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.

Why we are antisemites

by Adolf Hitler

Excerpted from a speech in a public meeting in the Great Hall
of the Hofbräuhaus organised by the National Socialist
German Workers Party in 15 August 1920:

 
My dear countrymen and women! We are quite used to being generally referred to as monsters. And we are considered particularly monstrous because, in a question that certain gentlemen in Germany are nervous about, we are marching at the head—namely in the question of the opposition to the Jews.

Our people understand many things but this one problem nobody wants to understand. Very few have learned to view the problem free of emotion, in its clean form.

The Aryans created all the great cultures of the ancient world. We know that Egypt was brought upon its high cultural level by Aryan immigrants. Similarly, Persia and Greece; the immigrants were blond, blue eyed Aryans. And we know that outside of these Aryan states no civilised states have been founded. There emerged mixed races between the black, dark eyed and dark coloured, southern races and the immigrants, but they failed to create any large, creative culture states.

Why is it that only Aryans possessed the ability to create states? It was due, almost exclusively, to their attitude toward work. Those races which, as the first, stopped seeing work as the result of coercion and saw it rather as a necessity born out of hundreds of thousands of years of hardship, had to become superior to other people. And, besides, it was work that made people come together and divide the work among them. We know that the moment the individual work to sustain oneself turned into work within communities, the community tended to assign a particular work to those particularly talented, and with increasing division of work it became necessary for still greater joining together into still bigger groups. So, it is work which created kinships at first, later tribes, and still later, led to the creation of states.

Let us take art—considered as an international domain—and we shall see that it is unconditionally dependent on the state. Art blossomed in those areas where the political development made it possible.

The art of Greece reached its highest level when the young state had triumphed over invading Persian armies. Construction of the Acropolis began at that time. Rome became the city of art after the end of the Punic Wars, and Germany built her cathedrals, as in Worms, Speyer and Limburg, when the German Empire under Salians had achieved its greatest triumphs.

We can follow this connection to our time. We know that art, for example the beauty of German towns, always depended on political development of these towns; that it was political considerations which moved Napoleon III to regulating of the Boulevards and Friedrich the Great to establishing Unter den Linden. Similarly in Munich where it was obvious that the city could not become an industrial centre and so art was chosen to elevate the rank of the city, which now everyone who wants to get to know Germany must visit. Similar were the origins of today’s Wien [Vienna].

The case was similar with other arts. The moment the small, powerless statelets began to unite into one state, then also one German art, proud of itself, began to grow. The works of Richard Wagner appeared in the period when shame and powerlessness were replaced by a unified, great German Reich.
 
The Jewish path of destruction

We can follow this fate of Jewry from the earliest prehistory. It is not important if there is truth in every word of the Bible. In general, it gives us at least an extract of the history of Jewry. We see how the Jews present themselves because the Jew wrote these words quite innocuously. It did not appear to him as outrageous when a race, through cunning and deceit, invaded and despoiled other races, was always finally expelled and, unoffended, sought to repeat the same elsewhere.

They pimped and haggled even when it came to their ideals, always ready to offer even their own families. We know that not long ago a gentleman was staying here, Sigmund Fraenkel, who has just written that it is quite unjust to accuse Jews of a materialistic spirit. One should only look at their sunny family life.

However, this intimate family life did not prevent Grandfather Abraham from pimping off his own wife to the Pharaoh of Egypt in order to be able to do business. [Laughter] As was the grandfather, so was the father and so were the sons who never neglected their business. And you can be sure that they are not neglecting the business even as we speak. Who among you was a soldier, he will remember Galicia or Poland: There, at the train stations, these Abrahams were everywhere. [Laughter and hand clapping]

They penetrated into other races for millennia. And we know very well that wherever they stayed long enough symptoms of decay appeared and the peoples could do nothing else than to liberate themselves from the uninvited guest or to disappear themselves. Heavy plagues came over the nations, no less then ten in Egypt—the same plague we experience today firsthand—and finally the Egyptians lost their patience.

Still later, the Jew was able to infiltrate the then soaring Roman Empire. We can still see his traces in southern Italy. Already 250 years before Christ he was there in all places, and people began to avoid them. Already, then and there, he made the most important decision and became a trader. From numerous Roman texts we know that he traded, like today, with everything from shoelaces to girls. [Hear, hear]

We know that throughout the Middle Ages the Jew infiltrated all European states, behaving like a parasite, using new principles and ways which the people did not know then. And from a nomad he became a greedy and bloodthirsty robber of our time. And he went so far that people after people rebelled and attempted to shake him off.

