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Sep 18View SourceKnutsson's serie on Occidental Observer discusses A. Schoenberg and atonal music: http://www.theoccidentalobserver.net/authors/Knutsson-PostmodernismI.html , http://www.theoccidentalobserver.net/authors/Knutsson-PostmodernismII.html, http://www.theoccidentalobserver.net/authors/Knutsson-PostmodernismIII.html. Mostly in the third part.
From: tlefranc10@...
To: evola_as_he_is@yahoogroups.com
Date: Sun, 15 Sep 2013 14:39:45 -0700
Subject: [evola_as_he_is] RE: The Race of the Fleeing Man
Plutarch describes the role of music in Spartan society under the rule of Lycurgus:“Nor was their training in music and poetry any less serious a concern than the emulous purity of their speech, nay, their very songs had a stimulus that roused the spirit and awoke enthusiastic and effectual effort; the style of them was simple and unaffected, and their themes were serious and edifying. They were for the most part praises of men who had died for Sparta, calling them blessed and happy; censure of men who had played the coward, picturing their grievous and ill-starred life; and such promises and boasts of valour as befitted the different ages. Of the last, it may not be amiss to cite one, by way of illustration. They had three choirs at their festivals, corresponding to the three ages, and the choir of old men would sing first:—
"We once did deeds of prowess and were strong young men."
Then the choir of young men would respond:—
"We are so now, and if you wish, behold and see." And then the third choir, that of the boys, would sing:—
"We shall be sometime mightier men by far than both." In short, if one studies the poetry of Sparta, of which some specimens were still extant in my time, and makes himself familiar with the marching songs which they used, to the accompaniment of the flute, when charging upon their foes, he will conclude that Terpander and Pindar were right in associating valour with music. The former writes thus of the Lacedaemonians:—
"Flourish there both the spear of the brave and the Muse's clear message,
Justice, too, walks the broad streets —."And Pindar says:—
"There are councils of Elders,
And young men's conquering spears,
And dances, the Muse, and joyousness."The Spartans are thus shown to be at the same time most musical and most warlike;
"In equal poise to match the sword hangs the sweet art of the harpist," as their poet says. For just before their battles, the king sacrificed to the Muses, reminding his warriors, as it would seem, of their training, and of the firm decisions they had made, in order that they might be prompt to face the dread issue, and might perform such martial deeds as would be worthy of some record.”
As a side note, Lycurgus seems to not have been enough studied and regarded as an example. He was a great Reformer whose Law allowed the creation of a truly “superhuman” state which dominated for 500 years.
--- In evola_as_he_is@yahoogroups.com, <tlefranc10@...> wrote:
As good as this essay is, it is not up-to-date, as it was written about fifty years ago. The race of the fleeing man has kept evolving and new depths of irresponsibility and immaturity have been reached, especially among the members of the younger generations. One may wonder up to what point all this will end: each generation is worse than the one which gave birth to it.
The dispositions of that race have been reinforced through the use by the subversive forces of various tools, including music. Evola devoted some time analyzing "American" music, such as "jazz" and some forms of "beat" music. He particularly focused on their non-White origins. However, the rise of "modern music", initiated in the 1950's with the "rock and roll revolution", could be considered in a larger picture, as part of the occult war. "Rock and roll", which means "to have sex" in Negro slang, has been at the root of a major cultural revolution promoting various subversive elements: a revolt against authority, general slackness, sexual promiscuity, internationalism, etc. As a phenomenon which has had significant dissolving effects on the minds of people worldwide, it must have been engineered, at least to some extent, as have been most modern revolutions.
French Canadian author J-P Regimbal thoroughly analyzed "rock and roll" as a subversive music causing both physical and psychological damage and leading to a reduced state of consciousness (http://www.histoireebook.com/public/ebook/Regimbald_Jean-Paul_-_Le_Rock_N_Roll_Viol_de_la_conscience_par_les_messages_subliminaux.zip). It appears it is loaded with elements which are more occult. For example, "rock and roll" songs contain numerous subliminal messages and a number of "stars" were ardent spiritualists who composed their "songs" during a state of trance. It seems the recording companies which promoted and sold the music were owned by subversive organizations such as the wicca cult.
--- In evola_as_he_is@yahoogroups.com, "Evola" <evola_as_he_is@...> wrote:
>
> Following 'Youth, Beats and Right-Wing Anarchists', a second essay from 'L'Arco e la Clava' has been published at http://thompkins_cariou.tripod.com/
>
> It is clear that "`The Race of the Fleeing Man' is terribly topical". In the short introduction to it, the reader will come across statements by J. Evola taken from 'The Road of Cinnabar' that are more or less at odds with its American translation, published as 'The Path of Cinnabar : An Intellectual Autobiography' : whatever mistakes were made in this translation were corrected.
>
evola_as_he_is@yahoogroups.com
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