W. B. Yeats

“Puritanical anti-Europe has become exactly what it set out to become: New Zion,” wrote Sebastian Ronin a couple of years ago referring to the US. Regular visitors of this site know that from my point of view the etiology of white decline is, in order of importance: (1) materialism, (2) Christian ethics and (3) Jewish influence. These excerpts from Kerry Bolton’s essay on Yeats in his book Artists of the Right give the idea of the most harmful factor of all:

 

The rise of industrialism and capitalism during the 19th century brought with it social dislocation, the triumph of the commercial classes and interests, and the creation of an urban proletariat on the ruins of rural life. Smashed asunder were the traditional organic bonds of family and village, rootedness to the earth through generations of one’s offspring, and attunement to the cycles of nature.

With the ascendancy of materialism came the economic doctrines of Free Trade capitalism and Marxism and the new belief in rationalism and science over faith, the mysteries of the cosmos, and the traditional religions. The forces of money had defeated everything of the Spirit. As Spengler explained in his Decline of the West, Western Civilization had entered its end cycle. Such forces had been let loose as long ago as the English Revolution of Cromwell and again by the French Revolution.

There was, however, a reaction to this predicament. The old conservatives had not been up to the task. The spiritual and cultural reaction came from the artists, poets and writers who reach beyond the material and draw their inspiration from the well-springs of what C. G. Jung identified as the collective unconscious. This reaction included not only the political and the cultural but also a spiritual revival expressed in an interest in the metaphysical.

Among the artists in “revolt against the modern world” was the Irish poet William Butler Yeats (1865-1939), leader of the Irish literary renaissance and winner of the Nobel Prize for Literature in 1923. Despite his English and Protestant background, Yeats was involved in the Young Ireland movement, much of his poetry celebrating the Irish rebellion and its heroes.

Yeats had been as a youngster introduced by his father John, himself a Pre-Raphaelite artist, to the paintings of the Pre-Raphaelites, the romantic imagery of which stood then as a rebellion against the encroachments of modernism and industrialism. Having lived in England as a child twenty years before, Yeats was now struck by how much had radically changed under the impress of “progress.” The modern era had even impacted upon the aesthetic of Yeats’ own family, writing of how his father now made his living, and also alluding to the changes being wrought by modernism in art:

It was a perpetual bewilderment that my father, who had begun life as a Pre-Raphaelite painter, now painted portraits of the first comer, children selling newspapers, or a consumptive girl with a basket of fish upon her head, and that when, moved perhaps by memory of his youth, he chose some theme from poetic tradition, he would soon weary and leave it unfinished. I had seen the change coming bit by bit and its defence elaborated by young men fresh from the Paris art-schools. ‘We must paint what is in front of us,’ or ‘A man must be of his own time,’ they would say, and if I spoke of Blake or Rossetti they would point out his bad drawing and tell me to admire Carolus Duran and Bastien-Lepage. Then, too, they were very ignorant men; they read nothing, for nothing mattered but “Knowing how to paint,” being in reaction against a generation that seemed to have wasted its time upon so many things.

For Yeats the mystical was the basis of both his poetry and his political ideas. He was particularly interested in the Irish mystical tradition and folklore. He saw the peasantry and rural values as being necessary to revive against the onslaught of materialism.

Additionally, the “occult” provided a literally hidden culture that was above and beyond the crassness of democracy, of the herd, and of material existence, hence its being termed the “Royal Art,” where again, as in traditional societies over the course of millennia, a priestly caste, at the apex of a hierarchical society, served as the nexus between the terrestrial and the divine, serving as that axis around which High Culture revolves.

Yeats’ poetry was intended as an expression of these symbols of the unconscious and the archetypal. This resurgence of these age-long memories required a “revolt of soul against intellect now beginning in the world.” What is here called “intellect” was the advance of rationalism, scientism, and Enlightenment doctrines that had destroyed man’s nexus with the divine embodied in traditions and hierarchical social orders, and which has repressed man’s spiritual nature in favor of the crassly material.

