Robert E Howard - The Warrior Poet

By 

Renzo Parodi

Robert E. Howard wrote. A lot. And not only prose but also a lot of introspective and dark poetry. Many probably have heard of him because of his most well known characters. But that was not all. He wrote about historical fantasy, science fiction inspired by Edgar Burroughs and his Martian series, Boxing Stories as he was an amateur boxing fanatic himself, Weird Fiction focused upon the so called “Yellow Peril” so present at that time. And not to forget his “Racial Memory” stories, influenced by the late writer Jack London and his novel “Star Rover”. Also, as he belonged to H.P Lovecraft’s inner circle of writers, he wrote a lot of Horror Stories influenced by the Lovecraftian Mythos.

His writings have been very hard to find in proper volumes as they used to appear scattered around in small books and even smaller magazines. However, The Robert E. Howard Foundation has taken enormous work in classifying, collecting and releasing in proper volumes all those works almost forgotten by the major public. Anyone interested not only in Weird Fantasy, Pulp literature but also epic and obscure poetry should visit Howard’s Foundation webstore and choose your path.

https://rehpress.com

Sounds of Asa-Thor

 ...the destroyer of the destroyers!

Available from:

https://black-metal-vendor.com/en/

The Holy Mountain

 

A dancer, Diotima (Leni Riefenstahl), meets an engineer and skier, Karl (Luis Trenker), at his cottage in the mountains. This dancer that loves the sea, and this skier loves the rock fall in love, and have an affair.

One of Karl's young friends, Vigo (Ernst Petersen), meets the dancer after a presentation and she gives her scarf with a smile to him, the infatuated friend mistakenly believes that she is in love with him.

Karl sees Diotima innocently caressing Vigo, and the engineer mistakenly believes that she is betraying him with his friend.

Karl decides to commit suicide and invites Vigo to climb the dreadful Santo Mountain North face during the winter thaw with him. His best friend joins Karl on the tragic journey up the nearest Alp.

Half way up a daring mountain climb, Karl and Vigo stop for a rest on a narrow ledge when a chance remark by Vigo, makes Karl realize that it was Vigo who was groping his fiancée. He is so furious that he makes a threatening gesture in close proximity towards Vigo, who instinctively steps back, over a precipice. But, Karl and Vigo are roped together! In order to save himself, Karl must rescue the dangling Vigo ... and in the process he makes a few self-discoveries.

At the end a caption reads that loyalty was the highest virtue of a person. The motto of the German SS was, "meine ehre heist treue" or My Honor is Loyalty. A virtue taken to an extreme degree.

A 1926 German melodramatic mountain film (German: Der heilige Berg) directed by Arnold Fanck, produced by Harry R. Sokal, written by Arnold Fanck and Hans Schneeberger, cinematography by Arnold Fanck, Hans Schneeberger, Sepp Allgeier and Helmar Lerski, starring Leni Riefenstahl, Luis Trenker, Frida Richard, Ernst Petersen, Friedrich Schneider, and Hannes Schneider. Screen debut appearances of Leontine Sagan, and future filmmaker Leni Riefenstahl.

German filmmaker Arnold Fanck single-handedly invented the Mountain Film movie genre.

Leni Riefenstahl  became a director in her own right. Evidently Hitler was impressed by her work and asked her to make Nazi propaganda films for him and she did, later made famous or infamous as the documenter of Nazi Germany in 'Triumph of the Will' (the 1934 Nuremburg rally) and 'Olympiad' (the 1936 Olympics).

Leni Riefenstahl directed the flower-filled springtime scenes in Interlaken as well as the scenes of the nighttime rescue party searching with their flares, when director Fanck was unavailable for both.

The name of Riefenstahl's dancer character, Diotima, had an association with classical Greek philosophy.She was a priestess who was supposed to have taught Socrates, and Plato makes her a character in his dialogue The Symposium in which she expounds on the nature of true love.

Shot at the Atelier Staaken studio in Berlin, Germany, and on locations in the mountains of the Alps in Switzerland over the course of one and half years. Filming was done in Upper Engadin, in Sils-Maria, a small Swiss village about 6 miles west of St. Moritz. Clearly recognizable are Mount Margna, and the village of Sils-Maria is visible with the Hotel Alpenrose and the Chesa Zuan, and there is also a beautiful view of the Silsersee with Maloja visible in the distance.

