APPENDIX H
Evola, like many students of elite mystery religions, distinguishes between two schools: Eastern, centered on practices like Buddhism where initiation reveals a hidden cult rooted in asceticism and detachment from earthly and heavenly things; and Western, which is the focus of this series.
The Western school, according to Evola, revolves around symbols, a Hermetic tradition favored by Freemasonry and secret societies. It’s operative, based on rituals and symbolism: crowns, kings, emperors, and the color red, like fire. This includes the heretical content explored previously.
This chapter explores different perspectives on the story from all the main characters. The figure of the woman becomes a point of intense controversy, especially concerning traditions where knights reportedly rape her.
By Episode 8 we have make it clear that integrating these esoteric doctrines with the teachings of compassion and mercy of Jesus Christ is impossible.
Evola clarified in interviews his definition of tradition, facing limited appreciation from German national socialists and Italian fascists, yet gaining popularity among the aristocracy he championed in his works. Himmler, head of the SS, aimed to revive the Teutonic Knights, a medieval German chivalric order. He drew upon Evola’s esoteric writings on symbols and royal lineage to imbue his organization of criminals with ancient mystery religions.
The association with Hitler and Mussolini, with their proletarian views, could never align with Evola, who, while potentially allied with even more unsavory elements, advocated for aristocracy and royal lineage.
This exemplifies how opposing forces, including royal blocs and various Masonic factions, utilize the same esoteric systems to wage clandestine conflicts. Driven by disparate political and cultural objectives, each side harnesses secret knowledge from a serpentine source to achieve its goals.
Hopefully, this will familiarize you with the concept that every potentate, government, secret society, or secret cult adopts occult methods behind the scenes. As we know from the prophet Daniel and the Revelation of John, the beasts represent governments, institutions, kings, and queens of this world. Just as in the desert, when Satan offered Jesus kingship over the world, Jesus told him to get lost. These kings and emperors, when presented with a similar offer from the devil, apparently accepted the deal.
EVOLA…
THE GRAIL part 2
Gawain and Amfortas are detailed and confirmed in Wolfram. Trevrizent, the fallen king of the Grail’s brother, withdrew to ascetic life by the Wild Fountain, trying to alleviate his brother’s suffering and stem the Grail kingdom’s decay.
His name, “recent truce,” suggests a provisional solution based on asceticism while awaiting true restoration.
Trevrizent reminds Percival of Lucifer’s fate after proceeding without God’s help, indicating that exceptional strength and bravery are needed to look after the Grail, but freedom from pride is essential. He warns Percival of a potential lack of renunciation, recalling Amfortas’s misery as the “reward” of his pride. Amfortas disregarded chastity in his quest for love, bringing evil upon himself and those around him.
Wolfram portrays Amfortas as the wounded king awaiting a hero to heal him and receive the Grail’s kingship. Amfortas’s fall is explained by choosing “AmoT,” which lacks humility, as his battle cry and serving Orgeluse de Logrois with brave deeds “characterized by the yearning for love.” He was wounded in his manhood by a poisoned lance thrust by a pagan knight seeking to conquer the Grail. Although the opponent was slain, Amfortas’s wound remained, his strength vanished, and he could no longer function as the Grail’s king, plunging the kingdom into prostration and desolation.
The episode alludes to a Luciferian deviation, driven by craving and pride, not transfiguration. The Grail’s law transcends ordinary chastity; Wolfram allows its kings a Grail-designated woman. Other texts depict Grail knights accepting or even raping the castle’s woman. However, these men cannot devote themselves to, or marry, Orgeluse (“the Proud One”). This wounds heroic virility, condemning it to a restless, unquenchable love akin to Prometheus’ punishment.
Amfortas’s wound signifies his downfall. Trevrizent references Amfortas after Lucifer’s fall to warn Percival. Wolfram also presents Gawain, who undertakes a similar adventure to Amfortas but with a different outcome. Gawain followed Percival’s advice, entrusting himself to a woman rather than God. Oblilote promises him protection in every difficult adventure, serving as his escort, follower, and a refuge during calamities. She declares, “My love will give you peace and successfully protect you from all dangers, even though you will valiantly defend yourself. I am in you, and my fate is strictly connected with yours; I want to be close to you during combat. If you firmly believe in me, luck and valor will never desert you.”
