PART III. CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE EUPHEMISM, CIRCUS ENTERTAINMENTS, MISCHLING, NAZISM, FOLK-LORE AND CHRISTAPHOBIA.

1.0 – BLOG'S TITLE: PART III. CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE EUPHEMISM, CIRCUS ENTERTAINMENTS, MISCHLING, NAZISM, FOLK-LORE AND CHRISTAPHOBIA.

1.1 – CONTENTS:

2.0 – 2.10: CHANGE-LING /
3.0 – 3.5: ACCURSED HUMOUR /

4.0 – 4.1: SALTIMBANCO /
5.0 – 5.7: THE DARK-SIDE /

6.0 – 6.2: NAZISM /

7.0 – 7.4: BRAVE NEW WORLD /

8.0 – 8.2: CHRISTAPHOBIA /

9.0 – 9.2: DISCLAIMER //.
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2.0 – CHANGE-LING: The noun: 'changeling' is derived from the affixation of the suffix: '-ling' with 'change', whereby the suffix: '-ling' attaches the signification of a quality of being: 'small'; 'miniature'; 'immature'.

2.1 – At one level, the adjective 'small' confers that the significance of the noun stem 'change' is modified by the suffix '-ling' to make the inference: if change is involved regarding the person referred as a changeling, it will be small or quaint.

2.2 – On this point, comparison is made to the example of the noun 'darling', in which the noun stem: 'dar' is emphasized as 'precious'; 'cherished'; 'delicate'; 'exquisite'; the evoked smallness is that greatness of potential and promise, possibly such as in terms of a messianic prophecy, from small things, found exemplified by people's reactions to a new-born: small as seed, will grow and offer the boons of blossoms and fruit.

2.3 – Smallness is referenced not only in terms of physical size, but mentality: refer to the Lilliputians of 'Gulliver's Travels, circa 1726' by Jonathan Swift, in which the small people are small-minded due to their focus on the cavill and trivial, such as to render matters, petty.

2.4 – In the case of 'darling', to which comparison can be made to 'changeling' by way of linguistic structure, the noun 'darling' is able to express affection phonetically: the '-ling' suffix rounds-out the intonation through the dipthong, to attach to the 'dar', a variant of 'dear', the conveyance of loving sentiment.

2.5 – The usage is defined as a "term of endearment" as are a number of words with the '-ling' suffix, which in a number of other contexts take on a patronizing signification: the subject of the term 'darling' is imposed by the relation of being sweet, cute and fluffy to the locutor; that is, the changeling as the darling "cannot be taken seriously" or, in any way, consequentially, such that the whole world might have become a nursery.

2.6 – The other signification of the suffix: '-ling' in 'changeling': of an 'idiot' or 'simpleton', in the patronizing sense is comparable to a beloved pet as a type of "dumb animal"; the dumb is a pun on dum, because the quality of being mute is often assumed as indicating idiocacy—the idiot was not taught how to speak or read and write in some cultures, because at the very least speech is acknowledged as being representative of some-one's self; the gestures of body language are similar to the language of the pantomime, which is a spectacular phenomena for children—and the other mode of purely visual performance, the masque, was traditionally created for the so-called peasantry who were comparable to adult-children; masques approached adult themes of morality and mortality but in a delimited sense—the keeping of "the human pet" in a symbolic / imaginary state of merger is the keeping of a child in the fœtal, unborn state.

2.7 – Any possibility of the person held to be threatening—the change of the change-ling could hypothetically become threatening—is nullified by the implied significance of affection that the suffix: '-ling' carries; because essentially the '-ling' evokes an imaginary effect of miniaturisation, indicative of immaturity, a regression is realised.

