The Hyperborean Archetypes and the Golden Age of Humanity 
By: Gustavo Aguiar
"Olhemo-nos face to face. We are hyperboreans - we know very well how remote is our abode." 
- Friedrich Nietzsche
Initial Considerations:
Even before the mysterious disappearance of the lost cities of Atlantis and Lemuria - which 
came to our knowledge through scarce archaeological findings and platonic mentions in 
Timaeus and Critias, there was Ultima Thule (Çveta Dvipa hindu), polar island and magnificent 
capital of the hyperborean continent, located in the extreme north of Europe, besides the 
abode of deus Bóreas and the hills of Hercules, "far away from the north winds", as the legend 
says. Thule was colonized, in imemorial period, by the Aryan proto-race of the virya, 
constituted by true super-humans endowed with the capacity to establish direct 
communication with their cosmic-solar divinities during the Golden Age, at the dawn of 
humanity. There are mythological accounts that Apollo, the sun-deity of the Greek-Roman 
pantheon, used the Hyperborean Wisdom as an inexhaustible source of rejuvenation, which 
leads us to believe that in those times time did not pass in a regular way.
In Thule, eternity reigned supreme, enabling an immediate correspondence between the 
symbolic and the archetypal, which allowed the virya to manipulate a powerful manancial of 
ethereal energy called Vril and perform wonders never before contemplated by human eyes. 
"This extraterrestrial power possessed by the hyperboreans, the organ of Vril, Hvareno, Urna, 
Soma, together with a technique and science different in essence to those of the Kali Yuga, 
made it possible to 'go faster than thought, in air ships without pilot or rudder' - free 
translation from Spanish. (SERRANO, Miguel. El Cordon Dorado: Hitlerismo Esoterico, p. 63) 
The island, being made of "transparent glass", radiated its own light, so that, when the sun set 
behind the mountains, it remained resplendent. According to Julius Evola [1], there are 
references to Hyperborean wisdom in at least six ethno-cultural traditions: Hindu, Iranian, 
Nordic-Scandinavian, Chinese, American and Greco-Roman.
However, with the passing of the ages, the contact that our ancestors maintained with the 
Hyperborean Wisdom gradually lost its original intensity, a process of spiritual decadence that 
would find its maximum culmination in the Greek Iron Age, in the Hindu Kali Yuga or in the 
Nordic-Scandinavian Wolf Age, when all events are immersed in absolute chaos, in absolute 
disorder and confusion, when the sacred emanations, long ago imprisoned by the Demiurge in 
the form of the animal-human (pasu), the entity, in this state of material closure, only 
manages to reach its hyperborean divinities through remissions.
symbolic, through the archetypes of the collective unconscious, which will be analyzed here 
without the psychological charge that C.G. Jung would imprint on the term. Jung will serve us as 
a reference only in what concerns the perscrutação of the etymological roots of the term 
"archetype".
In Jung's sayings (which we make a point of reproducing in full so that the reader takes the real 
dimension of the meaning of archetype):
"A psychic existence can only be recognized by the presence of contents capable of being 
consciousized. We can only speak, therefore, of an unconscious to the extent that we can 
verify its contents. The contents of the personal unconscious are precisely the complexes of 
emotional tonality, which constitute the personal intimacy of the psychic life. The contents of 
the collective unconscious, on the other hand, are called archetypes. The term archetypus was 
already found in FILO JUDEU as a reference to the image of God in man. In IRINNEU also, 
where it reads: 'Mundi fabricator non a semetipso fecit haec, sed de alienis archetypis 
transtulit' (The creator of the world did not make these things directly from himself, but 
copied them from other archetypes). In Corpus Hermeticum, Deus is denominated το
αρχέτυπον φως (the archetypal light). In DIONÍSIO AREOPAGITA we find this term several 
times as 'De coelesti hierarchia': αι αύλαι άρχετυπιαι (os arquétipos imateriais), as well as 'De 
divinis nominibus'. O termo arquétipo não é usado por AGOSTINHO, mas sua idéia no entanto 
está presente; por exemplo em 'De divers is quaestionibus', 'ideae... quae ipsae formata e non 
sunt.... quae in divina inielligentia continentur'. (idéias... que não são formadas, mas estão 
contidas na inteligência divina). 'Archetypus' is an explanatory periphrasis of the Platonic 
είδος. For what concerns us, the denomination is precise and of great help, because it tells us 
that, concerning the contents of the collective unconscious, we are dealing with archaic - or 
better - primordial types, that is, with universal images that have existed since the most 
remote times. The term représentationis collectives used by LÉVY-BRUHL to designate the 
symbolic figures of the primitive cosmovision, could also be applied to the unconscious 
contents, since both have practically the same meaning. Primitive tribal teachings deal with 
archetypes in a peculiar way. In reality, they are no longer contents of the unconscious, since 
they have already been transformed into conscious formulas, transmitted according to 
tradition, usually in the form of esoteric teachings. These are a typical expression for the 
transmission of collective contents, originally coming from the unconscious". (JUNG, C. G. 
