“The dark ages still reign over all humanity, and the depth and persistence of this domination are only now becoming clear. This Dark Ages prison has no steel bars, chains, or locks. Instead, it is locked by mis-orientation and built of misinformation… We are powerfully imprisoned in these Dark Ages simply by the terms in which we have been conditioned to think.”
―Buckminster Fuller
Image: Study for a Head (1952) by Francis Bacon
―Buckminster Fuller
Image: Study for a Head (1952) by Francis Bacon
“The glory of the polytheistic anschauung (view) is that it never asserted a single and obligatory path for everyone. It never caused the assertion that everyone was fit for initiation and it never caused an attempt to force people into a path alien to their sensibilities. Paganism never feared knowledge. It feared ignorance, and under a flood of ignorance it was driven out of its temples.”
― Ezra Pound, Terra Italica, The New Review, Winter 1931-2
Image: Absalon topples the god Svantevit at Arkona by Laurits Regner Tuxen
― Ezra Pound, Terra Italica, The New Review, Winter 1931-2
Image: Absalon topples the god Svantevit at Arkona by Laurits Regner Tuxen
The Mystery of the Grail: Wagner’s Failed Quest
The Grail legend in Richard Wagner's opera, "Parsifal," can be said to incorporate both Christian and pre-Christian elements, as well as a philosophical strain influenced by Schopenhauer's philosophy of Buddhism. Schopenhauer similar to the Gnostics believed that individuals were entrapped in "Maya," a veil of deception that blinds them from the truth. Schopenhauer believed that those trapped in Maya can only be redeemed through compassion. This idea is reflected in the character of Parsifal, who initially lacks the knowledge of good and evil, like Adam and Eve in the Garden of Eden. He is Will-to-action without purpose but eventually gains enlightenment through his resistance to temptation and his compassion towards others, achieved through the transmutation of lust into compassion.
Wagner himself referred to "Parsifal" as a "Festival Play for the Consecration of the Stage," with the aim of encouraging the audience to participate in the themes of redemption and suffering.
lrike Kienzle conducted a significant study of Wagner's "Parsifal," examining the philosophical and religious ideas that shape the work. Kienzle suggests that while the opera reflects Christian beliefs, it does not necessarily endorse the doctrines of the church. Instead, Kienzle asserts that the incorporation of both medieval and modern mysticism in "Parsifal" is firmly rooted in Christian thought. Additionally, Kienzle argues that "Parsifal" represents a distinctive blend of Vedic and Christian beliefs, which promotes an ongoing inter-religious dialogue that speaks to contemporary concerns.
Italian philosopher, esotericist, and traditionalist Julius Evola wrote extensively on the mysteries surrounding the Grail. In his view, Wagner’s Parsifal “deforms and twists the whole myth” primarily due to its Christianisation which obscured and occluded the essence of the mystery and detracted from its true meaning.
Friedrich Nietzsche was said to have expressed his disgust towards Wagner's "Parsifal," perceiving it as a renunciation of the composer's earlier aspirations to form a new German culture untainted by Christian values. Alfred Rosenberg similarly criticised the central focus on compassion in Wagner’s work. Modern adaptations of Wagner’s "Parsifal" extend the trajectory set forth by Wagner even further, retaining the Christian message of humanitarianism and universal compassion, albeit without the explicit Christian imagery.
It is intriguing to consider the potential ramifications had Wagner embraced a version of "Parsifal" purged of Christian influence, given the profound impact and influence his own version is said to have had on a notable historical figure. One can only speculate about the alternative course of world events that might have unfolded if Wagner had remained true to both his own supposed intentions and the original spirit of the grail mythos.
The Grail legend in Richard Wagner's opera, "Parsifal," can be said to incorporate both Christian and pre-Christian elements, as well as a philosophical strain influenced by Schopenhauer's philosophy of Buddhism. Schopenhauer similar to the Gnostics believed that individuals were entrapped in "Maya," a veil of deception that blinds them from the truth. Schopenhauer believed that those trapped in Maya can only be redeemed through compassion. This idea is reflected in the character of Parsifal, who initially lacks the knowledge of good and evil, like Adam and Eve in the Garden of Eden. He is Will-to-action without purpose but eventually gains enlightenment through his resistance to temptation and his compassion towards others, achieved through the transmutation of lust into compassion.
