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Hyperian History Of The World (19th Century, Part 2)

ottobre 11th, 2019 No Comments   Posted in Dacia Iluministă

Hyperian History Of The World (19th Century, Part 2)

Hegel wrote that “the history of the world is none other than the progress of the consciousness of freedom”. Indeed, Hegel was writing following the revolutionary events of the end of the 18th century, in which humanity began to awaken to the tyranny under which they lived and began to resist it. The 19th century certainly proved to be one in which the consciousness of freedom made great progress. Whilst Hegel’s philosophy provides us with a metaphysical explanation of this process, to see the real evidence of this process in action one ought to look at the art and creativity of that time, in particular, it’s music.

In the previous century music had reached dizzying heights of greatness in the works of Handel and Bach, Haydn and Mozart. Yet, for the most part, these composers were being commissioned to compose by their wealthy patrons and, as such, their music was being controlled by a powerful ruling class despite their great individual genius. Mozart had begun to challenge this with some of his operas having controversial subject matter which troubled the aristocracy.

In the 19th century, one composer managed not only to eclipse the talent and mastery of those great 18th century masters, but managed also to completely change the way in which composers composed, taking complete control over his own work, injecting it with a powerful sense of personality, a true expression of an individual progress of the consciousness of freedom. This was of course the great Ludwig Van Beethoven, perhaps the greatest composer who ever lived.

Beethoven perfectly embodied the enlightenment values of his time, which he poured into his music, as well as a great sense of the power of the individual to dazzle the world with the unlimited creative content of his mind. Beethoven knew exactly what he was capable of and didn’t allow anything to stop him and refused to compromise in order to ‘fit in’. Beethoven, through force of will, became the greatest master of music the world has ever seen, and his dazzling later works are all the more astonishing when one considers that, by that time, the composer had gone completely deaf.

“Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you.” These are the words with which Beethoven began his so-called Heiligenstadt Testament written in 1802. In this document, addressed to his brothers but not found until after the composer’s death in 1827, Beethoven reveals his anguish at the prospect of his oncoming deafness, a truly terrible prospect for a musician. Yet, though the letter reads almost like a suicide note, the great man evidently did not commit suicide (the letter itself states, “it was only my art that held me back”), instead he went on to achieve greater heights of artistic genius than perhaps any other composer in history.

Had Beethoven killed himself in 1802, he would have been nothing more than a footnote in musical history, known perhaps a great virtuosic performer of his day and as a composer who wrote a few notable works in the classical style of Haydn and Mozart, before an untimely death. But despite the prospect of his impending tragedy, the avoidance of which he knew to be impossible, Beethoven made the conscious decision to live on nonetheless. “I was ever inclined to accomplish great things”, he writes, showing that he knew in himself what heights he was capable of, and no physical ailment was going to stop him. Rather, Beethoven turned his disadvantage into a strength. Through his own mighty force of will, Beethoven ceases to be known merely as a virtuosic performer or as a composer imitating the styles of others, and instead rises above everything that has come before him. He uses his isolating illness to probe depths of the human psyche no musician had ever dreamt of.

Two years after the Heiligenstadt Testament, Beethoven had completed his third symphony, his epic ‘Eroica’. Twice as long as any symphony composed by anyone else before, this work would have baffled and amazed audiences in 1805, when it was first performed, with its impressive scale, force and power.

Isolated though he was, Beethoven was well aware of events going on in the world at the time. A practitioner of Enlightenment values, Beethoven had been a supporter of the French Revolution and had supported Napoleon in his early days, and it was to that world historic figure that Beethoven had originally dedicated the ‘Eroica’, that is, until he learned that Napoleon had crowned himself Emperor, in opposition to the revolutionary values that Beethoven also held. The original manuscript of the score still bares the scars of Beethoven’s wrath, with Napoleon’s dedication scratched out with such force as to tear the page. Instead, Beethoven dedicated the piece “to the memory of a great man”.

In this symphony, Beethoven celebrates the glory of the individual, the enlightened individual who stands in opposition to all the forces of endarkenment. The ‘Eroica’ of the title, the heroic individual, is one who makes themself all that which they have it in them to be.

