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There were once strange people in Germany. Their slogan was - and in the jewized Anglo-Saxon world it is still screamed at the top of the lungs - the assertion of the equality of everything that bears a human face.

These strange preachers, erring lunatics and intentional liars, should have marched with us, when we entered the ghettos of Lublin and Warsaw, or when we drove together the first black prisoners in the west! Then these equalizers would have had the right material for observation, and we would have gladly allowed them to voluntarily mix into the ranks of their crooked-nosed, flat-footed “brothers” or among the thick-lipped Negroes. - That such thinking could ever find any place at all among our folk, is because within a clan many really consider it a coincidence, if the children come into the world sometimes black-haired, sometimes blond-haired, sometimes tall, sometimes short, sometimes slender, sometimes chubby. Even our peasants, who are refined breeders of farm animals with precise knowledge of breeds of domestic animals, appear to have forgotten everything within their own home and think human breeding is non-sense, if not to say immoral.

It has already been a success that the concept of race is expressed in our folk at all.

But long is still the path to the implementation of the consequences that must be derived from the scientific knowledge for all and each individual.

And it is ever more difficult to affirm the working of the laws of race in those spheres that appear to be so far removed from the physical-external that they are considered unconditionally a private matter. And even if the equality of the countenance is no longer believed, many still want to think that men are the same when it comes down to feelings, love, aversion, beauty and justice...

Madonna in a Thousand Forms

Now everybody knows that people are most honest, when they believe they are not being observed. We encounter this condition, for example, where religious periods clothe their religious feelings in forms, words and figures. When a pious woodcarver sits down in order to, with much effort and skill, portray the mother of God in his art, he will put into this work his deepest concepts of dignity, gentleness and beauty...and beyond that all those concepts that his surroundings, his folk comrades and race-comrades, carry in their heart. Now Christianity intentionally took its path across lands, folks and racial territories and has on this path everywhere had the high image of the Madonna, the Mother Maria, erected. And if we would collect the Madonna images from all the world as samples, we could only be amazed how this one image is reflected in the hearts of the many races of our earth. We see the Gothic Madonna from Germany light-blond, tender, with blue eyes, see the Negro portrayal pitch black, with corkscrew licks and thick lips - see the Madonna from China, slant-eyed, with wide cheek bones. And even within the same continent, say in Europe, the dominant racial group is clearly expressed in the image - how many comrades have noticed the difference between the one found in the churches of Silesia and the Polish Madonna images beyond the border! How strange and incomprehensible to us is the famous Mother of God in Czenstochau! And how friendly, loving and motherly does the mother of God look at us from the old German images. It is as if a mother from her folk with her first child is immortalized over there, and as if this mother is really the mother of all of us, “our dear wives”, as the German characteristically calls the Madonna...

Many Folks - Nonetheless One Ideal!

Making the rounds among the folk we can also determine something else, apparently the exact opposite: that namely one and the same image of highest beauty appears among various folks and even at various times and in totally different stages of development.

When, for example, the soil of the ancient world, hence the Hellenic-Roman folks of the time two thousand years ago, today reveals marble statues, then it is as if one of our brothers, indeed the best looking one, is there chiselled into stone. Only a few externalities of the ancient figures seem strange to us, but without hesitation we take them as examples, and for centuries the German world, lacking it own supreme masterpieces, admired the Greek art works as an ideal.

What is the explanation for that? Was this ideal forced on us, were we persuaded or misled? No, that is not possible in that sphere of feelings. We can certainly learn how to comprehend Chinese, Mexican and even Eskimo art from the conditions of its existence, its culture and race, but always only as Chinese, Mexican and Greenland works.

The word “race” gives the key to the explanation. And if we had nothing more about the Greek works of art, no text and nothing written - from these portrayals we could see they were men of Nordic blood, immigrants and descendants of the great tribe that even today still fills our land with its blood.

Among our Germanic ancestors, it was the opposite. Their art works, presumably carved in wood, have long since perished in the damp German soil. But here the witness of the fairy tales, sagas and heroic songs speaks a clear language. Where beauty and manliness are portrayed there, we read the adjectives “strong, tall and blond”. Women are praised because of the shimmering white of their skin, their tenderness and the rose colour of their checks. The kindly goddess of Germanic man, the older example of “our dear wives”, is Berchta, whose name downright means the “light one”, the “radiant one”. Individual traits of native concepts of beauty we learn sufficiently well from the old songs. The bearing of a person, his gait, the manner of his movements are descriptively portrayed, and each time it is a portrayal which we can unconditionally affirm from our feeling.

