As one may have already divined, many of the primary protagonists in Homer, at least the active mortal ones, are best assumed Semitic, if some more Semitic than others. And not merely because we understand them as earthly, mortal men, hence primarily descended of or “created by” the Semitic Prometheus and Vulcan. After all, at least one woman, Helen, is directly descended of the Aryan sky God Jupiter.
The “heroic age” of the Iliad occurs, presumably, well after the period of important struggle, between Saturn and Jupiter. It appears in a period of decline and ambivalence, where Jupiter, bereft of an obvious rival, shows no clear favor to either side. His shifting allegiances are personal, not tribal. Indeed, the Myth suggests, with great familiarity, a declining yet powerful Aryan hegemon, represented by Jupiter, presiding in judgment over an essentially Semitic feud.
We assume this Semitization is further advanced in the more eastern city of Troy. This is true even while the Aryan Apollo appears as their patron in this war. After all, we know by the figure of Cassandra that Apollo is now jilted by his own priestesses.
The Trojan King Priam is descended of Erichthonius, the Semitic son of Vulcan, ancestor also of the Athenians, albeit through nymphs or fluvial mothers. Yet Priam is described as “big and swarthy.” His sons are Hector and Paris.
They are several generations removed from the Aryan primogenitor Jupiter, whom began their line with the Semite Electra, an oread, one of the seven Pleiades. Thus it might as easily be said they are descended of the Semitic Mercury, whose father was Jupiter and whose mother, again, was Maia, also one of the Pleiades.
As it concerns the conflict itself, perhaps it paints too swarthy a picture to imagine an aggressive, plundering Israel versus a more nobly-minded Iran, while declining, yet omnipotent Aryan powers mediate and subsidize. Nevertheless, this is not the worst analogy. Achilles’ paternal grandmother is an oread like Mercury’s mother, a mountain nymph and Semitic being.
By some accounts Achilles’ paternal grandfather, Aeacus, is, like King Minos, descended of the Semitic Europa and Aryan Jupiter. In other accounts Aeacus is descended of Jupiter and Aegina. Aegina a nymph, likewise descended of fluvial beings, is of Aryan stock if not of the very highest, “celestial” breeding.
On the maternal side the Semitic Terra is Achilles great grandmother. On both sides are promiscuous oceanic and fluvial beings. Achilles himself, if it isn’t obvious by now, is something of an Aryan caricature, despite being something less than wholly Aryan in blood. He is brutish, vain, brooding and less “noble” in the end than his Semitic adversary, Hector.
In fact the whole cycle of the Iliad and Odyssey, as should be obvious, relates the transition from an Achillean or Martial ideal to a clever, plucky Odyssean or Mercurial ideal. The Iliad will even feature the defeat and humiliation of Ares or Mars at the hands of Diomedes and Minerva. Mars/Ares is, as discussed, Aryan man turned blood-thirsty demon and foil in Greek Art and Religion.
Likewise in Achilles we see a critique of Aryans. Tragically, it is a somewhat fair critique, at least when decline has taken hold. As the Aryan of today, he is a weapon of war wielded against Semites by other Semites, a Janissary. Indeed, the brothers Agamemnon and Menelaus, who are responsible for gathering the Greek armies, certainly are Semites. They are descended of the chthonic figure “dark-faced” Pelops.
Pelops himself was son of the chthonic figure of Tantalus, who was in turn, son of the woman Plouto or Pluto, meaning “riches.” Doubtlessly it is meaningful that this figure shares a name with the God of the Underworld, the central figure in Eleusinian mysteries. Perhaps the brothers are also descended of Jupiter’s archrival Saturn who is sometimes listed as the father of Plouto. Jupiter, it should be said, is often indicated as the father of Tantalus.
Nevertheless, these brothers are certainly Semitic figures. Here we might find the analogue of “Neo-Cons” useful. To be sure, they are darkly depicted as is their whole sordid “house of Aertus.” Likewise, in contrast to the essentially Aryan Achilles, we see Hector’s brother the Semitic Paris depicted as a coward. Yet, as this study will explicate, the famous arrow in the heel may be an esoteric reference to the homosexuality of Achilles. This is the “fairness” of “blind” Homer.