Archetypes and the Collective Unconscious, pgs. 16 and 17).
We can extract from this extract two extremely important pieces of information for the 
purposes of this research: 1) unlike the animus, the content of the personal unconscious, 
singular or individual, the archetype substantializes the collective unconscious, and, therefore, 
universal, or transindividual. The long-lasting memories that concur for the fabrication of an 
archetype are products of a cosmic, supra-terrestrial language; therefore, what is unconscious 
for us, beings of flesh and bones confined to corporeal matter, constitutes an intelligible 
fraction for the cosmic-symbolic consciousness. 2) The world in which we live is not a creation 
ex nihilo of a benevolent divinity that wants to liberate us or lead us back to eternity from 
which we came out, but creation ex materia, that is: secondary creation that starts from 
something pre-existent, from a primeval cause, or from a prime mover, in AristotelianThomistic terminology.
All the things we know are nothing more than imperfect imitations, poorly finished works of the 
ominous Platonic Demiurge. We can summarize the theory of this preliminary exposition as 
follows: archetypes are eidetic representations embodied in the supra-empirical realm as 
opposed to the simply given empirical realm, the latter, architected by demiurgic desires.
Since he was imprisoned in the form of the animal-human, "the lost virgin, for his part, in the 
present civilization, succumbed to the synarchic strategy and allowed his vision of the world to 
be influenced and dominated by his inheritance of the past: the virya has the possibility of 
locating the best and creating an awakened Ego with which is possible the total appreciation of 
the real entity, both in its universality and in its singularity, because such Ego participates in 
the current infinity and can determine everything without being determined by anything. But 
as long as the man does not awaken, he will be, like the raisin, definitively separated from the 
entities". (ROSÁRIO, Nimrod de. Fundamentos da Sabedoria Hiperbórea, parte II, tomo II, pgs 
25 and 26) The total appreciation of the real entity to which Rosário alludes is given by means 
of sacred symbolism, which always refers us to the Universal Archetypes of the collective 
unconscious. In this sense, Rosário asserts that "(...) a sacred symbol, for having been 
separated from the structure of the design, PARTICIPATES ATIVIVELY OF A UNIVERSAL 
ARCHETYPE. Hyperborean Metaphysics, then, is a science "proper to the sphere of light" but 
whose object of knowledge, the sacred symbol, makes possible the transcendence of the 
microcosm that extends its scope of observation to the archetypal plane of the macrocosm. 
Obviously, the Hyperborean Metaphysics can only be practiced by viryas and Siddhas since 
nothing similar to the knowledge of the universal archetypes is allowed to happen" - free 
translation from Spanish (ROSÁRIO, Nimrod de. Fundamentos de la Sabiduria Hiperborea, vol. 
I, volume I, p. 184) In order to access the Universal Archetypes, the virya must necessarily 
transmigrate from the autonomous sphere of the microcosm where he was imprisoned in the 
form of animal-human to the collective sphere of the macrocosm, where, only then, he will 
awaken and begin to produce culture.
