KULTURKAMPF

by Dave Yorkshire

The following is a transcript of a speech I gave at a nationalist meeting in the summer of last year.

I’m here tonight not to talk about politics, but about something broader and more far-reaching. I’m going to talk about culture, because culture is that which shapes politics and ideas in general, and we are going to look at how this is achieved.

Now even the word culture itself has been politicised and there is ongoing debate about what culture actually is between the various factions of the Marxian left, who exclude any input from the right. I can define what culture is quite succinctly: culture is how a people expresses itself in the world. Marxists and neo-Marxists, of course, wouldn’t like that because that definition implies that distinct peoples create distinct cultures. And yet it obviously is so. Leftists are always trying to sell us the lie that it doesn’t matter if we are flooded with immigrants from all over the world because we are all the same. Well if we are all the same, why do we have multiculturalism?

Now one of the ways a people expresses itself culturally is through the arts: through painting, sculpture, poetry, theatre and so on; and I’m going to start off with a bit of poetry. This is a poem by the greatest German writer of all time, Johann Wolfgang von Goethe and is called simply Ein And’res or Another One, as it’s part of a series of lyric poems:

Geh! Gehorche meinen Winken,

Nutze deine jungen Tage,

Lerne zeitig klüger sein!

Auf des Glückes großer Waage

Steht die Zunge selten ein.

Du mußt steigen oder sinken,

Du mußt herrschen und gewinnen

Oder dienen und verlieren,

Leiden oder triumphieren,

Amboß oder Hammer sein.

Most of you are now probably wondering what the hell is going on. This man comes in – we don’t know him from Adam – recites a two-hundred-year-old poem in a language we don’t understand; is he mad or something? Well, it may be true that I’m quite eccentric, but some of you may have thought, hang on, there might be something to this, and had a listen, and although you didn’t understand it, perhaps got a sense of the poem’s music and power. Poetry – if it’s good poetry – should have that effect and Goethe is a master of his craft. So let’s have a look now at what it means. This is my literal translation of it:

Go! Obey my beckoning,

Use the days of your youth,

Learn early to be smarter!

On the great scales of fortune

The balance rarely stays still.

You must rise or fall,

You must rule and win

Or serve and lose,

Suffer or triumph,

Be anvil or hammer.

In other words, you have to be the strong man or the weak, the victor or the victim. This is an eternal truth – and poetry is all about putting great truths into succinct and powerful words. Two hundred years ago, we were a nation of conquerors: our great empire that would come to span a quarter of the globe was under construction. As white Europeans, we would come to dominate most of the world. Wir waren der Hammer: we were the hammer! A hundred years ago, we were hanging onto what we had and the scales of fortune were shifting.

Now, in our present time, we have seen a complete reversal. Any kind of pride in ourselves as a race, any pride in our past achievements and glories, any will to becoming something greater than we are now is ruthlessly crushed. We are now the anvil and we are being hammered by other peoples and other races from all over the world.

What happened? Well again, what happened goes back to culture. I’m going to give you a quotation by Benjamin Disraeli, who, as we all know, was the first Jewish Prime Minister of Great Britain. David Cameron himself is of partly Jewish stock and his probable successor Ed Miliband is also Jewish, but we shouldn’t worry about that of course, because what does it matter if the person who governs us is not of our ethnicity? We’re all human, aren’t we? No one looks after the interests of their own people first, do they? If that’s the case, why should it have mattered when whites governed South Africa and Kenya and Rhodesia?

Long before Disraeli became Prime Minister, he was a writer of considerable note. Some of his most famous books were what are called industrial novels or ‘condition of England’ novels, which are usually about the hardships working-class people suffered in factories, cotton mills, workhouses and so on. Disraeli was also a good friend of Lionel de Rothschild of the infamous Rothschild banking dynasty.

Disraeli said that ‘literary fiction offered the best chance of influencing opinion.’ And he was right. All the arts have an emotional effect on people that is immediate and bypasses reason. This is why the arts are so rigorously controlled now. You look at every programme the BBC broadcasts; it is completely ideological. The revamped Dr Who is just a series of thinly veiled allegories for left-liberal propaganda.

