REM: Racial Esoteric Moralization

Propaganda, Art, Religion, Myth as race forming synonyms

Broadly the subject of my study is world mythology but particularly what might be called European or Western Mythology.  The subject is made even more expansive when one considers my contention that Propaganda, Myth, Religion, Culture, Media and Art are nigh exact synonyms.  Here the variance is only in the mistaken tone of each word and thus the importance subscribed to it.  Though, in each instance, it is my contention, the effect is no less profound.

Rather whatever one puts before themselves, particularly what deeply impresses them, they venerate in ways that form them decisively, “psychologically”, “morally” and ultimately genetically. After all, invariably these works posit models of “moral” conduct and desired mating types, whether implicitly or more explicitly. In the second instance we understand the term “fertility god.”

Here we understand as well, every fertility god promotes not merely fertility, but a type of breeding, especially toward a type of man, visible in the “Art” or implied by the “Art”, where beauty is not singular among criteria as it is with regards to women.  Here we understand every story that gains currency and is remembered is a “cult”, whether temples appear in its honor or otherwise.  This is especially true of those characters appearing in those stories that are fondly remembered.

Jews, we will learn, have taken this for granted since the ancient period, never losing this understanding.  The parable that describes Jacob’s claiming of Laban’s flock of white sheep in Genesis 30 reveals this clearly.   In a deal Jacob makes with his father-in-Law Laban, Jacob is to receive all of the less desirable spotted, speckled or black sheep of the herd.   Here, to be clear, the sheep, consistent with the Christian metaphor, are humans.

Jacob's flock.jpg
Jacob, thief and darkener of Laban’s flock.

To turn the flock speckled, so he can claim it, Jacob makes white stripes on the branches of trees by peeling the bark and exposing the inner white wood.  Then he makes certain his flock is always looking at these striped trees. In this manner he encourages a mixed color also among the sheep.  Indeed, by this means alone, their offspring are born speckled and darkened.

Obviously, it is implied, that viewing the stripped trees informs the sheep’s mating selection.  Hence the parable, however esoterically conveyed, demonstrates an unequivocal understanding of REM or Racial Esoteric Moralization as a means of directing breeding.  The persistence of the Hebrew Bible has made certain this knowledge and these techniques would be passed on generationally.

Incidentally, the trees were made up of plane, poplar and almond trees.  The latter two are sacred to Pluto and Attis respectively.  This, as we will discover, is a clear reference to the Chthonic and the Semitic.  These are not insignificant details for one in the “know.”  Of course, the myth of Pygmalion hints at something similar.  There the sculptor, Pygmalion, wished the ivory statute he had created of a beautiful woman to life.   This is Art, it births, it brings to life.   Said in a more common way, life imitates Art and not vice versa.

Doubtlessly Propaganda, Religion, Myth and Art has its most profound effect on women whom emerge as “choosers” in the mating game.  Thus as well, these Myths, Religions, Culture, Media and Art emerge as mating song.  The goal here is to position a certain type of man as chooser to the extent this can be achieved. This is not to deny that the parenting of individuals and the influence of family and local community often provide strong countervailing influences.  Though, in the end, these are primarily, merely retarding, vestigial influences, stemming from a wary older generation.  In other words, these familial influences simply slow a process and are insignificant in the grand direction of things.

Indeed, my subject expands even further with the contention that these synonyms, Myth, Religion, Culture and even “mere” Art are race forming.  And to be clear, this is distinct from the thesis that all of the above form from race, rather than vice versa.  Rather my premise holds that a few artists or “myth-makers,” their inspirers and their patrons, through important works, as might Gods, form race.

Let us take for instance, the European-derived Christian today.  Without a doubt he is formed of the mollifying parables of apostolic scribes and is importantly distinct from the earlier race from which he was formed, precisely as Jews are, from the race they were originally formed. This formation, whether this man remains officially a Christian or not, seems to account, for instance, in large part, for his passivity in the face of “multiculturalism” and his obligatory acceptance of mass immigration from the non-white world.  Indeed, in some sense, as we will discover, multiculturalism especially coupled with a tolerance of Zionism, is an esoteric Christianity finally revealed, made explicit.

Thus the notion that Christianity is merely a shroud the Aryan wears is a false one.  Indeed, Christianity has not merely formed the Christian by many successive generations it has selected him often among men who refused this Art and Myth.  This remains true even if the genes of some crypto-atheists and “converso”pagans persisted as clearly they have.  Indeed, we will discover clearly in the JEM, or Jewish Esoteric Moralization, that Jews share this opinion.  To wit, the Christian is no longer the Roman.

