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.
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.
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?
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.
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.