The Hellenic Wolf-God

 

Apollo the Wolf-God Monograph No. 8 — By Daniel E. Gerhenson
 

Daniel E. Gershensen uncovers a wide range of Apollo's links to wolves, wind-wolves, werewolves, and even to the ancient fraternities of human werewolves still remembered in parts of Europe into recent centuries. We read about the werewolf "army of the dead" that survived in Germanic folk lore as "the Wild Hunt," so faithfully recorded by the Brothers Grimm. Aristotle's Lyceum, or "wolf place", was so-named because it stood close to a temple dedicated to the wolf-god Apollo, who was also the god of knowledge. Even the English fairy tale about the Three Little Pigs, in which a wolf huff'd and puff'd to blow their houses down, is shown to be a survival from early beliefs about wind-wolves associated with Apollo in his capacity as a wind god.

"There is no doubt that the epithets of Apollo from the root lyk- are derived from the name of the wolf, and not from a root meaning "light"

 
Chapter titles in this revealing and well-documented study relate to:
 

Apollo and the Wolf;  

Evidence for the Wind Wolf;

 The Wolf-name in Toponymy; 

Heroes of Greek Myth who bear the Wolf-name or partake in its wider context;

 The Dolphin and the Wolf; 

The Wolf and Death; 

Werewolf-confraternities and wind evidence; 

The Stoic Explanation of the epithet Lykeios; 

The Trial of the werewolf named Old Thies, in 1691; Lykos and Lykeios

ISBN 0-941694-38-0

 

Source: Ancestral Europe

 

 

The Nordic Origins of Tolkien's Balrog

 

Tolkien's Balrog is based on Fire Ettins, described in Lokasenna stanza 42 as the sons of Muspell (fire) flying over Myrkvið (yes, Mirkwood, "The Dark Forest"). Even the name means "Fire Power" (Bál + Rök) in Norse.

Below: Surtr ("Black"), a Fire Ettin, wielding a flaming sword:

Lokasenna, 42:
Gulli keypta
léztu Gymis dóttur
ok seldir þitt svá sverð;
en er Múspells synir
ríða Myrkvið yfir,
veizt-a þú þá, vesall, hvé þú vegr.


In English:
You purchased
Gymir's daughter with gold,
and sold your sword:
when the sons of Muspell (fire)
ride over the dark forest (Mirkwood)
you, creep, don't know what to fight with.


Varg Vikernes - November 2020
Source : MyFaRog Twitter

SEE ALSO:
A Meeting of Giants
Tolkien's Middle Earth - A Historical Resemblance
Wolfhead, Tolkien and The Primal Fear of Man

 

David Irving's "True Himmler" Part I Book Is Out Now!

 

 "TWENTY years in the making, David Irving's biography of Heinrich Himmler, the man, is finally ready. In two parts, the first of which appears now, Irving describes from true documents the origins of Himmler, an educated man with a Classics teacher as his revered father, and his extraordinary career until the final dramatic hours of his life, raising an army of elite SS soldiers and men to stand for Germany and defend it against the secret Soviet plans to invade all of Europe in 1941. He becomes a most trusted ally of Adolf Hitler, and remains loyal to the end; when he hears of Hitler’s imminent death Himmler takes steps to contact the western Allies and offer them the assistance of the SS against the mighty Russian army. But the western capitals are by then powerless, sucked too far into the Soviet thrall.
 
Why twenty years? It has not been easy – or inexpensive – to retrieve the thousands of missing private papers, letters and diaries which vanished into unfriendly hands at the end. Mr Irving, already the finder of other secret records surrounding Hitler, identifies the current holders of scores of private letters – partly American, partly Israeli, their identities now oddly concealed by Germany newspaper editors and historians still wilting under the glare of the draconian Morgenthau Plan. (Mr Irving published a facsimile of the secret Plan from Oxford University archives). He uses secret British intercepts of SS messages, as well as Reinhard Heydrich’s papers and KGB files in Moscow archives.
 
The reputation of his young soldiers was systematically denigrated on the age-old principal Give a dog a bad name and hang him. Mr Irving’s suspicions, spelled out in the first and second part, are that Germany's enemies saw in the SS such a formidable enemy, and in Himmler such a formidable man, that they tracked him tracked down after the war ended, where his life was terminated; the very first chapter examines the circumstances of Himmler’s “suicide” more closely..." 
 
Available from FOCAL POINT PUBLICATIONS (Click on the name)

SEE ALSO:
David Irving's Himmler is Coming!

The War of All Against All

 

 “The coming years will prove increasingly cynical and cruel. People will definitely not slip into oblivion while hugging each other. The final stages in the life of humanity will be marked by the monstrous war of all against all: the amount of suffering will be maximal.”

PENTTI LINKOLA - Can Life Prevail? 

