Ezra Pound and the Occult

by JD » Fri Feb 17, 2006 4:28 pm

Anyone have comments on this? Haven't really dug through it, but I'd be shocked if this doesn't set off a few lightbulbs for this crowd. Has the requisit elements of interest - fascist, occult, etc: <a href="http://www.cwru.edu/artsci/engl/VSALM/mod/ballentine/">www.cwru.edu/artsci/engl/...allentine/</a>

by **chillin** » Fri Feb 17, 2006 6:14 pm

I found this exerpt from the essay particularly interesting... "Longenbach writes, "Pound’s poetic goal was the cultivation of ‘adventures,’ the soul’s visionary memories of the paradise or the past it once knew" (229). Pound recounts his own experiences with retrocognition in an essay on Arnold Dolmetsch published in 1914. "So I had two sets of adventures. First, I perceived a sound which was undoubtedly derived from the Gods, and then I found myself in a reconstructed century- in a century of music, back before Mozart or Purcell, listening to clear music, to tones clear as brown amber" (Eliot 433). Pound was drawing on or participating in what he determined to be the soul’s eternal memory. His essay begins with a description of his first adventure: I have seen the God Pan and it was in this manner: I heard a bewildering and pervasive music moving from precision to precision within itself. Then I heard a different music, hollow and laughing. Then I looked up and saw two eyes like the eyes of a wood- creature peering at me over a brown tube of wood. Then someone said: Yes, once I was playing a fiddle in the forest and I walked into a wasps’ nest. Comparing these things with what I can read of the Earliest and best authenticated appearances of Pan, I can but conclude that they relate to similar experiences. It is true that I found myself later in a room covered with pictures of what we now call ancient instruments, and that when I picked up the brown tube of wood I found that it had ivory rings upon it. And no proper reed has ivory rings on it, by nature. . . . Our only measure of truth is, however, our own perception of truth. The undeniable tradition of metamorphoses teaches us that things do not remain always the same. They become other things by swift and unanalysable process (Eliot 431)." Still reading, I don't much about Pound other than he was supposedly a fantastic poet, but somewhat bigoted (and institutionalized for insanity in his later years I think).

by **semper occultus** » Fri Feb 17, 2006 7:57 pm

Am I right in thinking anti-semitic conspiriologist Eustace Mullins was a protege & then literary executor?

