The Black Sun and The Golden Sun: the Task of the Arya

It is no coincidence that since the end of WWII Die Schwarze Sonne [the Black Sun] has emerged as the primary symbol of esoteric National Socialism. Some would argue that on a superficial basis the Black Sun appears to have eclipsed the Swastika as the symbol of Aryan man.One reason for this may be that the Black Sun, unlike the Swastika is not generally known to the uninitiated wider world and so the wearing or display of this symbol meets little if any opposition. This is of course to our advantage. The Unconscious does not reason; it feels, it remembers. As I have said many many times before, a "symbol is worth 1,000 words" for it speaks directly to the Racial Collective Unconscious. Thus a favourable response is more likely than that which one would receive if displaying the Swastika for the masses have not been conditioned-yet to respond negatively to the Black Sun; thus the Unconscious presents no barrier, no resistance to the reception of this symbol. Likewise to those who are initiated, who have understanding it is a sign of brotherhood.

There is another and deeper reason why the Black Sun has eclipsed the Swastika. That reason is elaborated on in my The Black Sun [Die Schwarze Sonne] in Eddic Mythology and Fairytale article published on my Die Armanenschaft der Ario-Germanen blog on 26/12/13. Put quite simply the current active Sun, the Golden Sun is in the process of being `eclipsed` by the Black Sun, the currently passive Sun which will become active again after Ragnarok. It will become the active Sun of the new Golden Age of the Arya. The Eddic mythology from both the Elder and Younger Eddas makes this abundantly clear. At the time of the seeding of our race at the North Pole this ancient Sol Niger was visible in the sky and exerted a psychological and physiological influence upon our race. That influence will be felt again in its full power after Ragnarok. We know that the Arya will be purified through the fires of Ragnarok and the earth will be cleansed from its physical, biological and spiritual impurities due to the sacrifices of the Einheriar. The rejuvenated Arya will emerge from the safety of Odainsaker to replenish the earth. To meet them will be the rejuvenated Gods who will walk hand in hand with the Arya to accomplish the next phase of Aryan existence. Thus we must welcome Ragnarok. It cannot be avoided. The Gods know this and so do we.
However before the new can come the old order must be destroyed. The signs of its decay are already present and the end is in sight.

We know from the ancient Aryan science of Alchemy that the initial stage of the process of transformation is the nigredo stage, the darkening,  representing all that is decaying and dying and that the initiate must proceed from this stage to the ultimate goal of attaining the internal Golden Sun. What will happen in the heavens, in the Macrocosmos must be achieved internally, in the Microcosmos, the Sun Initiate, the Sonnenmensch. Partly for this reason we currently wear black for we are the inheritors of the Lords of the Black Stone, Die Herren vom Schwarzen Stein [DHvSS], the SS, the Schwarze Sonne!

Langridge`s ROH Parsifal-a Review by Wotans Krieger

On 18/12/13 I sat through and endured the latest modernistic interpretation of Wagner`s Parsifal by the Royal Opera House under the directorship of Stephen Langridge. I say "endured" because this was as modernistic as you can make it. The worst part of the work was Act I where Langridge had all the Grail knights dressed as bespectacled bank clerks. Some of these knights or squires were obviously female which is not what Wagner intended. If this were not bad enough one of these females was an oriental and one of the male singers,dressed as an American hospital porter[or was it as an ice cream salesman?] was a negro. He also sang  as well as performed like a negro. Clearly the timbre of his voice was not appropriate for a work of this nature. The other obvious negro in the cast was Willard White who I must admit pulled off a breathtaking Klingsor. There are some Wagnerian roles which I have no objection to being given to negroes, particularly if like him they have a good and powerful voice. His acting unlike the other one was convincing. However he should never have been given the role of Wotan just as a European should never be expected to play Nelson Mandela! Wagner is not merely opera: it is MUSIC DRAMA and as such the people must be believeable in the role they portray. Wagner is a Teutonic God: our Gods should never be portayed by people who are of non-Europid race. That is common sense! Equally as ridiculous is the playing of Heimdall in the Thor film[which I have no intention of seeing] by an oriental.

To compound things further Langridge`s version of the Grail was in Act I a prebuscent boy dressed in a nappy whose side was pierced and from which `blood` flowed.  This was wrong on so many different levels and indeed I found it sick, immoral and an absolute disgrace. Goodness knows what Langridge was thinking of when he introduced this shameful spectacle. I get the impression that he was appealing to an audience unversed in Wagner and behving like a second rate Hollywood film director wanted to introduce a shock value to pull the punters in. I see no other logical or artistic reason for substituting a Grail, which should be either a chalice or a stone for a bleeding young boy in a nappy! It is insanity! In Act III the boy in a nappy becomes a young man in a nappy!

Acts II and III were marginally better. At least they were shorter and one could focus more on the powerful singing of Kundry, sang extremely well and acted brilliantly by Angela Denoka. One needs to remember that with Wagner on stage the acting is almost as important as the singing and Denoka was exceptional. Also of note was Rene Pape as Gurnemanz-shame about the clothing!

