Götterdämmerung or Twilight of the Idols (Some call it, Twilight of the Gods).

A book by Nietzsche, a piece by Wagner.

This was the last piece performed by the Berlin philharmonic before the Soviets conquest of Berlin, and it shows us the prophetic beauty of art, the composition is a funeral march for the German hero Siegfried, that in this context of April 1945, it represents the fall and collapse of the German people's Oversoul, in a half a month all the divine energy, creativity, unity and vision that the German people accumulated and released as a Volk's oversoul would be annihilated and neutralized, the Idols that canalized this oversoul into greatness will be dead, the whole project was over... and so in April 12 1945, the Germans stoically faced this Ragnarok of their oversoul while listening to this prophetic piece of Wagner, art and reality went full circle for the Germans on that spring.

@Mannerbund

“All Nine often used to come to me, I mean the Muses: But I ignored them: my girl was in my arms. Now I’ve left my sweetheart: and they’ve left me, And I roll my eyes, seeking a knife or rope.”

Johann Wolfgang von Goethe, “Venetian Epigrams” (1790)

"But the daily tasks and the prayers of men, the ancient city tired of having lived too long, the devastated marbles and the worn-out bells, all those things oppressed by the weight of memories, all those perishable things became humble before the tremendous embers. Alps that tore the sky with their thousand inflexible spikes, a vast and solitary city that awaited, perhaps, a new race of titans."

- Gabriele D'Annunzio

The young man has no place at the heart of civilization. The known, no matter how noble, will afford him neither meaning nor satisfaction. His proper station is at the periphery and perhaps even beyond the edge, in the chaos of the unknown. Not only must he occupy himself with what is new, but also with that which is beyond. He must hunt beasts in the valleys, and in turn become the hunted on occasion.

Freedom is an ideal, but in the perspective indicated by this formula of Goethe: “Anything that liberates our spirit without raising us to a greater mastery of ourselves, corrupts us”.

- Julius Evola.

Persuasion by dialectic is not only resistible, but what is done by its means can be undone by the same means. Persuasion, in short, is precarious. The 'sublime', on the other hand, does not persuade; it overpowers, seizes and holds captive; it is irresistible, and its effects are permanent; for what is admired has more lasting influence than what is only reasonable.

"We remember on this subject a conversation we had in Bucharest in 1938 with Corneliu Codreanu, the leader of the Rumanian Iron Guard, one of the brightest and most idealistic figures of the 'nationalist' movements of the preceding period.
To indicate the differences between Fascism, National Socialism and his own movement, Codreanu referred to the three principles of a human organism: its form, its vital force, and its spirit. He said by way of analogy that a movement of political resurgence, while not neglecting the other two, could appeal especially to one of them, in the vaster organism corresponding to the nation. For him, Fascism had concentrated its interest on the element of 'form', like the Roman doctrine of the state. National Socialism emphasised the vital force by its references to 'race' and Volk. Codreanu himself wanted to start from spirit and give a religious colour, or rather a mystical one, to his movement."

- Julius Evola, Fascism and Tradition

The Question is not whether one should make his own history—for it is not made but understood.

Rather shall he ponder on the true questions of his life:

Shall he be a carved rock, or a dot on the Book of Man? Or shall he be a howling thunder echoing across ages?

“For—believe me—the secret for harvesting from existence the greatest fruitfulness and the greatest enjoyment is—to live dangerously! Build your cities on the slopes of Vesuvius! Send your ships into uncharted seas! Live at war with your peers and yourselves! Be robbers and conquerors as long as you cannot be rulers and possessors, you seekers of knowledge! Soon the time will be past in which you had to be content living hidden in forests like shy deer!”

- Friedrich Nietzsche.

“I am losing precious days. I am degenerating into a machine for making money. I am learning nothing in this trivial world of men. I must break away and get out into the mountains to learn the news.”

-John Muir.

‘Apollo Crowning a Poet and Giving Him a Consort’

We are not of today or of yesterday, We are of an immense Age!

The machine has no dynamis, no intent or will, it only reflects its makers and users.

Techne brings the titanic inner struggle of the underworld to the foreground of our lives.

It is only as evil as we fail to overcome ourselves under conditions of ever-increasing temptation.

We were a band of fighters drunk with all the passions of the world; full of lust, exultant in action. What we wanted, we did not know. And what we knew, we did not want! War and adventure, excitement and destruction. An indefinable, surging force welled up from every part of our being and flayed us onward.

Ernst von Salomon, Die Geächteten.

Who does not recall the poem by Robert Graves in which it is dreamt that Alexander the Great did not die in Babylon but that, having strayed away from his army and gotten lost, he penetrated ever deeper into Asia?

After wandering about that unknown geography, he came upon an army of yellow men and, since his trade was warfare, he joined their ranks.

Many years passed, and, on a certain pay day, Alexander gazed with some astonishment upon a gold coin which had been given him.

He recognized the effigy and thought: “I had this coin struck, to celebrate a victory over Darius, when I was Alexander of Macedon.”

Zen school, the ‘religion of the samurai’, this ‘vision of the world and of life’ really strives to lift the possessor’s sense of his own true identity to a transcendental plane, leaving to the individual and his earthly life a merely relative meaning and reality.

The first notable aspect of this is the feeling that earthly life is only an episode, its beginning and ending are not themselves to be found here, it has remote causes, it is held in tension by a force which will express itself subsequently in other destinies, until supreme liberation.

The second notable aspect, is that the reality of the ‘I’ in simple human terms is denied. The term ‘person’ refers itself to the meaning that it originally had in Latin, namely the mask of an actor, a given way of appearing, a manifestation. one cannot speak of tragedy because the irrelevance of the individual in the light of the possession of a meaning and a force which, in life, goes beyond life.

— Evola, Volti dell’eroismo, Regime Fascista.

In post-World War I Zurich, out of the conflict's sobering aftermath, there was born an artistic movement that preached a baffling, radical-yet-whimsical philosophy of creativity.

Random and meaningless by definition, calculatedly irrational by design, the movement spread like revolt to America and across Europe, voicing the delightfully bizarre protest of a brave new community of artists, poets and writers.

https://youtu.be/sdBaS8fgwNs?si=TqsCGawobXveJIC3