American women are characteristically frigid and materialistic. The man who ‘has his way’ with an American girl is under a material obligation to her. The woman has granted a material favour. In cases of divorce American law overwhelmingly favours the woman. American women will divorce readily enough when they see a better bargain. 

Nothing is more baffling for a man than a woman’s response when caught in a lie. When asked why she is lying, she is unable to understand the question, acts astonished, bursts out crying, or seeks to pacify him by smiling . She cannot understand the ethical and transcendental side of lying.

The best and most authentic reaction against feminism should not be aimed at women as such, but at men instead. It should not be expected of women that they return to what they really are when men themselves retain only the semblance of true virility.

The archetype of the virile man is represented by a boxer or by a movie star if not by the dull wimp represented by the intellectual, the college professor, the narcissistic puppet of the artist, or the busy and dirty money-making banker and the politician— it was only a matter of time before women rose up and claimed for themselves a ‘personality’ and a ‘freedom’.

Hieronymous Bosch (c1450-1516) is a painter who captured my fascination several years ago. His oil paintings are a concoction of pseudo-religous imagery and in some cases disturbing depictions of an unveiled reality.

Many skeptics suggest that the works of Bosch are merely pschadelic-induced nonsense and that no particular attention was paid to any form of esotericism or symbolism when the works were created. I find this difficult to believe, considering Bosch’s prominent status in the secret society known as the Illustrious Brotherhood of Our Blessed Lady, an enigmatic fraternal organisation that I can find little information in regards to except for that the brotherhood existed to glorify the “Mother of God”, perhaps referring to Mary or a mother goddess from mythology; I find it impossible to determine which.

I will focus merely on the central panel of Bosch’s magnus opus, The Garden of Earthly Delights. The Garden of Earthly Delights is split in a triptych, the left panel focusing on creation and Eden, the perfect world before the fall of Man, the centre representing life after the fall and the right hand column representing the consequences of Earthly Delights, damnation.

The Fall of Man is a theme prevalent, to my knowledge, in all world religions in some form or another. Man is believed in all traditions to be a broken and weak creature, destroyed by our gravitation towards sinful behaviour which has become an increasing burden on our will to do good, which has become weakened through the passing of the ages and the movement of the sun into new constellations and the planet into the age of Kali.

Many people believe that chakras are merely a Hindu idea, but this is untrue. As I have meticulously demonstrated in previous article, chakras are referenced in Hermetic and Gnostic Christian traditions as well as Norse pre-Christian religion. Since Bosch was a member of distinguish esoteric society, Bosch would undoubtedly know what chakras were through his study of non-mainstream theology.

To briefly summarise chakras for the uninitiated, the body is full of energy which in Hinduism is known as prana. This prana travels through the body in pathways called nadis, of which there are many thousands. The points at which many nadis cross over one another are termed chakras, areas in which much prana travels. There are 7 bodily chakras.

Each chakra has a colour associated with it. There a few worth mentioning in this article. The root chakra, associate with base urges, is red; the solar plexus chakra, associated with will and passion, is yellow; the third eye, associate with openness and intellectual thought, is blue; the crown chakra, associated with enlightenment and god absorption, is violet.

The central panel of The Garden of Earthly Delights by Bosch prominently features the concept of chakras, symbolised by fruits of various colours.

Although there is far too much in this painting to cover in one short article, let me begin first by drawing attention to a curiosity: the presence of black people in the painting and their significance.

Interestingly and anachronistically, Bosch’s works including images of blacks, which is extremely interesting because exploration of sub-saharan Africa had barely begun in Bosch’s lifetime, and the existence of a Negroid race was not mainstream knowledge. In the painting, Bosch depicts blacks in a unifying, indentifiable fashion, either balancing a red fruit on the top of their head, usually a cherry, or tempting the other people to take one of the red fruits, as Satan is said to have done in the form of a serpent.

The works of Bosch in many ways, prima facie, seem to appease the black supremacist “Black Lives Matter”, Black Hebrew Israelite Messianic negro movement; they prima facie suggest that coloured people were galavanting around in medieval Europe, and that they were, if you will excuse my language, “Kangz n’ shiet”. This is, of course, not the case. It is, however, highly unusual that black people can be found on artwork from the 15th century.

