Foundations: Rise of The West
~ And Beyond
White Nationalism is not, strictly speaking, based on the construct of race, but on everything that is Race.
This includes the most obvious: That of the positive influences that a specific race-culture brings to bear. This includes Art, metaphysics, architecture, Science and, most important to any people – it sense of Culture – its understanding of what, truly, it means to be Noble.
If one does not know how to be noble, how then, can one better understand his friends, and his enemies?
In his book, Rise of The West, Frank L. DeSilva, presents a very compelling over-all case for the Spiritual value of Race, as well as the necessary responsibilities that a race-culture owes itself, as well as others.
What a People, for that is exactly what Race is, owes itself, is to remain true to its legacy, that is nobility in and of itself. It is tradition, and then again, more, for legacy implies obligation and a sense of duty to that people, before it can be shared with others.
THE RISE OF NOBILITY:
The Death of the Noble Savage?
Rousseau’s use of the term ‘noble savage’ was in connection with man’s ostensible relationship between Nature and Civilization. Between [man] himself and his technics. What Rousseau actually meant by this comparison I cannot say; every man, including this author, has a ‘pre-condition’ for both nature and civilization. In some respects however, I agree with the premise that ‘man is better in a state of nature than he is in a civilization’. It is only as to that level in the abstract sense that we agree however. The word ‘better’, it must be understood, is a ‘pre-condition’ that supposes a ‘lesser’ point in man’s spiritual and physical being. Of the latter, I concede that we have changed ‘externally’; that we are modified on a daily basis. However, as to the conscious and unconscious spirit, this point is not clear even to those who have made it their life’s search.
Of the nature of man, of that ‘first man’, what were his embryonic thoughts of good or evil? After that mystical force of fire was discovered,* what did he see there, in the midst of colour change, of form change; what was the sense he gained by the fellowship of his kind that, like he, was transfixed by the glowing, turning marvel of fire and heat – of man, woman and child that drew closer, even as he, as the strength and breadth of his fire receded, leaving only darkness? Was it this essence that led eventually to his modes of consciousness and mental thought? His god, whoever or whatever, or however it manifested itself, listened to his simple prayers, looked upon him in his daily struggle for existence – pitied his spirit. He praised and feared his first god. He dedicated himself, his progeny, his Empires to this God. The subtle tissues of his spirit enveloped the ‘essence’ of what were his spirituality, his evolution of mental constraints, and his outlook on his surroundings. Primitive man was close to nature, as are all primitives, and was closer to a stricter understanding of ‘good’ and ‘evil’ as it seemed to him: what nurtured him was good; what denied or hurt him was bad. Simple, yet not ‘simple minded’. Through the passing eons, these ‘feelings’ and ‘experiences’ were molded by his evolving system of technics, his very own creations that passed eventually into the regimen of Religion. This, then, was the Institutionalization of his very consciousness.
This institution provided him and kind with an atmosphere by which each individual could share, with the many, those innermost feelings, fears, hopes, and aspirations. In this fashion, could the collective memories be driven into a focalized direction. Certain it is, that many unscrupulous men and women acquired the ability to direct, in their own ways, and for personal gain, this collective consciousness for ends that were neither organic nor good. But these have always been found out and eliminated.
The original aim however, that specific undying purpose, the spiritual ennobling of man’s eternal soul, hence, that ennobling ‘quality’ on earth as a ‘higher-man’ is unshaken, albeit far removed from the original intent. By this, in the context of Religion [i.e. as in a ‘fixed’ institution, eschatology, etc.], a term I use hesitantly because of its ‘fixed’ and intractably modern usage, it is implied that man can become better by the continual application and continuing process of learning to seek out the better self. Man, ‘the individual’, must mark the ‘higher man’. The race and culture will follow in a natural interrelation between the body and spirit.
It is a truism that all higher-culture has had the greatest and grandest religions. The ‘religions’ of Sumer, Egypt, Babylonia, Persia, Greece, and Rome all come to mind. Unlike the religions of the modern West, these ancient religions expressed in their ‘form’ the natural inclinations and predispositions of a ‘specific’ racial quality; this, of course, manifested itself in both Tradition and Authority. Religion, however, is not what must be understood here, that is, not in the ‘institutional’ setting; Religion, itself, is only the technic ‘utilized’, the outer shell if you will, of its spirit of morality proper. True religion is the great Conscience of its particular ‘will-to-power’ and intelligence that ever marks the higher-man.