O Herói:
In the dark age we are going through, the hyperborean archetypes are "incarnated" by beings 
charged with the task of leading humanity to the dawn of a new Golden Age (Satya Yuga), 
which the Hindu tradition interprets as the catastrophic closing of the Manvantara, when, 
according to Miguel Serrano, the terrestrial poles will meet again at the unified axis of the 
polar zone, where the splendorous hyperborean continent was located in the past. For the 
Hindus, this will be evidenced by the advent of Kalki, the tenth and last avatar of Vishnu, who 
will descend from the sky mounted on a white horse and wielding a flaming sword to 
subjugate the demon Kali, restoring order where chaos used to prevail. It is in this way that 
Serrano, one of the precursors of the Gnostic current called Esoteric Hitlerism, sees in Adolf 
Hitler [2] the archetypal personification of the Hero in the age of Aquarius, the last avatar of 
the human species, "Avatar of a God, of Wotan-Vishnu" - free translation from Spanish 
(SERRANO, Miguel. La Ressureccion del Heroe, p. 50) For Serrano, the Path of the Tantric Hero 
is fulfilled through three fundamental alchemical stages, which are: nigredo (Black Work), 
albedo (White Work) and rubedo (Red Work). In the words of the author:
"According to Leisegang, alchemy - which, as we have seen, also means black - is a synthesis of 
Egyptian technique and Middle Eastern mysticism, produced in Alexandria. But everything 
comes from farther away. The symbolism of death and resurrection is applied to the 
metaphysical, to the earth. The gum is transformed into gold, the copper is "killed", darkening 
it, turning it into black oxide - it is the Nigredo -; then it resuscitates, forming a mixture mixed 
with mercury - it is the Albedo -; from there it follows the yellow and red - the Rubedo -. Black, 
white, yellow, red ('Where is the room, my dear Timeu?'). The colors and their sequences were 
fundamental for the process in Alexandria; in the metal, as well as in the aura of the alchemistmagician. Moreover, under the mantles of the initiatory Cavalry that fulfills the alchemical 
process of the conquest of the Holy Land. The cross of the Templars was red, on a white habit 
(Rubedo, the last process, the production of the Androgyne, of Rebis, of Baphomet). The 
Knights of the Order of St. John of Jerusalem (from where the current Order of Malta 
originates) wore red and their cross was white (Albedo). The Order of the Teutonic Knights, 
which gave birth to the Prussian State, wore a white habit and its cross was black (Nigredo). 
The SS wore black and their swastika was black on a red and white background. The total 
alchemical process, according to the needs in the acceleration of time. To the three Templar 
vows of chastity, poverty and obedience, the Teutonic Order added a fourth: never to retreat 
before the enemy, to fight until death: usque ad morten and perinde ad cadaver" - free 
translation from Spanish (SERRANO, Miguel. El Cordon Dorado: Hitlerismo Esoterico, p. 172 e 
173).
The three alchemical Opus (Black, White and Red) enclose the entire transfiguration process of 
the Tantric Hero on his way to immortality, when he effectively joins the Hyperborean Gods in 
the kingdom of Agartha. In the alchemical-hermetic tradition, according to Julius Evola in The 
Hermetic Tradition, these three colors are subjected to the four natural elements (earth, 
water, fire and air), resulting in the number 7, corresponding to the seven planets of our solar 
system or to the seven chakras of the Hindu cosmology. However, we will not delve into these 
details; it is enough to indicate here the meaning of the three fundamental works.
The Black Work (Nigredo) symbolizes the death of the Hero, its dissolution, fragmentation or 
horizontalization. In this sense, Evola points out that the first stage of the Hermetic Work 
consists "(...) in proceeding in such a way that the consciousness is not reduced and then 
suspended on the threshold of the sound, but that, on the contrary, it can follow in all its 
phases the realization of this process, until a situation equivalent to death. The 
<<dissolution>>.
becomes then a lived experience, intense, indelible, and this is the alchemical <<death>>, the 
<<more black than black>>, the entrance into the <<tomb of Osiris>>, the knowledge of the 
dark earth, the regime of Saturn of which the texts speak". (EVOLA, Julius. A Tradição 
Hermética, p. 130)
The White Work (Albedo), in turn, symbolizes resurrection: "(...) transmutation (the first of the 
alchemical transmutations) and resurrection. <<When White survived in the matter of the 
Great Work, Life defeated Death, its King resuscitated, Earth and Water turned into Art, it is 
the Rule of the Water, its child was born.... Then the Matter acquired such a degree of 
Fixation that Fire can no longer destroy it [this is the "initiatic stability" that death cannot 
overcome].
dizem que chegou o momento de queimar os livros, porque então estes já são inúteis.>>" 
(EVOLA, Julius. A Tradição Hermética, p. 158)
And, finally, we have the Red Work (or Red Work - Rubedo), when "the Ego transforms itself 
into those acts and is those acts - the <<Satanic Fires>>, the deuses of the <<Age of Gold>> -, 
to the point of completely reducing the individuality itself in function and value of
<<nature that dominates itself>>, and even reduce the corporeality to something that nothing 
expresses better than this same dominion that makes it possible to attribute to it the purple, 
the skin, the crown and all the other symbolic elements of the royalty and the empire. Only 
then the <<regeneração>> is total". (EVOLA, Julius. A Tradição Hermética, p. 179)
Only in the rubedo the Hero merges into the hyperborean eternity together with the Gods of 
the Age of Gold, at the igneous flame of the extreme north polar, being, before, imperative 
that he goes through the blackness (death) and the albedo (ressurrection). It is not desirable to 
emphasize that this death of the nigredo should not be confused with the death of the grave, 
with dying to nothingness, but a death to life. In fact, aryan (aryo, in Sânskrit) means "born 
twice", or "reborn twice", or "reborn". Dessarte, the Aryan superiority does not decorate so 
much of bio-racial characters as of spiritual attributes. All the traditions we mentioned at the 
beginning present the Aryan as the bearer of the warrior spirit, that is to say: of the solar 
archetype of the tantric hero, faded to the rebirth in Walhalla after remaining bravely in the 
battlefield, next to his comrades.