Europeans have, however, known about the existence of black people for thousands of years, as referenced in this fragment by the ancient Greek philosopher Xenophanes, who lived in the 5th and 6th centuries BC:

“Ethiopians say that their gods are snubnosed and blackThracians that they are pale and red-haired.There is one god, greatest among gods and men, similar to mortals neither in shape nor in thought.”

As a learned and distinguished man, Bosch would have been well aware of the presence of blacks in literature from the ancient past, and would know of their theosophical tendencies and implication on European society as detailed in mythology.

The works of Hieronymous Bosch using symbolism acquired through his occult and esoteric study, likely through the Illustrious Brotherhood of Our Blessed Lady, were intended, rightly or wrongly to serve as the advertisement of a perception of what coloured people are and what Bosch believed they would do to society. It is my view that Bosch wishes to portray coloured people as instigators and the creators of a “Garden of Earthly Delights”, a hell on Earth in which sin and the Root Chakra are worshipped.

Allow me to briefly return to the subject of chakras. As I have referenced in earlier articles, coloured people in esotericism are often associated, rightly or wrongly with the root chakra and people “as black as pitch” are said to live in the lowest depth of the world tree, Yggsrasil in Norse religion.

I have picked four small segments of the larger painting to hone in on in detail, starting with this one:

Segment 1: The peacock woman

To reiterate my earlier point that the fruits symbolise chakras, it is my view that the red fruits, as well as being the root chakra, represents Eve’s original sin of eating the apple, the sin of greed.

In most instances in the painting, people are consuming red fruits as Eve did, but the black characters except for this instance are the only ones with apples on their heads, symbolise a mind ridden with avarice.

Notice then that when the black women who on other parts of the painting have root chakra dominated minds, IE those dominated by lust and avarice, hand the root chakra to the white women, a transformative process occurs: they have their root chakra minds replaced with a large blue peacock with yellow feathers. Yellow is the colour of the solar plexus chakra, meaning willpower, and blue represents the Third Eye chakra, symbolising high intellect (but not spirituality, spirituality is violet, more on that later).

The negro women can be seen holding the red fruits symbolising the root chakra for the white women to take and placing these red fruits on the heads of the white women, in my view fortelling the negrification of European culture and inevitable consequence, the worship of the root chakra we are seeing in the modern world as even white women become susceptible to the influence of coloured mannerism and cultural norms.

Segment 2: Yellow Fruits

Let’s move onto the next image. Women huddle around a large yellow fruit with blue petals on it, whilst a black woman stands with her hands on her hips, holding a red apple. Meanwhile, another figure to the right attempts to place a punnet of blue fruits on the head of the black woman.

As I said earlier, the black woman has a materialistic root chakra on her head. She also holds an apple, another red fruit, behind their back at the base of the spine, a blatant reference to the root chakra in its natural position. It is almost as if she is attempting to hide the fruit, a symbol of her primative and carnal instincts which may reflects Bosch’s view of blacks and their mannerisms, though this is a stretch.

Next to the black woman is a white person attempting to place a bunch of blue fruits on the head of the woman. Dark blue is the colour of the Third Eye chakra, symbolising intellect. This perhaps suggests that Bosch viewed the role of whites was to gift blacks with a Third Eye, making them capable of higher thinking and intellectual ideas.

One of the women holds a very large yellow fruit with blue petals that seems to symbolise the solar plexus chakra, associated with willfulness and courage. From the Wikipedia page on Manipura, the SP chakra:

Manipura is represented with a bright yellow circle, with 10 dark-blue or black petals like heavily laden rain clouds.

I believe that the blue bird may also be representative of the Third Eye chakra, though more likely represents the Throat Chakra, which is light blue. The throat chakra is active when we communicate and speak eloquently and truthfully. Setting the bird free may be intended to convey releasing the truth stored in the throat chakra, letting it fly away to new destinations and spreading truth to affect more people.

The black character looks in the direction of the blue bird, but with its hands on its hips, looking rather frustrated or angry.

Segment 3: Attack on the pink fruit

There is a frightening part of the painting in which a woman takes shelter in a large pinkish coloured fruit which I believe symbolises the Crown Chakra, which is represented by pink or light purple, and there is another individual with an enormous strawberry, I believe representing a root chakra on their back trying to break into the fruit by pulling at the stalk. This must symbolise the attack on goodness through the pursuit of sin and “Earthly Delights”. To further reenforce the symbolism, the stalk of the pink fruit has large thorns that indicate it is inaccessible to those who attempt to force entry from the wrong angle, just like religous knowledge is impossible to attain without knowing how to find it.

