I’ve received requests from artists and storytellers actively engaged in creating AIM (Aryan Inner Moralization) to create a quick reference guide to assist them. This will be useful for Artists who have come to accept my analysis of symbol and myth. In other words, proofs or, at least, extensive proofs are not provided here. Yet there are also good tips here for political propagandists or anyone interested in using symbol in a moralizing manner.
Of course, this is also part of our effort to create an Agreed Upon, Shared Symbol Language for the deployment of AIM. Read here: Myth and Symbol Language Part I: The importance of establishing an Agreed upon, Shared Symbolism
As with the Glossary, for the moment, this will be an ongoing project receiving additions as they occur to me. Feel free to leave comments if you have a question about this symbol or that. Likewise, at no point should this reference guide be considered exhaustive or comprehensive. At best the artist should understand it as containing some ideas and things that he should keep in mind.
No advice is given here as to how boldly or obviously use these symbols. This is the role of the artist who like the warrior is called to be bold but not to expose his position dangerously or prematurely. Doubtlessly milieu, industry, platform and a changing cultural climate will be factors in determining boldness.
If you are not an intelligent, thoughtful, inventive, clever and skilled artist this reference guide will be absolutely useless to you. Likewise this “cheat sheet” is a pale and weak substitute for reading the entire Brahmin study which contains roughly one thousand times the value.
Thematic Goals
Our Goal should always be to show Aryan figures (however disguised) triumphing over Semitic or non-Aryan adversaries. AIM and JEM (Jewish Esoteric Moralization) is designed as such that the viewer may understand all characters as “White.” Distinctions are made through often subtle contextual, symbolic and physical clues. They are also made, importantly, through naming convention.
It is especially important to show the Aryan figure achieving success with Aryan female figures, while chivalrously resisting the advances of Semitic females. Semitic females may be treated sympathetically but should be understood as tragic, rejected by sought after Aryan males. This is an inversion of the Daphne Motif defined in the glossary. The glossary is here: A Glossary of Terms
Aryan artists are often neglectful of romance in parable but this is a critical mistake and one that will not be allowed to persist. Rather sexual competition appearing in parable is as central as martial competition appearing in parable, often the last is merely a metaphor for the first. This understanding that “love is war” will attune the Aryan artist’s mind to it. We should remember always that our heroes are the men we desire for our daughters, while the heroines the wives we desire for our sons.
While the epic showing Aryan success is our highest form, these considerations do not remove us from the genre of tragedy or any other genre for that matter. However tragedy should befall adversaries. To the extent this occurs, sympathy should not be given to physically attractive sexual competitors or “Adonis,” only unattractive ones. Here we invert the “Melancholy of the Shohet.” The term can be found here: A Glossary of Terms
The goal is showing the Aryan in the “Chieftain God” position at minimum succeeding in his sexual and genetic goals. Servile or helpful secondary non-Aryan figures are permissible in many contexts.
God-Masking
Every male hero should be understood as a disguised “Avatar” or Symbolic Synonym of Apollo, Mars or Jupiter. References in names to the elements, symbols or attributes these figures represent is desirable. Again, servile “side kicks” referencing figures like Mercury and Vulcan are permissible. The latter, however, should be shown as sexually unsuccessful or successful with Semitic females that Aryan heroes have politely rejected.
Every female heroine should be understood as an “Avatar” or symbolic synonym of Diana, Minerva, Venus or Juno. They should be understood as good, virtuous or non-tragic to the extent they demonstrate fealty to the figures that represent Apollo, Mars or Jupiter. To the extent they fall in love with or are used by Semitic figures, they should be understood as tragic or evil. References to Chthonic Goddesses, representing earth and fire, such as Maia, Trivia and Vesta, may be used with Semitic female characters. Read more here: The Parabolist Law of Microcosm, The Definition of a God & “God Masking”
The Parabolist’s Law of Microcosm
Each significant character in a parable must have a unique and important lesson to convey. Redundancy should be avoided whenever possible. Each character must represent a sexual, racial and class type. Think of the character as that group itself. The parable will esoterically describe a competition between these types, a genetic race war in microcosm. Aryan racial and sexual success must be indicated. Read more here: The Parabolist Law of Microcosm, The Definition of a God & “God Masking”
Naming, Animals and Elements
Names of Aryan heroes ideally reference lions, nobility, eagles, air, sky, sun and so forth. We should be wary of references to storms or rainfall which may be suggestive of racial admixture, water or ab (Aryan blood) falling to a Semitic earth. On the other hand, names of Aryan females may reference passive symbols such as trees and water. However these references should not be made with Aryan male heroes.
