…by  Jonas E. Alexis

“Ruined! Ruined! My time has clean run out! The clock has stopped, the pygmy house has crumbled. Soon I shall embrace eternity to my breast, and soon I shall howl gigantic curses at mankind…If there is a Something which devours, I’ll leap within it, though I bring the world to ruins—the world which bulks between me and the abyss, I will smash to pieces with my enduring curses.” Karl Marx[1]

Karl Marx

Karl Marx was undoubtedly one of the most leading figures of the modern era. Leninism, Stalinism, Trotskyism, Maoism, and a number of other “isms” which had left devastating horrors in the twentieth century would be almost impossible without him.

But who was Karl Marx? A lover of truth? A man who was fighting for the poor and needy? Or was he using economic theory as a vehicle to indirectly advance his Faustian/Mephistophelian pact which he had written about in his early years? Let us take a look.

One cannot understand Karl Marx without fully understanding many of his poems. Biographer and historian Robert Payne declares that some scholars tend to pay little or no attention to Marx’s early works of poetry and argue that it is not related to his mature work, but Marx did not see them that way.[2]

Like Sigmund Freud, Marx fantasized about revolutionary heroes in his teens and wrote his first poem “Oulanem”—“which he hoped would be the Faust of his time”—on that theme. That poem, Payne and Paul Johnson tell us, “dealt with satanic possession, homosexuality, seduction, and the ruin of the world.”[3]

For Marx, “passion and desire shall lead us.”[4] It was this “desire, not logic,” that eventually “ruled Marx’s mind. Determined to find philosophical justification for a revolutionary war between the classes, he devised a theory which involved abstractions piled upon abstractions.”[5]

Freemasonry was dark and secret, but Marx’s poetry shows that one can be a true revolutionary in all its metaphysical forms without being initiated into Freemasonry like Encyclopedists. A few lines from his poem “The Player” will prove this point.

“The hellish vapors rise and fill the brain,

Till I go mad and my heart is utterly changed.

See this sword—the Prince of Darkness sold it to me.

For me he beats the time and gives the signs.

Ever more boldly I play the dance of death.

I must play darkly, I must play lightly,

Until my heart, and my violin, burst.”[6]

Payne declares that

“Marx is here celebrating a satanic mystery, for the player is clearly Lucifer or Mephistopheles, and what he is playing with such frenzy is the music which accompanies the end of the world…

“The pact with the devil is consecrated by the purchase of the magic blood-dark sword, which kills with unerring aim.”[7]

Marx’s other poems such as “Nocturnal Love” were classified as satanic as well. Marx, for Payne, “was taking poetic revenge on the world.”[8] When there was a failed attempt to assassinate Emperor Wilhelm I, Marx summoned “curses on this terrorist who had failed to carry out his act of terror.”[9]

Marx was never in a political position to practice his violent curses, but once again his ideology was put to work by three of his most noted admirers: Lenin, Stalin, and Mao.[10]

He seemed to have foreseen his influence in Russia in 1882 when he triumphantly boasted that “it gives me the satisfaction that I damage a power which, next to England, is the true bulwark of the old society.”[11]

More here: http://www.veteranstoday.com/2014/03/21/marx-and-freuds-faustian-pa...