Superb article! Thank you very much comrade...Hail Satan!14/88/666
From: Don <mageson6666@...
To: [email protected]
Sent: Monday, August 8, 2011 9:23 AM
Subject: [JoyofSatan666] Wagner, Nietzsche and National Socialism
Wagner, Nietzsche and National Socialism
"A daring and ruler race is building itself up.... The aim should be to prepare a transvaluation of values for a particularly strong kind of man, most highly gifted in intellect and will. This man and the elite around him will become the 'lords of the earth'."-Nietzsche, The Will To Power
"Richard Wagner, the great German composer, who "worshipped Lucifer cunningly disguised as an exclusive Aryan Christ"
Nietzsche in my view is the most important thinker, next to Hitler in the last thousand years. He picked up the hammer and worked to smash the Xian icons and break its spell on Western Civilization and fingered the Jew as the main culprit behind the slow decline of White civilization with its number one weapon of choice Xianity from which all other destructive programs mutated. Nietzsche went as far to declare himself Pagan in the purest spirit and declare the need for a return to the natural state of Aryan Man within the West. The return to a Pagan[Satanic] paradigm. In his work Nietzsche documents the problem and the solution with pure genius and tact. I will mention Nietzsche understanding today still transcends much current social-biology in the major point of life as evolution into higher life, the will to power trumps the mere will to survival. he returned the ancient ethos of the Aryan culture mans transformation into Godman. In Nietzsche's work is the call for the regeneration of Aryan kind.
Wagner did with art what Nietzsche did with the word.
Both men where at one point in time dear friends and companions.
Much of Wagner's Opera's where based on an authentic revival of Aryan culture the Pagan Saga's and in general where filled with anti-Christian Pagan themes, the ideal of the Godman was a constant.
Both these men Wagner and Nietzsche form a major foundation for the ideals of the National Socialist Party leaders.
"Whoever wants to understand National Socialist Germany must know Wagner."-Adolf Hilter
"The Jew, he [Wagner] claimed, has no true passion to impel him to artistic creation. The Jewish composer, according to Wagner, makes a confused heap of the forms and styles of all ages and masters. To admit a Jew into the world of art results in pernicious consequences. In Deutsche Kunst und Deutsche Politik, Wagner spoke of the "harmful influence of Jewry on the morality of the nation," adding that the subversive power of Jewry stands in contrast to the German psyche."
To this day the Jews still hate Wagner's music on the deepest level:
"Wagner's music had been unofficially banned in public in Israel....
In 1981, the Israel Philharmonic Orchestra, under the baton of Zubin Mehta, offered an encore at the close of a subscription concert. Commotion broke out, with shouts from the audience aiming to silence the music......
In July 2001, the prestigious Berlin Staatskapelle performed the "Tristan und Isolde" overture at the Israel Festival. While the orchestra's condutor, Daniel Barenboim (himself a Jew), had promised to respect the ban on Wagner's music...."
Wagner exposed them in his article Jewishness in Music:
http://users.belgacom.net/wagnerlibrary ... agjuda.htm
"By far more weighty, nay, of quite decisive weight for our inquiry, is the effect the Jew produces on us through his speech; and this is the essential point at which to sound the Jewish influence upon Music. (12) —The Jew speaks the language of the nation in whose midst he dwells from generation to generation, but he speaks it always as an alien......
The Jews' sense of Beholding has never been of such a kind as to let plastic artists arise among them: from ever have their eyes been busied with far more practical affairs, than beauty and the spiritual substance of the world of forms. We know nothing of a Jewish architect or sculptor in our times, (17) so far as I am aware: whether recent painters of Jewish descent have really created (wirklich geschaffen haben) in their art, I must leave to connoisseurs to judge; presumably, however, these artists occupy no other standing toward their art, than that of modern [87] Jewish composers toward Music—to whose plainer investigation we now will turn.....
