Greve Hans - Spengler 101 #1 - Basic Metaphysics And Destiny - 2016-12-10
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Summary
In this pilot episode, I give a brief introduction to Oswald Spengler's theory of history, and how it can be applied to different high-culture worldviews. I also talk about how to understand another culture, and why you can't really understand it if you're not from that culture.
Transcript
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Hello, this is Greva Hans and today I'm going to talk about Oswald Spengler.
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In fact, I'm planning to make a sort of series where I basically try to explain the concept
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which Spengler put forth in The Decline of the West. I'm thinking of making this chapter by
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chapter but if it would turn out to be too impractical I will cut more to the essence of
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what he is saying. Regardless, Spengler's writings often do this while at the same time giving many
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examples of his theory of world history. A history which in contrast to the intellectualist academia
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of today is in its very nature metaphysical rather than materialist. This first pilot episode if you
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will I will give an introduction of Spengler's view of things which will be elaborated further on in
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the coming episodes. As said, Spengler's view of history is metaphysical and not materialist. He
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has in a way more common with people like Evola than Marx, only he does not use Evola's pretentious
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prose. Regardless, he could be seen as a sort of stoic of history, seeing the same concepts repeat
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themselves again and again with different high cultures such as different civilizations. Although
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Spengler made a difference between culture and civilization this is a topic for another time. Each
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high culture has a sort of soul, a metaphysical essence which births everything which this culture
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creates. Its art, its warfare, its religious understanding, its philosophy, its government
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and so on. The whole basis of their worldview. A culture's lifespan was roughly 12 centuries and during
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this time we would have several different phases. One can liken to different seasons of a year. A spring,
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a summer, an autumn and a winter. We're going to go into these different stages in detail during
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another episode. But the essence of these stages is that the spring lays the foundations and starts
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building something, the summer perfects it, the autumn rationalizes it and during the winter it all starts
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to rot away unless conserved in a frigid form for essentially the millennia to come. But back to the
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point regarding the spiritual, the metaphysical essence of the different high cultures. If you're
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not from this high culture you cannot really understand it. You can try to understand it, you can
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try to use your empathy to try to get a hold of their worldview. But you'll always be inferior to
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someone from this high culture. It has not borne you in its bosom, so you can never fully understand it.
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Just as a foreigner, never can fully understand the natural spirit of another country or man fully
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knowing god. This sort of sounds like the the essences and energies spoken of in christian theology.
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The essence of the culture brings into being the energies of the culture. The artist's vision
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comes before his masterpiece. The worldview precedes the action one takes upon it. So an artisan is a
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part of the culture just as much as a warrior and merchantess. They all participate in it whether they
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know it or not. They do this without losing their own distinct identity, just like the concept of
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methexis in Greek. Since you can never understand another culture but have to live in it. You cannot
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really write papers on papers on papers and try to get an understanding of it purely cognitively,
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purely intellectual. You have to have the artist's gaze. You need to be, as Spengler put it,
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a psychologist. Not in a dry way psychologists are educated, but seeing what lays behind the appearance,
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using the eye of the soul to gaze upon the world, the news of the Greeks. You must not see history as
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a sort of science, but more than not. And in order to grasp something foreign, you must distance yourself
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from your own opinions, your own views, your own preconceptions. And while liberals have made this a
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cliche, the actual point of this is vital in order to understand how history has turned out as it has been.
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Because all your views spring from that which has born you. Your views spring from your culture.
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So if you're going to get a full understanding of another culture, you must first distance yourself
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from your own culture. Spengler spent a great deal of the first part of the book to explain that natural
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science, for example, does not equal knowledge about human nature. The first is physical,
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the other metaphysical. Nor does scientific experience equal life experience. We can see this
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painful obvious in the modern established academia. Where we spend more time on Gendry's studies than stuff
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of actual relevance. It's like our high culture's ideas, not the same as our high culture's manifestation.
