"In these legends, no matter how free of religious overtones, we find again the connection of the Grail, conceived as a heavenly stone, with a mysterious legacy and power associated with a primordial state that was somehow preserved during a period of exile. The reference to Lucifer, beyond a Christian and theistic context, may be seen as a variation on the theme of an aborted or deviated attempt at a heroic reattainment of this state. The theme of the host of angels descending from heaven with the Grail resembles the theme of the race of the Tuatha dé Danaan, which was believed to be composed of divine beings. This race came to Ireland from heaven, carrying a supernatural stone (the stone of the legitimate kings) and other objects...

Generally speaking, owing to its prevalently 'lunar' view of the sacred, Christianity has often stigmatized as Luciferian and diabolical not only that which is truly such, but also any attempt at heroic reintegration and any spirituality that does not foster a relationship of devotion and of creaturely dependence on the divine, theistically conceived. Thus we often come across mixtures of motifs analogous to that of the Tuatha dé Danaan in certain Siriac-Hebrew literature, in which the fallen angels eventually become one and the same with 'those who are awake' (the ἐγρήγοροι). Tertullian did not hesitate to attribute to the fallen angels the body of magico-hermetic doctrines, namely, those doctrines that helped Flegetanis penetrate the original texts of the Grail and that Le Morte D'Arthur attributed to Solomon, conceived as a forefather of the heroes of the Grail, in the same terms as Tertullian's: 'This Solomon was wise and knew all the virtues of stones and trees, and so he knew the course of the stars and many other diverse things.' When Innocent III accused the Knights Templar of 'following doctrines of demons' (utentes doctrinis dae-monorum), he no doubt had in mind the anti-Christolatric mysteries of the Knights Templar; this pope instinctively proceeded to the same assimilation, through which the primordial 'divine race' was represented as the guilty or Luciferian race of the fallen angels."

- Julius Evola, The Mystery of the Grail

"I believe I have already supplied sufficiently precise reference points to help the readers orient themselves before similar distortions and establish both the limit that separates the Luciferian spirit from that which is not and the Christian perspective from the point of view of a higher spirituality. Thus it will be easy to distinguish the individual elements that we encounter in the Grail cycle, which were mixed with many interpolations and deformations.
Having showed that the titanic element is indeed the prime matter out of which the hero is made, it is understandable that Wolfram bestows upon Percival some Luciferian traits, though he makes him successfully complete his adventure, so much so that in the end Percival assumes the luminous form of a restorator and of a king of the Grail. In fact, Percival accuses God of having betrayed him, of not being faithful to him, and of having failed to assist him in the conquest of the Grail. He rebels and in his anger he says:

I used to serve a being called God before I was ridiculed and covered with shame .... I was His humble servant because I believed He would grant me His favor: but from now on I will refuse to serve Him. If He persecutes me with His hatred, I will resign myself to that too. Friend [he says to Gawain], when the time for you to fight has come, may the thought of a woman [rather than of God] protect you.

Animated by such indignation and pride, Percival, after failing in his first visit to the castle, fulfills his adventures. And thus, being separated from God, avoiding churches and performing 'wild' knightly deeds (wilden Aventure; wilden, ferren Ritterschaft) he eventually triumphs, achieving the glory of the king of the Grail. Trevrizent will tell him, 'Rarely was a greater miracle seen: by showing your anger you have received from God what you desired the most.' Also in Wolfram, Percival appears as the one who reaches the castle of the Grail in an exceptional way, without having been designated or called like others before him. His election occurs later on; in a way, it is the very adventures of Percival that bring his election about and almost bestow it upon him. Trevrizent says, 'It never happened before that the Grail could be achieved by fighting.' This trait too helps us recognize the heroic type, the one who, not by nature (as in the case of the Olympian type, to whom the legitimate king of the Grail may correspond, prior to his getting old, wounded, or falling asleep), but because of the reawakening of a deeper vocation and thanks to his action, successfully participates in what the Grail symbolizes. This character reaches such heights as to become a knight of the Grail and finally achieves the supreme dignity of the Order of the Grail."