When Napoleon’s French forces occupied Vienna, Beethoven’s wealthy patron, Prince Lichnowsky was entertaining some of them one night, and Beethoven was invited to attend the evening. When the prince asked Beethoven to play for them, Beethoven exploded into a rage, not wishing to be presented as an attraction to the foreign invaders. Beethoven makes his allegiance quite clear when he says to the Prince, “What you are, you are by accident of birth; What I am, I am by myself. There are and will be a thousand princes; There is only one Beethoven.”

Following this, Beethoven ceased to rely on patronage, instead taking control of his own career and making money through concerts and publications, no longer requiring wealthy patrons, as composers had done for centuries. Beethoven despised the wealthy elite, as shown by another famous anecdote. Beethoven was walking through the street with his friend, the great writer Goethe, when they came upon a group of aristocrats. Goethe stepped aside to allow them to pass, yet Beethoven continued on, forcing the aristocrats to move aside for him. He stopped further up the street to allow Goethe to catch up. Once he had, Beethoven said to him, “I have waited for you because I respect you and I admire your work, but you have shown too much esteem to those people”.

Beethoven made himself the greatest composer of all time and, despite becoming profoundly deaf, still managed to compose works of impossible brilliance, such as the Missa Solemnis and, in particular, his ninth symphony. Completed in 1824, this symphony was even longer than the Eroica and, in its final movement, even utilised singers for the first time ever in a symphony, which was usually an instrumental work. Yet Beethoven had long wished to set to music a poem by the poet Schiller called the Ode to Joy and he did so in this symphony. The poem celebrates joy and calls for universal brotherhood and is very much in accordance with Beethoven’s enlightenment values.

Despite its great length and incredible innovations, the symphony was a massive success. At its premier, Beethoven, completely deaf, insisted on conducting the orchestra despite not being able to hear them. This was allowed to occur, yet the lead violinist actually took control and had the orchestra follow his lead. As a result, the orchestra finished before Beethoven, who was still waving his arms around as the audience began to applaud. As they rose in a huge standing ovation, Beethoven had to be physically turned around by one of the singers in order to accept the adulation.

Beethoven represents the culmination of all the developments in music which preceded him, and also the root of all which followed him. Music for the remainder of the century, and beyond, continued to follow the trajectory which he had begun. Contemporary to Beethoven was Franz Schubert, who, aside from being perhaps the greatest songwriter who ever lived, also managed to compete with Beethoven with a few of his symphonies and other works.

The 19th century also saw opera reaching its greatest heights. One composer in particular took it to extreme levels. Recognising that opera was the true artistic heir to the great synthesis of the arts which had been the tragedies of ancient Greece, Richard Wagner applied the same ideas to his operas. Wagner devised the concept of Gesamtkunstwerk, or total-artwork, in which several art forms all come together in one single work. Wagner didn’t just compose the music for his operas, but also wrote all of the words (unusual for composers of the time), directed all of the onstage action and even designed the sets and costumes himself.

Wagner broke free of all of the traditions of opera and his gargantuan works would consist of huge unbroken streams of music rather than being broken down into shorter sections as in other operas. The culmination of Wagner’s ideas comes in his epic Ring Cycle. Based on Norse mythology, this work consists of four operas to be seen on four consecutive evenings for a total of about fourteen hours of music. To stage this absurdly ambitious work, Wagner had to actually build his own opera house, as no existing venue had the means to put on such a work.

Wagner’s true genius, however, was to reach deep into the collective unconscious of humanity and draw forth the archetypes and structures of our mythology and put them into musical form. Wagner tended to represent each archetype, characters, objects and even ideas and feelings, with little melodies or leitmotifs which would recur throughout the opera in many different forms. This technique gives his music great psychological power and is a technique utilised by many other composers, particularly modern film composers.

Despite the epic scale of the Ring Cycle, Wagner’s most deeply spiritual work is probably his final opera, Parsifal. Based on the medieval legend of the knights of the Holy Grail, Parsifal is an immensely powerful work with profound power. If it were possible for a piece of art to contain all of the secrets to enlightenment, then Parsifal is arguably the one which comes closest.

The 19th century produced an astonishing number of great composers. Aside from Beethoven, Schubert and Wagner, there was also Berlioz, Mendelssohn, Schumann, Chopin, Liszt, Verdi, Bruckner, Brahms, Tchaikovsky, Dvorak and many others. Human creativity was on fire and it was all down to the decision that Beethoven made in his Heiligenstadt Testament, the decision to go on and actualise all of his potential, regardless of everything which life threw at him. As Hyperians we all must make similar decisions. We can disappear into obscurity, or we can pour out the contents of our souls and light up the world with our creative brilliance. Beethoven was just one individual. Imagine what we could do if we all united.

