Lascaux cave art

Lascaux cave art

Saturday, October 26, 2013

Thor-Indra, Protector of the Aryan Folk


"Indra, as we show, bears resemblances to other `hammer-gods`. He is the Indian Thor, the angry giant-killer, the god of war and conquests. That his name even did not originate in India is made evident by an inscription at Boghaz Koi, in Asia Minor, referring to a peace treaty between the kings of the Hittites and Mitanni. Professor Hugo Winckler has deciphered from this important survival of antiquity `In-da-ra` as a Mitanni deity who was associated with Varuna, Mitra, and Nasatya."[Indian Myth and Legend, Donald A. Mackenzie].

Mr Mackenzie is correct in asserting that Indra or In-da-ra did not originate in India for He is a descendant of the ancient Indo-European Thunder God. There are many similarities between Indra and the Germanic Thor/Thunor/Thunaer/Donar:

"The popular thunder-god of the Vedic period bears a close resemblance to the hard-drinking, kindly and impulsive Thor, the Teutonic god of few words and mighty deeds, the constant `friend of man` and the inveterate enemy of demons."[Indian Myth and Legend]

Like Thor Indra was red-bearded, wielded the thunderbolt and his vehicle of choice being the chariot. Not only were they defenders of their Folk and thought against the forces of evil and chaos but both were enemies of the serpent. In the case of Thor this was the Midgard Wyrm. In Indra`s case it was the serpent Vritra. This struggle between the Aryan Sky God and the cthonic earth deity, the serpent, wyrm or dragon is a constant theme in Germanic and Aryan legend and myth. We recall of course the exploits of Beowulf and Sigurd-Siegfried. These heroes are a legendary echo of the the Aryan Sky/Thunder God. This struggle continues today between the solar/polar male virile sky religion of the Aryan and the non-Aryan lunar feminine earth bound religion.

That Indra is an Aryan deity is beyond doubt. Even a basic survey of the Rig Veda will unearth abundant references to this fact. He is an Aryan God but also a defender of  his Aryan Folk.

"I have bestowed the earth upon the Arya, and rain upon the man who brings oblation. I guided forth the loudly-roaring waters, and the Gods moved according to my pleasure."[Rig Veda Book 4, Hymn XXVI, 2, Griffith translation]

"I gave the earth to the Aryan; I gave rain to the mortal who made an offering. I led forth the roaring water; the gods followed after my wish."[Donning O` Flaherty translation]

"The mighty Thunderer with his fair-complexioned friends won the land, the sunlight, and the waters."[Rig Veda Book 1, Hymn  100, 18, Griffith]

"Indra in battles helps his Aryan worshipper, who hath hundred helps at hand in every fray, in frays that win the light of heaven. Plaguing the lawless he gave up to Manu`s seed the dusky skin;"[Rig Veda Book 1, Hymn 130, 8, Griffith]

"SING, with oblation, praise to him who maketh glad, who with Rjisvan drove the dusky brood away."[Rig Veda Book 1, Hymn 101, 1, Griffith]

"Armed with his bolt and trusting in his prowess he wandered shattering the forts of Dasas. Cast thy dart, knowing, Thunderer, at the Dasyu; increase the Arya`s might and glory, Indra. For him who thus hath taught these human races, Maghavan, bearing a fame-worthy title, Thunderer, drawing nigh to slay the Dasyus, hath given himself the name of Son for glory."[Rig Veda, Book 1, Hymn 103, 4-5, Griffith]

This is just a small selection of references in the Rig Veda to the protective role that Indra has towards His Aryan followers in their struggle against the alien for Lebensraum. The key to seeking and obtaining the protection of *Thunaraz is to acknowledge His greatness and power and that we are His kin, to place our trust in His protection and call upon Him for aid in our life and death struggle for biological preservation.

