3.0 – 3.5: ACCURSED HUMOUR /
5.0 – 5.7: THE DARK-SIDE /
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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.
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".
5.7 – 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.
6.1 – 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.
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.
9.2 – 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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