Wagner himself referred to "Parsifal" as a "Festival Play for the Consecration of the Stage," with the aim of encouraging the audience to participate in the themes of redemption and suffering.
lrike Kienzle conducted a significant study of Wagner's "Parsifal," examining the philosophical and religious ideas that shape the work. Kienzle suggests that while the opera reflects Christian beliefs, it does not necessarily endorse the doctrines of the church. Instead, Kienzle asserts that the incorporation of both medieval and modern mysticism in "Parsifal" is firmly rooted in Christian thought. Additionally, Kienzle argues that "Parsifal" represents a distinctive blend of Vedic and Christian beliefs, which promotes an ongoing inter-religious dialogue that speaks to contemporary concerns.
Italian philosopher, esotericist, and traditionalist Julius Evola wrote extensively on the mysteries surrounding the Grail. In his view, Wagner’s Parsifal “deforms and twists the whole myth” primarily due to its Christianisation which obscured and occluded the essence of the mystery and detracted from its true meaning.
Friedrich Nietzsche was said to have expressed his disgust towards Wagner's "Parsifal," perceiving it as a renunciation of the composer's earlier aspirations to form a new German culture untainted by Christian values. Alfred Rosenberg similarly criticised the central focus on compassion in Wagner’s work. Modern adaptations of Wagner’s "Parsifal" extend the trajectory set forth by Wagner even further, retaining the Christian message of humanitarianism and universal compassion, albeit without the explicit Christian imagery.
It is intriguing to consider the potential ramifications had Wagner embraced a version of "Parsifal" purged of Christian influence, given the profound impact and influence his own version is said to have had on a notable historical figure. One can only speculate about the alternative course of world events that might have unfolded if Wagner had remained true to both his own supposed intentions and the original spirit of the grail mythos.
“If you are a conservative Christian who feels there is a "woke" movement attempting to subvert your civilisation out of your hands. You feel exactly like a Roman Pagan did 1700 years ago. Christianity was the woke movement of Rome.”
―Uberboyo
Notes: View the rest of this fascinating thread here and check out Uberboyo’s latest video on the topic ‘What if Christianity was Rome’s Woke Movement?’ here.
Image: Fire in Rome (‘Mostly Peaceful Protests’) by Hubert Robert
―Uberboyo
Notes: View the rest of this fascinating thread here and check out Uberboyo’s latest video on the topic ‘What if Christianity was Rome’s Woke Movement?’ here.
Image: Fire in Rome (‘Mostly Peaceful Protests’) by Hubert Robert
“I condemn Christianity; I bring against the Christian Church the most terrible of all accusations that an accuser has ever had in his mouth. It is, to me, the greatest of all imaginable corruptions; it seeks to work the ultimate corruption, the worse possible corruption. The Christian Church has left nothing untouched by its depravity; it has turned every value into worthlessness, and every truth into a lie, and every integrity into baseness of soul."
― Friedrich Nietzsche, The Anti-Christ
Image: Portrait of Friedrich Nietzsche by Edvard Munch
― Friedrich Nietzsche, The Anti-Christ
Image: Portrait of Friedrich Nietzsche by Edvard Munch
“The so-called 'Irish Catholic faith' was a living hell for most Irish people who were told to get on their knees and thank a Jewish god in the Middle East for their misery and suffering. There was no beautiful tradition. There was no spirituality. Mass emigration proves there was even no connection to the land… Gaelic people were reduced to the level of salivating dogs while what little they had was garnished by the clergy and handed to the Pope in Rome. Only the Irish Pagan gods can ever know and love the Irish people enough to tell them to get up off their knees and stop serving imported gods. The country is called Eire and not Jehovah for a reason."