- Julius Evola, The Mystery of the Grail

"In Wolfram these meanings are detailed and confirmed in relation to Gawain and Amfortas. In Wolfram, Trevrizent is the brother of the fallen king of the Grail, who withdrew to ascetic life by the Wild Fountain (Fontane la Salvatsche), trying to alleviate, through his asceticism, the sufferings of his brother and also to stem the decay of the Grail's kingdom. His own name may be translated as 'recent truce,' which suggests a provisional solution based on the ascetic principle as people await a true restoration. Trevrizent does not fail to remind Percival of the fate of Lucifer and his hosts after the latter decides to proceed in his adventure without the help of God. At the same time, however, Trevrizent indicates to him the true limit and the true cause of Lucifer's fall: if, on the one hand, in order to have the right to look after the Grail it is necessary to demonstrate an exceptional strength and bravery, on the other hand it is also necessary 'to be free of pride.' Trevrizent tells Percival, 'Perhaps your youth will cause you to show a lack of the virtue of renunciation,' and he reminds Percival of Amfortas's situation, 'the misery tormenting him, which was the "reward" of his pride.' And because 'in his quest of love he did not respect chastity, Amfortas was stricken by evil, which eventually plagued all those around him.'

Wolfram has portrayed in Amfortas the type of the wounded king who awaits the hero who will heal him and to whom he will transmit the mandate of the Grail's kingship. Amfortas's fall is explained in the following way: choosing as his battle cry 'Amor, which does not become humility,' he puts himself at the service of Orgeluse de Logrois, performing brave deeds 'characterized by the yearning for love.' In one of these adventures, however, he ends up being wounded in his manhood by a poisoned lance (mit einem geluppeten sperwart er ze tjostieren wunt) thrust by a pagan knight who was certain of being able to conquer the Grail. His opponent is eventually slain, but Amfortas's wound remains and his strength disappears. He can no longer adequately function as the king of the Grail, and therefore the whole kingdom falls into a deep state of prostration and desolation.

Behind the erotic symbolism of this episode it is relatively easy to recognize the allusion to a Luciferian deviation, that is, to an affirmation or action guided not by a transfiguring orientation but by craving and pride. Ordinary chastity is not the Grail's law; in Wolfram, the Grail's kings are allowed to have a woman, designated by the Grail itself. In other texts the Grail's knights accept the sexual favors of the woman of the castle, and some even go as far as raping her; yet these men are not allowed to devote themselves to or marry that woman who is a symbol of pride, whose name is Orgeluse ('the Proud One'). This already amounts to wounding and poisoning heroic virility, sentencing it to a restless and unextinguishable love, which somehow has the same meaning as Prometheus' punishment.

Such is the meaning of Amfortas's wound, which is synonymous with his own downfall. Thus one can understand why Trevrizent mentions Amfortas immediately after warning Percival by reminding him of Lucifer's fall.
Interestingly enough, Wolfram also mentions another knight who undertakes the same adventure as Amfortas's, though with a different outcome, namely, Gawain. Gawain listened to Percival's advice to entrust himself to a woman rather than to God. In Oblilote he finds a woman who 'will protect him in every difficult adventure,' or one 'who will be his escort and follower,' or 'a roof that will protect him during storms and times of calamities.' This woman says:

My love will give you peace and successfully protect you from all dangers, even though you will valiantly defend yourself. I am in you, and my fate is strictly connected with yours; I want to be close to you during combat. If you firmly believe in me, luck and valor will never desert you.

Having defined in these terms the union with his woman and her occult efficiency, Gawain undertakes the adventure of the 'Castle of the Maiden' or Schastel Marveil. ...

Gawain succeeds and makes Orgeluse his bride, instead of ending up like Amfortas. It is also a significant symbol that Gawain reaches Orgeluse's kingdom just when he finally finds the man who had previously 'wounded' a knight whom he found in the arms of a woman: in other words, the same path is traveled again, the same cause is sought after, but the deed is successful.

In relation to this, we notice the double aspect that, in conformity with what I have already discussed, the theme of the 'woman' assumes. On the one hand, here we find the distinction between an earthly knighthood, which is inspired by a woman, and a heavenly knighthood, the object of which is the Grail. This can be seen, for instance, in the Queste du Graal, in which the knights about to leave in search of the Grail wish to take their women along but are prevented from doing so by an anchorite who declares that 'the earthly knighthood must be transformed into a spiritual knighthood.' "

- Julius Evola, The Mystery of the Grail

Evola uses 'Luciferian' entirely symbolically, extracting a valuable lesson from the myth of Lucifer. Much like Prometheus, the symbol of Lucifer describes a Titanic tragedy. However, this cycle is not always ultimately destructive, and Titanism can be an important part of the development of heroes if it is overcome and tempered. The stories of Percival and Gawain represent such cases as both attempt quests that have destroyed lesser knights. Percival falls into anger at God and goes down a 'pagan' (or non-Christian) path, against all expectations coming closer to the Grail by chasing wild adventure and combat. Having used his anger to realize great changes within himself, Percival's path is the other side of the romantic path that Gawain takes. Gawain takes refuge in a woman, specifically the Pround One who causes the ruin of the Wounded King. He bears all her insults and even a perilous quest for the woman who seems to hate him. Gawain, pure of heart, perseveres through the great trial and eventually wins her love. Lucifer's fall was caused by pride, and Gawain's chastity triumphs where before the weak destroyed themselves.

