Suggestions On Luther and Nietzsche.

Luther and Nietzsche are two personalities not often compared, indeed some would say that they are almost opposites typologically speaking, however in essence and in mythical or symbolic proportion we would instead argue that they are almost identical.

There is something of the Promethean in the character of both, although they express it very differently. Both express, though Luther did it almost entirely differently from Nietzsche, one might say that he emphasized the negative values, a kind of profound and anarchic exhaltation of the human dignity.

In other words, both Nietzsche and Luther represent what you might call humanist prophets. Even though they both seemingly contradict Humanist ethics at first glance, especially Luther due to his heretical theological disposition and evasive religious tendency, both men in reality serve the wider humanistic purpose of "alienating man from heaven with the excuse of conquering the earthly domain."

This is not to condemn either man, however. We are of the firm belief that Luther is probably the only Lutheran that there has ever been, if you will excuse the revisionism, much as we believe that there have only ever been a very select number of Nietzscheans (Ernst Jünger being perhaps the one who best deserves the noscript of "Nietzsche's Disciple"). These men are damned saints, to borrow an expression of the past, and thus they are akin to the very Prometheus referenced in the beginning, on which their characters are so clearly molded, in that they await the coming of Herakles, who shall free them of their bonds, heal their wounds, and enter the mighty hero's service.

”Before the concept of race was generalized, as it has been in current times, having race was always synonymous with aristocracy. The qualities of race always signified the qualities of the elite, and referred not to gifts of genius, of culture or of intellect, but essentially to character and to style of life. They stood in opposition to the quality of the common man because they appeared, to a large degree, innate: either one has the qualities of race or one does not have them. They cannot be created, built, improvised or learned. The aristocrat, in this regard, is the precise contrary of the parvenu, the late-comer, the ‘self-made man’, who has become that which he was not. To the bourgeois ideal of ‘culture’ and of ‘progress’ is opposed the aristocratic ideal, which is conservative of tradition and of blood. This is a fundamental point, and is the single true overcoming of all bourgeois and Protestant surrogates for aristocracy.”

— Julius Evola | The Meaning of Aristocracy for the Anti-Bourgeois Front: Part 2

This can be seen in other traditions as well. In Egyptian hieroglyphics, the symbol of the 𓊖 corresponds to the idea of "village", that is a place of communal and individual habitation, while 𓊕 and 𓊗 represents concepts such as "floor" and "time". Astrologically and alchemically, the symbol for the earth, is the 🜨.

The idea that is a sun cross is primarily an invention of the 19th century, although it is not necessarily without some truth to it, because the symbol is undeniably associated with the "solar power", with God, with Kingship, with Dominion. It may be that it symbolizes the dominion of the cross (Rene Guenons Symbolism of the Cross) upon the earth, symbolized by the enclosed circle. Indeed such a symbol existed, being identified in the globus cruciger, and in alchemy with the symbol for Cinnabar/the Red Work.

And so we could go on, but this general (and not necessarily very nueanced) investigation should suffice to indicate the symbolic meaning of the somewhat misleadingly noscriptd "sun cross".

The 'solar cross' is another in a long line of modern misunderstandings that conflate everything 'Solar' as being everything 'Divine' and good. To interpret the symbol as being merely one of the Solar works backwards. Instead of gaining a true understanding of Transcendence and from there interpreting the primordial symbolism, this is a case of seeking transcendence first in the symbols themselves. Add a handful of noble savage thinking and a superimposition of a materialist view of the cosmos, and it might seem obvious that the ancients could only worship the sun and therefore that the sun is the only symbol for anything transcendent.

Gustave Courtois, Dante and Virgil

Dante's Hell is divided into nine circles, the ninth circle being divided further into four rings, their boundaries only marked by the depth of their sinners' immersion in the ice. It is in the fourth ring, where the worst sinners, the betrayers to their benefactors, are punished. Here, these unnamed condemned souls, frozen into the ice, are completely unable to move or speak and are contorted into all sorts of fantastical shapes as part of their punishment. Even Dante is afraid to enter this last circle, as he nervously proclaimed, "I drew behind my leader’s back again."

Dante examines the sinners who are "covered wholly by ice, showing like straw in glass–some lying prone, and some erect, some with the head towards us, the others with the bottoms of the feet; another like a bow bent feet to face." This circle of Hell is a complete separation from any life and, for Dante, "the deepest isolation is to suffer separation from the source of all light, life and warmth."