White Knight

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White Knight

The male feminist is a pathetic figure who goes out of his way to cater to females as their de facto slave. He leaps into action at the slightest provocation in intended defense of the 'innocent female', who is perceived by himself as a potential partner if only on a subconscious level, seeking in this endeavor to garner her favor by such an ostensibly 'heroic' act.

The structure of their relations is that of a suitor attempting to impress their perspective paramour, the 'apple of their eye', and this in the most ostentatious manner possible as means of increasing the maximal probability of accruing the attention of their 'prospective partner'. This is a fundamental structure of relations between the White Knight and the female 'apple of his eye', regardless of whether or no she 'knows he is alive'. The extreme form of the adoration can be observed in the White Knight's fighting for 'god and country', at the behest of the queen or some celebrity who possesses a glamorous mystique or appearance and who, as a symbol becomes associated with his self−sacrificial act, the ultimate conclusion of the White Knight, the result, the end result of his 'fatal attraction'.

Hence, the White Knight is equivalent in the insect kingdom to the praying mantis who is consumed by his mate, the female mantis, post coitus, absorbed into his object/subject of adoration as a sacrifice for the perpetuation of the species and, in his consciousness, the sacrifice of himself or her, becoming absorbed in the fascination of 'fatal attraction', into her image or perhaps in the insect kingdom (and beyond), into her essence.

This 'phenomenology', of the White Knight is the slippery slope process of his down going and thus must be properly (that is to say adequately), understood in order to supersede the influence of the Black Widow Spider and her 'fatal attraction'. It is at its root desire which casts the spell of 'fatal attraction', on the 'White Knight', and his propensity to beguilement to this object of desire, his propensity to have a desire for same, which is the problem.

The cause is what may be considered 'Spiritual reversion', a deviation from the self toward the 'Other', in terms of the willful trajectory of the consciousness projected outwards instead of inwards, away from the Spirit and towards the material realms, a negative shifting of focus from the inner nucleus of his being towards the realm of phenomena existing outside of the self and an involvement therewith which may justly be called 'fascination'. Such a fascination is initiated by an attentional deviation from the principle of one's being (his True self), towards and through the medium of the false−phenomenal self which thereby leads to an involvement with entities within 'the world', of transience. Becoming fixated upon transience, one is susceptible to becoming ever more fixated as an explorer falling into quicksand, and, the more he struggles the more immersed he becomes through such attachment to the mire.

The white knight thus is a 'fallen', type (fallen from the grace of the 'lord', from his pre−existent state of 'perfection', or relative perfection), whose consciousness, a product of alien genetic hybridization and thus a contaminated stock of blood has thus become debased and susceptible to a worldly focus of orientation below instead of above. That only the few are capable of transcending their base drives of animality and of achieving for themselves a higher state. Thus, the 'many−too−many' or 'human−all− too−human', type, he who is susceptible to immersion within the base drives and who, over time if not initially at the lowest level, sinks ever deeper into the mire of emotionalism and thereby precipitates 'Spiritual reversion', to the point of no return, becoming fragmented in the soul and the elements of their being, subject to the by external entities, so−called, 'countervailing forces'.

The white knight is thus a 'beast−man', subject to emotional valencies of consciousness and being subject to these mutable waves of feelings (one dare not call them 'thought', being too primitive and rudimentary to qualify as such), become susceptible to the influence of females, especially ultimately being governed by the base drives as devolved to this primitive state of consciousness of the four F's: fight; flight; fornicate; feed.

Hence the motivation of the white knight, however concealed behind the tinsel of social niceties is laid bare in its reality, that being an attempt to actualize the feral propensities of the primitive mind which has become (and to whatever degree in his specific case) his consciousness itself. Thereby he is susceptible to 'white knighting', and to in imaginatio 'sacrificing', himself for the woman, and to re− sacrificing himself to the woman 'Amanda', Jehovah−Binah, planet Saturn, and the Saturnian entities who dwell therein (the 'Yahweh collective', of extraterrestrials). This explains why the world order employs imagery and other sensory aesthetics, namely to beguile and seduce the consciousness of the captive Spirit and drag them down to the level of the phenomenal self as means of perpetuating their slave plantation society to sacrifice the captive Spirits to their deity, Jehovah−Satan, with themselves receiving their 'portion', of the bio−energy of their targets.

The consequences for the white knight thus are in the most literal sense 'phagocitization', and the female, 'apple of his eye', is simply an entity external to himself who is used by the system to entice and beguile the male, to distract him from a higher state towards a lower state of consciousness, to induce a state of 'Spiritual reversion'. It's propaganda, based upon imagery and aesthetics is designed deliberately for the purpose of facilitating this process, inducing fascination, and through this process attempting to harness the male as a de facto loosh battery (receptacle of bio−energy), in the form of wage slavery and consumerism; of hedonism and worldly existence with its endless stress; misery and pain.

Hence the function for the synarchy of the woman (in relation to man, and indeed in relation to themselves), is a dis−orientation of the consciousness toward the phenomenal plane and away from the Eternal (Hyperborea). That the female (as an image or archetype), for the female (Eve), is opposing or presenting of their own ego−made flesh, and thus an egregoric mechanism of energetic vampirism (for themselves, something to them, accruing to them the attention of the male and his 'white knight', service), is for them an essential condition of living and of thriving, whereas for the male it is a mechanism of the cultivation of desire consciousness, the facsimile and indeed simulacrum of his self− completion, externalized in an external form outside of himself, and hence a diminution of his being, an immersion in the mire of the Demiurge, the soul coming to preponderate over the Spirit.