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We may appear to be soulless right now, for example, but this fanatic existentialist soullessness we see
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now is in fact just a warped version of our own spirits, which is very much alive. The human being's
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action in life manifests its culture. The human being is a sort of organ of it, a cell in the limb of the
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culture, so to speak. This shows again how Spengler differs from the mainstream academia. Spengler gives us
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an organic view of history, while the academia gives us a pretentious, mechanized, intellectualized,
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view of history as a vague concept. And in a vain attempt to try to be objective, they in fact become
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insanely subjective. Since it plays their own intellect above Venus, brain above art. So here we
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started to grasp one of the key points Spengler is trying to make throughout his works. You can kill and
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you can give life. When you kill something you intellectualize it. You try to use your brain to
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understand something above your brain. When you give something life you simply manifest it. From a
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canvas and some colors you create a Mona Lisa. While modern intellectuals can't explain why beauty
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exists and thus have modern art as you know a sort of existentialist reaction, the cultural man, and I'm
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saying this strictly in a Spengler definition and not in a pretentious wine-drinking way. The cultural man
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manifests beauty without trying to explain it with his brain. He realizes this is about me, this is beautiful,
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I realize this and I'm going to manifest it. It's an ideal. An ideal in contrast to intellectual materialism.
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Modern art is death incarnate since it does not speak to anything higher. The only thing modern art
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speaks to is the infinite inner void people want to confirm sharing with everyone else. Thus everything
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higher than this void is despised by these people. Their brains may be sharper but that's questionable.
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Their souls are way poorer. Yet even the spirit of European modernity comes from the same
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roots as us. The Faustian mentality. In a different episode we will go into more detail in what exactly
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the Faustian mentality is the Faustian higher culture. And how come people should not use the word
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Faustian as a meme to justify their own fedora tipping. But shortly put, the modernist garbage represents the
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end of the current stage in our civilization and us. People with a soul, a worldview and a desire to save,
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our nations represent another. This too will be elaborated on in another episode. A high culture
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awakens when a mentality starts spreading. This very essence is solely, if you will, first manifests
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in one people before spreading to others. For example, you have the Slavic Byzantine civilization
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in the cradle of Kyiv that morphed over the centuries into the Russian Empire. There's many different Slavic
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tribes within it like Novgorodians, Moscovites, Kyivans, Ukrainians, Belorussians and so on and so on.
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Or how the Frankish Holy Roman Empire led to Europe. The Kingdom of Charlemagne led to Europe,
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in modern Europe as we know it now. We have the same civilization mentality, the same Faustian
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mentality, the same Ursugboll. But we're different nations with our own different national ideas. Again,
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we are part of something without losing our own identity because of it. This mentality is formed
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largely from the area where the culture springs from. The Egyptian civilization being a good example,
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the Egyptian symbol according to Spengler would be a steady way forward, life as a journey with a
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different end. A linear progression, like the river Nile. Or the Russian symbol, the boundless steppe and
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a world filled with brothers to reach out to, strong as a bear insisting on its way to its surroundings,
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or perhaps more fittingly, a world of younger brothers to set straight. The individual
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civilization of symbols will be elaborated on in another episode too. Further on, since themes
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remain the same in Spengler's theory, we can find things which are homologous, just like a fish fin
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are homologous to our hands. The usage of instruments, the orchestra, would be the same as the antique
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statues of the so-called Apollonian high culture. Further, R. Descartes would be the same as their
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Pythagoras. Both have the same relative position on the timeline of the different high cultures.
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That's why Spengler also called Mohammed, the Martin Luther of the megan civilization,
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according to the visiting empire as the catholic Austrians. Washington, Baghdad and Alexandria were all
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built at the same time in these relative timelines. Further on, the Pyrrhic wars were the same as our
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world wars. The Macedonian conquest of Persia, the same as the Napoleonic wars. Only here and there
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Napoleon actually won. Russia of the day lost. Archimedian Persia lost. Persia lost. The mentality of
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a high culture also gives the sense of destiny. For the Germans, they had the Drang nach Ostern.
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For Germans, they had this this pan-Slavicism, where it takes the form of Soviet communism,
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Tsar's statocracy, bourgeois trading blocs. France, according to Spengler, has a drive to these too,
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to the rhyme. But contrary to the Stavik Germans, the French would be too passionate and emotionally
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unstable to have a stable state which manifested, according to him, in the colonial policies. Focusing more on
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sadism than state-building. Although perhaps this harsh view was something to do with, you know,
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the time and place this book was written, you know, 1920s Germany. Regardless, you can still see his
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view being correct when you look at the chaos of the French Revolution, people like Marquis de Sade,
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and their insatiable revanchism after the loss of Allah's loyal. This sense of destiny is not
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logical. I mean, you can't measure it or logically make sense of it. Well, it is logical, but it's not
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cognitively. It is not cognitive intellectual. You can't get it with your pure brain. It's metaphysical.
