In the conclusion of my article on Wiligut, I make extensive use of material from three prior blog entries, from May and September of 2017, and have regrettably though unavoidably quoted myself extensively. To make this final chapter readable without a lot of link-flipping I have preserved most of the quoted text here; but I have omitted a lengthy quotation from my own article on Wiligut and the Halgarita Charms, which is edited in the Chapter itself I have completed. Hopefully this will minimize confusion and promote readability without contributing to an unmanageable length of this Part, within what my readers have come to expect, or confusion.
Please note that as before, I owe debts not only to the persons mentioned in Part II but to others, including James Pontiolillo for his compilation The Black Sun Unveiled, as well as always to Miguel Serrano, particularly here to the brief but invaluable The Son of the Widower. Also, my extreme thanks to Frater Christopher Kafyrfos for his inspiration from Diabolic Gnosticism and his reminder to me of the power of the Swastika, as well as the intuiting of the true nature of the Sonnenrad at Wevelsburg.
What I set out to do here is to discuss how Wiligut’s religion or metaphysic, or what we can know of it based on this writings and drawings (for such is the nature of much of his Runic writing), his preserved or recounted verbal teachings and the interpretations of his students, can be seen within the context of the descent of Ages, particularly in view of the pivotal point at which he lived and wrote – what can be seen as the true Last Battle of the Modern Ages, at which Iron could no longer be held back from Lead. Because what one gets from Wiligut is the eternity and eternal victory of the forces of Light, based on internal motion and balance but themselves unchanging. Indeed the idea of eras does not become imported into what became known as Esoteric Hitlerism until Savitri Devi read Aryanism into Hinduism, or its higher forms, and Miguel Serrano rather seamlessly merged all of that into his not only his own esoteric tradition, but also into an even broader base of ancient Sumerian, Babylonian and Mesopotamian lore, and even as seen later by the Greek and the Romans.
Wiligut was of course – it need not really be said, except I this time of delusion – an advocate of any of the Thursic forces of Nigredo; he came to this life as to some extent a teacher, but mostly as a preserver of eternal verities. It is sad, from what must have been his point of view, that he was not allowed to fully transmit his teachings, which opportunity was passed at the time of the death of his only son. So that some of his deepest teachings were perhaps not unveiled to anyone. We must then look for some of that, through the filter of his student’s teaching and relation of Wiligut’s own, and for clues in his writings.
Other than Wiligut’s explicit writings on the Drehauge and his view of the eternal cycling which underlies oneness, discussed supra, perhaps the richest vein to mine for proof of the teacher’s awareness of the “anti-cosmic”, the forces of breaking and dissolution – Nigredo – come in his Halgarita Charms. We have the writings of Rüdiger, von Below, Mund and others to either thank or blame for the elaborations.
Emil Rüdiger, a member of the Edda-Gesellschaft and Wiligut’s direct pupil, make much of the verse 27 of the Halgarita Charms. Largely from Sprüche 27, 68 and 1818 he draws images of a teaching he elaborates in his own writings and attributes to Wiligut – that of the two suns, Sunur and Santur, the latter of which, the so-called Black Sun, did not become prominent in the eyes of the world until after Wiligut’s time. According to Rüdiger (and others), the so-called Black Sun is a remnant of an earlier sun that gave light to an earler, more elated Earth, and it was the passing of the Black Sun into a burnt-out husk that haunts our solar system, after a battle between the two, that marked the descent of our Astral and Hyperborean ancestors into the modern Aryan – obviously many, many years ago. According to him, three hundred thirty thousand of them!
Sunur saga santur tvo
Syntir peri fuir sprue(c)h
Wiligoti haga tharn
Halga fuir santur tvo!
I find other references in the charms which seem to allude, never explicitly and never clearly, to at least an awareness of the chaotic forces which exist as the force of apparent change, and eventual cleansing that leads to balance and rebirth, re-awakening:
[Here I refer the reader to this prior post: Wiligut’s Halgarita Charms, Thursic Elements.]