“Seid umschlungen, Millionen! Diesen Kuß der ganzen Welt!”


ottobre 11th, 2019 No Comments   Posted in Dacia Iluministă


ottobre 10th, 2019 No Comments   Posted in Dacia Iluministă

One famous Eastern concept is absolutely wrong and must be abandoned: karma. This is as ridiculous and wicked as the evil beliefs of the Abrahamists.

The basic karmic proposition is that there is some sort of moral force (not God) that follows us around, individually monitoring all of our good deeds and bad and configuring our future lives on the basis of this moral accounting system. This is a ludicrous idea. We are free agents. We decide our futures, not karma. The most cursory glance at the world reveals that nearly of all of the most successful and richest people in our world are disgusting, selfish, vain, narcissistic, greedy, evil, wicked, monstrous, stupid, sociopathic and psychopathic. If they are being “rewarded” by karma, God save us from karma. Karma is just another Satanic concept, a weapon used by the Demiurge and his archons to control stupid and superstitious people.

Sooner or later, karma degenerates into the diabolical caste system which promotes the idea that some people are “untouchables” and must be given all the unclean jobs dealing with shit and rats. Only sick people are karmists.

Karma is a scientifically preposterous idea. How could “good and evil” – or, more to the point, opinions of good and evil – possibly affect DNA (as must happen if a body is to be some kind of reflection of the previous sins or virtues of a soul)? It’s LAUGHABLE. Karma is so dumb it’s worthy of Abrahamism. It’s pure superstition and idiocy.

Evil people are at the top of society in every country because, manifestly, EVIL PAYS; EVIL IS REWARDED. Successful evil leads to even more evil, not less. It incurs no karmic penalty or inhibition. Any strong, dominant person could easily make weak, submissive people his slaves and exercise absolute power over them. That’s the real law of our cosmos – Power, not karma. Karma is moralistic bullshit, the wishful thinking of slaves. There’s no cosmic force punishing the evil people of our world. If we wish them to be punished, it’s our responsibility, not karma’s. Karma is yet another stratagem of the weak to prevent them taking responsibility for their lives. Evil is combated only if WE ACT. To leave it to karma is cowardice, and it’s futile since there’s no such thing.

Imagine a different version of karma based on reason versus irrationality rather than good versus evil. Instead of being rewarded for being good and punished for being evil, a soul is rewarded for being rational but punished for being irrational. So, good but stupid people would be regressing to more primitive states, and clever but evil people would be gaining more and more power and success. Look around you. Which model reflects reality – is it stupid or evil people who are punished; is it stupid or evil people who are going backwards and downwards?

“Moral” karma is a lie and fraud. It panders to stupid people who imagine they are good. In truth, stupid people are much more likely to reincarnate as animals than clever but evil people. Evil doesn’t pull you down and punish you – stupidity does. Moral karma is a stupid idea for stupid people. “Rational” karma is a much more powerful concept – you are rewarded for being clever, knowledgeable and on the side of reason. Imagine how the world would be transformed if people were much keener on being smart than on being “good”?Look at the moronic Islamic hordes. They no doubt think of themselves as extremely good, but how many of them are extremely rational?None! Look at Islam – is it leading the world forwards or backwards?

There’s almost nothing more important than redirecting people’s minds away from “good versus evil” and towards “cleverness versus stupidity.” Stupidity should be regarded as almost criminal; as a source of shame and disgrace, practically as a disease, and a highly infectious one at that. The world has had thousands of years of being preoccupied with good and evil. Has it led us to a “good” world?Manifestly, if “moral” karma were a real phenomenon, the world would now be a place of goodness and moral tranquillity, wouldn’t it?Every year, the cosmos would get “better”. Yet the opposite is obviously true. The religious discourse of good and evil has failed and is fraudulent. Governments have been in bed with religion rather than with education. Smarter people have better outcomes than stupid people, so education should be the central axis of State policy, not pandering to ludicrous religious pressure groups that are continually undermining reason and knowledge in favour of unreason and faith.

