Let the Wind Speak.....

 

MARY DE RACHEWILTZ

(9th of July 1925 - 24th of July 2026)

SEE ALSO:

The Italian Cantos of Ezra Pound

Electronic Poetic Mysticism

Written

By

Mariusz Mandarynka

 I remember always dreaming that Edgar Froese would one day turn to the works of his dark literary namesake. Edgar Allan Poe is, after all, a perfect subject for musical visionaries like Froese. As we know, The Alan Parsons Project handled this theme brilliantly on their debut album from 1976. One could also mention the dark masterpiece by Peter Hammill, leader of Van der Graaf Generator — The Fall of the House of Usher — as well as Lou Reed, who together with a group of friends created The Raven, something like a rock opera inspired by Poe’s stories.

And now, here it is — my wish has finally come true. I admit I had doubts whether Froese could truly capture the gloomy atmosphere of Poe’s tales. In my mind, I hoped the music would revolve around the minor-key moods of Tangerine Dream’s excellent film score Motta Atma, and… fortunately, that is exactly what happened.

Of course, there is no trace of the stereotypical Tangerine Dream sequencer patterns from recent years. For example, the astonishing track “Fay Bewitching The Moon” surprised me in the best possible way. It is precisely this element of unpredictability in Froese’s music that I love so much. It’s true that in recent years his compositions have become somewhat predictable, but the fantastic, fiery cello performance moved me deeply. The musical background is also fascinating — reminiscent of his old solo albums. These pulsing, misty synthesizers tell a story, I think a mysterious one, as if something is lurking on a path full of surprising paranormal phenomena. I see beautiful yet dark visions, something like a polar aurora on the horizon, something foggy passing by… hmm… perhaps hallucinations, illusions? I must admit, the magic of this piece overwhelms me, and the only disappointment is its short duration. A pity. Every self-respecting lover of the “mandarin dream” simply must obtain this album for this mystical track alone.

But that is not the last enchantment on this release. Here comes “Cycle Of Eternity”, which begins in darkness and then transforms into an extraordinary, eclectic musical journey. Once again, we hear cello improvisations, beautifully highlighting the historical aspect of the era in which the extraordinary protagonist of this musical tale lived and created. There are graceful melodies that gently weave into a ticking, sizzling pulse forming the backbone of this intriguing composition. The combination of cello and modern synthesizers fills me with admiration — something that hasn’t often happened in Tangerine Dream’s recent productions. Is this the end of my subjective impressions? Not at all.

“Death In The Shadow”, as its dark title suggests, is not a trip to a sunny beach — it is an entry into the mysterious, shadowy world of Poe’s stories. Froese’s musical vision introduces his modern instrumental palette, and fortunately it does not clash with Poe’s darkness. The electronics open our senses even further; through various sonic details Froese expands my admiration for what Poe once created with his pen.

The final composition, “Darkness Veiling The Night”, is a very melancholic ending to the album. The sonic ornaments are surprising, and the music — despite dealing with a dark subject — is charming and gives a kind of positive energy. At least that’s how I perceive it; this is only my subjective commentary. But I think it would be very unfair to dismiss this release as “just another Edgar production.” Absolutely not. If someone disagrees, so be it. I fear that in an era of emotionless music consumption, in these schizophrenic times, this Tangerine Dream work may be forgotten. I listen to this disc again and again, constantly discovering fascinating sonic details. To encourage Tangerine Dream fans to buy this album, I’ll mention the characteristic analog sounds used by Froese — the very ones that defined the band’s sonic identity in the 1980s. Those who love such now‑cult albums as Poland, Exit, or White Eagle will, thanks to The Island Of The Fay, once again experience moments of mandarin‑colored delight.

I strongly recommend this new Tangerine Dream work. Yes — work of art. I have absolutely no doubt about that.

SEE ALSO:

Dante's Inferno

The Solitude of Heroic Death

The grave steel of the shipwrecked Demokleides – A minimalist work from the 4th century BC about the immenseness of the sea, the solitude and the pain of a heroic death.

The deceased Demokleides, son of Demetrius - his name is engraved on the epistyle, above his head - is depicted sitting on the ground with his knees raised, in front of the prow of a war trireme, as indicated by the protruding, curved ram.

He wears a tunic with short sleeves and sits on his chlamys. He has placed his weapons, a shield and a Corinthian helmet, next to him. He was a hoplite.

He supports his head with his right hand, resting on his knees, immersed in immense sadness for his lost life or for his cruel fate that destined him to remain unburied far from his homeland.

