Category Archives: Hoppe

In Remembrance of the October Revolution

Oct Rev

The Communist monster, Vladimir Lenin

This October marks the centennial anniversary of the Bolshevik takeover of Russia and the establishment of Soviet-style Communism which tragically, for the Russian people, would last for some seventy interminable years.  Not only did the Soviet regime liquidate and imprison millions, but its idiotic system of central planning impoverished the country, turning it into an economic basket case, the effects of which continue to this day.

Just as bad, the Bolsheviks murdered the last Czar, Nicholas II and his family, brutally ending nearly five hundred years of monarchial rule of Russia.  Within a year of the demise of the Russian aristocracy, two other of Europe’s venerable royal houses – Germany and Austria – met the same fate, all three casualties of their insane decision to participate in World War I.  The end of the German Court and especially that of Austria came at the vengeful insistence of then President Woodrow Wilson, who brought the US into the conflict on the pledge to make the “world safe for democracy.”

The triumph of the Bolsheviks and the downfall of the German and Austrian monarchies ushered in the Age of Democracy as other Western constitutional republics at the time and in each passing year began to resemble and adopt features of their supposed Communist foe.  As the 20th century wore on, each Western nation state became more “democratic,” increasing their welfare/warfare state apparatus, imposing more and more radical egalitarian social and economic measures, and adopting greater amounts of economic planning mostly through central banking.  Not only did economic activity become increasingly effected by monetary policy, but the central banks were instrumental in the eradication of the gold standard throughout the Western world.

Not only did Communism prove to be a disaster economically in Russia and everywhere else tried, but socialism had other debilitating effects.  The quality of the population declined along with the numbers of ethnic Russians, a trend that ominously continues to this day.  While ingenuity was stifled by the Soviet command economy, its culture, although never as advanced as Western Europe, became sterile and overshadowed by the heavy hand of the commissar.  The only memorable literature produced during the period were accounts of the gulag and the repression of dissent.  Music and the arts were similar cultural wastelands.

The West, too, as its nation states became more socialistic and egalitarian, witnessed retrogression in every aspect of society.  The catastrophic drop off in the size of the native populations can largely be attributed to crazed feminism, where women were encouraged and given privileges to pursue careers and become “working moms,” which led to the phenomenon of the “dysfunctional family” and declines in the number of child births.  Hans-Hermann Hoppe explains this effect in the American context:

In the U.S., . . . less than a century of full-blown

democracy has resulted in steadily increasing

moral degeneration, family and social disintegration,

and cultural decay in the form of continually rising

rates of divorce, illegitimacy, abortion, and crime.

 

As a result of an ever-expanding list of non-

discrimination – ‘affirmative action’ – laws and

nondiscriminatory, multicultural, egalitarian

immigration policies, every nook and cranny of

American society is affected by government

management and forced integration.*

Hoppe Demo 3

Hoppe’s seminal demolition of Democracy

A primary reason why the quality of Western life has crumbled so markedly has been the replacement of its “natural elites” with “political elites” via the democratic process.  Every society is led by its leading individuals who through talent, hard work, brains, foresight, moral fortitude, fairness, and bravery come to the top and are looked to for guidance.  Under democratic conditions, however, the natural elites have, in a sense, been “voted out” by the political class who, instead of out competing their rivals, secure their status by politics mostly through demagogy.

In Soviet Russia, the natural elites were ruthlessly purged by Lenin’s forces and over time any sort of advancement or achievement had to come via the Communist Party.

Despite the overwhelming failure of socialism, Western nation states continue to practice many of its features, a most notorious recent example being that of the passage of Obamacare, the first step on the road to universal health care in the US.  America, itself, resembles more of a police state than ever before with the establishment of the Department of Homeland Security and the passage of draconian legislation such as the Patriot Act and the National Defense Authorization Act (NDAA).

The October Revolution should be remembered for what it was: the inauguration of mankind’s first total state.  It, and the social system which it spawned, should be condemned by all those who seek prosperity and an advanced civilization.

*Hans-Hermann Hoppe, Democracy: The God That Failed: The Economics and Politics of Monarchy, Democracy, and Natural Order. New Brunswick (U.S.A.): Transaction Publishers, 2001, p. xiii.

Antonius Aquinas@AntoniusAquinas

https://antoniusaquinas.com

 

Brahms & Democracy

kyril-kondrashin-brahms-symphony-1-2012

In November of 1876, one hundred and forty years ago, Johannes Brahms’ monumental First Symphony was first heard, performed in Karlsruhe, Germany.  The much anticipated work – which took Brahms over 20 years to complete – has become part of the canon of Western music.  Ironically, the premiere of The Ring by Brahms’ supposed rival and fellow musical genius, Richard Wagner, was performed for the first time in the same year.

While one critic initially called Brahms’ First Symphony “Beethoven’s Tenth,” it has surpassed that unjust description and now stands on its own merit as a distinct masterpiece.  The First Symphony, the three that followed, and the rest of Brahms’ works makes him more than Beethoven’s successor, a unique musical figure in his own right.