Moral karma, like Abrahamism, is a pernicious concept that has done untold damage. The Enlightenment was about reason, not good and evil. The Enlightenment still hasn’t triumphed. Unreason still dominates our world. The discourse of “good and evil” is inherently linked to stupidity because it’s stupid religions that promote this agenda and they do so in order to control people by terrifying them with visions of hell and promises of heaven. It’s the most effective conditioning strategy ever devised: Pavlov’s dogs in the human sphere. We have to get beyond good and evil via reason.

Ask yourself a simple question – would people be more or less evil if they were highly educated and highly rational? Would our world be full of inequality if everyone were smart?Education, NOT RELIGION, is the answer to the issues of good and evil. Religion has been the primary source of evil since it has bred stupidity, irrationality, faith, superstition, extremism, fanaticism, intolerance, ghettoization, persecution and mania. If we want a morally better world we must destroy the greatest immoral force of all: MAINSTREAM RELIGION.

We in the Illuminati wish the weak and cowardly to have no bolt-holes and no excuses. Your life is your responsibility, no one else’s. Karma is a fiction. At all times you have free will and free choice. As Sartre said, “You are condemned to be free.” That’s exactly how it is. YOU choose your life, not karma. You are free to be whatever you like. You are free to be EVIL, and that’s exactly what many people choose. Some of those people meet with disaster. Many prosper. If evil were consistently punished by the cosmos, and had been for eons, it would have vanished by now. The reality is the opposite. Evil is frequently rewarded. Why? Because material existence is the domain of the Demiurge.

Excerpt from The God Factory

Mike Hockney

Artwork by lucamae

Nu este disponibilă nicio descriere pentru fotografie.

Selling your Soul

ottobre 10th, 2019 No Comments   Posted in Dacia Iluministă

Selling your Soul

The secret history of the world ensures that few people are aware of the coded messages contained in some famous works of art. One of the finest literary creations in history, the greatest treasure of German literature, is Faust by Goethe. It’s the story, superficially, of a man who sells his soul to the Devil in return for ultimate knowledge. In reality, the story is nothing less than an account of the Gnostic struggle for salvation, and few people were better placed to tell it than Goethe, a literary genius, polymath, and a Grand Master of the Illuminati.

Carl Jung considered Faust a key work of Hermetic and alchemical thought, and Goethe as an alchemical Magus. He said, “I regard my work on alchemy as a sign of my inner relationship to Goethe. Goethe’s secret was that he was in the grip of that process of archetypal transformation that has gone on through the centuries. He regarded his Faust as an opus magnum or divinum [great or divine work]. He called it his ‘main business’, and his whole life was enacted within the framework of this drama.”

Rudolf Steiner said that Goethe “attained the supreme mysteries.”

The story of Faust is also a coded reference to the greatest and most special of all the Illuminati’s Grand Masters – the illustrious Simon Magus. If the world had turned out well, Simon Magus would now hold the position in history that has been assigned instead to Yehoshua ben Yosef, the man better known to history as Jesus Christ.

We have illuminated Faust in the section below, and at the foot of the page we have revealed the truth about the wretched souls known as the Ignavi, and the Gnostic meaning of the children’s story The Pied Piper of Hamelin.

Excerpted, page 370

© The Illuminati’s Secret Religion

Artwork by Chris Rawlins

Este posibil ca imaginea să conţină: 4 persoane


ottobre 9th, 2019 No Comments   Posted in Dacia Iluministă


“Everything is Dual; everything has poles; everything has its pair of opposites; like and unlike are the same; opposites are identical in nature, but different in degree; extremes meet; all truths are but half-truths; all paradoxes may be reconciled.”–The Kybalion

