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                            The Religion of the Aryo-Germanic Folk  Esoteric and Exoteric, by Guido Von List
		The Religion of the Aryo-Germanic Folk: Esoteric and Exoteric, by Guido Von List
The Religion of the Aryo-Germanic Folk  Esoteric and Exoteric, by Guido Von List1
		The Religion of the Aryo-Germanic Folk: Esoteric and Exoteric, by Guido Von List
The Religion of the Aryo-Germanic Folk  Esoteric and Exoteric, by Guido Von List2
		The Religion of the Aryo-Germanic Folk: Esoteric and Exoteric, by Guido Von List
The Religion of the Aryo-Germanic Folk  Esoteric and Exoteric, by Guido Von List3
		The Religion of the Aryo-Germanic Folk: Esoteric and Exoteric, by Guido Von List
The Religion of the Aryo-Germanic Folk  Esoteric and Exoteric, by Guido Von List4
		The Religion of the Aryo-Germanic Folk: Esoteric and Exoteric, by Guido Von List
                        
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Page 2

THE RELIGION OF THE
ARYO-GERMANIC FOLK:

ESOTERIC AND EXOTERIC

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Table of Contents:

Introduction

Listian Folk-Etymology as Mystical Thought

Theosophical Characteristics of List's Ideology

The Modern Myth of "Ariosophical" Culpability for Nazi Crimes

A Note on Translating List

The Religion of the Aryo-Germanic Folk

Part 1

Part 2

Notes

Glossary

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of God" [Gottinnerlichkeit]. Those fortunate ones who know how to find God
within themselves no longer need a intercessor, or priest, they have arrived at
a stage of "self-priesthood," their heart is the tabernacle in which they carry
God contained within themselves. Their whole being [Ich] is the sanctuary
[Halgadom] of the Godhead itself, and their whole lives are self-sacrifices which
they dedicate to the God within and thereby also dedicate themselves directly to the
All-Father himself. Therefore our ancient ancestors called this "inwardness of
God," and the self-evolving self- sanctification [Selbstweihe] developing out of it,
by its correct name: Wihinei, i.e. "the inward sanctification," while it is otherwise
called by its Latin name: religion. But religion means "reconnection (with God),"
which indicates a condition in which the original "inwardness of God" is obscured.
This inwardness is already seen as something which has been lost, while the
concept Wihinei presupposes the full possession of the inwardness of God and thus
indicates a higher ethical concept.

The concept of self [Ichheit] (individuality) always remains the same from the
beginning of the First Logos forward to the dissolution of the spirit and the
cessation of time and space. This is in contrast to the concept of the essence
[Wesenheit] (personality), which is temporarily bounded by life and death --
and thus the concept of self obviously indicates the complete exclusion of a
condition of destruction and amends the concept of death accordingly, such that
"death" is merely life in the primeval state [Urstand] and only means a
cessation of the essence or substance [Wesenheit]. Now since, however, every self,
as soon as it is reborn, creates a new substance (personality) as a phenomenological
form according to its lower or higher Garmic development, it has actually prepared
for itself the conditions for its new life in a human body on the basis of its own
thought, feeling, speech, action and inaction in previous lives in human bodies. So
the self continues the fulfillment of its special position according to the degree of
its development in these newly begun human lives, i.e. it begins this activity at the
level where it was interrupted in its last life.

In order to make this more understandable by means of an example, in accordance
with the law of homogeneity let's take a painter. He is conceiving of a plan for a
picture. He lies down to sleep at night, after he has undressed (died), that night he
dreams of his planned work (preparation in the primeval state) and rises early in
the morning (is reborn) and gets right to work. He draws the initial sketch on the
canvas, primes it, etc. The evening comes and he once more goes to bed after he
has laid aside his raiment (substance, personality) and goes to sleep (dies) once
again. Once more he awakens (is reborn) in order to continue his work where he
had left off the day before. Thus many days (lives in human bodies) pass, and just
as many nights (primeval states), but the work gradually continues to move toward
its completion. Many more days and nights pass, but finally his work -- let's say on
the seventieth day -- is finished and he receives a good price for it. Is being born
and dying really so different from getting up in the morning and going to
sleep at night? We see in the history of inventions how many centuries it it took
before the discovery of the power of steam could be turned into steam-machines,

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locomotives and steamships. There were enormous intervals, spanning centuries,
between the individual experiments and the time when completed inventions could
come into general use. Is this any different from the example of the painter and his
picture? How many rebirths did, for example, the self of Vasco de Garay, who
traveled on the Danube for the first time by means of a steamboat in 1543, have to
go through before it once more traveled by steamer on the Seine as Robert Fulton
on the 9th of February 1803? What courses of development did this self have to
undertake in the past and what lies ahead of it still? For, that there exists a
connection through reincarnation between Garay and Fulton cannot be rejected out
of hand.

