By Tom Sunic | theoccidentalobserver.net
Translated from the German and with an Introduction by Tom Sunic
Introduction: Titans, Gods and Pagans by Tom Sunic
Below is my translation of several passages from the last two chapters from Friedrich Georg Jünger’s little known book, Die Titanen, 1943, 1944 (The Titans). Only the subtitles are mine. F.G. Jünger was the younger brother of Ernst Jünger who wrote extensively about ancient Greek gods and goddesses. His studies on the meaning of Prometheism and Titanism are unavoidable for obtaining a better understanding of the devastating effects of the modern belief in progress and the role of “high-tech” in our postmodern societies. Outside the German-speaking countries, F.G. Jünger’s literary work remains largely unknown, although he had a decisive influence on his renowned brother, the essayist Ernst Jünger. Some parts of F.G Jünger’s other book, Griechische Götter (1943) (Greek Gods), with a similar, if not same topic, and containing also some passages from Die Titanen, were recently translated into French (Les Titans et les dieux, 2013).
Friedrich Georg Jünger (1898-1977)
In the footsteps of Friedrich Nietzsche and along with hundreds of German philosophers, novelists, poets and scientists, such as M. Heidegger, O. Spengler, C. Schmitt, L. Clauss, Gottfried Benn, etc., whose work became the object of criminalization by cultural Bolsheviks and by the Frankfurt School in the aftermath of WWII, F. G. Jünger can also be tentatively put in the category of “cultural conservative revolutionaries” who characterized the political, spiritual and cultural climate in Europe between the two world wars.
Ancient European myths, legends and folk tales are often derided by some scholars, including some Christian theologians who claim to see in them gross reenactments of European barbarism, superstition and sexual promiscuity. However, if a reader or a researcher immerses himself in the symbolism of the European myths, let alone if he tries to decipher the allegorical meaning of diverse creatures in the myths, such as for instance the scenes from the Orphic rituals, the hellhole of Tartarus, or the carnage in the Nibelungen saga, or the final divine battle in Ragnarök, then those mythical scenes take on an entirely different meaning. After all, in our modern so-called enlightened and freedom-loving liberal societies, citizens are also entangled in a profusion of bizarre infra-political myths, in a myriad of weird hagiographic tales, especially those dealing with World War II vicitmhoods, as well as countless trans-political, multicultural hoaxes enforced under penalty of law. Therefore, understanding the ancient European myths means, first and foremost, reading between the lines and strengthening one’s sense of the metaphor.
There persists a dangerous misunderstanding between White nationalists professing paganism vs. White nationalists professing Christian beliefs. The word “paganism” has acquired a pejorative meaning, often associated with childish behavior of some obscure New Age individuals carrying burning torches or reading the entrails of dead animals. This is a fundamentally false conception of the original meaning of paganism. “Pagans,” or better yet polytheists, included scores of thinkers from antiquity, such as Seneca, Heraclites, Plato, etc. who were not at all like many modern self-styled and self-proclaimed “pagans” worshipping dogs or gazing at the setting sun. Being a “pagan” denotes a method of conceptualizing the world beyond the dualism of “either-or.” The pagan outlook focuses on the rejection of all dogmas and looks instead at the notion of the political or the historical from diverse and conflicting perspectives. Figuratively speaking, the plurality of gods means also the plurality of different beliefs and different truths. One can be a good Christian but also a good “pagan.” For that matter even the “pagan” Ernst Jünger, F.G. Jünger’s older brother, had a very Catholic burial in 1998.
When F.G Jünger’s published his books on the Titans and the gods, in 1943 and in 1944, Germany lay in ruins, thus ominously reflecting F.G. Jünger’s earlier premonitions about the imminent clash of the Titans. With gods now having departed from our disenchanted and desacralized White Europe and White America, we might just as well have another look at the slumbering Titans who had once successfully fought against Chaos, only to be later forcefully dislodged by their own divine progeny.
Are the dozing Titans our political option today? F.G. Jünger’s book is important insofar as it offers a reader a handy manual for understanding a likely reawakening of the Titans and for decoding the meaning of the new and fast approaching chaos.