Yeats, like D. H. Lawrence, Ezra Pound, et al., was particularly concerned that commercialism would mean the pushing down of cultural values in the pursuit of profit rather than artistic excellence. Hence, he called for a revival of aristocratic values. He lamented that, “the mere multitude is everywhere with its empty photographic eyes. A declaration of war on the masses by higher men is called for. Everywhere the mediocre are coming in order to make themselves master.”

His appeal was to the artist and to the individual of taste and culture for, as Nietzsche had pointed out, culture is the faculty that distinguishes the human from other organisms. In this spirit, Yeats applauded Nietzsche’s philosophy as “a counteractive to the spread of democratic vulgarity.”

Yeats’ keen sense of historical context is reflected in “The Curse of Cromwell.” Here he identifies the English Revolution as what we can see as the inauguration of the cycle of “Money over Blood,” in Spenglerian terms: the victory of the merchant class over the traditional order, which was to be re-reenacted in the French Revolution. The Bolshevik Revolution was of the same spirit of money against blood, of the materialistic against the spirit and culture.

All three revolutions were carried out in the name of “the people” against the traditional rulers, only to create a greater tyranny in the service of money. Spengler had written in The Decline of the West: “Practical communism with its ‘class war’… is nothing but the trusty henchman of big Capital, which knows perfectly well how to make use of it… in that their object is not to overcome money-values, but to possess them.”

Cromwell’s English revolution has had lasting consequences for the entire West. The cycle of Money over culture and tradition that Cromwell inaugurated has never been overcome. America was founded on the same Puritan money ethics and continues to spread that spirit over the farthest reaches of the world.

The specter of Puritanism has haunted the entire world ever since, “far and wide.” Nobility of character, regardless of “class”—itself a vulgarization of the traditional castes—was destroyed by the inauguration in the West of the reign of money by Cromwell, and one that was not overcome, but rather adopted by its supposed “enemy,” socialism, as Spengler was to point out. Yeats, as “The Curse of Cromwell” shows, has been one of the few to realize the full depth and lasting significance of Puritanism under whatever name it might appear.

No longer are there left those of noble tradition, those who served as part of a long heritage, “the tall men”; and the old gaiety of the peasant village, the squire’s hall and aristocrat’s manor have been beaten down.

All neighborly, content and easy talk are gone,
But here’s no good complaining, for money’s rant is on.

The artists, once patronized by the aristocracy, must now prostitute their art for the sake of money on the mass market, as script writers, and “public entertainers” to sell a product. All individuals are now producers and consumers, including the artist producing for a consumer market.

And we and all the Muses are things of no account.

Yeats considered himself heir to a tradition that has been repressed by democratic vulgarity, and he lived in service to that tradition, now virtually driven to the catacombs under the dead weight of “mass culture,” which is nothing more than consumerism posturing as “art,” “literature,” and “music” manufactured according to market demands. He and a few others of the same temperament lived in the service of High Culture as contemporary troubadours “against the modern world” to uplift the spirits of the remnant who have managed to maintain their nobility in the face of the crass.

One product of democracy and capitalism that Yeats feared was the proliferation of those he regarded as inferior people. Yeats advocated planned human up-breeding and joined the Eugenics Society at a time when eugenics was a widely held belief among the intelligentsia. Yeats had “On the Boiler” published the same year, where he endorsed the psychometric studies that were showing intelligence to be inherited, and expressed concern at the proliferation of the unintelligent.

The aristocracy of old, the noble lineage of blood, of familial descent, has been replaced by the new rich, the merchants, our new rulers are those who measure all things by profit. Like Spengler, Yeats saw hope in Fascist Italy: “The Ireland that reacts from the present disorder is turning its eyes towards individualist Italy.” In particular, he admired the educational reforms and cyclic historical doctrine of Italian Fascist philosopher and Minister of Education, Giovanni Gentile, stating in 1925 before the Irish Senate, of which he was a member, that Irish teachers should study the methods that Gentile had enacted in Italian schools, “so to correlate all subjects of study.”

The following year Senator Yeats stated that the Italian educational system was “adapted to an agricultural nation” which was applicable also to Ireland, “a system of education that will not turn out clerks only, but will turn out efficient men and women, who can manage to do all the work of the nation.”