On the other hand, if Aryan male figures are indicated as tragic or villainous and coopted by Semitic adversarial elements, references to these passive elements may appear in their names. The lion as a symbol is a “disputed symbol” meaning Jews will use it in the names of Jewish figures as a reference to Judah the lion. We are interested in taking this symbol back. It should be used in combination with references to the celestial and the celestial Gods of Mars, Apollo and Jupiter.
Names of Aryan heroes should not be Biblical unless they are Aryan figures that have been coopted by Semitic elements and are being used against the Aryan race. In this case, names signifying subservient Aryan figures such as Joseph, Michael, Benjamin and Jonathan (distinct from John) are appropriate. Obviously Jewish figures may be given Biblical names but only those actually designating Jews, such as John or David. Using forms of names, for instance, Hans or Hank for John, will be useful in disguising naming patterns. These variations are discovered easily online. Semitic names may relate to earth, stone, fire, vines, dragons, serpents, jackals, the moon, Chthonic Gods, symbols associated with these Chthonic Gods and so forth.
Ravens will be understood as dysgenic or adversarial symbols related to racial cuckoldry. Aryan figures should not be related to wolves, a nocturnal creature, inferior to the lion. This article on naming will be useful: Names Part II: The Importance of Names in REM, Common names & Exoteric Alibis. This one as well: Names Part I: What is in a name?
Color Symbolism
The use of colors can be complex. Let’s take for instance the use of color in clothing. Colors that we understand as celestial Aryan colors may be worn by Semitic figures to indicate crypsis. Or, a gold ring, for instance, worn by a Semitic figure, may indicate a Semitic possession of an Aryan element.
On the other hand, celestial colors may be worn by Aryans to indicate or emphasize Aryan identity. In the latter case they may become Aryan Identifiers. Obviously it is often impractical or over-obvious to give an Aryan character garb comprised of exclusively celestial colors. Hence a dominant color palate becomes the solution. These are considerations for the artist. Nevertheless we may assign ethnic identity to colors.
White, Blue and Gold are Aryan colors. White is a color associated with purity and thus also racial purity. It might also be associated with the clouds of the heavens. Blue may be associate with the heavens or with water. To the extent it might be related to water, it might be understood as a “vulnerable color” in the sense that it may represent sexual access or sexual vulnerability. Gold is a solar color and related to the sun.
Red is the color of Aryan sexual admixture with the Semite. It is the color of the “racial wounding.” Green is a color associated with the Jewish God, it is a reference to the serpent and also the vine. This association will remain. However we will also associate this color with the Aryan female in a sexually accessible and vulnerable form. After all she represents the Aryan tree of life. Brown and Black we will associate with Jews and Semites, consistent with the associations they make themselves.
Number Symbolism
Numerology is essentially Jewish or Proto-Jewish and comes to us from a decidedly Jewish perspective. Nevertheless the artist should be apprised of the meaning of numbers from this perspective. Here he may chose to make use of these numbers in a symbolic manner. At the very least he should be aware of these meanings so as to avoid inadvertently rendering JEM (Jewish Esoteric Moralization).
My study only covers a common, reoccurring single digit Jewish numerology. However, here we find that adding zeroes to the same number appears to render the same meaning. In other words, six carries the same meaning as 60, 600 and 6,000. Here we’ll focus on the most common numbers reoccurring in JEM only, as some ambiguity persists with less commonly appearing numbers.
Three is a common recurring number in JEM and refers to sexual interaction, insemination and Judaization. Four is a reference to the Aryan particularly as aqueous resource. Five is a reference to the Hamsa, in particular, and is a reference to blinding, deception, theft and bride gathering committed against the Aryan competitor. Six is a reference to the Aryan as solar figure if also as solar resource.
Seven is a reference to Saturn and the emasculation, circumcision or castration of the Aryan. Nine is a reference to the nine months of gestation and the Aryan woman as resource. Ten is a reference to the ten Sefirot of the Kabbalah. It appears to suggest multiplicity and a conquered and divided Aryan monad. Twelve is a reference to the Zodiac, the wholeness of the cosmos and humanity or at least that portion of it under Judah or Jewish sway.
The Apollonian Transmission 
Aryan (not as resource) numbers?