SEE ALSO:
THE COURSE OF EMPIRE - A Painting Series about The Rise and Fall of Civilization

The Knight At the Crossroads

The Knight At The Crossroads (1878)

By

Victor Vasnetsov

    Viktor Vasnetsov's The Knight at the Crossroads, painted in various incarnations between 1878 and 1882 is a world of myth, legend, and nation-building iconography from the supreme Russian Symbolist painter. Vasnetsov featured prominently in the popular mindset of nineteenth century Russian visual culture, combining a fantastical thematic approach with the realist principles of the contemporary Peredvizhniki movement. One of his best known canvases, The Knight at the Crossroads is an imagined reproduction of the chivalrous warrior of medieval folklore literally caught solemn at the crossroads of his journey. Although not achieving critical acclaim, Vasnetsov's work remained prevalent through his illustrations of fairy tale compilations, and The Knight at the Crossroads is one such example of his populist creations. However, it was not until the mid-1880s that Vasnetsov, adopting a more religious approach to his choice of themes, would attract the attention of the famous collector Pavel Mikhailovich Tretyakov.

First produced to illustrate an edition of Kievan Rus' oral epic 'Ilya Muromets and Robbers', The Knight at the Crossroads, the artist produced this oil reproduction for the noted industrialist and patron of the arts, Savva Mamontov. Removing the winding road and hiding the face of the forlorn rider, this second version is suffused with a melancholic despair at the fate of the knight. The utter lack of choice ahead of the rider is made more bitter by the inscription on the milestone which reads: "If you go left, you will lose your horse. If you go right, you will lose your head". An imagined reproduction of the most famous of all the bogatyr knights, Vasnetsov's contemplative rendering of Ilya Muromets is staged like an actual historical event. Such was the emotional charge and popularity of such epics; for the Russian people they were as relevant as history itself.

Source: 1st-art-gallery.com

 Life and Bio of the artist: https://en.wikipedia.org/wiki/Viktor_Vasnetsov

 

 

    

Hymn to The Fallen of November 9th

 

 

You dead heroes
Never were you nearer to us —,
Reminder, call, prayer —
As now when the Grim Reaper
Stands before us.
Never were you so necessary to us.
Towers in the storm of care.
Never were you as alive to us.
We are as acquainted with you as we are with death.
We listen for the call. And we hear
In the night, when all is silent
Your voices. They warn, they swear:
Not only victories! The victory!
As our flags sink
God goes as the wind through the field.
All our thanks and thoughts
Become deed. 

 

 GERHARD SCHUMANN

-

Who Was Gerhard Schumann

SEE ALSO:

The Putsch of 9th of November 1923

The Only Way Forward is Ragnarok

 

By Robert Furtkamp

“We are always convinced that the modern world is a reasonable world, basing our opinion on economic, political, and psychological factors. But if we may forget for a moment that we are living in the year of Our Lord 1936, and, laying aside our well-meaning, all-too-human reasonableness, may burden God or the gods with the responsibility for contemporary events instead of man, we would find Wotan quite suitable as a casual hypothesis.” – Carl Gustav Jung, “Essay on Wotan“

The European experiment of the post-war era has failed.   The jackals are well within the gates, not just at the door, invited in by the guilt-laden subjugated victims of the partitioning of the German dream, the castration of entire peoples by the treaties of 1918 and 1945, and the vicious division of the world by the ostensible victors of those conflicts. The once-proud traditions of a thousand years are cast aside for the edicts of overlords who have seized utter control.

It was not just the physical residents of that glorious continent that were overcome by the great failures of 1939, but the nations upon the earth peopled by the descendants of Europe who never forgot their heritage, their pride, their connection to that blood. The victories ostensibly “won” by the Allies have turned to dust in their mouths, as the same overlords that sought to destroy the bounty of Europe did not let the fruits of its children anywhere on the earth free from their corruption and infiltration.  

And the seeds for this silent takeover, the dismantling of the glories of thousands of years, were planted by one simple method: the creation of “universalist” religions, in which the gods of a people were thrown aside by hook, crook, pressure, intermarriage, and indoctrination.

Yet that which is eternal, true, and tied to our blood, our culture, our heritage, is never silent long.

And as noted by Jung, Wotan was stirred by the abasement of his people, the stirrings of waking set in motion even if not completed.   And as Europe’s children are threatened today evermore, its fruit not merely plundered but irrevocably destroyed by the invaders, this waking has resumed and accelerated.

Our way forward is back, and that begins with a spiritual renaissance that is apparent on the fringes of our culture now.   Popular culture remembers the gods, even if it is debased. Worship of the old ways, best as can be remembered for now, resumes and is reconstructed and re-found. His adherents climb mountains, gather to share gifts, and strengthen what is coming.

Our way forward will not be in modern atheism, nor universalist religions.    It will take the combined awakening of the blood to find that way again – for what we have lost is much, the damage great – but our volk are builders, creators, restorers. It begins with a spiritual component.  Our spiritual component, free of the shackles of the desert plagues that have enslaved spirits for so long.

Rise up and be free. Rise up and worship.   Rise up and listen to the call of that blood.   Ragnarok awaits, and our time is at hand.

For much shall be destroyed, but our volk will survive, prosper, and take their rightful place amongst the stars.

That which comes, the political component thereof, will be based on that blood, soil, and heritage. The spirit of Wotan, of the ghosts of the last century, guides even as the gods stir within us. Even as the world-soul re-asserts its dominion. There is no political solution without a religious component, one based in the religion of our ancestors and of our blood, of our heritage.There is no government of our volk that is possible without a common bond, no common interest without that bond of blood.

Taken from: The Revolutionary Conservative