The Titans: Custodians of Law and Order
….The Titans are not the Gods even though they generate the Gods and relish divine reverence in the kingdom of Zeus. The world in which the Titans rule is a world without the Gods. Whoever desires to imagine a kosmos atheos, i.e. a godless cosmos, that is, a cosmos not as such as depicted by natural sciences, will find it there. The Titans and the Gods differ, and, given that their differences are visible in their behavior toward man and in view of the fact that man himself experiences on his own as to how they rule, man, by virtue of his own experience, is able to make a distinction between them.
Neither are the Titans unrestrained power hungry beings, nor do they scorn the law; rather, they are the rulers over a legal system whose necessity must never be put in doubt. In an awe-inspiring fashion, it is the flux of primordial elements over which they rule, holding bridle and reins in their hands, as seen in Helios. They are the guardians, custodians, supervisors and the guides of the order. They are the founders unfolding beyond chaos, as pointed out by Homer in his remarks about Atlas who shoulders the long columns holding the heavens and the Earth. Their rule rules out any confusion, any disorderly power performance. Rather, they constitute a powerful deterrent against chaos.
The Titans and the Gods match with each other. Just as Zeus stands in for Kronos, so does Poseidon stand in opposition to Oceanus, or for that matter Hyperion and his son Helios in opposition to Apollo, or Coeus and Phoebe in opposition to Apollo and Artemis, or Selene in opposition to Artemis.
The Titans Against the Gods
What distinguishes the kingdom of Kronos from the kingdom of Zeus? One thing is for certain; the kingdom of Kronos is not a kingdom of the son. The sons are hidden in Kronos, who devoured those he himself had generated, the sons being now hidden in his dominion, whereas Zeus is kept away from Kronos by Rhea, who hides and raises Zeus in the caverns. And given that Kronos comports himself in such a manner his kingdom will never be a kingdom of the father. Kronos does not want to be a father because fatherhood is equivalent with a constant menace to his rule. To him fatherhood signifies an endeavor and prearrangement aimed at his downfall.
What does Kronos want, anyway? He wants to preserve the cycle of the status quo over which he presides; he wants to keep it unchanged. He wants to toss and turn it within himself from one eon to another eon. Preservation and perseverance were already the hallmark of his father. Although his father Uranusdid not strive toward the Titanic becoming, he did, however, desire to continue his reign in the realm of spaciousness. Uranus was old, unimaginably old, as old as metal and stones. He was of iron-like strength that ran counter to the process of becoming. But Kronos is also old. Why is he so old? Can this fluctuation of the Titanic forces take on at the same time traits of the immovable and unchangeable? Yes, of course it can, if one observes it from the perspective of the return, or from the point of view of the return of the same. If one attempts it, one can uncover the mechanical side in this ceaseless flux of the movement. The movement unveils itself as a rigid and inviolable law.
The Infinite Sadness of the Titans
How can we describe the sufferings of the Titans? How much do they suffer anyway, and what do they suffer from? The sound of grief uttered by the chained Prometheus induces Hermes to derisive remarks about the same behavior which is unknown to Zeus. In so far as the Titans are in the process of moving, we must therefore also conceive of them as the objects of removal. Their struggle is onerous; it is filled with anxiety of becoming. And their anxiety means suffering. Grandiose things are being accomplished by the Titans, but grandiose things are being imposed on them too. And because the Titans are closer to chaos than Gods are, chaotic elements reveal themselves amidst them more saliently. No necessity appears as yet in chaos because chaos has not yet been measured off by any legal system. The necessity springs up only when it can be gauged by virtue of some lawfulness. This is shown in the case of Uranus and Kronos. The necessary keeps increasing insofar as lawfulness increases; it gets stronger when the lawful movements occur, that is, when the movements start reoccurring over and over again.
Mnemosyne (The Titaness of Memory) (mosaic, 2nd century AD)
Among the Titanesses the sadness is most visible in the grief of Rhea whose motherhood was harmed. Also in the mourning of Mnemosyne who ceaselessly conjures up the past. The suffering of this Titaness carries something of sublime magnificence. In her inaccessible solitude, no solace can be found. Alone, she must muse about herself — a dark image of the sorrow of life. The suffering of the Titans, after their downfall, reveals itself in all its might. The vanquished Titan represents one of the greatest images of suffering. Toppled, thrown down under into the ravines beneath the earth, sentenced to passivity, the Titan knows only how to carry, how to heave and how to struggle with the burden — similar to the burden carried by the Caryatids.