The Christian that doubts this, doubts the affect and meaning of his own Religion, believing himself unchanged by a God he insists is his creator, a changer who makes him better!  The Christian that doubts this believes himself no more “moral” than the pagan and Christendom no more moral than a pagan Rome.  Thus why is he a Christian?  Because his “benevolent” God damns to hell people who do not believe in his most dubious “truth”?

My premise, of course, does not discount the existence of the likely pre-human race or races before the appearance of the very earliest artists and myth-makers, ostensibly unformed by myth.  However it does assert Myth, as we shall call all these closely related things generically, as the mechanism that produces racial divergence.   Invariably this shift is inspired by a phenomenon I will term Racial Esoteric Moralization.

Indeed, in this work I will posit that the most salient and abiding forms of Myth, Religion and Art, whether appearing from Aryans or Semites, are the result of a conscious desire to moralize, form or improve one’s own race or ethnic group, invariably at the expense of other types.  They are not, as is commonly posited, a way of explaining natural or supernatural phenomena, merely describing the world poetically or “exploring the human condition.”

Here, ultimately, Jung’s idea of a collective unconsciousness is of only limited value. While certainly we accept myths and parables arise from a collective unconscious, I will attempt to demonstrate here, that the most important, abiding, and influential myths arise from an artist’s conscious aligning of symbols so as to transmit messages from one generation to the next.

Indeed, the humble Stan Lee, the most important artist in the comic-book genre, one of the primary areas of focus in my study, alludes to this phenomenon in a deleted scene from the 2014 film The Amazing Spider-man 2.  While Lee is Executive Producer on the film —often a ceremonial or financial role— his influence is palpably felt throughout, as it is with all projects in which he is closely involved.

Here, in a revision of the Spider-man parable, Peter Parker’s father, Richard, believed to be long dead, reappears suddenly to his son.  Before his disappearance, Richard left his son a clue allowing him to discover the secret to his power.  The secret?  The irradiated spider that famously turned Peter Parker into Spider-man had been combined with his father’s own DNA, thereby making it a power only Peter could possess.

Believed-deceased Richard Parker appears to his son Peter Parker in the 2014 film The Amazing Spider-man 2.

Richard says to his son Peter:

“I used to be arrogant.  Arrogant enough to believe it was my destiny to save people, to save the world, my work, but somehow, after everything I did to hide my work, it still found its way to the only person on earth that could possibly unlock it.”

As it will become clear, in this scene, the “work” of which Richard speaks functions as a metaphor generally for encoded parables created by Stan Lee and like-minded artists. In the same scene, Richard Parker says, “Now we both speak for the dead.  If you lose hope, then the Osborns of the world really have won.” As we will discover, the “Osborns” is certainly a specific reference to Aryan adversaries.  The symbolism of the Spider-man parable will make this clear.

Very often, Jews watching these films or reading these comics, will understand this message of racial pride, even if not in all its particulars, while an Aryan will typically miss it.  Here Jews are far more likely to be aware of the Jewish or non-Jewishness of creators. Then, once it is determined the artist is Jewish, closer attention is paid for veiled yet unmistakable messages.

Indeed, the Hebrew word chidah, חִידָה, appears to offer insight here.  It means “puzzle”, “riddle”, “enigma” but also “parable.”   This is something Aryans have for a very long time missed.    To wit, Jewish “parable”, JEM, is also “riddle”, “puzzle.”  Indeed, the otherwise soporific Hebrew Bible and the New Testament, for instance, become far more interesting once you realize this.

However, my contention is that such a conscious viewership, readership or understanding of texts among Jews or Aryans is not required for these parables to have their desired effect.  Rather, the programing is largely subliminal, and thus deeper and more influential. Hence the artist, through the use of symbols, functions as a type of hypnotist, inducing a state of hypnosis.  To wit, “an artificially induced trance state resembling sleep, characterized by heightened susceptibility to suggestion.”    Indeed, this was also the premise of “Mystery Religions” in the ancient world.  And, as we will discover, a great deal of that very symbolism is preserved in JEM today.

My premise holds, these stories act primarily on the subconscious—though here meanings are decodable to a careful reader, who acts on his best intuition and takes as few creative leaps as possible.  Here the closer one may become a “translator,” as opposed to an “interpreter” or “analyzer,” the better.  In fact, my premise holds, for REM to function effectively, whether upon a conscious or unconscious audience, it must be comprised of symbols rendered coherently, and thus is by definition decodable.   If it is too obscure than it cannot be impactful.  Hence this is also its weakness.  The message may be intercepted.

Here also, though, I posit the idea that well-constructed, symbol-wise, abiding REM, has one ultimate, primary meaning and function, however often consciously disguised by other meanings.  Likewise it always eventually performs this function regardless of how it is interpreted by those who venerate and keep it.  Hence for example, the intention of Christianity is carried out through Christians even while individual Christians misinterpreted or are oblivious to the real intention of Christianity.   In fact, I contend, Christianity never would have been adopted had its esoteric messaging been understood.

These intentions or functions of a work of REM cannot be changed willy-nilly because one simply desires it to function in a different way and to a different end.  For this he needs a new consciously developed construction.   Hence it is wrong to ever say Christianity is interpretable.  This the zealot Christian gets right.  Though in every case, save the racially conscious, Christian crypto-Jew, the Christian has misinterpreted.

The power of the stories themselves derives from a “racial animus” or latent energy which is sensed by everyone to whom the story is related but only understood by a few and these few in only varying and incomplete degrees.  Indeed, in the end, we admit, only the artist knows precisely what he intended with each detail, regardless of what he delivered.  Though in many important and influential cases we can glean a very full understanding of intention and, perhaps, in some cases an almost exact understanding.  That is part of our goal here.

Race is, as Nietzsche remarked, fundamental.   Hence a work cannot be suffused with, nor energized by, a more powerful subtext. Thus Jung’s concept of the collective unconscious comes primarily to describe this: a people reacting subconsciously to myths that have been consciously rendered and often through the design of relatively few artists.

Indeed, we posit as a rule, that whatever abides in culture and myth is meaningful, even if not beneficial or moralizing to all the racial types that insist on their preservation.  Poison apples may keep as long others.  That is until they are thrown out.  Hence the identity of “Traditionalist” without further, even careful explication, becomes the stupidest and most useless designation.  It is at best entirely undescriptive.  It is rather to say, I am for all that has come before whether beneficial or harmful.  And there has been harm since Sumer.

The view offered here is invariably a more elitist view of myth creation, referring primarily to the most important and abiding myths, especially those that become Religion.  Here one may be able to establish a trend, if not broad among artists, occurring among important works, influential in impact.  In fact, again, the salience and power of these works is owed to REM if also a conscious economic promotion. Likewise, too broad a trend by itself would be dangerous or anathema to deployment of effective JEM, for instance.

After all, esotericism requires by its definition that only a few “be in the know” whether through interaction with other esotericists or largely through deductions they’ve made on their own by divining the meaning of important texts, contemporary, old and ancient.  The trend here seems to be suggestive of both phenomena, particularly when occurring in a pre-internet or early internet age where information is less easily gathered, verified and more importantly filtered and focused.  It will be important for the reader to remember, particularly when we discuss the more obscure bits of esoterica, the vast majority of the works we cover here were developed before the advent of the internet.

In other words, it would be difficult in the extreme for a single artist to sift through important texts, prioritize valuable symbols, confidently understand their meaning and then deploy them in a narrative without a “shared community knowledge.” Likewise, as discussed, a sense is given that there is a conscious receiver at the end of these encrypted communiqué which would by definition require a hidden “shared community knowledge.”

In the case of JEM, the thesis of single artists operating in isolation is disproved by the unmistakable reoccurrence of not merely specific themes but a specific deployment of symbols among multiple Jewish artist, where myth symbols are consistently given a specific meaning, hitherto obscure to Aryans. Rather the trend is suggestive of a community, likely quite finite —to wit, few Jews— aware of symbol meanings and sharing these meanings with one another.

To be clear, repetition is in order, a few Jews.   Most Jews we may confidently classify as “Sussmen” drawing this term from an important Coen Brothers parable that we will cover.  That is, briefly: unwitting Jews fulfilling the aims of conscious Jews, typically, nevertheless, unshakably loyal to Judaism itself.  Their loyalty is itself sown by JEM.

Image result for dr. sussman coen brothers
Dr. Sussman in the Coen Brother’s 2009 film A Serious man.  Ultimately he signifies the “unconscious Jew.”