In one of his best newspaper articles, H.L. Mencken wrote the following about a Brahms’ performance:

My excuse for writing of the above gentleman is simply

that I can think of nothing else.  A week or so ago, . . . I

heard his sextet for strings, opus 18, and ever since then it

has been sliding and pirouetting through my head.  I have

gone to bed with it and I have got up with it.  Not, of course,

with the whole sextet, nor even with any principal tune of it,

but with the modest and fragile little episode at the end of

the first section of the first movement – a lowly thing of eight

measures, thrown off like a perfume, so to speak, from the

second subject.*

The Sage of Baltimore continued on what made Brahms so special:

In music, as in all the other arts, the dignity of the work is simply

a reflection of the dignity of the man.  The notion that shallow

and trivial men can write great masterpieces is one of the follies

that flow out of the common human taste for scandalous

anecdote. . . .  More than any other art, perhaps, music demands

brains.  It is full of technical complexities.  It calls for a capacity to

do a dozen things at once.  But most of all it is revelatory of what

is called character.  When a trashy man writes it, it is trashy music.

 

Here is where the immense superiority of such a man as

Brahms becomes manifest.  There is less trashiness in his music

than there is in the music of any other man ever heard of, with

the sole exception, perhaps of Johann Sebastian Bach. . . .

Hearing Brahms, one never gets any sense of being entertained

by a clever mountebank.  One is facing a superior man, and the

fact is evident from the first note.

While Brahms was born in Hamburg, he eventually found his way to the musical capital of the world, Vienna, which, at the time, was part of the Austro- Hungarian Empire.  Vienna was more than the musical center of Europe, but a cultural one as well which was rivaled by few in Brahms’ time.

Although mostly forgotten under an avalanche of pro-democracy historiography, the Vienna where Brahms spent most of his adult life was “ruled” by a monarch.  The rich cultural life which flourished in that political atmosphere was admitted even by those who were, no doubt, hostile and envious of it as the philosopher and economist, Hans-Hermann Hoppe, describes in his seminal book, Democracy: The God That Failed:

Even democratic intellectuals and artists from any field of

intellectual and cultural endeavor could not ignore the

enormous level of productivity of Austro-Hungarian and in

particular Viennese culture.  Indeed, the list of great names

associated with late nineteenth and early twentieth century

Vienna is seemingly endless.**

As Professor Hoppe insightfully shows, the incredible accomplishments of the likes of Brahms came in the pre-democratic era which tragically ended with WWI.

. . . rarely has this enormous intellectual and cultural

productivity been brought in a systematic connection with

the pre-democratic tradition of the Habsburg monarchy.

Instead, if it has not been considered a mere coincidence, the

productivity of Austrian-Viennese culture has been presented

‘politically correctly’ as proof of the positive synergistic effects

of a multiethnic society and of multiculturalism.

Whether the accomplishments were in the arts, music, scientific breakthrough, invention, or entrepreneurial wealth creation, all were the result of individual initiative, skill, tenacity, foresight and intelligence within a society that recognized, praised, and promoted such achievements.  There was no affirmative action or policies that promoted artists based on their skin color or gender.  When Brahms came to Vienna, he did not receive an Austro-Hungarian version of a National Endowment of Arts subsidy!

Just as important, and what is ignored by the Left and many race-denying realists on the respectable Right, is that all of these civilization-enhancing accomplishments in Vienna were made, for the most part, by white men.  No other culture or people have ever produced music comparable to Brahms and his fellow Western musical masters.

The democratic age which followed has been praised by scholars as an advancement of the human condition on all fronts.  In his book and in other places, however, Professor Hoppe has shown that just the opposite has occurred under democratic conditions with a trend toward de-civilization.  Taking the US as an example, he writes:

. . . less than a century of full-blown democracy has resulted in

steadily increasing moral degeneration, family and social

disintegration, and cultural decay in the form of continually rising

rates of divorce, illegitimacy, abortion, and crime.  As a result

of an ever-expanding list of nondiscrimination –

‘affirmative action’ – laws and nondiscriminatory, multicultural ,

egalitarian immigration policies, every nook and cranny of American

society is affected by government management and forced integration;

accordingly, social strife and racial, ethnic, and moral –cultural

tension and hostility have increased dramatically.

As Professor Hoppe notes, the latest phase in the democratic era has been  immigration policies which have been deliberately planned to destroy the various Western cultures with Germany being the most devastated.  Yet, as Mencken wrote of him, Brahms was a product of Germanic blood not that of multiculturalism.  The German people who continue to support and allow those to wantonly destroy the culture that produced a Brahms should consult Mencken:

I give you his Deutsches Requiem as an example. . . .   The thing is

irresistibly moving.  It is moving because a man of the highest

intellectual dignity, a man of exalted feelings, a man of brains,

put into it his love and pride in his country.  That country is

lucky which produces such men.

While Brahms’ music will always be listened to and played for its brilliance, it should always be remembered in what culture his genius was allowed to flourish.  How fortunate for mankind that Brahms lived in the pre-democratic era and what a loss it would have been if the First Symphony would have never been composed.

 

*Marion Elizabeth Rodgers, ed. The Impossible H.L. Mencken: A Selection of His Best Newspaper Stories.  With a Foreword by Gore Vidal.  New York: Anchor Books, Doubleday, 1991, pp. 465-468.

**Hans-Hermann Hoppe, Democracy: The God That Failed: The Economics and Politics of Monarchy, Democracy and Natural Order.  New Brunswick (U.S.A.): Transaction Publishers, 2001, pp. xii-xiii.

Antonius Aquinas@AntoniusAquinas

https://antoniusaquinas.com/