There are two people inside this pink fruit, and there are several other parts of the painting wherein there are people sitting inside pink fruit in this manner. Only in the pink fruit are there people with glass cylinders to look through, such as at the bottom of this image. On the opposite end of the cylinder to the person is a black rat, though I am unsure what this may mean, though it is repeated in other parts of the painting so must mean something. The cylinder itself symbolises that spiritual people can see others from their knowledge but others cannot see them properly, hence they are misunderstood and incorrectly perceived.

One of the people outside of the pink fruit is attempting to hand the person with the giant strawberry a blue flower, perhaps trying to coerce them into ceasing to attack the pink fruit, IE goodness itself. This could be said to be an attempt to invoke the third eye chakra, which is represented by dark blue and is characterised by spiritual thinking.

On the end of the giant root chakra is a blue flower where the root chakra, the red chakra, should be. Instead of a root chakra there is a throat chakra, this spiritual inversion is a recurring theme in the painting.

Segment 4: White meat on display

There is little original to say in regards to this segment except that the symbolism mirrors that of the other segments. I will reiterate what I said earlier about black people in the painting; here again another black person can be seen with a red fruit, the root chakra, dominating the mind. The presence of a symbol of the root chakra where the crown chakra should be is likely Bosch’s way of communicating a common esoteric idea in regards to the spiritual potential of black people, that there spiritual potential, according to esotericism, is limited.

Further reenforcing the idea that not everything is in its right place, the man is holding two bunches of pink and blue fruits below, another allusion to spiritual inversion as these represent the third Eye and Crown chakras.

I am unsure what it means, but two of the women have black flowers in their hair. It also appears that the women in this segment are attempting to gain the attention of the black man in the painting, who is looking away.

Final Notes:

There is so much left to cover from the works of Bosch that I will certainly reurn to this topic in future. I am also interested to know if you have found anything that I have missed so pleas get in touch. At the end of the day, these are merely suggestions I think are correct, but I could be completely wrong. Piecing an artist like Bosch together when next to nothing is known of his life is incredibly difficult.

Health and happiness!

C.A., author.

In The Fellowship of the Ring, Frodo and Sam find themselves traveling through the Old Forest when they encounter Gildor Inglorion and his band of Elves, who are heading West to the Grey Havens to venture to the Undying Lands beyond the Sea. It is time for the Elves to go home; they were called to do so by the Valar, the gods who lived beyond Middle Earth. The fairest, most noble and most beautiful of the Valar was Elbereth, whose skin shone light a sheet of snow and whose voice was as clear as the flow of a wild stream.

The below poem is sung by the elves in dedication to her. Later in Return of the King, Sam feels moved to sing in a language he does not now, praising Elbereth and her powers of light. Sam’s singing frightens the spider Shelob which allows Sam to rescue Frodo and destroy the Ring.

A portrait of the goddess Freyr, wife of Thorr

“Snow-white! Snow-white! O lady clear!
O Queen beyond the Western Sea!
O Light to us that wander here
Amid the world of woven trees!

Gilthoniel! O Elbereth!

Clear are thy eyes and bright thy breath.
Snow-white! Snow-white! We sing to thee
In a far land beyond the Sea.

O stars that in the Sunless Year
With shining hand by her were sown,
In windy fields now bright and clear
We see your silver blossom blown.

O Elbereth! Gilthoniel!
We still remember, we who dwell
In this far land beneath the trees,
Thy starlight on the Western Seas.

Ah! Like gold fall the leaves in the wind,
Long years numberless as the wings of trees!
The long years have passed like swift draughts of the sweet mead
In lofty halls beyond the West
Beneath the blue vaults of Varda
Wherein the stars tremble in the song of her voice,
Holy and queenly.

Who now shall refill the cup for me?

For now the Kindler, Varda,
The Queen of the Stars, from Mount Everwhite
Has uplifted her hands like clouds,
And all paths are drowned deep in shadow;
And out of a grey country darkness lies on the foaming waves between us,
And mist covers the jewels of Calacirya for ever.
Now lost, lost to those from the East is Valimar!

