be told about these differences and to insist on them, so that you don’t get where you are being led. And you are told again and again that you wouldn’t have been ‘any freer’ under the Hitler regime, as Germany knew it for twelve years, than you would be today under any kind of Marxist totalitarianism. We repeat this to you to remove in advance any possible nostalgia for this regime which we, who admired and supported it, present as based on ‘joyful work’.

If there is anything certain, it is that in the so-called ‘free’ world at least—I haven’t lived in the other, and know it only from the criticism of hostile propaganda and the praise of its propaganda—not one person in ten thousand ‘works with joy’, and this is because not one person in ten thousand really likes his livelihood or his ‘state’, to speak as in the old days. They don’t like it, and rightly so. For the activity that they’re obliged to do, during all the time of sells, to be able to live, to an individual employer, a collective employer (a public company for example) or to the State, is more often than not so boring that it’s impossible to like it.

And this is all the more general the more technically advanced a society is, that is, the more mechanised. Just think of the thousands of workers who have been condemned to ‘assembly-line’ work by a sinister fate: to the indefinite repetition, eight hours a day, of the same easy gesture devoid of any perceived usefulness (since the worker never sees the finished product, car, plane or improved machine, or the manufacture of which each of his monotonous gestures has contributed), of a gesture without any real meaning for the one who performs it. Just think of the woman sitting in some ‘box’ at the foot of a metro staircase, who punches tickets every day, eight hours a day, sowing around her as much beige confetti as people coming out of the staircase to get into the cars with automatic doors that will wait for them for a few seconds, every two or three minutes. Just think of the ‘typist’ who ‘types’ all day long letters whose content doesn’t and cannot interest her.

The list of work which, by its very nature, can be of no interest to anyone could be extended indefinitely. The number of such chores that are ‘indispensable’ to the economy of modern society doesn’t depend on the political regime under which people live, but only on the degree of mechanisation of the cogs of production and exchange. And if it is sometimes possible to remove one or two of them, by replacing a person with a machine—for example, by an automatic banknote punching machine, such as is now used in the buses of Germany and Switzerland—it will never be possible to eliminate them all. The development of technology will create new ones: workers will be needed to manufacture the parts of the ‘latest’ machines.

And these new machines will have to work under someone’s supervision. But it is impossible to make interesting the task of producing identical parts ad infinitum, or of supervising the same machine, let alone pleasant. And if one imagines this task performed under the blinding light of neon tubes, and in continuous noise (or with a background of light music and ditties, even more irritating, for some ears, than any roar of machines), one will agree that for a growing number of men and women earning a living is a chore, if not, a torment.

But it is not only the work that is boring in itself, and therefore exhausting despite the ease with which it can be done by anyone. There are jobs which would undoubtedly interest some people, but which don’t interest a considerable proportion of the employees who perform them, either because these employees haven’t chosen their professional activity, or because they’ve chosen it for the wrong reasons. And the question arises: How is it that at a time when (in the ‘free world’ at least) so much emphasis is placed on the ‘rights of the individual’ and when, in the technically advanced countries, there are so many institutions whose purpose is precisely to help parents guide their children in the direction in which they should be both happiest and most useful. How is it, I ask, that there are so many malcontents, failures, bitter people, uprooted people and downgraded people; in a word, people who are not where they should be and not doing what they should be doing?

The answer presupposes some observations, the first of which is that it is impossible to ask a mass of people, even of a superior race, to resist the pressure of their environment for a long time, or even only for a few decades. It is certainly wrong to assert with Karl Marx that man is no more than what his economic environment makes of him. Racial heredity and history play a part in shaping the personality of individuals and peoples.

This is undeniable. But it must be admitted that the more one deals with a mass, the more important is the influence of the environment, and in particular that of the technical environment, in the formation of the collective personality, or rather in the evolution which results, in people taken as a whole, in an increasingly striking lack of personality.

In other words, the more one deals with a mass, the more the basic proposition of Marxism—‘man is what his environment makes him’—tends to be verified in practice. One could almost say that Marx would be right, if humanity consisted only of the masses. And it is understandable that people who love man above all else, and who are not put off by mass life, should be Marxists. (In order not to be, and to be sure never to be tempted to become, one must love not ‘man’, whoever he may be, but the human elites: the aristocracies of race and character.)