The Self-Sufficient Gods
The Olympian Gods, however, do not suffer like the Titans. They are happy with themselves; they are self-sufficient. They do not ignore the pain and sufferings of man. They in fact conjure up these sufferings, but they also heal them. In Epicurean thought, in the Epicurean world of happiness, we observe the Gods dwelling in-between-the-worlds, divorced from the life of the earth and separated from the life of men, to a degree that nothing can ever reach out to them and nothing can ever come from them. They enjoy themselves in an eternal halcyon bliss that cannot be conveyed by words.
The idea of the Gods being devoid of destiny is brought out here insofar as it goes well beyond all power and all powerlessness; it is as if the Gods had been placed in a deepest sleep, as if they were not there for us. Man, therefore, has no need to think of them. He must only leave them alone in their blissful slumber. But this is a philosophical thought, alien to the myth.
Under Kronos, man is part of the Titanic order. He does not stand yet in the opposition to the order — an opposition founded in the reign of Zeus. He experiences now the forces of the Titans; he lives alongside them. The fisherman and boatman venturing out on the sea are in their Titanic element. The same happens with the shepherd, the farmer, the hunter in their realm. Hyperion, Helios and Eos determine their days, Selene regulates their nights. They observe the running Iris, they see the Horae dancing and spinning around throughout the year. They observe the walk of the nymphs Pleiades and Hyades in the skies. They recognize the rule of the great Titanic mothers, Gaia, Rhea, Mnemosyne and that of Gaia-Themis. Above all of them rules and reigns the old Kronos, who keeps a record of what happens in the skies, on the earth, and in the waters.
Titanic Necessity vs. Divine Destiny
The course of human life is inextricably linked to the Titanic order. Life makes one whole with it; the course of life cannot be divorced from this order. It is the flow of time, the year’s course, the day’s course. The tides and the stars are on the move. The process resembles a ceaseless flow of the river. Kronos reigns over it and makes sure it keeps returning. Everything returns and everything repeats itself — everything is the same. This is the law of the Titans; this is their necessity. In their motion a strict cyclical order manifests itself. In this order there is a regular cyclical return that no man can escape. Man’s life is a reflection of this cyclic order; it turns around in a Titanic cycle of Kronos.
Man has no destiny here, in contrast to the demigods and the heroes who all have it. The kingdom of Zeus is teeming with life and deeds of heroes, offering an inexhaustible material to the songs, to the epics and to the tragedies. In the kingdom of Kronos, however, there are no heroes; there is no Heroic Age. For man, Kronos, and the Titans have no destiny; they are themselves devoid of destiny. Does Helios, does Selene, does Eos have a destiny? Wherever the Titanic necessity rules, there cannot be a destiny. But the Gods are also deprived of destiny wherever divine necessity prevails, wherever man grasps the Gods in a fashion that is not in opposition to them. But a man whom the Gods confront has a destiny. A man whom the Titans confront perishes; he succumbs to a catastrophe.
We can say, however, that whatever happens to man under the rule of the Titans is a lot easier than under the rule of the Gods. The burden imposed on man is much lighter.
What happens when the Gods turn away from man and when they leave him on his own? Wherever they make themselves unrecognizable to man, wherever their care for man fades away, wherever man’s fate begins and ends without them, there always happens the same thing. The Titanic forces return and they validate their claims to power. Where no Gods are, there are the Titans. This is a relationship of a legal order which no man can escape wherever he may turn to. The Titans are immortal. They are always there. They always strive to reestablish their old dominion of their foregone might. This is the dream of the Titanic race of the lapetos, and all the Iapetides who dream about it. The earth is penetrated and filled up with the Titanic forces. The Titans sit in ambush, on the lookout, ready to break out and break up their chains and restore the empire of Kronos.
What is Titanic about man? The Titanic trait occurs everywhere and it can be described in many ways. Titanic is a man who completely relies only upon himself and has boundless confidence in his own powers. This confidence absolves him, but at the same time it isolates him in a Promethean mode. It gives him a feeling of independence, albeit not devoid of arrogance, violence, and defiance. Titanic is a quest for unfettered freedom and independence. However, wherever this quest is to be seen there appears a regulatory factor, a mechanically operating necessity that emerges as a correction to such a quest. This is the end of all the Promethean striving, which is well known to Zeus only. The new world created by Prometheus is not.
Dr. Tom Sunic is a former political science professor, author and a Board member of the American Freedom Party. He is the author of Against Democracy and Equality; The European New Right.
