APPENDIX N

Evola revisits the wounded king motif, sometimes awkwardly juxtaposing Christian elements with his idealized vision of knights, women, kings, and bygone eras.

THE FALLEN KING LEGEND

This first part refers to the Spear (or Lance) of Longinus. Hitler was notoriously obsessed with it. The dreadful Austrian painter with funny mustaches was not interested in anything holy in Christian terms. Let us remember a crucial fact in order to understand his secret interest toward occultism.

Hitler’s regime used the Pergamon Altar as a model for a Nazi rally tribune in Nuremberg, and the altar’s location was influenced by WWII-related events.

Now follow me on this…

In the Revelation of John, Jesus literally tells the apostle in this vision that the throne of Satan is in Pergamon. From our chart at the bottom of the appendix, we will learn that what the Greeks call Zeus, which was the main god of that altar, is nothing but the demon Baal. God speaks against the worship of this demon throughout the whole Bible. It is how the main opponent likes to be called. Baal, that means lord, a counterfeit again.

So Hitler, by setting up a tribunal in front of Baal in order to receive favor from his perverted warmonger demon and get power, will sacrifice innocent human beings in his name.

EVOLA…

The lance and cup are complementary. In traditional depictions of “double power,” the scepter often resembles the lance. Like the scepter, the lance’s symbolism overlaps with the “axis of the world,” suggesting polar and regal significance. In the Grail cycle, the lance, primarily associated with royalty, both wounds and heals.

The Grail’s lance is often bloodied, sometimes just a trickle. In the Diu Crone, the king is nourished by this blood. Later texts emphasize the blood, eclipsing the cup’s original prominence. The Grail becomes Sangreal, representing both Christ’s and royal blood. In Christianized versions, the lance is identified as the one that pierced Jesus, its blood signifying redemption and regeneration.

However, the lance wounds, as seen with Nescien who, attempting to approach the Grail too closely, is wounded and blinded. His sight and wound are healed by the lance’s blood upon its removal. In the Grand Saint Graal, such an event is declared by a shining angel as the start of wondrous adventures.

In Vauchier, a lance is fixed in a dead knight; the one who pulls it out must avenge him, thus becoming both avenger and restorer. Enigmatic blood, be it of redemption, sacrifice, or revenge, ultimately transforms into regal blood, leading to “triumphal peace.”

This solar vein shines through symbolic labyrinths and historical stratifications. The theme *la pes sera pas ceste lance*, alongside revenge, appears in the Celtic legend of Peredur ab Evrawc, influencing the Grail stories. Like Percival, Peredur is cursed for not asking about the extraordinarily big, bleeding lance.

The castle containing these objects is sometimes confused with a second castle housing an old, lame king. Peredur vows to discover the lance’s story and meaning. The explanation reveals that supernatural Amazons wounded the king and killed his son, whose severed head is present.

Peredur turns to King Arthur, who aids him in avenging and exterminating the supernatural women. The lame king then recovers his health, kingdom, and peace.

The women recognize Peredur as the one they trained in martial arts, knowing he was destined to kill them. The heroic type consistently overcomes the woman.

The Amazon, symbolically, is the feminine principle that usurps dominion. The hero needs the woman to become such, but must destroy the traits that made her fatal to the previous dynasty.

Peredur’s revenge is tied to the test of the sword. In the old man’s castle, he broke his sword striking an iron pole, repairing it twice. The third time, it remained shattered.

The old king said, “You only have two thirds of the force; you must conquer the last third. When your sword will be whole, no one will be able to compete with you.”

This deficiency prevents Peredur from asking the question and carrying out his revenge. The test degrees follow the formula: “Once stricken, I rise up again,” referring to the sacrificial reaffirmation of a broken energy.

The king’s wound corresponds to a rebellion usurping his function. The legend’s pattern: blood dripping from the lance calls for revenge.

Mending the broken sword precedes the question test, followed by revenge, restoration, and glorification. The lance becomes a bright symbol of peace.

Peredur’s legend mirrors Percival’s, evoking non-Christian elements.

A powerful, lethal lance is found in ancient Celtic legends like the Destruction of Da Dargas Hostel and the Musca Ullad, alongside a bowl of blood mixed with a flaming poisonous substance.

Immersion in this bowl extinguishes the lance’s flames. In Wolfram, Amfortas’s incurable torment stems from a burning poison in which the lance tip was dipped, described as a manifestation of God’s “wonderful and terrible power,” equivalent to the poisonous, burning substance of the Celtic legends.

The lance, as a scepter, neutralizes this substance, akin to Heracles freeing Prometheus. Darkness and tragedy then dissipate, reawakening the Hyperborean “memory of blood” that guarded the sword, fulfilling the mystery of “regal blood.”

Beyond Amfortas, the fallen king motif appears in various forms.

In the Grand Saint Graal and Queste du Graal, the king is wounded while fighting King Crudel, an enemy of Christianity.

