The Underworld as non-Aryan, “Sacred Prostitution” and Jewess as “Trivia”

In the contemporary JEM Jewish Esotericists use forms of the name Katherine to identify Jewesses. In comic books, the explicitly Jewish X-man Kitty Pryde, Daredevil’s love interest Karen Page and Tony Stark’s less well known love interest Kathleen Dare are three examples.[1] The reason for this is because Katherine is often thought to be derived from the name Hecate. This association sheds profound insight on an understanding of the Jewess from a Jewish Esoteric perspective.

Hecate or Trivia, as the Roman’s referred to her, is a goddess of “magic” and “liminal spaces” or “cross roads.” Next to figures like Vesta, Cybele and Terra, Trivia is a patron goddess of Wiccans to this day and is best understood as perhaps the most important inspiration for the witch in European folklore. Trivia serves a function similar to Mercury’s, she is a psychopomp or “soul guide” who leads souls into the underworld. This is seen as well with her association with “ghosts.” Here, as with Mercury, she guides the beautiful Aryan Psyche into the Underworld.

Here we understand “Underworld” in the manner the metaphor was esoterically intended. The Underworld of ancient mythology, with no exceptions, is the non-Aryan world. Thus “death” here is a metaphor, ultimately, for “racial death.” Since racial death is related to the intermixture of Aryan populations with non-White populations, even if often manifesting itself frequently as infertility among a demoralized Aryan population competing for diminishing resources, there is inherent sexual dimension to this. One way or another this is racial and sexual competition on a group level.

Likewise as Venus’ descent from the heavens into the ocean, after being severed from Caelus, represents the development of sexual promiscuity or availability among Aryan women, so also does the descent into the Underworld by figures like Inanna. Indeed the latter performs a ritual striptease in her descent, removing an item of clothing for every gate she passes through. That the gates are seven in number, a number that reoccurs in the Bible and mythology as a reference to the Jewish God, whether in a Jewish or proto-Jewish form, suggests her as being Semitized.

Here the metaphor is very simple, these women are “fallen” or have been brought “low.” Further, as this study explicates, that the tomb, cave or Underworld functions as a metaphor for a womb, into which Jewish or Proto-Jewish male figures enter and are reborn, persists through JEM and world symbolism more generally.

The name Trivia is, indeed, etymologically related to the word and concept of trivial. To wit, the word trivial comes from the Latin trivialis “common, commonplace, vulgar,” literally “belonging to the crossroads,” from trivium “place where three roads meet,” denoting an open, common or public place. Trivia was the goddess of such crossroads and the etymologic root is the same. Hence the name is similar to the epithet Pandemos when applied to Venus, meaning “of all the people” and denoting commonness and promiscuity.

Further with Trivia’s connection to street corners there is certainly a suggestion of prostitution. The etymology of Hecate, often believed to be derived from the Greek root ἑκών meaning “willing,” may also be suggestive. We will encounter similar allusions to prostitution or harlotry in the JEM. Hence we can be sure this connection is not without meaning.

Indeed, the 1982 book by Jewish scholar Edward Bristow Prostitution and Prejudice details the Jewish role in international “white slavery” or prostitution during the turn of the 19^th century. There he indicates that Jewish women were included among the offerings even if exceeded in their total numbers by Aryan women. There he indicates they were often running whorehouses as madams. [2]

We see this tendency continued today. Perhaps it is most obvious in the Jewish dominated porn industry. Unclean Lips: Obscenity, Jews and American Culture[3] by Jewish writer Josh Lambert documents this phenomenon quite convincingly. Here we must assume Jewish and Proto-Jewish involvement through successive civilizational periods even where records are unavailable. After all, the metaphor of prostitution or allusions to it, as we will discover, are imbedded throughout Jewish Religion as well as the Chthonic cults developing from Judaism or Proto-Judaism.

This is particularly evident in the Dumuzid, Tammuz, Adonis and Christ cults. Wherever there was “sacred prostitution” from Ishtar and Tammuz on down, we can assume proto-Jews or Jews were involved. With Inanna or Ishtar, the Jewish God was known as her consort. There he was known as Dumizid and then Tammuz, תַּמּוּז, a Mesopotamian equivalent of Adonis or Adonai.