Race-Mixture Creates Chaos of Feeling

It is no coincidence that we reach our goal so easily with the research of racially conditioned ideals in ancient times. The folks in those times were racially still pretty uniform, and above all their ruling strata were so, who either produced artists from their own ranks or gave the artist commission, form and execution.

To the same degree, however, as influences between the folks as well as migrations to and fro and political upheavals increased, the clarity of their ideals also blurred. If we remain in German territory, we see how from century to century feeling changes, how the views about beauty get confused and soon oppose each other. While in North Germany love songs praise the “blue eyes” of the beloved, in the south it goes “dark-brown is the hazel nut, dark-brown am I as well”... But there are still enough unifying ideals, height, slenderness, swing in gait, grace of movement, reserve in essence, industriousness, cleanliness, reliability.

The decadent penetration into our native feeling came from the carrier of all decay - the Jew. With him the Jewish ideal, the grimace of this race, breaks into the German sectors of the soul. Brazenly, he exhibits the inferior work of Jewish fantasy in painting, books and theatre, and not satisfied that they are allowed to stand there in public, he even demands that they be affirmed as the valid norm for the German folk.

With shrill mockery, every kind of ancestral legacy is denounced as “backward” and philistine, all attempts to form something new out of healthy feeling are laughed off as reactionary. “Modem” is considered a trump in art, and the misled viewers must choose to either participate in nothing more new or to find pleasure in this modernness. One “ism” in art - expressionism, cubism, dadaism - chases the next; the flood of decay pours through the broken dams of native inhibitions.

In other folks the Jew also advances with his world of feeling, puts the same - because kindred to him - inferior works on the throne, and so he can call this Jewish-conformed art “international”. He thereby proves again that there is no native ideal of beauty that all people sense the same (because, namely, he shows that all Jews in all lands sense the same).

Here we hence have the same manifestation, which in the racial-physical sphere is supposed to be promoted among the folks by the assertion of the equality of everything with a human face. That was the triumph of the Jew in art, and this triumph was ever more destructive, because it poisons the deepest springs of the soul of a folk, because it decays it in its basic concepts.

For Marriages Come from the Ground of Beauty

Because there was so much talk about art, there may be many who only still read this somewhat bored with these things. Art, they figure, is a matter of exhibitions, something for those people with enough money to hang greats works in the residences.

If that were the case, the Führer would have never needed to so sharply combat the Jewish danger in these spiritual spheres.

What is, namely, expressed in works of art, that comes from the heart and goes to the heart. But it is very decisive what a folk feels in its heart to be beautiful, above all what the young folk yearns for as an ideal, because, namely, love and mate selection are directly decided by these feelings.

Let us return to the old times and present to men from the most diverse folks across the world women who, in their respective times, had a resemblance to the image of the Madonna. If we wanted to choose as Germans, probably only the light, tall, clear figures among the women would appeal to us. In reality, however, each Negro would choose his black woman, each Chinaman his slant-eyed, the Hottentot the woman with the plate-shaped mouth lips and the Fiji-Islander the one with the filed teeth.

The same thing occurs - although in a finer form, but just as decisively - year after year among the youth of a folk, who come together in the bond for life. Even through in certain strata and in earlier times property, class and religious denomination have played a certain role - in the end marriages are always sealed with the heart.

But how concepts of beauty, ability, manliness (for after all, women, too, have an ideal of the man they seek) get into the heart, whether they are inborn or smuggled in by cunning - the loving heart no longer asks about that. And the misfortune follows its course. In the daily life of marriage and in the struggle of life those deceptive signs pale, on which the living heart once clung. The genuinely blood-determined foundations of a person come to the surface, are daily revealed as wishes, views and actions and can never be suppressed by reason. So shatters the happiness in marriage, so collapses the basic cell of the folk, so is a folk destroyed from the inside out, so triumphs the Jew!

Let us be clear that we have indeed recognized this danger, that we have put an end to the miserable work of these pestilence carriers, but that this poison still circulates in our folk body and in its thousand little expressions must be fought a million-fold.

And it is especially up to each SS-man to be watchful here - in the folk and first of all in his own heart.

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