Tom Sunic – Metapolitics, Paganism & European Identity
The remains of “witches” burned at the stake for killing children in the 17th century were found by archaeologists
In the Polish city of Bochnia, archaeologists unearthed the charred remains of two women. The discovery was made during restoration work in the local market.
They are believed to have lived approximately 300 years ago. According to scientists, it is known that in 1679 three women were burnt in this place. So far, two skeletons have been found, but experts have no doubt that they will soon find a third one, according to Express.
Researchers believe that the victims were accused of witchcraft and murder of children. After that, they were probably burned in the city market. Such punishment was common in the Middle Ages, from the 5th to the 15th centuries. Historians believe that the public burning allegedly showed “witches” going to hell.
Archaeologists will continue to investigate the remains, but they have already stated that the women were buried right at the place of execution. According to experts, in that era it was customary: people convicted of such a crime could not be buried near the church.
According to historical sources, at least 13 women accused of witchcraft were executed in Bochnia. Before the execution of the sentence, they were kept in the neighboring town hall and, most likely, tortured in order to get a confession of their deeds. In addition, the archives contain the names and crimes of the “witches”.
Which castle in Europe is considered the most mystical: you will be surprised
Many castles have survived in Europe, which to modern people seem incredibly beautiful and majestic. Their main purpose was to deter enemies if necessary.
That is why such factors as a good location, a moat, a rampart and other opportunities to repel potential enemies played a strategic role.
However, there is one architectural object that does not fit into the traditional framework.
The majestic is one of the most famous landmarks in the Italian region of Apulia. Moreover, it will not be an exaggeration to say that this is the most mystical castle in the world.
Unlike other mystical places, this amazing castle is not hidden from prying eyes behind the mountains and forests. On the contrary, it is visible from afar. You drive along the freeway and see it, towering on top of the hill. It doesn’t matter that the name of the building is translated as “castle on the mountain”, only those who have never seen real mountains in their life can literally take the name Castel del Monte.
It was built on a castle on the very spot where the Maria del Monte monastery was located until the thirteenth century, hence the first name of the building, which few people remember today – castrum Sancta Maria de Monte.
Today, crowds of people frequently visit Castel del Monte. For this, many thanks to the magical world of cinema and the Italian director Matteo Garrone in particular, because it was in the unusual halls of this monumental structure that he settled the characters of his “Scary Tales” – the king who raised a flea, and the princess whom the eccentric father married to a cannibal. Curiously, until the twentieth century, the castle was in an abandoned state, and shepherds spent the night there.
Today, the architectural structure is in the care of UNESCO, as a result, it was cleaned and put in order, but the interior decoration of the halls was not preserved – for that reason, Matteo Garrone had to hastily fill the space of the premises with the props brought to the castle.
Garrone chose Castel del Monte for the film adaptation of the tales of the Neapolitan Giambattista Basile for a reason, because this place is incredibly mysterious. Although located 16 kilometers from the city of Andria, Castel del Monte bears the honorary title of one of the most famous medieval castles in the world, in essence it is not a castle.
The fact is that in the understanding of a normal person of the Middle Ages, a castle could only be built for one of two purposes. The first goal, it is also the main one – defense and terrain control. In this case, one or another lord erected a small fortress, as a rule, on the top of a mountain, which helped to repel enemy attacks, and at the same time to influence the situation in the region as a whole. The second task is a fortified place to live. Sometimes castles grew to the size of cities, take, for example, the same Carcassonne, but their powerful walls, again, made it possible to hold back hordes of enemies.
But Castel del Monte is not intended for defense at all. Where are the walls and the moat with water? Where are there any decent defenses?
This place also seems to be of little use for life. Of course, even Walter Scott in his “Ivanhoe” wrote that the concept of “comfort” did not exist in the Middle Ages, but this castle, even by medieval standards, is far from the home of a self-respecting lord. It’s okay that all the rooms inside are connected to each other, but, most importantly, there is no place for a stable and there is no kitchen.
So, most of all, the castle looks like a kind of an old art object, built for the sake of ideas, such houses are sometimes designed by modern architects who have received absolute carte blanche for the implementation of their creative ideas coupled with an unlimited budget.
This association is quite appropriate if you know who built Castel del Monte. The castle was built on the mountain by the Emperor Frederick II Staufen – a legendary person in all respects. He not only managed to win the title of Emperor of the Holy Roman Empire from competitors and lead the sixth crusade, but was also considered one of the most educated people of his time.