I would encourage my readers to obtain a copy of the full Rig Veda, translated by Ralph T.H. Griffith and available cheaply on sites like Amazon. This is the most reliable and undoctored un-PC version available. It would also be adviseable to obtain a copy of Wendy Doniger O`Flaherty`s translation of an edited version of the Rig Veda, published by Penguin. Although edited it is rich in footnotes and important parts of the Rig Veda are arranged thematically which aids study. Both translations should be used in conjunction with each other.   


 


 

Sunday, October 20, 2013

The Use of Music in Rituals-Donner Swings His Hammer



For a while now I have considered introducing music into my Wodenist rites. Some Wodenists/Wotanists/Odinists already do this and  if the music is chosen carefully it can add to the feelings of awe and reverence as we enter into the presence of the Gods.

Suitable music would include extracts from Wagner`s Der Ring des Nibelungen. One of the highlights of Das Rheingold and Der Ring generally is the latter part of Scene 4. The section of music in particular that I have in mind is Schwueles Geduenst:

"Schueles Geduenst
          schwebt in der Luft;
          laestig ist mir
         der truebe Druck:
         das bleiche Gewoelk
         samml` ich zu blitzendem Wetter;
         des fegt den Himmel mir hell.

         


          "A sultry haze
           soars in the air;
           burdened I am
           by its cloudy weight

           the leaden clouds
           I`ll collect into a raging storm;
           which will sweep the heavens clear.
           [Wotan`s Krieger`s translation]

Donner[Thunor/Thor/Donar] then climbs a rock promontory overlooking the valley and then He swings His hammer, gathering the mists to him.


"He da! He da! Hedo!
           Zu mir, du Gedueft!
           ihr Duenste, zu mir!
           Donner, der Herr,
           ruft euch zu Heer.


"He da! He da! Hedo!
           To me, you haze!
           you mists, to me!
           Donner, the Lord,
           calls you to be his army.
           [Wotans Krieger`s translation]

Donner then swings His hammer.

"Auf des Hammers Schwung
           schwebet herbei:
           dunstig Gedaempf!
           Schwebend Gedueft!
           Donner, der Herr,
           ruft euch zu Heer!
           He da! He da! Hedo!

"On the swing of the hammer
           soar here:
           misty vapour clouds!
           Soaring haze!
           Donner, the Lord,
           calls you to be his army!
           He da! He da! Hedo!"
           [Wotans Krieger`s translation]

Following this Donner disappears, completely enveloped in the thundercloud. His hammer then strikes the rock. Flashes of lightning appear, followed by the crashing sound of thunder.

The astute reader will observe Wagner`s nice play on words, rhyming [Donner der] Herr[lord] with Heer[army]. This is a common feature in Wagner`s work.

The most appropriate stage to introduce this music would be before the commencement of the Hammer Rite. In effect what we would then be doing is performing a rite already accomplished in the heavens by Thunor: "as above, so below." This should then set the right spiritual atmosphere for what will follow. 

The best version of this highlight-with words is probably that of Bernard Haitink and the Bavarian Radio Symphony Orchestra, featuring Andreas Schmidt as Donner. His vocals are some of the deepest I have heard for this role and the orchestral effects are nicely bombastic which is how this piece should be done!
 




            
        
         

Saturday, October 19, 2013

A View Regarding the First Three Conan Films

The last 10-15 years has seen a number of films being made that appeal to racially aware Aryans, some good, some not so good, some plain bloody awful such as The 300 which is nothing more than a piece of anti-Iranian propaganda designed to stir up the feelings and misplaced loyalties of European-Americans.
I attempted to sit through this film but could manage no more than 20-30 minutes before turning it off.

The acting even by Hollywood standards is appalling, the obvious computer graphics distracting. I am sure that most of the so-called Spartan warriors were computer graphically enhanced with muscles as they strolled around in their unhistorical loin cloth outfits.