The sculptor emphasizes the idea of the infinite sea by shrinking the figure of Demokleides, placing him high on the stele, leaving a large void to occupy the greater area of the column, thus emphasizing the dramatic effect of his story.

The abstraction and minimalism of the column are accentuated by the absence of colors that would once have emphasized the details of the ship. The lower smooth part of the column would have been colored light blue to indicate the sea.

Both the armament and especially the ship's ram testify that the young man met a heroic death in a naval battle. The stele was probably erected by his family over his cenotaph, in his homeland, since the sea became his grave.

SOURCE: Hellenic National Archaeological Museum

Archetypes , Myths and Reality

 

Since there is too much fuss lately about Nolan's trash-film and the herds of ignorants, racially inferior and other similar degenerates claiming that Homeric Epics are "myths" and not reality (and based on that any of their Heroes can of any race), here is the message that the archaeologist Henrich Schliemann sent to King George of Greece. Schliemann based his research upon the Homer and also other ancient sources so to locate the original places that Homer describe on Iliad. The Mycenae and Troy. With this proved that the Homeric Epics were not just fantasy but stories based on real historical facts.

"With great joy I announce to your Majesty that I have discovered the monuments which the tradition proclaimed by Pausanaias indicated to be the tombs of Agamemnon, Cassandra,  Eurymedon, and their companions, all slain at the banquet by Clytemnestra and her lover Aegisthus. These tombs enclosed by a double, parallel circle of slabs, which was undoubtedly built in honon of the aforementioned great persons.

I found in the tombs an immense treasure of archaeological objects of pure gold. This treasure alone is enough to fill a great museum, which will be the most magnificent in the world, and which for all the ages to come will draw myriads of foreigners to Greece from every land.  Since I labor from a pure and sole love of science, I have no claim whatsoever, and rightly so, upon this treasure, which I hand over with boundless enthusiasm, untouched, to Greece. May it be, Your Majesty, that with God's help these treasures become the cornerstone of immense national wealth."

Heinrich Schliemann , 28 November 1876

SEE ALSO:

MYCENAE 2022 - The Birthplace of Hellas

A Fallen Raven

THE THIRD RAVEN

by

ROGER "B.WAR" SVENSSON

(1965 -2026)

I Carve my runes upon a cairnstone surface

 A powerful pattern that will crush the walls to the unknown

I kill my eye as a bloodbounds sign

Generating powers that sleeping far beyond and down below

A warlock timeless strong I will be

With farces to see more than man can see Wise as the mountain I'll prowl the world

The trinities last perfection

The Allfathers Eye

I'll be the third

One eyed God who rule the night

Grant me a part of your sempiternal might

Use me as your messenger

The third raven your second night

The Nornor Goddessess knows my fate

I'll walk right through the greatest of gates

Walls of spears

Roof of shields

In the Golden Hall I'll kneel in fear

For the one enslaver of my mind

Until this night I've enlarged my mind With secrets of most dreadful kind

Obscure rites have revealed the truth

I can not stop now

I can not choose

A warlock timeless strong I'll be

With forces to see more than man can see

I'll be the third

One eyed God who rule the night

Grant me a part of your sempiternal might

Use me as your messenger

The third raven your second sight

I let myself fall into an ancient lake

I break it's silent mirror like face

It's name is the sake that I defend

A Midgard worm- Nor beginning nor end

The Nornor Goddessess knows my fate

I'll walk right through the greatest of Gates

Walls of spears

Roof of shields

In the Golden Hall I'll kneel

For the one enslaver of my mind

The greatest God that man can find

The Racialist Friedrich Nietzsche

 

A collection of various quotes and notes from Friedrich Nietzsche's work that directly reflects his racialist worldview

"The Greeks believed in a difference of races."

(Nachl, Spring–Summer 1875, KSA 8, 5[72])

"There is only nobility by birth, only nobility by blood Where 'aristocrats of the spirit' are spoken of, there is usually no lack of reasons to conceal something; it is notoriously a favorite word among ambitious Jews.

Spirit alone, namely, does not ennoble; rather, it first needs something

that ennobles the spirit.

What does it need for this? Blood."

(Nachl., August–September 1885, KSA 11, 41[3]).

"It would not be possible that a person does not to have the qualities

and preferences of his parents and ancestors in his body: whatever

appearances may say against it. This is the problem of race. 

'... with the help of the best education

and cultivation, one will only succeed in deceiving about such an

inheritance."