The film began production in January 1925, but then was delayed due to weather and hospitalization of three actors.

The shooting of the film itself was plagued by weather problems, ice kept melting, snow turned to slush and the whole project was nearly thrown out by UFA. 

The Ice Palace was 16 meters high and it took 4 weeks to build. Because the shootings were delayed and the temperature increased, it started melting and it had to be rebuilt again when the weather was cold enough to maintain it.

Popular in Berlin, where sold-out performances extended its premiere run for five weeks, it was also screened in Britain, France and US: the first international success of its director.

Some critics were not impressed with the film, one of the most expensive efforts released by the German studio Universum-Film Aktiengesellschaft (UFA) in a year which was otherwise marked by a policy of retrenchment and the departure of respected studio head Erich Pommer. The film was compared unfavourably with the much less costly "Madame Wants No Children" (1926) directed by Alexander Korda.

The excellent cinematography and the camera work are stunning considering the size, weight and technical resources of the equipment in this period. There is no trick photography in use here: that man really is peering over the edge of a sheer cliff with the front of his skis in mid-air, and the cameraman really is hurtling down the ski-slopes with his subjects as he captures how it feels to take part in a rugged ski race. The plot is naive for today's audience, but society in the silent days of 1926 German cinema had other moral concepts. The exciting photography and action sequences make this unique melodrama worth a view, and fascinating from a historical perspective.

Donald P. Borchers

The Eternal Fighting Spirit of 1821

 The Army Camp of Karaiskakis

by

 Theodoros Vryzakis 

This painting depicts the army camp of General Karaiskakis at Phaliron during Greek preparations to capture the Acropolis, besieged by the Turks, in April 1827. 

Greeks and philhellenes are arranged along a section in the foreground, while in the mid-ground on the right, the eye is guided towards the hill from which the leading officers of the army survey the battle field. In the background on the left can be seen the Acropolis. 

Almost in the centre, a Greek is leaning against an ancient marble in an allusion to the heritage of classical Greece. On the right, a priest is blessing the fighters. 

The officer in the blue uniform on the left is Bavarian philhellene Krazeisen, to whom the Greeks are grateful. He captured for posterity the figures of the 1821 freedom fighters as we know them today. It is from these drawings that Vryzakis sourced the portraits of the fighters on the hill: Karaiskakis, Makrygiannis, Tzavelas, Notaras, the Scot named Gordon, Englishman Hastings and Karl von Heideck, looking towards the Acropolis through a telescope. 

Heideck, who had first-hand experience of these events, painted the same subject, and Vryzakis quoted his painting much later, in 1855.

Source: National Gallery of Athens 

The Basic Needs of a Revolutionary

 

Or what you need to start a revolution:

1. A Regular wooden office 

2. A revolver & grenades

3. An Arditi Flag

THE PIC:

The office of Benito Mussolini in San Sepolcro, Milan in the early fascist period.

Forgotten Remains of True Europe

"Praise What Makes One Tough"

Taken from:

Forgotten Barracks of WW2

The God of Sleep

 

According to Hesiods Theogony, which was written in about 700 BC, Hypnos is the god of sleep, the son of Nyx (Night) and brother of Thanatos (Death). Like the latter, he lives where Night and Day meet and where Atlas is holding up the heavens. But while the merciless Thanatos has a heart of iron, Hypnos sweeps across land and sea, bringing peaceful and friendly sleep to men.

Hypnos, who according to Ovid (Metamorphoses 11.623) is the “gentlest” of the gods, is depicted as a naked youth, hurrying as though in flight, his torso bent forward and his right foot touching the ground only with its toes. In his outstretched right hand he is holding a horn from which a sleep-inducing liquid flows; his lowered left hand holds poppy capsules. Large wings, like those of the messenger of the gods, Hermes, are growing out of his full head of hair, which is held together by a band across his forehead and tied together in a knot at his neck. The sweeping gesture of his outstretched right arm corresponds to his right leg, which stretches backwards, while his left forearm points in the same direction as the left leg, on which his weight is resting.

The statuette is a smaller copy of a Greek original. The best-known copies are those in Madrid (marble) and London (bronze head), but unfortunately the original is not mentioned in the Classical literary sources. It is usually linked to artists of the 4th century BC (Praxiteles, Scopas, Leochares), but given the complexity of the motion depicted, it could also have been created in the later Hellenistic period.