Having defined their union in these terms, Gawain embarks on the adventure of the “Castle of the Maiden,” indicated by Kundry as a mission the Knights of the Round Table must undertake due to Percival’s failure at the Grail castle. Wolfram considers this the most daring adventure, while Le Morte D’Arthur deems it “a great folly.”
This unfolds in the dream of Orgeluse, Amfortas’s ruin. Gawain succeeds, facing tasks, humiliations, jokes, and disavowals. This is a test of pride, demanding ascetic struggle and the overcoming of hubris, exhibiting subtle inner self-control.
This self-control is demonstrated by Gawain’s passage through the “estroite Voie,” a dangerous path – in Diu Crone, a hand-wide steel track over a dark river, the only access to the “rotating castle.” Kay dared not attempt it, symbolizing a tough path, equidistant from Prometheism and a nonvirile sacrality.
Grail texts frequently mention Lucifer’s temptation by a woman, a departure from tradition.
The Grail cycle repeatedly features kingdoms gained through a woman seduced after heroic trials. Gamuret, Percival’s father, and Percival himself become kings through women; Wolfram likens Condwiramur to the Grail. Gerbert de Mostreuil attributes Percival’s initial failure to abandoning Blancheflor.
The Grail appears closely linked with women; regal virgins and crowned women carry it or embody its attributes. Feirefis, Percival’s stepbrother, motivated by the “reward that women can give,” becomes the bridegroom of the Grail bearer, Repanse de Schoye, gains the vision of the Grail after baptism, and becomes an ancestor of the Prester Johns. Antikonie’s “kiss” grants extraordinary strength, and she compels a knight to conquer the Grail for her.
ALLUSIONS TO SEXUAL MAGIC
Esoterically, the woman—vivifying force, power, transcendent knowledge—poses a danger only when yearned for, substantiating the Luciferian temptation and causing the wound in Amfortas’s virility, degrading and paralyzing him. Like Kalki’s myth, she only marries the restoring hero; others who lust after her are transformed, losing their spiritual virility.
Heroic eros, uncontrolled, is a danger; chastity is control, limit, antititanic purity, overcoming pride, immaterial unshakability—not a moralistic or sexuophobic precept. Trevrizent warns Percival: “There is only one thing that the Grail and its secret virtues will never tolerate in you: countless desires.”
“Triumphal peace” mirrors the hero’s regained Olympian state: “By fighting on you have pacified your soul.” Asceticism of power, overcoming wild virility and desire, purity in victory: these forge the unshakable, sidereal, purified virile nucleus, making one fit to assume the Grail without being blinded, destroyed, or incinerated.
This is the essential meaning. Another interpretation, concerning Amfortas’s fate and a more concrete view of the woman, may exist.
Admitting even a subordinate interpretation hinges on the medieval romance authors’ possible knowledge of, and allusions to, sexual magic. Definitive answers are elusive; however, the following are key reference points.
A virile force within man, liberated from matter, manifests as magical power, yet sexuality paralyzes it unless properly directed. Woman lethally diminishes this force by awakening desire and drawing the initiate into procreative intercourse. This diminishes the power needed to “cross over the river of death,” imparting a “slow death.” Man’s transformation into a woman upon desiring, especially during intercourse, symbolizes this devitalization. Beyond morality, desire or abandonment inflicts a wound upon magical virility. A similar, subordinate interpretation may apply to the wounded and weakened Amfortas, particularly concerning the genitals. In sexual magic, woman possesses an essential and dangerous force.
APPENDIX I
This next section addresses a sensitive topic, as many individuals in these modern times of confusion are finding solace in Eastern philosophies like Buddhism and Hinduism. These traditions encompass a series of virtuous and wise practices, leading some Western believers to perceive these doctrines as too distant to connect with Western beliefs. However, this assessment is, in all humility, a significant mistake. Anthropologically, Hinduism, from which Tibetan Buddhism branched, originates from the same ancestral group; it is a cultural adaptation rather than a radical shift.
The Vedas and ancient Persian culture share a common origin in the Indo-Iranian (or Indo-Persian) peoples, as evidenced by shared language, religion, and social structure. Both traditions emerged from a common Proto-Indo-European root, with languages like Vedic Sanskrit and Avestan exhibiting clear similarities. They also share a pantheon of gods, such as Mitra, Vayu, and Aryaman, who have counterparts in both traditions. A significant schism developed with the rise of Zoroastrianism, leading to the divergence of religious practices, although the relationship remains evident in both historical traditions.