With the assumption to Government of De Valera in 1932, the following year Yeats was seeking to formulate a doctrine for Ireland that would be a form of “Fascism modified by religion.” History consisted broadly of “the rule of the many followed by the rule of the few,” again reminiscent of Spengler’s idea of a “new Caesarism” that follows on the rule of plutocracy at the end cycle of a civilization.

For Yeats, the rule of the few meant a return to some form of aristocracy.

Edward the Great

by William Pierce

In England, throughout the 13th century there were outbreaks of civil disorder, as the debt-laden citizens sporadically lashed out at their Jewish oppressors. A prominent Jewish historian, Abram Sachar, in his A History of the Jews (Knopf, 1965), tells what happened next:

At last, with the accession of Edward I, came the end. Edward was one of the most popular figures in English history. Tall, fair, amiable, an able soldier, a good administrator, he was the idol of his people. But he was filled with prejudices, and hated foreigners and foreign ways. His Statute of Judaism, in 1275, might have been modeled on the restrictive legislation of his contemporary, St. Louis of France. He forbade all usury and closed the most important means of livelihood that remained to the Jews. Farming, commerce, and handicrafts were specifically allowed, but it was exceedingly difficult to pursue those occupations.

Difficult indeed, compared to effortlessly raking in capital gains! Did Edward really expect the Jews in England to abandon their gilded countinghouses and grub about in the soil for cabbages and turnips, or engage in some other backbreaking livelihood like mere goyim? God’s Chosen People should work for a living?

Eduard_IEdward should have known better. Fifteen years later, having finally reached the conclusion that the Jews were incorrigible, he condemned them as parasites and mischief-makers and ordered them all out of the country. They were not allowed back in until Cromwell’s Puritans gained the upper hand 400 years later. Meanwhile, England enjoyed an unprecedented Golden Age of progress and prosperity without a Jew in the land.

Unfortunately, the other monarchs of Europe, who one after another found themselves compelled to follow Edward’s example, were not able to provide the same long-term benefits to their countries; in nearly every case the Jews managed to bribe their way back in within a few years.

Diaspora, 2

Food for thought from Kevin
MacDonald’s Diaspora Peoples:

 
Puritans forbade the worship of Christmas, both in England and Massachusetts, and whipped, burned, and exiled those they found to be heretics, all the while believing themselves to be the beleaguered defenders of liberty…

At that time certain religious non-conformists, especially Anabaptists and Quakers, were still prevented from settling in New England and imprisoned, tortured, and even executed if they returned there…

As in the Old Testament, God’s wrath would be leveled at entire communities, not only individuals. Each member was therefore responsible for the purity of the whole, since transgressions of others would result in God’s wrath being leveled at the entire community. Puritans were therefore highly motivated to control the behavior of others that they thought might offend God. This included, of course, the sexual behavior of other community members.

Both East Anglia and New England had the lowest relative rates of private crime (murder, theft, mayhem), but the highest rates of public violence—“the burning of rebellious servants, the maiming of political dissenters, the hanging of Quakers, the execution of witches”. This record is entirely in keeping with Calvinist tendencies in Geneva…

Puritans waged holy war on behalf of moral righteousness even against their own cousins, perhaps a form of altruistic punishment described by Fehr and Gachter and found more often among cooperative hunter-gatherer groups than among groups, such as Judaism, based on extended kinship.

Whatever the political and economic complexities that led to the Civil War, it was the Yankee moral condemnation of slavery that inspired the rhetoric and rendered the massive carnage of closely related Anglo-Americans on behalf of slaves from Africa justifiable in the minds of Puritans.

Militarily, the war with the Confederacy rendered the heaviest sacrifice in lives and property ever made by Americans. Puritan moral fervor and its tendency to justify draconian punishment of evil doers can also be seen in the comments of “the Congregationalist minister at Henry Ward Beecher’s Old Plymouth Church in New York who went so far as to call for exterminating the German people, the sterilization of 10,000,000 German soldiers and the segregation of the woman.

In England, Puritanism never really developed into a group evolutionary strategy but remained a loosely bordered faction among other Protestant sects. In New England, however, it developed as a hegemonic religious and political movement in control of a particular territory. Membership in the church required a vote of the congregation. “The principal criterion, besides an upright behavior, was evidence that God had chosen the candidate for eternal salvation…”

Understanding Cuckasoids

Why are Europeans so prone to individualism? Why are they less concerned about kinship? Professor MacDonald explained last month the complex issues of population genetics. “This is the toughest intellectual problem there is; psychology, studying Jews is easy by comparison.”