I would like to close with a final speculation on what may or may not have been Wiligut’s role and intention with regard to the design of the SS Castle at Wevelsburg. I certainly would follow Miguel Serrano in his emphasis that not only the primary design of the SS rituals and many of its artifacts were Wiligut’s – see The Son of the Widower for a concise statement – and his caution that some things which have been attributed to Wiligut, to the SS, and therefore to the forces and entities which authorized and empowered them, are actually manifestation of a latter era. Some of these things which were attributed to Wiligut are in fact, I believe, to some extent the opposite of what we commonly believe. The most interesting of these is the Sonnenrad on the floor of the Obergruppenführer Hall, which has, since about 1991, been taken somehow as an emblem of the power of the supposedly “dark” occult forces behind the “Nazi” regime, but which I would argue is actually a seal holding in forces that have been restrained but not vanquished by the forces of Yahweh after their victory of Wotan in 1945. Is it Wotan himself who is restrained at Wevelsburg? And what would happen if the seal were either opened or broken? And is the doing so beyond the powers that hold Wevelsburg now, or is it imminent?
After a visit to Wevelsburg in May, 2017, I wrote:
For some reason, despite every opportunity, I decided to honor the request or rule that no pictures be taken in the North Tower, which was the SS ceremonial chamber. Many others have done so, and it’s hard to say why I didn’t. The answer was a feeling – first of being watched, and not by the museum staff; it is indeed a metahuman entity at work at Wewelsburg. There are two chambers open at Wewelsburg and I’ll leave the reader to study their functions; but the upper chamber is the location of the great disk in the floor known as the Black Sun. Why has it been left there, but desecrated? I say desecrated, because it is clean and clearly visible; I leaned over to touch with my hand its smooth surface. In fact, one could walk on it, which is perhaps the point. It is covered and surrounded by hideous orange bean bags and white plastic tables bearing binders containing nothing significant. Some diseased magic or antimagic is clearly at work here, some attempt to twist and nullify the power of the seal which would not be accomplished by destroying it.
I don’t know how to refer to this magic, which I feel all over Germany – the magic of the oppressor, of the destroyer, what I don’t want to call dark magic because my dark magic carries a Luciferian redemption. I could call it Demiurgic magic, although I begin to question the identity of the Disease, the corrupter who took the name Jehovah or Yahweh, and think of it as a much later phenomenon than the Gnostic concept. It is a magic of chaos, of densest materiality, of disintegration, destruction and endless suffering. It works all over this land, in Germany, to keep most of the people blind, enslaved and afraid. I do what I can, instinctively to counter or neutralize it as I go.
To wit: On entering the upper chamber and perceiving the corruption of the desecration, I also found myself being compelled to circle the chamber counterclockwise. Upon reflection and perception of this, I deliberately circumnavigated in the other direction before leaving, feeling that in having done so, I tied off a great knot. Something was sealed there so that the corruption did not continue to leak out. I do not know on what level of personal vs universe experience this occurred.
I have been re-thinking my compulsion to re-circumambulate the chamber, in the opposite direction. Serrano speaks of the clockwise rotation of the swastika or the sun-wheel as being opening, manifesting, and the counterclockwise rotation as being of the return, of closing. Crowley speaks of these same consequences and implications of the two vectors of rotation. Perhaps my initial urge to circumambulate counter-clockwise was compelled by the demons possessing and overseeing the room, to help seal in the powers contained. Perhaps my intuitive reaction, a little later, was my either subconscious or inspired effort to liberate them, to open them. I wonder if one were to study a tape (or etheric record, which almost certainly exists), what one might see of how many sensitive individuals were drawn to replicate this pattern – or at least the part that for me was unconscious, somnambulistic.
Despite the popularly-held belief that Karl Maria Wiligut was somehow responsible for or the architect of the Sonnenrad that has become known as the Black Sun, there is no evidence that he had anything to do with it. Its attribution to his Santur is a construct of latter-day so-called Esotericists. Serrano writes in some detail of the construction of the Crypt directly below the Sonnenrad in the upper Hall and properly locates in it the setting for the actual historical exoteric, as well as the unspoken other, rituals of the SS. As he notes, despite quite a few notes on the contents of the North Tower, destroyed down to the level of the upper hall by the departing SS in 1945 and then looted by the forces of Chaos at the behest and tolerance of their masters, there is actually no mention of the Sonnenrad there until 1961! So it appears to me that it was put there shortly before that time. And as we and others have pointed out, it was not specifically, and somewhat mistakenly identified with the Black Sun until thirty years later.
So what is the Sonnenrad, and what is it to us? Earlier, searching for an amulet and sigil for myself, I had designed and had made by a friend, a pendant consisting of the outer rings of the Sonnenrad – which in conversation the 55 Club, and others, have linked to the Zodiac and other twelves, but also the twelve from the chamber below – and placed in the center, a Swastika. The pendant is made so that it is viewable from either side; interestingly, from what normally pass as the front view – of the Swastika – the Sig runes are inverted, as in some of the old Alamannic jewelry on which it is based. When the Sig runes face in the normal direction, the center is a Sauvastika, which Serrano relates to the Return, the retreat to the Green Thunderbolt behind the Black Sun itself. This is an artifact, I believe, in the participation of what Serrano would call the Archetype in its construction.
So what? Often it seems to me that the answer to a riddle I have been pondering comes to me when I have gone far afield. It was in the book Diabolic Gnosticism that Frater Kafyrfos writes of the Black Sun as a seal that contains the Thursic, or in his terms Diabolic forces that are sealed beneath this Demiurgic construction. And he suggests that the key to his lock is the Swastika. I realized on reading this that what I had had constructed for myself (and I was not the first one -some of the Alamannic artifacts have the same pattern), was an emblem of the key of the Swastika unlocking the door, the seal of the Black Sun. It is an emblem of the setting free of Wotan in his prison beneath Germany – or perhaps of opening the door to allow us access to not only his Wisdom, gained (and for this image I thank Myrkthursablot) the Thursic rage which Odin the Seeker – and not the distinct Odin or Wotan as alleged demiurge gained along with his wisdom in his nights on the Irminsul or his questing with Mimir, the other Thurse.
I will admit to having gone rather far afield from the actual and provably attributable teachings and writings of Karl Maria Wiligut, aka Lobesam and Weisthor, in this writing. If only some of his other and more direct students had been so honest in their presentations, perhaps we would have less confusion! But in summary, I would state:
Karl Maria Wiligut was, unfortunately, the end preserver of a direct stream of esoteric transmission and knowledge that came down through his family, according to him, for hundreds of thousands of years. The stream ends at the turning point at the end of the Age of Iron, the opening of the Kali Yuga. As I mentioned above but did not elaborate, the timing of the ages, the counting involved therein, as set forth in the Vedas and in Wiligut’s own writings, is subject to a materialization of the concept of number which distorts it out. The Age of Kalki does not come half a million year in the future! Except perhaps in some larger cycle, because that is what the true nature of time is, as Wiligut’s writings do make clear – cycles within cycles within cycles.
So that with regard to the forces of Nigredo, of dissolution, of the Thurses and Satan and the anti-cosmic entities, the genuine thrust of Wiligut’s work is certainly not for them; they seek only to be recognized and need not be “pushed”. Nor is it against them, and this is where, I believe he may come into some, not conflict, but less us say, dissimilarity of purpose with his German employers in the Reich. Wiligut is not so much, to use Savitri Devi’s terminology, a Man Against Time, as were his employers, seeking to hold, to save the last vestiges of Aryan honor and civilization to be found in this material world; rather he was a Man Above Time, “out of it”, as was Akhenaton – as was Hitler himself, to the extent he was the Archetype and not the Führer. But in Wiligut’s work and preserved teachings, we have all the evidence we need that he was aware of these forces, of his own place with regard to them; and from this we must draw our own conclusions as to our own proper roles.
Sonnenrad photo which clearly show the incongruous metal plate in the middle, where somthing appears to have been removed.