The technical milieu acts on the masses: it dictates to them by advertising the ‘needs’ they must have, or hasten to acquire to encourage ever more advanced research leading to ever more varied and perfected applications of the laws of nature to man’s ‘happiness’.

It offers her real electrification of housework and leisure activities: the ideal modern house, where you only have to turn a knob to heat the soup, bought ready-made, to clean the floor, to wash the clothes, or to watch the day’s film on the small screen (the same one for fifty million viewers), and to listen to the dialogues that are an integral part of it. Only a man who knows in advance what he wants has no use for the technical environment all his life, or even be unaware of it because they are so irrelevant to him; a man who is much more aware of his own psychology (and in particular of his scale of values) than ninety-five per cent of our contemporaries; in a word: a man who, by the grace of the Gods, doesn’t belong to the masses.

______ 卐 ______

 
Editor’s Note. I would recommend the book Lord of the Rings to those who want to get out of the monstrosity that Saruman did with his arboreal destruction, iron industry, multiplication of Orcs, and technology like the ubiquitous cell-phones (which I don’t use since I have zero male friends in my native town).

If I were a film director and wanted to make a childrens’ TV series, I would bring LOTR to the screen by retrieving all those detailed descriptions of the bucolic fields in Tolkien’s prose, lacking in Peter Jackson’s strident trilogy after his first film.
 

______ 卐 ______

 
He will not ‘fit in’ in the modern world, and probably, whatever his profession may be. The mere fact of being happy where three-quarters of the people would be bored, and of being bored on the contrary, of having the most irritating impression of ‘wasting one’s time’ amid the distractions that the majority seeks, sets him apart.

He is really only at home among his few fellows, he who has no transistor, no radio, no television set, no washing machine, and that neon light hurts his eyesight and so-called ‘modern’ music ‘grazes his ears: he who persists in remaining true to himself and who refuses to love ‘on command’ what the advertisements and propaganda present to him as ‘progress’.
 

______ 卐 ______

 
Editor’s Note:

If there is one thing almost all white nationalists fail at, it is this. The pop music most of them listen to only degrades the Aryan spirit. The transvaluation of all values begins with the music we listen to: food or poison for the soul.

It is impossible to save the race if the white man enjoys the inane and grotesque melodies of the fallen West—often not even melodies, but the grossest and cacophonous ape rhythms we can imagine (just compare it with the film’s Evenstar).

The spoils of war

‘The Spoils of War’ is the fourth episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 64th overall. The stills show the Stark siblings reunited in this episode, for the first time after they tragically parted ways in the first season. All the scenes in the series and the novels where a heart tree appears have a special charm (below, Sansa under Winterfell’s heart tree).

The first feminist scene takes place in Dragonstone Cave, where Jon shows Dany some ancient cave paintings. Given that Dany and Cersei are the queens who are fighting to see who will sit on the Iron Throne, one might think that Dany could at least tolerate a single king (Jon) in the far north. But no: she tells Jon that she will only help him defeat the Night King if he bends the knee and accepts Dany as the queen of the Seven Kingdoms. If Jon accepts Dany’s proposal, all of Westeros will be ruled by one woman when the powerful Dany defeats Cersei.

Another ultra-feminist message occurs when Brienne tells her male squire, ‘Move aside, Podrick!’, who had fallen to the ground several times training with Brienne. She says those words to him because Arya requests a training exercise from her. Now these two women are the best swordsmen in Winterfell! (It is useless to reiterate that this is an absolute reversal of sexual roles and historical reality in a medieval castle.)

In the previous post we saw that Dany’s mulatto army defeats the Aryan Lannisters in another castle, Casterly Rock. At the end of this episode Dany’s other coloured army, which as I have said Martin seems to have been inspired by the Mongols, defeated the Lannister on the Roseroad (although this time aided by Dany’s dragons).

Published in: on April 28, 2021 at 9:27 am  Comments (2)  

The queen’s justice

‘The Queen’s Justice’ is the third episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 63rd overall.