This, of course, is a moral perspective. In the modern world, morality is a fluid thing; a perspective which defies boundaries. Morality, however, has much to do with the ‘outward’ manifestations of individuals, and collective reality. We may ascribe this division of perspectives as between those who understand the ‘cause’ and those who have misunderstood the origin, function, and direction of that cause. Yet, even though a conflict often arises between individuals regarding perspective morality, the claim can be made, and with much credibility, that each feels the call of ‘intuition’* when it comes to the questions of morality. It is often something ‘we know’. This of course comes into direct conflict since each individual ‘sees’ differently.
If one were to consider and contemplate the various ‘actualizations’ of morality it will be agreed that it gives a certain power [i.e. tangible], a certain divinity [i.e. intangible], and will, naturally, spread its consciousness to those which inhabit a close proximity to the person or presence that exudes this potential. This individual, this higher man, finalizes this ‘aspiration’ into the higher kundalini, and displays a morality intellectualized as Nobility. These aspirations are finalized in the higher man, who appreciates and displays Beauty, peace, harmony; these are the concepts desired by the higher man.
In beauty, he finds the spirit of good, in harmony, he finds the definition of beauty and peace, which, in turn, allow him to enjoy, his labors, his creations [i.e. his arts, crafts, and all those mental and manual actions which make up its thinkers and doers], and his unexplored spirit. He [the higher man] consistently listens to his ‘still small voice’, ever driving him, ever demanding answers to that which each man must, ultimately, answer alone, in the very deep recesses of his own mind, his own morality. Man, Western man, in finding and refining these definitions, is constantly evolving into and now out of his ‘types’ of form [i.e. in a spiritual sense], and his technics which disclosed his ‘inner directions’, and which also defines his concept of beauty: that which is good. In fact, his ‘sense’, ‘experience’, and ‘perceptions’ of beauty, make up his total ‘aesthetic [tangible] experience’ through his life and hence, onward through his racial and national extension for posterity. This is the ‘morality’ of the higher man, what drove him to the greater ‘questions’ of his existence; not the crass ‘sexual’ morality of the modern, for this is his ‘center’, his priori, which makes up his particular Volksgeist.
Through these actualizations, the higher-man always discloses his spirit, his morality, in and through his aesthetic sense. Sense, in its true and simple context, is the native element and substance of experience. In this elemental, an aesthetic bias is native to ‘sense’ being, as it were, nothing but its ‘form and potency’. The influence which aesthetic habits exercise on thought and action should not be regarded as an intrusion to be resented but, rather, as an original interest to be built upon and developed. Sensibility, however, contains the distinctions which reason eternally carries out and applies; such as between ‘good and bad, slow and fast, light and darkness’.
With this sense, then, ‘man’ can, if not dulled by his modern education, or his stifled and tedious hours spent at factory, or assembly line work environments, enjoin his spirit and body to shower upon the world what is in his very essence; that which is entertained by the eyes and hands in combinations with each other to promote that beauty inherent in each person: To the Butchers, Cooks, and Mechanics; to the Artists, Sculptors, Carpenters, Architects and Blacksmiths; Stonemasons and Craftsmen of all kinds, and all the various ‘extensions’ underlying man’s Freedom [‘spiritual’ or otherwise] to establish beauty, peace and harmony. This is the ‘sense’ of aesthetics and its manifestations.
The modern wills not to accept this position, he rejects this esoteric analysis yet, surrounded by such vulgar monstrosities as ‘his’ Concrete Cities, with their ‘straight tiered’ glass and steel edifices how can one ‘spiritually’ be connected with himself? This vulgarity, when compared to the uninterrupted evolution of our European antecedents, which the modern calls the ‘art’ of the Industrialized, has denied man, Western man, that simple ‘individual form’ of aesthetic art; the same art of Da Vinci who, as a single individual, with a set ‘aesthetic ideal’, was to promote that ideal for the coming millennia to emulate and enjoy with posterity. Being denied this vision, his spirit, what is left of it, does not soar; rather it conforms to that which must suffice for his daily bread.
The underlying morality of ‘aesthetics’ lies in both the ‘creation and contemplation’ of its very beauty.