He knew Greek, Latin and Arabic, founded a university in Naples, where not only Christians, but also Jews and Arabs taught, and this, by the way, is the height of tolerance by medieval standards. Frederick II as a whole was very far from Christian prejudices, here are illustrative examples: the emperor insisted that doctors study anatomy on corpses, and Frederick also had a warm attitude towards Fibonacci and even organized mathematical tournaments.
The emperor also had a penchant for writing: he is credited with writing an essay on falconry, and at his court he created a Sicilian school of poetry. At the same time, like all progressive people of his time, Frederick II was an admirer of a wide variety of mystical teachings, studied astronomy and astrology.
With the personal life of the emperor, everything was also interesting, he earned the reputation of Bluebeard, because he was married four times, however, the church did not recognize his last marriage with his permanent mistress Bianca Lancia. Frederick II spawned a great many children – 20 legitimate, but for obvious reasons, no one scrupulously counted the bastards.
Historians still cannot solve the riddle of the Italian Castel del Monte, to which scientists have many questions
Castel del Monte was built by Frederick II from 1240 to 1250, that is, in the last decade of his life. The name of the architect is unknown, but many historians, not without reason, believe that he was the emperor himself – a painfully intricate design was the result.
The fact is that, like many medieval mystics, Frederick was obsessed with the number eight, which symbolizes infinity, and it is constantly traced in the structure of the castle.
To begin with, the castle, when viewed from above, is a regular octagon, and an octagonal tower is erected at each corner of the structure. The shape of the inner courtyard of the castle also repeats the octagon. The castle has only two floors, the roof is flat, and the main entrance to Castel del Monte looks strictly to the east, because, as it was believed in the Middle Ages, the good news came from the east.
There are 8 rooms on each floor of the castle, all of them are connected to each other, so that Castel del Monte can be easily walked around the perimeter. The rooms are made in the form of trapezoids, and windows are cut through the walls. Toilets, wardrobes and spiral staircases are located in the corner turrets.
By the way, the castle has a separate story with the stairs – usually in all castles they are “twisted” to the right, since this is optimal for the defense of the object, but in Castel del Monte, on the contrary, they are “turned” to the left, that is, the way it does nature, because it is to the left that the shells of mollusks or snail shells are twisted.
All rooms of the castle are exactly the same, the rooms differ from each other only in the location of the doors and the number of windows. In the decorative elements, the number eight again dominates: on the capitals of the columns there are eight leaves each, on the bas-reliefs in the rooms there are eight leaves or clover flowers.
Another interesting thing is that direct rays of sunlight fall into the windows of the second floor twice a day (with the first floor, this rule works only in the summer), so many assume that the mysterious castle is nothing more than a huge sundial, and at the same time astronomical device.
In addition, twice a year, during the summer and winter solstice, sunlight is evenly distributed among all rooms on the ground floor. This, of course, is also no coincidence, so many historians suggest that the first floor of Castel del Monte is a kind of analogue of the solar calendar.
Here’s another curious reason for thinking – twice a year, on April 8 and October 8, the sun’s rays pass through the windows of the castle into the courtyard in such a way that they fall strictly on the part of the wall where in the time of Frederick II a certain bas-relief was carved, now lost.
Well, and to make everything quite difficult, it is worth remembering that October in the thirteenth century was considered the eighth month of the year.
The castle bears the title of the most mysterious at all because there are many ghosts or other manifestations of mysticism
Frederick II died before he could finish the construction of the castle – the building of Castel del Monte was completed, but the interior decoration was not completed to the end. After the death of the emperor, there were legends in Europe that Frederick did not die, but disappeared in an unknown direction in order to reform the church and establish universal brotherhood and peace.
A certain symbolism is seen in this, because the octagon, repeated in the structure of Castel del Monte, in the Middle Ages symbolized the transition from the world of the living to the kingdom of the dead, and at the same time the union of heaven and earth.
Everything is very simple here – a square was considered a symbol of the earth, a circle was a symbol of the sky, and an octagon was an intermediate figure that signified both unity and transition. However, scientists far from mysticism believe that the repeated use of the octagon is simply a reference to the Dome of the Rock in Jerusalem, because Frederick II saw the dome over the cornerstone during his crusade.
Historians are confused by the dubious architecture of the object – in such a castle there was not a single chance to hide from an armed attack. No protective mechanisms were used during the construction.
