The Ring, the Reich, and Redemption

The Aryan Christ

Instant recap, Chapter 1: Millions of white Christians believe that their Savior is not Jewish.

Chapter 2: In the late 19th century many leading lights of European high culture hearkened to Richard Wagner’s vision of an Aryan Christ.
aryan-christ-3

3. The Ring, the Reich, and Redemption

The crowning achievement of Richard Wagner’s long career was The Ring of the Nibelung, a cycle of four operas which gave a creative new expression to ancient German folklore, and hence revived it in the Volk-soul as Wagner consciously intended. Among the lead characters are the Gods and Goddesses of the Wotanic pantheon. Following the plot of the original myth, their interactions with the mortals under their dominion devolve into the apocalyptic Gotterdammerung through a combination of mortal folly, divine imperfection, and the dark tapestry of fate.

Many latter-day pundits have been struck by the similarity of the Ring Cycle to the rise and fall of the Third Reich, and some even believe it was a grand prophecy. This lends a larger-than-life significance to Wagner’s final opera, Parsifal, in which he showed how the German people could attain redemption after the archetypal tragedy of the Ring.  Thus we can carry forth this meaning and apply it in the sense of the fulfilled prophecy: what secrets does it hold for atonement and rebirth of the white racial soul in the ongoing aftermath of the cataclysm of World War II?

Based on the late medieval legend of the “pure fool” who becomes a knight and attains the Holy Grail, Parsifal is Wagner’s instrument for his grand plan of spiritual and racial redemption. The leader of the Grail Knights is Amfortas, “the proud king of a conquering race” (quotes are from the libretto of the opera). He succumbs to the seductions of a harlot, and in that moment of weakness he gets unmanned by his own spear, wielded by his enemy Klingsor, a black magician who represents Jewry. The prophecied agent of Amfortas’ salvation is Parsifal, but to accomplish the miracle he must weather the snares of Kundry, a wild woman with witch powers who is in the service of Klingsor. It was she who brought Amfortas to ruin, and beguiles the innocent Parsifal with “love’s first kiss”. But instead of lust it awakens in him empathy and compassion. He rebukes her implorations to have sex, and thus attains the purity he needs to defeat Klingsor and reclaim the spear. He then brings it to the Grail Castle and uses it to magically heal Amfortas. Kundry returns with him and gets baptized, then sinks into death as Parsifal and the Grail assembly celebrate their redemption with hymns of praise.

The story behind the story is that Parsifal recapitulates the key plot elements of the Ring Cycle and lifts them to a higher plateau. The ring that was forged from the pure gold of the Rhine becomes the Grail. Both symbolize Spirit taking on a material form to serve the aims of men, but the ring is for power and the Grail is for purification. Siegfried, the mortal protagonist of the Ring, performed mighty heroic deeds like his mythic predecessors ~ and like his successors in the Third Reich. In fiction and fact the heroism led to failure and defeat, and in Parsifal it’s seen as empty, hollow action and is replaced by a nobler kind of effort. Siegfried boasted that he would perform “new deeds” beyond human reckoning, and was echoed by Hitler in his speeches, his plans of conquest, and his hope of creating the Übermensch. This is recast in the very first scene in which Par-sifal appears: he shoots down a swan held sacred by the Grail Knights, who upbraid him for this foolish act and his “wild boyish deeds”. He repents, breaks his bow and throws away his arrows, forsaking the childish cruelty that feels no compassion for that which it slays. This enabled his physical strength and warrior’s prowess to become spiritualized, empowering him to defeat Klingsor and heal Amfortas.

This pattern of symbolism feeds into the ultimate meaning of the opera, which was well understood not only by the inner circle of Wagnerites but also a much broader base of followers and opera buffs. Adolf Hitler loved Parsifal so much that as soon as he became Führer he ordered the issuance of a postage stamp commemorating it. In brief, Amfortas represents original Christianity which debased itself under the spell of the Jew and thus received the wound from the Spear that pierced the side of Christ, implicitly a castration. Parsifal is the hero-savior of the new Christianity, the Aryan Christ who resists the temptation to defile his blood and his honor, and hence recovers the Spear, symbolizing Aryan manhood and will, now restored to a state of grace. The reuniting of Spear and Grail in the climactic scene is a divine mating which begets a purified Aryan Volk-soul incarnate in the mystical body of Grail Knights. The Knights will then go forth and spread the new Spirit throughout Pan-Germania ~ all the lands of the Aryans.