These feelings, or sense in its purest form, with which the higher-man infects others may be quite varied; they may be, as with those characteristics listed above, be considered weak or strong, very important or very insignificant; they may be very bad or very good. All are manifestations of sense – of Beauty – of that portrayal of who or what we are. Such are the feelings inspired of, and for one’s own Country; self-devotion, submission to Fate – of God – expressed in a visual ‘drama’, an ‘allegory’ written, or spoken. It is the ecstasy of Lovers engraved in that smoothness of sensuality by a hand that first, and foremost, must have that ‘sense’ of love and sensuality to create, really create, that image through art. Courage, expressed in a triumphant march or captured on canvas in that one second shot of heroism; a simple quiet meditation of one soul amongst many – this is all part of aesthetics. This is the distinction that makes up the morality of the West.
To this extent, Western man must receive his due kudos, in which the acknowledgment of the world recognizes his ‘unique’ ability to express himself in such ways as spoken of above, such as the Arts or Literature, is not simply the only extant talent inherent in him, but that he also values the rich appreciation of those who contemplate such precious gifts – such are those who share, and have the West within them, in the realm of thought and deed, and therefore each knows that either by sharing of their talents or by simple appreciation and contemplation of such works they, each of them, is a part of all which has gone before. All who are now, and will become are present at either point of creation or contemplation. As individual, he can share that ‘value’ presented by those of his Kind, and can share in their accomplishments, which he can then pass on to his contemporaries and descendants the thoughts, and inspiration he has gained from those many others before.
The Value of Art
Through this expression of values [i.e. the Arts], the specific effectiveness [of Art] must be gauged by its ‘infectiousness’ upon the individual, in a positive sense, as a building bloc of the Race-Culture as a whole.
As with all failing Culture-sense, our outlook becomes cloudy, murky, a dream in which our mysteries are seen from a distance, not as our ancestors original vision would see, but as the modern wishes us to see them: As a ‘relic’ of an Age in which we have now outgrown. No longer is the modern able to look upon the work of his ancestors with respectful ‘contemplation’, that ‘essence’ of the spirit of an age which was ever and anon a part of that drama of Western man. Of Reims, or the Monastery of Mount Saint-Michael we are told of a ‘european’ experience that does not conform to our modes of conduct; indeed, we ‘must’ [as the modern reveals] break this embryonic relationship because of the sectarian problems inherent in them. We are not to recognize the ‘nationalist’ [i.e. ‘tribal’] implications of such magnificence, for it was, precisely, regardless of transient problems, that very racial-national spirit which led to the creation of such genius. Our ability to understand such works has ever been stunted by the modern. We lack, in direct consequence of the modern, the ability to understand, really understand, the beauty and splendor of the craft-work required in the construction of such works of Art. The ‘technic’ he still possesses, but of that simple ability to ‘contemplate’ the very essence of this work – nothing.
In contrast to the modern, the simple man and woman of the West are continuously ‘infected’ by this Art. It must, and of necessity does, stimulate in increasing increments, that ‘greater mass’ of individuals who are subject to it. The ‘abstract’, the ‘obtuse’, these ‘artistic perceptions’ are not infectious – except if only those modern few who are in turn, ‘infected’ with the modern interpretation of what Nature provides us to learn from; one can, almost without exception, consider this art to be worthless in a proper consideration of Art.
It is not to the ‘abstract’, ‘Cubist or Dadaist’ to which such ‘art’ holds such visceral fascination, that fascination which binds the viewer as if it was seen for the first time; the innocence of a spirit who has seen ‘magic’ for the first time. It is the clearness of such visual effects as the grand Cathedrals, or of DaVinci, or Pousin which expresses such ‘human drama’ as is Courage, Honour, and Integrity, vengeance, malice, caprice – all this is human, oh so human – and all those emotions which allow the human spirit to soar ever upwards so that by pure mental insistence, the viewer is brought ever to that realization that he has become infected with Beauty; this individual who is ‘receiving’ is, in actuality, mingling his essence with that of the author of this art, thereby, becoming more attracted and is satisfied by these feelings transmitted which, intuitively, it seems to him, he has known long and felt deeply. This is that which resides within the higher-man: it is his ultimate value. Some call, or will call this feeling ‘mysticism’ derisively, seemingly, as it were, to detract from its basic value because the modern has no sense of the ‘greatness’ inherent in the ‘race-soul’, that deep well of genius, conflict, drama, and beauty.