These wounds manifest only after losing sight by approaching the Grail. Symbolically, failure to realize the Grail leads to recognizing an inferiority, or having been unknowingly wounded while defeating representatives of traditional, non-Christian forms.

The wound also connects to the test of the sword in Solomon’s ship, alongside a golden crown.

This sword, partially drawn from its scabbard, “memory of blood,” is partly made of the Tree of Life’s wood (Le Morte D’Arthur, 17.6).

Predestined for one, a warning says it will fail in need. Nescien breaks it against a giant. Mordrain repairs it, but Nacien is then wounded by a flaming sword wielded by an invisible hand, punished for unsheathing the sword *ax estranges renges*. In the Queste du Graal and Le Morte D’Arthur, Nacien learns his right hand was smitten for his sins.

A similar theme appears in the *Diu Crone*: Gawain refuses drink, unlike his companions. This abstinence allows him to “ask the question,” without which his prior and potential actions would be useless. “Sleep” is an initiatory symbol, as are the “Awakened One” and “Sleepless One.” Overcoming sleep signifies participation in a transcendent lucidity, freed from material contingencies.

A variation on usurpation, connected to Amfortas, is found in the *Elucidation*: Logres is ravaged because King Amagon and his knights raped the “women of the Fountain” and stole a golden cup. The Grail’s court vanished, and the throne remained vacant. Gawain learns of this and seeks the Grail’s court.

Wolfram’s Klinschor violates women, his adultery causing his emasculation and black magic involvement. He owns a castle where he imprisons women, including Arthur’s mother. Gawain’s final test occurs here, ending with him taking Orgeluse, the woman who ruined Amfortas and the Grail’s realm.

THE SATURN CULT OF KRONOS

In Albrecht’s text, Titurel is five hundred years old, according to Wolfram. Amfortas’s poisonous, burning wound worsens under Saturn-Kronos, king of the primordial age asleep in the Hyperborean seat, sometimes castrated at a cycle’s beginning.

This explains why the wound reopens under Kronos, who, in Hermetic tradition, is the deceased needing resuscitation.

The hero’s royal art frees lead from its “leprosy,” transforming it into gold, actualizing the Mystery of the Stone. Kronos, gold, and “foundation stone” all reference the primordial regal tradition. When the sign reappears, the wound of the degenerated or usurped burns.

The motif of a slain or wounded knight, found by Grail seekers with his woman (often near a tree), mirrors a hero who failed, awakening the seeker to their initial failure.

This woman, a relative of the seeker, reveals his forgotten name and explains the Grail’s castle, blaming his failure to ask the question and instructing on sword mending.

Wolfram places the woman, Sigune, by the embalmed body of the dead knight, mixing the apparently alive Grail king with the hero struck down before completing his quest. Sigune curses Percival for his indifference to the suffering king and the Grail’s meaning.

THE WOUNDED KING AND THE SWAN

The broken sword’s lesion in Gerbert motivates Percival’s Grail quest. Revenge is a theme: Percival heals and avenges Gurnmeant. A swan-led boat delivers a coffin to Arthur’s court, containing a knight Percival must avenge.

He then opens a tomb with a living man who tries to trap him, but Percival prevails. He reaches the fatal castle and mends the sword. Gautier presents a similar tomb episode. Some texts identify the entombed knight as the devil.

The swan symbolizes the Hyperborean tradition and Apollo. The coffin suggests a revival of something dead, the Hyperborean tradition, but Percival faces the danger of being trapped in death or sleep within the tomb.

Diu Crone describes the Grail king as old and ill. Gawain’s question revives the king, who explains he and his men were long dead, kept alive until the Grail quest’s fulfillment. The king bestows a victorious sword upon Gawain, then disappears with his men and the Grail. The question heals the king, restoring his mortality. In Wolfram, the king abdicates to Percival.

An old dynasty is freed when a new one proves capable through wielding the sword, avenging, and restoring what was lost. The Dolorous Stroke signifies a violent, unqualified substitution or fratricidal strife.

THE UGLY TRUTH OF THESE HERMETIC TRADITIONS

APPENDIX O

SATURN WORSHIP

Saturn’s nomination within hermetic discourse should always trigger alarm. Briefly, the Saturn cult encompasses Baal, Moloch, Milcom, and related demonic entities. This represents the most blasphemous of cults. To grasp the significance, consult Professor George Rawlinson’s *History of Phoenicia*, where the religious chapters detail the abominable sacrifices to these Saturn-linked demonic monsters.

Albrecht’s Titurel is five hundred years old. Amfortas’s poisonous, burning wound worsens, especially under Saturn-Kronos, king of the primordial age, asleep in the Hyperborean seat, castrated at the beginning of a cycle in some myths. This explains why Amfortas’s wound grows worse under Kronos.

Hermetically, Saturn-Kronos is the deceased to be resuscitated; heroic royal art frees lead from its “leprosy,” transforming it into gold, actualizing the Mystery of the Stone. Kronos, gold, and “foundation stone” reference the primordial regal tradition. When the sign reappears, the wound of the degenerated or usurping person burns and becomes troublesome.

THE FISHER KING

APPENDIX P

This is a powerful counterfeit of “team Satan”. Confusing this lore with the famous passage of the Bible, Matthew 4:19 and Mark 1:17, where Jesus calls his disciples Peter and Andrew and told them that they will be fishers of men.

The Fisher King seems somehow again related to Saturn-Kronos cults, because the restoring of his kingdom element corresponds with the narrative.

The syncretism that Evola intelligently makes with the Vedas is particularly smart. The key to understanding this tradition is investigating Atlantis, when the demon king occupying the position of Chronos was Poseidon, the king of the sea.

If you study the topic long enough, you will come to a similar conclusion:

There is a tight relationship between the stories of Genesis 6 in the Bible, the fallen angels and the Nephilim, and the Greek and Mesopotamian Gods that existed before the flood. After the flood, the Olympian gods rise up to replace the ones that have been imprisoned as recorded in Jude 1:6:

And the angels who did not keep their positions of authority but abandoned their proper dwelling—these he has kept in darkness, bound with everlasting chains for judgment on the great Day.

We will go back to this point important point later.

This spurious hermetic narrative continues.

Celtic tradition features a “fish of wisdom” (or “salmon of wisdom”), burning to the touch but granting knowledge when consumed. The fish also appears in Irish legends of primordial tradition. The Leabhar na h-uidhre recounts Tuan, the lone survivor of Partholan’s race, preserving their memory by transforming into symbolic animals.

As a fish during the reign of the race of Milhead, he was eaten by a princess, reborn as her son, a prophet. The Grail king as fisherman may relate to a renewal of Partholan’s legacy, its “memory” as a mystery of “nourishment,” equal to or integrated with the Grail.

The Grail dynasty or tradition often linked to Solomon. Arabian legends, popularized in medieval Europe through Spanish translations, connect the fish to a quest for a ring, paralleling the Grail as a regal stone and stone of power.

The “fisherman’s ring” is one of the papal insignia. Chretien de Troyes suggests the Grail King, wounded, finds sole occupation and joy in fishing. This king, acknowledging powerlessness, seeks the chosen hero as a fisher of men.

In Perceval Ii Gallais, his hook is gold. In both this text and Wolfram’s, the fisherman directs Percival to the Grail’s castle, later appearing as a sick king. Wolfram adds, “What he fishes when his pain abates does not suffice for his needs.”

Intertraditional comparisons reveal deeper meaning. Guenon notes elements suggesting a Northern, even Hyperborean, origin for fish symbolism, found in Northern Germany and Scandinavia, likely closer to its diffusion point than central Asia. Supporting this, Hindu tradition regards Matsya-avatara, Vishnu’s fish manifestation, as the first of the current cycle, linked to the primordial tradition.

Vishnu, as a fish in water, leads the ark containing future world germs and reveals the Vedas after the flood, mirroring the Chaldaic god Oannes who, as a fish, taught mankind the primordial tradition. Celtic and Christian elements appear as fragments of a broader view illuminating the Grail legend.

The Fisher King is the fallen dominator seeking to reactivate the primordial tradition, the Hyperborean legacy, possible only with the hero who knows the Grail, its function, and its benefits integrated with those of the fish. Hence, the Fisher King is also a “seeker of men,” those qualified for that function.

The Hyperborean land, inaccessible by foot or ship, was reachable only by heroes like Heracles, according to Pindar. Similarly, in Chinese tradition, a northern island was accessible only by spiritual flight. Tibetan lore places Sambhala, the mystical northern seat of Kalki-avatara, within one’s spirit.

This theme echoes in the Grail cycle: the Grail castle is a “palais spirituel” or “castle of souls.” Mordrain, guided by the Holy Spirit, reaches a rocky island marking the “real crossing to Babylon, Scotland, and Ireland,” initiating his trials.

Plutarch connects visions of Kronos in the Hyperborean seat with sleep, while Lancelot, in *Le Morte D’Arthur*, sees the Grail in a state of apparent death. Lancelot’s vision in the *Queste* depicts a wounded knight seeking solace from the Grail in sleep or death, experiences beyond ordinary consciousness. The castle is often described as invisible and unreachable, found by the elect through chance or magic, often vanishing from sight.

Grail Knights, or Templars, bar all nations except those named on the Grail itself, vowing death to any invader. Titurel states a hidden mountain in the woods, Montsalvatsche, is found only by angels and is heavily guarded. The Grail hovers above, held by unseen beings. Montsalvatsche later shifts from *mons silvaticus* to *mons salvationis*, linked to Salvaterra and San Salvador in Spain, its supposed location. Symbols consistently denote inviolability against profanation. Invisibility and related themes emphasize inaccessibility, transcending physical control, form, and senses, a limitation equated to death or sleep for ordinary individuals.