2.8 – An 'idiot' or 'simpleton' are generally treated as an 'ignoramus', a noun from the Latin: 'ignōrō', that refers to: “I do not know; I am unacquainted with; I am ignorant of"; the noun is from a farcical play: 'Ignoramus, circa 1615', by George Ruggle, who based it on the earlier Italian comedy: 'La Trappolaria, circa 1596', by Giambattista della Porta, who in turn borrowed from: 'Pseudolus, circa 191 B.C.' by Plautus for the Roman Megalesian Festival: a celebration of the Greek Magna Mater, Cybele.

2.9 – Idiocacy refers to a state of ignorance, specifically in reference to the changeling; due to immaturity such as caused by disability: the changeling does not know who he or she is, for example, due to brain damage or deformity at birth or for such knowledge kept hidden by relatives or others.

2.10 – As the idiot, "the dunce", the so-called "odd-one-out", the changeling is not so much representative of ignorance in the context of ignorance being a state of mind and feeling attributed to an infant or older child or youth, who are partially expected to display naïvety and undeveloped or inexperienced performances at tasks, but is, as "the but of all jokes", never to be inducted; refused the knowledge of that which every-one else knows, "the shibboleth" is with-held, and thereby the changeling is kept a foolish child by way of social exclusion.

3.0 – ACCURSED HUMOUR: That is, in essence, the effect of a curse, either implicit or explicit; made real by the consensus of the majority of the group or populace.
3.1 – The changeling appears to be connected with that age-old rite of the year-king or human sacrifice, by whose ruin, a type of catharsis takes place, referred to as pharmakós / Greek: φαρμακός, viz. scape-goating.
3.2 – As the year-king, the cruel jest is made by the fact that, similar to the fable of 'The Emperor's New Clothes', despite the king / emperor being in the privileged position of a monarch, is susceptible and vulnerable to others's opinions; that is, the year-king is made subject to the tyranny of the people, and the various human foibles which afflict every-one, including the act of committing a mistake.
3.3 – Some absolute monarchs have insisted their mistake is, in fact, accurate, given that the monarch can be represented as God on earth; hence, the erroneous one, the jester or clown, is found beside the monarch in texts, such as the famous 'The Tragedy Of King Lear, circa 1606' by William Shakespeare, in which the Fool uses a diminutive, child-like language against the old King's own bombastic apoplexy, yet the Fool is arguably more sane than the king: 'Tis a naughty night to swim in. Now, a little fire in a wild field were like an old lecher’s heart—a small spark, all the rest on ’s body...', Act 3, Scene 4, 111–114.
3.4 – Because all persons commit some sort of error at some point in their life, to commit a folly such as of a small kind, by the jester or clown is celebrated as characteristically human; rather than made the focus of chastisement, humour in celebration of folly and a shared sense of hopelessness in expecting the fool to change, are released.
3.5 – Love in general is as an affect, the opposite to purposive and functional: often what fails and engenders a sense of the absurd, is precisely what is loveable: for example, a baby who stumbles in his or her first attempts at walking or a loveable fool who is favoured over an admirable hero who performs tasks perfectly: a point of irony extended to the further point, often tragedy is required rather than comedy, to ensure the reality of the folly involved, that is a curse no less, is properly registered, albeit that farce inevitably is caused in the organization of the tragic consequences.

4.0 – SALTIMBANCO: In further reference to the changeling, along with clowns, they are the so-called "circus freaks"—the motley crew—who present a show of light, comical entertainment in momentary festivity of their marginality; exceptionalism; difference: as dalliance, fun, intoxication: exemplified by "the saltimbanco" of Italy and France, painted by the celebrated modernist visual artist, Pablo Picasso, refer to Figure I.; the noun literally was used to refer to “a leap (or somersault) on the bench", that is, as a reference to buskers or street performers, but the signification also refers to a fraud, con or quack.

Figure I. 'Acrobat and Young Harlequin / Acrobate et jeune Arlequin, circa 1905' by Pablo Picasso, 191.1 centimeters x 108.6 centimeters, oil on canvas, BF382, Barnes Collection; Artists Rights Society,  © 2023 Estate of Pablo Picasso, New York.