Fortunately, there’s now a huge amount of research to crack the annoying cipher:

Postscript of November 19:

Population genetics is an important piece of the jigsaw puzzle but it doesn’t explain everything. Always keep in mind Frost’s response to MacDonald about the “Christian axiology” piece in the puzzle.

“Toward the White Republic”

I have read Michael O’Meara’s recently published Toward the White Republic. It’s an honor for me to own copy #56 with O’Meara’s personal inscription to me on the very first page.

O’Meara is absolutely right: A numinous vision always comes before galvanizing the collective unconsciousness, and the mere idea of a white ethnostate does reminds us the Latin saying “Thus I will, thus I command.”

In the 16th century, the English believed they had replaced the Jews as the chosen nation: an important factor in American history which also helped Elizabethan England in their fight against Catholic Spain. O’Meara’s powerful book demonstrates that what moves societies is not scientific fact, e.g., IQ studies of blacks versus whites, but myths. Only myths can galvanize the collective unconsciousness of a nation. Homer’s epics captivated the minds of the ancient Greeks, not the geometric discoveries of the Ionian scientists and philosophers.

For John Winthrop, the previous American colonies had failed because they were carnal and irreligious. He believed that only an enterprise founded on religion had a chance to thrive.

Even if God doesn’t exist and Christianity is ultimately false, Winthrop was right. In 1630 he led an exodus of his people to the new world. It is beyond doubt that the spirit animating these men and women was not economic but religious. A “City upon a Hill” watched by the world was the myth that galvanized the community.

In sharp contrast to present-day Americans’ aid after the 2010 Haiti earthquake, once on American soil, Winthrop was delighted by the news that North American Indians were being decimated by smallpox. It was clear to the Puritans that God had accepted their right to occupy the land.

After the Reconquista generated the sense of a religious nation, something similar happened here down the South. The Catholic myth, catalyzed by the Counter-Reformation, moved the Spaniards to conquer the Aztec and Inca empires.

Winthrop’s success resolved a mystery for me. Why were the English so reluctant to establish themselves in America even a century after Columbus’ discovery while the relatively more primitive Spanish and the Portuguese had already created vast empires? The answer is patently clear: The English lacked a truly galvanizing story that conferred upon them a definite self-image and consequent self-esteem.

Something similar could be said of the Great Awakening in America’s 1730s. An awakening is what whites desperately need today, albeit one based upon a different kind of myth.

Toward the White Republic is more than a must read. Copies of this slim yet potent book could be given to your friends and acquaintances as part of the process of starting another Great Awakening.

Europe’s awakening

Michael_O'Meara

by Michael O’Meara

Excerpted from his book-review “The Shock of History”
originally published in 2011 at the old Alternative Right:

Dominique Venner’s thesis is that: Europeans, after having been militarily, politically, and morally crushed by events largely of their own making, have been lost in sleep (“in dormition”) for the last half-century and are now—however slowly—beginning to experience a “shock of history” that promises to wake them, as they are forced to defend an identity of which they had previously been almost unconscious.

Like cascading catastrophes (the accelerating decomposition of America’s world empire, Europe’s Islamic colonization, the chaos-creating nihilism of global capitalism, etc.), the shock of history today is becoming more violent and destructive, making it harder for Europeans to stay lulled in the deep, oblivious sleep that follows a grievous wound to the soul itself—the deep curative sleep prescribed by their horrendous civil wars (1914-1918 and 1939-1945), by the ensuing impositions of the Soviet / American occupation and of the occupation’s collaborationist regimes, and, finally, today, by a demographic tsunami promising to sweep away their kind.

The Sleep

The Second European Civil War of 1939-1945, however it is interpreted, resulted in a cataclysmic defeat not just for Hitler’s Germany, but for Europe, much of which, quite literally, was reduced to mounds of smoldering rumble. Then, at Yalta, adding insult to injury, the two extra-European super-powers partitioned the Continent, deprived her states of sovereignty, and proceeded to Americanize or Sovietize the “systems” organizing and managing the new postwar European order.

As Europe’s lands and institutions were assumed by alien interests, her ancient roots severed, and her destiny forgotten, Europeans fell into dormition, losing consciousness of who they were as a people and a civilization—believing, as they were encouraged, that they were simply one people among the world’s many peoples—nothing special—except in their evil.

Worse, for their unpardonable sins—for what Europeans did to Jews in the war, to Blacks in the slave trade, to non-White peoples in general over the course of the last 500 years—for all the terrible sins Europeans have committed, they are henceforth denied the “right” to be a “people.” In the Messianic spirit of Communism and Americanism, the Orwellian occupiers and collaborators have since refused them a common origin (roots), a shared history, a tradition, a destiny. This reduces them to a faceless economic-administrative collectivity, which is expected, in the end, to negate the organic basis of its own existence.

The postwar assault on European identity entailed, however, more than a zombifying campaign of guilt-inducement—though this campaign was massive in scale. Europe after Jahre Null was re-organized according to extra-European models and then overwhelmed with imported forms of mass consumerism and entertainment. At the same time and with perhaps greater severity, she was subject to an unprecedented “brain-washing” (in schools, media, the so-called arts, public institutions, and private corporations)—as all Europe’s family of nations, not just the defeated Germans, were collectively made to bear a crushing guilt—under the pretext of the Shoah or the legacy of colonialism / imperialism / slavery—their sins requiring the most extreme penance. Thus tainted, her memory and identity are now verboten…

In one sense, Venner’s Europe is the opposite of the America that has distorted Europe’s fate for the last half-century. But he is no knee-jerk anti-American (though the French, in my view, have good cause to be anti-US). He’s also written several books on the US War of Secession, in which much of America’s Cavalier heritage is admired. Knowing something of the opposed tendencies shaping American “national” life, he’s well aware of the moral abyss separating, say, Jesse James from Jay Gould—and what makes one an exemplar of the European spirit and the other its opposite.

Modeled on the Old Testament, not the Old World, Venner claims America’s New World (both as a prolongation and rejection of Europe) was born of New England Calvinism and secularized in John O’Sullivan’s “Manifest Destiny.”

Emboldened by the vast, virgin land of their wilderness enterprise and the absence of traditional authority, America’s Seventeenth-century Anglo-Puritan settlers set out, in the spirit of their radical-democratic Low Church crusade, to disown the colony’s Anglo-European parents—which meant disowning the idea (old as Herodotus) that Europe is “the home of liberty and true government.”

Believing herself God’s favorite, this New Zion aspired—as a Promised Land of liberty, equality, fraternity—to jettison Europe’s aesthetic and aristocratic standards for the sake of its religiously-inspired materialism. Hence, the bustling, wealth-accumulating, tradition-opposing character of the American project, which offends every former conception of the Cosmos.

New England, to be sure, is not the whole of America, for the South, among another sections, has a quite different narrative, but it was the Yankee version of the “American epic” that became dominant, and it is thus the Yankee version that everywhere wars on Americans of European descent.

Citing Huntington’s Who Are We?, Venner says US elites (“cosmocrats,” he calls them) pursue a transnational / universalist vision (privileging global markets and human rights) that opposes every “nativist” sense of nation and culture—a transnational / universalist vision the cosmocrats hope to impose on the whole world. For like Russian Bolsheviks and “the Bolsheviks of the Seventeenth century,” these money-worshipping liberal elites hate the Old World and seek a new man, Homo oeconomicus—unencumbered by roots, nature, or culture—and motivated solely by a quantitative sense of purpose.

As a union whose “connections” are horizontal, contractual, self-serving, and self-centered, America’s cosmocratic system comes, as such, to oppose all resistant forms of historic or organic identity—for the sake of a totalitarian agenda intent on running roughshod over everything that might obstruct the scorch-earth economic logic of its Protestant Ethic and Capitalist Spirit. In this sense, Europe’s resurgence implies America’s demise.

The Shock

What will awaken Europeans from their sleep? Venner says it will be the shock of history—the shock evoking the tradition that made them (and makes them) who they are.

Such shocks have long shaped their history. Think of the Greeks in their Persian Wars; of Charles Martel’s outnumbered knights against the Caliphate’s vanguard; or of the Christian forces under Starhemberg and Sobieski before the gates of Vienna. Whenever Europe approaches Hölderlin’s “midnight of the world,” such shocks, it seems, serve historically to mobilize the redeeming memory and will to power inscribed in her tradition.

More than a half-century after the trauma of 1945—and the ensuing Americanization, financialization, and third-worldization of continental life—Europeans are once again experiencing another great life-changing, history-altering shock promising to shake them from their dormition.

The present economic crisis and its attending catastrophes combined with the unrelenting, disconcerting Islamization of European life (integral to US strategic interests) are—together—forcing Europeans to re-evaluate a system that destroys the national economy, eliminates borders, ravages the culture, makes community impossible, and programs their extinction as a people. The illusions of prosperity and progress, along with the system’s fun, sex, and money (justifying the prevailing de-Europeanization) are becoming increasingly difficult to entertain. Glimmers of a changing consciousness have, indeed, already been glimpsed on the horizon.

The various nationalist-populist parties stirring everywhere—parties which are preparing the counter-hegemony that one day will replace Europe’s present American-centric leadership—represent one conspicuous sign of this awakening. A mounting number of identitarian, Christian, secular, and political forces resisting Islam’s, America’s, and the EU’s totalitarian impositions at the local level are another sign.

Europeans, as a consequence, are increasingly posing the question: “Who are we?,” as they become conscious—especially in the face of the dietary, vestimentary, familial, sexual, religious, and other differences separating them from Muslims—of what is distinct to their civilization and their people, and why such distinctions are worth defending. Historical revivals, Venner notes, are slow in the making, but once awakened there is usually no going back. This is the point, Venner believes, that Europe is approaching today.

The Unexpected

History is the realm of the unexpected. Venner does not subscribe to notions of historical determinism or necessity. In contrast to Marxists and economic determinists, anti-Semites and Spenglerians, he believes there are no monocausal explanations in history, and unlike liberals such as Fukuyama, he believes there’s no escape from (no “end” to) history.

The future of history is always unknown. Who would have thought in 1980 that Soviet Russia, which seemed to be overtaking the United States in the 70s, would collapse within a decade? Historical fatalities are the fatalities of men’s minds, not those of history.

History, moreover, is the confluence of the given, the circumstantial, and the willful. This makes it always open and hence potentially always a realm of the unexpected. And the unexpected (that instance when great possibilities are momentarily posed) is mastered, Venner counsels, only in terms of who we are, which means in terms of the tradition and identity defining our project and informing our encounter with the world.

Hence, the significance now of husbanding our roots, our memory, our tradition, for from them will come our will to power and any possibility of transcendence. It’s not for nothing, Dominique Venner concludes, that we are the sons and daughters of Homer, Ulysses, and Penelope.

Botched episode

The finale of the 5th season of Game of Thrones

stannis

Had it not been for an accident in my teens, now I would be a consummate film director. My forte has always been the visual arts. Precisely because they are my forte I noticed, since childhood, the beauty of the Aryan race, especially girls. In a sea of mud in Mexico the very few blondes with delicate features seemed to me like lotus flowers floating on the sea.

As message, Game of Thrones (GoT) is quite bad. Like everything we see on television in our times, it makes equal man and woman by showing female warriors or female heads of state. To boot, GoT depicts promiscuity as normal, sometimes with scenes that are disgusting and I mean not only the homosexual, but heterosexual light porn alike. If I were the author of the books or the director I’d put the High Sparrow as the hero of the saga. After a couple of centuries of disbanding the Faith Militant, the military arm of the Faith of the Seven is restored, this time led by the sparrows thus ending the degeneration of royalty in the city King’s Landing.

The screenwriters of GoT will never do something similar in this darkest time of the West. (On the contrary, perhaps in the following season the Frankenstein that created Cersei’s doctor will terminate the sparrows.) But the writers of the ethnostate could do it in tales that retain the enormous beauty of some scenarios we’ve seen in GoT, with the difference that our values would be transvalued (goodbye Jesus—and forever).


Anesthetized spectator

From a strictly cinematic, not axiologic, viewpoint the first forty-nine episodes of GoT were well directed. In the last one, “Mother’s Mercy” released yesterday, the screenwriters blundered badly. Those who really understand film know that a masterpiece never exceeds in raucous scenes. Exceeding and overreaching was exactly what the screenwriters did in the final episode of the GoT season.

In real artistic film there cannot be a scene with very profound implications for the overall plot after another similar scene after another… A well-made film, such as the first Alien—incidentally, the only film by Ridley Scott that I like—maintains the suspense through slow scenes and only by the end it bursts with extreme violence. Instead, in “Mother’s Mercy” the screenwriters committed the fashionable sin in Hollywood and television programs today: they conflated several tremendous events in a single hour:

  • The defeat on the battlefield and apparent death of Stannis (pic above);
  • the Arya girl turned into a sadist of the kind of Tarantino films (Arya stabbed in both eyes a despicable subject);
  • the prolonged degradation of Queen Cersei along the streets of King’s Landing.

In the internet, the feminists today are angrily commenting on yesterday’s episode. Although Cersei is one of the oldest villains of all seasons in GoT, she is a woman, and they are horrified to see her degraded by orders of the High Sparrow in the walk of shame. The truth is that we urgently need this type of action in disciplining all sorts of degenerates in the ethnostate, including white nationalists. The laws of morality should grab them all, including the heads of state. That’s why I so admire the High Sparrow as depicted in the fifth season. “The sign of the times is degeneracy,” said a regular visitor of this blog. “This term—degeneracy—sums up all that is happening to the West.”

The scene of the appropriate punishment of Cersei—adulterous, incestuous, involved in the death of her husband, the king, and countless other misdeeds that ruined the lives of others—is well-achieved if we see that scene strictly in isolation.

But in this final episode, after the military defeat of Stannis and the sadistic transformation of Arya (something one does not expect from a child even if her list of villains to kill is well intentioned), the viewer is completely confused and numbed when this later scene arrives. After such extremely disturbing scenes (we had hoped that Stannis defeated Ramsey, who skins men and women alive), when finally arriving at the walk of shame this late scene has completely lost its momentum. The previous scenes had left us confused and anesthetized before a new brutality. In none of the previous nearly fifty episodes the screenwriters indulged themselves in such excess, and the same could be said of

  • the apparent murder (some fans think that the Red Witch will rise him from the dead in the next season) of Jon Snow in the final minutes of the episode.

A good screenwriter would have spent four episodes for each of these four gruesome themes marked with bullets. But they put them all together, one after another, to the degree of bungling the episode.

Terrible! The adroitness of the creators of GoT completely failed. However, as was clear from my first entry about the series, GoT subscribes a suicidal ideology (see yesterday’s post on egalitarianism). In the real world we are not “equal” on race, gender or sexual orientation; nor should prevail the principle of “non-discrimination” for the inferior races, women or the inverts. Unlike GoT, women should not be warriors (as red-haired Ygritte and some non-white, masculinized female warriors at Dorne) or female knights! (Brienne of Tarth); nor try to make a career of professional assassins (Arya), nor the fans should hope that a blonde bimbo (Daenerys) conquers the Iron Throne…

A frustrated filmmaker as I am I will continue to see the next season but only as visual inspiration of Aryan scenery that could be used if the race is saved from an almost certain fate.

________________

Update of June 24

Now that I watched again episode 48 I realised that it was botched as well. You simply cannot show the most disturbing scene ever seen on TV (burning your child alive) and right after that showing another scene of great action (riding the dragon for the first time in the series): a subject unrelated to the most heinous crime in GoT: offering your child as a sacrifice to the God.

On genuine spirituality

In the thread about Sebastian Ronin’s radio podcasts, one of the radio panel members objected what I said about “spirituality.” Since my answer is long for a thread comment, instead of replying there I’ll do it here.

Yes: religion is psychological dissociation according to my book (cf. Day of Wrath). In fact, I dislike the Americans’ use of the term “spirituality” that in my book means dissociation (so much so that there’s a category in this site about “genuine spirituality”). What Manu Rodríguez and I have in mind when we use the word spiritual is something altogether different.

High_Sparrow

This said, I must confess I feel attracted to religious orders, even after my complete apostasy from Christianity. Yesterday for example I watched several times the scenes of Game of Thrones related to the religious fanatics under the orders of the High Sparrow, the leader of the sect known as the Sparrows whose appearance resemble, in real history, the Franciscans. In Game of Thrones their leader is appointed High Septon, which would be the equivalent in the 14th century to appoint a Fraticelli monk for the papal chair (something that of course never happened).

I like the Sparrows and it makes me think that in the newly-founded ethnostate we will need a sort of Inquisition parallel to this secularized form of teaching the children our Indo-European heritage (again, see Manu’s letter). I liked especially one of the scenes of the High Sparrow with Queen Cersei. He said:

Who carved this altar, do you know? No one does. There’s no name on it, or anywhere else in the chapel. No, the people who built this place didn’t inflict their vanity on those who came after them… Their faith was clean. Strip away the gold and the ornaments, knock down the statues and the pillars, and this is what remains. Something simple. Solid. And true. [YouTube clip linked below, in the words “Cersei treatment”]

Like the High Sparrow, if I were High Septon of the ethnostate I’d certainly ban, with the help of my bloody fanatics—mostly composed of the lowest and humblest of the Holy Faith of National Socialism—, the degeneracy of the old order and even the practices of those white nationalists who basically want to reinstate a sort of Murka II without niggers and Jews, but with drugs, universal suffrage, easy sex, freedom of religion, rock ‘n’ roll and no eugenic program to fix the remnants of mongrelization in mixed whites. I’d ban the sons of Jeremy Bentham and John Stuart Mill that, with their utilitarian goals, in Murka II want to make people, even career women, “happy” and “free” at the expense of anything higher—genuine spirituality. Yes: even white nationalists who use rock in their podcasts would get the Cersei treatment in my envisioned state.

Here I am closer to identitarian William Finck about sexual morality than to those secular white nationalists who believe that they can combine their degeneracy with the revival of the Aryan spirit.

The problem with “spirituality” starts when, in both the real and the fictional worlds (the Fraticelli and the Sparrows were radical egalitarians), their ideology is not based on a strictly racial basis for Aryan preservation.

On Christian rock

by Roger

When I was doing a bit of research into Calvinism last year, and especially the state of Calvinism in North America, one of the funniest things I encountered was “holy hip-hop.” There are people out there who self-identify as Puritans and listen to this jungle drivel, referring to it as “lyrical preaching.” Have a quick look at this.

I’m not masochistic enough to watch the entire video, but how humiliating this must be for veteran Calvinists living through their twilight years! In the case of rock “music,” the apologists can at least argue that the music is melodic. It is still evil, but it is evil of a higher caste than rap. To go from Bach to this is the epitome of decadence. It is fitting, in a way, because the demographic future of Reform Christianity is going to be predominantly black, and there is no place for Bach in black societies. All universalistic churches are going to be wrecked by the darkies, and they deserve what is coming their way.

I still have respect for some of the Traditional Catholics, but they can never reconcile their universalism with the cause of true racial justice. When they end up with a black pope, how will they be able to justify wanting to deport niggers from their countries, or their opposition to miscegenation? The head of their own church will be a symbol of racial egalitarianism.

Published in: on May 13, 2015 at 9:42 am  Comments (3)  
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Monocausalism – requiescat in pace

Today, in “Recently in The Occidental Quarterly: Special Sections on White Pathology”, Kevin MacDonald wrote:

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This is an introduction to special sections in the Summer and Fall issues of The Occidental Quarterly focused on White pathology. Whatever blame for our situation that we place on others, the bottom line is that we are allowing the unfolding disaster to happen. It is unprecedented for a civilization to voluntarily cede political and cultural hegemony to others, particularly when so many of these people harbor hatreds and resentments toward our people and our culture.

I am glad that scholarship is now saying what this blog has been saying for a while: that besides Jewish influence there are factors within the White psyche that are causing the West’s darkest hour today.

The authors of the Quarterly point out to a form of puritanical Christianity and biological factors as contributing ingredients of the “brew” that presently has evolved into a poison. The “single Jewish cause” hypothesis of our problems, what I have called “monocausalism,” is thus unsupported by both the humanities (history) and science (evolutionary psychology).