Douglas Mercer
January 23 2021
From National Vanguard
Edited by Kevin Alfred Strom
In his book The Religious Attitudes of the Indo-Europeans, Hans F.K. Gunther noted that the signature of the Indo-European mentality is a kind of supernatural calm which cannot be disturbed.
There is that, for sure.
But there is also Teutonic berserker rage.
William Pierce was fascinated by George Bernard Shaw’s play Man and Superman. The crux of his Cosmotheism is that man is evolving into ever higher and more powerful forms, never resting in mere passive contemplation.
Man is a rope tied by Nature between man and Superman.
As such, man is not made for perpetual harmonies. Man is meant to be always breaking through old forms to create new, higher, superior harmonies.
Whoever strives always onward, always upward, him we can save.
Arno Breker knew this.
Greek statuary conforms to Gunther’s ideal. Always in proportion, always in equipoise, always in perfect undisturbed harmony.
In the early 20th century, while all the “art” around him was decomposing this perfection into its broken parts, into chaos, destruction, and deconstruction; into dismantling; while massive Jewish putrefaction was sapping the European spirit, while Jewish nihilism was setting in, Breker went the other way.
The Jew Kafka gave us the torture rack and the cockroach. Jew-influenced Picasso gave us man splintered to death in a million little pieces.
Breker gave us new heroes.
Where in the ancient Greek geniuses we see rounded planes, in Breker we see hard ones; where they had gentle curves he has hard lines; where the Greeks had placid, perfect faces, Breker had hard, determined glances full of powerful, purposeful energy.
For the Greek, everything was in proportion — for Breker everything was seeking boundlessness.
The Greeks had perfection which the Jews broke apart. Breker took perfection and made it more perfect still, built more powerful forms.
Adolf Hitler wanted to give architect Albert Speer free reign in Europe. Had this advent held, we could have had majestic cities built upon the ideas of Breker.
In architecture we could have had monumentalism as far as the eye can see.
Instead we got “brutalism” — buildings like unto cheap roach traps.
We could have had heroic forms in art. Instead we got Pollock and pointlessness; a mud-stained rag is more inspiring.
It is for us to hark back to this thwarted new beginning.
Arno Breker gave us the shape of things to come.
A future that is coming.