The modern claims that we as ‘specie’ are continually evolving. It is ‘evolution’ of the ‘Newman’, evolving upward and away from the old ways; he exhorts us all to cast aside the old garments of the past, which will forever hold us ‘small and spiteful’. Yet, in consequence to the modern’s ‘dreams’ of this ‘Newman’ his art, that reflection of our very soul, he fosters upon the world such ‘concepts’ which entertain nothing but the spirit of revulsion, of compulsion, against the ‘higher-man’. The ‘shapes’ and ‘colours’ of objects which should inspire such deeper emotions as Spiritual or National feelings, such is humanity shaped but, rather, would twist and pervert the concepts of ‘draftsmanship’ or worse, none at all; the blending of ‘natural’ colours so as to arbitrarily view the ‘outline’ of characters which leads the poorly trained mind to wander aimlessly in a turbulent sea of thoughts and décor. To what purpose, then, are the modern’s artistic achievements to be accounted?
Art, as with all human technics, must serve a higher purpose. This presupposes that ‘art for art’s sake’ is not what the higher-man is, or should be, striving for. Classical art, bound up in tradition and experience in both a mental and physical state, would always ‘direct’ the viewer, the receiver, in such ways that would instill such emotions as in the sense of ‘tragedy’, of Love, Hope, Beauty; of Harmony in Nature, of the simple and enduring beauty of ‘Woman and Child’, of manly virtues: Courage, Honour, Integrity, compassion and enterprise which will create such an environment so as to be conducive to the future of our sons and daughters, to aid in their respective travels through life. Art is a ‘friend’ of man, as such, should always extend that relationship. There have always been elements that are not in keeping with ‘traditional’ culture, the modern would claim this title as his own, but do not let him deceive you; to a point, this is healthy and good, suppression must always be judged in the ‘long-term’, not in the ‘here and now’. The ‘health’ of the Culture, our Western culture, must always be the test by which we abide ‘change’. If and when a ‘change’ occurs, and it is obvious that the ‘end’ to which this change is bringing to us is ‘bad’ in a pure sense, then it is the ‘culture-bearing’ strata which is obligated by the right of a thing, to excise any virus and eliminate it as waste. This is Duty in its ultimate resonance. It is a mystery to the modern.
This ‘duty’ of a People to itself is a mystery to the modern, yet he seeks to undo what others have done before him in the name of ‘enlightenment’, of ‘reconstruction’. The modern’s value is to replace the ‘old’ values with those of his new values, for it is the calling of the modern to correct the ‘mistakes’ of the Fathers who, in their own way, make him feel so inadequate, so insignificant, that he, perforce, must destroy their very existence in those memories of them from within us. He fears the calling of Blood in his veins – therefore, as before, he will eliminate all value in the Arts – mysticism must be eliminated and replaced by evocations of the grotesque, the vain aspirations of the idle who know not the beauty of nature and her endless motifs.
In our present state we rarely, if ever, see in ‘modern man’ that ‘quality’ or ‘mysticism’ in either art or religion. Nevertheless, the mystical experience remains one of the most ‘shared’ experiences of humankind. Indeed, mankind has been more thoroughly impregnated with ‘religions’ than he has been with Philosophical Thought. “In the ancient city, religion was the basis of family and social ties.”[1] To the modern of today, these are symbols of a dead past, and should not be promoted in either art or religion – they but house the ‘fragments’ of a dead and alien age. He cannot abide this – and would cry out in agony if he understood, the very deep-rooted essence of that which is understood by the simple mind of his fellows, which, as in ages past has defied him, even as it does today, any qualitative scientific analysis.
Hence it is, by all accounts, that the ‘search for God’, for morality, for beauty and harmony is, of necessity, a personal one.
The Noble man searches for that invisible [mystical] reality through his normal activity of consciousness. He finds both in his ‘conception’ of the ‘here and now’, as well as his search to transcend it. Such an individual, it may happen, will be looked upon by many as ‘special’; he may be deemed lunatic or hero. Yet this inner strength, this spiritual light which, ultimately, brings to him that divine inspiration through the contemplation of beauty, and to that which leads poets, mystics, and of consequence, the Noble man, to eventually reach that ‘ultimate truth’ which will, unflinchingly, lead Western man to his final purpose, must be nurtured and instructed in this path. Such is the ‘purpose’ of Art.
To ensure this purpose, let those individuals who are gifted by the gods in revealing such a path, be aware of this obliges’ to their fellow-man. It is a true and compelling call, do not fail to adhere to the dogma of art: To seek beauty and harmony is to become Noble.
The development and nurturing of higher human beings must be the aim of all our efforts, regardless of what particular craft or profession we have advanced to. These are not mere platitudes assigned to please the liberal but, rather, a necessary reality. It is with this single concept in mind that any lasting superstructure of the Western race-culture be so confined. The ‘indispensable’ element, that certain class of men, which cannot, and must not, be done away with: this, the element of genius.