(Beyond Good and Evil)

"The descent from good ancestors constitutes the true nobility of birth;

a single interruption in that chain, an evil ancestor therefore,

nullifies the nobility of birth."

(Human, All Too Human)

"Perhaps as a consequence of the crossing of too foreign races (or of

classes, classes always express differences in origin and race: the

European 'Weltschmerz', the 'pessimism' of the nineteenth century, is

essentially the consequence of an irrationally sudden class mixing)"

(On the Genealogy of Morality, Essay III)

"It is completely in order that we have no religion of oppressed Aryan

races: for that is a contradiction: a master race is on top, or it

perishes."

(Nachl., Spring 1888, KSA 13, 14[195])

"Essentially, the subjected race has finally regained the upper hand

there, in color, shortness of skull, perhaps even in the intellectual

and social instincts: who can guarantee to us whether modern democracy,

the even more modern anarchism, and especially that inclination for

'Commune', for the most primitive form of society, which is now common

to all the socialists of Europe, does not in the main signify a

monstrous atavism, and that the conqueror and master race, that of the

Aryans, is not physiologically being vanquished?"

(On the Genealogy of Morality, First Essay)

"Some pack of blonde beasts of prey, a conqueror and master race which,

organized for war and with the ability to organize, unhesitatingly lays

its terrible claws upon a populace perhaps tremendously superior in

numbers but still formless and nomad. That is after all how the 'state'

began on earth."

(On the Genealogy of Morality, Second Essay)

"How much falsehood and swamp is needed to raise racial questions in

today's mishmash Europe."

(Nachl., Summer 1886–Autumn 1887, KSA 12, 5[52])

"The spell of definite grammatical functions is ultimately the spell of

physiological value judgments and racial conditions."

(Beyond Good and Evil)

"One may be perfectly justified in being always afraid of the blonde

beast that lies at the base of all noble races and in being on one's

guard: but who would not a hundred times prefer to fear when one can

also admire, than to be safe from fear, but thereby eternally condemned

to the disgusting sight of the ill-constituted, dwarfed, atrophied, and

poisoned. And is not this our fate?"

(On the Genealogy of Morality, First Essay)

The Golden Sun and the War of Religions

 

June 21, 1920

Summer Solstice, I have ordered my Cossacks to light fires on all the hills surrounding Dauria. The Bolshevik partisans will certainly wonder what trick we are preparing for them. Its simply another revolution, which will be a little more terrible than theirs. They worship the red star. We celebrate the golden sun. Its a war of religions

Roman Von Ungern-Sternberg

Drosoulites - The Ghost Riders of Crete

 

Nearly 200 years ago, one of the many glorious chapters of the 1821 Greek War of Independence was written in Crete. Although its outcome was far from victorious.

It was the battle between the men of the brave commander Hatzimichalis Dalianis, who were defending Frangokastello — an imposing Venetian-built fortress — against the hordes of Mustafa Pasha. It was May 18, 1828. The battle was fierce but unequal. The Greeks were defeated, leaving behind 338 dead, among them Dalianis.

From this sacrifice, another legend was born. As the bodies of the Greeks remained unburied and were quickly covered by sand, their souls were said to never find rest. And since then, every year around this time — in the days following the battle, late May or early June — just before dawn, human-shaped shadows appear on the castle walls, moving one after another for 8–10 minutes, resembling the heroic warriors of Dalianis. In a silent, otherworldly procession of mourning, a kind of annual memorial they hold for their disembodied selves before disappearing into the sea.

These are the famous Drosoulites. Well known in Crete ever since, but their fame has spread beyond the island and Greece, attracting significant international scientific interest.

Scientists from various fields have at times visited Frangokastello to observe the phenomenon firsthand and attempt to interpret it. Visitors from around the world patiently wait for hours, trying to confirm a reality that fuels their imagination.

Some claim they have clearly seen the Drosoulites — as shadows under specific conditions of high humidity and calm winds, just before sunrise during the relevant time period mentioned above. However, the phenomenon has never been officially recorded, as the light at those hours is minimal.

The first sightings were made by shepherds, who saw above the Monastery of Agios Charalambos an entire army of black human-like shadows, foot soldiers and horsemen with weapons and swords advancing toward the sea. Frangokastello — the “castle of the Franks” — is located in southwestern Crete, in the Chania region, about 12 km east of Chora Sfakion.

It was built between 1371–1374 by the Venetians at the request of the Sfakians to protect the area from pirates, and later came under Ottoman control when they conquered Crete. It was used as a base to suppress ongoing Cretan uprisings. This brings us to 1828.