This Principle embodies the truth that “everything is dual”; “everything has two poles”; “everything has its pair of opposites,” all of which were old Hermetic axioms. It explains the old paradoxes, that have perplexed so many, which have been stated as follows: “Thesis and antithesis are identical in nature, but different in degree”; “opposites are the same, differing only in degree”; “the pairs of opposites may be reconciled”; “extremes meet”; “everything is and isn’t, at the same time”; “all truths are but half-truths”; “every truth is half false”; “there are two sides to everything,” etc., etc., etc. It explains that in everything there are two poles, or opposite aspects, and that “opposites” are really only the two extremes of the same thing, with many varying degrees between them To illustrate: Heat and Cold, although “opposites,” are really the same thing, the differences consisting merely of degrees of the same thing. Look at your thermometer and see if you can discover where “heat” terminates and “cold” begins! There is no such thing as “absolute heat” or “absolute cold”–the two terms “heat” and “cold” simply indicate varying degrees of the same thing, and that “same thing” which manifests as “heat” and “cold” is merely a form, variety, and rate of Vibration. So “heat” and “cold” are simply the “two poles” of that which we call “Heat”–and the phenomena attendant thereupon are manifestations of the Principle of Polarity. The same principle manifests in the case of “Light and Darkness,” which are the same thing, the difference consisting of varying degrees between the two poles of the phenomena. Where does “darkness” leave off, and “light” begin? What is the difference between “Large and Small”? Between “Hard and Soft”? Between “Black and White”? Between “Sharp and Dull”? Between “Noise and Quiet”? Between “High and Low”? Between “Positive and Negative”? The Principle of Polarity explains these paradoxes, and no other Principle can supersede it. The same Principle operates on the Mental Plane. Let us take a radical and extreme example that of “Love and Hate,” two mental states apparently totally different. And yet there are degrees of Hate and degrees of Love, and a middle point in which we use the terms “Like or Dislike,” which shade into each other so gradually that sometimes we are at a loss to know whether we “like” or “dislike” or “neither.” And all are simply degrees of the same thing, as you will see if you will but think a moment. And, more than this (and considered of more importance by the Hermetists), it is possible to change the vibrations of Hate to the vibrations of Love, in one’s own mind, and in the minds of others. Many of you, who read these lines, have had personal experiences of the involuntary rapid transition from Love to Hate, and the reverse, in your own case and that of others. And you will therefore realize the possibility of this being accomplished by the use of the Will, by means of the Hermetic formulas. “Good and Evil” are but the poles of the same thing, and the Hermetist understands the art of transmuting Evil into Good, by means of an application of the Principle of Polarity. In short, the “Art of Polarization” becomes a phase of “Mental Alchemy” known and practiced by the ancient and modern Hermetic Masters. An understanding of the Principle will enable one to change his own Polarity, as well as that of others, if he will devote the time and study necessary to master the art.


“Everything flows, out and in; everything has its tides; all things rise and fall; the pendulum-swing manifests in everything; the measure of the swing to the right is the measure of the swing to the left; rhythm compensates.”–The Kybalion

This Principle embodies the truth that in everything there is manifested a measured motion, to and fro; a flow and inflow; a swing backward and forward; a pendulum-like movement; a tide-like ebb and flow; a high-tide and low-tide; between the two poles which
exist in accordance with the Principle of Polarity described a moment ago. There is always an action and a reaction; an advance and a retreat; a rising and a sinking. This is in the affairs of the Universe, suns, worlds, men, animals, mind, energy, and matter. This law is manifest in the creation and destruction of worlds; in the rise and fall of nations; in the life of all things; and finally in the mental states of Man (and it is with this latter that the Hermetists find the understanding of the Principle most important). The Hermetists have grasped this Principle, finding its universal application, and have also discovered certain means to overcome its effects in themselves by the use of the appropriate formulas and methods. They apply the Mental Law of Neutralization. They cannot annul the Principle, or cause it to cease its operation, but they have learned how to escape its effects upon themselves to a certain degree depending upon the Mastery of the Principle. They have learned how to USE it, instead of being USED BY it. In this and similar methods, consist the Art of the Hermetists. The Master of Hermetics polarizes himself at the point at which he desires to rest, and then neutralizes the Rhythmic swing of the pendulum which would tend to carry him to the other pole. All individuals who have attained any degree of Self-Mastery do this to a certain degree, more or less unconsciously, but the Master does this consciously, and by the use of his Will, and attains a degree of Poise and Mental Firmness almost impossible of belief on the part of the masses who are swung backward and forward like a pendulum. This Principle and that of Polarity have been closely studied by the Hermetists, and the methods of counteracting, neutralizing, and USING them form an important part of the Hermetic Mental Alchemy.

Excerpt from The Kybalion

The Three Initiates

Artwork by Johfra Bosschart

Nu este disponibilă nicio descriere pentru fotografie.

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