To be sure, this is the element of ‘extremes’, yet without them and their unique styles and rhythms, many of our own revolutionary developments would never have taken root; would never have been. These are such men and women with whom nature has endowed with characteristics such as the ‘overgrowth of intellectual or psychological capacities’, the personal pain of acceptance, or lack of, which all sentient beings need to overcome circumstance. This may cause ‘imbalance’ in the fabric of society, but is a part of Culture; this is true evolution. This imbalance in the duality of human nature, which is between persons, or personality, or with one’s surroundings or norms should be always taken into account: look to the genius and his direction for instruction. If a gifted individual is confident in his position, well and good; if he is unhappy, then let all consider him, for if there is substance and wisdom in that in which he finds his obsession, for all genius is obsession, then this wretched soul must be pitied and aided in those ways which can, and will realize a healthful end. Each individual is different according to those personal understandings of his particular elements of genius which ever drive him on. It is the duty of individuals and institutions to aid him in his path; in return shall the genius provide ‘culture’ with hope for a better tomorrow.
Any ‘disharmony’ between those members of the community may be difficult yet; this disharmony results in the continuous evolution of the ‘higher-culture’. It is a passion, driving the race on; it is brought to light by those few individuals who perceive their own ideas of the purpose of Science, Intelligence, the clarity of beauty itself. The only check to be given this ‘type/class’ is that which nature herself would instill in the body of the race-cultural host, which ‘houses’ this type of individual. If the purpose of this genius is the far-reaching mental vision of the race-culture as a higher organism, it is well and good. If it is not for the good, as seen from past history and tradition, as seen as common sense, then it is bad, and must at all costs, be eliminated. This, of course, sets up that continuum of duality between the ‘inner and outer’ man; there will always be two camps of thought on any or numerous issues of the day, so it is that ‘debate’ will always be ‘married’ to the collective thought.
These passions, these mental activities obviously, depend upon ‘physiological’ activities, they must, for they are a part of that ‘duality’ which is human nature, a thousand generations in the making. These passions, of necessity, are those emotions experienced by all of us – common men all – the genius is no exception. Stages of consciousness, that organic part of a man’s essence, are changed through those minute chemical processes, which we observe to correspond to those very differing stages of consciousness, which we call ‘emotions’. Conversely, physiological correlations are determined by the various and fluctuating states of the body’s physical organs.* These mental [spiritual] and physical aspects of the body are both factors in any sentient being thus, the duality of its being, as well as its conscious awareness of itself. One cannot, at any rate, have one without the other and be considered whole.
Let us take for an illustration the Alcoholic: Intake of this widely used substance from stomach, to bloodstream, from bloodstream to the cerebrum, accounts for a ‘change’ in mental activity; so as with all forms of mind altering drugs, even if used in moderation.*
Passions may be, strictly speaking, part and parcel of the sexual drives inherent in Western man, which have driven him ever onward in his search for himself. Sexual drives are born by many influences, and must, of necessity, be considered when analyzing passions or drives proper. This discussion, however, is not the crass symptomatic illusions of the modern, or the unnatural desire to promote its lower forms, such as the repetitive and crass portrayal of our females in caricature or poses demeaning to their natural beauty. There is no value in this, other than sheer animal Eros; as such, without a host to consummate this desire, the effect of sheer eroticism for its own sake, is misplaces at best, and dangerous to both man and woman, at worst.
Religion, as seen in the modern West, has imposed consequences on sexual behavior, which does not conform to ‘social policy’ or the accepted ‘dogma’ of today. This is only right and proper. Yet, those mores and traditions of our fathers and mothers of yesteryear have been dismantled, discarded, and replaced with the exact opposite, guarded by the warders of the ‘law’ who will enforce this new reconstruction of the masses. In consequence, the proverbial pendulum has swung from the right to left (this has been present for at least one-hundred years, in an ever so slowly evolution of change) creating the new rhythm by which we all must dance; from strict conformity to complete license. Freud was only one of many who promoted this new sexuality. In this respect, Freud was a ‘tradition’ maker, and employed various techniques to emphasize ‘his’ (and others) views on the matter. This wide and diverse group of individuals created what is now known as the ‘school’ of psychoanalysis.