The legend of the Drosoulites is so strong that much later, one morning in 1942, German soldiers also claimed to have seen several armed men in formation walking into the castle. They took defensive positions thinking they were rebels or intruders; according to some accounts, they even opened fire on the shadows.

Some scientists attributed the human shapes to shadows cast from the mountains onto the water vapor over the beach in front of the castle, others to mass autosuggestion, and others to mirages from soldiers in distant Libya under certain atmospheric conditions.

The most widespread explanation attributes the phenomenon to a simple optical illusion caused by the evaporation of morning dew. The light mist often created can produce shapes on the walls that may be perceived as human figures.

SOURCE: Legends and Mysteries Haunting Greece

One Sword out of Thousand

By Robert Fudali

 The story of the sword from the “Thousand Swords” session disappearing goes back to the days when, together with the Viking and Slavic warrior group “Ślężanie,” to which I belonged for several years, we took part in various archaeological and historical festivals. One of them was the famous Biskupin festival in 1997. Those were completely different times, we lived that world fully and authentically. Training sessions, journeys, camps, weapons, recreating ancient traditions and warrior crafts were part of everyday life, not just some weekend hobby.

After returning from Biskupin, my sword remained in the car of Thy Worshiper guitarist “Juby.” I was supposed to collect it later, once we found time to meet again. Juby was also a member of the “Ślężanie” group and regularly participated in our training sessions. He helped us a lot by giving us access to his father’s workshop, where we forged and crafted our own swords, knives, and daggers. We traveled together on many expeditions in his old Volkswagen van. In the basement of his house, where Thy Worshiper had their rehearsal room, Graveland held some of its very first rehearsals as well.

I trusted him completely, so I was never worried that the sword stayed with him for such a long time after we came back from the festival. After a few months, however, all contact with him suddenly disappeared. Around half a year later, I learned that Juby had died. I think he was probably the first close friend I lost at such a young age. At that age, death still feels distant and unreal, so the news hit me very hard.

After his death, the sword was never recovered. Nobody knew where he had hidden it or what had happened to it. Perhaps it still lies forgotten somewhere among old relics from those years. The truth is that I never tried to search for it aggressively. I did not want to intrude on his family during such a difficult time or come to them asking questions about an old sword. And that is how the story of the weapon used during the “Thousand Swords” photo session came to an end, a relic of a completely different era of my life.

In the attached photos, the first image shows the sword photographed in 1992. The second photo shows part of our “Ślężanie” group returning from Biskupin in 1997, standing beside Juby’s vehicle, he is standing on the far right side of the picture.

Source: Graveland's official facebook page

BLOG'S COMMENT: 

This post done in honour of Graveland's true spirit which was in the period 1992 - 1997

Gates of Heaven

"This film explores the architectural and spiritual significance of Gothic cathedrals, framing them as a profound human attempt to mirror divine order and symbolize the structure of the universe. During the 12th-century "springtime of civilization," European society channeled its collective faith and energy into constructing these monumental edifices, using geometry, intricate iconography, and light to bridge the gap between the earthly and the eternal. Beyond their role as sites of worship, cathedrals served as the holistic centers of medieval life—functioning as schools, civic hubs, and encyclopedias of human knowledge—until the shifting tides of history and the rise of new worldviews transformed them from living centers of meaning into enduring, yet silent, monuments of a bygone era. Ultimately, the documentary suggests that while the Gothic dream was transient, the cathedrals remain powerful testaments to the timeless human longing to find purpose, unity, and communion with the creator."

SEE ALSO: Kenneth Clark's Civilisation

The Voice of a Gone Age

 

Lorica Segmentata

 

The decline of Lorica Segmentata, the iconic Roman banded iron armor, can be attributed to several practical factors. While it offered excellent protection, its complex construction made it time-consuming and expensive to produce, and difficult to maintain, especially under the pressures of the 3rd century AD. The armor required skilled labor for repairs, which became a significant challenge during a time of increased military demands and economic strain. 

Moreover, Lorica Segmentata was uncomfortable to wear, restricting movement and obstructing breathing, which made it less suitable for the more mobile and irregular combat that characterized the 3rd-century military landscape. The armor also had issues with corrosion, as the iron strips and rivets could react with moisture and wear down over time. As a result, simpler forms of armor like Lorica Hamata (chainmail) and Lorica Squamata (scale armor) gained popularity due to their practicality, flexibility, and easier maintenance. 