Farewell! Maybe thou shalt find Valimar.
Maybe even thou shalt find it! Farewell!

Gilthoniel A Elbereth!
A Elbereth Gilthoniel
O menel palan-diriel,
Le nallon si dinguruthos!
A tiro nin, Fanuilos!

A! Elbereth Gilthoniel!
Silivren penna miriel
O menal aglar elenath,
Gilthoniel, A! Elbereth!
We still remember, we who dwell
In this far land beneath the trees
Thy starlight on the Western Seas.”

John Ronald Reuel Tolkien

Before I begin, I will briefly summarize the relevant parts of this story, which forms a small part of a greater work, The Gylfaginning.

One day, Thor, his adopted brother Loki and their two servants ðjalfi and Roskva were travelling Eastward on a quest, likely hunting trolls, starting fights with giants or something of the like. Whilst passing through Jöttunheim, land of the giants, they encounter a friendly giant, Skrymir. They speak with Skrymir and begin to journey Eastward with him, the giant carrying their belongings. Skrymir tells the companions he is returning to Utgarð, his home.

When the company makes camp for the night, sleeping in Skrymir’s glove which is big enough for the four of them, Thor is angered by the loud snoring of Skrymir and attempts to rouse him three times.

ðjalfi,Roskva, Thor and Loki trailing behind
the giant Skrymir, also known as Utgarð Loki

Skrymir then gets angry and schemes to establish challenges for the company when they arrive at Utgarð to get back at them, and particularly at Thor.

When they arrive at Utgarð, which is a large castle, Skrymir sits down on a throne among the other Jötunn (giants). Weary, the four other travellers ask Skrymir the giant if he will allow them to stay, to which he replies that the companions may stay if they can each perform an impressive feat for him,

Loki, always the first to pipe up, says he can eat faster than anyone else. Skrymir then pairs Loki against the giant Halogi, and Loki loses.

ðjalfi, the servant boy, says he can run faster than anyone else. Skrymir challenges him to a race against a small man from the castle name Hugi and ðjalfi loses.

Thor, last of all, says he will wrestle against anyone and win. Skrymir calls for his chamber maid, an old woman named Elli, to fight against Thor. Thor, embarrassed and demoralized, loses.

Despite losing, Skrymir considers them to have put on a good show and presents them with a place to stay for the night, treating them well.

In the morning, Skrymir bids the travelers farewell and says to them that “it would be best if a contest of this sort were never held again.” Skrymir then reveals his real name to be Utgarða Loki.

What is it all about then?

On the face of it, the story is simply an interesting fairytale, a few funny scenarios and some jokes to entertain children and childish adults. But if we delve a bit further into the Old Norse, we find a much deeper meaning to the story.

First things first, it is important to understand what the giants, the Jötunn, represent in Norse mythology. The Jötunn all have names synonymous to the destructive forces of nature, such as “flame”, “frost”, “old age”, and so on. The gods and goddesses on the other hand, all have names synonymous to the forces of nature which contribute towards creation, “mother earth”, “sky father”, “sun”, “moon”, and so on. The gods and goddesses in mythology are continuously in conflict with one another, symbolizing the endless battle between the seasons of Summer and Winter.

Among other things, in Norse religion the god Thorr represents the physical life force, his hair is red to symbolize he is active in the root chakra at the base of the spine, where all energy is said to flow from. This is why many Norse pagans both prior to Christianization and now, such as myself, wear the hammer of Thorr, Mjolnir, around our necks, covering our heart chakra. The striking of Mjolnir is the thunder that makes the beating of our hearts.

Thorr, the life force of the body, battles against the old lady, Elli, and loses. In Old Norse, Elli means “old age”. It is inevitable that anyone who tries to fight against old age will be brought down in the end, even the mighty Thorr.

Loki loses in an eating competition against Halogi, meaning “High flames”, for nothing can eat faster than fire.

ðjalfi, the servant of Thorr and Loki, (ðjalfi deriving from ðewa Alfar, meaning “Servant Elf”) loses in a sprint against the giant Hugi. Hugi is Old Norse for “thought”, and nothing travels faster than thought.