Freud, as the erstwhile ‘leader’ of this school, begat a strange assortment of followers. In particular, one famous disciple, Franz Boas, boasted an assortment of ”friends’ and ‘social scientists’ who were anthropologists; this slowly and inextricably became the new school of Social Anthropology which was, immediately, at odds with ‘traditional’, or forensic Physical Anthropology. From its early days, forensic science took a back seat to the new school, and many major universities soon catered to this new science. Not only here in America, but Europe as well, was inundated with this plethora of new scientists. This has become the supremacy of the modern, that he has ‘undone’ aeons of generational tradition; no one can deny the accomplishments of persons such as this. Yes, let us admit that it is this ‘school’ of thought, which belongs to the modern and his followers.
Yet, even in its dim and ambiguous ‘sociology’, there has been some light, albeit dim, shed upon sexual instinct as it relates to various parts of the human psyche. Both Freud and Boas were flawed to say the least. Freud, in the first instance, worked only with the demented, abnormal, and stunted individuals that had little or no bearing upon normal persons, other than to point out the ‘exception’ that proved the rule. It is true, that one must examine extremes to find a focal point, but one must also have a reasonable acceptance of what that ‘medium’ of normalcy is, also. Without the proper bearing, a ship must, of necessity, be set adrift upon an unknown course. Boas, on the other hand, delivered the realm of ‘physical science’ to that of the non-historical. To the dust-bin of antiquities were placed the study of genetics and eugenics, the study of evolutionary social history as it relates to races and race-cultures as products of environmental factors only; all subsequent human progress was, in fact, due to environment which was accident only. But what, in the platonic sense, creates these accidents? The modern wishes to remain supreme, regardless of the reality or sane appraisal of this natural life of ours.
Sexual drives, held in check by individuals of strong self-discipline, are made stronger by these same [sexual] passions. These individuals release these passions, these energies wantonly, but never irresponsibly. Generally, all “[the] great poets, artists, and saints, as well as conquerors, are strongly sexed.”[2] These drives should not be fixed, unless the behavior of persons or individuals becomes so pronounced as to be detrimental to others less versed in the values necessary to control their public behavior. If, at the outset, these drives (here we speak only of those natural interactions between man and woman) cannot be accepted by traditional institutions then, it must pass into the realm of renewal and change. The man who seeks to become ennobled, must utilize every opportunity to become master of himself ñ this, in itself, requires that he chance new areas of his mental and physical passions. All life, in the final analysis, is change ‘within’ that natural rhythm of life itself.
Frank L DeSilva
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Notes:
* “…[describes] based on all existing evidence, that fire, not just the ability to ‘keep’ fire, but for the actual ‘making’ of fire, was not developed in China but in Europe – about 100,000 years ago.” Coon, Carlton S. – The Story of Man, pg. 60-1. [See also Origin of the Races – Knopf, 1962, pg. 90-1.
* See End Notes: Alexis Carrel’s discussion in his chapter on ‘mental activities’ is an important one for the West, and for all cultures. My use of intuition may mislead some readers – it may appear too metaphysical – but one must realize its absolute value in our daily lives, for it effects all decisions, all conscious thought. A personal analysis, in any event, must be first ‘qualitative’ rather than ‘quantitative’. FLS
[1] Spengler, Oswald – Decline of the West – Helmet Werner, trans. Charles Francis Atkinson, pg. 378
* We know, for instance, that the application of certain external stimuli, such as Acupuncture, stimulates those regions of the body with minute electrical stimuli, transversing the lines, or Meridians that are commonplace throughout the body. In direct juxtaposition to these meridians, the human organs are affected; diagnosis, in this medical practice, is remarkably accurate. A practitionaer in this field will, for instance, look into the ‘eyes’ and see a problem located in the Liver, and this in turn, will prompt a question thusly: “Are you experiencing episodes of rage or anger?’
Emotion will evoke ‘stress’ upon certain parts of the body, and will affect the major body organs in turn. Stress, as in wartime, will produce many such manifestations, including deep psychological manifestations which medical science cannot always explain. Balance, as with all things, must be present for a healthy host to function properly. A healthy person, one who exercises regularly and receives plenty of fresh air, will, undoubtedly, have a better chance to survive both disease of the body and of the mind. FLS
* Physicians, in today’s society, are well known to prescribe medication, which affect the ‘symptom’, not the cause. In many cases the miser caused by this disservice is incalculable. This is not an indictment of modern medicine, yet it is offered in the hope that doctors of the West will, when faced with a disease, look to other methods of healing rather than medications alone. FLS
[2] Carrel, Alexis – Man the Unknown – Harper&Bro’s, 1935, pg. 143.