While pop-conspiracy crackpots such as Zechariah Sitchin spread wild rumors that the serpents refer to alien UFOs and "reptilians" from "Nibiru" trying to enslave humanity, there is a far simpler and more solid explanation of far more worth to the Runenmeister: The Abgallu were not aliens, not "nephilim", not reptiles - they were proto-Aryans, the historical "Atlanteans". The fish scales were not literal scales, but scale-mail armor, which is referenced in the ancient tales of Persian epics going back millennia before Greece and Rome. The fish-heads were not literal fish-heads, but ornamented conical helmets, the spangenhelm, which were a common feature of Iranian, Slavic, and Germanic tribes in the Bronze Age, with the Greeks referring to them as "barbarian helmets". The serpents on which they rode, were advanced boats similar to Scythian river vessels, and the ancient forerunners of Viking ships. It is interesting that mainstream history expects us to believe that the Viking longboat seemingly appears out of nowhere in the 7th century, whereas Armanism takes the view that all Germanic technologies evolved out of an earlier pan-Indo-European cultural heritage. Perhaps loons like Sitchin spread disinformation regarding the true origin of the Abgallu for their own interests, to further inter-ethnic fragmentation and weaken any awareness of a greater ancient connection between north and south Arya. Weak attempt, Zechariah. We know the tactics of your ilk.
|Migrations of southern Aryan branch. The Abgallu were the western migration into Ubaid|
|The Black Sun as a calendar, with the 12 original solar months of the Teutonic year, as named by Guido von List in The Religion of the Aryo-Germanic Folk, Esoteric and Exoteric.|
However, we come back to the question of the Black Sun in its mystical significance: why black? And is it literally black, or simply "hidden"?
- Guido von List, The Religion of the Aryo-Germanic Folk: Esoteric and Exoteric (translated by Stephen Flowers, PhD)
Vidar, to vie with Valdyr in battle,
Plunges his sword into the son of Hvedrung,
Avenging his father with a fell thrust.
To fight with Fenris; fiercest of warriors
He mauls in his rage all Midgard;
Men in fear all flee their homesteads;
Nine paces back steps Bur's son
Retreats from the worm of taunts unafraid.
Red with blood the buildings of gods,
The sun turns black in the summer after,
Winds whine. Well, would you know yet more?
Cast down from Heaven are the hot stars,
Fumes reek, into flames burst,
The sky itself is scorched with fire.
Out of the foam, fair and green;
Down from the fells fish to capture,
Wings the eagle; waters flow.
They remember the Worm of Midgard,
Ponder again the great twilight
And the ancient runes of the Ruler of Gods.
|The Black Sun mosaic (actually green) at Wewelsburg today. The castle is now a youth hostel, complete with Ikea bookcases and beanie pillows.|
|The Crypt at the North Tower - beneath the mosaic floor.|
So an honest discussion of the Sonnenrad in the context of the Third Reich period will have to do away with all emotional rhetoric. There are some texts from "esoteric Hitlerist" circles after the war which deal with the understanding such groups had of the Sonnenrad. These materials are still obscure to most people, and of varying quality. Some may be based on ancient family traditions like those of the Armanen, others are the personal synthesis of powerful authors like Miguel Serrano, in which personal gnosis is difficult to separate from hidden traditions simply because of its author's potency as a writer, and yet others are pure speculation of the UFO/Aldebaran variety. Whether any of these beliefs can be traced for certain to actual Third Reich figures is uncertain at best, as we are speaking of "occult" i.e. secret knowledge that people would not have publicly admitted to believing in, particularly given the still-powerful influence of Christianity in the public opinion of the time.
1. The Black Sun in Reich-era mystic circles (not necessarily Reich-approved, just from the same time period) was viewed largely through an alchemical context. This means there was extensive reference to medieval and Renaissance grimoires regarding its position in the refinement of the human soul, which metaphorically was referred to as the transmutation of base metal to gold.
2. There was often reference made to Jung, in his understanding of the alchemical process as a psychological one of transformation. In this sense the Black Sun (though originally not represented by the Sonnenrad in alchemical texts) represents the first stage of awakening, the nigredo, in which you are forced to confront your "shadow aspects" or the uncomfortable truths about your own nature and past, before a conscious change in your life path can be made.
3. There was also input from non-European cultures in the Reich-era (and slightly earlier) Ariosophic circles about the Black Sun, ranging from ostensibly Aryan-influenced mythologies such as the Vedas, to seemingly unrelated Black Sun legends among the Mayans and Aztecs. This may seem odd given that we have been bombarded with so much Allied propaganda painting Ariosophy as morbidly racist, but the reality is that many Volkisch-spiritual organizations such as the Germanen-Orden, the Edda Society, as well as Thule and Vril, had a comprehensive knowledge of many ancient cultures and their mythologies, and a healthy respect for the Lore of solar cultures worldwide.
It also may have been a common belief in at least some of these circles, that every solar-centric culture around the planet was the successor to a society founded by a few Aryan migrants fleeing the destroyed Thule or Atlantis. It was no coincidence to the Volkisch mystics of the early 1900s that nearly all major solar cultures throughout history were also great farmers and great builders of stone monuments, nearly all of them circular or pyramidal, with the circles tracking the sun's motion and the pyramids representing its power. It was also no coincidence in their view that all such cultures also had a mirror image, the Black Sun, representing the forbidden connections of death and birth in the underworld unseen by human eyes - we see only the zenith of the Sun's progress, not the nadir.
In general these were the primary sources of Black Sun material in the 1920s and 1930s. There is little in the written Germanic lore that references the Black Sun. However a cyclical Indo-European understanding of the sunwheel as wheel of time was seen as important to Germanic mystics, and so this forms the fourth source of solar Lore:
4. The Germanic Lore (Eddas, Sagas, Nibelunglied, Beowulf, etc.) Here the Völuspá was considered the most important text due to actually mentioning a black sun, then the Hávamál, as its account of the Odinic Journey resembles the Aztec concept of the Black Sun in the underworld, transformatively. Where there were not obvious proofs for an Ariosophical concept in Germanic texts, German translations of ancient eastern Aryan texts such as the Avesta were consulted. The Vedas and the Mahabharata were also well-known in these circles, and it is alleged that Tibetan texts regarding the underworld were also studied.
In the second view, Jungian archetypes were viewed as tools or keys to unlocking the inner states of man as defined by Aryan societies in the past.
In the third view, the Atlantean theory dominated. The Black Sun became a metaphor for a hidden knowledge or energy that had been lost, leading to the decline of man. In this context, the mythology of the Maya and Aztecs was seen as a far-removed dilution of an Atlantean solar culture brought to its shores by ancient Aryan explorers in much the same way as the Abgallu raised the Mesopotamians to a major world culture. In this, the Ariosophists found many parallels between Aryan mythology and at least a fraction portion of the New World mythologies.
According to the Codex Ríos, the Aztec underworld was made of nine layers (the primal number of the cosmos in Aryan mythology as well). The first level was the Earth's surface, which also had the entrance that gave access to the other eight lower levels.
It is also worth bearing in mind that the ethnic Lore of the Mayans mentions a god named "Votan" who emerged from the east in far-ancient times and brought sun-worship, science, maths, engineering, and the means of advanced civilization to the Maya. It was Votan, they believe, who built the first pyramids in the Mayan lands. It is also written in Spanish accounts of the Maya that there were more than 200 families among them, specifically in the Tzeltal tribe, who claimed descent from Votan. These families were described as having generally Indo-European features like taller stature, colored eyes, men with facial hair, and occasional blond-haired individuals. The Spanish Conquistadors were at first mistaken by full-blooded Mayans for kinsmen of Votan, though the Mayans clearly changed their opinion after a few years of Spanish rule. It is unknown what became of the 200 families of Votan descent, as modern Tzeltals and other Mayan tribes do not resemble their description; it is possible they were killed off by the Spanish, or by rival Mayan groups, or even by disease. Other accounts exist, vehemently denied or squelched by conformist academia, of far-scattered Indo-European populations like the Viracochas in Peru, or the Guanches of the Canary Islands, or the Waka blondes in New Zealand, claiming descent from the culture of "Votan" or "Vodan", all of them identifying him as a solar or sky deity. If these are to be believed, ancient Aryan diffusion by sea have been far more widespread than one thought.
Now where else have we seen a solar symbol with four rays rotating like a wheel?
Note the solar cross and feathered serpents in the Aztec version. On the right is an Anglo-Saxon brooch.
Triple this (clearly for the Armanic understanding of Arising, Being, and Passing towards New Arising) and you get...
... the twelve spinning rays of the Black Sun.
In the fourth instance, the Black Sun became emblematic of the Odinic Journey itself. For one must awaken to one's own inner darkness, to reshape into a being taking ownership of his destiny. The Black Sun is hence both a symbol of death and rebirth, for before every great transformation and ascendance, comes a great sacrifice, a great renunciation of what has been holding you back. This holds true for both an Armanist or a historical Runic approach, as well as for a modernist mystic one.
It is not a symbol for everyone, but the true reason for this is internal rather than external. Those who prefer a quick fix in life, or even believe that another can offer it, need not pursue this symbol. When fully implemented, it is the Singularity - the point of no return.
The question to be asked with this symbol, is: what do I have to sacrifice, to achieve those things I truly desire? What part of my old self do I have to sacrifice, myself to myself, so that a superior self can emerge unshackled? And what must I cast off forever in order to do so?