One thing I could not understand was the presence of a ridiculous cube in the centre of the stage. Again it made no logical or artistic sense. The flower maidens in Act II were a pleasant diversion from the lunacy of the stage set. I noticed that the more attractive and younger flower maidens took centre stage whilst the older and less attractive ones looked on from the sides. I am not sure what the intention was there unless Langridge was particularly short of young ladies who could also sing well, thus hiding away the more matronly ones as vocal support?

Somon O`Neill as Parsifal for me was not very believeable. His singing was adequate for the most part, his acting rather limited in expression. For him to be a believable Parsifal he needs to shed a few stone in weight. This is a common problem with opera singers and there is no excuse for being fat. These things would not matter if this was just a sound performance but it is a music drama and there needs to be more realism in this respect.

Finally there is the matter of Parsifal being blinded by Klingsor in Act II. This does not actually happen in Wagner`s Parsifal but in LANGRIDGE`S Parsifal everything is fair game! Again this toying with and distortion by directors of Wagner`s very clear and precise stage direction notes must not be tolerated. This was neither Wagner, nor was it art!

You may be wondering why I went to see this production and the simple answer is it is not often that a Wagner production is screened in the small country town in which I live, so good or bad I had to see it! I would recommend that if this charade is ever released on DVD that you do not buy it. Instead purchase the more realistic and very traditional Wolfgang Wagner production, filmed at Bayreuth in July 1998, conducted by Giuseppe Sinopoli and starring the very Nordic Poul Elming as Parsifal. You will not regret the investment.

Five Examples of Famous Wotan Initiates

In the 19th and 20th centuries 5 rather different Germans were touched by the spirit of Wotan and in effect became Wotan initiates; Wilhelm Richard Wagner[1813-1883], Friedrich Nietzsche[1844-1900], Guido von List[1848-1919], Carl Gustav Jung[1875-1961] and Adolf Hitler[1889-1945]. It should be noted that in the case of Jung he was a Swiss-German and in Hitler an Austrian-German but Germans nonetheless for it is blood that matters, not state boundaries and passports!

All five in some way changed history within their respective fields; music, philosophy, religion, psychology and politics. They were pioneers in their fields, each of them embarked upon their own individual quest. In certain ways the paths of some of them crossed, either literally or metaphysically. In the case of Wagner and Nietzsche they were of course friends. Hitler, an avid devotee of Wagner was a close family friend of the Wagners. Houston Stewart Chamberlain[1855-1927], Wagner`s English son in law  and author of the groundbreaking 2 volume Die Grundlagen des neunzehnten Jahrhunderts [1899] [ The Foundations of the Nineteenth Century,1911] regarded Hitler as Germany`s coming saviour. It is is he who thus provides the link between Wagner and Hitler. Hitler became close friends with Wagner`s daughter in law, Winifred Wagner, born in Hastings, England[1897-1980]. The philosopher of the Third Reich, Alfred Rosenberg[1893-1946], author of  Der Mythus des zwanzigsten Jahrhunderts[1930] [The Myth of the Twentieth Century] was greatly influenced by Chamberlain`s work as was Hitler and Kaiser Wilhem. He appears to have been of mixed European heritage, being Latvian and Estonian on his father`s side and German and French on his mother`s. He is generally known as a `Baltic German`. He suffered martyrdom by the zionists at Nuernberg for thought crime.

Although Nietzsche did not refer to Wotan in his works, preferring instead to make use of classical mythology nonetheless he did experience Wotan and this consequently affected his subsequent work and ideas. In either 1863 or 1864 Nietzsche composed the following poem :

" To the Unknown God

I shall and will know thee, Unknown One,
Who searchest out the depths of my soul,
And blowest through my life like a storm,
Ungraspable, and yet my kinsman!
I shall and will know thee, and serve thee."

 Twenty years later he wrote:

"The Mistral Song

Mistral wind, chaser of clouds,
Killer of gloom, sweeper of the skies,
Raging storm-wind, how I love thee!
Are we both not the first-fruits
Of the same womb, forever predestined
To the same fate?"

 And from Thus Spake Zarathustra we have:

 "Ariadne`s Lament

Stretched out, shuddering,
Like a half-dead thing whose feet are warmed,
Shaken by unknown fevers,
Shivering with piercing icy frost arrows,
Hunted by thee, O thought,
Unutterable! Veiled! horrible one!
Thou huntsman behind the clouds.
Struck down by thy lightning bolt,
Thou mocking eye that stares at me from the dark!
Thus I lie,
Writhing, twisting, tormented
With all eternal tortures,
Smitten
By thee, cruel huntsman,
Thou unknown-God!