Just as words and constructions are hurled together in this jargon with wondrous inexpressiveness, so does the Jew musician hurl together the diverse forms and styles of every age and every master. Packed side by side, we find the formal idiosyncrasies of all the schools, in motleyest chaos. As in these productions the sole concern is Talking at all hazards, and not the Object which might make that talk worth doing, so this clatter can only be made at all inciting to the ear by its offering at each instant a new summons to attention, through a change of outer expressional means. Inner agitation, genuine passion, each finds its own peculiar language at the instant when, struggling for an understanding, it girds itself for utterance: the Jew, [93] already characterised by us in this regard, has no true passion..........
nothing but that prickling unrest which we observe in Jewish music-works from one end to the other, saving where it makes place for that soulless, feelingless inertia. What issues from the Jews' attempts at making Art, must necessarily therefore bear the attributes of coldness and indifference, even to triviality and absurdity; and in the history of Modern Music we can but class the Judaic period as that of final unproductivity, of stability gone to ruin.....
The Nazi Party understood and exposed the Jewish creation and drive of the Modern Arts movements as a weapon against Gentiles, they exposed this fact in their public education films.
It was during Wagner's Opera that Hitler received his transfiguration into Satan's Messiah:
http://groups.yahoo.com/group/JoSNewsletter/message/172
"... Hitler began to orate. Words burst from him like a backed-up flood breaking through crumbling dams. In grandiose, compelling images, he sketched for me his future and that of his people" (Fest, 22-23).
Thirty years later, the boyhood friends would meet again in Bayreuth, (probably catching an opera), and Hitler would remark: "It began at that hour!". More convincing evidence of Wagner's influences can hardly be wished for after a statement such as this one, but more there is (Fest, 21-23).
Adolf stood before me. He took both my hands in his and held them tight — a gesture that he had never yet made. I could feel from the pressure of his hands how moved he was. His eyes sparkled feverishly. The words did not pour from his lips with their usual easiness, but burst forth harsh and passionate. I noticed at his voice even more than at the way in which he held my hands, how the episode he had lived (the performance of "Rienzi" at the Opera) had shattered him to the depth.
"Gradually, he began to speak more freely. The words came with more speed. Never before and also never since have I heard Adolf Hitler speak like he did then, as we stood alone under the stars as though we had been the only two creatures on earth.
"It is impossible for me to repeat the words my friend uttered in that hour.
"Something quite remarkable, which I had not noticed before, even when he spoke to me with vehemence, struck me at that moment: it was as though another Self spoke through him; another Self, from the presence of which he was as moved as I was. In no way could one have said of him (as it sometimes happens, in the case of brilliant speakers) that he was intoxicated with his own words. On the contrary! I had the feeling that he experienced with amazement, I would say, that he was himself possessed by, that which burst out of him with elemental power. I do not allow myself a comment on that observation. But it was a state of ecstasy, a state of complete trance in which, without mentioning it or the instance involved in it, he projected his experience of the "Rienzi" performance into a glorious vision upon another plane, congenial to himself. More so: the impression he had received from that performance was merely the external impulse that had prompted him to speak. Like a flood breaks through a dam which has burst, so rushed the words from his mouth. In sublime, irresistible images, he unfolded before me his own future and that of our people.
"Till then I had been convinced that my friend wanted to become an artist, a painter or an architect. In that hour there was no question of such a thing. He was concerned with something higher, which I could not yet understand.... He now spoke of a mission that he was one day to receive from our people, in order to guide them out of slavery, to the heights of freedom.... Many years were to pass before I could realize what that starry hour, separated from all earthly things, had meant to my friend."
-August Kubizek, "The Young Hitler I Knew"
If you look at the Nazi rallies and watch Wagnerian Opera you can see Hitler used one to build upon the other, a pure work of art.
"Whoever wants to understand National Socialist Germany must know Wagner."-Adolf Hilter
Hitler stated he drew much of the underlying foundation of German National Socialism from Wagner's Opera Parzival.
"What is celebrated is not the Christian Schopenhauerian [sic] religion of compassion, but pure and noble blood, blood whose purity the brotherhood of initiates has come together to guard. The king then suffers an incurable sickness, caused by his tainted blood. Then the unknowing but pure human being is led into temptation, either to submit to the frenzy and to the delights of a corrupt civilisation in Klingsor's magic garden, or to join the select band of knights who guard the secret of life, which is pure blood itself. All of us suffer the sickness of miscegenated, corrupted blood. How can we purify ourselves and atone? Note how the compassion that leads to knowledge applies only to the man who is inwardly corrupt, to the man of contradictions. And that this compassion admits of only one outcome, to allow the sick to die. Eternal life, as vouch safed by the Grail, to those who are truly pure and noble!" - Adolf Hitler
As shown Lucifer's Sigil is the Grail and He Satan is Lord of it:
http://groups.yahoo.com/group/JoSNewsletter/message/210
"Wagner's line of thought is intimately familiar to me", Hitler continued more animatedly. "At every stage of my life I come back to him. Only a new nobility can bring about the new culture."
