Evola on Freemasonry

However, we must note that in Freemasonry’s operative and initiatory period it is already possi-ble to detect a certain usurpation, in that this organization attributes to itself the Royal Art. Theinitiation connected to the arts is that which corresponds to the ancient Third Estate (the Hinducaste of the vai§ya), that is, to social strata that are hierarchically inferior to the caste of the war-riors, to whom the Royal Art legitimately belongs. Moreover, we must also note that the revolu-tionary action of modern, speculative Freemasonry is that which undermined the civilizations ofthe Second Estate and prepared, through democracies, the advent of the Third Estate. Concerningthe first point, even on the most external level one cannot help laughing at the sight of pictures ofEnglish kings who, as Masonic dignitaries, wear the apron and other signs of artisan corporations.

Julius Evola in The Mystery Of The Grail note on page 168

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Gap Var Ginnungaga = “The Open Mouth of the Sacred Descendants was (existed)”. From gap = “open mouth” (indicating something ready to swallow something), var = “was”, “existed”, ginnr = “sacred” and unga = genitive plural of ungr = “descendant”, “child”, “lineage”.

Maria Kvilhaug in The Poetic Edda p. 6 (note 5)

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