The Persians were demonised to the extent that many of them did not look Aryan or even human. This film appeared at a time when American[read zionist] propaganda and war fever was being ramped up against Iran and the non-zionist controlled muslim world. Is it a coincidence that the director of this celluloid ham is a Jew, Zack Snyder?

By contrast one should compare the three fantasy films based on the work and characters of Robert E. Howard:

Conan the Barbarian[1982]
Conan the Destroyer[1984]
Red Sonja[1985]

These films were faithful to the spirit of Howard`s Hyborian Age and were not afraid to use racial stereotypes but not for the purpose of political or war propaganda. Howard`s works have a strong racial awareness to them and as such make highly suitable literature for Aryanists and their families to read. They also have a mystical quality to them and this is brought out not just in the imagery but also the soundtracks of the films.

It should be noted that the character High Lord Kalidor played by Arnold Schwarzenegger in Red Sonja is really intended to be Conan but the film studio were unable to secure permission to use the Conan name. Thus it should in reality be regarded as the third Conan film, sharing a similar cast of actors and film staff as the other two films.

A story intended to be used for a King Conan film starring Schwarzenegger was eventually used instead for the Kull the Conqueror film[1997] starring Kevin Sorbo which is also worth watching. Kull as all Howard fans will know is the original character that Conan developed from but he is set in a much earlier age. 2014 will see Schwarzenegger reprise his Conan role with a further film planned for 2015. We will view these with interest!

A careful selection of such films and their repeated viewing not merely for entertainment purposes will reinforce the heroic yet mystical Aryan archetype in the minds of the young and not so young and as such are useful tools in the cleansing of the mind and spirit of our peoples. 

Wednesday, October 16, 2013

Jung and his Encounter with Wotan



It will be fairly common knowledge amongst my readers that the German-Swiss founder of Analytical Psychology, Carl Gustav Jung authored the famous tract on Wotan in 1936. What is lesser known is his apologetic essay titled After the Catastrophe in 1945 which to me appears to be a desperate attempt by Jung to distance himself from any association with National Socialism, no matter how tenuous that association was. It is still worth reading for its references to Wotan.

What is also less well known is the personal encounter which Jung had with Wotan in dream form which he relates in his autobiography, Memories, Dreams, Reflections[1963]. On pages 344-347 Jung relates this dream to us. The night before his mother`s death he had a dream in which he encountered Wotan:

"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."

For once Jung instead of commentating on the experience in Germany during those 12 nights of Yule[1933-1945] he speaks even more authoritatively based on his own inner Wotanic experience which amounts to an initiation. Wotan chose to reveal Himself to him.  His mother died in 1923, 11 years before Jung`s groundbreaking Wotan essay. I do not believe that this dream did not in some way influence his essay.

Despite hundreds of years of xtianisation the Germanic peoples cannot divorce themselves from their ancient Gods. They are an intrinsic part of our identity and our very physical and spiritual DNA, most especially our High God Wotan/Woden/Woden/Wodan/Odin.

On speaking of the Gods as Archetypes Jung states in his letter to Miguel Serrano[14/9/60]:

"They have a high degree of autonomy, which does not disappear, when the manifest images change.[My emphasis-Wotans Krieger]. When, for instance, the belief in the god Wotan vanished and nobody thought of him anymore, the phenomenon originally called Wotan remained; nothing changed but its name, as National Socialism has demonstrated on a grand scale. A collective movement consists of millions of individuals, each of whom shows the symptoms of Wotanism and proves thereby that Wotan in reality never died, but has retained his original vitality and autonomy. Our consciousness only imagines that it has lost its Gods; in reality they are still there and it only needs a certain general condition in order to bring them back in full force"[C.G. Jung and Hermann Hesse. A Record of Two Friendships, Miguel Serrano, 1966]

I have much to say on the connection between Woden and His son Widar and how the Woden force will live on in Him in the age to come but I will reserve this for a future article-Woden willing!
 