Helen is descended on one side directly from the pure Aryan Jupiter. Doubtlessly this is intended to account for her renowned beauty. She possibly as well had the Aryan Mars as a maternal grandfather. Though the rest in her family are mortals. Indeed, the name Helen is from the Greek Helene, Ελενη. It likely derives from helene, ελενη, “torch” or “corposant.”
Possibly it is related to the Moon Goddess Selene, σεληνη. To my eye, it is a reference to the Triple Goddess, frequently comprised of Selene, Diana and Proserpina or the torch wielding Trivia. Though maybe here Helen is suggested as herself “the torch” or the stolen celestial, Aryan fire. As this study describes, the Triple Goddess depicts the “down going” or Semitization of the Aryan woman. So also does Helen in the Iliad narrative. In any case, these are doubtlessly references to the Eleusinian Bride Gathering Cult.
The famous apple, again, likely something closer to a pomegranate or “food of the dead” reveals to us how a Semitic Bride Gathering Cult has led to this entire disaster. A direct synonym of the fruit in the Garden of Eden, here the fruit is also the blood of Adonis, the blood of the Semite, awarded “to the fairest.” As is repeated in Christianity, the Chthonic cults actually endeavor to make a prize of Semitic blood over which Aryan Goddesses vie. Hence it is entirely consistent that the Semitic Paris is the one who abducts fair Aryan Helen.
Meaningfully though Paris has abducted Helen from her Semitic husband Menelaus. Indeed, the project of the Trojan war, on both sides, is to secure the breeding rights of Semites to Aryan or Aryanish women.
Odysseus maternal Great Grand Mother is the Semitic Mercury. His paternal Great Grandfather is, at least according to Homer, the Aryan Jupiter. How reluctant Aryans are to understand this beloved figure as a “mischling” whose grandfather was the especially shifty, charlatan Autolycus. But alas, Odysseus inherited his cleverness somewhere and certainly not from the leonine and warlike Jupiter.
Irritated as many will be to hear it, the Iliad and the Odyssey are ultimately JEM if developed by Proto-Jews as opposed to Jews. Homer was mythically understood as the “son of Meles” a river in Smyrna, a Greek City on the Aegean coast of Anatolia. This is because his mother is understood as giving birth to Homer on the banks of the Meles. Obviously, the river appears here as a symbol, something akin to the Jordan River or Nile River in Biblical Mythology. Here as throughout JEM the fresh water stream is the blood of the Aryan. Ostensibly it indicates an Aryan father but this may be less likely.
His mother, Critheis, an Aryan element, is understood as having borne him from an unknown father. Her name is often considered derived from κριϑή (krithé), barley. Hence she may be indicated as a Kore vis-à-vis an “invisible Pluto” or Ninlil vis-à-vis Enlil. Indeed, here appears the trope of an illegitimate or “virgin birth,” whether describing the origin of Sargon of Akkad, Vulcan or Christ, appears throughout JEM. It is a theme of racial cuckoldry. Here a dysgenic and promiscuous origin is venerated.
To be sure, the person or persons who we call Homer had a profound knowledge of the mystery cults, as well as a complete mastery of its symbolism. Doubtlessly Homer was “edgy,” particularly toward both an Aryan elite and an ascending Semitic tribe in Greece, where both Achilles and Agamemnons are disparaged credibly. Indeed, characteristic of JEM Homer contains “the caducean,” making it appealing to both Aryan and Semitic audiences. There are enough foils of both types to go around.
However he was not “edgy” in the salubrious sense, where an Aryan Jupiter, for example, is depicted as overthrowing a Semitic Saturn. Among Semites we find the foils Agamemnon and Paris but then also the great final victor Odysseus. Hence, consistent with JEM, a Semitic victory is ordained. Of course, along with the whole of ancient myth, it is a treasure trove of symbols that we must ply to our own ends.
Now that we know his symbolic language, we, of course, may now assess the true value of his message. We may also outdo him, in the same tongue. Apollo, most gifted in all things, happily lets his enemy chose the battlefield. Indeed, we know we can be “edgier.” But, of course, an immortal race is called to outdo Homer, not once but infinitely. Every generation should feel ashamed not to have done this. It is, in fact, the task of Aryan artists to make him obscure and tedious. Homer is a measuring stick. Those people who do not look for a better Homer among their people, and do not seek to set him above all artists, are a people dying.