The first feminist message of the episode is the meeting between Dany and Jon at Dragonstone. I’ve been mentioning the nickname ‘Dany’ that Jon would give the queen when, in later episodes, they became lovers. But the official title of this feminist icon is just the way Missandei introduced her queen to Jon: ‘You stand in the presence of Daenerys Stormborn, of the House Targaryen: Rightful Queen of the Andals and the First Men, protector of the Seven Kingdoms, the Mother of Dragons, the Khalessi of the Great Grass Sea, the Unburnt [fire doesn’t burn her] and the Breaker of Chains [i.e., a SJW queen]’.

Regarding the other queen who also claims to be the protector of the Seven Kingdoms, Tycho Nestoris of the Iron Bank tells Cersei that she is the first queen in the history of Westeros. In other words, there had been no women in power prior to the show’s internal timeline.

It’s becoming increasingly clear that the show is, as we have been saying, a projection of the current lifestyles of a dying race to a medieval world that never existed. Later the episode shows us another kind of bad message: Grey Worm’s mulatto army infiltrates Casterly Rock and captures the castle of the Aryan Lannisters.

Then we see how, after Jaime, Randyll and their armies take Highgarden, Jaime Lannister (pic above) speaks one last time with Olenna before she drinks a poisoned cup.

YouTube fans are already starting to talk about the new series that HBO wants to premiere next year: a prequel to Game of Thrones based on Martin’s fiction (something akin to what Peter Jackson did after his LOTR trilogy). From the casting we can guess that feminism will apparently continue, and perhaps this time one of the main characters is a black man. Hopefully the US dollar will collapse before its release so that the circus will stop looking funny to these degenerate whites…

Published in: on April 27, 2021 at 4:40 pm  Comments Off on The queen’s justice  

Dragonstone

‘Dragonstone’ is the seventh season premiere episode of HBO’s fantasy television series Game of Thrones, and the 61st overall. Almost all episodes begin with a minute and a half opening credits in which we listen to the musical theme of the series that became so popular. Here, instead, David Benioff and D. B. Weiss kicked off the season with an ultra-feminist scene. In my previous post I said that the girl Arya had killed the principals of House Frey. But this girl is so powerful, and let’s remember that we are in the scene before the opening credits, that she manages to kill the rest of House Frey—dozens of them, all males, and in the end she walks over the corpses.

The imbecile fans loved the scene. For me, the fact that millions of fans didn’t mind that a single girl was capable of killing all the males in their own feudal castle, shows that the Aryan problem encompasses the Jewish problem. Not wanting to see that the masses are surreally brutalised is part of the blindness of white nationalists, who don’t quite understand what’s happening.

But the opening scene is only the overture of what comes next. In Winterfell, the Mormont girl returns with her practice of lecturing a feudal lord and Jon Snow allows Sansa to confront him before the lords and ladies of the north. Sansa is not the wife of Jon, the king of the north. In the real feudal world she had to be completely subordinate to the will of her stepbrother. She shouldn’t even have a voice on the war council. But we are in a series in which the same actor who played Jon said in an interview that Game of Thrones was a feminist show.

It is true what I said in my previous post: the great hits of white culture should be studied more than the subversion of the Frankfurt School. But reviewing these episodes represents a great test of patience for me. However, since there is no blogger among racialists who dedicates himself to exposing every bad message on television series, I feel compelled to do so at least with the most popular series of all, no matter what bile my body secretes by imposing this homework on me.

Returning to the initial episode of the season, it ends when Dany arrives with her armada at Dragonstone, from where she plans how to defeat the other queen, Cersei.

Published in: on April 25, 2021 at 11:41 am  Comments Off on Dragonstone  

The broken man

‘The Broken Man’ is the seventh episode of the sixth season of HBO’s fantasy television series Game of Thrones, and the 57th overall. Here the series exacerbates its previous feminism to surreal levels. It is not enough that the show introduces a woman as the feudal lady of the beautiful medieval castle that we see above. She is a ten-year-old girl. And worst of all, the fans loved this new character!

