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."

"We may or may not become the people whom we adore, but we are sure to imbibe the qualities of those we hate. Therefore, O Rama, shun Hate"

- Rishi Vasishtha, Valmiki's Ramayana, Bala Kanda

Never cede to the enemy what is already yours. Do not try to placate their demands because they will come back stronger and you will be weaker. Do not learn their language to try to reason with them on their terms, because you will start thinking like them. Don't respond to their hatred with your own hatred, because you will begin to act like them. If you think like the adversary and you act like the adversary, you will become the adversary yourself.

Cujus regio ejus religio.
Cujus regio ejus natio.
Cujus regio ejus oeconomica.
Cujus regio ejus ideologica.
Cujus regio ejus praeco.

"He who rules decides..."
These few axioms give an idea of the extent of decision in various states. In spatial terms the power of decision is much greater in the ordering of religion than in ideology; the ground of the nation has a destructive capacity and range of conflict that is not possible with the news. At the same time, the news relates to the nation in a way that myth, theology, literature, and art cannot. "Only a newspaper can deposit the same thought in a thousand minds at once." And only a myth can impose an absolute moment of mystery in a thousand minds, make a thousand ideas pregnant with meaning at once.

In war the strength of decision and capacity for mobilisation is raised to the highest. All of the violence, on and off the battlefield, erupts to face the immediate, the incursion into sovereignty by an enemy and a third, neutralising territory. War is a national reversal in life just as tragedy is in death. Only myth, with its onrushing meaning and metamorphoses can explain this – the danger of a third territory and death of a nation.

The news can only refer defeat, as in the world wars when the newspapers became overwhelmed with obituaries. Such frequency of death, a war that can never end, can never have anything like the recitation of a Catalogue of Ships. The Unknown Soldier is an Achilles in the underworld, and cannot be visited by an Odysseus.

Here one may begin to see why nationalists, just like the post-nationalists, cannot think the myth of war – only news or professional wrestling are capable of communicating his relation to war. Xenophon describes a dance of soldiers, the carpaea, with one side playing the part of farmers and the other the barbarians. "A man is sowing and driving a yoke of oxen, his arms laid at one side, and he turns about frequently as one in fear; a robber approaches; as soon as the sower sees him coming, he snatches up his arms, goes to meet him, and fights with him to save his oxen." The readiness of the farmer for war is mixed up in the aesthetics of the dance in a dionysian, or empedoclean, way. With his weapons ready-to-hand the farmer can immediately become a warrior, just as the warriors performing the dance use it as a secondary type of training and drilling. Or perhaps it is the primary training. The noscripted and fake fighting of professional wrestlers is ideal because they represent figures for whom true struggle is never possible, for whom war is little more than entertainment, the relaying of events in the backyards of Turkey. It is something even less than the news, a dance of death for those who think they will never have to face it.

Two Greek words of importance: Oikos (meaning house, or even clan, which forms the basis for the english Economy) and Polis (meaning state, although it also conotates city, citizens and a community more generally, which is where our word for politics comes from, among others.) The first has a passive, more or less feminine connotation of thrift, frugality, and management. The latter has an active, virile meaning in the sense of service, duty, law, rule, etc. These were often seen as conflicting by the Greeks, at least the Athenian dramatists evidently believed as much, as it was often topical to portray the tragic effects of a woman involving herself in affairs of the Polis, instead of those of the Oikos where she belongs.

In the Nordic literatture of the High Middle Ages, specifically that of the Saga of Njål, this view also persists, as the death of the wise Njål and his sons, as well as that of many others on Iceland, is directly the result of the vegancefilled women of the two clans central to the sagas story, even resulting in the murder of the heroic Gunnar Atgeir. The men are, even up until the very end of the story, those who make peace with each other, who desires to put an end to the feuds and wars between their bloodlines, where as the women, filled with revenge and spitefulness to their husbands word, constantly try to create new conflicts and avenge old slights and bloodshed.

This should represent an important and informative jumping-off point and source of orientation for many of you.

"Silete theologi in munere alieno!
Theologians should remain silent within foreign walls!"
~ Alberico Gentili

"Only God is above it (the rational soul), only the angels are equal to it, and all the rest of creation is below it." Just as a mirror takes its value from the perfection of its reflection and the object that it reflects, so too the soul is the "best" of creation because it ''best'' images the "best" ... the uncreated infinity that is God."

~ 𝑶𝒏 𝒕𝒉𝒆 𝑺𝒐𝒖𝒍 𝒂𝒏𝒅 𝑰𝒕𝒔 𝑶𝒓𝒊𝒈𝒊𝒏, 𝒃𝒚 𝑺𝒕. 𝑨𝒖𝒈𝒖𝒔𝒕𝒊𝒏𝒆 𝒐𝒇 𝑯𝒊𝒑𝒑𝒐

The Nisse probably stems from a medieval tradition, the "Haugmann". Haugmannen (div. Barrow Wight/Barrow Man) was a belief that the ancestor of the entire clans stock, burried in a mound close to the clans farm or estate, would rise from his dead state and emerge to inflict terrible vengence upon the farm and its inhabitants if they did not take good care of the land and the animals. Sometimes, there is also the belief that the Haugmann would bring bounteous harvests, healthy and fertile animals, and prosperity to the family if honoured during the winter solstice (there was and is in some families, my own included, a tradition where the remnants of Christmas dinner would be left on the table for the night. The belief was that the spirits of the ancestors would come in the night and feast on the remains.

Spent much of the day finishing this. Hope you all enjoy it.

https://youtu.be/xXHndDOVeIk

As usual, Aarvoll is right about everything. While I agree with nationalists on some of the questions being asked about the West, they don't seem to understand the extent of the game being played. To use his chess analogy, nationalists are caught in something of a pincer attack between centralising global forces and local dissolution/nihilism. Neither mass lobbying nor the mechanisms of liberal parliamentarism can resolve this problem.

https://youtu.be/0gjqej9YOrU