Back in Disraeli’s day though, there obviously were no televisions and books were the primary means of entertainment. Disraeli did not really care about the plight of the poor in the same way as, say, Dickens, Elizabeth Gaskell or Charles Kingsley did, but saw it as a way of playing on the sympathies of his middle-class readership for political gain. At the time, the working class were fighting for various rights, including the right to vote, through the Chartist movement. If you could give the vote to people antagonistic to the ruling class, you could bring down the whole established order and create a new elite to replace them – led of course by people like Disraeli himself.

Bear in mind here that he was not a Whig Liberal politician but a Conservative: those who are meant to conserve the established order. Disraeli helped to change the rules and regulations in both the Houses of Commons and Lords to accept Jews who wouldn’t renounce Judaism. Bear in mind that Talmudic Judaism is explicitly anti-Christian and anti-European.

Now I don’t blame the Jews for undermining our society and putting themselves above us. They’re looking after their own interests and the interests of their group. They’ve heeded the words of Goethe (especially as their Heinrich Heine was a great fan of his as a young man): you have to be the hammer or the anvil.

At one time, they were banned from many European countries and in the ones where they were allowed to stay, they lived in restricted areas we call ghettos. They were the anvil, but now, through bribery, through working on people’s sympathies and, it must be said, through their industry, they have become the hammer. Even now, they are plotting against the sovereign nation of Iran. But I don’t blame them; I blame the corrupt fools in our own tribe who let them out of the ghettoes.

Neither has our history all been about the Jews. We give them too much credit for our downfall. The fact is that even before they got any power here, our civilization had been in decline for some time. As we came out of the mediæval period, the great overarching cultural structures began to break up. Christianity was beginning to lose its authority and was fragmenting into various sects with slightly different interpretations of the scriptures. Monarchies began to cede ever more power to the rising mercantile class that now governs our society, and then the so-called Enlightenment or Age of Reason began at the end of the seventeenth century, which saw the rise of numerous rival philosophies.

This meant that people were becoming more and more individualistic and identifying themselves less and less as part of a group. When that happens, it is very easy for rival groups to pick you off. Frankly, when the Jews decided to conquer us, we were there for the taking. One thing I’ll say for Muslims is that they never forget they are part of a group and they never question their own cultural values. This is why they are so difficult to break down individually.

Another important thing that happened really during the late Renaissance period was that the mercantile and bureaucratic caste that would go on to form the modern middle class began to remove itself culturally from the lower orders. Don’t forget that in Elizabethan England everyone from all walks of life went to see the same play. As this middle class culture became more prominent, culture in general became more feminised, because, when you think about it, merchants don’t lead a particularly masculine lifestyle: it doesn’t rely on heroism or physical strength and endurance as with the warrior and labouring castes.

As the middle class gained more power, so these more feminine art forms gained in cultural value and, for example, literary forms that explored relationships and analyses of ordinary life were promoted as being more intellectual than heroic fiction, whereas heroic fiction also has great depth in exploring the human condition; it’s just done in a different way. In the twentieth century the heroic form became completely disprivileged, largely due to the First World War, which is the reason boys now hate reading at school. Masculine forms have been forced into low cultural forms, like comics.

Yet it was not always so, and poetry was not always about love and emotions and flowers, although there is nothing wrong with such poetry. Poetry has many themes and many forms. This is my translation of the beginning of the Anglo-Saxon poem Beowulf:

Hold. We of the Spear Danes hear of the power
In bygone days of our clan kings,
How our thanes did daring deeds.
Oft Scyld Scefing emptied the mead-benches
Of enemy hosts of many peoples
And awed their earls. From that first time when he was
Found helpless and wretched he was well-repaid by Fate,
He waxed under clouds, grew in worth
Until before him the folks nearby
And beyond the whale-road had to bow down
And give gifts. That was one good king.

This is a heroic poem; it is about strength, masculinity, bravery, what it means to be a warrior, what it means to be leader and protector of a people. This poem comes from a time when your village had a very real threat of being attacked by raiders and the three creatures Beowulf does battle with in the poem are symbolic of such threats. These threats are coming again today now that we have gangs brought over from the slums of the third world by our illustrious politicians.

Unfortunately, the kind of literature that our young men will be familiar with will be things like To Kill a Mockingbird by Harper Lee, which even back in the 1980s, we had to study at school. Why did we have to study this? It was to ‘show us’ that white society is evil, that whites in general are bigoted and unjust, and to socialise us into white guilt, so that when a white is attacked in the street by a black, his first reaction is not to attack back, but to think ‘I deserve this.’ There is now a huge industry in this kind of literature where whites – especially males – are denigrated and reviled in this way. I immediately think of Zadie Smith and Toni Morrison.

