The Daphne Motif and the problem with Laurels

Everywhere in JEM (Jewish Esoteric Moralization) we encounter an “Adonis Motif.” Here the Jewish artist presents the Adonai or Jewish God as the “moral” “spiritually beautiful” sympathetic lover who obtains the desired female breeding stock. In such narratives he frequently out-competes “morally inferior,” unintelligent or insensitive Martial and Apollonian figures.

Again, that Adonis ostensibly suffers an actual death in the original Myth is understood better, narratively, as a “set back.” After all, in the Spring, like a risen Christ, he will return to be with the Aryan Venus, thereby overcoming the vain thwarting efforts of an Aryan sexual competitor. Metaphorically this death or disappearance into an underworld or tomb, especially in the Christ and Adonis myths, is suggested as an insemination or seeding of the Aryan womb. Again, this is JEM.

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That Adonis ostensibly suffers an actual death in the original Myth is understood better, narratively, as a “set back.” After all, in the Spring, like a risen Christ, he will return to be with the Aryan Venus, thereby overcoming the vain thwarting efforts of an Aryan sexual competitor. Metaphorically this death or disappearance into an underworld or tomb, especially in the Christ and Adonis myths, is suggested as an insemination or seeding of the Aryan womb. Again, this is JEM.

In Daphne we find another figure. While the figure of Daphne is not directly suggestive of a Semitic sexual victory, she is indirectly. To wit she symbolizes the failure of Aryan male sexual competitiveness. Indeed, we will find examples of clear references to Daphne, in contemporary JEM, clearly demonstrating this understanding. Frequently these references appear in names like Lauren, Laurel or Laurence.

Larry Lance appearing in the early Black Canary parables, Walter Lawson appearing in the Stan Lee developed Mar Vell parable and Larry Gopnik appearing in the Coen Brother’s film A Serious Man, are all examples where the name, a reference ultimately to Daphne, comes to identify a Jewish figure and/or allude to racial cuckoldry or racial success versus an Aryan competitor.

Of course, we might say, more simply, that any woman presented in Art or Religion, understood as denying a wealthy, aristocratic Aryan type, whether in favor of loneliness or a lower type, may be referred to as a “Daphne.” This Daphne type, to the extent she may actually be found on the planet, might be assigned the same epithet in real life.

Typically, if not always, the Art will caricature her Aryan suitor as immoral, cruel, jealous, needlessly arrogant or, alternatively, effete, a fop, a sham, idle, weak or useless. Naturally we are obligated to assure that such an Aryan type is never a significant actual phenomenon. Our effort to this end would especially be through an Art, Religion, Education and Culture that depicts and inspires the best characteristic in a noble, leading elite. To be clear, our men should be discerning, commanding, strong, generous to brothers, ever wary of outsiders, reasonable but never gullible especially to emotive appeals.

The mythological Daphne is understood variously as a mortal, Naiad or Oread. [1] In all cases she might be understood as Semitic. Indeed, the tales describing her as Naiad also indicate the Semitic Terra as her mother. As the reader may know, Daphne is famous for denying the amorous advances of Apollo.

Meaningfully it is Terra whom ultimately thwarts the Aryan God by swallowing Daphne into the earth or turning her into a Laurel tree. Hence, in some sense, Terra here represents a proud Jewish mother understanding her daughter, her people, superior even to the founding and ruling nobility of her land.

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Meaningfully it is Terra whom ultimately thwarts the Aryan God by swallowing Daphne into the earth or turning her into a Laurel tree. Hence, in some sense, Terra here represents a proud Jewish mother understanding her daughter, her people, superior even to the founding and ruling nobility of her land.

That Daphne, a Naiad or even Oread, is turned into a tree, a symbol we generally associate with the Aryan, perhaps suggests a Semite assuming an Aryan posture of “rigid” sexual rectitude. She has after all gone from a river nymph or oread, more closely associate with sexual availability, to a tree. Yet because of its association with Daphne, the Laurel tree likewise is better understood as a Semitic symbol.

In both versions of the myth, the Laurel tree becomes Apollo’s compensation, with Daphne remaining inaccessible to him. Indeed, thereafter, it is recorded Laurel trees were set in the center of Apollo’s temples, as memorials to the elusive maiden. Likewise, wreaths worn upon the head comprised of Laurel leaves would become an emblem of distinction and honor from Greece on.