"Wagner's writings on race would probably be considered unimportant were it not for the influence of his son-in-law Houston Stewart Chamberlain, who expanded on Wagner and Gobineau's ideas in his 1899 book The Foundations of the Nineteenth Century, a racialist work extolling the Aryan ideal which later strongly influenced Adolf Hitler's ideas on race."
Hilter shared Nietzsche and Wagners view on Christianity[Wagner's entire career was anti-Christ]:
http://www.666blacksun.com/Adolf_%20Hitler.html
"Whether it's the Old Testament or the New, or simply the sayings of Jesus, it's all the same old Jewish swindle. It will not make us free. A German church, a German Christianity is a distortion. One is either a German or a Christian. You cannot be both...... We don't want people to keep one eye on the hereafter. We need free men who know that God is in themselves."- Adolf Hitler
"Judaism, Christianity, Bolshevism are all bound together. Comrades in agitation, born tools of decay, they possess the same talent to destroy the natural structure of society. Bolshevism is the historical and logical continuation of Christianity. It realizes on a technical level what Christianity has done on a metaphysical level."
- Adolf Hitler
A quote about Hitler's stance on Christianity from Alfred Rosenberg
"He had never allowed a member of the clergy to a Party meeting or to the burial of a member of the Party. The Judeo-Christian plague was now heading towards its end. He said it was downright horrifying that a religion could ever have been possible which literally gobbled up its God in communion."³
Link to an original translation of Hitler's testament of Eternal Truth, Mein Kampf:
http://f1.grp.yahoofs.com/v1/UG0_TteITM ... 933%5D.pdf
Thus Spake Zarathustra was read and studied as part of the SS educational classes.
Nietzsche on the subject:
In Christianity neither morality nor religion come into contact with reality at any point.
Rome felt the Jew to be something like anti-nature itself, its antipodal monstrosity as it were: in Rome the Jew stood "convicted of hatred for the whole human race."
As an artistic triumph in psychological corruption ... the Gospels, in fact, stand alone ... Here we are among Jews: this is the first thing to be borne in mind if we are not to lose the thread of the matter. This positive genius for conjuring up a delusion of personal "holiness" unmatched anywhere else, either in books or by men; this elevation of fraud in word and attitude to the level of an art — all this is not an accident due to the chance talents of an individual, or to any violation of nature. The thing responsible is race.
The whole disaster was only made possible by the fact that there already existed in the world a similar megalomania, allied to this one in race, to wit, the Jewish.
I call Christianity the one great curse, the one great intrinsic depravity, the one great instinct for revenge for which no expedient is sufficiently poisonous, secret, subterranean, petty — I call it the one immortal blemish of mankind.
Sec. 62
And the final proof is from the gloating Jew Eli Ravage who openly confesses all the points Nietzsche, Wagner and Hitler made on the subject which proves as always the truth is "anti-semitic." And those Gentile called "anti-semites" are ONLY STATING OPENLY WHAT THE JEWS THEMSELVES ADMIT.
Marcus Eli Ravage, a Jewish writer who was the Rothschilds' approved biographer. It appeared in THE CENTURY MAGAZINE, JANUARY 1928, Vol. 115, No. 3, pp. 346-350.
But I can tell you, you are self-deceivers. You lack either the self-knowledge or the mettle to face the facts squarely and own up to the truth. You resent the Jew not because, as some of you seem to think, he crucified Jesus but because he gave him birth. Your real quarrel with us is not that we have rejected Christianity but that we have imposed it upon you!
Your loose, contradictory charges against us are not a patch on the blackness of our proved historic offense. You accuse us of stirring up revolution in Moscow. Suppose we admit the charge. What of it? Compared with what Paul the Jew of Tarsus accomplished in Rome, the Russian upheaval is a mere street brawl.
You make much noise and fury about the undue Jewish influence in your theaters and movie palaces. Very good; granted your complaint is well-founded. But what is that compared to our staggering influence in your churches, your schools, your laws and your governments, and the very thoughts you think every day?