Some Americans wondered yesterday how the judicial system gave in to the BLM threat by condemning a white cop in the case of the black man who died on the asphalt. One clue to how the West got to this point is simply to notice what TV fans like: a world upside down. In the episode this brat, Lady Mormont, speaks authoritatively as a feudal lord, and initially disparages Jon Snow and Sansa Stark who ask for help in their campaign against the Boltons.

In Volantis we see Yara and another woman making out publicly. But Yara is not a lesbian in Martin’s novel. This is another excess of the scriptwriters to demoralise the white viewer. (Yara also harangs her ‘little brother’, the phrase she uses, so that he stops being a broken man.)

The penultimate scene is even more surreal than that of the ten-year-old feudal lady. Arya, seen here in Braavos with the background of a kind of Colossus of Rhodes, is stabbed several times in the stomach by the Waif and she survives the attack! All of these images come from this episode, including Blackfish’s Castle below, and above with Jaime Lannister on the bridge.

The trick used by the creators of Game of Thrones is to mix the beauty of Aryan architecture with poisonous messages for the white soul. It reminds me of Kubrick’s virtuosity in filming 2001: A Space Odyssey so that his next movie, A Clockwork Orange, was so poisonous that it was banned in England for several decades.

Published in: on April 21, 2021 at 3:48 pm  Comments Off on The broken man  

Mother’s mercy

‘Mother’s Mercy’ is the fifth season finale episode of HBO’s fantasy television series Game of Thrones, and the 50th overall. It was written by the series creators David Benioff and D. B. Weiss. In the episode we see how Tryion stays to rule Meereen with the mulatto couple that we see in this image, after their queen Dany fled the city on her dragon.

I have said that I don’t want to go into detail about Ramsay’s sadism. But at least the directors had the decorum not to put the camera in when he skinned his victims alive. In this episode, however, they did put the camera in a room where Arya empties Trant’s eyes in a brothel, before killing him. Of course, the Jewish directors frame the scene as legitimate revenge for Arya’s teacher being killed by Trent, that swordsman we saw in the first season (plus Trent was beating up some young prostitutes). But it is a scene that offends the viewer whose soul hasn’t been irreparably damaged by Hollywood.

What is most outrageous is that a lot of gentile fans loved the scene. This is verified simply by watching their reactions on YouTube when the episode premiered. And this scene appears in the season’s finale! Remember that the finales of each season were always the most anticipated since the producers would take a year to launch the next season.

It’s so disturbing that the perverted fandom of this series hadn’t repudiated it at this stage, that it’s not worth commenting further on the episode.

Published in: on April 14, 2021 at 11:03 am  Comments (1)  

Unbowed, unbent, unbroken

‘Unbowed, Unbent, Unbroken’ is the sixth episode of the fifth season of HBO’s fantasy television series Game of Thrones, and the 46th overall. In the pic we see a shot of King’s Landing in this episode, where we can see the Castle and also the Great Sept of Baelor: a kind of Vatican within Rome.

As you may have observed, it isn’t my intention to summarise the plots of each adventure thread in various parts of Westeros, but to record the bad messages of the series. The plots are mostly empty and fantastic, although I admit that Martin has a great command of the language.

For example, when in Braavos Arya enters the sanctum sanctorum of the House of Black and White after some time working as a servant and sees the columns with thousands of inlaid faces, there is nothing profound in that idea. It is pure imagery of a writer who, in interviews, has shown himself to be a traitor to his race and who writes for an audience that all it wants is cheap bread and circuses. The only mystery in those scenes that initiate Arya into the mystery cult is a psychological trick: the viewer is eager to find out what exactly the Faceless Men’s religion is. Believing that he is going to find out just by watching all the seasons, he forgets that it’s all cheap fantasy.

Cheap I say, because it’s far more difficult to try to decipher the religions of the real world. (See for example the efforts I made in Day of Wrath in trying to figure out why, in the past, parents led their children to the sacrificial stone.) And precisely because it is infinitely more difficult to understand the religions of the real world, the typical westerner takes a shortcut: attend television circuses even if they lack the least depth. In the episode then we see the first bad message on the Valyrian peninsula: a black slave trader hits the Aryan Jorah twice in the face.