Here it cannot be doubted that a phallic and vaginal symbolism is present with the head representing the phallus and the laurel the vagina. Hence even the “mortal” may attain what Apollo was denied. It is obvious that Daphne as a figure represents a deliberate effort to “humble” the Aryan type or “humanize” Apollo to make him more “sympathetic.” In other words, it is an effort to make the immortal God and race, mortal, doomed.

Indeed, to honor achievement, I recommend the oak laurel, comprised of leaves sacred to Diana and Jupiter. As the Online Etymology Dictionary reports: The usual Indo-European base for “oak” (*deru-) has become Modern English tee (n,); likewise in Greek and Celtic words for “oak” are from the Indo-European root for ‘tree;’ probably reflecting the importance of the oak to ancient Indo-Europeans.” The oak, as a particularly strong tree, also symbolizes relative imperviousness, moral rectitude and abidance.

In any case, there are multiple problems with this symbol of the Laurel tree and laurels or wreaths comprised of laurel leaves. First, again, the symbols are JEM. At best, they are sappy, pathetic trophies of Apollo’s sexual failures. At worst they are a subtle Semitic mockery. Second, the figure the laurel references is a Semite.

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In any case, there are multiple problems with this symbol of the Laurel tree and laurels or wreaths comprised of laurel leaves. First, again, the symbols are JEM. At best, they are sappy, pathetic trophies of Apollo’s sexual failures. At worst they are a subtle Semitic mockery. Second, the figure the laurel references is a Semite.

Hence not only are these symbols of Apollo’s failure but symbols of failure in a bad, dysgenic direction. Here Daphne is set as a breeding ideal for which Apollo wistfully longs. The Trivia type, seeking interaction with Aryan men, while to be avoided in the real world, at least offers no, illegitimate, uppity offense. Likewise she is actually plausible.

Hence, whatever the customs of Greece or Rome, placing a laurel tree in an Apollonian temple, awarding wreaths or laurels comprised of laurel, or honoring that tree in any fashion should be understood as JEM and profane. Forthwith, there is nothing noble in the term the baccalaureate, the Poet Laureate or even the Noble Laureate, any more than there is anything prestigious about the “Ivy league,” which celebrates in its name, even if by accident, a parasitic plant sacred to Bacchus.

To promote AIM such honors and institutions should be renamed with references to the Aryan celestial gods. It is fitting and useful now that nothing noble remains in these institutions, at least in the important world-forming field of liberal arts. As their names suggest, they regularly honor and produce the worst and most ignoble people on earth.

In the ancient world, on occasion, Daphne would be equated with Diana, in the combined figure of Artemis Daphnaia. This is an obvious mistake. Here we see a Semitized Diana as appears through her association with the moon or the Triple Goddess. The name Apollo Daphnephoros or Apollo “laurel-bearer” would also appear. Again, the wearing of the laurel suggests sexual union. Hence this, from our perspective, is an offensive appellation, which should be used only as a term of derision to mock the well-born Aryan who courts downward or “goes for the Jewess.”

apollo_and_daphne.jpg
In Daphne we find another figure. While the figure of Daphne is not directly suggestive of a Semitic sexual victory, she is indirectly. To wit she symbolizes the failure of Aryan male sexual competitiveness. Indeed, we will find examples of clear references to Daphne, in contemporary JEM, clearly demonstrating this understanding. Frequently these references appear in names like Lauren, Laurel or Laurence.

My recommendation is pairing the Aryan Diana and the Aryan Apollo with the correct understanding they are not actual brother and sister but racial kin. Likewise I recommend the forging of new myths that reinvent Daphne. Daphne, the reader should understand, was actually, tragically, a loose girl who pretended to be classy and proper, so as to woe the princely Apollo. When Apollo finally rejected her in favor of Diana[2], despite, in his kind way, believing her a nice but troubled person, she unfortunately killed herself. Her remains were buried with Bacchus beneath the temple of Apollo. That is AIM.

Acantha, Philomela and Cassandra are Semitic Daphne-figures appearing in Myth that are likewise referenced in the JEM. All are known for rejecting clearly Aryan figures, Acantha and Cassandra for rejecting Apollo himself. Hence, the symbol of the thorn, related to Acantha, and the symbol of the nightingale, related to Philomela, may be considered synonymous with the symbol of the laurel.

 

[1] This study explicates the meaning of these “elemental beings” elsewhere.

[2] Again here we understand Diana, the Delian, as a racial sister and not an actual sister.

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