Addressing the Claim that Ancient Religions are Lost

Men complain that old religions cannot be resurrected. Typically this argument comes from Christians so it is rarely offered in good faith. Here though one detects the sigh of exhaustion and a call to slumber. Rigor mortis sets in. It is just as well. Such projects require too much energy and creativity for them. In fact, the project itself is entirely misunderstood by them. Nevertheless the argument is worth addressing.

There they claim, the continuity is broken, the knowledge of symbols lost. As this study reveals, the knowledge of symbols is not lost. Rather, it is very much in the process of only now being recovered and understood. Likewise, Christians for their part have by necessity never understood the symbolism of their “Mystery Religion.” Indeed, Christian parable and symbolism has no greater “continuity” than any symbol or story that has survived from Sumer. Truly, none, after reading this study, will advocate for a mindless recreation of old pagan practices and rituals, many of which were obviously imperfect or deleterious. Not even the cult of Apollo, in the parables by which it is known to us, is free from taint.

The way forward is only through a conscious and intelligent deployment of symbols. We shall give our Religion and Art the following definition. Apolloism is anything delivered through any medium which contains AIM (Aryan Inner Moralization) or explicit moralization, decently and charismatically conveyed. To wit, that which moralizes the Aryan race in a eugenic direction. Said another way, that which praises Apollo and curses his enemies. This is our one “dogma.”

If the alignment of symbols in parable or Art serve this purpose then they are sacred. If not, they are profane. And when we assume power these profane things will be outlawed or heartlessly mocked, whatever proves effective. Yet creation should always be encouraged. Artists should be impelled to create ever greater works of AIM. By this method alone does a Religion become a “living tradition,” with a living God. Naturally that parable and Art which is deemed salubrious will be kept and ritualized. These alone we will called the “Classics.” The rest is dross.

Religious Ritual versus the Creation of Art and Religion

Conservers are important for our race and serve the creators. Yet without them, the creator creates nothing that lasts more than a day. Hence while creators are known finally by their ability to charm conservers into their service whilst creating AIM, honor shall go to conservers. The maintaining and promoting of important works, whether of Art or ideas, is part of this. Ritual too is part of this. Religious ritual is comprised of three components:

• The retelling or disseminating of an important parable through whatever medium.
• The knowledgeable interpretation and explication of the parable to a flock. This is important so the reason the Myth should abide is understood.
• And lastly, a flock’s theatrical performing of some central act occurring in the parable to impress and reinforce its lesson and symbols in the mind.

The first and the third are especially meaningful to women and children. Gathering in a theater to watch a film or  play  may have meaning in this day only if that film is a source of REM for this community or that. Then it becomes a vital and important place of even “Religion,” community building and Bride Gathering. Then it actually has a purpose. Here an audience is joined in a prayer to, veneration to and celebration of its tribal God as he is made manifest through heroes or “masked Gods” appearing in parable. But until the Aryan controls his media, the movie theater or playhouse for him is just one more place to suffer alienation.

Incidentally, video games have a strong ritualistic element, where frequently the player is cast in the role of the hero of some parable tasked with completing a symbolic act. There are important concerns here, as there are with any relatively passive or solitary consumption of media, but the propagandistic value of video games, where empathy to parabolic heroes may in some manner be intensified, are obvious. Their value vis-à-vis out-groups, as a means of propagandizing Aryans and disseminating AIM, as with cinema and television, is especially great. One actually becomes the hero.

Once we reestablish a sacred Art, through parables enriched with AIM, these rituals will become a celebration of this Art, to reinforce its lessons in our children’s minds. They will be a time for men and women to come together to realize they have a sacred mission and to plot an “Aryan Bride Gathering” for their children and friends.

They will be celebrations of life and its continuance and not a fretting over death. A benevolent God of Death forgives us for living our lives. We honor Pluto by trusting him in this manner. We believe in his ultimate goodness and his love of Jupiter’s children, as Jupiter is his king. Those who beg their whole lives for Pluto’s or Yahweh’s forgiveness, by this name or that, reveal that they believe him evil. And yet we understand the metaphor of the Underworld appearing among the Romans and Greeks as also one describing a racial dissolution and a racial Underworld. This dissolution and “real death” occurs only when we honor the Semitic Underworld Gods over the Celestial Aryan Gods.