―Thomas Sheridan
Image: The Magic Cup by Jim FitzGerald
―Thomas Sheridan
Image: The Magic Cup by Jim FitzGerald
“What we observe in the population today are the three destructive symptoms of persons whose minds are controlled by alien forces:
1. Amnesia, i.e. loss of memory.
2. Abulia, i.e. loss of will.
3. Apathy, i.e loss of interest in events vital to one’s own health and survival.”
―Michael A. Hoffman II, Secret Societies and Psychological Warfare
Image: Nature of Fear by Nicola Samorì
1. Amnesia, i.e. loss of memory.
2. Abulia, i.e. loss of will.
3. Apathy, i.e loss of interest in events vital to one’s own health and survival.”
―Michael A. Hoffman II, Secret Societies and Psychological Warfare
Image: Nature of Fear by Nicola Samorì
“The alchemical principle of the Revelation of the Method has as its chief component, a clown-like, grinning mockery of the victim(s) as a show of power and macabre arrogance. When this is performed in a veiled manner, accompanied by certain occult signs and symbolic words and elicits no meaningful response of opposition or resistance from the target(s), it is one of the most efficacious techniques of psychological warfare and mind-rape.”
―Michael A. Hoffman II, Secret Societies and Psychological Warfare
Image: Rhetoric by Jake Baddeley
―Michael A. Hoffman II, Secret Societies and Psychological Warfare
Image: Rhetoric by Jake Baddeley
“There are individuals whose faces are stamped with such naïve vulgarity and lowness of character, such an animal limitation of intelligence, that one wonders how they are to go out with such a face and do not prefer to wear a mask.”
― Arthur Schopenhauer, On Physiognomy
Notes: For thousands of years it was widely accepted that a man's physical appearance conveyed much of his character, with the face serving as a portal to the mind. The concept of physiognomy originated from the Greek words "physis," meaning nature, and "gnomon," meaning judge, to assess a person's character based on the landscape of their face. Despite its prior widespread use, physiognomy has been heavily criticised and dismissed as a “pseudoscience”, with its practice being discouraged and shamed as judgmental, immoral and shallow. This is yet another example of how we are told by ‘the authorities’ to reject our observations overriding our innate instinct and wisdom.
Image: Phrenologic by Bob Moran
― Arthur Schopenhauer, On Physiognomy
Notes: For thousands of years it was widely accepted that a man's physical appearance conveyed much of his character, with the face serving as a portal to the mind. The concept of physiognomy originated from the Greek words "physis," meaning nature, and "gnomon," meaning judge, to assess a person's character based on the landscape of their face. Despite its prior widespread use, physiognomy has been heavily criticised and dismissed as a “pseudoscience”, with its practice being discouraged and shamed as judgmental, immoral and shallow. This is yet another example of how we are told by ‘the authorities’ to reject our observations overriding our innate instinct and wisdom.
Image: Phrenologic by Bob Moran
The Mystery of the Grail: Projections of the Grail
The Holy Grail has been a fascinating and enduring symbol that has captivated the imaginations of writers and artists for centuries. Its association with the legend of King Arthur and the Knights of the Round Table, as well as its spiritual and religious significance, has made it a rich and complex symbol that has been adapted into various forms of media, including cinema. There have been many films based on Arthurian mythology and the Grail Quest, with some staying close to the original source material while others have reinterpreted and extrapolated upon the symbolism of the Grail.
“The Silver Chalice” (1954), which marked Paul Newman's acting debut, provided a heavily Christianised interpretation of the Grail mythos set in 33 A.D Jerusalem, the Grail legend is used here as a narrative framework while the film is primarily focusing on the persecution of early Christians by Roman authorities.
In contrast, Eric Rohmer's 1978 film "Perceval le Gallois" closely adhered to the original written source material, which in this case was the work of Chrétien de Troyes, the first yet incomplete written source of the Grail legend.
The 1981 film "Excalibur" directed by John Boorman, whilst taking certain liberties with the original written source (such as combining Arthur and the Fisher King) demonstrates an evocative interpretation of the Grail legend that remains faithful to the essential spirit of the story. The film underscores the archetypal resonance of the Grail quest and successfully engages with many of the underlying themes and motifs found in the Grail material that predate the Christian era.