You have not begun to appreciate the real depth of our guilt. We are intruders. We are disturbers. We are subverters. We have taken your natural world, your ideals, your destiny, and played havoc with them. We have been at the bottom not merely of the latest great war but of nearly all your wars, not only of the Russian but of every other major revolution in your history. We have brought discord and confusion and frustration into your personal and public life. We are still doing it. No one can tell how long we shall go on doing it.
But we did not leave you alone. We took you in hand and pulled down the beautiful and generous structure you had reared, and changed the whole course of your history. We conquered you as no empire of yours ever subjugated Africa or Asia. And we did it all without armies, without bullets, without blood or turmoil, without force of any kind. We did it solely by the irresistible might of our spirit, with ideas, with propaganda.
We made you the willing and unconscious bearers of our mission to the whole world, to the barbarous races of the earth, to the countless unborn generations. Without fully understanding what we were doing to you, you became the agents at large of our racial tradition, carrying our gospel to the unexplored ends of the earth.
Our tribal customs have become the core of your moral code. Our tribal laws have furnished the basic groundwork of all your august constitutions and legal systems. Our legends and our folk tales are the sacred lore which you croon to your infants. Our poets have filled your hymnals and your prayer books. Our national history has become an indispensable part of your pastors and priests and scholars. Our kings, our statesmen, our prophets, our warriors are your heroes. Our ancient little country is your Holy Land. Our national literature is your Holy Bible. What our people thought and taught has become inextricably woven into your very speech and tradition, until no one among you can be called educated who is not familiar with our racial heritage.
Jewish artisans and Jewish fishermen are your teachers and your saints, with countless statues carved in their image and innumerable cathedrals raised to their memories. A Jewish maiden is your ideal of womanhood. A Jewish rebel-prophet is the central figure in your religious worship. We have pulled down your idols, cast aside your racial inheritance, and substituted for them our God and our traditions. No conquest in history can even remotely compare with this clean sweep of our conquest over you....."
Sources:
Fest, Joachim C. Hitler. New York: Vintage Books, 1975
August Kubizek, "The Young Hitler I Knew"
From: Don <mageson6666@...
To: [email protected]
Sent: Monday, August 8, 2011 9:23 AM
Subject: [JoyofSatan666] Wagner, Nietzsche and National Socialism
Wagner, Nietzsche and National Socialism
"A daring and ruler race is building itself up.... The aim should be to prepare a transvaluation of values for a particularly strong kind of man, most highly gifted in intellect and will. This man and the elite around him will become the 'lords of the earth'."-Nietzsche, The Will To Power
"Richard Wagner, the great German composer, who "worshipped Lucifer cunningly disguised as an exclusive Aryan Christ"
Nietzsche in my view is the most important thinker, next to Hitler in the last thousand years. He picked up the hammer and worked to smash the Xian icons and break its spell on Western Civilization and fingered the Jew as the main culprit behind the slow decline of White civilization with its number one weapon of choice Xianity from which all other destructive programs mutated. Nietzsche went as far to declare himself Pagan in the purest spirit and declare the need for a return to the natural state of Aryan Man within the West. The return to a Pagan[Satanic] paradigm. In his work Nietzsche documents the problem and the solution with pure genius and tact. I will mention Nietzsche understanding today still transcends much current social-biology in the major point of life as evolution into higher life, the will to power trumps the mere will to survival. he returned the ancient ethos of the Aryan culture mans transformation into Godman. In Nietzsche's work is the call for the regeneration of Aryan kind.
Wagner did with art what Nietzsche did with the word.
Both men where at one point in time dear friends and companions.
Much of Wagner's Opera's where based on an authentic revival of Aryan culture the Pagan Saga's and in general where filled with anti-Christian Pagan themes, the ideal of the Godman was a constant.
Both these men Wagner and Nietzsche form a major foundation for the ideals of the National Socialist Party leaders.
"Whoever wants to understand National Socialist Germany must know Wagner."-Adolf Hilter
"The Jew, he [Wagner] claimed, has no true passion to impel him to artistic creation. The Jewish composer, according to Wagner, makes a confused heap of the forms and styles of all ages and masters. To admit a Jew into the world of art results in pernicious consequences. In Deutsche Kunst und Deutsche Politik, Wagner spoke of the "harmful influence of Jewry on the morality of the nation," adding that the subversive power of Jewry stands in contrast to the German psyche."