Saturday, October 12, 2013

The Awakening of the Sleeping Valkyrie in the Self of the Aryan Hero



The awakening of a sleeping beautiful woman by a heroic almost god-like man is an ancient theme in Germanic mythology, best exemplified by the story of the awakening of the Valkyrie Brunhild/Brynhild by the Wotan descended Siegfried/Sigurd.

Hilda Roderick Ellis Davidson in her Road to Hel[1943] states that the story of the awakening of the sleeper "is a very early one." This theme eventually was incorporated into the Burgundian story of the death of Siegfried/Sigurd. The Sigrdrifumal of the Elder Edda and the Volsunga Saga both tell the story of the Valkyrie`s awakening but the Sigrdrifumal is the older of the two sources. Brunhild`s role as a Valkyrie is much less emphasised in the later Middle High German Nibelungenlied, no doubt due to xtian meddling. The German fairy tale of the Sleeping Beauty[Dornroeschen-Briar Rose] is a later folktale version of the same story.

Bruennhilde plays a central role in the Die Walkuere, Siegfried and Goetterdaemmerung parts of Wagner`s Der Ring des Nibelungen.  The awakening of Bruennhilde by Siegfried in Act 3 Scene 3 is a highpoint of Siegfried and Wagner faithfully follows in spirit the Sigrdrifumal in his libretto:

"Heil dir, Sonne!
Heil dir, Licht!
Heil dir, leuchtender Tag!
Lang` war mein Schlaf;
ich bin erweckt:
wer ist der Held,
der mich erweckt?"

"Hail to you, sun!
Hail to you, light!
Hail to you shing day!
Long was my sleep;
I have awoken:
who is the hero,
who has awoken me?"
[Translation by Wotans Krieger ]

"Heil euch, Goetter!
Heil dir, Welt!
Heil dir, prangende Erde!
Zu End` ist nun mein Schlaf;
erwacht seh` Ich:
Siegfried ist es,
der mich erweckt!"

"Hail to you, Gods!
Hail to you, world!
Hail to you, resplendent earth!
My sleep is now at an end;
awakened I see:
it is Siegfried,
who has awoken me!"
[Translation by Wotans Krieger]

"Hail to the day! Hail to the sons of day!
Hail to night and her kin!
With gracious eyes may you look upon us,
and give victory to those sitting here!

"Hail to the Aesir! Hail to the goddesses!
Hail to the mighty, fecund earth!
Eloquence and native wit may you give to us two famous ones
and healing hands while we live!"
[Sigrdrifumal, translation by Carolyne Larrington]

The awakening of Bruennhild is not merely the awakening of a Valkyrie but represents something much deeper and more esoteric. Siegfried is seeking hidden wisdom which can only be obtained by the awakening of the Valkyrie. In the Icelandic Sagas and the Eddas the hero is often found attempting to awaken the dead to gain important knowledge, protection or a special magical sword. In Act 3 Scene 1 of Siegfried Wotan awakens the earth Goddess Erda in order to gain knowledge of the future.

The sleeping Valkyrie is awakened not only to gain lost knowledge which is vital for the hero to recover but in the case of Siegfried and Bruennhild the hero seeks mystical union with the Valkyrie.Inevitably this is something which is not understood except by the spiritual awakened, the Einheriar. Amongst the masses this is vulgarised and made physical and material. The Valkyrie does not represent a physical mortal woman. She is the sleeping part of the hero`s Self. It is the SHE which must unite with the HE to form the  HE-SHE, the ultimate man and the SHE-HE the ultimate woman spoken of by Miguel Serrano in his works. In Jungian terms we would refer to the Anima and Animus.

