Wuthering Heights

I have received a couple of warm compliments, both by email and within the thread, about one of my comments in The Occidental Observer’s most recent article on Sweden. It’s reproduced below:

The commenters above have missed the main point: Independently of what that silly Jewess said, why are the Swedes marching passively like the blond Eloi to be sacrificed by the invading Morlocks?

Why?? As I said in the other thread, in their nations even Muslims of lower IQ (cf. Phil Rushton’s research) seem to be immune to the Jews’ mental tricks.

My tentative response is: As Jason said in the other thread (and as I have elaborated in my articles criticizing Christian moral grammar), the Swedes and other whites are basically “religious ideologues, having replaced self-flagellation and lifelong chastity with anti-white activism and political correctness.”

What is happening throughout the West strongly reminds me Mr. Earnshaw’s deranged altruism in Wuthering Heights.

Just replace “Mr. Earnshaw” with “Western elites,” and the “White people” with “Hindley”—Mr. Earnshaw’s legitimate son—, and you will see how this classic has depicted our current woes in truly prophetic ways:

How would we have felt if, as children, our father returned home with a boy of an alien ethnic group and forced it into our bedroom as a new “brother”? How would we have felt if, after resenting this betrayal and picking on the unfortunate intruder—as children usually do—, our father sends us, not the intruder, to a boarding school?

Forget every film you have seen to date: because that’s how the real Wuthering Heights novel began.

In his travels Mr. Earnshaw finds a homeless boy. Once more, forget every Hollywood image because the skin of this boy was similar to that of “a little lascar.” Mr. Earnshaw decides to adopt him and name him “Heathcliff.” Brontë describes Heathcliff as “dark-skinned gypsy in aspect.” Naturally, Mr. Earnshaw’s legitimate son, Hindley, finds himself robbed of his father’s affections and becomes bitterly jealous of the little lascar (think, e.g., of Emma West in our century).

Every single critic of the novel, even the most conservative, seems to have missed the racial aspect of this drama.

I would go so far as to suggest that, once the ethno-state is established Wuthering Heights will be picked as one of the classics to symbolically convey the tragedy of pushing, against the legitimate heir’s will, an illegal alien that after some time hostilely takes over the entire family estate and starts hunting down key Anglo-Saxon characters in a life dedicated to revenge (such is Wuthering Heights’ plot—gypsies are so good at that…).

The drama of the novel only ends when—after the deaths of Mr. Earnshaw, Catherine Earnshaw, Isabella Linton, Edgar Linton, Hindley Earnshaw and Linton Heathcliff, the son of the gypsy who dies as a result of the abuse perpetrated by his father—Heathcliff finally dies and the second Catherine can, at last, reclaim a life together with her first cousin.

Only pure whites survive at the end of the drama.

Mr. Earnshaw, whose altruistic fondness for the gypsy boy would cause havoc, reminds me what these Swedes are doing not with a single family, but with their entire nation: a deranged Christian sense of compassion à la St Francis transmuted into secular, runaway liberalism.

The drama of Wuthering Heights was located, of course, in the Yorkshire manor. But presently this is happening by means of non-white immigration into every white heartland; Sweden, just one of the most notorious examples.

Reread Brontë’s novel to understand the Swedes!

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Published in: on October 10, 2012 at 11:45 pm  Comments (3)  

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3 CommentsLeave a comment

  1. My thoughts in this post are expanded in my entry “The Jewish question revisited” at The West’s Darkest Hour.

  2. Fascinating!

  3. I recommend a piece of political propaganda called “Overseas and Under Your Skin”: link

    It glorifies precisely the sort of derangement you describe so beautifully in this entry, although the director in this case appears to be a Finn (Swedish-speaking?), Lenka Hellstedt.


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