We know it is untrue when people say that the Jew was forced to this activity; he could easily acquire land. And he did acquire land but not to work it but in order to use it as a trade object, just as he does today.

The Jew had found another kind of work for himself where he could earn gold without practically moving a finger. He developed a principle which, throughout millennia, made it possible for him to amass fortunes without sweat and toil, unlike all other mortals, and above all—without taking risk.
 
National purity as a source of strength

The second pillar against which the Jew as a parasite turns, and must turn, is the national purity as a source of the strength of a nation. The Jew, who is himself a nationalist more than any other nation, who through millennia did not mix with any other race, uses intermingling just for others to degenerate them in the best case; this same Jew preaches every day with thousands of tongues, from 19,000 papers in Germany alone, that all nations on Earth are equal, that international solidarity should bind all the peoples, that no people can lay a claim to a special status, and, above all, that no nation has a reason to be proud of anything that is called or is national. What a nation means, he, who himself never dreams of climbing down to those to whom he preaches internationalism, knows well.

First a race must be denationalised. First it must unlearn that its power is in its blood, and when it has reached the level where it has no more pride, the result is a product, a second race, which is lower than the previous one and the Jew needs the lower one in order to organise his final world domination.

In order to build it and keep it, he lowers the racial level of the other peoples, so that only he is racially pure and able to eventually rule over all the others. That’s race degradation, the effects of which we can see today in a number of peoples of the world. We know that the Hindus in India are a mixed people, stemming from the high Aryan immigrants and from the dark aborigines. And this nation bears the consequences, for it is a slave nation of a race that may seem in many ways almost as a second Jewry.

Another problem is the problem of physical decomposition of races. The Jew is trying to eliminate all of which he knows that is somehow strengthening, muscle-steeling, and eliminate above all everything of that which he knows may keep a race so healthy.

Hand in hand with this goes a battle against the health of the people. He knows how to turn all the healthy normal manners, the obvious hygienic rules of a race on its head, from night he makes day; he creates the notorious nightlife and knows exactly that it works slowly but surely, gradually destroying the healthy strength of a race, making it soft; the one is destroyed physically, the other spiritually, and into the heart of the third it puts the hatred as he has to see the others feast.
 
The destruction of culture

Finally, he reaches for the last method: The destruction of all culture, of all that we consider as belonging in a state which we consider civilised. Here is his work perhaps most difficult to recognise, but here the actual effect is the most terrible. We are familiar with his activity in the arts, like today’s paintings which became a caricature of all that we call true inner perception. [Prolonged applause] They always explain that you don’t understand the inner experience of the artist. Don’t you think that also a Moritz Schwind and Ludwig Richter experienced internally when they created? [Stormy bravo! and applause]

Don’t you, finally, believe that, for example, Beethoven’s chords also came from inner experience and feeling and that a Beethoven symphony reflects his inner experience?

Just as he works in painting, sculpture and music, so he does in poetry and especially in literature. Here he has a great advantage. He is the editor and, above all, publisher of more than 95% of all newspapers. He uses this power, and he who has become such a brutal antisemite as myself [Laughter] smells out, even as he takes the paper in his hand, where the Jew begins. [Laughter]

For him there is no spiritual sensitivity, and just as his forefather Abraham was selling his wife, he finds nothing special about the fact that today he sells girls, and through the centuries we find him everywhere, in North America as in Germany, Austria-Hungary and all over the East, as the merchant of the human commodity and it can not be denied away; even the greatest Jew defender cannot deny that all of these girl-dealers are Hebrews. This subject is atrocious. According to Germanic sentiment there would be only one punishment for this: death.

They tell us today that all that which was known as family life is a completely outlived notion, and who only saw the play Castle Wetterstein could see how the holiest that still remained to the people was shamelessly called “brothel”. [1]
 
The “authority of the majority”

When the Jew has destroyed the state according to these three major aspects, when he has undermined the state-forming and sustaining power, the ethical conception of work, the racial purity of a people and its spiritual life, he puts to the axe the authority of reason in the state and puts in its place the so-called authority of the majority of the crowd, and he knows that this majority will dance as he whistles because he has the means to direct it: He has the Press, not perhaps for registering of public opinion, but for forgery of it, and he knows how to harness public opinion through the Press in order to dominate the state. Instead of the authority of reason, there enters the authority of the great spongy majority led by the Jew, because the Jew is always going through three periods.

And in all these things we must understand that there are no good or evil Jews. Here everyone works exactly according to the instincts of his race, because the race, or should we say, the nation and its character, as the Jew himself explains, lies in blood, and this blood is forcing everyone to act according to these principles, whether he is the leading mind in a party that calls itself democratic, or calls itself socialist, or a man of science, literature, or just an ordinary exploiter. He is a Jew; he works aglow with one thought: How do I get my people to become the Master Race.
 
