Willy Knabe - Summer Solstice, 1943[/caption]On the 22nd of June, an extreme condition of the Sun’s ascendance reaches its ultimate phase. This day becomes the longest of the year, the day with the greatest luminance, decreasing the Night and limiting it in the shortest period that it can last.
Science describes typicaly this phenomenon as the longest day and the shortest night. Yet, a simple notice will make us aware of the gradual absence of light taking place in the following day, the 23rd of June, thus in the beginning of the third decameron of September we have a total timely balance between day and night. This is definitely a well-known date for the simple folk since it is accompanied with the one-hour change of the clock putting us through a process of psychic coherence and adjusting us for the coming Winter.
But the standardization of these dates in modern reality lies far beyond their magico- religious symbolical content in the distant Past and their unquestionable metaphysical influence on the cultural effects of the Archaic and Classical periods.
Since the prehistoric times, for many races the Sun worship was the nucleus of their religious worship and of their primitive philosophical directions. But for only a few it escaped from the narrow magic rituals of a primitive society who based its existence on the worship of nature and on the harmonious identification with its primeval functions. This peculiar brake from the society of sacrifices, of hunting and of proto-mythology was marked actually from the dessimination and the cultural outbreak of the great Aryan Race which transformed the Sun-worship into the highest celebration of the virtues of the White Man in his life-long struggle to surpass the achievements of the Sun itself.
Where this so-called transformation became evident? Everywhere! In poetry, in sculpture, in painting, in music, in the social ideas and the philosophical perceptions, prevailed an ideal of life, whose basic axis was the belief on the “circular” motion of things. With the recycling of birth, life and death, the Aryan managed to inspire in his daily life the breath of the “eternal duration” of his deeds and creations in order to oppose the obscurity of the Eastern religions and the semitic civilization which condemned the members of its society in a temporary appearance in life marked by a terrible death and an after-death judgment.
The Aryan adopted confidence. “Nothing dies” [1]. Everything is repeated. Sacrifice obtained for him a symbolic value, as it takes place for something superior to come in the future. The moral values of courage and bravery accompanied a Great Man who refused the philosophy of the “temporary” and identified with the belief that he consists a regulator of the future of the members of his Race.
As the Sun dies during the Winter Solstice in order to be reborn on the Spring Equinox, to culminate his glory on the Summer Solstice and fall in decay once again during the Autumn Equinox, likewise He! Behind a lost battle lies a new Victory, behind an elaborate marble there is a Monument without any material value but it will remain eternal and immortal.
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Apollo (Tiepolo Giovanni Battista)[/caption]The four stages, the four quarters of a flaming Sunwheel, the aesthetic image of the cyclical Swastika in its inexorable swirling, the authentic solar symbol of a Man who never ceases to fight and to create. The Hyperborean Apollon who brings the brightness of the energy of the Sun is connected with the beginning of the Pagan year on the Spring Equinox [2] and an inexorable ascension towards the skies begins until the Summer Solstice. In opposition with the three-faced goddess of the Moon, the Hecatean Apollon identifies his essence in the form of Aguieas, on a conical pillar with a square base, on this peculiar combination of circle and square, reminded to us lately by the Celtic Cross.
The designs of the ancient cities, the place of the theatres, the tracing of the roads towards the Oracles and the places of the ancient Temples in general, are appointed by a secret hieratic system with a wise geometrical interpretation of the characteristic stages of the Great Sun [3]. From the Indo-Aryan myths to the Celtic oral traditions of the druids, the symbolisms of the mythologies are joining in the battle between the light, fair solar gods and the swarthy tellurian demons. The White As Baldr in the North and the Persian rider Fravasi, the Dioskouri and Apollon, the Slavic Cernobog and the radiant Ossian, all of them against the racial mixing and the inferior spirit of the chthonic or lunar gods.
The “archetypes” of the collective subconscious of the Aryan Race are bringing through the dreams and the ecstatic visions the memory of the divine powers who once taught to the leaders of the clans the secret of fire and the taming of the solar animals. The swans, the horse and the wolf, the dolphin and the hawk leaped under the touch of a sunray that joined them forever with the Hellenic creator. They rode, raged and flew with him in a crash-course towards the Sun like eternal Phaethons. During the Summer Solstice a strangely sketched “octopus” symbolizes the zenith of the light in the land of the abundant sun, in the land of Delos and Delfi. It is the Janua Inferi, the Gate of Hell and the process of decay, the symbolical beginning of the fall.
Thus, during the ancient Aryan pagan celebrations the Summer Solstice was the feast of the “resurrection” [4]. The rising and falling march of the golden disc in flesh and bones on the similar process of the heroes which the Aryan traditions everywhere characterized as “solar”. The demigod Hercules expressed this tragic loss of power and energy that came, departed and that will come again. He was cremated at Oete on the peak of his unsurpassed glory in the same manner of the fall of the last Bogatyr, of Tyr, who perished because of his wounds and of Cuchulain, who killed by mistake his own son.
Yet from death comes life, from the darkness, light is born. In the remote Iranian tradition the Aryan Sigiamik although killed from the demon Dib, the son of the dead hero, Hosag, will avenge him by killing the demon and restoring the Solar world order.
Maybe the tradition, the great solar tradition of the Aryans reaches the ears of the modern people as a compilation of incomprehensible magical rites while the noise of the cars on the dirty streets of the concrete cities seem to shut these poor and tormented ears.
Maybe this weak little man doesn’t care about such “luxuries” as his monetary pursuits pin down his weak personality.
Yet, despite his efforts to neglect the ”unconscious” side of his character, it still exists. It existed since millennia in the genes of his ancestors, and it still exists, although uncultivated, in his decayed body which in vain tries to overcome the weight of his spiritual being.
Neglected but always strong it visits him during his sleep in his deep and unexplained dreams, sometimes in the shape of Theseus slaying the Minotaur, sometimes with the symbolical sacrifice on an altar outdoors, sometimes with a multitude of symbolisms stemming from “solar” actions and memories of lives lost in the dawn of time. They visit him, they advise him and they have their revenge on him. They have their revenge on him like the archer Apollon and at the same time they grant him rebirth, reminding him a sacred and unbounded duty.
Because no one is able to escape from a life, whose course will be enlightened forever by the one, the Unrivalled, the Inexhaustible Sun!
Notes
1. The magnificent conception of the pro-Socratic Titan of the philosophical Ionia, Heracletos, was summarized in the phrase “Everything Flows”. Milleniums later Nietszche awoke the sleeping giant, which Borman accepted with passion exclaiming towards the threat of a destructive war that “essentially, there is not death”.
2. According to the myth of the return of the god from the land beyond the North (Thule, the cradle of the first Aryans) to the ancient Phigaleia where it exists the only Temple in Hellas with its sanctorum facing the North instead the East as it was customary.
3. In this case there is a sacred “magic” number which in the arithmetic rules of the researchers and the architects it derives as the perfect paragon of harmony.
4. The favourite celebration of the Hitler Jugend because of the revival of the old Teutonic myths.
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