Therefore, it becomes apparent that Western beliefs centered on stars and spirits were simply transplanted to the East. Upon deeper examination, the changes appear merely doctrinal, but the core subject remains the same.
Furthermore, consider Mithra. This was the solar mystery religion of the Roman elite (made accessible to the populace as Sol Invicta). Consequently, the same concept of Sabaism, the worship of the sun and the moon, was exported to the East. The serpent sheds its skin, cleans its reputation, and reappears speaking in Hindu and Chinese, promoting secret enlightenment, reincarnation, divination, astrology, and all the subjects that the Bible deems detestable. The snare and the deceptions behind this should now be clear.
We continue analyzing the visions of Evola.
PHILOSOPHER STONE, THIRD EYE SYMBOLOGY
The bridge to the east and the links to Buddhism and Hinduism and their brunch of mystery cults.
The Grail, as a stone fallen from Lucifer’s crown, resembles the frontal stone (urna) in Hindu symbolism and Buddhism, representing the “third eye” or “Siva’s eye.” This eye possesses transcendent vision (bodhi) and fulgurating power, exemplified by Siva incinerating Kama. In esoteric yoga, this frontal eye corresponds to the ajna-cakra, the seat of “transcendent virility” where Siva’s phallus manifests as itara, granting the power to transcend death. As a stone fallen from the sky, the Luciferian stone also evokes meteorites, often symbolizing thunderbolts. This alludes to the symbolism of the ancient stone battleaxe, similarly representing the thunderbolt.
THE AXE SYMBOLOGY
As you can see in these narratives, the author now seems to believe the reader has swallowed the unpalatable argument that Lucifer is actually a positive influence. While we debunked this heresy in earlier sections of this essay, it is important to reiterate the poisonous nature of these associations.
The axe relates to Siva, who burned the Hindu Eros, and Parasu-Rama. It mirrors Mijolnir, Thor’s war hammer, used by these gods to vanquish telluric, titanic, and wild beings. The battle-axe equates to the Hellenic Olympian god’s thunderbolt against the Titans, especially Indra’s vajra, the Indo-Aryan warrior god’s weapon. The vajra signifies scepter, thunderbolt, and adamantine stone, the first echoing the lance’s symbolism. The Celtic saga of Peronnik, related to the Grail narrative, features a golden bowl and diamond lance seized from a giant’s castle. The bowl possesses the Grail’s beneficial properties, granting food, riches, healing, and even resurrection. The adamantine lance reflects the Luciferian stone, the vajra’s force-scepter-thunderbolt; a merciless, flame-like lance, destructive yet a promise of victory.
Upon Peronnik’s touch, the earth quakes, thunder roars, the palace vanishes, and he finds himself in the forest with the lance and bowl, bringing them to the king. This echoes the Grail and the Siege Perilous. Cyclical view, transcendent virility, power of command, axe-thunderbolt, thunderbolt-scepter—all, within myth, link to the Grail’s mysterious origin stone. This stone adorned Lucifer’s crown, which he and his hosts sought to reclaim in angelic revenge.
PERCIVAL AS A TRADITION FOR LUCIFER.
APPENDIX L
Revelation 13:3-4: “I saw one of his heads as if it had been mortally wounded, and his deadly wound was healed. And all the world marveled and followed the beast. So they worshiped the dragon who gave authority to the beast; and they worshiped the beast”.
Revelation 20 also describes God binding Satan and casting him into a bottomless pit, from which he will later be released, a crucial episode for understanding the Percival lore as a Luciferian deception.
You understand the direction now. Hopefully, I’ve sparked interest in The Revelation Of John and in Scriptures. A key aim is to engage secular and non-believing readers, emphasizing that this analysis hinges not on what *we* believe, but on the troubling nature of *their* beliefs.
What rulers and technocrats believe.
It remains mysteriously present as the “stone of the exile.” The earthly paradise as the Grail’s seat is tradition identifying them. Wolfram called the Grail “such an august object the like of which is not found in heaven.”
In the Queste du Graal, Galahad, beholding the Grail in the palais espirituel, felt an awesome shudder, begging God to enter him into heaven, having known the Grail’s mystery.
In Perceval Ii Gallais, the Grail’s castle is Eden. In the Diu Crone, Gawain finds a country “considered the earthly paradise.” Veldenaer wrote that Lohengrin, the “knight of the swan” “came from the Grail,” once called the earthly paradise, but reached only through adventures and left through tribulations. The Grail is thus reconnected with the attainment of the primordial state, represented by the earthly paradise.
Seth allegedly attained the Grail in the earthly paradise. This is relevant as Seth means “ruin” or “upheaval” and “foundation.” The former suggests a Luciferian substratum destined to become a foundation, the latter, a regal function related to the power of the center. This might be the interpretation of Wolfram’s lapsit exillis as lapis beryllus, “central stone,” or lapis erillis, “stone of the Lord.”
THE ISLAMIC CONNECTION
APPENDIX M
Fully addressing the cult behind the stone they kiss at the Kabba would make this too long. The text speaks for itself: it relates to mystery religion, but regular believers are unaware. They innocently believe the stone originates from another planet or some fantastic place. They serve as batteries to the system, and are not guilty. It is a deception. We are intelligent, but these forces are more intelligent and predate us, so outsmarting the unknown is unwise. Awareness is paramount.
The Universal Ruler’s representation is both regal and priestly, associated with a guardian of Adam’s body, the original possessor of the Grail, who loses it and then life. This appears alongside motifs of a mysterious stone and an inaccessible seat.
Heavenly stones symbolize a “central” meaning, embodying or intended to embody a polar function within a civilization’s cycle.
Examples include the Irish regal stone, the lapis niger in Rome, the black stone of Kaaba, the black stone given to the Dalai Lama, the sacred stone as Zeus’ altar and throne, and the Delphic omphalos, the first postdiluvian creation of Deucalion’s race.
This sacred central stone (omphalos) was also called “betil,” a victory-representing stone like the Grail. Pliny describes “baetulos” as round, black, and sacred stones through which cities and fleets are defeated.
COUNTERFEIT OF THE STORY OF JACOB
Another blatant attempt to poison the narrative with esoteric and Luciferian lore.
The name f3mrvAo~ is identical to the Hebrew beth-el, meaning “the house of the Lord,” recalling Jacob’s story, who “defeated an angel” and named the region Bethel where a sacred stone indicates the place where heaven and earth join. “How awesome is this place! This is none other than the house of God, and this is the gate of heaven;” Jacob says. However, the Luciferian component remains discernible in Jacob.
This sprout becomes a tree in legends of Prester John, Alexander, and the Great Khan, like the Dry Tree of the Empire. This tree appears in Grail stories alongside Solomon’s ship, holding a bed, golden crown, and sword adorned with white, red, and green strands woven from the tree’s branches. The sword is David’s, the priestly king.
Prester John appears. The sword’s scabbard is called “memory of blood.” The inscription warns that only one knight can hold it, surpassing all before and after him.
The unmanned ship, adrift and divinely guided, symbolizes the abandoned legacy of a primordial regal tradition, awaiting its restorer. Arthur’s lost sword, flashing from the waters, mirrors this. The ship in the Grand Saint Graal fetches Nescien from the isle tornoiante; a similar vessel in Le Morte D’Arthur comes from “the Isle of Turnance.” Hebrew and Celtic-Hyperborean motifs merge, as the revolving island embodies the polar meaning of Arthur’s court, the Round Table, the wheel of Frau Saelde, and Avalon.
The Grail’s meaning as a “central stone,” the lapis exilis of empire, connects it to various themes and legends. Alexander, like Seth, approached the earthly paradise and brought back a stone with Grail-like qualities: brightness, eternal youth, victory. It was shaped like an eye, apple, or sphere.
Rome’s imperial power, like Alexander’s, seems enigmatically characterized by similar symbols in the Grail cycle. Numa received a bowl forged from a meteorite, a “stone of heaven,” containing ambrosia, the nectar of the immortals, as a pledge of Rome’s eternity.
The Salii, twelve in number, guarded the bowl and the hasta (lance), mirroring the solar number found in the Order of the Round Table and of the Grail. This heavenly stone, the bowl of supernatural nourishment, and the lance, three essential objects of Nordic-medieval legend, reappear as prophetic “signs” for Rome’s origins and destiny as a universal imperial center. A magical concordance of meanings resonates across these traditions, despite their spatial and temporal distance.