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Jews view Aryans as resource. I wouldn’t get obsessed about numerology especially where it proves impractical. Just be aware of Jewish meanings and avoid assigning the number 7 to heroes or benevolent figures.
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Could you expand on this? 7 was also important to the Aryan seer Zarathustra, perhaps his system was contrived or corrupted too?
Please see: https://fezana.org/the-divine-songs-of-zarathushtra-by-irach-j-s-taraporewala/
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Your theory reminds me a lot of freudian and jungian theories. Should we really partake in that ball game?
Sutta Nipata 1.2:
Dhaniya the cattleman:
“The rice is cooked,
my milking done.
I live with my people
along the banks of the Mahi;
my hut is roofed, my fire lit:
so if you want, rain-god,
go ahead & rain.”
The Buddha:
“Free from anger,
my stubbornness gone,
I live for one night
along the banks of the Mahi;
my hut’s roof is open, my fire out:
so if you want, rain-god,
go ahead & rain.”
Mara:
“Those with children
delight
because of their children.
Those with cattle
delight
because of their cows.
A person’s delight
comes from acquisitions,
since a person with no acquisitions
doesn’t delight.”
The Buddha:
“Those with children
grieve
because of their children.
Those with cattle
grieve
because of their cows.
A person’s grief
comes from acquisitions,
since a person with no acquisitions
doesn’t grieve.”
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Yes! We should understand the messages in Semitic Art and Religion and develop our own Art and Religion.
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Wise words my friend. Homage to the Buddha, Dhamma, and Sangha! I hear this message you share!
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If aryan men are wood and aryan women are streams/rivers, could a parable about petrified wood (the long term relationship between an aryan man and an aryan woman) symbolize we are no longer a resource to consume.
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Apollo is a living, life giving God, the sun. He is us. To the extent the female element is separate, it is arboreal. We don’t want to fossilize/petrify. One of the metaphors Jews use to describe themselves is the stone. We do not want to become this.
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I am new to all this, and apologize if my idea coms off as AIMless as I have been AIMless. I am still absorbing your ideas and making sense of them but a good deal of this carries the ring of truth to me (I’ll admit, I find Odin as JEM a bit hard to swallow, but I have no factual or argumentative objection just yet).
What would be your thoughts on taking the idea of the biblical Cain as an Aryan type and running with it as a novel:
Cain, buried by the flood and released by …something…(earthquake seems a little volcanic I suppose but it’s an easy physical explanation) washes ashore in the modern world, marked (by his Aryan features of course) and immortal. He shortly after witnesses his first sunrise in 6,000 years (a moment of symbolic apotheosis creating him as a godmask of Apollo) and leads a heroic Aryan renaissance and gets the girl to boot.
Themes would be Aryan reawakening after countless dark centuries, buried by salt and stone, overcoming them with the appearance of the rising sun and awakening of an Aryan god (Apollo).
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Sounds good. Rename him by the end though. Maybe he names himself. His “mark,” given to him by the Jewish God, is on one level simply a “letter,” “symbol” or “name.” So make sure he loses this mark. On one level it’s about the power of naming. I have more on Cain so keep reading. But make sure you are closely familiar with this Biblical figure before writing about him. And finally don’t just talk about it. Do it!
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I fancy myself the creative sort and though I’ve never written a novel, I think I will enjoy this. Your work is inspiring and I’m off to a good start already. Thank you.
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I was doing some additional thinking about this the other day and I have to ask: why Apollo?
I agree with your appraisal of at the least the latter Nordic cult of Odin in so far as it appears to be a RED corruption of the earlier Germanic/Lombard traditions. I have friends who have done some work trying to reconstruct some of those older traditions based on old PA Dutch folk tales and such and some of the old ideas of Wotan/Tyr are very different from those in the Eddas. More of a mystic farmer than the “go and die for Baldr” cult. But I digress.
I look at some of the latter myths and symbols around Apollo and note that there seems to have been RED corruption that creeps in there, too (Daphne?). You also mention if I recall something that these myths all have their earliest form in the rise of the Aryan race in Sumer? If THAT is our earliest, uncorrupted cult of our race, and the idea is to avoid the cults that were later corrupted by the jew, perhaps we should go back even further, to where it all began?
Maybe we should try to reconstruct (and, where information is absolutely impossible to find, reinvent) this ancestral religion from its very roots. Start with our Sun God (sadly, I know nothing of any of the religions prior to middle Egypt, so I’ll defer to your expertise should you choose to pursue this) with Aten, Apollo, Tyr and other such as imperfect avatars but nevertheless more perfect than man, the Golden Gods to which we must strive to be and guide the eugenics of future generations to approach.