We will now analyze four other archetypes: the Chief, the Mountain, the Valquíria and the 
Gravis archetype.
O Chefe:
The archetype of the Chief according to Miguel Serrano has a secondary importance, in such a 
way that his earthly manifestation or incarnation is hierarchically subordinated to the 
archetype of the Hero. Nevertheless, both coexist synchronistically on the terrestrial plane 
governed by demiurgic desires, because they participate in the same mission, and possess a 
single purpose (thelos), that is: to enclose the Kali Yuga and guide humanity in the direction of 
the hyperborean kingdom. It is thus that we can glimpse in the historical figures of Mussolini, 
Salazar and Cordreanu typical attributes of the Chefe, single points that converge to the 
gravitational epicenter of the Führer prinzip. In Serrano's words:
"Before the appearance of Hitler, the Archetypes of the Führer and the Chefe had been 
insinuating themselves. First in the Italian Duce, in Oliveira Salazar, in Cordreanu. It was 
something like premonitions, dreams. However, only in Hitler it finds its almost absolute 
expression, its vortex, its most perfect transmitter, without ceasing for that reason to 
participate, as in a game of spelshots, also in others; here more, there less. And so Leon 
Degrelle appears, in the
Belgium; José Antonio Primo de Rivera, in Spain; Plinio Salgado, in Brazil; Doriot, in France; 
Jorge González von Marées, in Chile, and even Subhash Chandra Bose, in India. I repeat, only in 
one man, in Hitler, is accumulated the superior power of the Hyperborean Archetype, of God, 
only through him does he hear his word from another world. Because only he hears his Voice. 
But not always, because in that case it would explode in a thousand pieces" - free translation 
from Spanish (SERRANO, Miguel. Adolf Hitler, The Last Avatar, p. 34).
It follows that the archetypal incarnation of the Chief is fragmented in several axes around the 
globe, being, however, synchronized with the cosmic consciousness of the archetype of the 
Hero. In other words: the existence of the Hero is not conditioned by the existence of the 
Chief, but the Chief depends entirely on the Hero to perform his essential contributions, since 
he only exists for him and because of him.
A Montanha:
In Adolf Hitler, O Último Avatãra, Miguel Serrano tells us that he always lived among the snowcapped mountains of Chile, which he believed to be the abodes of sleeping giants that once 
walked among us. The mountain, according to Serrano, constituted an object of religious 
worship among a vast range of traditions consecrating heroic and semi-divine figures. 
Traditionally, the Arians have always sought to fix themselves in great rocky altitudes that 
would provide them with greater proximity to the sun-god: "Since then, I think that the 
mountains are inhabited by giants; even more, that the mountains themselves are petrified 
giants, who became immobilized, covered themselves with rock, when the ancient sun left. 
And they wait for his return, to leave again to inhabit the world. It will be the end of Kali Yuga" 
- free translation from Spanish (SERRANO, Miguel. Adolf Hitler, The Last Avatar, p. 152).
From the top of the mountain, all that is small, low, inferior, yields space to the great, high and 
superior, to the Sun that shines behind so many others: the Black Sun (Schwarze Sonne) of 
Scandinavian runology, the "Green Ray" that illuminates everything, from the golden dawn of 
humanity, without being illuminated by anything besides itself. It is this source of primordial 
light that defines all the landscape beauty, of whose spiritual dimension the passage does not 
participate because it is trapped in the latitudes of the raw material. In this diapason, the 
beauty that appears before our eyes is not more than a copy of the original beauty, 
hyperborean, that we can only access indirectly, by means of symbolic remissions. Hence the 
observation that the objective of symbols is to reveal to the entity the meaning of that which is 
behind it. Symbols are the bearers of the subjacent dimension of the virya.