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It's metaphysical in its nature. It comes from above and is imposed into the minds of the people,
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rather than the people, consciously using a sort of will to power to create their own destiny.
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It simply exists. It simply is. This idea of destiny is thus best communicated through art.
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Listen to a Russian Quar or a Prussian march. If you compare the two, you get different impressions.
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Same with the science. You get different scientific discoveries based on this feeling of destiny.
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The Greeks and Romans perfected the art of making beautiful statues and city planning.
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The American civilization chemistry in the form of alchemy, you know, theology. Just like you think of Greek fire.
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Speaking of that, the Byzantine Empire was not the same civilization as the Roman Empire of old, but
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with the American civilization. More of this in another episode. Since destiny is metaphysical in its nature,
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a sort of ideal you wish to achieve as a people, history is not just casual events you can measure
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in the materialism, but only relative to the metaphysical sense. This is a key point which you need to understand to get Spengler.
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His focus is all on the metaphysical nature of the people, a nation and civilization.
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The physical only being a result of it. He goes as far as to speculate that race is formed through metaphysical energies of the homeland.
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Mystical metaphysical energies of the homeland. You know, shaping the man into its image.
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He took the example of how Americans have grown shorter since arriving there.
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However, he admitted that this is pure speculation and you shouldn't take it too serious.
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I mean, this is still in contrast to the Faustia theory of evolution.
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It seems human, kind as a sort of will to power, a will to life. Anyway, intellectual knowledge can never explain the destiny.
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When intellectualized, it always becomes stale and cold.
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The mere act of trying to make things nice and casual, dependent on an observable event before it,
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is in fact a titanic mentality. Because it's an attempt of the mind to usurp the place which is
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rightfully occupied by the racial feeling, the ideals, the logoi, whatever you want to call it.
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Not the physical essence which is above the human intellect, which uses the intellect for its own ends
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rather than being abused by it. It's an attempt to trick the guards, so to speak.
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Thus, eventually, the intellectual constructs, casuality itself, and in all intellectual things,
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eventually it's all pushed aside. It pushes aside everything metaphysical.
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Intellectualism becomes a goal in and of itself.
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This also marks the transition from a rural-dominated nation to a city-dominated nation.
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Not that urbanites are necessarily more than rural people, but the urban mentality starts to dominate
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the rural one. The intellect abuses the ideals, yet never manages to escape the workings of the
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ideals. In Western history, this would be the turning point of the French Revolution.
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Truth is not made by man. Truth comes from above. By placing the intellect before instincts,
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you start spreading untrue. This is all from Spengler, by the way. This is not my opinion,
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is what Spengler is actually saying. At this point, nothing is holy. Everything is a subject of
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deconstruction, which eventually leads to what we have, you know, right now. As Saint Augustine said,
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If no one asks me, I know. If I want to explain to someone who asks, I do not know. This is in reference to
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this ideal, this destiny feeling. Another example Spengler took is a number. A number has a metaphysical
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essence. I mean, two has a timeless meaning, yet the art of calculating is in the realm of the dead,
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the intellectual. You start using this, and before you know it, you're counting shekels.
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You're creating banking systems, quotas, bureaucratic spreadsheets, computering,
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all this stuff, which is purely intellectual, not metaphysical. It's dead. It's not art. It's
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a frigid. It's the mind's attempt to escape the confines of the ideal. It's in fact rebellion.
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It's saying that you're above this. Well, you're not above it. More on this a bit later on right now.
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The symbol of our civilization could be seen as a clock, pushing us further and further on, pedantically
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sucking us the eye of every minute in the most productive way possible, in an attempt to reach
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highest. In contrast, the Greek civilization, the Apollonian, had nothing of that. Their civilization
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was timeless. Time did not matter in the same way. This is due to the nature of the Faucian worldview.