This also has another function, which is to turn the white man’s women against him; because, if you grow up believing the men of your own tribe are inherently evil, effete and cowardly, you’re not going to want to marry one and bear his children, are you? This is why heroic literature was also for girls and women and the whole tribe: because it gave cohesion to the tribe and made the women proud of their menfolk.

But heroism was only one theme among many when the storyteller came round to impart these tales and verses to his audience, and there was something for everyone, but there were always morals in the tales. How many folktales have you heard where you must beware the outsider? That’s not very inclusive, is it? Keeping the werewolf at bay is not very conducive to diversity, is it? You’ll notice too how many of these outsider figures like witches and vampires have aquiline noses. Who are they getting at here?

I’ve concentrated a bit on literature here, but culture takes many forms. I recently attended a Scottish dance group, where I was actually dragged up for the last dance. This is something that white especially working-class males are reluctant to get involved with, as they feel that it is somehow silly. The fact is they have been deliberately alienated from their own culture. How often is Morris dancing ridiculed on television? And yet, if it is done properly, as I’ve seen at the Whitby folk festival, it is primal and full of energy and is a cousin of Bavarian and Austrian Schuhplattler. But the kind of people the BBC like to show doing it have a strange lack of lower jaw.

It’s the same with dancing round the maypole, which you rarely see now. When I was at primary school, we did it every May Day and it’s actually a fertility ritual that has its origins in paganism. These dances are natural and organic and full of meaning and spiritual energy. One thing I noticed about Scottish dance was how many of the dances were based on weaving, with the participants weaving in and out of each other like the threads on a loom. This makes perfect sense when your society’s primary industry is the manufacture of textiles like tweed. You look at the various dances now: they are inorganic and devoid of all meaning and are set by crazes and trends.

The other thing I noticed was the huge imbalance of men and women. There were several attractive single women in their twenties and thirties without male dance partners, and if they have gone so far as to take up forms of dance that are traditional and absolutely European, then they have already taken a few steps towards being in a meeting room like this one tonight.

Politics doesn’t really attract women. Many nationalists have wondered why this movement has largely failed to attract women and have thought that softening our image and moderating our policies are the answers, but they are wrong. The reason women are not drawn to nationalism is that virtually no one has created cultural groups that work alongside the political struggle.

If you look at the Irish nationalists of the late nineteenth century, they set up metapolitical structures whereby people would absorb nationalistic ideas without even realising it: groups like the Gaelic League that promoted the Gaelic language, dance and music, the Gaelic Athletics Association that promoted Irish athletics, sports and games, and the Celtic Twilight, which was a literary movement that focused on Ireland’s heroic past and mythology. W B Yeats was the most famous and influential figure in that literary movement, although there were other noteworthy writers like Lady Gregory and John Millington Synge, and was founded on the works of an earlier poet called James Clarence Mangan, who translated the poem by Goethe I started with into English. He knew the importance of the messages in that poem: ‘learn early to be smarter’, ‘you must be anvil or hammer’.

In time, I would like to see these metapolitical structures emulated here. But first we must do two things and there is something everyone can do. The first is to look into our own culture, your own traditions, your own history and heritage. For over seventy years, leftist historians like the Marxist Jew Eric Hobsbawn [he was gracious enough to die a few weeks after this speech] have been rewriting our history to make white Europeans the villain of the piece. He is the slave master, the concentration camp guard, the rapist of Africa; he is essentially the stuff of mediæval dæmonology. It has been almost completely erased that wherever he went, he created hospitals, sanitation and better living standards that raised longevity and quality of life. In what was once Bombay, now Mumbai, they still have the Victorian sewage system we constructed over a hundred years ago – and it still works, although it struggles to cope with a population that has increased tenfold to twenty million. The people who have largely taken our place as world governors take without giving back.

We must not let the rewriting of our history go unchallenged. ‘He who controls the past controls the future. He who controls the present controls the past.’ Isn’t that what George Orwell said in Nineteen Eighty-four? Get to know your culture and let no one take it away from you. Why? Because it’s yours. You wouldn’t let anyone steal your mobile phone, would you? Well, your culture is more important, because it gives you a sense of who you are and being robbed of it is the worst form of identity theft.

In the Communist Manifesto it says: "You say we will do away with culture, but all culture is bourgeois culture." Rubbish! We’ve looked at some folk culture today: it is the link between us and our ancestors and shows us where we’ve come from so that we can see where we’re going and what we are capable of achieving in the future. But the reason Karl Marx said that was to get people to reject their own culture – and he’s almost succeeded. Why? Because a people without identity can be herded like cattle.

The other reason to get in touch with your own culture is that, like it or not, we are now part of a multicultural, multiethnic, multiracial society. This has been imposed upon us and we do not like it, but nonetheless it is the reality we face, and we have to deal with it because you can only go forwards from the point where you are now. Before 1948, you didn’t need to have such a strong sense of who you were, because almost everyone you met was part of your tribe.

Things have changed now: these people – or rather peoples – who have come in from Africa and Asia and elsewhere are very vocal about telling us who they are and who are not part of their people, but can we do the same? If someone asks you what does it mean to be White British or White European or simply White, can you answer them? And if the answer is no, reconnect with our culture and who we are, because if you don’t know the answer, our enemies have won the mental and moral battles already.

Whether the people who now own that much fought-over strip of land in the Middle East actually came from there is an irrelevance; they have it now. Everything else matters not. And they managed to get it because for hundreds of years, they looked after their own culture and guarded their own identity and worked for their own interests; and what’s more, they were right to do so. Just as, if I were running the country, I would expel the lot of them, like Edward I did. And I would be right to do so. Everyone with an ounce of sense fights for the good of their own tribe, because if you don’t you will be swept aside by people with more mental strength, given to them by their security in their own identity. The idiot liberals who believe in this ‘one world’ garbage are absolutely wrong in their view of the world and are merely weak minded fools and victims in waiting.

Now I said there were two things I would like you to do. The second is I would like you to take up a pastime. It can be anything constructive: it can be a sport, a musical instrument, an art form, or an academic pursuit. And I want you to get good at it. Everyone has a modicum of talent in something. You’ll find out what your talent is because it’s generally the thing you enjoy. And I’d like you to join some kind of club, whether it be a rugby club, an athletics club, a writers’ workshop, an evening art course, a dance troupe, a band or whatever and that’s the first stage.

The second, once you have reached a decent level and once you have observed how these groups are organised, will be to form your own groups, just like the Irish nationalists did. Some of you may take your talent to a very high level. You many even get on television; and if you do and you get that trophy or that prize or award and the interviewer comes up and asks you what inspired you, you say: ‘I did this for my people, for my tribe, for my race.’

And the interviewer will probably say: ‘You....you’re one of those,’ and he won’t mean a homosexual, because that’s to be encouraged in a left-liberal society. And if he’s white, male and working for the BBC, he will probably be one anyway. ‘You’re one of those,’ he’ll say, ‘You’re a racist!’

And you say: ‘Racism is a word invented by a communist Jew, Magnus Hirschfeld, and he designed it as a deliberate attack on my race. That’s why Jo Brand is allowed to say only whites can be racist; that’s why the Jewish academic Susan Sonntag was allowed to say that the white race is the cancer of humanity; that’s why another Jewish academic Noel Ignatiev is allowed to say the white race should be destroyed. I have oppressed no one, yet why is it my people are being pushed out of our own ancestral homelands? Why can a negro show pride in his race, but I can’t in mine?’

And that’s all you’ll be able to say, because they’ll have cut the mic by then, yet the message will be out. But you have to get to that point first and only a few will. The others will coach the clubs they have formed, which is an invaluable task in itself. But first we must defeat our apathy. Life is for living! You’re only here once. Make use of that time. And don’t let the left tell you it’s too late to do anything. It’s never too late. Look at Israel.

I’m going to leave you now with a last poem. This is by T S Eliot, perhaps the greatest poet of the twentieth century in the English language. Our enemies would call him a racist, an anti-Semite and an elitist bigot, whereas I would say he was a traditionalist, a cultural conservative and a fine man concerned about the problems that beset his own race. You can look up his purportedly anti-Semitic poems yourselves, but I’m going to read an extract from the last of his Four Quartets called Little Gidding, which puts nicely into verse many of the things we have been looking at this evening:

We are born with the dead:

See, they return, and bring us with them.

The moment of the rose and the moment of the yew-tree

Are of equal duration. A people without history

Is not redeemed from time, for history is a pattern

Of timeless moments. So, while the light fails

On a winter’s afternoon, in a secluded chapel

History is now and England.