In the warm King’s Landing there is a phrase by Lancel Lannister, now called simply Brother Lancel—a kind of monk of those who destroyed the Greco-Roman world in the 4th century—that deserves to be quoted: ‘The city has changed since you were here last. We flooded the gutters with wine, smashed the false idols, and set the godless on the run’. Far from there, in the cold Winterfell, in the novels Ramsay doesn’t rape Sansa in front of Theon after their wedding, as we see at the end of the episode. But as we know, those who produced the series are worse than Martin.

Published in: on April 10, 2021 at 3:04 pm  Comments Off on Unbowed, unbent, unbroken  

Dear César,

On your series ‘Wagner vs. Bach’ I would like to comment:

As a former Catholic I have stopped visiting any church building for all my life. Never again a famous cathedral will impress me, especially not out of an interest in art.

It took me major efforts to recognize that Christian representations in art and ‘sacred music’ are without exception infectious material, propaganda means of subjugation, THE original degenerate art for Aryans. One should shrink from letting any such product enter into perception as one would shrink from the sight of the mutilated corpses of children.

Aryan Weltanschauung demands logical consistency and gravitas wherever we go.

(This in mind – by the way – I don’t like César using Christian phrases, memes, comparisons and paintings in any sense. Whether we like it or not, it perpetuates ideas and the influence of the enemy.)

Cheers

Albus

Published in: on July 17, 2020 at 10:27 am  Comments (9)  
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What happened to Michael Colhaze?

In the comments section of my recent piece about Parsifal I said: ‘This is the Verwandlungsmusik and the first version of Parsifal that I saw when I was still in my thirties. Nonetheless, without a couple of good speakers, almost all of the magnificence of Wagner’s music is lost in this YouTube video. And even with a couple of speakers the numinosity is lost if you are not in an elegant opera house’.

I omitted to add something fundamental. Currently, the scenery they use in most of the theatres is pure mud and one has to look hard to find a representation that respects the traditional scenery: a lotus, among all the mud.

Michael Colhaze had already complained about this profanation of Wagner in a 2012 article I copied and pasted from The Occidental Observer. Unfortunately, all the articles by this German, Colhaze, have been deleted in The Occidental Observer. Why?

Parsifal, which premiered at Bayreuth on July 26, 1882, is Wagner’s most numinous work. It was performed sixteen times that first year and was the most carefully prepared premiere of an opera in history. European royalty made the pilgrimage to hear Wagner’s new work.

The original sketches for the sets and costumes were designed by German-Russian painter Paul von Joukowsky, who based his design for Act One on the Cathedral of Siena, and for Klingsor’s Magic Garden, in Act Two, on the gardens of the Palazzo Rufolo in Ravello.

After Wagner’s death, this production acquired mythic proportions but in our times the sets have become increasingly dilapidated in most representations, where we see the rubbish scenery that Colhaze complained about another of Wagner’s musical dramas.

Roger Scruton (1944-2020)

Author of The Aesthetics of Music (1997), Scruton also wrote many books on philosophy, art, politics, literature, culture, sexuality and religion; he also wrote novels and two operas.

However, Scruton errs in this video by speculating how to correct the problem of degenerate music that ubiquitously is scorching the Aryan soul. There is only one way to correct it: banning degenerate music as the Nazis banned it. Scruton simply recommended educating people in classical music. Well, my father, who disliked degenerate music, was a music pedagogue for children and yet my siblings and nephews, who studied in his music school, listen to degenerate music.

I expose such a flawed approach in music education in my second autobiographical volume, ¿Me Ayudarás? I must add that the libertarians in white nationalism, that is, those who fear Nazi collectivism, are wrong. They start from the assumption of the Enlightenment that Man is good by nature. The reality is that Man is not so good (again, see the book linked in this paragraph) and we need a Fourth Reich to control him. Consider, for example, how many white nationalists enjoy hearing degenerate music!

It seems a lie, but on this issue a woman like Carolyn Yeager, who admires National Socialism, is far closer to the truth than the men of white nationalism.

Published in: on January 19, 2020 at 11:57 am  Comments (14)