In addition, the building itself boasts the ideal shape of a real octagon. The castle has also 8 turrets.
Scientists did not fit the theory that this castle was used by noble people in order to rest there after hunting. Castel del Monte looks too monumental and luxurious for this.
Some historians suggest that the purpose of the mysterious castle was to comprehend the secret sciences
Castel del Monte has encrypted and biblical symbols. The fact is that the castle has exactly five drainage basins and five fireplaces, many associate this with the phrase of the Baptist John from the Gospel of Luke:
“I baptize you in water for repentance, but the One who follows me is stronger than me; I am not worthy to bear His shoes; He will baptize you with the Holy Spirit and fire.”
So, it is easy to assume that Castel del Monte was for Frederick II an analogue of the temple, built according to his personal project, and this fully meets the ambitions of the emperor.
By the way, this hypothesis is confirmed by another curious detail. If you look closely at the entrance to the castle, you can see a giant letter F encrypted there. If inside the tomb of Frederick II, associations with the pyramids would be inevitable, and so Castel del Monte seems to be a kind of personal portal of the emperor, erected according to his plan and in his honour.
At least when you stand in the courtyard of the castle and, with your head raised, look at the sky, imprisoned in an octagon of powerful limestone walls, even the most inveterate materialists have a feeling of belonging to the medieval magical tradition.
The energy of this place is special, in the style of those “Scary Tales” by Matteo Garrone.
Occult symbolism of the 2020 Vatican nativity scene
On December 11, the Vatican unveiled its 2020 nativity scene in St. Peter’s Square. And as soon as the red drapery covering the stage was removed, the crowd found a towering, brutal and totem-like angel Gabriel watching them, along with an astronaut and a masked executioner (yes, those guys who kill people on death row).
Let’s say the applause after the opening was “polite”. Here are some images of the nativity scene.
An ominous angel looks down at the crowd while Jesus remains in the red cloth for a while (not sure why). Behind the figures is a neon light that should probably look like mountains on the horizon. However, at first glance, it looks like a lightning strike in a nativity scene.
In a press release, the Vatican Governorate announced that the nursery “is intended to be a sign of hope and faith for the entire world, especially during this difficult time due to the health emergency related to COVID-19.”
But this did not bring “hope and faith” at all. In fact, almost all observers hated it.
It is as if the Vatican purposely created something so ugly that devout Christians hate the play depicting the birth of Jesus. Satanists couldn’t have done better.
Ugliness with weapons
This nativity scene, titled “Monumental Christmas”, was originally created between 1965 and 1975 by students and teachers of the F.A. Grue art school in Castelli, Italy. The original work contained over 50 pieces, but only a few were selected for the Nativity scene at the Vatican, and they chose the horned-masked executioner.
The “Monumental Nativity Scene” is considered a tribute to the world-renowned pottery works of the Abruzzo region and gives a postmodern twist to the classic nativity scene.
In a conversation with a local newspaper, Italian art historian Andrea Chionchi asked if it was “a nightmare or a masterpiece.”
“Forget the sweet face of the Madonna, the tender radiant incarnation of the Child Jesus, the paternal sweetness of Saint Joseph and the pious miracle of the shepherds. For the first time in the middle of the colonnade, Bernini, the Vatican erected a work of the sixties in a brutal postmodern style.
The figures resemble the masks of the ancient and ferocious Samnites, the ancestors of the Abruzians, who professed a pantheistic, animistic, fetishistic and magical religion, somewhat reminiscent of the Andean goddess of fertility, Pachamama.
Castelli’s “Nativity Scene” is an outdated work, the product of a strongly ideological art school. The work offers a depiction of Castelli ceramics that is definitely not true, given that this remarkable art is renowned for its formal elegance and refined, subtle decorative inspiration, which are completely absent here.
References to Greek, Egyptian, and Sumerian character sculptures suggest a liberal historical-critical method of interpreting Scripture. Liberal Bible scholars have hypothesized about various aspects of the Bible as an adaptation of pagan cultures, and not as a result of divine revelation.
Although “ugliness” is subjective, this nativity scene almost tries its best to be as unpleasant to the eye as possible, which in turn is unpleasant to the soul. At least one could say that this scene is anti-Christian. I mean, who’s actually going to pray to this thing? You just can’t. And that’s kind of a target for the twisted minds behind this thing.
