Metamorphosis of Odium and Carpathian Liberty

Chrysalis: Metamorphosis of Odium and Carpathian Liberty

About the Book

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Copyright © 2018 Jozef Borovský. All Rights Reserved.

Chrysalis: Metamorphosis of Odium and Carpathian Liberty

The beauty and genius of a work of art may be reconceived, though its first material expression be destroyed; a vanished harmony may yet again inspire the composer; but when the last individual of a race of living beings breathes no more, another heaven and another earth must pass before such a one can be again.

Let the meaning of your work be obvious unless it is designed purely for your own amusement, Edward Johnston(1) once remarked. During the Medieval Dark Ages, seeds of a Carpathian Slavic and Turkic people's history was taken from them because of their millennium-long struggle against imperial tyranny for their life, liberty, and the pursuit of happiness centuries before the Age of Reason rediscovered this fundamental and universal human idea.

This book is about Western cultural metamorphoses during the Medieval Dark Ages to explain the sixteenth-century Age of Reformation. However, why bother? Fourteen years after Martin Luther died, Elizabeth Bathory was born. She was a Hungarian Countess, perhaps the most powerful woman that ever lived. Like Luther, Bathory was also a reformer. However, unlike Luther, she was beholden to nobody for anything. As a member of the highest elite class of her society, she had the means to effect change in the political order of Central Europe. As a Bathory, she was, literally a royal Hungarian. Instead of merely enjoying the benefits of her status she was entitled to for her enjoyment, she did the opposite. She sought to destroy the most powerful entity in Europe - the Habsburg Holy Roman Empire. She desired to restore liberty to Hungary. Why? What did she know others did not, and still do not? What compelled her to this goal? It turns out that it was her ancestral duty. She knew the real history of her country, of Europe, Slavs, Turks, the Ottoman Empire, and why Hungary was in the dire state of general chaos that it was. All of these actors are vitally critical make sense of Europe's past.

Chrysalis: Metamorphosis of Odium and Carpathian Liberty is an accidental book. It began by writing Elizabeth Bathory's history, about her contributions to European history, to answer questions about what really happened to her and Hungary. This project quickly became a dead end. Historiological research yielded very little on the subject. If anything, history only yielded disinformation concerning her, her family, her country, and generally even of many of Europe's narratives. In fact, the woman is simply missing, erased from history. Worse still, the history of her country is simply filled with too many inconsistencies to be plausible. Europe's history is understood as if Hungary, Slovakia, Poland, Romania, Croatia and Serbia, indeed all of Central and Eastern Europe beyond Greece was completely inconsequential in it. Something happened in Europe by design which its architects did not wish us to know. And so the project went on hold. A new project began to answer certain questions concerning key historical causes and effects which would provide answers not typically found in any one specific book. Although it is impossible to know with absolute certainty, enough primary archival information still exists to extract enough data to fill these historiological gaps. Elizabeth Bathory's world was the product of the great medieval tragedies. What happened to Europe, specifically in the context of Carpathia which came to be known as the Kingdom of Hungary, is critically important. But it's also a heretical history which is still denied to this day. Without it, however, one cannot understand Elizabeth Bathory's sixteenth and seventeenth-century world. Without it, one cannot understand her motivations. Without it, one cannot tell her story. Chrysalis is, therefore, an introductory book to provide the context to Elizabeth Bathory's world. It answers fundamental questions about the reasons why Hungary was repressed, the origins of Hungarians, including the Bathory dynasty.

Chrysalis is a compendium of these researched old, once banned, now obscure works. Chrysalis is about men and women who collectively wrecked European civilisation in the Medieval Dark Ages. It's also the story of men and women who tried to prevent a designed apocalypse but ultimately failed. Their ancestors witnessed resurrections of the same debilitating hatreds born of ignorance. What happened during the Medieval Dark Ages is almost unbelievable were it not documented. Central European Carpathian cultures which called it home were always the historic Nemeses of two Western European imperial powers - the Roman Catholic Church and its Holy Roman Empire. Even they, because of the history they wrote, are not fully understood by the public at large. The Church's popes ruled with divine absolutism during much of the medieval period. Their secular and temporal laws were infallible. Their DNA is behind every major European event without exception. Their will was usually executed by their emperors. History teaches us that popes were not the cause of Europe's many tragic calamities, but secular men and women who caused the many unbelievable upheavals within European societies. Nothing is further from the truth. It was the Vatican that ruled with totalitarian brutality over everything, not emperors or kings. What is very obvious is that the Church's totalitarian grip on Europe began to wane at the height of the Medieval Dark Ages and ended by the fourteenth century. Holy Roman Emperors had learned to think for themselves. That's when pontifical and imperial roles began to reverse. As Chrysalis will demonstrate, the reason that the Vatican's powers became severely curtailed was that Carpathian Slavic-Turkic Ungars refused to submit their liberties to Rome or Regensburg. Heretic Ungars spearheaded this epic struggle, with their heretic and heathen allies - enlightened Europeans and caliphates - to end Rome's and Regensburg's genocidal insanity.