4.1 – The changeling as a cultural concept draws upon the strange, freakish and comical acts of the circus, such as once, dwarves or disabled persons were consigned through social pressures of stigmatization; the physical difference is equated with a dictate for standardized people performing standard tasks with-out risking any-thing unexpected.

4.2 – The unusual or abnormal often is connected to the creative and that which is considered frivolous to a philistine social order with an obsession for safety and security that can only ever be illusory: the out-siders, or out-siderism as a sub-culture must be alowed to exist because cultural diversity is the sign of a sophisticated society—nonetheless I will ask, "where, oh where do the changelings and misfits go?" And the modern, Canadian circus company of the 1990s and 2000s, such as Cirque de Soleil, does not count as an answer.

5.0 – THE DARK-SIDE: There is a "dark-side" to such qualities of the changeling, to which I have made reference in my blog posts since last year, that requires further focused discussion.

5.1 – For those who have dismissed my arguments of the occurrence of children and some adults deemed "changelings", because of the implied immature or fantastical elements, the facticity of the history of the 'mischling' might be considered verification of a correlative reality to the mystified discourse.

5.2 – Fantasy texts, while displaced and loosely metaphorical, will correlate with a true history, as an effect of euhemerism: historical facts become legend and legend becomes myth.
5.3 – The truth will be both disguised and revealed by a trope; hence, the appeals of such texts, for their expression of what is thought to be inexpressible, to establish some-thing of a "successful protest".

5.4 – There is a poetic truth to be found in such texts, often escaping the layman's notice, but which can be discerned by "the dream-interpreters", viz. the therapists, priests, sisters, teachers, authors, artists, etc., who must excavate the fragments of truth to re-construct what has really occurred, or is now occurring, at least as much as possible, because the power-centers will ensure that any trace of responsibility leading back to them is shut-down; for example, by causing the dream-interpreters to disagree with the argument made in this blog.

5.5 – The German Nazi noun: 'mischling', used to refer to an infant or adult with a mix of ethnicities, such as Aryan or Non-Aryan, is an euphemism for some-one determined as a pest: liable for racial cleansing or a range of mistreatments and persecutions, because the inference is, the racial differences will beget an irreformable degeneracy: an inherent defectiveness makes the person expendable.

5.6 – The changeling / mischling is an euphemism for mistreating that person with a range of moral disengagements and duty of care, because the racial difference is considered to signalize an idiocacy in which consciousness within the person in question is either kept subdued or unable to achieve certain adult levels of recognition.
5.7 – The changeling / mischling is declared a vector of degeneracy which supposedly is justifiably deserving of malice; that is, schadenfreude: the enjoyment derived from sadism, derived in witnessing or causing some-one else's suffering through torture: there can only be unveiled the fear of the torturer resuming the position of the tortured—the fool has, as the 20th century can attest, almost realising a Hegelian discourse, become the master at any price.

6.0 – NAZISM: The problem of racism has been already discussed to an extent in my blogs, regarding the racism of the white Asian, Aryans, against the white Europeans, Celts; involves the problem of recognizing the racism between two groups of ethnicities with similar appearances.
6.1 – One of the few texts I have come across that portrays the differences of the Celts of Northern Europe is 'The 12th Man, circa 2017', a Norwegian film—other-wise, most if not all texts confer that the ideologue Adolf Hitler praised the Norðs and Celts, when in fact the Aryanism of Adolf Hitler championed a Semitic tribe with greater Indo-Arabic / Persian cultural focus than the so-called Jews.
6.2 – Adolf Hitler and The Third Reich represented a white-appearance, Semitic ethnicity, that persecuted the Jews also of a Semitic ethnicity: that is—and this is a point that is made and re-made, but still no-one remembers it!—Adolf Hitler was a type of Jew advocating genocide against other Jews: in fact, the Pharisees have conflicted with the Sadducees and Gentiles, viz. non-Jews.