To this day the Jews still hate Wagner's music on the deepest level:
"Wagner's music had been unofficially banned in public in Israel....
In 1981, the Israel Philharmonic Orchestra, under the baton of Zubin Mehta, offered an encore at the close of a subscription concert. Commotion broke out, with shouts from the audience aiming to silence the music......
In July 2001, the prestigious Berlin Staatskapelle performed the "Tristan und Isolde" overture at the Israel Festival. While the orchestra's condutor, Daniel Barenboim (himself a Jew), had promised to respect the ban on Wagner's music...."
Wagner exposed them in his article Jewishness in Music:
http://users.belgacom.net/wagnerlibrary ... agjuda.htm
"By far more weighty, nay, of quite decisive weight for our inquiry, is the effect the Jew produces on us through his speech; and this is the essential point at which to sound the Jewish influence upon Music. (12) —The Jew speaks the language of the nation in whose midst he dwells from generation to generation, but he speaks it always as an alien......
The Jews' sense of Beholding has never been of such a kind as to let plastic artists arise among them: from ever have their eyes been busied with far more practical affairs, than beauty and the spiritual substance of the world of forms. We know nothing of a Jewish architect or sculptor in our times, (17) so far as I am aware: whether recent painters of Jewish descent have really created (wirklich geschaffen haben) in their art, I must leave to connoisseurs to judge; presumably, however, these artists occupy no other standing toward their art, than that of modern [87] Jewish composers toward Music—to whose plainer investigation we now will turn.....
Just as words and constructions are hurled together in this jargon with wondrous inexpressiveness, so does the Jew musician hurl together the diverse forms and styles of every age and every master. Packed side by side, we find the formal idiosyncrasies of all the schools, in motleyest chaos. As in these productions the sole concern is Talking at all hazards, and not the Object which might make that talk worth doing, so this clatter can only be made at all inciting to the ear by its offering at each instant a new summons to attention, through a change of outer expressional means. Inner agitation, genuine passion, each finds its own peculiar language at the instant when, struggling for an understanding, it girds itself for utterance: the Jew, [93] already characterised by us in this regard, has no true passion..........
nothing but that prickling unrest which we observe in Jewish music-works from one end to the other, saving where it makes place for that soulless, feelingless inertia. What issues from the Jews' attempts at making Art, must necessarily therefore bear the attributes of coldness and indifference, even to triviality and absurdity; and in the history of Modern Music we can but class the Judaic period as that of final unproductivity, of stability gone to ruin.....
The Nazi Party understood and exposed the Jewish creation and drive of the Modern Arts movements as a weapon against Gentiles, they exposed this fact in their public education films.
It was during Wagner's Opera that Hitler received his transfiguration into Satan's Messiah:
http://groups.yahoo.com/group/JoSNewsletter/message/172
"... Hitler began to orate. Words burst from him like a backed-up flood breaking through crumbling dams. In grandiose, compelling images, he sketched for me his future and that of his people" (Fest, 22-23).
Thirty years later, the boyhood friends would meet again in Bayreuth, (probably catching an opera), and Hitler would remark: "It began at that hour!". More convincing evidence of Wagner's influences can hardly be wished for after a statement such as this one, but more there is (Fest, 21-23).
Adolf stood before me. He took both my hands in his and held them tight — a gesture that he had never yet made. I could feel from the pressure of his hands how moved he was. His eyes sparkled feverishly. The words did not pour from his lips with their usual easiness, but burst forth harsh and passionate. I noticed at his voice even more than at the way in which he held my hands, how the episode he had lived (the performance of "Rienzi" at the Opera) had shattered him to the depth.
"Gradually, he began to speak more freely. The words came with more speed. Never before and also never since have I heard Adolf Hitler speak like he did then, as we stood alone under the stars as though we had been the only two creatures on earth.
"It is impossible for me to repeat the words my friend uttered in that hour.