The musical “Camelot” was translated to film in 1967 with Richard Harris in the lead role of Arthur. This film, which received several Academy Awards, is celebrated for its extravagant and opulent set designs, costumes and memorable Broadway soundtrack. It has earned a place as both a classic of the musical genre and a cherished retelling of the King Arthur legend.
Acclaimed director Terry Gilliam known for his irreverent style as a member of the Monty Python troupe, has incorporated the Grail into two of his films. The first is the comical “Monty Python and the Holy Grail,” a satirical take on the Arthurian legend that employs absurdist humour to demystify the myth. In his later work, the 1991 comedy-drama “The Fisher King,” Gilliam takes a different approach, situating the story in modern-era New York and casting the Fisher King as a mentally unstable homeless man who embarks on a quest to find the Holy Grail in order to restore his life and reunite with his deceased wife. Despite his cynical modernist stylings, Gilliam's adaptations demonstrate an unbridled affection for the Grail legend's striking beauty and poetic power.
While the “Da Vinci Code” (2006) is not directly about the Holy Grail, this film is based on the idea that the Holy Grail is actually the bloodline of Jesus Christ, and it features a search for the "Grail" that takes the characters on a journey throughout Europe.
The legend of the Grail has been studied extensively by comparative mythologist Joseph Campbell, who developed the concept of the "mono myth" based on his analysis of this myth. This idea has since been used as a framework for storytelling in the films of George Lucas and Steven Spielberg, which have gone on to inspire and influence countless other works.
This is just a brief overview of some of the films that have incorporated the Grail mythos. The vast number of films that have explored Arthurian legends or drawn inspiration from them provides strong evidence for Carl Jung's assertion that Grail mythology offers some of the most significant archetypal stories in Western culture.
The Holy Grail has been a fascinating and enduring symbol that has captivated the imaginations of writers and artists for centuries. Its association with the legend of King Arthur and the Knights of the Round Table, as well as its spiritual and religious significance, has made it a rich and complex symbol that has been adapted into various forms of media, including cinema. There have been many films based on Arthurian mythology and the Grail Quest, with some staying close to the original source material while others have reinterpreted and extrapolated upon the symbolism of the Grail.
“The Silver Chalice” (1954), which marked Paul Newman's acting debut, provided a heavily Christianised interpretation of the Grail mythos set in 33 A.D Jerusalem, the Grail legend is used here as a narrative framework while the film is primarily focusing on the persecution of early Christians by Roman authorities.
In contrast, Eric Rohmer's 1978 film "Perceval le Gallois" closely adhered to the original written source material, which in this case was the work of Chrétien de Troyes, the first yet incomplete written source of the Grail legend.
The 1981 film "Excalibur" directed by John Boorman, whilst taking certain liberties with the original written source (such as combining Arthur and the Fisher King) demonstrates an evocative interpretation of the Grail legend that remains faithful to the essential spirit of the story. The film underscores the archetypal resonance of the Grail quest and successfully engages with many of the underlying themes and motifs found in the Grail material that predate the Christian era.
The musical “Camelot” was translated to film in 1967 with Richard Harris in the lead role of Arthur. This film, which received several Academy Awards, is celebrated for its extravagant and opulent set designs, costumes and memorable Broadway soundtrack. It has earned a place as both a classic of the musical genre and a cherished retelling of the King Arthur legend.
Acclaimed director Terry Gilliam known for his irreverent style as a member of the Monty Python troupe, has incorporated the Grail into two of his films. The first is the comical “Monty Python and the Holy Grail,” a satirical take on the Arthurian legend that employs absurdist humour to demystify the myth. In his later work, the 1991 comedy-drama “The Fisher King,” Gilliam takes a different approach, situating the story in modern-era New York and casting the Fisher King as a mentally unstable homeless man who embarks on a quest to find the Holy Grail in order to restore his life and reunite with his deceased wife. Despite his cynical modernist stylings, Gilliam's adaptations demonstrate an unbridled affection for the Grail legend's striking beauty and poetic power.
While the “Da Vinci Code” (2006) is not directly about the Holy Grail, this film is based on the idea that the Holy Grail is actually the bloodline of Jesus Christ, and it features a search for the "Grail" that takes the characters on a journey throughout Europe.