Sunday, October 06, 2013

Hypnotism, a Recovered Lost Aryan Mantic Art


As I have mentioned before on this blog and on my Die Armanenschaft der Ario-Germanen blog our task after awakening is to become masters of our Self. Our purpose in becoming masters of our Self is to equip us with the right state of awareness and knowledge in order that we can then become masters of others. This is what is meant by the term Herrenvolk. Not all who share our genetics are equipped to master others or even themselves. The vast majority of people, including those of our own biological race are sheep that require a shepherd, someone who has the capacity to tell them what to do and what to think. Before some of you raise an eyebrow at this statement give some thought as to the current situation in the world! In this age of mass media and mass surveillance by government agencies and corporations the individual is made to believe that he has the capacity to think freely but this is the last thing that is allowed to him by the chosen. Only the illusion of freewill is granted by Klingsor. The governing elite, the chosen, use the media and the idiotbox called television to influence the masses and they use governments who are financially manipulated by the chosen to enforce their will through laws.

What I am suggesting is that we use the same strategy. The masses are and always have been the cannon fodder of the powerful and we have to recognise that nothing will change this-and neither should it. Real power is exercised unseen and in secret.

One tool that can be used as a means of Self-empowerment and as a means of influence over others is hypnotism. This is something I studied a few years ago and one of the messages that was repeated throughout the course is that we cannot hypnotise others against their will. This is false. Now much of the training regarding hypnotism is part of training given in hypnotherapy but the skills that are taught are valid for all types of hypnotic work.

Hypnotic inductions are carried out usually by inducing a state of relaxation and the use of imagery, creating a state of mind where the inductee is open to the planting of a suggestion in their unconscious mind. Most trainers will tell you that the conscious mind acts as the gatekeeper to the unconscious and thus the gatekeeper has to be bypassed by being put to sleep. In the relaxed state the inductee is less aware of his environment and the only external stimuli comes from the hypnotist and thus they are more prone to suggestion. To a large extent this is true but people can enter a light trance like state without the intervention of a hypnotist. Examples include falling asleep on the bus, falling asleep driving or during a boring lesson or meeting. A state of relaxation can be induced without the intervention of a hypnotist or without the hypnotist formerly inducing a trance like state. To a great extent this is dependent upon  the susceptibility of the inductee. Some people cannot be hypnotised against their will, that is true but many can. It happens in all sorts of ways but these days in the age of mass communication with television and the internet it is much easier.

If anyone follows the workings of stage and television hypnotists you will observe that they are highly selective in terms of who they choose to hypnotise because they realise that some have a weaker will than others and can be more easily dominated. This is why they carry out suggestibility exercises first upon their audience, hence achieving seemingly remarkable results! 

In future articles I intend to explore the methods and tools that my readers can use to achieve their purpose. Please remember that hypnotism is an ancient Aryan Thulean mantic art and like all of our recovered knowledge should be used. Let us reclaim these tools to achieve the Aryan Imperium that we desire!

 Hypnotism can be used for both positive and negative purposes but it is effective. To understand how we can use these skills one only has to watch Leni Riefenstahl`s Triumph des Willens. Adolf Hitler demonstrated Himself to be a master of this mantic art-right up to the very end.

Irmin, the God of the Irminsul and the Herminones


Some scholars such as Rudolf Simek[Dictionary of Northern Mythology] doubt the existence of the Saxon God Irmin. Their argument is that apart from the Irminsul which presupposes a God Irmin there is no independent evidence to support the theory of there being a God called by this name. They interpret Irmin to mean `great, tall` and thus the Irminsul to be nothing other than a tall column or pillar. This argument is shallow and does not stand up to indepth critical analysis.

My first question is why our Saxon ancestors would erect great pillars to worship if they did not symbolise an actual God? Of course one could equate the Irminsul of the Saxons with the Yggdrasil of the Scandinavians and I believe that this on one level is a valid thing to do. However there is only very limited evidence that the Scandinavians used such great pillars as part of their rites. The Irminsul is a thing that seems to be peculiar to the Saxons and the tradition lives on today in Saxon areas of Germany and in England in the form of the Maypole.

