by Falconi Loris
Among the rotten fruits of the so-called Liberal Democracy with its correlate of equality, a principle as much heralded as it is monstrously distorted, there is the so-called “Politically Correct”, increasingly dangerously in vogue in this miserable present time, with its censorious and violent power, which admits no other truth outside of its truth.
 
| The violence of political correctness |
Beyond the veil of media-spectacular illusion, we could easily realize that these are completely relative and debatable "truths"., often ridiculously mean, affirmed by the violence of a typically democratic and Western mono-discourse, so sneaky, never clear and manifest, at times affected, even as good-natured as a pat on the back from Uncle Sam might be, the bloody rifle discarded, could give to the unrepentant and irreducible anti-modern man (and obviously anti-puritan).
The effectiveness of political correctness has mainly to do with the now irremediable myopia and ignorance of the current hyper-stimulated homo consumens, an idiot in the etymological sense of the term, deprived of a common world, folded over his navel, which limits itself to uncritically absorbing the mainstream vulgarity spread by all TV and press outlets. The latter underlies a very specific Dominant Imaginary, which, like a great dark and clouding pall, envelops the entire existence of each individual in their daily struggle for "a place in the sun" (this too obviously already pre-established and pre-packaged according to the unrecited mantra of "desire what others desire").

 
| The "officials" of political correctness |
And here the gray officials of the "Great Maneuver" appear from this thick and suffocating fog., the politically correct agitators with their willing associates:
 
here are the good and the just, always mercifully alert to discover “what can be said and what cannot be said”, “What can be done and what cannot be done”, with a decisive step, with a smooth and shiny face, never crossed by any trace of doubt, with the usual trite words in his mouth, repeated until nausea (among the evergreens always in vogue we remember "racist", “fascist” and “populist”).
 
| Even if Aeschylus becomes racist |
The Sorbonne University of Paris.
In this regard, it is emblematic to report the incredible event that happened a few days ago in the prestigious "La Sorbonne" University of Paris on the occasion of the theatrical performance of "The Supplicants" by Aeschylus, ancient Greek tragedy centered on the fifty daughters of Danaus, the so-called “Danaids”, than to avoid marriage with the fifty cousins, sons of Egypt, brother of Danaus, they leave the land of Egypt to take refuge in Argos, in Greece.
The show was at the center of fiery controversy:
 
the Council of Black Associations in France (Cran) accused the play of "colonial propaganda" due to the fact that some characters wore white masks while others wore black ones, therefore, due to protests from "anti-racist" students, the actors, unable to continue the performance, they found themselves forced to leave the stage.
Danaidi, dipinto at John William Waterhouse (1903).
It would be appropriate to remember, as the Parisian university itself did through a statement, that it is consolidated practice in the staging of this opera to use both white and black masks, thus following the Greek theatrical tradition as it has been handed down to us.
Yet this was not enough to avoid the annulment of Aeschylus' tragedy: it is not acceptable to "discriminate" between whites and blacks.
In all this delirious little picture, symptom of a dramatically profound socio-cultural crisis in which every solid point of reference has been completely lost, director Philippe Brunet's attempt to justify himself in this way through his Facebook page is extremely significant:
 
“In the last performance of Antigone I had women play the roles of men. I recite Homer but I'm not blind like him; I had Nigerian boys play the roles of the Persians in Niamey; my last Persian queen was black-skinned and wore a white mask.".
So what does the director do? Instead of forcefully claiming - as one might expect - the immeasurable meta-historical value of the classical era from which Greek tragedy takes shape, specifying the necessary rooting in a certain cultural tradition, with certain habits and customs, he intimidatedly turns the other cheek to the egalitarian and leveling nihilism of political correctness, also declaring itself "democratic and liberal", to the point of underlining his modern non-blindness with respect to Homer, presumably a “racist ante litteram” (sic.).
Well the Greeks, despite having gone down in history for having "invented" democracy - we add and specify direct, not representative – they were not at all “democrats” as we would commonly understand today, that is, they were not at all weak and short-sighted followers who claimed to bring back the noble greatness of the past to their miserable and disfiguring Western-centric schemes. In a society as putridly hypocritical as the French one, shining flag of the so-called "civil rights" and ruthless scourge of any social claim, the violent revolt of the "Gilets Jaunes" certainly shouldn't surprise us, it is no coincidence that they were constantly ignored by all the mainstream media despite the months of radical and assiduous protest.
This does not mean - let it be clear - that other Western countries are not grappling with the same self-destructive madness: a macabre dance of headless and pompous dwarves who instead of climbing on the shoulders of their giant ancestors, well rooted in their thousand-year-old traditions, to try to scan the horizon and trace a possible future path, they revel in seeing them collapse helplessly at their feet.
 
 
| A future without roots |
Without memory of their roots, there can be no future. And without knowing what forged my identity, I cannot know the other, if not bringing it back to the uniformity of the identical, and therefore misrecognizing it, without any possibility of understanding it. Understanding arises from difference and it is precisely the latter that the current system of global techno-financial power seeks to cancel, reducing everything to a single leveling and falsely egalitarian dimension.
Antonio de Curtis compared death to a level, because it makes us all the same.
We can say the same thing about the deadly strategy of political correctness, which like a level aseptically normalizes every form of dissent, every possibility of another voice, reducing her to silence, to non-existence. This is the real tragedy today!
And this is why today more than ever it is so important to try to express your voice.
And this is why today more than ever it is so important to try to think.
About thinking, the philosopher Hannah Arendt concluded her splendid essay Vita Activa with these words:
 
"Unfortunately, unlike what is usually thought about the proverbial independence of thinkers, in their ivory tower, no other human faculty is so vulnerable, and in fact it is much easier to act under conditions of tyranny than to think.".
May these words accompany us and be a warning.
source – https://revoluzione.unoeditori.com/la-psicopolizia-del-politicamente-corretto-censura-anche-eschilo/?fbclid=IwAR1Ysi-MR3aTuWkDM4FhDGLjSBYmAtzwGHV2HJLaw3j53vG_V2I-5w9V9Wc