The latter title of Adonai is a title by which Jews still refer to their God as this study explores. Tammuz, likewise, is even mentioned by name in Ezekiel 8:14. Though it is typically assumed he is understood there as distinct from Yahweh in this passage, this is at best unclear. This study argues that a closer examination of the text suggests Tammuz and Yahweh to be the same God.

The figure of Mary Magdalene, a prostitute and consort of Christ, appearing saliently in the Christ myth continues a prostitution theme. Bacchus too, a God of Orgies and decadent festivals which included “mad” female followers or maenads or Bacchantes, was understood as a Synonym of the Jewish God in the ancient world as this study discusses. That Jews will deny any connection to these Gods is as meaningful as any denial they might make regarding their leading role in the porn industry or media more generally. In fact, it is directly analogous. Thus we see “aspects” or “faces” of a Jewish God.

Trivia is often known as the Triple Goddess. Here, often, three different personages are associated with the Goddess. Commonly this triad is Selene, Diana and Proserpina. In some cases though it is Selene, Diana and Trivia. The first being in these triads is indicated as a celestial being, the second as an earthly being and the third as an underworld being. Typically, it is assumed that these three goddesses represent different phases of the moon, because at least two of the goddesses in the triad, Selene and Diana, are indicated are moon goddesses.

It’s my confident assertion, however, based on a long study of Myth and JEM, that these three Goddesses in this triad represent the transition from Aryan to Semitic. The celestial goddesses Selene and Diana, we will discover, are fundamentally Aryan, while the post-abduction underworld goddess Proserpina is Semitic. Their association to the lunar is a Semitic innovation, in my estimation, an esoteric reference to the Semitic moon God Nanna/Sin or a like lunar God or force.

In my estimation, almost certainly this symbolism traces to a sacred annual “marriage ritual,” practiced during the Third Dynasty of Ur. As described earlier in this study, here a Semitic king, playing the part of the mortal Dumuzid, would have sex with a priestess of Inanna/Ishtar who was acting the part of the celestial Goddess. These same Kings would then make their daughters resulting from these unions the priestess of the moon God Nanna/Sin in the city of Ur. Here the priestess of Inanna are understood as the desired Aryan breeding stock, the celestial Selene or Venus Urania, and the priestess of Nanna/Sin, the Semitized product, the Proserpina or Trivia.

Here, with the lunar, nocturnal symbolism, a Semitic influence, possession or insemination is insinuated. Indeed, we will discover that the number three has a seemingly consistent sexual connotation in the JEM. There it is, indeed, suggestive of a Semitic sexual domination or possession and even of insemination. Whether this number three, used in this manner, is a reference to the Triple Goddess or is a reference to an earlier seasonal or lunar association that influenced the Triple Goddess is unclear. Though the latter seems likely.

Indeed, the moon God Nanna or Sin was identified with the sacred number “30.” Here ostensibly he is given rank relative to the founding Aryan God Anu who was associated with the number “60.” Regardless, it is likely, in my mind, the use of three in JEM is related to its association with Nanna or Sin.

Of course, there are other possible inspirations for the number three used in this manner. For example, in Mesopotamia we see an important, salient triad consisting of one Aryan male, the sun God Utu/Shamash, one Aryan female, Inanna/Ishtar and one Semitic or proto-Jewish figure, the moon God Nanna/Sin. Though Utu and Inanna are understood as twin siblings, akin to the latter Apollo and Diana, this siblinghood might be understood as a “racial siblinghood” as I argue with Apollo and Diana, elsewhere in this study.

Likely this triad describes a love triangle of sorts, where a Semitic male encroaches on an Aryan “familial” bloodline. Indeed, both Utu/Shamash and Inanna/Ishtar are listed early as the offspring of the Aryan sky father Anu or An, whereas the Semitic Nanna is listed as son of Enlil, a Saturnian Semitic figure, as this study will explicate. Though Nanna/Sin will also be indicated in some myths as father of the Utu/Shamash and Inanna/Ishtar. Likely this latter configuration indicates Semitic powers dominant. Here it should be remembered as well the Aryan Inanna/Ishtar would be paired with Semitic consorts in the Mesopotamian Religions most notably Dumuzid/Tammuz. Notably a Semitic female is absent from this triad. Competition here is for the Aryan breeding stock.