These alternatives provided adequate protection and better comfort, making them more suited to the evolving needs of the Roman army. Ultimately, these factors led to the phasing out of Lorica Segmentata, which was no longer as viable for the Roman forces facing the challenges of the 3rd century.

SOURCE: The Ancient History Hub

We Will Return!

20th of April

1946 - 2026

 

The Seer of Race

 “When we therefore ask, ‘Who is our authority?’ there is only one answer: ‘the voice of our blood.’ We can add that this voice was once unclear and unintelligible, but has become comprehensible through the words of the great seers of our race—those who were conscious when we were still unconscious; above all, through our Führer, Adolf Hitler.”

J.C. Nachenius - A Portrait of the Reich

Lightning's Light and Fire

 So would I die

As then I saw him die,

The friend, who like a god

Into my darkling youth

Threw lightning's light and fire:

Buoyant yet deep was he,

Yea, in the battle's strife

With the bright dancer's heart.

Amid the warriors

His was the lightest heart,

Amid the conquerors

His brow was dark with thought—

He was a fate poised on his destiny:

Unbending, casting thought into the past

And future, such was he.

Fearful beneath the weight of victory,

Yet chanting, as both victory and death

Came hand and hand to him.

Commanding even as he lay in death,

And his command that man annihilate.

So would I die

As then I saw him die,

Victorious and destroying.

FRIEDRICH NIETZSCHE - The Last Desire

The Hellenic Tradition of Spring

 

A small terracotta votive plaque describes rituals for the cycle of life, death and the rebirth of nature and reminds us that Spring and light always return…

Ninion's votive plaque is dedicated to the two great goddesses of Eleusis, Demeter and Persephone and depicts sacred ceremonies of the Eleusinian Mysteries.

The figures in the main scene are arranged in two rows. At the top, Demeter seated on the "secret cista", Persephone standing and holding the torches and the torch-bearer Iakchos respectively below, receive the procession of initiates, men and women, arriving at the Sanctuary.

In the middle of the lower row the wreathed omphalos and two interscting bakchoi, symbols of the mystery rites.

The third divine figure, sitting at the at the bottom right, has not been identified with certainty

The pediment depicts figures of participants in the pannychis, the all-night feast, while the female figure on the left accompanies them playing the flute. All worshippers are crowned and hold blossoming branches and staffs, while the women have the sacred vessel, the kernos, fastened on their heads.

Source: Hellenic National Archaeological Museum

The Axis of Resistance - A Remembrance

 

The Epstein Regime

“The power of Jewry—both of blood and of mind—instrumentalized the global power of the USA and, through the worldwide enforcement of the capitalist system, brought forth the Judeo-American Empire. This did not result in a formal world dominion, but in a formless world economy. Thus, the peoples were not cast into bondage—which might have allowed for their liberation—but into cattlehood, in which they are herded, milked, shorn, and ritually slaughtered. The world economy is world genocide, for it is the global dehumanization into cattle. The recapture of humanity from this animalization—through the resurrection of the peoples, their cultures, and their gods—is one and the same process as the downfall of the Judeo-American Empire.”

HORST MAHLER

The Jews and their Ways

 

“The Jews regard as profane all that we hold sacred; on the other hand, they permit all that we abhor.”

“The other customs of the Jews are base and abominable, and owe their persistence to their depravity.”

“The Jews are extremely loyal toward one another, and always ready to show compassion, but toward every other people they feel only hate and enmity.”

“They sit apart at meals, and they sleep apart, and although as a race they are prone to lust, they abstain from intercourse with foreign women; yet among themselves nothing is unlawful.”

“Those who are converted to their ways… the earliest lesson they receive is to despise the gods, to disown their country, and to regard their parents, children, and brothers as of little account.”

PUBLIUS CORNELIUS TACITUS - Histories 

The Spartan Shield

In the ancient times, these shields carried by Spartan warriors, a

symbol of discipline, unity, and strength. Known as a hoplon or aspis,

this large, round, bronze-faced shield was central to the phalanx

formation, where each soldier's shield protected not only himself but

also the comrade to his left.

The prominent Greek letter lambda (Λ) emblazoned on its surface

represented Laconia, the region of Sparta, instantly identifying the

bearer as a Spartan hoplite. This was not merely decoration; it was a

bold declaration of identity and a psychological tool meant to

intimidate foes on the battlefield.