Finally, the last thing I wanted to touch upon is the significance of Skrýmir revealing that his real name is “Utgarða Loki”. What does this mean? The word Loki, just like the name of Thorr’s adopted brother, derives from the same root word as the English word “lock”. A lock places a trap on a particular object, impinging its movement, and if my memory serves me correctly the Old Norse word for “spider web” is also Loki. Since the primary role of Loki in Norse mythology is as a trickster figure that tries to trap and confuse other characters, terming him “Loki” is a fitting title which reflects his personality. Skrymir revealing himself as Utgarða Loki, “Loki of the Outyards”, is in my view a way of him saying that he, like Loki, is also a trickster disguised as a friendly host, and it is his job to challenge the travelers.

The story is rather a cautionary tale to men and immortals alike, fight against the forces of nature and you will always lose. Try to stay young forever, you will embarrass yourself; try to eat fast, the high flame of heart burn will strike! 

This is an important belief in paganism, nature should always be put first, it has to be put first. There is no other choice. Fight against nature and eventually nature will come back to fight against you and hit you twice as hard. We are increasingly consuming more than ever before, trying to live longer but more empty lives, we are building higher, chopping down trees, fighting against death, a natural, necessary and beneficial process and what for? Where will it end?

That is a question for you to answer yourself from your own intuition.

I hope you have found this article useful and learnt something. There are always more layers to be uncovered so if I have missed something please do get in touch.

Health and happiness! Heill og saell!

There’s something not often considered in mainstream political circles, particularly on the Right Wing, something that, if discovered would change the political landscape. It is a great tool. And no, its not Tommy Robinson. Tommy Robinson is a very public “tool”.

There is a major concern in right wing politics at the current time over stereotypes. Since a favourite tactic of progressivism is to allege all wrongdoing or public image attributed to minorities as a wrongful propagation of a stereotype, I’ll flip this back around.

What is a mainstream stereotype proliferated about fascist/right wing/ nationalist people?

We’re all Skinheads that stink of beer, have swastikas tattooed on our arsecheeks and have grey smoker’s teeth, military jackets and stomp on foreigners with our steel capped boots at Millwall FC away games.

Where has this stereotype come from?

The Skinhead “subculture”, if by subculture we consider it an amalgamation of the words “culture” and “subhuman”, emerged out of the 1960s “Mod culture” which was characterised by flashy clothes, drinking culture and a general sense of youthful nihilism which departed from conventional values which the Mods, short for “modernists”, deemed too rigid and not American enough. They adopted African styles of music imported from America, such as Jazz, R&B and early reggae music. They were essentially the “Wiggas” of their generation.

It is then strange to learn that from this subculture, which derived its essence from the culture of coloured people, that the “Nazi Skinhead” subculture could emerge. It wasn’t until the National Front was founded in the 1970s that some of the rougher Mods became the Nazi Skinheads, which is rather ridiculous considering that NF was never even a fascist party and had little to do with Nazism, it was a populist party that was not anti-democratic, Nordicist, Esoterist or reactionary in any sense. They changed their name to the National Democrats in 1995, which if you ask me just makes them sound more ridiculous. What’s left of the NF is headed by a fat skinhead bloke called Kevin Bryan, who has political experience: he used to be Deputy Manager at KwikSave. The NF chose the Skinhead regalia as a sign of “working class solidarity” which was very much the backbone of right-wing populism for the time, in many ways opposed to the more intellectualised right-wing ideas proposed by Mosley, Evola and Guenon which likely flew way above their heads and were not considered proleteriat enough for the insurgent attitudes of post-war England.

This fat, useless ballsack is what people think modern day Fascism is about.

The “Nazi Skinheads” developed a bad name not only for themselves, but for fascism, which they were never representative of in the first place. Being a nationalist or fascist soon became associated with being dim-witted and quick to violence, just like the people from the NF and smaller peripheral groups whose spiritual successors include Britain First and the English Defence League previously headed by Zionist hooligan stooge Tommy Robinson.