The statuette comes from the collection of Joseph Angelo de France, who under Empress Maria Theresa was “director-general of the imperial and royal treasury, galleries and other precious collections”. He died in 1761, and his extensive collection of Classical bronzes was acquired from his heiress in 1808 for the Collection of Greek and Roman Antiquities.

SOURCE:

A Brief Guide to the Kunsthistorisches Museum. Edited by Wilfried Seipel. Vol. 4. Masterpieces in the Collection of Greek and Roman Antiquities. Kunsthistorisches Museum.

Fiume o Morte!

 

Black is The Night

 BLACK IS THE NIGHT 

Black is the night on the mountains 

Snow fall on the rocks. 

In the dark, in the wild nature, on the rough stones, the narrows, the klepht hits his sword.

In his right hand holds a thunderbolt.

The mountain is his palace, the sky his covering and the gun his hope.

The tyrants flee scared by his black knife.

With sweat rains his bread, he knows how to live with honor, and how to die.The wiliness runs the world and the unjust fate.

The bad owns the wealth and here on the rocks resides, the hidden virtue.

---

Origin: March of the Hellenic Army

Poetry by: Alexandros Rizos Ragavis

Theme: Based on the life of Hellenic fighters (Klephtes) of the revolution of 1821.

Photo: The creator of the poetry

The Soul of Chivalry

 

IN THE MIDDLE AGES OF EUROPE, numerous knightly orders emerged, their esoteric secrets kept only for the initiates. Their adepts were steeped in the prowess of warriors, but had a strict code of honour and piety that governed their conduct. The practice of these virtues was the aim of chivalry, and the goal was nothing less than the transformation of the knight into a type of fighting ascetic seeking the Holy Grail.

World of Tradition Films and PhilosophiCat Present a Cat Weiss feature-length documentary on knighthood in the Middle Ages of Europe.

The German Advance in Greece

Continuing from the previous post. From the official German propaganda newsreels, broadcasted in April 30 1941. The German advance in Greece. From the northern borders down to Athens.

Again, for decades the propaganda - lies from the so-called allies was that "the enemy is entering into empty towns with the population closed behind their locked houses". 

As you'll see, it happened exactly the oppposite!

 

Hellas in WW2 - Backstabbed and Sacrificed for the British Intrests

 

Few days ago an intresting article appered in one of the major news sites of Hellas. Its things that we,  National Socialists says for decades now, secrets well-kept by the history as it was written by the victors of 1945. Instead they kept repeating lies such as "we will not say that Greeks fight like heroes, but that heroes fight like Greeks" and crap like that. The truth is that back then, Hellas was backstabbed and sacrificed by its so called "allies" which at the same time they were negotiating with her enemy countries (like Turkey etc).

Here is the full article in english:

https://en.protothema.gr/2025/02/07/how-churchill-provoked-the-german-invasion-of-greece/

Some intresting parts of it:

"Mussolini decided to ask for a ceasefire with the help of the Germans but was blocked by the Foreign Minister and his son-in-law, Ciano. Meanwhile, the Germans, who probably disagreed with the Italian attack on Greece, seeing the tragic position of their allies, attempted to mediate to end the Greco-Italian War, “offering” Greece the territories of Northern Epirus that our Army had occupied."

"The Germans only requested the complete removal of all British forces from Greece. Despite the fact that the German proposal seriously occupied the Greek side, it was not implemented, mainly because the British exerted unbearable pressure on Metaxas to reject it. The death of Metaxas on January 29, 1941, is at least suspicious. In fact, some serious historians and researchers believe that Metaxas was murdered"

"Churchill to Mussolini: “If Italy deemed it appropriate to carry out an operation in Greece, Great Britain would not oppose it”!

"How Churchill hindered the arming of Greece by sending weapons to “neutral” Turkey!"

Youcan read far more details and background of war in the article

The Music of Romanticism

 

Last autumn and up untill January 5 of 2025, the Swedish Nationalmuseum held a very intresting exhibition titled "The Romantic Eye"

See more info here: 

https://www.nationalmuseum.se/en/the-romantic-eye

For this reason the museum also published online some playlist with music of Romanticism. Which you can see and listen here:

https://www.nationalmuseum.se/en/exhibitions/the-romantic-eye/the-music-of-romanticism

    If you ignore some conteporary trash (both in music and art) in general their collections were really good and accurate!