Again there are some who say that "there is no evidence" to link the Maypole with the Irminsul but they are otherwise at a loss to explain the Maypole`s origin! Some in typical Freudian style view the Maypole as a phallic symbol despite there being no evidence to support this. A more likely comparison between Maypole dancing would be the dancing sunwise around certain megaliths which continues up to the present day. Often the people who carry out these customs do not understand the true purpose of the activity or that they are indeed carrying out a prextian sacred rite in honour of the Sun and/or Irmin. It is significant that this is both an English, Scandinavian and a continental Germanic custom. The spread of this customer may have started in Saxon Germany and spread northwards and into England with the arrival of the Anglo-Saxons. Of course with the growth of the English empire this custom spread to other parts of Britain and modern English speaking countries.

The customs that the Church could not suppress or plagiarise continue today in our folklore. A useful guide to such customs is to be found in In Search of Lost Gods. A Guide to British Folklore by Ralph Whitlock.

In addition to the Irminsul the name of Irmin is to be found in one of the three tribal designations referred to in Tacitus` Germania:

"In ancient lays, their only type of historical tradition, they celebrate Tuisto, a god brought forth from the earth. They attribute to him a son, Mannus, the source and founder of their people, and to Mannus three sons, from whose names those nearest the Ocean are called Ingvaeones, those in the middle Herminones, and the rest Istvaeones. Some people, inasmuch as antiquity gives free reign to speculation, maintain that there were more sons born from the god and hence more tribal designations-Marsi, Gambrivii, Suebi, and Vandilii-and that those names are genuine and ancient."[Germania 2.2]

The Frankish Table of Nations from around 520CE states:

"there were three brothers, first Erminus, second Inguo, third Istio; from them developed thirteen peoples."

Other classical writers such as Mela and Pliny also mention the Hermiones. The use of the `h` at the beginning of Hermiones or Herminones is purely a Latin aspirate and was not used by the Germanic peoples.
Our ancestors would have referred to themselves as Irmiones/Ermiones or Irminones/Erminones or something cognate with this term. It is interesting that all three Germanic tribal divisions are said to alliterate, ie they each start with the same letter: Ingvaeones, Irminones and Istvaeones.

"The aspirate given by the Romans to Herminones, as to Hermunduri, is strictly no part of the German word, but is also very commonly retained by Latin writers of the Mid. Ages in proper names compounded with Irmin."[Teutonic Mythology, Volume 1, Jacob Grimm]

Interestingly the Hermunduri occupied the region of Saxony and Thunringia and undoubtedly were in part the ancestors of the Saxons and belonged to the tribal division of Herminones.

We know that there is evidence to support the argument that the Ingvaeones were named after their ancestral deity Ing. It is conjectured also that the Istvaeones were named after the first Germanic man, Askr[see Teutonic Mythology, Volume 1]. It is logical therefore that the Irmin of Irminones must be a divine ancestor.

Irmin can be found as part of many ancient Germanic names,eg:

Hermanaric, Hermann, Ermintrudis, Irminfrith[King of the neighbouring Thuringi], Irmansuint, Irmingart, Irminolt, Irmandrut, Irmanperalit, Irmandegan, Irmandeo, Eormenric, Eormenred, Iiurminburg, etc.

Of course the great prince of the Cherusci who thrashed the Romans in the 1st century CE was named Arminius or Hermann. He was of course an historical figure but one can see how such figures can become embroiled in myth when comparisons with the legendary Siegfried are made.  

Scholars are tempted to equate Irmin with other deities such as Saxnot who is purely a Saxon God like Krodo but also He has been compared with Tiw and even Woden. I think it best that we consider Him on His own merits until further research of a conclusive nature is carried out.

In an earlier article titled Aryaman/Airyaman/Ariomanus/Eremon/Irmin-the Divine Concept of Aryanness, published on my Aryan Myth and Metahistory blog on 17/8/12 I demonstrated that Irmin has His origins in an original Aryan deity even though over time amongst the Germanic peoples His worship appears to have been confined mainly to the Saxons. This deity reconstructed name is *Aryomn. We are thus genetically and spiritually Ar-manen or Ir-minen, Arya. There should now be no doubt about the validity of our use of this term as a self-descriptor.


