Is Divine Feminine Energy A Key Component of National Socialism?

The Feminine Principle within Thule Society: An Examination of Women, Archetypes, and Sacred Polarity

Author: Mrs. Lichtragger

In this article we will summarize and highlight a very important book that is listed within the Thule Society curriculum. The goal is to present to the reader a deeper meaning of why women are so important to the Thule Society. We will cover Jason Thompkins’s URRU as well as provide brief information about The Order of Nine Angles and their related structure concerning the topic of how women relate to the Thule Society. We will also discuss a bit about pure feminine Vril energy. You will also learn briefly how the Black Sun relates to the feminine principle within the Thule Society in addition to Vril of the Dark Goddess.

“In the forty years of wandering in the desert, ten Hebrew tribes disappear. What happened to them? In the end only the tribe of Judah endures, which has been mixed with the Semites, losing their primordial Minne. The Jews have appropriated the tradition, modifying it to suit their own personal interest; they have adulterated, exfoliated Genesis, wiping out the extraterrestrial and divine origin of humanity, because of the guilt for their own particular fall. The numeral science and the science of names from Atlantis, the Aryan Kabbalah, will be used towards the personal power of the tribe, and still does to this day. In the astral plane it has produced the transformation of Jehovah. Man eventually comes to have no more than six thousand years of history, and his origin is declared to be exclusively of this earth. Then they altered the meaning of the Exodus, transforming it into the little exodus of the tribe, thus altering the metaphysical significance of the rotation of the Right-rotating Swastika, detaining it in Jerusalem, “the only place where Jehovah desires to be worshiped” and pouring all their tears beside the remains of the barricades of the Temple of Solomon and not at the Walls of Ice of the lost Thule, near the Boreal Column, “which united this earth with the Other Earth”; with the stars. They have tried to cause the Star of the Origin to be forgotten, turning against the heroes and gods, adulterating everything, allying with those who have killed the giants, the Giant Kings, making David a murderer of his ancestors.” – Miguel Serrano, “El Cordon Dorado: Esoteric Hitlerism”

To understand your existence, true Aryan history, and the origin of Thule, you must understand the correct place of the women in relation to the Divine Feminine Principle and its eternal essence.

Jason Thompkins’s book titled URRU: Thulean Polar Mythosrepresents a contemporary continuation of Miguel Serrano’s esoteric tradition which is often referred to as “Esoteric Hitlerism” and the Divine Feminine.

According to Thompkins, Esoteric Hitlerism presents a dense synthesis of myth, mysticism, pseudo-historical narratives, and occult symbolism that are all woven together into a cosmological framework. Within this philosophical framework, every Aryan man and woman is envisioned as a fallen entity that yearns for reunion with a primordial Hyperborean homeland which is Thule.

Although Thompkins’s book explores many elements — race, metaphysics, cosmogony, initiation, the Black Sun, and esoteric Tantrism — one of its most consistently reappearing themes is construction and mythology for the Divine Feminine principle.

Women, in this system, are not primarily defined as individual humans, but stead, they are defined as being carriers of metaphysical significance. In the Thule Society, women primarily serve as metaphysical symbols, muses, energetic poles, and catalysts.

Thompkins’s book emphasizes the roles that are attributed to femininity and the symbolic structures that are built around femininity. In this writing, Thompkins draws from and transforms older esoteric, religious, and mythological traditions.

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From the outset, URRU positions itself as an esoteric text which is meant for a select group of initiates rather than a broad readership. URRU’s cosmological language, mythic references, and Tantric symbolism establish a worldview where every-day human categories — including gender — are reinterpreted as expressions of primordial forces and race. In this context, the feminine becomes a principle of profound metaphysical significance. This book’s introductory passages and early chapters, particularly the Prelude and the Foreword parts, are filled with symbolic imagery that frames women more as archetypes that embody cosmic qualities of spirit as opposed to being common human beings.