The short version is, if we want to abandon cults built around our people entirely because they have latter Judaized versions, perhaps we should just smash the whole thing and start from the beginning. So why Apollo? Why not go back even further?
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If you’ve read or listened to my work, you know that I especially have pointed to those demoralizing myths surrounding Apollo, including especially “the Daphne motif” (See my glossary). I dare say I’ve popularized if not developed this understanding (and not merely in the somewhat cozy circles of the alt right) so certainly they don’t need to be brought to my attention. Much more commonly myth, whether Norse, Celtic, Arthurian or Greek is accepted with reverence and uncritically by Alt. Right “traditionalists.”
Apollo is the clearest symbol of the Nordic, Aryan race. So as a “definitional symbol” he’s the most definitive. There are and will be efforts to seek a primitive, “purer,” pre-civilizational god based on scanty information (re-constructions you say). This is connected to an instinct to withdraw from a “corrupting” civilizational influence. Essentially it is part of an instinct to withdraw from the fight and a will to power, to cede the world to “globalists.” In Rome and Greece we see the development of Aryan chieftain Gods capable of ruling in both the urban and rural milieu.
Hence the process is one of reformation. It’s the process of eliminating, rejecting, occluding or simply recognizing demoralizing myths. I’ve written more on this very subject that I will publish in my forthcoming book if not also here. But certainly people are free to do whatever they want. I merely anticipate the most success with Apolloism. https://theapolloniantransmission.com/2018/11/22/why-apolloism-is-3-0/
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Have you listened to Taylor Swift’s new album? Particularly the songs “Daylight”, “The Archer”, and “False God”. Perhaps it’s coincidence or perhaps it’s just her intuition but her work is full of what you call AIM. The latest album is about her current boyfriend and (probably) fiancé, who looks like her racial twin (also he’s an actor and he seems to like playing politically incorrect characters such as Nazis and slaveholders). She mentions the color “blue” a lot in this album, it seems to have a different meaning everywhere she uses it, and she says that true love is “golden like daylight” as opposed to “burning red” as she once thought it was (back on her album “RED” which by the way is all about her Jewish ex boyfriend). She also describes her lover as somebody who used to “run with the wolves” while in “The Archer” she evokes the archetype of Diana, wandering at night like a ghost while the house is burning (her biological clock? Her boyfriend is described as a mansion with a view and she bursts into a garden to announce to him that she loves him). I’ve noticed that most of her past work is full of nighttime imagery such as city lights and starlight but not a lot of sunlight or rainbows or other daytime imagery until now. In the liner notes on RED she said that she hopes to experience true love that is glittering golden like starlight one day, as though even then she conceived of herself as trapped in a nighttime underworld that starlight was the closest thing she had experienced to daylight.
She also describes the dark night as being twenty years long, but that can’t be literal. What might that numerologically represent?
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That’s quite interesting about her latest album. Sounds like she’s tapped into something. Probably not even conscious of it.
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Thank you for yet another insightful article.
You state that “Aryan figures should not be related to wolves, a nocturnal creature, inferior to the lion”.
A couple of thoughts on this one: The wolf is not solely nocturnal, is it, as it hunts at all times of the day?
And another quote I came over a while back may also give thoughts to ponder: The lion and the tiger may be more powerful, but the wolf will never perform in a circus.
Strength can be so many things.
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I make my arguments in that article. Really it comes down to how the animals were perceived by the ancients. And again, the wolf, especially in Jacob’s blessing, is placed in contrast to the lion, an animal long associated with rulership. Again, arguments are made in that article. I like dogs and wolves too and I think that’s why people tend to object to that article (when they do). One could argue “well, we should redeem the wolf and make him a symbol of nobility.” I would argue this would just be a misuse of an ancient established symbol language. It would also fail to exploit what I call Ingrained Symbol Response. Imagine if people had a similar fondness for the Donkey and wanted to use it as a symbol of their people etc. Jews wouldn’t stop them. There is something similar to consider here. People are of course free to do whatever they like – I’m only giving my recommendations. Also, while not an animal expert, my suspicion is that the reason wolves are not used in circuses is because they are not terribly exotic.
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Thanks for the answer. I see your point.
And I quite agree when it comes to the donkey ;-).
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