Rather than try to stop the spread of this “Nazi Skinhead” image, the mainstream at the time and even to this day have attempted to romanticize and popularise this image because it does the right wing more harm than good. Films like This is England, Green Street Hooligans,  and many more have attempted in my view to subliminally convert the traditionalist fascists like myself, or even merely the image in peoples’ heads of what a fascist is, into this Skinhead image which is not in touch with the tradition, ethics and aesthetics of Traditionalism and Fascism. It is my opinion that the left wingers making these films have 3 main aims by making these films:

  1. Show a scary image of fascism which deters people who are interested from pursuing it further
  2. Turn well mannered, well dressed fascists into unintelligible thugs by romanticizing the Skinhead culture.
  3. Change mainstream impressions of what fascists act, look like and believe to weaponize the mainstream against an enemy that doesn’t actually exist until they have created it. Problem, Reaction, Solution as David Icke puts it.

A perfect example of how inaccurate the Skinhead image is can be found when you first and foremost compare the original fascists like Oswald Mosley and Julius Evola and their spiritual successors such as myself to these so called “fascist” Nazi Skinheads. Real fascists never acted and looked the way that these people do. They were well-spoken, well-dressed, intelligent, calm and educated individuals who were most of the time distinguished members of society before they adopted Fascism.They were not, like the NF leader Kevin Bryan, fat, lazy former supermarket till assistants with beer bellies.

It isn’t something the mainstream wants us to know about because they would rather either people like me abandoned right wing ideology completely or became a violent and destructive criminal like members of the EDL which would make my ideology by extension look ridiculous.

Stay calm at all times, even when your enemies incite you to anger. If you stay calm, people are more likely to listen to what you have to say, you are more likely to convey with accuracy what it is that you mean to say, you can listen more effectively and it will annoy your opponents more that they are getting annoyed and you aren’t. Don’t stoop to the level of people like the EDL who are in essence merely the mirror image of Antifa and UAF.

Be well dressed, well spoken and polite. Smile sarcastically in the face of the enemy. As King Leonidas said of the Persians, “Give them nothing, but take from them everything”. Don’t give in to the Neo-Nazi Skinhead propaganda train, it is a product of Hollywood and should remain nothing more.

They want right wing people kicking, screaming and acting like idiots like a lot of left wing people do, that’s why the image of hooligans and Skinheads is promoted. Don’t be a Paul Golding, be an Oswald Mosley.  🙂

Health and happiness!


  • Proud to be a “Skinhead”
  • Commit unwarranted violence or consider violence entertaining.
  • Have a hatred for law and order, including an unwarranted disrespect or insulting of Police.
  • Own a Staffordshire Terrier or Pitbull
  • Have numerous unknown children through promiscuous relationships.
  • Smell of beer and cigarettes
  • Wear a biker jacket at all times
  • Have meaningless and ugly tattoos (not all tattoos are meaningless and ugly)
  • Grossly overweight (Paul Golding perhaps?)
  • Use derogatory words for dramatic effect
  • Drive excessively noisy and dangerous vehicles
What the mainstream thinks Fascists look like


  • Proud to be an a beacon of inspiration
  • Be ready to defend yourself reluctantly if necessary
  • Work to change the political and social climate through strength of will
  • Control your urges and vices
  • Quit drinking alcohol and taking drugs of any kind
  • Dress well, be an example of the cause to all who see you
  • Train your body and mind in the Temple of Iron
  • Speak politely, even to your enemies. In fact, especially to your enemies.
What Fascists actually looked like (British Union of Fascists)

The Aryans are the Fallen Angels of Light sent down to by Lord Vishnu, the Allfather or Jupiter, amongst other names to maintain law and order and to fight against chaos, personified in various Aryan cultures as the demon Kali in Hinduism, the Jötunn in Norse religion, Satan or the Nephilim in Semitic religion and the Titans in Greek religion.

The Aryans, meaning descendant of Ares, God of War, and also Arya in Sanskrit, meaning “noble” are the priestly class of India and are of European descent. The Aryans people have fought injustice and strived to the virtue of the gods for thousands of years. Ares derives from the proto Indo-European word Marēs, meaning “I strive”.

The Greek god Ares, after which the Aryans are named

The Aryans made their way as far as Northern China, where they became known as the Tocharians. The oldest known mummies in China date from 2000BC and are of Indo-Iranian descent, not Oriental descent. These Tocharians built sophisticated cities whilst the neighbouring Han and Mongol people lived in Nomadic tribes. Unlike the Chinese, the Tocharians were also fair haired and unusually tall. When the land around the Tocharians cities became arid, around the 6th century AD, the Tocharians were ethnically cleansed from history and were assimilated into neighbouring populations.

The Aryans, as I mentioned fared better in India, spreading European religion which in India became known as Hinduism. They were the great scholars and holy men of their time, leading by example. Aryan does not exclusively mean blond haired and blue eyed.

One of the Tocharian mummies found in China’s Tarim Basin, dated to around 2000BC

Videos for further research:

Documentary segment on Tocharians

Images of Indian Aryans, including Vishnu’s incarnation, the Blessed Lord Hare Krishna:

Map showing the dispersal of the Aryan Bloodline over time:

The Anglo-Saxons were tribes of Germanic peoples who settled in Britain from the 6th century to the 8th century, founding what we now know as Angle-land, or England.

The Saxons were so called after they’re characteristic blade design, the sax. The word angle derives from proto Indo European angaz, meaning narrow, as Northern Germany and Southern Denmark produce a narrow peninsula. This peninsula is the place of the Angles’ origin.

Their music is often praise to the Germanic gods, tales of virtue and later, after Christianization, odes to Biblical figures, such as the 13th century work Stond wel moder under rode, meaning “Be well, mother at the cross.

Wæelhaell (Anglo Saxon equivalent of Valhalla):

Stond wel, moder under rode:


Miri it is while sumer ilast:

Song of praise to the god Thunor (modern imitation):

Beowulf (The Epic poem sung from start to finish):

If you find anymore interesting pieces, let me know and I’ll add them to this article. Ver heill og sæll! To health and happiness!

Foreword, C.A. (Author):

Desire is a thought. Thoughts occupy the mind. The mind enacts will. Will is power. Desires, therefore, steal our power unless they are harnessed.

The goal of chastity, according to Evola, is not to remove the sex drive but to productively weaponize the sex drive to attain virulent manhood, known in Hinduism as virya. This virya can then be utilized in a variety of disciplines, including shamanic, meditative and millitary applications. Evola refers to this weaponization of sex drive as “transmutation” and scorns the Biblical reasoning behind cellibacy, preferring the tantric Hindu and Buddhist traditions.

The Hindu term ojas is roughly synonymous with the English “vitality” or “rigour”, the sensation of being charged with energy. Ojas is said to be stored within the heart chakra.

Evola also uses this passage to clarify the nuanced differences between eros, libido and sex drive, touching upon the works of Sigmund Freud. Evola clarifies that the sex drive does not merely encompass primative, carnal and illogical desires, but can be an asset to esoteric, tantric practitioners. However, Evola explains that the practice of cellibacy is meaningless for an individual who has no use for additional ojas.

Warriors and holy men throughout the ages have practiced cellibacy for a varying number of reasons, and to me its applications are just as fascinating and relevant today. We live in a world where sexuality is increasingly prevalent, publicly advertised and represents itself in increasingly disturbing forms, whether we like it or not. The ability to detach oneself from this stimulae is, in my view, vastly becoming an essential component to surviving The Crisis of the Modern World. As Nietzsche once said, if you stare into an abyss, the abyss will stare back at you. Don’t stare at the abyss!

Health and happiness! 🙂

An Aryan Indian Kshatriya. The Kshatriya, warrior caste,
traditionally practiced cellibacy.

An extract from Chapter VI of Julius Evola’s 1958 work Eros and the Mysteries of Love: The Metaphysics of Sex:

In the great majority of ascetic and initiatory traditions we meet the commandment to be chaste and to abstain from dealings with woman. In general this commandment is not properly understood because a moralistic meaning is attached to it. It is mistakenly be- lieved that the exclusion or elimination of the sex drive is desirable (“to make ourselves eunuchs for the Kingdom of Heaven,” as Matthew said). Sexual drive lies at the very root of the living individual, and to believe one can truly suppress it is self-delusion. At best it can be repressed in its most direct manifestations, but this will only lead to the neurotic and divided existence on which modern psychoanalysis has cast so much light. The only alternatives in coping with the sexual drive are to assert it or to transform it. When transmutation is not possible, repression is inadvisable from a spiritual point of view, for it may lead to inner paralyzing contrasts, to dissipation of energy, and to perilous displacements. Sufficient examples of this exist in emotionally based Christian mysticism.  

It is to the second possibility, transmutation, that the ascetic or in- itiatory commandment of chastity or continence is really addressed. Here it is not a question of eliminating the sexual energy but of relinquishing its use and dissipation in ordinary carnal and procreative intercourse. Its potential is conserved, but it is separated from the plane of duality and applied at a different level. We have repeatedly considered what eros can provide on the dualistic plane in relations between man and woman besides mere lustful sensuality (and we shall refer shortly to further and more precise teachings on this subject). The mystery of transmutation is concerned with a different field of capabilities, techniques, and inner procedures. However, we must first get a clear idea of what we are dealing with, especially because ambiguities may arise from the widely held views of contemporary psychoanalysis. First, when esoteric doctrines speak of sex, they refer to the mani- festation of a deeper and more elementary force than that which in the teachings of Freud is called libido or the pleasure principle; they refer to a force having a potential metaphysical value, as we made clear in examining the myth of the hermaphrodite.

Julius evola, circa 1912

The fact that sexual abuse can lead to nervous prostration and have a bad effect on the mental faculties, intelligence, and character is rather banal and well known and only of interest in relation to the personal psychic well-being of a normal man in common life. But the possible significance of sexual experience may cause many people to neglect such consequences, as pointed out in the discussion (in the appendix to chapter 2) of the values of erotic transcendence in the profane sphere. Besides such misuse, a possible depressive effect resulting from the practice of sexuality depends to a great extent on the system of coitus used, as we also saw. Finally, the more specific decision not to waste vital, nervous energy but to save it by restricting one’s sexual life is, from a spiritual point of view, of little interest unless one has in mind a higher use for that energy.

We are now ready to take up the theory of ojas and ojas-shakti. We can see the point in question even in a modern writer like Sivananda Sarasvati, although his considerations are often intcrsticcd with mat- ters of health and ethics. He wrote, “The seed is dynamic energy which has to be converted into spiritual energy” {ojas)> and added, “He who seeks divine realization with true zeal should observe strict chastity.” 3 Here we must make a distinction. On the one hand, what Sivananda said concerns a force that springs from all self-control and from all active inhibition. That law is in action which creates that most subtle and efficacious power of seduction exercised by the “chaste” type of woman. It is, therefore, not a question of sexuality alone. Sivananda acknowledged that “even wrath and muscular force can be transformed into ojas.” 4 It is an ancient esoteric teaching that the mastery of every impulse of a given strength, even if merely physical, frees a higher and more subtle energy; therefore, the same must be the case with sexual impulse and desire. As an outcome of the buildup of ojas in this way, there is contemplated, among other things, the formation of a special “magnetic aura” in a “personality that inspires a kind of holy awe,” together with the power of influencing other people by words or a mere look. ‘This same energy, ojas or ojas-shakti, can also be employed for contemplation and spiritual realization. ‘

In this connection we may add that the chastity which warriors undertook in various traditions, often among savage peoples, too, can be linked to this complex of ideas. It was a question less of saving physical energy than of accumulating a force that was to some extent supernatural and magical, in the same sense of ojas, for integration of the natural forces of the warrior. Such a context is explicit, for instance, in a well-known episode in the Mahabharata. 

We must now distinguish between the generic notion of ojas as a subtle force, which can even be produced by controlling elementary impulses other than sex, and virya, or spiritual manhood, which if lost or wasted results in death and if withheld and conserved leads to life. Vitya, as we said earlier, is linked to the seed, to such an extent that in the technical and mystical terminology of Hindu texts the word is often used to designate both. In this context we can under- stand the concept of the “aspirating death that comes from woman.” From metaphysical and ascetic viewpoints, that which is wasted in animalistic and lustful unions is not mere vital or nervous energy but rather the “being” principle of man, his transcendental manhood. It was in this connection that we recognized a higher form of manhood in the ascetic. This background is consistent with the specific doc- trine of transmutation and the upward flow of force, which flows downward in merely natural sex; this transmutation comes through practicing chastity and then making this force change its polarity. Now we can see why the commandment to practice chastity is also found in operational magic. Eliphas Levi rightly said that for a “wizard,” nothing is more deadly than the desire for sensual pleasure. Here the purely technical and nonmoral end purpose of the commandment to practice continence seems quite clear. The force gained through active inhibition and transmutation of sex in terms of transcendental manhood can also be used for “wicked” purposes. The commandment of chastity may be equally strict in operations of “white” or “black” magic.