Feminine-coded images such as dew, moonlight, winter winds, and twilight permeate this book’s language which signal that the female principle is intrinsically connected to liminality, beauty, receptivity, and transformation. The feminine becomes the presence that exists “in the intervals between worlds,” as Thompkins writes. Thompkins also describes the Beloved as “the whispering muse of the twilight, and “the Beloved who appears in the intervals between worlds” (Thompkins).

Thompkins’s metaphysics continually returns to a polarity model where male and female energies are depicted as being constructs or the psychological traits of society, but also forces that are connected more deeply as cosmic principles. These cosmic principles unlock spiritual pathways when they are operating in proper union.

As Thompkins has noted, a woman’s appearance, “like dew upon the world,” suggests both fragility and sublimity; however, Thompkins also portrays femininity as a phenomenon that precedes or follows great cosmic events. Through such imagery, Thompkins imbues the feminine principle with a supernatural aura while grounding every woman’s significance within the framework of a symbolic function. This is a core facet for understanding the importance of the women and the feminine spirit within the Thule Society’s context and within the scope of Esoteric Hitlerism.

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A central part to this metaphysical system is the concept of polarity as it is expressed in the dual formula El/Ella (He/She) and Ella/El (She/He). Gender here is not reducible to masculinity or femininity in human biological terms; instead, each principle embodies a universal energetic field.

Primordial male energy is framed as projection, action, trajectory, and solar will, whereas primordial female energy embodies reception, reflection, nourishment, and nocturnal luminosity. The concept of the “Lunar” or “Lunarity” typically relates to feminine and receptive qualities, while solar energy and solar imagery denotes masculine and active characteristics. Our goal is to merge the two. The feminine, in this schema, is not subordinate to masculinity, but complementary to masculinity: the cosmic principle of femininity is necessary for the completion of the male cosmic principle and both forces are essential for metaphysical ascent.

However, this complementary nature of masculine and feminine energies is more symbolic and spiritual than sociological and practical. “El and Ella are not man and woman as such, but the primordial poles of the cosmos — He and She as eternal forces” (Thompkins).

We refer to this polarity of masculine and feminine cosmic principles as an ideal addition to a positive psychosocial strategy for Thuleans. In this case, a woman may become part of the solar energy, and vice versa for a man. The principle of divine femininity rarely appears as just a personal subject that possesses independent agency. Individual women do not truly embody the principle of divine cosmic femininity because reducing the divine principle of femininity down to the level of one individual person represents a false dichotomy.

Instead, a single woman functions as a part within a metaphysical and universal cosmic feminine spirit where her individual significance completes the spiritual journey of a male Thulean initiate. Thompkins describes this union as “the alchemy of the stars, the formula by which the initiate remembers his origin” (Thompkins). The feminine is what allows the male principle to complete its cycle and return to its higher state of spirit and consciousness.

This symbolic dynamic of masculine and feminine energy complimenting one another is reinforced by the presence of Lucifer/Lucibel who is a dual entity that appears throughout Thompkins’s book. Lucifer is associated as a positive entity, with the Morning Star, with dawn, and with illumination. Lucibel, by contrast, is connected to the Evening Star, the moist brilliance of twilight, auric beauty, dew, and the night winds. Lucibel is explicitly gendered as feminine within this dual-aspect cosmology. Thompkins describes Lucibel in imagery that evokes mystery, inspiration, gentleness, and the poetic. Lucibel is the whispering muse, the “Beloved,” and the celestial presence that guides the initiate through the liminal transition between day and night.

In this context, the feminine is inseparable from transition, threshold, and otherworldliness. Lucibel is positioned as the archetypal Divine Feminine force and not as a deity in the conventional sense, Instead, Lucibel is understood as a metaphysical presence whose receptive, aesthetic, and emotive qualities shape a male initiate’s internal transformation.

Thompkins’s text places great emphasis on womens’ collective nature being a symbolic cosmic force in the chapter titled “Templi Unam Official.” In this chapter, Thompkins describes the esoteric order to which he belongs. Within this spiritual fraternity, women have a designated role as Virgines Sorores Glacies, “Mystical Virgins of the Ices.”

These women are framed as guardians of purity, bearers of sacred flame, and protectors of metaphysical integrity within the order. Their role is archetypal, not administrative or theological; women within this order serve as embodiments of the eternal feminine, where they are linked to ice, purity, stillness, and Hyperborean origins. This construction follows a long lineage in esoteric traditions in which women symbolize continents, thresholds, vessels, or sacred spaces rather than being active agents in doctrinal elaboration. They do not instruct, govern, or create doctrine; rather, they preserve natural history. Their purity is emphasized, which suggests that the quality of femininity is valued most when it reflects an idealized, uncorrupted state rather than when it reflects a dynamic or self-determining state of being.

“They [women] carry the stillness of ancient ice, preserving what the world has forgotten” (Thompkins).

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Thompkins’s worldview, which is derived heavily from that of Miguel Serrano, also incorporates a Tantric framework which assigns women a central role within spiritual transformations. However, this Tantrism is conceptualized not as a mutual path between male and female practitioners but as a method for male initiates to ascend with the support of feminine energy.

The chapter within Thompkins’s book that is titled, “Sacred Amor, Magical Realism” presents the clearest articulation of this dynamic. Here, the feminine is not simply seen as being symbolic, but instead, the Cosmic Feminine principle exists within a metaphysical register. Thompkins describes Sacred Amor as a form of love that transcends emotion and physicality wich functions instead as a gateway to liberation.

Within this context, the sacred and metaphysical union between man and woman becomes an “Exit” from the material world, and the female “Beloved” becomes the channel through which the initiate escapes the Demiurgic universe. This conceptualization draws heavily on Serrano’s idea of love as an occult mechanism of transcendence, but Thompkins applies this same idea with even greater intensity by describing the feminine as the opening through which a male initiate encounters a higher universe.

Thompkins writes: “The Beloved is not simply a woman but the window of the wound, the opening through which the initiate escapes this tormented world”.

“The departure [together as male/female] from the material [world] through the power of Sacred Amor [of eternal spirit]”.

In this framework, women serve as threshold beings who occupy the liminal space between the earthly and the transcendent. The feminine is associated with wounds, openings, windows, and portals, which are symbols that mark points of rupture within the fabric of spacetime.

The metaphorical “wound-window” that Thompkins describes is emblematic of this: it is at once a metaphysical tear and a feminine-coded passage which represents both vulnerability and possibility. Love, in this sense, is not sentimental but eschatological.

“She becomes the threshold, the place where the worlds touch and open into one another.” This could be considered the ideal place of Thule and Hyperborea.

The Beloved is more than a partner, she is the metaphysical conduit that is necessary to escape the material world. Yet even this powerful role of the Divine Feminine “Beloved” underscores the symbolic nature of femininity in URRU. Within this context, the woman serves as a pathway, or a tool for male transformation rather than as a fully realized practitioner who is undergoing her own journey through this world and the next world.

“The Feminine holds the memory of origins; through her the Hyperborean flame is preserved” (Thompkins).

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The feminine also appears in URRU through its extensive use of religious and mythological syncretism. Thompkins associates the feminine principle with goddesses who existed across multiple cultures: Isis, Ishtar, Mary, Ostara, Freya, Venus. Thompkins also frames these ancient deities as being expressions of a single primordial archetype. This strategy reflects both occult syncretism and Jungian-influenced archetypal thinking. By drawing connections between disparate traditions, Thompkins constructs an image of the feminine as timeless, universal, and metaphysically central.

Yet again, this universal feminine is depicted not as an autonomous subject but as a cosmic force. Depicting the comic feminine principle as a recurring pattern that spans differing mythic systems also depicts the cosmic feminine principle as a symbol of purity, a symbol of transformation, a symbol of eroticism, and a symbol of renewal. The divine feminine principle becomes the archetype of the muse, the mother, the lover, the portal, and the celestial companion. The layering of these traditions amplifies the metaphysical significance of women within the book’s worldview while further distancing divine feminine archetypes from everyday lived experience.

The erotic-sacred dimension returns in Thompkins’s description of Sacred Amor, which he characterizes as “the secret departure, the unspoken path by which one leaves the universe of matter” (Thompkins). Love, in this context, is not emotional but esoteric. Esoteric Love is an occult mechanism that allows the initiate to escape materiality.

Thompkins adds that “In the moment of union the worlds dissolve; the lovers become the bridge to the other side” (Thompkins). The feminine is essential to this dissolution, because it provides the metaphysical conditions that are necessary for transcendence. A woman is a partner in the act of love, but the focus remains on her function rather than her transformation. The idea that lovers “become the bridge between the material world and higher planes of existence” reasserts the threshold role that is attributed to the feminine: she is the structure that connects differing worlds and enables passage from one state of being to another.

Moreover, the book’s narrative of origins — the Hyperborean mythos — also incorporates women in symbolic ways. According to Thompkins, Hyperborea was a northern, pre-historical civilization that was made up of divine beings who maintained purity until they “consorted with the daughters of men.” This mixing between divine males and terrestrial females is presented as the key moment in human spiritual history because this change lead to both the spiritualization of early humans and the fall of the Hyperboreans into a more course material existence.

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In this myth, women become the interface between the divine and the mortal where female bodies and their concomitant bloodlines serve as thresholds through which cosmic influence enters the human world. Yet here again, the symbolic function supersedes human agency: women are vessels through which divine qualities flow into the world but they are not active shapers of this metaphysical narrative.

Within Tomkins’s worldview, another significant feminine role appears in the concept of the Soror Mystica, which is the mystical sister of alchemy. Esoteric literature often depicts Soror Mystica as the necessary complement to the male alchemist, the one who stabilizes and mirrors his interior transformations. Thompkins adopts this figure enthusiastically by describing how the Beloved becomes an integral part of a male initiate’s metaphysical alchemy.

Within this context, a woman reflects a man’s inner world, absorbs his energies, and helps him reach the state of gnosis that Serrano described as “Individuation” or the encounter with the Higher Self. However, the Soror Mystica is not depicted as undergoing her own transformation; instead, she exists to facilitate the transformation of the male magician. This asymmetry reinforces the pattern seen throughout URRU: women are essential, powerful, even divine, but their power is defined in relation to its effects on masculine spiritual development.

Throughout the book, Thompkins also makes repeated references to beauty, often describing an idealized form of womanhood that is associated with rarity, purity, and spiritual authenticity. He claims that only a small minority of humans possess true beauty, which he associates with metaphysical qualities rather than physical appearance alone.

Women who possess such metaphysical beauty are depicted as aristocratic souls by Thomkins. Such women are aligned with Hyperborean ancestry, and they are spiritually elevated above the rest of humanity. The idea of “Beauty” in URRU is not aesthetic but ontological: it signals purity of essence and an inner luminosity that mirrors the cosmic feminine. In this interpretation, women are carriers of a beauty that is metaphysical rather than personal, yet this beauty is measured against an abstract and platonic ideal which is rooted in esoteric purity.

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The same passages that idealize women also express concern for what Thompkins considers the degradation of the feminine in the modern world. He associates contemporary culture with the decline of beauty, femininity, and sacred Amor, and he suggests that materialism and “chemical corruption” have diminished the spiritual quality of women. Here, the feminine becomes a barometer for the metaphysical state of the world.

According to Thomkins, when women are disconnected from their archetypal roles; namely, purity, receptivity, twilight, and sacred eros, then the world itself is portrayed as falling into dysfunction. This symbolic use of women reinforces a worldview in which femininity is always a reflection of cosmic forces rather than an identity or role that is constructed by human beings.

Despite these symbolic constructions, URRU does not present a negative view of the feminine itself; rather, the feminine is consistently framed as being central to the universe’s functions, powerful, and spiritually essential.

Thompkins also imbues the Divine Feminine with high metaphysical status but in a very idealized and mythologized manner. Women are revered not because of their individual qualities or social contributions, but because they embody aspects of the cosmos that the esoteric initiate must engage with.

The Divine Feminine principle becomes a structural element of the book’s cosmology: the Divine Feminine force is the necessary polarity that completes the Divine Masculine force. According to Thomkins, the divine feminine principle is the muse that inspires the poet-warrior, the portal that enables transcendence, the purity that preserves spiritual flame, and the archetype that mirrors divine history.

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As a whole, URRU presents a complex and layered depiction of the feminine that draws from mythology, mysticism, Tantrism, Jungian archetypes, and Serrano’s esoteric interpretations. Within this text, women are consistently positioned as cosmological symbols rather than as individuals. Women carry metaphysical roles, that of muse, virgin, goddess, portal, and Beloved, and their significance lies primarily in how they support or reflect the spiritual journey of each male initiate.

For Thomkins, the Divine Feminine principle is elevated, sacralized, and essential, but idealized to such an extent that it becomes removed from lived human experience. In this sense, the depiction of women in URRUis neither strictly positive nor explicitly negative, yet it is symbolic, mythologized, and it is deeply rooted within an esoteric cosmology that Thompkins seeks to share.

The feminine, in this worldview, is one of the most important elements of the spiritual universe because it shapes, inspires, and completes the path of the initiate, even as it remains bound to archetypal forms rather than to the lived realities of women themselves.

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In conclusion, URRU: Thulean Polar Mythos constructs the feminine as a series of archetypes that are grounded in myth, cosmology, and esoteric symbolism where individual women serve as muses, portals, guardians, and cosmic mirrors. Within this world view, each woman’s significance lies not in her human individuality but in her metaphysical roles within the narrative structure. Thompkins’s portrayal is highly idealized and rooted within a symbolic order that elevates the feminine while limiting its agency to archetypal function.

The feminine in URRU is sacred, essential, and powerful, yet always framed as an instrument of the masculine journey rather than a journeying subject in its own right. The result is a worldview in which women occupy a place of profound metaphysical importance by shaping and enabling the cosmic aspirations of the initiate, while simultaneously being honored and seen as more than just humans within the realm of human experience and agency.

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What is the Black Sun and how does it relate to the Feminine Principle

Miguel Serrano explored the concept of the Black Sun within the philosophy of Esoteric Hitlerism. It is the meaning of the terms “Dark” and “Black” when referring to the feminine principle because such a principle relates to the Black Sun and the Dark Goddess as being reflections of divine magnetism.

The Dark Tradition refers to the body of practices and beliefs that focus on the exploration of chaos, darkness, and powerful forces in nature. These “dark” primordial forces are seen as essential components for personal growth and transformation.

Miguel Serrano viewed the Black Sun as a symbol of hidden and transformative power that is connected to spiritual enlightenment by contrasting this concept with conventional notions of light. Serrano intertwined the Black Sun with Hyperborean traditions and ancient Aryan beliefs by presenting the Black Sun as being a gateway to higher consciousness and a metaphor for personal struggle against the material world’s forces. Serrano saw the material world’s forces as being explosive in nature versus the implosive based forces that characterize metaphysical forces.

Serrano believed that this “dark” sun would reveal deeper truths that are hidden from the material world. In Serrano’s view, the Black Sun shows us the way to pure Vril which is a divine light.

In Serrano’s view, Blood was the first fluid that was made from magnetic light. Blood is seen as the astral soul that is manifested in human bodies. Blood is a spiritual hermetic concept [as a sealed esoteric substance]. The divine purpose for preserving a bloodline in Aryans is to reawaken the memory banks that are contained within our DNA [more than what is scientifically defined] so that we may overcome the process of involution by remembering our origin [Origin], remembering our ancient heritage, and remembering our previous great [Aryan] civilizations.

Through his poetic works, Serrano emphasized understanding the Black Sun’s hidden rays as a means to connect with one’s true self, especially for the feminine principle. This is how the words “black” and “dark” are referred to when referencing the Dark Goddess of the Divine Feminine. As Serrano saw things, the metaphysical concept of “Dark” is not a negative nor a bad influence at all, rather this influence is divinely positive and eternally natural.

Other Thulean perspectives to consider regarding the divine feminine

Order of Nine Angels – Feminine Archetype in ONA (O9A)

Emphasis on Duality: The ONA incorporates concepts of dualism, where both masculine and feminine principles are seen as essential. Women are often depicted as powerful beings who are capable of influencing and shaping their own reality.
The Dark Goddess: Within the ONA framework, feminine representations often lean towards darker aspects by reflecting themes of chaos, power, and independence. The archetype of the Dark Goddess signifies strength, emotional depth, and a rejection of patriarchal structures.
Rejection of Traditional Roles: The ONA challenges conventional views of femininity by advocating for female self-empowerment and by posting the idea that women should embrace their primal instincts and capabilities rather than conform to societal norms.

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Summary of The Order of Nine Angles and Its Feminine Perspective

The Order of Nine Angles (ONA) is an esoteric organization that blends occult philosophy, pagan practices, and a unique interpretation of individual empowerment. Emerging in the late 20th century, the ONA presents a controversial and nuanced view of femininity which is often focused on the juxtaposition of masculine and feminine energies. Central to its ideology is the belief in duality where both divine masculine and divine feminine aspects are seen as essential for balance and personal growth.

The ONA portrays women through the lens of powerful archetypes, particularly through the figure of the Dark Goddess. This archetype of the Dark Goddess embodies chaos, independence, and strength, which suggests that true femininity lies in embracing one’s primal instincts rather than by conforming to societal expectations. These teachings promote a radical self-empowerment by encouraging women to harness their influence and shape their own destinies. In this context, femininity is framed not merely as nurturing force, but as an active force that can challenge existing power structures.

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However, the Order of Nine Angles is not without its controversies. The dark and chaotic elements that the ONA/O9A celebrates can sometimes overshadow the positive aspects of femininity that it seeks to promote. The O9A’s ideas about how women should structure their lives promotes an accelerationist type relationship with feminine ideals. Within this context, the term “Accelerationist” denotes the idea of helping our present world collapse so that a healthier new world can grow from the ashes of the old order.

The O9A’s ideas and philosophies are hard to quantify, but one of the recurring themes within writings that are attributed to the O9A include pushing for the destruction of our present world order. Therefore, the O9A’s tenets include encouraging women to act in ways that will help facilitate the fall of today’s corrupt moral order.

Those who accept the basic tenets of O9A’s thinking need to deeply understand the nature of both reality and willpower. As such, while the ONA attempts to subvert traditional narratives and empower women, it also requires a discernment that acknowledges its darker undertones and the implications of its teachings. Perhaps thinking that chaos can be buck-broken, saddled, and ridden like a formerly wild horse is the height of wishful thinking. As the old Chinese saying goes, “You cannot ride the tiger.” In other words, a tiger cannot be simply saddled and ridden like a horse.

In summary, the feminine perspective within the Order of Nine Angles is one of compelling complexity that challenges conventional definitions and invites a re-evaluation of power and identity. The 09A presents real feminism that is based on nature and feminine power, and not the fake feminism that is associated with the mainstream western world of today which is harmful to women.

The O9A’s portrayal of women as figures of strength and agency contrasts with the often-restrictive norms of mainstream society, yet it remains critical to approach these ideas with caution due to the controversial nature of the world today that is so polluted with fake Jewish news and harmful Jewish infiltrations. The Feminine Archetype of the ONA is very important because it brings light to the same topics of women in the Thule Society.