The Right Hand Salute - A Timeless European Tradition

 

"Oath of the Horatii"

by

 Jacques-Louis David (1784)

The Story Behind the Artwork

Jacques-Louis David’s "Oath of the Horatii" is a defining masterpiece of Neoclassical art, capturing the moment of heroic commitment to duty and sacrifice. The painting portrays three brothers, the Horatii, solemnly swearing allegiance to their father and their city, vowing to defend Rome against Alba Longa. The powerful narrative juxtaposes the stoic determination of the men with the emotional grief of the women, who foresee the personal toll of this noble act. David's masterpiece became a symbol of patriotism and civic virtue during the tumultuous years leading to the French Revolution.

Symbolism and Details

The Roman Salute:

The outstretched arms of the Horatii are a striking display of the Roman salute, symbolizing unwavering loyalty and submission to the ideals of the Republic. This gesture, with its origins in ancient Roman customs, became a visual shorthand for collective unity, civic responsibility, and the prioritization of the state above personal desires.

The Three Brothers:

Their rigid, geometric forms emphasize unity, strength, and resolve, embodying the ideals of sacrifice for the greater good.

The Father’s Gesture:

The elder Horatius holds the swords aloft, symbolizing authority, duty, and the transmission of responsibility.

The Grieving Women:

The emotional figures contrast sharply with the men, representing the personal cost of war, loss, and sacrifice.

The Architecture:

The Roman-inspired arches frame the scene, evoking the grandeur and order of classical antiquity, emphasizing themes of civic duty and loyalty.

SOURCE: Stories Behind Art

The Aryan Explorer of the Past

 "Many breeds of beasts I slaughtered, I fed greedy Fortune with murders, and I met many cities of the Underworld. I returned home in a bitter state with a heavy share of fortune and inevitable death. I managed to see my parents, friends and relatives. And now, I, Tillovoros, am buried in my beloved fatherland. The wife of Tillovoros Markiani built this tomb in memory of her husband"

A tombstone from the archeological museum of Veria, Hellas. Dated in 2nd century AD.

Parcifal - The Mystical Final Act of Richard Wagner

13th of January 1882

 Richard Wagner completes his final opera "Parsifal"

Parsifal is an opera in three acts composed by Richard Wagner with a libretto by the composer himself. It premiered on July 26, 1882, at the Bayreuth Festspielhaus, the theater Wagner designed specifically for his works. The opera is Wagner’s final completed composition and is often considered one of his most profound and spiritual works.

Story Overview:

The opera is based on medieval legends of the Holy Grail and the Arthurian knight Parsifal (Percival). It explores themes of redemption, compassion, and spiritual enlightenment.

Act 1:

 • In the forest near the Grail Castle, the knights of the Holy Grail suffer due to their king Amfortas’s wound, inflicted by his failure to resist the temptress Kundry.

 • Parsifal, a young and naive knight, appears, ignorant of his origins and destiny.

 • He is brought to the Grail Castle, where the sacred relics are kept, but fails to understand their significance.

Act 2:

 • At the castle of Klingsor, a magician who opposes the Grail knights, Kundry attempts to seduce Parsifal.

 • Parsifal resists her, realizing the suffering caused by desire and sin.

 • He defeats Klingsor and takes the sacred spear, which can heal Amfortas.

Act 3:

 • Years later, Parsifal returns to the Grail Castle, now in despair due to Amfortas’s worsening condition.

 • Parsifal uses the spear to heal Amfortas and becomes the new guardian of the Holy Grail.

 • The opera concludes with a vision of spiritual redemption.

Musical Significance:

“Parsifal” is noted for its profound and meditative music, with themes such as the “Dresden Amen” and the Grail leitmotif woven throughout. Wagner referred to it as a “stage-consecrating festival play” (Bühnenweihfestspiel), reflecting its unique status in his oeuvre.

Legacy:

The work has inspired intense devotion and controversy due to its religious and philosophical content. Its performances were restricted to Bayreuth for many years, honoring Wagner’s wishes.

SOURCES:

History of Music

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