It is these Titanic heroes who are to restore the King, whom Evola tentatively identifies with the Olympian symbol we've described before. The corrupted Olympian requires a renewed transcendence; a new path is to be blazed for him. In the Grail cycle it is this new sort of hero who restores the condition of the royalty. These heroes are not by nature fully Olympian but find heroism in defeating the Titan within themselves, which succeeds in reviving the King and all his land.

“What is this law of the greatest number which modern governments invoke and in which they claim to find their sole justification? It is simply the law of matter and brute force, the same law by which a mass, carried down by its weight, crushes everything that lies in its track. It is precisely here that we find the point of junction of the democratic conception and materialism...”

- 𝑹𝒆𝒏𝒆́ 𝑮𝒖𝒆́𝒏𝒐𝒏, 𝑪𝒓𝒊𝒔𝒊𝒔 𝒐𝒇 𝒕𝒉𝒆 𝑴𝒐𝒅𝒆𝒓𝒏 𝑾𝒐𝒓𝒍𝒅, 𝒑. 𝑳𝑿𝑿𝑽𝑰.

"The creative process of nations in Europe has always followed this rhythm:

First movement.—The peculiar Western instinct which causes the State to be felt as the fusion of various peoples in a unity of political and moral existence, starts by acting on the groups most proximate geographically, ethnically, and linguistically. Not that this proximity is the basis of the nation, but because diversity among neighbors is easier to overcome.

Second movement.—A period of consolidation in which other peoples outside the new State are regarded as strangers and more or less enemies. This is the period, when the nationalizing process adopts an air of exclusiveness, of shutting itself up inside the State; in short, what today we call nationalism. But the fact is that whilst the others are felt politically to be strangers and opponents, there is economic, intellectual, and moral communion with them. Nationalist wars serve to level out the differences of technical and mental processes. Habitual enemies gradually become historically homogeneous. Little by little there appears on the horizon the consciousness that those enemy peoples belong to the same human circle as our own State. Nevertheless, they are still looked on as foreigners and hostile.

Third movement.—The State is in the enjoyment of full consolidation. Then the new enterprise offers itself to unite those peoples who yesterday were enemies. The conviction grows that they are akin to us in morals and interests, and that together we form a national group over against other more distant, stranger groups. Here we have the new national idea arrived at maturity."
~ José Ortega y Gasset

The dismantling of the present scientific industrial structure, even if it can be envisaged, involves of course a great deal more than the mere destruction of its external features,

and it will not be achieved either simply by a return to nature or by the cultivation of one’s own garden.

One of the things we are forced to recognize is that the form of society we build around us is the mirror of our own inner world; it is the extra version of our inward dimension.

In it the state of our consciousness and our attitude to the fundamental realities of human existence take shape and are given an external form.

~ Philip Sherrard, Modern Science

"[...] the sword of righteousness has no scabbard; always he must threaten or strike. " - Joseph de Maistre

"The second idea, aristocratic heroism encourages our higher hopes, for it is not a matter of morals or civilization, where the heroic and hence aristocratic sense of life is wanting. The author Evola does well to warn us that when he speaks of aristocracy, he is referring to a certain vision of the world: an aristocracy of character, not economic nor even intellectual, for intellectuality exists in a sphere separated from living wholeness of the individual , and above all from everything that is character, spiritual, courage, and inner decision. It is precisely this aristocracy of character that the best Italians (and Europeans) desire and must constitute, beyond the ruins that surround us"
-Junio Valerio Borghese, from the introduction to Men Among The Ruins

“We will emerge from this decay only through an immense moral rectification, teaching men again to love, to sacrifice themselves, to live, to fight and to die for a higher ideal.”

— Léon Degrelle

"Pacifism will remain an ideal, war a fact." - Oswald Spengler, "Is World Peace Possible?"

War will always be reality. The modern pacifist delusion is not even consistent with modernity's own tendency to inflict the most terrible sort of empty and vain bloodshed. This war is not always a literal violence, although that too is an inescapable contingency. Jesus came not to bring peace but a sword; life truly lived is constant spiritual warfare. The Beast will not be brought down by physical weapons, but by a Solar spirit that must be greater and more virtuous than its decadence is evil.

Do not live in the moment, live in the eternal.