“The so-called 'Left-Hand Path' - that of Kaulas, Siddhas and Viras - combines the... Tantric worldview with a doctrine of the Übermensch which would put Nietzsche to shame... The Vira - which is to say: the 'heroic' man of Tantrism - seeks to sever all bonds, to overcome all duality between good and evil, honor and shame, virtue and guilt. Tantrism is the supreme path of the absolute absence of law - of shvecchacarī, a word meaning 'he whose law is his own will'." ― Julius Evola, The Path of Cinnabar.

“It is necessary to have “watchers” at hand who will bear witness to the values of Tradition in ever more uncompromising and firm ways, as the anti-traditional forces grow in strength. Even though these values cannot be achieved, it does not mean that they amount to mere “ideas.” These are measures…. Let people of our time talk about these things with condescension as if they were anachronistic and anti-historical; we know that this is an alibi for their defeat. Let us leave modern men to their “truths” and let us only be concerned about one thing: to keep standing amid a world of ruins.” ― Julius Evola, Revolt Against the Modern World: Politics, Religion, and Social Order in the Kali Yuga.

“We are born into this time and must bravely follow the path to the destined end. There is no other way. Our duty is to hold on to the lost position, without hope, without rescue, like that Roman soldier whose bones were found in front of a door in Pompeii, who died at his post during the eruption of Vesuvius because someone forgot to relieve him. That is greatness. That is what it means to be a thoroughbred. The honorable end is the one that can not be taken from a man.” ― Oswald Spengler, Man and Technics: A Contribution to a Philosophy of Life.

Wednesday, July 30, 2008

The Return of the Sorcerer

Probably my all-time favorite episode of The Night Gallery:



"I could hardly restrain an exclamation of surprise as I viewed the interior of this chamber. It was very much as I should have imagined the den of some old sorcerer to be. There were tables strewn with archaic instruments of doubtful use, with astrological charts, with skulls and alembics and crystals, with censers such as are used in the Catholic Church, and volumes bound in worm-eaten leather with verdigris-mottled clasps. In one corner stood the skeleton of a large ape; in another, a human skeleton; and overhead a stuffed crocodile was suspended. There were cases overpiled with books, and even a cursory glance at the titles showed me that they formed a singularly comprehensive collection of ancient and modern works on demonology and the black arts. There were some weird paintings and etchings on the walls, dealing with kindred themes; and the whole atmosphere of the room exhaled a medley of half-forgotten superstitions. Ordinarily I would have smiled it confronted with such things; but somehow, in this lonely, dismal house, beside the neurotic, hag-ridden Carnby, it was difficult for me to repress an actual shudder. On one of the tables, contrasting incongruously with this m êlange of medievalism and Satanism, there stood a typewriter, surmunded with piles of disorderly manuscript. At one end of the room there was a small, curtained alcove with a bed in which Carnby slept. At the end opposite the alcove, between the human and simian skeletons, I perceived a locked cupboard that was set in the wall..."

Read the original story "The Return of the Sorcerer" by Clarke Ashton Smith.

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