by * » Fri Feb 17, 2006 8:31 pm

".....Pound came to his political and economic doctrines by the same esoteric path as Yeats. In 1913 Pound had become Yeats' secretary. Pound had been interested in Eastern religions, yoga, theosophy, and astrology from at least as far back as 1905. When Pound was introduced to Yeats he joined a small group Yeats was involved with, which was of a Gnostic nature. Prior to this Pound had written of his belief in a type of reincarnation of creative souls in terms similar to those expressed in Yeats' poetry. Pound considered sex to be a sacrament and an esoteric tradition which had been preserved in the West by the Troubadours. He considered the only true religion to be "the revelation made in the arts." Rejecting Christianity, he described it as "a bastard faith designed for the purpose of making good Roman citizens slaves, and which is thoroughly different from that preached in Palestine. In this sense Christ is thoroughly dead." Pound found the Churches objectionable for having gained subsidies which should have gone to artists, philosophers and scientists. Pound was inspired by the "love cult" of the Troubadours, which had been suppressed by the Church, and the Classical mystery religions. He considered the teachings of Confucius, which taught a civic religion that assigned everyone a social duty, from emperor to peasant, to be a means of achieving a balanced State. He later saw in Fascist Italy the attainment of such a State. Like Yeats, Pound's concepts of esotericism and culture brought him up against liberal and democratic doctrines. Pound saw in Fascism the fulfillment of Social Credit monetary policy which would break the power of plutocracy. He considered artists to form a social elite "born to rule" but not as a part of a democratic mandate. "Artists are the antennae of the race but the bullet-headed many will never learn to trust their great artists." As far back as 1914 Pound had written that the artist "has had sense enough to know that humanity was unbearably stupid. But he has also tried to lead and persuade it, to save it from itself." He wrote in 1922 that the masses are malleable and that it is the arts which set the moulds to cast them...." <a href="http://library.flawlesslogic.com/pound.htm">more</a> and:  "The Secrets of the Federal Reserve" by Eustace Mullins "I believe that banking institutions are more dangerous to our liberties than standing armies." ---Thomas Jefferson In November 1949, Eustace Mullins, 25, was a researcher in Washington DC when friends invited him to visit the famous American poet Ezra Pound, who was confined at St. Elizabeth's Mental Hospital and listed as a "political prisoner." A leading figure in Modern English literature, Pound was the editor and critic who introduced the world to James Joyce, W.B. Yeats and T.S. Eliot. During the Second World War, he was charged with treason for broadcasts on Rome Radio that questioned the motives behind America's involvement. Pound commissioned Mullins to examine the influence of the banking establishment on U.S. policy. Mullins spent every morning for two years in the Library of Congress and met with Pound every afternoon. The resulting manuscript, "The Secrets of the Federal Reserve" proved too hot for any American publisher to handle. Nineteen rejected it. One said, "you'll never get this published in New York." When it finally appeared in Germany in 1955, the U.S. Military Government confiscated all 10,000 copies and burned them. Thanks to the American Patriot Friends Network, this book is freely available on line. (I recommend you save it on your desktop, as I did.) Why is it so (excuse the pun) inflammatory? Essentially it paints a picture of the world, and the role of the United States, which is radically different from the one we are given in school or in the media. "Notwithstanding the war of independence against England," writes Mullins, "we remained an economic and financial colony of Great Britain." Between 1865 and 1913, he says London bankers led by the Rothschilds used agents such as J.P. Morgan and J.D. Rockefeller to gain control of American industry and organize it into cartels. Where did these bankers get the money? For over 200 years, European bankers have been able to draw on the credit of their host countries to print it! In the Seventeenth Century, the moneylenders and the aristocracy made a pact. If the king would make paper currency a liability of the state, the moneylenders would print as much as he liked! Thus the Banks of England, France and the Reichsbank came into being but they were all private corporations and remain so today. According to this nefarious pact, the moneylenders got to charge interest on assets they created out of thin air. The aristocracy all took shares in the central banks plus they got to finance a burgeoning government and to wage costly wars. This piece of chicanery is at the heart what plagues humanity. The bankers have a vested interest in the state (i.e. the people) incurring as much debt as possible. They are behind the Marxist, socialist and liberal movements which call for big government and social spending. They are behind the catastrophic wars of the last century. The Warburgs financed the Bolshevik Revolution. The Bank of England financed the rise of Hitler. Prescott Bush (W's grandfather) was head of Brown Brothers Harriman, which financed the construction of the Nazi war machine. Naturally if you can create money out of thin air, your first instinct is to buy tangible assets with it. There is a powerful impulse to use debt to control nations and take over their real assets. This is the essence of the so-called Third World Debt crisis. Dedicated to owning all wealth and enslaving humanity, an irresistible vampire has been unleashed uponthe world Much of Mullins book is devoted to the subterfuge by which the United States was drawn into its lethal embrace. In 1913, the Owen-Glass Bill gave mostly foreign-controlled banks (posing as "the Federal Reserve") the right to create currency based on the credit of the United States government and to charge it interest for doing it! To accomplish this, the bankers had to rig the election of 1913 in order to get Woodrow Wilson elected. Then their stooges in Congress passed the legislation on December 22 after their opponents had gone home for Christmas. "This act establishes the most gigantic trust [cartel] on earth," Congressman Charles Lindbergh said at the time. "When the President signs this bill; the invisible government by the Monetary Power will be legalized. The people may not know it immediately but the day of reckoning is only a few years removed." Mullins explains that the legislation passed just in time for the American people to finance World War One. After maintaining standing armies for 50 years, European powers no longer could afford the luxury of another war. But the U.S. was relatively debt free and made the whole thing possible. What would WWI have been without Germany? Apparently Germany was not self-sufficient in food and would have had to sit out this war. In the nick of time, the bankers organized something called "The Belgium Relief Committee" which channeled billions of dollars worth of U.S. meat and potatoes not to Belgium but to Germany. When Edith Cavell, an American working in a Belgium hospital pointed this out, British intelligence had the Germans arrest and execute her. Mullins makes a convincing case that every U.S. President since Wilson has been a lackey of the bankers. J.F. Kennedy was assassinated because he started to print his own U.S. government-backed currency. This is also the transgression that led to the murders of Presidents Abraham Lincoln and James Garfield. Last year alone, the American people paid $360 billion in interest to the bankers. To maintain this massive fraud, the bankers enforce an iron grip on the political and cultural organs of the nation. According to Mullins, "The New York Times" is owned by the Kuhn Loeb while "The Washington Post" is owned by Lazard Freres. In Europe the Rothschilds own Reuters as well as the French and German news services. I presume US publishers, TV networks and movie producers are similarly beholden. Rockefellers, Carnegies and the Fords endow the nations' libraries and universities. Journalists and professors dutifully parrot fantasies about democracy and freedom. Mind control laboratories run by the CIA and the British army (TheTavistock Institute) dream up ways to manipulate and undermine the population. The psychological sterilization of the human female ("feminism") is an example. The "War on Terror" is part of the banking cabal's plan to consolidate its grip on humanity in a friendly (or not so friendly) fascist "New World Order." They want to secure their political, economic and social grip on the obstreperous Muslim world, as well as build up a security apparatus in case the docile populations of the West become restive. Well, at least the cosmic battle between Good and Evil is out in the open at last! "[/i] <a href="http://www.savethemales.ca/260602.html">link</a>

Ezra Pound and the Occult

Ezra Pound and the Occult

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