The legend of the Grail has been studied extensively by comparative mythologist Joseph Campbell, who developed the concept of the "mono myth" based on his analysis of this myth. This idea has since been used as a framework for storytelling in the films of George Lucas and Steven Spielberg, which have gone on to inspire and influence countless other works.
This is just a brief overview of some of the films that have incorporated the Grail mythos. The vast number of films that have explored Arthurian legends or drawn inspiration from them provides strong evidence for Carl Jung's assertion that Grail mythology offers some of the most significant archetypal stories in Western culture.
“Secrecy is the keystone to all tyranny. Not force, but secrecy and censorship. When any government or church for that matter, undertakes to say to its subjects, "This you may not read, this you must not know," the end result is tyranny and oppression, no matter how holy the motives. Mighty little force is needed to control a man who has been hoodwinked in this fashion; contrariwise, no amount of force can control a free man, whose mind is free. No, not the rack nor the atomic bomb, not anything. You can't conquer a free man; the most you can do is kill him.”
― Robert A Heinlein
Image: Oath of the Horatii by Jacques-Louis David
― Robert A Heinlein
Image: Oath of the Horatii by Jacques-Louis David
“Profane space differs from sacred space in that it has no fixed point or center from which to gain orientation. Profane space has no axis mundi, no cosmic tree or pillar leading to the heavens. This is the experience of modernity: people unable to locate a center.”
―Robert L. Moore
Notes: Many in modernity struggle to grasp this concept as they have been so exiled from a genuine spiritual or religious comprehension of the human experience. The modern secularised population tends to believe that a true centre does not actually exist, and thus, profane space becomes an intimidating, yet meaningless void that lacks a definitive fundamental reality.
Image: Yggdrasil by Theoretical Part
―Robert L. Moore
Notes: Many in modernity struggle to grasp this concept as they have been so exiled from a genuine spiritual or religious comprehension of the human experience. The modern secularised population tends to believe that a true centre does not actually exist, and thus, profane space becomes an intimidating, yet meaningless void that lacks a definitive fundamental reality.
Image: Yggdrasil by Theoretical Part
“It could be interpreted that the world we once knew no longer exists. Instead, we seem to be living in a shattered universe made up of countless fragmented places that are mostly neutral in nature. As human beings move through these places, they are governed and driven by the obligations of their existence, which are deeply embedded in the context of living within an industrial society.”
―Mircea Eliade, The Sacred and the Profane
Image: Dark City by Peter Pound
―Mircea Eliade, The Sacred and the Profane
Image: Dark City by Peter Pound
“Our ancestors believed in their gods, but had no “explanation” for what the gods were, or for their experience of the gods. Therefore, if we adopt the modern standpoint and insist upon explanation, we have removed ourselves even further from the standpoint of our ancestors. Indeed, we have negated it, and guaranteed that our desire to return to the gods will go unrealized.”
― Colin Cleary, Summoning the Gods
Image: Odin by Milivoj Ćeran
― Colin Cleary, Summoning the Gods
Image: Odin by Milivoj Ćeran
“When people think of myths they consider them fictitious, made-up fairy tales or adventure stories experienced by imaginary heroes in nonexistent countries which are products of fantasy and imagination. Both C.G. Jung, the famous psychologist, and the world-renowned mythologist Joseph Campbell have explored the meaning of myths and mythologies, and have shown that this interpretation of mythology is superficial and incorrect. Both men came to the conclusion that myths are manifestations of fundamental organising principles that exist within the cosmos that affect our lives on deeply personal and cultural levels.”
― Robert Blumetti, Vril: The Life Force of the Gods
Image: Prometheus by Jean Delville
― Robert Blumetti, Vril: The Life Force of the Gods
Image: Prometheus by Jean Delville
Media is too big
VIEW IN TELEGRAM
Gnostic Intel hits 2,000 subscribers!
What is White Culture?
Thank you all for following the channel and for the ongoing support and encouragement.
Music Credit: Xurious & Elessar - The Hero With A Thousand Faces
What is White Culture?
Thank you all for following the channel and for the ongoing support and encouragement.
Music Credit: Xurious & Elessar - The Hero With A Thousand Faces