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Constant progress, seemingly for the sake of progress. This is also why you can say that the
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mentality of our civilization is still very much alive and kicking, in a deranged form, in the modern
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social justice forest. They want constant progress, no matter the costs. Nothing is as Faustian as
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opening the floodgates of brown sludge, in a sense. All to make sure the machine we have runs as efficient
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as possible. Also, people are told. And so people believe. The epitome of timelessness was the palace
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palace orgies of Nero and Caligula. They didn't care about the future. They just wanted everything now,
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in a dot, in a limited, concentrated sense. The insane extorting of the provinces the
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Pocahonsors did, was the same mentality. The now is important. Time is not important. What we have
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right now is important. And everything should be centered towards the now. The dot, the point, the center.
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The length of outstretched infinity of time was irrelevant for them. For them it was just now, now, now,
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and now. You can see the same with the power mentality in the clock. Perhaps this is partly
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what gave us the strength to conquer the entire world, combined with wanting to have a legacy
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to the infinite generations to come. As Cecil Rhodes put it, to annex the stars.
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Regardless, you see the same two mentalities in how people are buried. In Apollonian civilization,
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either prepared for the final journey of the sticks with a coin in the mouth, the body,
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that is, the being itself, the person itself. If you place a coin in the mouth, that person has the
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coin, you know, in their mouth as it passes sticks to give Chiron. And the body itself was cremated.
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So you just have a metaphysical body alive. The metaphysical body is freed from the physical body,
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so to speak. And this is also marking the end of its journey in life. The end of the great pose,
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as Spengler put it. In contrast, we build tombstones. And this is again a manifestation of this
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view of time, infinity. We want our gravestone to be there. And we want that sort of legacy,
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so to speak. We want our grandchildren to go to our grave and lay flowers. This sense of time
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manifests throughout our culture. Madonna icons being an example, a sort of eternal mother giving
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life which stretches towards infinity. The woman is history with her being a mother. And the father's
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history by war and politics, as Spengler put it. The state manifests as a sort of father cares for
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his sons. Or so the ideal state would be, as Spengler elaborates, a great deal about in his other
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works. Our socialism is also homogenous to the stoicism of the Greek-Roman civilization that is
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Apollonian. Not socialism in the sense of Marxism, but in the sense of a camaraderie among the whole
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people among the nation. A sort of solidarity between them. This is also the Prussian socialism,
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which Spengler elaborated. A sense to serve the whole. The mentality of Frederick the Great and
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Charles XII of Sweden. Toil and sweat is seen as a service to the whole. So you can have time and the
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future being acknowledged, rather than having no sense of it. Like the Roman, who instead focus on
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individual detachment from passions, becoming like a statue, perfecting the grand pose, the role of
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one man, the mask one wears, and the grand comedy of existence. The grand divine comedy of existence.
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That's the Greco-Roman mentality. As I mentioned earlier, Spengler's historic view is metaphysical.
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You can see the thread going all over the place here. And I hope I've been trying to make it as
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clear as possible. In Spengler's view, simply studying chronology and being academic about this
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is like being stuck in Plato's cave. An academic can never really get what Napoleon was about,
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nor Alexander the Great, nor any great man of note. The academic just wants to intellectualize and
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categorize. Religion and art gives a man a look up to the high world, outside the cave. Stale books and
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academic circle jerks drags you down and makes you more and more pretentious and stupid.
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In Spengler's view, free will exists only. In that we either follow this destiny, this ideal,
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or reject it. And we get dragged by it. This is also a point which St. Augustine made,
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in the City of God, somewhere in the second book, I believe. I mean, free will is to be true to your
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actual will. Your ideal, your true nature, if that makes sense. Everything else is being enslaved to your
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desires. Even the will to power is a desire. This is a point which Spengler understands,
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and I think it's very important to understand this point as well. Free will is the same thing
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as your ideal. Either you reach it, or choose to reject it in favor of comfort. It is the second
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option all the case springs from. It is the first option all life springs from. Nature, that is the
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intellectualized world and view of things, see no value in the destiny, the ideal, the metaphysical.