Wednesday, October 02, 2013

The Aryan Doctrine of the Ages Portrayed in Wagner`s Der Ring des Nibelungen



The greatest work of Richard Wagner`s career was of course the tetralogy Der Ring des Nibelungen, comprising the four interlinking music dramas of Das Rheingold, Die Walkuere, Siegfried and Goetterdaemmerung. One does not just listen to this music, one experiences it, especially if viewed on stage or the big screen but even listening to the music itself one cannot help but be transported to an age outside of time itself. The music even without the libretto is perfectly capable of effecting a change in spiritual state.

I was first exposed to Wagner`s music in my late 20s and this very experience acted as a catalyst for my spiritual and racial awakening. Listening today to his music as a man in my 50s I am still transformed to a realm beyond this one, an unspoilt Aryan realm beyond conventional time and space. 

Wagner`s music is his gift to the Aryan world for only an Aryan can truly experience and understand the hidden message behind the music. As I have said before listening to his music, in particularly Der Ring is in itself a valid spiritual experience. Bayreuth is more than just a theatre or an `opera house`: it is a temple dedicated to Aryan art. However in the decades following the end of World War II it has experienced every kind of sacrilege.

The finest interpretation of Der Ring is in my opinion that of Herbert von Karajan and the Berliner Philharmoniker, recorded in the studio from 1966-1970. As fine as Georg Sollti`s studio recording of Der Ring is it lacks one important factor: an Aryan conductor and this is why it will always rank second to von Karajan`s interpretation for this music can only be fully understood and appreciated by an Aryan.

Whilst I own the full recording of von Karajan`s Ring amongst several others it is the Highlights album which I first listened to in  1989 which won me over to Wagner`s music. Even today whilst listening to the Highlights CD I am struck by one important spiritual observation: Wagner demonstrates through his tetralogy the Aryan doctrine of the four ages and their cyclical nature.

Das Rheingold with its emphasis on the building of Walhall focuses purely on the world of the Gods with the main attention being devoted to Wotan and the other primary Gods: Donner, Froh, Freia, Fricka, Erda and Loge. This is the Aryan Golden Age but a hint of the degeneration to come is apparent by the final closing scene of the work.

Die Walkuere clearly demonstrates the rupture in the relationship between Wotan and His favourite daughter Bruennhilde. Through Her disobedience the degeneration  has occurred. The focus is no longer only the world of the Gods but also the world of man-heroic Germanic man that is, with the introduction of the characters of Siegmund, and Sieglinde his twin sister and bride, the parents of Siegfried. These are the Volsungs, whose ancestor was sired by Wotan Himself. These are in reality demi-Gods.This is the Silver Age.

With Siegfried it is clear that the world of the Gods has now fully faded into the background and the attention is entirely focused on the world of men. Wotan now appears as Der Wanderer and His power is broken when His spear Gungnir is broken on the sword Notung, Siegmund`s sword reforged by his son Siegfried. This is the Bronze Age, the age of the Aryan God-man who realises his own divinity and starts to act independently from the Gods.

Finally we have the Iron Age also known as the Kali Yuga, the age we find ourselves in now:

"Brother will fight brother and be his slayer,
brother and sister will violate the bond of kinship;
hard it is in the world, there is much adultery,
axe-age, sword-age, shields are cleft asunder,
wind-age, wolf-age, before the world plunges headlong;
no man will spare another."[Voluspa 45, Elder Edda]
 This age is represented well in Goetterdaemmerung where Siegfried is betrayed by his blood brothers and this act of betrayal leads directly to the epoch changing events of Ragnarok. However a glimpse of a new age, a new Golden Age is tantalisingly hinted at musically at the conclusion of the work.