If, through recognition of the necessity of rebirth, certainty has now been
gained [24] concerning the continuation of life in death beyond the grave, then
the no-less understandable certainty follows that without acceptance of rebirth
or reincarnation there could be no development in the story of mankind, as
this would otherwise always stall out in the stages of initial advances, if there
was no rebirth, and every newly created self would have to start over from the
beginning. It would be like a tangled mess of almost countless individual
beginnings instead of an organically constituted evolution with conscious aims
and certainties consisting of a harmonious cooperation of numerous selves
who form the warp and woof of the Nornic fabric on the loom of the raiment
of the ages in order to make the Nornic weave-work possible. As with every
weave-work sometimes the thread (sell) runs on top, visible (as the essence in a
human body) then once more underneath (in the primeval state, in death) and
invisible, only to reemerge visibly once more and thus contribute its part to the
pattern of the whole. If one were to pull just one thread out of a tapestry -- e.g. out
of a Gobelin [25] -- the whole work of art would be ruined, but yet again, how
difficult it is to trace a single thread the whole way through when one looks at the
entire work! It appears insignificant, yet it is precisely in this way that individual
selves behave within the All -- they seem to disappear in the All, and yet the All
would no longer be the All if just one of them were to be lacking.

In the Law of Garma the highest form of justice belonging to the ruling -- and this
should be emphasized -- the consciously ruling deity is both concealed and
established. Every self [Ichheit] has to bear the same mission, the same path, the
same measure of suffering and joy, which is doled out among all its many
reincarnations. It is therefore more than shortsighted to compare in a correlative
manner the life-conditions of one's contemporaries and from this comparison draw
any conclusions from the results. In every individual substantive life of those now
living only one phase of rebirth is visible, and we are in no way able to get even
the smallest overview of the whole chain of rebirths. Such a judgment would be as
nonsensical as if one were to cut out a pea-sized piece from each painting in a large
collection of thousands of paintings and thoroughly mix up all the little pieces and
then venture to make a judgment on the value of the art of painting from the
resulting montage. None of us is in a position to evaluate correctly the self
[Ichheit] of another by observing its present life, no matter how well-known it is to

Page 62

their seven sons, they were still somewhat comforted because of their dear little
daughter, who soon gained strength and became more beautiful every day.

For a long time she did not know that she had had brothers, for her parents took
care not to mention them to her. However, one day she accidentally overheard
some people talking about her. They said that she was beautiful enough, but that in
truth she was to blame for her seven brothers' misfortune. This troubled her greatly,
and she went to her father and mother and asked them if she indeed had had
brothers, and what had happened to them.

Her parents could no longer keep the secret, but said that it had been heaven's fate,
and that her birth had been only the innocent cause. However, this ate at the girl's
conscience every day, and she came to believe that she would have to redeem her
brothers.

She had neither rest nor peace until she secretly set forth and went out into the
wide world, hoping to find her brothers and to set them free, whatever it might
cost. She took nothing with her but a little ring as a remembrance from her parents,
a loaf of bread for hunger, a little jug of water for thirst, and a little chair for when
she got tired.

She walked on and on -- far, far to the end of the world. She came to the sun, but it
was too hot and terrible, and ate little children. She hurried away, and ran to the
moon, but it was much too cold, and also frightening and wicked, and when it saw
the child, it said, "I smell, smell human flesh."

Then she hurried away, and came to the stars, and they were friendly and good to
her, each one sitting on its own little chair. When the morning star arose, it gave
her a chicken bone, and said, "Without that chicken bone you cannot open the glass
mountain, and your brothers are inside the glass mountain."

The girl took the bone, wrapped it up well in a cloth, and went on her way again
until she came to the glass mountain. The door was locked, and she started to take
out the chicken bone, but when she opened up the cloth, it was empty. She had lost
the gift of the good stars.

What could she do now? She wanted to rescue her brothers, but she had no key to
the glass mountain. The good little sister took a knife, cut off one of her little
fingers, put it into the door, and fortunately the door opened.

After she had gone inside a little dwarf came up to her and said, "My child, what
are you looking for?"

"I am looking for my brothers, the seven ravens," she replied.

The dwarf said, "The lord ravens are not at home, but if you want to wait here
until they return, step inside."

Then the dwarf carried in the ravens' dinner on seven little plates, and in seven

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little cups. The sister ate a little bit from each plate and took a little sip from each
cup. Into the last cup she dropped the ring that she had brought with her.

Suddenly she heard a whirring and rushing sound in the air, and the dwarf said,
"The lord ravens are flying home now."

They came, wanted to eat and drink, and looked for their plates and cups. Then one
after the other of them said, "Who has been eating from my plate? Who has been
drinking from my cup? It was a human mouth."

When the seventh one came to the bottom of his cup, the ring rolled toward him.
Looking at it, he saw that it was a ring from their father and mother, and said,
"God grant that our sister might be here; then we would be set free."

The girl was listening from behind the door, and when she heard this wish she
came forth. Then the ravens were restored to their human forms again. They
hugged and kissed one another, and went home happily.

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