"Something quite remarkable, which I had not noticed before, even when he spoke to me with vehemence, struck me at that moment: it was as though another Self spoke through him; another Self, from the presence of which he was as moved as I was. In no way could one have said of him (as it sometimes happens, in the case of brilliant speakers) that he was intoxicated with his own words. On the contrary! I had the feeling that he experienced with amazement, I would say, that he was himself possessed by, that which burst out of him with elemental power. I do not allow myself a comment on that observation. But it was a state of ecstasy, a state of complete trance in which, without mentioning it or the instance involved in it, he projected his experience of the "Rienzi" performance into a glorious vision upon another plane, congenial to himself. More so: the impression he had received from that performance was merely the external impulse that had prompted him to speak. Like a flood breaks through a dam which has burst, so rushed the words from his mouth. In sublime, irresistible images, he unfolded before me his own future and that of our people.
"Till then I had been convinced that my friend wanted to become an artist, a painter or an architect. In that hour there was no question of such a thing. He was concerned with something higher, which I could not yet understand.... He now spoke of a mission that he was one day to receive from our people, in order to guide them out of slavery, to the heights of freedom.... Many years were to pass before I could realize what that starry hour, separated from all earthly things, had meant to my friend."
-August Kubizek, "The Young Hitler I Knew"
If you look at the Nazi rallies and watch Wagnerian Opera you can see Hitler used one to build upon the other, a pure work of art.
"Whoever wants to understand National Socialist Germany must know Wagner."-Adolf Hilter
Hitler stated he drew much of the underlying foundation of German National Socialism from Wagner's Opera Parzival.
"What is celebrated is not the Christian Schopenhauerian [sic] religion of compassion, but pure and noble blood, blood whose purity the brotherhood of initiates has come together to guard. The king then suffers an incurable sickness, caused by his tainted blood. Then the unknowing but pure human being is led into temptation, either to submit to the frenzy and to the delights of a corrupt civilisation in Klingsor's magic garden, or to join the select band of knights who guard the secret of life, which is pure blood itself. All of us suffer the sickness of miscegenated, corrupted blood. How can we purify ourselves and atone? Note how the compassion that leads to knowledge applies only to the man who is inwardly corrupt, to the man of contradictions. And that this compassion admits of only one outcome, to allow the sick to die. Eternal life, as vouch safed by the Grail, to those who are truly pure and noble!" - Adolf Hitler
As shown Lucifer's Sigil is the Grail and He Satan is Lord of it:
http://groups.yahoo.com/group/JoSNewsletter/message/210
"Wagner's line of thought is intimately familiar to me", Hitler continued more animatedly. "At every stage of my life I come back to him. Only a new nobility can bring about the new culture."
"Wagner's writings on race would probably be considered unimportant were it not for the influence of his son-in-law Houston Stewart Chamberlain, who expanded on Wagner and Gobineau's ideas in his 1899 book The Foundations of the Nineteenth Century, a racialist work extolling the Aryan ideal which later strongly influenced Adolf Hitler's ideas on race."
Hilter shared Nietzsche and Wagners view on Christianity[Wagner's entire career was anti-Christ]:
http://www.666blacksun.com/Adolf_%20Hitler.html
"Whether it's the Old Testament or the New, or simply the sayings of Jesus, it's all the same old Jewish swindle. It will not make us free. A German church, a German Christianity is a distortion. One is either a German or a Christian. You cannot be both...... We don't want people to keep one eye on the hereafter. We need free men who know that God is in themselves."- Adolf Hitler
"Judaism, Christianity, Bolshevism are all bound together. Comrades in agitation, born tools of decay, they possess the same talent to destroy the natural structure of society. Bolshevism is the historical and logical continuation of Christianity. It realizes on a technical level what Christianity has done on a metaphysical level."
- Adolf Hitler
A quote about Hitler's stance on Christianity from Alfred Rosenberg
"He had never allowed a member of the clergy to a Party meeting or to the burial of a member of the Party. The Judeo-Christian plague was now heading towards its end. He said it was downright horrifying that a religion could ever have been possible which literally gobbled up its God in communion."³
Link to an original translation of Hitler's testament of Eternal Truth, Mein Kampf:
http://f1.grp.yahoofs.com/v1/UG0_TteITM ... 933%5D.pdf
Thus Spake Zarathustra was read and studied as part of the SS educational classes.
Nietzsche on the subject:
In Christianity neither morality nor religion come into contact with reality at any point.