Both the cohesion and secrecy we encounter among Jewish Esotercists is all the more remarkable when we consider that, at least in the modern context, all of these Jewish artists were frequently working closely with Aryan artists, with the latter acting frequently as illustrators, producers, actors, directors of photography, directors and even writers.

These same Aryan artists, nevertheless, when primary creators themselves, consistently fail to demonstrate understanding of this shared symbolism.  Likewise, these Non-Jewish artists, taken as a whole, display little inclination or ability to develop AIM, Aryan Inner Moralization, through the same common symbols, except, in isolated instances, by accident.

Here we perhaps at last best understand the notion of an “oral tradition.” “Secret keeping”, rather than the “training of memory” becomes the important piece of it. Indeed, the “training of memory” of the “oral tradition,” in the end, may merely stand as a euphemism for the secret sharing of symbol meanings appearing in disguised tribal works of Art, Myth and Religion.  Here a people ensure important works are transmitted into the future.  Likewise they ensure the passing of a “symbol craft” which descendants might employ to the same effect, namely, the moralization of their race through symbol use and parable.   This Chthonic secrecy is fundamentally Semitic.

In contrast, the written, public document or whatever medium our ancestors used to communicate to us and we to our descendants, represents the collective racial memory of Aryans, the proverbial Library of Alexandria. Here is where I hope to posit this important work in that proverbial library.  This latter “open source method” is “constructive,” at least in the civilizational sense.  There all accumulated knowledge is not coveted as “trade secrets” but becomes available to the best minds amongst our people and may be “built upon.”  This is the sunlight of Apollo, contrasted with the coveted, stolen, hidden fire of Prometheus.   We shall call it “Apollonian Transmission” in contrast to “Promethean Transmission.” It reveals all, bringing fertility and life to the best and strongest.

Christianity, Communism and Multiculturalism alike, or Jewry in short, are movements that showed this accumulated knowledge vulnerable.  Hence arises the need for two things.  First we require the steadfast protection of such accumulated knowledge such as appears in this study.  Second, and perhaps more importantly, we require carefully crafted, indelible myths that may survive despite the destruction of a wide understanding of their meaning and the art and temples erected in their honor.  This is but one reason we also require Racial Esoteric Moralization.

To be clear, while this study will focus on JEM, REM is, of course, not only a Jewish phenomenon.  It is also a phenomenon that has seen something of an Aryan equivalent in artists like Richard Wagner, Robert E. Howard and JRR Tolkien however imperfectly deployed.   There at least there was the conscious attempt to develop REM even if the phenomenon was yet to be articulated.  It’s most profound and imitable manifestation among Aryans, however, was in the Myths and cults of Jupiter, Apollo and Mars.

With the Apollo cult in particular REM was consciously inserted by the artist and Religion creators. Likewise it would be consciously corrupted.  Certainly REM may arise, unconsciously, out of a “Jungian instinct.”   Certainly as well, these Jungian instincts are also worthy of analysis.  After all, an artist will reveal much about himself and even the people of whom he is a representative quite unwittingly.  Yet this study is primarily interested in Myth where it developed consciously, especially among Jews or proto-Jews.  Likewise it is interested in the conscious development of it on the behalf Aryans.

This study will explore REM in ancient myth, both Semitic and Aryan.  It will also explore REM in present day society but primarily where it appears almost exclusively, in contemporary Jewish popular art, in JEM.  In addition to a treatment, evaluation and decoding of key ancient myths and texts, that will become critical to our discussion of contemporary instances of Racial or Jewish Esoteric Moralization, we will discuss key reoccurring themes and motifs in Jewish Art, through all periods.  These include works openly submitted by Jews and, where we have reason to suspect, submitted cryptically or in a “racially anonymous” manner.

Here our task is not simply familiarizing ourselves with general archetypes, but rather understanding at last the true meaning of these archetypes, particularly as they are descriptive of a racial competition between Aryan and Semite.   Here we will find, I argue, a quite specific language of symbols that is, in fact, a common symbol language, that has of late, mostly served Jews, but may as readily become the tool of the Aryan artist and an enlightened Aryan audience.   Nay.  It must become the tool of the Aryan artist.  Likewise the final goal of the Aryan artist must be “Religion” or the sacralizing of AIM, Aryan Inner Moralization.

Read more here: R.E.M Part II: A.I.M versus J.E.M  and here: REM Part III: A New Definition of Culture: Pan-Culture Versus Petty Culture

Video introductions to my thesis: