Nightsong (2 of 2)

Question: why did God create intelligent man? A guess: He wants someone around who’s capable of appreciating His Creation.

An evening hymn. Written by Romantic poet Franciszek Karpiński (1741 – 1825). Here it is performed by the legendary bass-baritone Bernard Ładysz, who is backed by what sounds like a church choir. A really nice performance. Feels like you’re there. My translation is true to the original meter.

(The second couplet of each verse repeats once.)

Wszystkie nasze dzienne sprawy / All of Our Daily Matters

Wszystkie nasze dzienne sprawy / All of our daily matters
przyjm litośnie Boże prawy / Keep with mercy, righteous Father
A gdy będziem zasypiali / And when sleep time comes upon us
niech Cię nawet sen nasz chwali / In our dreams we’ll glorify You

Twoje oczy obrócone / Your eyes turned and ever watchful
dzień i noc patrzą w tę stronę / Day and night in our direction
Gdzie niedołężność człowieka / Where the frailty of mankind
Twojego ratunku czeka / Stands awaiting Your salvation

Odwracaj nocne przygody / Turn away the nightly perils
Od wszelakiej broń nas szkody / And protect us from all evils
Miej nas zawsze w swojej pieczy / Have us always in Your safeguard
Stróżu i Sędzio człowieczy / Guardian, Judge to all of mankind

A gdy już niebo osiędziem / And when we ascend to Heaven
Tobie wspólnie śpiewać będziem / We shall sing to You together
Boże w Trójcy niepojęty / God in Trinity unfathomed
Święty, na wiek wieków Święty / Forever and ever Holy

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Two Nightsongs (1 of 2)

Back in my Facebook-using days, I reconnected with a girl from high school. To be honest, I wasn’t surprised to see that after 20 years, the pixie became an SJW. A razor-lipped patrician though, not a bluehair plebeian. I unfriended her after seeing one too many of her anti-racist posts, but one thing she wrote stayed with me: “Lesbian families are the least likely to abuse their children.” That’s a tautological lie at the very least. Depriving the child of a father is abuse.

Among the the most toxic households are those of single or divorced mothers and their rotating roster of boyfriends. The child is always safest with his or her biological father.

The lullaby. Composed and performed by Przemysław Gintrowski for the 1995 movie Tato (Dad). IMDB plot summary: “A father, who is in the middle of a brutal custody battle with his mentally ill wife, fights relentlessly for the right to take care of his 7-year-old daughter.” From the soundtrack, a bedtime song:

Tylko Kołysanka / Just a Lullaby

Tylko śpij i aż śpij / Now close your eyes and sleep
A mnie prowadź tam / And let me go with you
Tam gdzie jesteś / Wherever you are
Chcę być tam gdzie ty / I want to be there with you

W niebie, czemu nie / In heaven, why not
W piekle aż na dnie / In hell, even at its very bottom
Będę wszędzie, wszędzie będę / I’ll be everywhere, everywhere
Czy to ważne gdzie to będzie / Does it matter where that may be

Więc przytul się i śpij / So cuddle up and sleep
Tylko czas nie chodzi spać / Only time doesn’t go to bed
Bo ma czas, jest twardy / Because he has time, he is tough
O tak jak głaz / Oh, like a stone

Jutro zbudzisz dzień / Tomorrow you’ll wake up the day
Jutro ja twój cień / Tomorrow I’m your shade
Będę wszędzie, wszędzie będę / I’ll be everywhere, everywhere
Nawet, gdy mnie już nie będzie / Even after I’m gone

Tylko śpij i aż śpij / Now close your eyes and sleep
Wniebowzięty chór / A heavenly choir
Wszystkich świętych / Of all the saints
Patrzy na nas w dół / Is looking down upon us

A to tylko ty / And here it’s only you
A to tylko ja / And here it’s only me
Ty maleństwo niepojęte / You, amazing little one
Boże życie bywa piękne / God, life can be beautiful

Już przytul się i śpij / Now cuddle up and sleep
Czekolady pełna noc / A night like chocolate
Gwiazdy jak cukierki / Stars like candy
Ech czas je zdjąć / Eh, time to turn them off

Jutro obudź dzień / Tomorrow, tell the day to rise
Jutro ja twój cień / Tomorrow, I’m your shade
Będę wszędzie, wszędzie będę / I’ll be everywhere, everywhere
Nawet, gdy mnie już… / Even after I’m…

Two Fine Things

“Well there’s only two things in life that make it worth livin’ / It’s a good nationalist video and hair braided on women.” — not Waylon Jennings

Serbs making rap not-suck. With its aspirational scene of nationalists and policemen embracing one another, the video raises two questions: will Trump drain the swamp; will the French military side with the Gilets Jaunes. The English-subtitled lyrics make a good anthem:

These work to make you lose your identity
to make you an obedient, rotting mediocrity

But you kept quiet, believed, hoped, voted
Now you can’t believe where you’ve ended up
That’s why you need to pull away
When you’re hurting say it out loud
You’re not bound to the bank, but to your children!

Examples of undercover pro-White signalling: a while back there was talk of wearing something white every 14th day of the month. And there is the OK hand gesture but that might get you SWAT’ed at 3 in the morning, so be careful. As to women’s patriotic style, TexasVet posts the photo below and comments:

Pro white trad women need to start braiding their hair so that we can recognize them in public. It will let us know to be protective of you. It will also let us know that you are the type of woman we would want to get to know. Think of how many pro white couples we could create if our women all started doing this.

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The Numbers

“Lies, damned lies, and statistics.”

“Numbers don’t lie.”

Which of the two quips is true of Ann Coulter’s March 13th column, Trump by the Numbers?

I haven’t written off this administration. Four reasons for that. One: his appearance on the primaries scene in 2015 that humiliated the ruling class and their cuckservative collaborators. Two: his astounding, and some would say providential, 2016 election victory that inspired the world. With the perspective of time, those two things alone will be understood as revolutionary. Three: I don’t know what’s going on behind the scenes, which is where the real action’s at. It’s impossible to tell whether Trump is beaten or selling out, or dismantling the enemy’s infrastructure, or playing possum, or buying off the adversary. Opinions are abundant but those are just opinions. Four: his first term isn’t over yet. The overthrowing of predatory globalism isn’t over yet. The 21st century has barely begun.

On the other hand, morale is low. See Ann Coulter’s numbers. A normal person cannot listen to his leader call for more legal immigration and not lose some of his faith in the future. The United States is observably becoming more, not less, invaded. It’s a testament to the malaise, that the only event over the past year to disspell Western man’s despair over his destiny, to alleviate his feeling of political impotence, to pump a shot of testosterone into his veins, was the past weekend’s operation on the opposite side of the world.

Micronations

Before playing it, I thought that this was one of many videos of Warsaw schoolchildren and teens performing the haunting song “White Eagle.” I featured that song in its original recording by Natalia Sikora here, where I also provided the lyrics. The song is a salute to the youngest fighters of the 1944 Warsaw Uprising. It is specifically about the 11-year-old Wojtek Zalewski, who saved his entire platoon and was killed in action six days later. The song is in slow tempo like a funeral march.

The chorus that begins just after the 1:30 mark is a soaring counterpoint to the somber verses. There are many covers and performances of that song, but this one is a bit different because as I learned, it’s performed by the ethnic-Polish community in Lithuania:

Playing this video for the first time, I noticed the unusual accent right away. It’s known as zaciąganie, or the eastern drawl. The way to understand the difference, is that standard Polish has a crisp sound to the foreign ear, while Russian sounds melodious. Similarly, the eastern-borderlands Polish has that Russian-like softness of sound. Two examples, from the spoken verse delivered by the little girl after the 2:00 mark. My first example is the word “dzieci,” which means “children” (nominative case). Standard Polish pronunciation is JEh-chi. The eastern drawl is more like DYEh-tsee. The second example is “ciepłej,” which means “warm” (feminine-singular, locative case). Standard Polish sounds like CHEP-way. The eastern drawl is more like SYEP-lay.

There is a lot I like in the choreography here. Love the link between generations, expressed through the older boys’ holding the younger children by the hand. Protective, fraternal. And as to people-watching, the teenage boy wearing the long coat catches my eye as having a trustworthy physiognomy. He steps forward after 2:00, when the girl finishes reciting her verse and hands him the mic. He’s the type I call “gentle giant” — a big young man with a baby face. I associate the type with loyalty and strong character.

There are 164,000 ethnic Poles in Lithuania, legacy of the Polish-Lithuanian Commonwealth of the 16th century. Most live in Vilnius and southeast of the city along the Belarussian border. Some are descendants of landowning Poles who settled the region centuries ago, others are descendants of polonized Lithuanians and Ruthenians. Lithuania, in fact, plays a huge role in 19th century Polish Romanticism and national heritage in general. Highights:

  • The joint Polish-Lithuanian Jagiellonian Dynasty and its victory over the Teutonic Order at the Battle of Grunwald (1410).
  • Poland’s national epic Sir Thaddeus (1811) begins with an invocation to Lithuanian countryside as the muse.
  • Poland’s greatest modern statesman Józef Piłsudski (1867 – 1935) came from a polonized aristocratic Lithuanian family.
  • Poland’s arguably-greatest modern writer and poet Czesław Miłosz (1911 – 2004) was of Polish and Lithuanian origins. His writing is animated by the spirit of what he calls his true homeland, the Lithuanian countryside of his youth.

The schoolchildren’s performance of “White Eagle” above: does this arrangement, in particular the intro, pay homage to Zbigniew Preisner’s score to Dekalog V? The theme of the fifth installment of the Krzysztof Kieślowski’s Dekalog series is, after all, “Thou Shalt Not Kill.”

I visited Lithuania not-quite twenty years ago. Anecdotes for another time perhaps. My knowledge of English helped me communicate where you’d expect it would: in tourism centers. I studied the basic courtesies and useful phrases in Lithuanian prior to my trip, which also came in handy. With an older taxi driver who took me from a train station to the Hill of Crosses, I communicated in my rudimentary Russian; he’d have grown up during the Soviet years, when every captive nation had that language drilled into its young. But in Vilnius, to my surprise, I was able to communicate with almost everyone in Polish. Same grammar and vocabulary as mine, just the difference between our respective accents.

… The title of this post. Micronations. To me it is as clear as it was to Miłosz, that his native realm in that corner of the world is a nation onto itself.* His hostility to Polish nationalism before and during WWII was not a function of his youthful Leftism. It was, as I see it, the provincial patriot’s wariness of the empire and its capital, Warsaw.

(*I am not advocating separatism in Lithuania. As far as I know, the country’s Polish minority has good relations with the majority, and stalwartly supported Lithuanian independence from the Soviet Union.)

Northeastern Italian-Americans and Appalachian mountain men are micronations in the United States. In Poland there are the Kashubian people along the Baltic coast and Highlanders in the Tatra Mountains. Though they speak an intelligible Polish dialect, Silesians in southwestern Poland did not consider themselves to be Poles prior to WWII, and they have a separatist movement. In eastern Germany, Sorbs are a Slavic language group; Bavarians and the Hochdeutsche Nordic Germans don’t strike me as having a whole lot in common aside from language. Just a few examples.

We on the national Right shouldn’t ignore the distinction between larger national identities and regional micronations. As the devil of our day pushes for the ugliest common denominator through abolishing the differences among peoples, so the remedy is more respect for those differences, on down the scale. Kinship and integrity to weather the globalist storm.

It Takes Three

… to start a movement.

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Like in that famous Dancing Guy video:

1. The Leader. The first man to stick out his neck (man in the photo, in this case). From the narrator in the linked video, who explains the elements of creating a movement:

First, of course, the leader needs the guts to stand alone and look ridiculous. But what he’s doing is so simple, it’s almost instructional.

2. The First Follower. Going with the above photo, that would be someone who’d stick up for him in the face of a hostile crowd or validate him before a neutral crowd. Bonus, in a charged setting, if the First Follower is charismatic.

Now here comes the first follower with the crucial role: he publicly shows everyone else how to follow… The First Follower transforms a lone nut into a leader.

3. The Second Follower. The next person to join the movement. He gregariously backs the First Follower. He summons the stadium vendor and buys three beers, creating a festive atmosphere.

This is the turning point… Now it’s not a lone nut and it’s not two nuts. Three is a crowd, and a crowd is news.

—–

Detox

Sergeant Reilley said, There’s a fight to win!
Follow me, boys, follow me!
And it won’t be done till we all pitch in.
Lift your chin with a grin and follow me!

Classics like “The Odyssey” connect you with grandeur that is larger than any one life. And fun classic films such as Walt Disney’s 1966 “Follow Me, Boys!” can put you in a great mood for days because they are a time capsule from before the apocalypse. The movie is pure detoxification. Plot synopsis: Lem Siddons, played by Fred MacMurray, is a World War I veteran and member of a traveling music band. The action begins in 1930, with Siddons impulsively deciding to leave the band and stay in the town where they had briefly stopped. He soon organizes the town’s unruly boys into a Boy Scout troop.

(I did a double take on MacMurray — “Is that Ronald Reagan, the actor?” It isn’t, but he’s the same classic Hollywood tall–dark-and-handsome type with a strong voice).

In this two-minute clip of an early scene from the movie, Lem Siddons and his love interest are introduced. This scene also introduces the story’s villain, a gamma male named Ralph. He’s a vice president of a bank that his civic-minded Aunt Hetty owns. A dialogue between Ralph and Aunt Hetty in that clip, as principal characters first appear:

“Aunt Hetty, we’re trying to be a bank, not a charitable institution. We can’t refuse to foreclose a mortgage simply because Mrs. Todd is a good, Christian woman.”

“But she is. Give her two more months, Ralph.”

Ralph is a minor character but his brand of villainy is what unraveled America: the burning through the common good for personal profit. Here is what I mean, outside of the movie’s story line. Example one: real estate churn through Diversity. A developer buys a patch of woods between two neighborhoods, cuts the trees, crams blow-up houses into narrow lots on that land. He lobbies for cheap foreign labor and for endless bull market through immigration. Example two: the war on femininity. Divert girls from family formation at a young age and into the taxable workforce.

Some say that the final Red Pill is about Usury. When the Protestant Anglo elite handed America over to Jews, who are poorly suited for the responsibilities that come with leadership, economics spiraled into cannibalism. “It’s the economy, stupid” was the winning slogan of the 1992 Presidential campaign. It’s time to kill that attitude. Economic output in a neoliberal world order is best understood through the metaphor of released energy that’s harvested by billionaires. White nations are the fuel, and it’s running low.

Back to “Follow Me, Boys!”… enjoy pre-negrified culture. The only Diversity in this film is a kid who might be an American Indian. And that casting decision only goes to confirm that tokenism, no matter how small, adds nothing that we need.

That film is not my nostalgia. The mid-1960s of the film’s release are before my time, and the depicted culture is mine only through adoption. And yet… I connected with its vision of victory. In short: it was nice to see what being a first-class citizen in your own country looks like, not sixth-class as the case is now.

See it. Rent it from the public library. Watch it with your family. I was never into films from before the late ’70s, so I was a bit skeptical at first. Now I’m a believer.

Follow me, boys, follow me!
When we reach the top then it’s all down hill.
Till you drop, don’t stop, and follow me!

Anyhow, our culture didn’t go anywhere. You’ll see it at this weekend’s Saint Patrick’s Day parade. Whites with skin in the game and instinct for sociability “flock together” and participating in a parade is one example of exclusionary identitarian spirit. Last year we saw marching bag pipers representing various heritage clubs and police departments. Teenage boys are carrying the torch of that tradition. Also Irish dance groups that refute the notion that all young people are out of shape. There’ll be a chubster or two among them, along with an obligatory biracial goblinette, but for the most part it’s shapely girls prancing like ponies.

You’ll see flashes of our true culture anywhere you see Whites arranging their lives to exclude Diversity, even through the smallest gestures such as avoiding convenience stores that employ brown foreigners. Your heritage is always with you so long as your heart beats. Abused and buried and befouled but always calmly waiting.

“Follow Me, Boys!” — the marching song from the movie: