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The enigma of the Fryans

  • The mysterious manuscript Oera Linda came to light in 1867, when a Dutch man called Cornelis over de Linden brought it to a librarian in Friesland, Netherlands.
  • The document refers to events dating as far back as 2000 B.C., providing a previously unrecorded history of a Germanic people described as "the Fryans", spanning across several millennia.
  • If legitimate, the work fundamentally reshapes the understanding of our past, potentially re-writing some of the most key portions of history as we know it.
Published 6 April 2024

Akki, my son. You must preserve these books with body and soul. They contain the history of our whole folk, as well as our ancestors.”

These are the opening lines of the Oera Linda, one of the most intriguing and explosive documents brought to light in modern times.

Oera Linda came into public light in 1867, when a man named Cornelis over de Linden handed over the documents to a librarian in Friesland, Netherlands. He stated that they had come into his possession through his grandfather, who in turn had received it from an aunt who had been passed them down through the family line for many generations.

It was first handed to Eelco Verwijs, a scholar who subsequentially studied the document and confirmed its authenticity. Somewhat strangely, he later withdrew this conclusion, some say, to save his career. The documents, however, then entered the hands of Jan Ottema, who was a prominent member of the Frisian society for history and culture. He was to become the first translator and publisher of the Oera Linda book in 1872.

We may thus accept that we possess in this manuscript, of which the first part was composed in the 6th century before our era, the oldest production after Homer and Hesiod, of European literature. Here we find in our fatherland a very ancient people in possession of development, civilization, industry, navigation, commerce, literature and pure elevated ideas of religion, whose existence we never even conjectured”, Ottema stated to emphasize the importance of the work.

Cornelis over de Linden and Jan Ottema brought the mysterious manuscript to the general public’s attention.

The work does not merely echo the spiritual and philosophical wisdom of the ages, but also mentions and provides context regarding a great many major events and influential historical figures. This to such an extent, in fact, that detractors have called it “too good to be true” or “a bit too perfect in comprehension”. Jesus of Nazareth seems to be mentioned, as are the warrior kings Odin and Alexander the Great, along with pivotal events in India and Greece. The actual year count in the manuscript is related to a global cataclysmic event linked to the sinking of an area referred to as “Atland”.

Despite the startling and enormous scope of the content and its implications, Ottema argued in his last statements that the counter-arguments made to the authenticity of the document so far had not stood up to scrutiny.

Seven years of continous study of the book and everything that was written about it has always confirned this conviction”, he stated.

The firestorm of controversy

In an age when Europe was seeking to better understand its roots and clarify its own historical journey, the work created a firestorm of controversy and debate, with equally passionate defenders and detractors. In 1922, the Dutch-German historian and scholar of ancient religion and symbols, Herman Wirth, published the Oera Linda Chronik in German. The discussion of the work was said to be a leading impetus for the creation of the German Ahnenerbe in 1935, described as a “society for the study of the history of primeval ideas” – essentially an elite research institution, gathering together some of the best scholars of the day from a wide range of academic fields, focused on piecing together a historical picture with special focus, of course, on the role played by the Germanic peoples. The energetic debate on the authenticity of the work continued throughout the period of National Socialism in Germany, with the SS leader Heinrich Himmler eventually becoming one of its most spirited defenders. This is also the leading reason to why the work has received an extremely one-sided treatment post World War II.

Despite the controversy, the debate surrounding the manuscript and its authenticity is still very much open. What is clear is that it is written in a style nearly as intriguing as its content, that seems to draw from a well of timeless wisdom that brings to mind other ancient works in the Indo-European traditions, such as the Avestas, the Vedas and the Nordic Sagas. It speaks to events stretching back as far as 2000 B.C., describing the history of a European people or nation called the Fryans, across several millennia.

The beginning of a copy of the Bhagavad Gita from the early 19th century.

According to Oera Linda’s own chronology, the first part of the book was largely compiled by copying short history fragments preserved in writing of the walls of burgs and citadels around 600 B.C. or so, and was then added to periodically over time, as the documents were passed down through a long family line. The original manuscript uses what are now called phonetic characters that are selected from a circle – the sun sign – with a vertical I and X crossing it. Thus, it makes use of a six-spoked wheel to formulate each character, which are for the most part familiar and readable by speakers of contemporary Indo-European languages. Some have claimed the script might be one of the most ancient root written languages in the Indo-European family, acting as an influence and inspiration to many others.

The people of Frya

The people group it speaks to, and those it claims are responsible for its authoring, are called the Fryans, after their progenitor, Frya. It speaks to a culture that praises virtue, character, honesty and justice and self discipline vastly higher than material gain. A strong aversion to corruption is embedded in its core message, and to priests who might seek to use spiritual practices as a control mechanism to corrupt ends.

It comes from the east, out of the bosom of the priests. It will breathe so much mischief that Earth will not be able to drink the blood of her slain children. It will spread darkness over the minds of men like storm clouds over the sunlight. Everywhere craft and deception shall contend with freedom and justice. For our beloved ancestors sake, and for the sake of our precious freedom, a thousand times I beg you, dearest, to never let the eyes of a munk go over these writings.

They speak sweet words, but unnoticed they meddle with all that concerns us Fryans. They collaborate with foreign kings who pay them well. They know that we are their greatest enemies because we dare speak about freedom, justice and royal obligations. Therefore they want to obliterate all traces of our ancestral heritage and what is left of our morals. My dear ones, I have visited their palaces, if Wralda allows it, and if we do not strengthened ourselves, they will exterminate us all”, the manuscript states.

It has been speculated that there may be a connection between the Norse goddess Freyja and the “Great Mother” of the Fryans. Here depicted in John Bauer’s oil sketch “Freja”.

The belief system of the Fryans is straight-forwardly monotheistic, in a manner similar to that of the Scythians as described by Herodotus, or the ancient Germans as described by Tacitus, and can’t help but echo the words of Jesus, the Buddha and the Bhagavad Gita. Wralda is the title they use for the Divine, also as “the Allfather”, or “Allfeeder” – the Singular Being from which everything else ultimately springs or flows. Jan Ottema argued that this philosophical emphasis was actually consistent with other findings about the ancient Germanic peoples.

Allfather, the Supreme God of Nordic antiquity and proof that the peoples inhabiting Sweden, Norway and half of Germany had recognized the purest worship of God as the basis of their religion, for in Him we find all noble qualities which the Mosaic traditions attached to the unspeakable and the Christian religion to The Only God, without any of the features distorting the sublime image of God, such as human passions, anger, vengeance and jealousy”, Ottema stated.

The rules of the heart

One example of how the supreme being is described in the Oera Linda manuscript is as “omnipresent” and “ever lasting”, along with many other esoteric attributes.

Wralda is most the most ancient or primordial, over oldest, for He created all things. Wralda is all in all, for He is eternal and ever lasting. Wralda is omnipresent yet invisible, therefore the being is called spirit. All that we can see of Him are the created beings that come and go again through His life. Because from Wralda things precede and to Him they return. Out of Wralda both the beginning and the end come. All things merge into Him. Wralda is the only almighty being, because all other power is borrowed from Him and returns to Him. From Wralda all forces are derived and all forces return to Him again. Therefore He alone is the creative being and nothing is created outside of Him.”

Based on the manuscript, there are also clear indications that the Fryan people shared the Vedic understanding of Dharma, the concept of a cosmic order that includes, but also transcends, the laws of material reality as we know it.

Wralda established eternal principles, or Aewa, in all that was created, and regulations can only be good if they are founded upon these principles. Although all is part of Wralda, the malice of the people is not of Him. Malice comes from laziness, carelessness and stupidity, therefore it can harm the people, but never Wralda. With the wheel turning, all creation alters and changes, but only God is unalterable.

Since Wralda is God, He cannot change and since He endures, only He is being and everything else emergence. Where as His life is continually progressing however, nothing can remain stationary. Therefore all creatures change their position and their shape, as well as their minds. Therefore can neither earth itself nor any creature ever say ‘I am‘, but rather ‘I was‘. Likewise no man can ever say ‘I think‘, but merely ‘I thought.

Dharmachakra, ‘Wheel of Dharma’, at the Jokhang Temple in Tibet.

Man’s transgressions against this all-encompassing natural law have negative consequences, but the resulting suffering is not in itself the Will of God, the manuscript explains.

Aewa refers to the rules that are imprinted equally in hearts of all people, in order that they will know what is right and what is wrong. And by which they are able to judge their own deeds and those of others, that is in so far as they have been brought up well and are not corrupted.

There’s also yet another meaning attached. Aewa, also relates to ae-like, that is water-like. Even and smooth like water that is not disturbed by windstorm or anything else. If water is disturbed, it becomes uneven, unright, but it always has a tendency to become even again.

That is its nature, just as the inclination of justice and freedom exists in Frya’s children. We derive this disposition from our feeder, Wralda’s spirit, which speaks strongly in Frya’s children, and will eternally remain so”, the manuscript continues.

The spirit of Wralda

One of the most dramatic passages described in the manuscript is the encounter of a group of powerful but corrupt priests and princes with Helena, also known as the oracle Minerva, who test her views on good and evil – and on God. Minerva states:

I know only one God, that is Wralda’s spirit. And because God means “good”, he also does no evil.

Where does evil come from then”, the priests asked.

All evil comes from yourselves, and from the stupidity of the people that walk into your trap”, she answered.

So if your supreme being is all that good, then why does he not avert evil?”, the priests asked.

Minerva told them:

Frya has put us on the path, and the carrier that is time, must do the rest. For all disasters, council and help can be found, but Wralda wants us to search ourselves, so we should become strong and wise. If we refuse, he lets us squeeze out our own tumours, so we should experience the results of wise and foolish deeds.”

Minerva depicted in a statue in Munich. On the right, the ruins of a Roman temple dedicated to Minerva in Tunisia. (Montage. Photo: Rufus46/Bernard Gagnon/CC BY-SA 3.0)

A prince replied:

I would imagine it better to simply ward of disaster.”

Of course”, Minerva answered, “because then people would remain like tame sheep. You and the priests want to protect, but also to shear and slaughter them. But that is not what our Supreme Being wants. He wants us to help each other, but also that all be free and become wise.

If the Oera Linda manuscript hasn’t been handed down through countless generations, as claimed, it’s still nonetheless a work of timeless wisdom and profound life lessons. If the work, however, some day definitively proves to be a reliable record, it will fundamentally reshape the understanding of our past, potentially re-writing some of the most key portions of human history as we know it.

About the article

The article is based on part 5.1 of the documentary series "Conspiracy? Our Subverted History" produced by Asha Logos. Check out the channel here.

Special acknowledgement should also be given to Jan Ott of the Oera Linda Foundation, which publishes research on Oera Linda. The foundation provides one of the most unique new translations of the Oera Linda book, which you may find here.

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Israel’s Eurovision public vote record sparks suspicion of coordinated campaign

Published 20 May 2025
– By Editorial Staff
Israeli representative Yuval Raphael performing at this year's Eurovision.

Israel’s contribution to the Eurovision Song Contest 2025 has become a hot topic – not only for its performance, but also for the record-high number of votes from the audience. Now, suspicions are growing that organized campaigns may have influenced the result.

According to the Schibsted newspaper SvD, both experts and Eurovision fans have reacted to Israel receiving so many votes from TV viewers. Israel’s representative Yuval Raphael won the public vote by a large margin, but Austria took home the final victory thanks to higher scores from the jury groups.

As in Malmö last year, Israel’s entry was controversial even before the final, mainly because of the ongoing war in Gaza.

It is worth noting that Yuval Raphael survived the Hamas attack at the Nova music festival on October 7, 2023, and she says that the experience has shaped her and her entry, “New Day Will Rise”, which she believes carries a strong message of hope and reconstruction.

EBU will investigate

According to SvD, there are suspicions of coordinated efforts on platforms such as Telegram, Facebook, and X, where users have shared instructions on how to vote from different countries and use VPN services to circumvent geographical restrictions.

Similar patterns have been seen in previous years, but this year’s mobilization is described as unusually extensive. There have also been reports of automated bots and paid advertisements targeting the Eurovision audience.

The European Broadcasting Union (EBU), which organizes the contest, has confirmed that it is following up on the information and analyzing voting patterns. In a statement, the EBU says it has advanced systems to detect and stop cheating, but that it always reviews its procedures after the contest.

Journalist asked critical questions about Israel – banned from Eurovision

The situation in Gaza

Published 15 May 2025
– By Editorial Staff
Journalist Szymon Stellmaszyk, banned from Eurovision 2025.

Polish journalist Szymon Stellmaszyk has been denied accreditation for this year’s Eurovision Song Contest in Basel. He believes this is due to a critical question he asked Israeli artist Eden Golan last year – something the EBU denies.

Szymon Stellmaszyk has covered the Eurovision Song Contest for 20 years and runs both the Facebook page “Let’s talk about ESC” and the industry website “Radio Newsletter”. This year, for the first time, he has been denied accreditation to cover the contest in Basel.

The background, according to Stellmaszyk himself, is a critical question he asked Israel’s contestant, Eden Golan, during Eurovision in Malmö last year. He asked whether Golan, given the political situation and the war in Gaza, thought her presence could pose a security risk to other participants and the audience.

The question attracted attention and was criticized by some, but Stellmaszyk emphasizes that it was not intended to be offensive or “anti-Semitic”. In an email to Stellmaszyk, which the Swedish state broadcaster SVT has seen, the EBU justifies its decision by saying that the platforms Stellmaszyk uses do not have sufficient reach.

“Restriction”

Szymon Stellmaszyk himself is convinced that the EBU is making excuses and that it is in fact about the question he asked last year.

– This is some kind of revenge and, in practice, a restriction of freedom of expression, he says.

It should also be noted that this year’s EBU media handbook contains a new rule stating that published content must be “respectful” towards Eurovision and the EBU. Eurovision boss Martin Green says the wording is unfortunate and promises that it will be reworded for next year.

At the same time, he does not want to comment on individual cases, but points out that there are a limited number of places for journalists.

The Eurovision Song Contest 2025 will be held in Basel, Switzerland.

Bizarre children’s series described as “digital drug”

Cultural revolution in the West

Published 10 May 2025
– By Editorial Staff
The characters of the children's series Cocomelon with its abnormal proportions.

The children’s series Cocomelon attracts young children around the world with its colorful animations and catchy songs. Despite its enormous popularity, criticism of the series is growing, with some warnings that its extreme editing could have a very negative effect on children’s brains.

More and more parents and experts are questioning the extremely fast pace of Cocomelon and whether the mass-produced style is really good for young minds, or whether it risks overstimulating children and making them restless.

One of the major objections to Cocomelon is its rapid editing technique, where camera angles change every two to three seconds. This is a hectic and exaggerated pace that is unfortunately all too common in modern children’s entertainment, but here it is taken to a new level.

According to a study by PubMed Central (PMC), the executive functions of 4-year-olds, such as self-control and working memory, are at risk of being severely impaired after being exposed to fast-paced clips for too long.

Many parents also report that their children become agitated after watching children’s series such as Cocomelon, and there is plenty of criticism on social media platforms such as X.

Mass-produced aesthetics

Other research also indicates that rapid camera and clip changes can negatively affect young children’s concentration. The fast pace is no accident either. Cocomelon is designed to capture children’s attention, but some argue that it now goes too far.

According to Findmykids.org, the constant impressions can trigger dopamine release, causing children to seek the same quick rewards even outside the screen – something that can make it harder for them to focus on calmer activities such as reading or playing.

In addition to the pace, the series’ aesthetics have also been criticized. Like most animated productions today, the characters have disproportionately large heads and overly cheerful expressions, which some find unpleasant.

For many parents and viewers, it feels like the series is made on an assembly line where quantity takes precedence over quality, resulting in an aesthetic that is more frightening than charming.

Opinions are divided

Unlike traditional cartoons such as Scooby-Doo, Cocomelon is animated in a way that prioritizes quantity over quality, which is evident in the disproportionate characters and the assembly line feel.

Opinions about Cocomelon are divided. Some experts, such as Rebecca Cowan at Walden University, argue that there is insufficient evidence to single out Cocomelon as the problem – instead, it is total screen time that may be harmful.

– Without empirical research on the show Cocomelon, there is no data to substantiate claims that this show is overstimulating due to the pace of the scenes, she says.

But others warn that the series’ pace and overstimulating elements can have a very negative impact on children’s development, especially in terms of concentration and calmness.

Cocomelon may seem like an easy solution for entertaining young children, but it is worth considering what the fast pace and mass-produced style do to young viewers.

Trump wants 100% tariff on foreign films

Donald Trump's USA

Published 9 May 2025
– By Editorial Staff

Donald Trump has announced that he has initiated a process to impose a 100% tariff on all films produced outside the US that are then imported into the country. Critics warn of the consequences and argue that tariffs will worsen the situation for the American film industry.

The decision, which was announced on May 4, is intended, according to Trump, to protect the American film industry, which he believes is on the verge of “a very fast death”, reports industry publication Variety.

– This is a concerted effort by other nations and, therefore, a national security threat. It is, in addition to everything else, messaging and propaganda, Trump wrote on his platform Truth Social.

Trump said he has instructed the Department of Commerce and the US Trade Representative to quickly begin the process of imposing the tariffs.

Exact details on how the tariffs will be implemented, such as whether they will also cover streaming services or how the size of the tariffs will be calculated, have not yet been announced.

Commerce Secretary Howard Lutnick has confirmed that the authorities are working on the issue.

“Incredibly stupid”

Many American productions are currently filmed in several countries that offer financial incentives for film production, including Canada, the UK, and Australia, and industry representatives are now concerned about how the tariffs would affect ongoing projects and collaborations.

The chair of the Swedish Film and TV Producers Association, Eva Hamilton, called the proposal “incredibly stupid” and warned that it could isolate the US culturally and economically.

It just sounds incredibly stupid, and I find it hard to see how it could be implemented. He’s right that Hollywood hasn’t kept up, but stopping all foreign expertise sounds like shooting yourself in the foot, Eva Hamilton said in an interview with Schibsted owned TV4.

Trump has previously singled out Hollywood as a “very problematic place” and, in early 2025, appointed actors Jon Voight, Mel Gibson, and Sylvester Stallone as ambassadors to promote American film production.

The American film industry has already been affected by Trump’s trade war, and China, among others, has reduced its quota for American films allowed to be shown in response to the new American tariffs on the country.

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