The shield's design and the lambda symbol have endured through history,

immortalized in legend and popular culture as the ultimate emblem of

Spartan military prowess and sacrifice. It remains a powerful testament

to a society built around martial excellence and collective defense

Source: Archaeohistories

Cathedral of Light

 

The Cathedral of Light was a striking visual spectacle created during

the 1937 Nuremberg rally, drawing over one million guests who filled the

grounds with an overwhelming sense of scale and energy. The attendees,

made up of party members and general visitors, were greeted by a display

designed by Albert Speer, Hitler’s chief architect, which used hundreds

of searchlights placed vertically along the perimeter, projecting beams

straight into the night sky. The columns of light created the impression

of a massive glowing cathedral, transforming the open rally grounds into

a space of awe and grandeur.

The rally itself was a meticulously orchestrated event, combining

parades, speeches, and ceremonies with the dramatic backdrop of the

Cathedral of Light. Observers frequently noted the breathtaking scale of

the display, which seemed to reach endlessly into the sky, and the way

the lights framed the massive crowd below. The sheer number of

participants, coupled with the striking visual design, gave the rally an

almost mystical atmosphere, making the gathering an unforgettable

experience for those in attendance.

The combination of architecture, lighting, and the immense human

presence made the 1937 rally and its Cathedral of Light a singular event

in visual spectacle. The towering beams, stretching into the night,

created a sense of unity and magnitude, leaving a lasting impression on

all who witnessed it. Even today, it is remembered as an extraordinary

example of theatrical design applied on a monumental scale, showing how

light, space, and mass attendance can combine to create a profound

sensory impact.

SOURCE: Question Antiquity

The Spartan Creed

THE SPARTAN CREED 

By 

Tyrtaeus

I would not say anything for a man nor take account of him 

for any speed of his feet or wrestling skill he might have, 

not if he had the size of a Cyclops and strength to go with it, 

not if he could outrun Bóreas, the North Wind of Thrace, 

not if he were more handsome and gracefully formed than Tithónos, 

or had more riches than Midas had, or Kínyras too, 

not if he were more of a king than Tantalid Pelops, 

or had the power of speech and persuasion Adrastos had, 

not if he had all splendors except for a fighting spirit. 

 For no man ever proves himself a good man in war 

unless he can endure to face the blood and the slaughter, 

go close against the enemy and fight with his hands.

Here is courage, mankind’s finest possession, here is

the noblest prize that a young man can endeavor to win,

and it is a good thing his city and all the people share with him

when a man plants his feet and stands in the foremost spears

relentlessly, all thought of foul flight completely forgotten,

and has well trained his heart to be steadfast and to endure,

and with words encourages the man who is stationed beside him.

Here is a man who proves himself to be valiant in war.

With a sudden rush he turns to flight the rugged battalions

of the enemy, and sustains the beating waves of assault.

And he who so falls among the champions and loses his sweet life,

so blessing with honor his city, his father, and all his people,

with wounds in his chest, where the spear that he was facing has

 transfixed

that massive guard of his shield, and gone through his breastplate as

 well,

why, such a man is lamented alike by the young and the elders,

and all his city goes into mourning and grieves for his loss.

His tomb is pointed to with pride, and so are his children,

and his children’s children, and afterward all the race that is his.

His shining glory is never forgotten, his name is remembered,

and he becomes an immortal, though he lies under the ground,

when one who was a brave man has been killed by the furious War

 God

standing his ground and fighting hard for his children and land.

But if he escapes the doom of death, the destroyer of bodies,

and wins his battle, and bright renown for the work of his spear,

 all men give place to him alike, the youth and the elders,

and much joy comes his way before he goes down to the dead.

Aging, he has reputation among his citizens. No one

tries to interfere with his honors or all he deserves;

all men withdraw before his presence, and yield their seats to him,

the youth, and the men his age, and even those older than he.

Thus a man should endeavor to reach this high place of courage

with all his heart, and, so trying, never be backward in war.

Translated by Richmond Lattimore

Messenger of the Gods

 “He is a medium, German policy is not made; it is revealed through Hitler. He is the mouthpiece of the Gods of old… He is the Sybil, the Delphic oracle... So you see, Hitler is a medicine man, a spiritual vessel, a demi-deity or, even better, a myth.” 

 Dr. Carl Gustav Jung - interview with H.R. Knickerbocker, 1939

Talking Frankly

 

A video-biography with David Irving talking about his life, family, writting career and persecutions as an advocator of true history.

SEE ALSO:

Thought-Provoking Perspectives on 20th Century History

Goering, a Biography

Follow The Trail of The Fox