Jung of course wrote several essays both before and after the war on the subject of National Socialism being an experience of the God Wotan, the most well known essay being from 1936, Wotan. Jung was the founder of Analytical Psychology, the Aryan alternative to the very Jewish Sigmund Freud`s[birth name Sigismund Schlomo Freud] Psychoanalysis. It should be noted that Jungian Analytical Psychology provided a spiritual explanation for the workings of the mind. In effect it should be called Soul Lore, to borrow a phrase from Edred Thorsson, whilst Psychoanalysis is obsessed with sexual explanations for the most innocent of things. This shows the difference between the Aryan and the Jewish mind, the one being a spiritual driven being, the other purely material and materialistic. Christianity and Islam are both of course the daughters of Judaism and this is reflected in the material nature of both religions and their fanatical desire to obliterate all opposition to their desired hegemony. Capitalism and Bolshevism are the illegitimate daughters of Judaism. All of these isms have had a disastrous effect upon the Aryan peoples and it is global capitalism which is the driving force now for mass wide-scale immigration in order to provide a cheap labour force of work slaves that will travel hundreds and thousands of miles for a cleaning job. Part of the task that we face is to awaken people to the dangers of capitalism. Jung also gave a scientific explanation for the Blood Memory which he called the Racial Collective Unconscious.

Jung also experienced Wotan in a dream regarding his mother`s coming death. 

"The night before her death I had a frightening dream. I was in a dense, gloomy forest: fantastic, gigantic boulders lay about among huge jungle-like trees. It was a heroic, primeval landscape. Suddenly I heard a piercing whistle that seemed to resound through the whole universe. My knees shook. Then there were crashings in the underbrush, and a gigantic wolfhound with a fearful, gaping maw burst forth. At the sight of it, the blood froze in my veins. It tore past me, and I suddenly knew: the Wild Huntsman had commanded it to carry away a human soul. I awoke in deadly terror, and the next morning I received news of my mother`s passing.

"Seldom has a dream so shaken me, for upon superficial consideration it seemed to say that the devil had fetched her. But to be accurate the dream said that it was the Wild Huntsman, the `Gruenhuetl`, or Wearer of the Green Hat, who hunted with his wolves that night-it was the season of  Foehn storms in January. It was Wotan, the god of my Alemannic forefathers, who had gathered my mother to her ancestors-negatively to the `wild horde`, but positively to the `saelig Luet`, the blessed folk. It was the Christian missionaries who made Wotan into a devil. In himself he is an important god-a Mercury or Hermes, as the Romans correctly realised, a nature spirit who returned to life again in the Merlin of the Grail legend and became, as the spiritus Mercurialis, the sought after aracanum of the alchemists. Thus the dream says that the soul of my mother was taken into that greater territory of the self which lies beyond the segment of Christian morality, taken into that wholeness of nature and spirit in which conflicts and contradictions are resolved."[Memories, Dreams and Reflections, 1963]

In 1915 Hitler composed a poem devoted to Wotan whilst serving as a brave front-line soldier in WWI :

Sometimes, in the bitter nights I go to Oak Wotan.
Surrounded by silent glare,
To forge an alliance with the powers at night.
The runic letters that makes the moon with his magic spell
and all those who during the day are full of impudence,
They become small before the magic formula!
They cast steel spears, but instead of hitting the target,
Solidify into stalagmites.
Thus, the false are separated from the real.
I came to a nest of swords and then give my formula
Blessings and prosperity for the good and the fair.

The production of Der Ring des Nibelungen by Wagner fed into the emerging German rediscovery of the ancient past and Germanic Gods, who never died but simply faded into the background. Wotan features in the first three of Der Ring cycle music dramas. Wagner explores the psyche of Wotan in a way that nobody before or since has ever done.

Guido von List should be regarded as the father of Armanism and at an early age he oathed himself to Wotan to rebuild His religion. History tells us that he has succeeded!

"It was in the year 1862 - I was then in my fourteenth year of life - when I, after much asking, received permission from my father to accompany him and his party who were planning to visit the catacombs [under St. Stephen's Cathedral in Vienna] which were at that time still in their original condition. We climbed down, and everything I saw and felt excited me with a kind of power that today I am no longer able to experience. Then we came - it was, if I remember correctly, in the third or fourth level - to a ruined altar. The guide said that we were now situated beneath the old post office (today the Wohlzeile House No. 8). At that point my excitement was raised to fever pitch, and before this altar I proclaimed out loud this ceremonial vow: "Whenever I get big, I will build a Temple to Wotan!" I was, of course, laughed at, as a few members of the party said that a child did not belong in such a place… I knew nothing more about Wuotan than that which I had read about him in Vollmer's Woterbuch der Mythologie."[Deutsch-Mythologische Landschaftsbilder, 1891, Guido von List]

One thing that unites three of these men is that they became blind. Guido von List and Adolf Hitler experienced an episode of temporary blindness which resulted in internal illumination whilst Nietzsche became blind at the end of his life. This is a sign of being a Wotan initiate. It usually is an indication of possession of the initiate by Wotan which in turn leads to a deepening of the spiritual quest and clearer spiritual in-sight.