Rome felt the Jew to be something like anti-nature itself, its antipodal monstrosity as it were: in Rome the Jew stood "convicted of hatred for the whole human race."
As an artistic triumph in psychological corruption ... the Gospels, in fact, stand alone ... Here we are among Jews: this is the first thing to be borne in mind if we are not to lose the thread of the matter. This positive genius for conjuring up a delusion of personal "holiness" unmatched anywhere else, either in books or by men; this elevation of fraud in word and attitude to the level of an art — all this is not an accident due to the chance talents of an individual, or to any violation of nature. The thing responsible is race.
The whole disaster was only made possible by the fact that there already existed in the world a similar megalomania, allied to this one in race, to wit, the Jewish.
I call Christianity the one great curse, the one great intrinsic depravity, the one great instinct for revenge for which no expedient is sufficiently poisonous, secret, subterranean, petty — I call it the one immortal blemish of mankind.
Sec. 62
And the final proof is from the gloating Jew Eli Ravage who openly confesses all the points Nietzsche, Wagner and Hitler made on the subject which proves as always the truth is "anti-semitic." And those Gentile called "anti-semites" are ONLY STATING OPENLY WHAT THE JEWS THEMSELVES ADMIT.
Marcus Eli Ravage, a Jewish writer who was the Rothschilds' approved biographer. It appeared in THE CENTURY MAGAZINE, JANUARY 1928, Vol. 115, No. 3, pp. 346-350.
But I can tell you, you are self-deceivers. You lack either the self-knowledge or the mettle to face the facts squarely and own up to the truth. You resent the Jew not because, as some of you seem to think, he crucified Jesus but because he gave him birth. Your real quarrel with us is not that we have rejected Christianity but that we have imposed it upon you!
Your loose, contradictory charges against us are not a patch on the blackness of our proved historic offense. You accuse us of stirring up revolution in Moscow. Suppose we admit the charge. What of it? Compared with what Paul the Jew of Tarsus accomplished in Rome, the Russian upheaval is a mere street brawl.
You make much noise and fury about the undue Jewish influence in your theaters and movie palaces. Very good; granted your complaint is well-founded. But what is that compared to our staggering influence in your churches, your schools, your laws and your governments, and the very thoughts you think every day?
You have not begun to appreciate the real depth of our guilt. We are intruders. We are disturbers. We are subverters. We have taken your natural world, your ideals, your destiny, and played havoc with them. We have been at the bottom not merely of the latest great war but of nearly all your wars, not only of the Russian but of every other major revolution in your history. We have brought discord and confusion and frustration into your personal and public life. We are still doing it. No one can tell how long we shall go on doing it.
But we did not leave you alone. We took you in hand and pulled down the beautiful and generous structure you had reared, and changed the whole course of your history. We conquered you as no empire of yours ever subjugated Africa or Asia. And we did it all without armies, without bullets, without blood or turmoil, without force of any kind. We did it solely by the irresistible might of our spirit, with ideas, with propaganda.
We made you the willing and unconscious bearers of our mission to the whole world, to the barbarous races of the earth, to the countless unborn generations. Without fully understanding what we were doing to you, you became the agents at large of our racial tradition, carrying our gospel to the unexplored ends of the earth.
Our tribal customs have become the core of your moral code. Our tribal laws have furnished the basic groundwork of all your august constitutions and legal systems. Our legends and our folk tales are the sacred lore which you croon to your infants. Our poets have filled your hymnals and your prayer books. Our national history has become an indispensable part of your pastors and priests and scholars. Our kings, our statesmen, our prophets, our warriors are your heroes. Our ancient little country is your Holy Land. Our national literature is your Holy Bible. What our people thought and taught has become inextricably woven into your very speech and tradition, until no one among you can be called educated who is not familiar with our racial heritage.
Jewish artisans and Jewish fishermen are your teachers and your saints, with countless statues carved in their image and innumerable cathedrals raised to their memories. A Jewish maiden is your ideal of womanhood. A Jewish rebel-prophet is the central figure in your religious worship. We have pulled down your idols, cast aside your racial inheritance, and substituted for them our God and our traditions. No conquest in history can even remotely compare with this clean sweep of our conquest over you....."
Sources:
Fest, Joachim C. Hitler. New York: Vintage Books, 1975
August Kubizek, "The Young Hitler I Knew"