Possibly this triad has influenced the Christian notion of the Trinity where an Aryan primogenitor or Father, an absconding Semitic “Son of Man” and a female Aryan Holy Spirit are described. Perhaps as likely though, both male figures in the Trinity are intended as Jewish. In this case, the symbol would be indicating the dominance of a Jewish bloodline despite Aryan admixture, as Father and Son or “Alpha and Omega.”[4] This book explicates these constituent symbols.

Regardless, of the three Goddesses appearing in the “Triple Goddess,” the Jewess is the underworld Goddess, akin to Proserpina after her abduction or Trivia. Hence, to be clear, both Trivia and the post abduction Proserpina are best understood as the “final” Semitized woman in the Triple Goddess “transition.” This distinction, though, appears given as well to fire goddesses, oreads and mountain and earth goddesses, in general.

For the Jewess, though, particularly as she represents an active agent influencing Aryans, we will use the name Trivia, as it best captures the amorphous, liminal, deceptive, mobile, secondary and attendant nature of the Jewess. “Priestess of Sin” becomes another accurate term that may be used in a jocular manner. Doubtlessly this will be savored and embraced by certain roguish Jewesses in this day of ironic post-heavy metal Satanism. It is to be sure a compliment in its way.

Indeed, any man who has dated a bit in the urban centers of the world, or at least with a sense of adventure, will have invariably encountered the fortunate telling, Cabalistic, Tarot-card dealing Jewess. Not all such types will be Jewesses but this is a Jewish type. Indeed, this type is simply the most pronounced form of the mystical Jewess.

While perhaps still entirely unconscious, this type of Jewess is the Jewess “most in touch with herself.” In fact, “magic” is itself Jewish, Semitic or Magian. Indeed, the Magi, we will remember, is from whence the word Magic is derived. These power seeking, shape shifters, as The Histories describes them, were certainly proto-Jews. One cannot read Herodotus without arriving at this conclusion. Both Zoroaster and Mercury were understood by the Greeks as fathers of Magic.

Not infrequently this Jewess or Trivia is sexual and pleasure providing in nature. Again, “belonging to the crossroads.” And, when foolishly given the opportunity, she is influential among Aryan women. Here both a Jewish intelligence and a Semitic androgyny provides authority. Hence she plays a loosening or “spoiling” role among women, sanctifying if not encouraging an “enlightened,” “empowering” promiscuity. In myth, revealingly, Trivia is understood as stealing young maidens to assist in her magic, eventually turning them into nymphs.

Indeed, esoterically, as we will discover, Trivia is an “attendant” in the Semitic Bride Gathering Cult. Trivia’s role in the Eleusinian Mysteries appears to be, in part, a social function whereby she helps the Aryan Ceres mourn and accept the loss of her child, Kore. Again, she likewise appears in the underworld as an attendant to the abducted bride, Proserpina. Hence it seems, we see friendships appearing between Aryan and Semitic females that assists the function of Semitic men gaining access to Aryan women. Strikingly Trivia is ultimately understood as a single goddess, a spinster. Such, apparently, is her reward.

To be clear, obviously, I don’t suggest the Jewess consciously plays the role of assistant in the Aryan Kore’s abduction by the Semitic Pluto. Clearly, she would refuse to play it given a conscious choice and a clear understanding of her role. Though, on the other hand, theoretically, in some especially self-aware cases, she may come to understand herself as a pleasure-seeking terminus, as a coping mechanism. Generally, though, I contend these roles are assumed out of commands implanted by JEM. To wit, as are all, she is formed of myth. Hence the Jewess or Trivia is an unconscious “Sussman,” a term explicated in this book.

Trivia has two aspects. First, she is the Jewess and guide of the Aryan into the Semitic underworld. Second, she is the very emblem of this racial transformation completed. Thus in some important sense, like the Dwarves of Norse mythology, Jews don’t have women per se. Women appear rather as a kind of bartering resource, where a disingenuous honoring of the Jewess, a woman who has Semitized, is done merely to raise her value vis-à-vis hosts, so as to lower the relative price of an Aryan woman who has not been Semitized.