These words convey only the intellective aspect of the meaning of Parsifal, whereas the crux is the emotional-spiritual content, which can be transmitted only by the music and imagery. For true devotees, its performance at Bayreuth was an annual religious experience of the highest order, and still is for a select few. This was exactly the effect Wagner designed into the opera; his view was that the old Christianity had become fossilized into lifeless forms, and fragmented into the countless competing sects. As an initiate of the mysteries he knew that the living spark of Spirit was buried deep inside these forms, and he worked with the conviction that high art could rescue true religion.

To convey a sense of the inner message of Parsifal, we note first that the characters describe the rite of the unveiling of the Grail as a “love feast”, which echoes the nature of the early Christian Church before it got “fossilized”. But it would be a mistake to interpret the opera as essentially Christian like Nietzsche did, prejudicing his followers against it ever since. Wagner knew that the mystery lives in the heart of all true religions, like the Buddhism which he studied enthusiastically. Though Christ and his sacrifice are alluded to many times, the “holy name” is never mentioned explicitly in Parsifal. Wagner’s stage directions state that the garb of the Grail Order should be similar to the Knights Templars, except that the red cross is replaced by a “hovering dove” ~ clearly evoking the Holy Spirit (Heiligen Geist), but a more universal symbol than the cross.

The message also drew from philosophy and literature: Schopenhauer and Shakespeare, as well as religion East and West. For indeed it’s simply the essence of what the most enlightened members of humanity have been trying to convey to their willfully ignorant brethren since the race began: renounce selfish interests, cast off your contempt for those you consider inferior, discover true compassion, embark on the great work of serving (dienen, dienen), repent your misdeeds, forgive and be forgiven, be willing to suffer and make atonement, pass through the fire of purification, become cleansed and redeemed.

This was the message that was ignored and defied by Wotan and Siegfried in the Ring Cycle, and by Hitler and Himmler who perfectly embodied their archetypes and met their predestined doom. Thereafter the black magic of Klingsor’s castle cast its pall over the world, embodied as the “global village” dominated by Jewish finance, Zionist politics, and cultural Marxism. In his private discourse Wagner said that “Siegfried should have turned into Parsifal and redeemed Wotan.” Here then is the key, the magical formula which can finally vanquish Klingsor and annihilate his black world order.

To this day, white nationalist Faustians, Nietzscheans, and Odinists persist in the avidya (spiritual ignorance) that the enlightened mind and compassionate heart are symptoms of weakness and cowardice. They echo the contemptuous slur on the Aryan Christ as “that pale Galilean”. The truth is that only a man filled with the fire of Spirit can wield the Spear of Destiny and cut down his adversaries as if they were enemies of God. Only a warrior whose heart overflows with the blood of the Grail is exempt from the natural law that exacts an eye for an eye and a life for a life ~ because his is the eye of the Infinite Creator who begets all beings as shards of himself and sees even the vilest foes as himself in disguise. Therefore he loves his enemy, but knows that his duty is to slay him nevertheless. This is the holy warrior for whom God ordains victory, but he pays for it with an anguish unknown to the primitive hordes ~ for just think how much harder it is to kill someone you love than someone you hate!

Not every soldier is capable of such spiritual depth, but to successfully wage Gotteskrieg ~ true holy war ~ an army must be under the command of a man who has fought it within his own heart and conquered himself.

To be continued

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4 thoughts on “The Ring, the Reich, and Redemption

  1. Very well written (as always). The last paragraphs brought to mind the Bhagavad Gita, when Arjuna felt nauseated at the idea of battling his cousins and uncles in the opposing force, and so he refused to fight. Krishna reminded him that, as a born warrior, it was his duty to fight, and without duty society inevitably fails.

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