The political organisation

And when we see, for example, in these Jewish magazines, that it is specified that every Jew everywhere is obligated to fight against any antisemite, wherever and whoever he is, then it follows by deduction that every German, wherever and whoever he is, will become an antisemite. [Stormy bravo! and prolonged applause] For if the Jew has a racial determination, so have we, and we are also obliged to act accordingly.

Furthermore, we realised that if this movement does not penetrate into the masses, to organise them, then everything will be in vain; then we will never be able to liberate our people and we will never be able to think of rebuilding our country. The salvation can never come from above, it can and will only come from the masses, from the bottom up. [Applause]

And as we came to this realisation and decided to form a party, a political party that wants to enter into the ruthless political struggle for the future, then we heard a voice: Do you believe that you few can do it, do you really believe that a couple of guys can do it?

And while others are working a whole generation, perhaps in order to get a small house or to have a carefree retirement, we put our lives at stake and have begun this difficult struggle. If we win, and we are convinced we will, though we may die penniless we will have helped create the biggest movement which will now extend over all Europe and the whole world. [Loud applause]

The first three principles were clear, and they are inseparable from each other. Socialism as the final concept of duty, the ethical duty of work, not just for oneself but also for one’s fellow man’s sake, and above all the principle: Common good before own good, a struggle against all parasitism and especially against easy and unearned income. And we were aware that in this fight we can rely on no one but our own people. We are convinced that socialism in the right sense will only be possible in nations and races that are Aryan, and there in the first place we hope for our own people and are convinced that socialism is inseparable from nationalism. [Loud applause]

And when today the Jew still runs into our factories and says: How can you be a socialist antisemite? Are not you ashamed? —There comes a time in which we will ask: How can you not be an antisemite, being a socialist! [Hear, hear] There comes a time when it will be obvious that socialism can only be carried out accompanied by nationalism and antisemitism. The three concepts are inseparably connected. They are the foundations of our program and therefore we call ourselves National Socialists. [Cheers]
 
How to proceed

If we wish to make these social reforms, this must go hand in hand with the fight against the enemy of every social institution: Jewry. Here too we know that scientific knowledge can only be the groundwork, but that behind this knowledge must stand an organisation which one day will be able to go over into action. And in this action we will remain adamant, which means:

Removal of Jews from amongst our people [Loud and long sustained applause and clapping], not because we begrudge them their existence—we congratulate the rest of the world on account of their visits [great hilarity]—but because we value the existence of our own people a thousand times higher than that of an alien race. [Bravo!]

And since we are convinced that this scientific antisemitism that clearly recognises the terrible danger of this race for any people can only be a guide, and the masses will always perceive them emotionally—for they know the Jew first and foremost as the man in daily life who always and everywhere sticks out—our concern must be to arouse in our people the instinct against Jewry and whip it up and stir, until they come to the decision to join the movement which is willing to take the consequences. [Bravo and applause.]

We have proclaimed as our election platform only one thing: Let the others go to the polls today, to the Reichstag, to the parliaments and loll in their club chairs; we want to climb up the beer tables and pull the masses with us. We’ve kept this promise and will keep it in the future. Tirelessly and constantly, as long as we have a spark of strength and a breath in the lungs, we will come out and call all our people; and always tell the truth until we can begin to hope that this truth will prevail. Till the day finally comes when our words fall silent and action begins. [Stormy bravo! and long-lasting applause.]
 
__________________

[1] An anti-bourgeoisie play written in 1912 by Frank Wedekind, pre-figuring the “new realism,” in which a young woman is corrupted. It was played up by the Jews and became very popular.

Old man and his grandson (detail)

Domenico Ghirlandaio
Old Man and his Grandson
(detail) ~ 1490
Musée du Louvre

Published in: on November 8, 2015 at 9:48 am  Comments (1)  
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Uncle Adolf’s table talk, 5

the-real-hitler

 

Night of 21st-22nd July 1941

Similarities between Germany and Italy—Dante and Luther—Delightful Italian towns—Rome and Paris.

Luther had the merit of rising against the Pope and the organisation of the Church. It was the first of the great revolutions.

And thanks to his translation of the Bible, Luther replaced our dialects by the great German language! It’s remarkable to observe the resemblances between the evolution of Germany and that of Italy. The creators of the language, Dante and Luther, rose against the oecumenical desires of the papacy. Each of the two nations was led to unity, against the dynastic interests, by one man. They achieved their unity against the will of the Pope.

The Italian people’s musical sense, its liking for harmonious proportions, the beauty of its race! The Renaissance was the dawn of a new era, in which Aryan man found himself anew. There’s also our own past on Italian soil. A man who is indifferent to history is a man without hearing, without sight.

Such a man can live, of course—but what a life? The magic of Florence and Rome, of Ravenna, Siena, Perugia! Tuscany and Umbria, how lovely they are! The smallest palazzo in Florence or Rome is worth more than all Windsor Castle. If the English destroy anything in Florence or Rome, it will be a crime.

Giuseppe Zocchi - The Piazza della Signoria in Florence

I’ve seen Rome and Paris, and I must say that Paris, with the exception of the Arc de Triomphe, has nothing on the scale of the Coliseum, or the Castle of San Angelo, or St. Peter’s. These monuments, which are the product of a collective effort, have ceased to be on the scale of the individual. There’s something queer about the Paris buildings, whether it’s those bull’s-eye windows, so badly proportioned, or those gables that obliterate whole façades. If I compare the Pantheon in Rome with the Pantheon in Paris, what a poor building—and what sculptures! What I saw in Paris has disappeared from my memory: Rome really seized hold of me.

Naples, apart from the castle, might be anywhere in South America. But there’s always the courtyard of the royal palace. What nobility of proportions!

My dearest wish would be to be able to wander about in Italy as an unknown painter.

Deposition from the Cross (detail)

d-cross

Caravaggio

Deposition from the Cross
(detail) ~ 1600-1604
Pinacoteca Vaticana

Published in: on November 1, 2015 at 9:49 am  Comments (4)  
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Uncle Adolf’s table talk, 6

the-real-hitler

Night of the 22nd-23rd July 1941
 
Steps towards a durable understanding between Germany and Britain—Dearth of philosophic and artistic sense of the British.
 
 
I believe that the end of this war will mark the beginning of a durable friendship with England. But first we must give her the k.o.—for only so can we live at peace with her, and the Englishman can only respect someone who has first knocked him out. The memory of 1918 must be obliterated.

D. asked the Fuehrer whether Germany was fortified against the dangers of over-easy living, which were threatening to be the ruin of England.

Yes, and that’s why I pay attention to the arts. Amongst the English, culture, like sport, is a privilege of good society. Just imagine, in no country is Shakespeare so badly acted as in England. They love music, but their love is not returned! Besides, they have no thinker of genius. What does the National Gallery mean there, to the mass of the people? It’s like their social reform. It wasn’t called for, like German reform, by the needs of conscience, but solely by reasons of State.

At Bayreuth one meets more Frenchmen than Englishmen. Quote me the example of a single theatre in England where work is done that compares with the work we do in hundreds of theatres.

But I’ve met a lot of Englishmen and Englishwomen whom I respect. Let’s not think too much about those whom we know, with whom we’ve had those deceptive official dealings—they’re not men. Despite everything, it’s only with the people that we can associate.

Published in: on November 1, 2015 at 9:39 am  Leave a Comment  
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Pietà (detail)

Botticelli
Pietà
(detail) ~ 1490
Alte Pinakothek of Munich

Published in: on October 25, 2015 at 11:10 pm  Leave a Comment  
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Carrying the cross

Christ-Cross

Hieronymus Bosch
Christ Carrying the Cross ~ 1515-1516
Museum of Fine Arts in Ghent, Belgium

Published in: on October 4, 2015 at 10:18 am  Comments (3)  
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“El Orador”

silvia-piano

Before I was born my mother used to practice El Orador (YouTube audio here): a piece for piano composed by my father.

Throughout her pregnancy I happened to be a couple of inches from the piano’s keys, in embryonic state! My mother once told me that while practicing that piece I moved vigorously in her womb. I have this music amalgamated to my soul…

El Orador (The Orator) is a fantasia for piano that my father composed in 1952 and was performed for the first time by María Teresa Rodríguez, and then by my mother (photo above) in 1958, in private gatherings, after I was born.

Father Vértiz, a Catholic priest with eloquent oratory power had inspired the music of my father. According to my parents, the priest’s sermons were like a parable: they initiated in adages and after crescendos culminated in a violent rhetoric that captivated the faithful.

Published in: on September 30, 2015 at 12:02 am  Comments (15)  
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Fratricide

cain_abel

This 78 x 64 cm. framed illustration in my bedroom is a slightly modified copy drawn by my father in 1957 of Gustave Doré’s illustration of the most famous fratricide in Christendom.

Published in: on September 27, 2015 at 7:48 am  Leave a Comment  
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