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It goes against it. A man like this wants to analyze reality naturally and scientifically,
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yet you'll only get a strange buzz of coincidences all over the place. I mean, just ponder the
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complexity of the human body, or how big bang led to what we have now. It would be all a coincidence
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according to this kind of person. Destiny is given the corner of coincidences and nothing more. Yet,
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at what point becomes the builder of the wall, the prisoner of his own wall. So, how can a person like
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Napoleon, which spread the views of the natural and cognitively, intellectually understandable world,
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be a great man of destiny? Because his destiny was the bringing in of the scientific world, analyzing
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everything to death, as if the stars aligned, revolutionary frond-solve invention of the steam
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engine. The brain's triumph of the equation. A machine consuming resources and granting titanic power
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for power's sake. Same thing with the scientist, his destiny is the analysis of nature. And whether he
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likes to admit it or not, he is still inferior to this destiny since he still acts accordingly. Likewise with
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intellectuals such as Marx and Rousseau. They thought themselves to finally have understood
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things intellectually, but have been wrong. As I believe Kierkegaard said, I have understood the
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highest that is not given to many in the generation. Yet, at the same time, something new rushes upon me.
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The highest to fall is not to understand the highest, but to act on it. All history is the realization of a
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mentality. The seed of logos which is left to grow for generations, if you will. It bursts out like a
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flower. It's not meant to be intellectually categorized and mastered. It's supposed to be lived. Further on,
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great man does not come from nowhere. There's two things that need to align. And that's the destiny of the
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macrocosmos, the culture, the high culture, the progress of the civilization, and the destiny of the
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microcosmos that is the individual. When these two align, a great man is born. Men who may have been great 300 years ago
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can live for David, for example, but they wouldn't be great. Their own destiny does not align to destiny of the whole.
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You could say that the great men of the past surfed on the waves of history.
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They were surfers. They were surfers of destiny.
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Since every man has a destiny, and every nation a destiny, and so on, if a nation would go against
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its own destiny, its own spirit, they would be weak and easily defeated by another nation, true to its ideal.
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A plutocratic merchant German empire would not be able to beat a British merchant empire, just as a British land
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power would not be able to beat a German one, even if the material art should be the same.
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Of course, they have two different spirits. Thus, an nation must be true to its ideal, its destiny,
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in order to be in shape, as Spengler puts it. Spengler elaborated this in his mining works,
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how this would be the case for Germany, and shows how this may have been the source of the strength
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of the British merchant empire. You know, the whole eternal Anglo meme, it comes from this.
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This is the the mainspring of the eternal Anglo meme. Spengler actually made a point in Prussianism and
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this really as the prime minister, because Anglos and Jews are essentially the same.
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They're not, but you know, they are both merchant people. That was Spengler's point, and therefore
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another merchant people could do well in a merchant republic, or merchant empire, as the English was, the British empire.
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It makes practical sense to if you think about it, by the way. In Germany, if it is a merchant naval kingdom,
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would not be able to defend itself as good from France or Russia. Just look at the geography.
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Again, just as we talked about in Egypt, the geography shapes the culture.
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The culture springs from their habitats, and this shapes them. And if you look at the geography,
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you can see that if you go east, you get more and more land. So you've got this expansion again,
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expansion, expansion, expansion. And eventually you hit the euro, so maybe that's where the whole
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Drangekosten come from. Just constant expansion to the east, because it was like an indifferent land for them.
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But I don't know, that's just a theory. So this is also how you can understand Frederick the Great's
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condemnation of German colonialism, as a waste of resources needed in the fatherland.
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I think he wrote about this in the Antimark, even. I read it a while back, but I don't really know.
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But I know he was against colonialism, Frederick the Great is this.
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In any case, this ursymbol, this high culture mentality, manifests both in the intellectual life
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and the intuitive, artistic and religious life. This symbol manifests for the scientist into his
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understanding of the data he collects about the natural world, and thus into casuality
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and a belief in scientific theories. The symbol also manifests into the metaphysics of a nation,
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which gives it its wisdom and existential understanding of things. Its own view of the elephant, so to speak.
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A truth, not a theory. Spengler viewed even the most fanatic anti-metaphysical intellectual
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materialist as a subject of this metaphysical symbol, whether this person would accept it or not.
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Again, we can see this again as social justice warriors. Their constant drive for progress, progress,
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progress for progress sake is very Faustian. It's very Western. It's just that this spirit has
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manifested a bound and destructive way in the social justice warriors. I think that was everything
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I wanted to say in this episode. If anything has been unclear, feel free to ask questions in the
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comment section. Next episode, we're going to talk about Spengler's view on the macrocosm, I think. See you around.