Moreover, in addition to its general ugliness, the nativity scene also contains many symbols and historical references that convey a rather egregious message: it is actually an anti-Christmas scene.
Usually in the center of the nativity scene is the baby Jesus. However, in this case, Baby Jesus is essentially a random toddler who just stands there and looks like a giant cork.
The focus of this play is not Jesus, but rather the angel Gabriel. It is surrounded by a massive halo, while Jesus still stands there like a giant cork. In addition, the angel rises above everything on a ribbed pillar. The overall shape of this column closely resembles an important symbol of Ancient Egypt: the Jed Column.
Jed is a common symbol in Ancient Egypt believed to represent the god Osiris, or rather his spine. While this symbol probably has an esoteric meaning in relation to the chakras (which are said to be based on the spine), the Jed also has a phallic character and is associated with fertility rites. In fact, the “erection of the Jed” was an important ceremony in ancient Egypt.
The erection of the Jedi ceremony is to symbolize Osiris’ triumph over Set. During the ceremony, the pharaoh uses ropes to lift the pole with the help of the priests. This coincided with the time of year when the agricultural year began and the fields were planted. This was only part of a 17-day celebration dedicated to Osiris. In general, the ceremony of the erection of the Jed personified both the resurrection of Osiris and the strength and stability of the monarch.
– Ancient origins, sacred symbol of the Jed Pillar
Did the Vatican trick its believers into witnessing the Jed Ascension ceremony? One thing is for sure: the Egyptian influence of this den sit well with what is immediately behind it.
The general plan of the Vatican is Egyptian magic in plain sight. The phallic obelisk (representing Osiris and the masculine) faces the womb-like dome of St. Peter’s Basilica (representing Isis and the feminine). The same exact layout can be found in various power centers of the world, including Washington, DC.
In Washington DC, an obelisk (Washington Monument) faces the dome of the US Capitol.
In Egyptian magic, the union of masculine and feminine principles (Osiris and Isis) gives birth to a “star child” (Horus). From an esoteric point of view, this star child is a powerful magical energy.
The hieroglyph representing Sirius, the most important star of occult symbolism (read my article on this here), consists of three elements of the Egyptian trinity: an obelisk, a dome and a star.
So, the Vatican has an obelisk and a dome. Where is the star completing this trinity? It is there, but you have to look from above.
The Obelisk of St. Peter is located right in the center of the eight-pointed star, also known as the Ishtar Star.
The eight-pointed star also adorns the Christmas tree that stands next to the nativity scene this year.
Speaking of cosmic things, the Vatican nativity scene also depicts an astronaut. Why? God knows.
It seems that the astronaut is holding / giving birth to something. There is also an eight-pointed star on the helmet.
Given the fact that this figure was created between 1965 and 1975, this may be a reference to the 1969 moon landing. But why in 2020 did the Vatican choose this thing to stand next to Jesus?
It is even more incomprehensible why an executioner in a horned mask is standing next to Jesus?
In ancient times, executioners carried out death sentences for lawful convicts by chopping off their heads. In some cases, they wore grotesque masks with dark and menacing features to further intimidate prisoners, depersonalizing them as a person. In short, it is an odd figure to be placed next to the newborn baby Jesus, especially considering the fact that Jesus himself was ultimately sentenced to death.
Apparently this guy is here to represent the “Vatican’s opposition to the death penalty.” This is a rather weak argument that makes little sense. I mean, I’m pretty sure the Vatican is also against methamphetamine. Should they also add a methamphetamine dealer to the nativity scene?
In the scene literally called “Christmas,” this horned figure represents death. This is the complete opposite of “Christmas”. I don’t think Satanists would have done better by desecrating the scene depicting the birth of Jesus.
In a sense, this year’s nativity scene is a sad reflection of 2020. This is a collection of expressionless and socially detached figures who do not interact with each other, standing under the neon lights of phones and computers.
It also reflects how the occult elite has raised their ugly head this year, poisoning every aspect of our lives with their toxic program. Through their outspoken anti-Christian demonstration, the elite sought to prove that its toxic ideology was also ingrained in the Vatican.
Although the Monumental Nativity scene was created several decades ago, it was chosen for the Christmas scene in 2020 for a special reason: it contains certain symbols, conveying a certain energy. Like everything else that has happened this year, this scene demonstrates the control of the elite and the demoralization of the masses.
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