Unavoidably, this is a history which mostly concerns Christianity and Islam who many today misguidedly equate to present-day versions of the same religions. Nothing could be further from the truth. Neither religion's institutions are same today as they were, then. However, because many of the historiological gaps in our knowledge of European history involve these religions, the subject is also considered taboo. It's why nobody in academic circles will touch it for fear of being ostracised or worse. Central European Carpathia, otherwise known in the medieval period as Ungaria, is a place virtually non-existent in Western cultural consciousness today. It's no accident. Our European cultural identity, like history, ends at the German-Polish, Austrian-Slovak, Austrian-Hungarian and Austrian-Slovene frontier, just as it did in medieval times. We have been conditioned to believe that on the other side of these frontiers are proverbial dragons.

Not convinced? Mention "Transylvania" to a random westerner and the first thing which pops into their mind is "Dracula." Mention "Russia" and people go into defence mode of imagined Soviet spies or "Ivan the Terrible." Mention "Elizabeth Bathory" or "Ecumenical Patriarch of Constantinople, "and you draw a blank look. Mention "Habsburg" or "Roman" or "pope" and people light up like a light bulb. It gets worse the further one gets from Europe, like North America. Except for Romania,(2) on the western side of these frontiers, in the Romance and Germanic language-speaking word, live "civilised, good Europeans" - the British, Germans, French, Dutch, Austrians, Swiss, Italians, and Spaniards, and so on.

On the other side of these frontiers in the East live those dreaded "barbarian" Slavs, the bogeymen since medieval times. In the middle of these Slavs lives an altogether special place. Sandwiched between Slavs live Magyars (modern Hungarians), descendants of Attila the Hun, the only place on the planet where universal laws of the cosmos cease to apply.

Mention "Islam" or "caliphate" and people will most likely call the authorities thanks to the hysteria fomented by the mass media. All these things are relevant to this book. Nothing good can come from the East which is why in the West we stand on guard against the East's vampires, werewolves, witches, warlocks, demons and dragons. We are conditioned to distrust anything from the East, still associated with evil - our cultural inheritance from medieval times. It's the achievement of the medieval culture of odium still at work in the present day. Ironically, it took a Russian Slav to point out, that on this planet we are all true "Pavlov dogs" - conditioned to behave in a certain way.

Not surprisingly then, hardly anyone in the West knows Central European history. Why should anyone care? Maybe because our culture is poorer for it. In reality, despite the collective condemnation of memory of the Bathorys and so many others people, persecutors of truths, by their historical illusions could never destroy everything. Factual information still exists if one is prepared to scour hundreds of old books from the fifteenth century onwards. Learned scholars have been writing about these truths for centuries. It's just that it has never been incorporated into a single work. These are obscure works which were hidden by the powers who wished this information to remain hidden from public knowledge. Thus, by careful research and analysis, it's possible to thread together the obscure reality of history to begin framing a more accurate picture of the many "gaps."

This book incorporates certain concepts which are important of which the reader should be aware. The first is that there are two histories - romanticised and real. Chrysalis is the latter. The second is that real history is revisionist history because all history is subjective. The third concerns the structure of the book, each chapter is representative of a cultural metamorphosis, each of which was an "age" in the "Medieval Dark Ages." Fourth, the book's philosophy borrows ideas from agnoticism to illustrate how anthropocentrism damaged historical knowledge and ruined an entire culture (Ungaria). The short sections which follow cover each of these concepts.

Why the name "Chrysalis?" The entire premise of the book is that these cultural transitions were actually a consequence of a kind of "divine metamorphosis" which are repetitive cycles but in the form of a pendulum. Within the pendulum's arc (swing) there are several phases. The "chrysalis" is the pupal stage of the metamorphosis process of butterflies, which is why it is both the title of the book, as well as the first and last chapters of the book. "Chrysalis" is appropriate, because after the caterpillar makes this transformation, it is freed from its terrestrial confines. As a metamorphosed butterfly it can take a to the air to cover vastly greater distances than it could as a caterpillar. Thus, "chrysalis" is a metaphor for Christianity, whose religion and culture spread throughout the medieval world of Eurasia and North Africa very rapidly.

Chrysalis will be available in bookstores in early 2019.

  1. 00

    Edward Johnston, CBE was a craftsman who is regarded, with Rudolf Koch, as the father of modern calligraphy, in the particular form of the broad edged pen as a writing tool. He is most famous for designing the sans-serif Johnston typeface that was used throughout the London Underground system until it was re-designed in the 1980s. He also redesigned the famous roundel symbol used throughout the system..

  2. 00

    The Romanian language, thanks to Roman conquest before Christianity is a Romance language too. It's the only exception in Eastern Europe.

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