This is not to deny that women don’t also represent a “resource” to Aryan men, as much as Aryan men represent a resource to Aryan women. Here though the survival of the Aryan race marks these Aryan women as irreplaceable, untradeable, priceless. Jews do not operate under the same constraints. As in all things, Aryans are a solar, producing, creating race and Jews a mercantile, arbitraging race.

“Auxiliary Woman” also becomes a descriptive term of the Jewess. These “auxiliary women” are especially important when Jews are ostensible outcasts, necessarily hidden or on the move again and the Aryan Kore is no longer as easily available to them. Here they play the role of the underworld goddess Proserpina, whom the Semitic Adonis spends one third of the year with.

Of course, here it is well known that Adonis prefers Venus, thus Jupiter, in his folly, allows Adonis two thirds of the year with the Aryan Goddess. As a consequence, we no longer honor Jupiter, among the most profound symbols of Aryan ancestry developed hitherto. This was a capitulation to “The Seasonal,” the Saturnian. We assume a myth, Semitic in origin, made Jupiter’s judgment this “generous.” This will change.

Trivia, like Prometheus and Bacchus, is also understood as a torch bearing deity. She is the Aryan Kore’s torch-bearing guide into the underworld. Indeed, as fate would have it, we honor Trivia saliently in America, if unwittingly. She is our torch bearing “Lady Liberty.” The Roman Goddess Libertas, a Goddess of freed slaves, is understood as the inspiration for the Statue of Liberty. However Libertas and Trivia should be regarded synonymous. The word Liberty and the name Libertas traces ultimately to Liber a name for Bacchus, one of the important forms of the Jewish God.

Trivia is an attendant of the Jewish God as this study reveals, whether he is called Bacchus, Pluto, Mercury or Yahweh. Hence Emma Lazarus poem “The New Colossus” where she dubs the figure “Mother of Exiles” is actually quite apt. In the poem this “Mother of Exiles” is indicated as standing next to the “Golden door,” again, a Goddess of liminal spaces. Gold is a reference to Aryans in the JEM, as this study explores, hence Lazarus, or her influences, may have been consciously indicating the door as a symbol of access to Aryans. Surely we will one day scrap this maudlin monstrosity and erect in its place a “brazen giant of Greek fame.”[5] To be a creative race again, we must also be a destructive one as well as a conscious one. ‘Merican Boomers be damned.

When these uber feminists we know as Jewesses are told that they are mere attendants, expendable instruments in a quest for better stock, after believing themselves an equally rewarded partner, they will know this to be true with every fiber of their being. They will know themselves aligned with cheaters that use them, not casually, but by Religious prerogative. These women are not wives of Jews. They are “camp followers” in a campaign fleeing precisely from them. Worse, they are tricked into doing the “fighting” as well as the cooking.

The process of demoralization, as Jews have helpfully shown us, is the separating of a man from his “soul,” his women, the beautiful Psyche. It is the process of mocking, belittling and villainizing them in the eyes of their own women while receiving no sudden, swift and complete comeuppance. This epithet Trivia, used esoterically by Jewish artists to describe the phenomenon of the Jewess, we will put into use to demoralize. This is how one destroys an enemy “supply line.” This is the Apollonian Transmission. It exposes.

 

[1] Jewish Esotericists Chris Claremont, Stan Lee and David Micheline are the creators respectively. All three characters were created through the Marvel brand from 1964 to 1988.

[2] Bristow, Edward, Prostitution and Prejudice (New York, NY, Schocken,1st American edition,1983)

[3] Lambert, Josh, Unclean Lips: Obscenity, Jews and American Culture (New York, NY: NYU Press, 2013).

[4] “Alpha and Omega” is a phrase appearing in both the Hebrew Bible and the New Testament, in the Book of Isaiah and Revelation respectively. It suggests a Jewish God or synonymic Messiah in the beginning and the end of a competition with adversaries.

[5] “Mother of Exiles”, “Golden door” and “brazen giant of Greek fame” are all quoted from Emma Lazarus’ 1883 sonnet, The New Colossus.