Figure II. The poster of the Norwegian film 'The 12th Man, circa 2017', directed by by Harald Zwart.

7.0 – A BRAVE NEW WORLD: The Nazis supposedly were unable to find a racial definition for the noun: "Jew" to instead rely on the religious ancestry of the person under question, such as to determine whether the person was of "Aryan" or "non-Aryan".
7.1 – The implication is the Nazi racial agenda against the ethnic other was based on religious identifications and cultural practices: presumably the Nazi regime was immersed in technology and science that promised to offer a 'Brave New World, [circa 1932']—to make use of the title of Aldous Huxley's fictional text—or else, the religious practices have been kept secreted away; even until now: a possible fact of which, in itself, suggests that Aryans have, despite contemporary media and history sources, re-asserted or sustained power to ensure that such a fact is unknown within the regions under their "pantheistic" power.
7.2 – The documentary: 'Triumph Over Violence, circa 1965', a Soviet film directed by Mikhail Romm, shows the pre-eminence of fire among the Nazi, almost to emphasize a connection of the Aryan to the Indo-Arabic Parsi / Pharisee cultures through a shared exaltation of fire: a factor celebrated in the opera 'Parsifal WWV 111., 26 July 1882, Bayreuth Festspielhaus', by the German composer Richard Wagner to suggest that the Asian Middle Eastern cultures had a long time ago entered Germany and usurped the Celtic Christians, who the Nazi are confusingly identified with—the Aryans who migrated to Germany certainly Westernized.
7.3 – There are further arguments of a Nazi regime steeped in Occult and Satanic practices; refer to the documentary: 'Nazis: The Occult Conspiracy, circa 1998', an American television-produced documentary film, first aired on the Discovery Channel; directed by Tracy Atkinson and Joan Baran, with narration by Malcolm McDowell; the quality of texts on the matter is average to low to indicate power-centers prefer no significant investment to reveal the truth.
7.4 – The point of 7.1 is an hypothesis that has arisen regarding the examination of the changeling symbolism, in which an unconscious sociological mechanism of persecution becomes consciously applied within a fascistically organized society, such as Nazi Germany's society: the systematic killing of people is, at least it is implied, accepted among Aryans as a standard part of society, but that nonetheless is a secret.

8.0 – CHRISTAPHOBIA: One observation must be made, with the inferred rise to power of the Aryans, a great proliferation of folk-lore took place through-out Europe during the 18th century to the present.
8.1 – The folk-lore is indicative of a nebulous phantasmagoria of diffused beliefs, supposedly untraceable to a particular ethnic and cultural centre and the values mediated must be cited as mostly Christaphobic because the gift of the birth of a child is at crux the message of Jesus Christ's Nativity; the changeling / mischling is not only Nazi but Satanic.
8.2 – In Christianity, there would be no changeling of mixed ethnicities, or deformity caused by a fairy or troll heritage, but a child requiring acceptance, protection and guidance.
8.3 – I must use the title of Christianity carefully, because of the recent records of mistreatment of children in Christian managed institutions, but at least in asserting the possibility of an Aryan infiltration of Christianity's churches, one that has been conducted under the stealth of a secret alterity, disguised by similar appearances, the further notion that the Christian Church is under gradual attack from within and with-out, could be argued plausibly.

9.0 – DISCLAIMER: This blog post is the exclusive intellectual property of Craig Steven Joseph Lacey, 4 December 1976–; Google email: craigsjlacey@gmail.com; by way of law, no hacking, copying, editing or disseminating of it is permitted.

9.1 – Three photographs have been used within this blog: Figures I to II; each of which is used within the editorial-educational rights's context.
9.2 – Craig Steven Joseph Lacey, 4 December 1976–, Australia; 17 April 2023, Brisbane, Queensland, Australia, 4000; Copyright 2023, Craig Steven Joseph Lacey.
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