For Serrano, the mountain symbolizes the "body of man", "but, of the Astral Man, of the 
Hyperborean Man, of the Siddha, of the Divya, of the Urmensch. He is the Egyptian Sahu, the 
"Body of Resurrection" of Osiris. Thus, its physiology is hermetic, astral, aryan. For example, 
my giants would be the nadi, the nerve of the tantric physiology. Idâ, the left side of Merudanda, that is, of the etheric vertebral column, and Pingalâ, the right side. Its counterpart in
physical physiology are the cords of nodes, together with the spine. They are born in the 
Muladhara Chakra, that is, in the pelvic plexus and cross each other, the first ending in the 
right nostril and the second in the left. Through the center of Meru-danda ascends 
Sushumânâ, up to the skull, joining in the brain with the Sahasrarâ Chakra. This is where the 
Serpent of Fire, Kundalini, is located. She is the Sleeping Beauty of Mount Meru, in the Carna 
of Kyffhäuserberg, she is the Immobile Beloved, frozen, hibernating, who will awaken at the 
base of the Magical Mountain, in the Muladhara Chakra, precisely. My giant on the left side, 
with raised arms, the Rune Man, is Ida, the other is Pingala, the Rune Yr. The Mountain is the 
temple and the Body of the Man-God, of Wotan, of the Urmensch. Sushumnâ, which is born 
in the sacred, the third nadi, the middle one; this is the most important, the still invisible 
giant, the "devourer of time" (Saturn), the one that delivers immortality; it is the Rune Hagal, 
which connects us with the top of Mount Meru, where the Magical Wedding of the other 
two, of Idâ and Pingalâ (Shiva and Parvati) takes place". (SERRANO, Miguel. Adolf Hitler, The 
Last Avatar, p. 157).
In an article entitled A Montanha Simbólica, Martínez de Pisón [3] lists an astronomical 
quantity of cultural, geographical, mythological and religious aspects that confer on the 
mountain a typically symbolic-archetypal character, even mentioning the mountain of Dante 
Alighieri's southern hemisphere, as shown in the following passage:
"On high, signs of what is good and light, of what overcomes the weight, of the celestial; the 
spiritual ascends; on the other hand, matter weighs and life needs to fight against the weight. 
The elevation is, therefore, a quality and the summit is its success, the victory over the 
material obstacles by means of an effort, its moral reward. All this sacralizes the mountain and 
its ascent. It is the effort that achieves the entrance into an alheio and open domain between 
aerial lines - suggestion of the infinite -, in large spaces, in the progressive distancing of the 
basal and its labyrinths. So that the low-high duality is polarized in two contrasting 
environments, the high as an environment of nature, solidity and individualization; and the 
low as mechanized, massified and gregarious. All these are cultural models. But the low is also 
the earthly, the mundane, the subterranean, even the infernal and, on the other hand, the 
high is the celestial and the divine. Without distancing ourselves, we see the same in popular 
cultures, in mysterious exotic environments, in difficult mystical poets or in Dante himself".
Therefore, the archetype of the Mountain, as "Temple and body of the Man-God", constituted 
nothing less than a focus of transcendental ascent of the petrified, neutralized, immobilized 
spirit, hidden among the ruins of a primitive era. The mission-role of the Aryan lineage, the 
mountaineer par excellence, is to seek to reach its rocky summits so that it can, from them, 
capture the beauty underlying the mental landscape of the Demiurge. The Mountain in itself, 
like the Hero, the Chief and the other hyperborean archetypes, means nothing, because it has 
no numerical value (of coisa-em-si). The archetype, according to Nimrod de Rosário, is always 
a "being-for" something that is beyond our most immediate perceptions. This will become 
clearer when we discuss the Gravis Archetype.
A Valquíria:
Present in Richard Wagner's operatic tetralogy, the Valkyries are described in the Edda as 
Wotan's messengers, responsible for leading the warriors fallen in battle to the halls of 
Walhalla, where Odin would recruit them to fight at his side in Ragnarök (the Twilight of the 
Gods). For Serrano, the Valkyries were the hyperborean wizards in Ultima Thule, wives of the 
solar gods in pre-cosmic eternity, the "Eternal Beloveds". According to the author, the gods of 
all pre-Christian religions had espoused lesser goddesses. "All the Gods had their wives, their 
beloved, except the Judaic-Christian God. Jehovah did not have one, neither did his son Jesus 
Christ. Krishna announces us the end of Dwapara Yuga and the beginning of Kali Yuga. He 
dances with many women, with the cowherd girls of Gokul, in the gardens of Vrindavan; but in 
truth he loves only one, Radha. Here he begins to intuit, or rather to incarnate, to descend the 
Hyperborean Archetype of Valkyrie. Because even though there are many women through 
whom the lost She is sought, the Absolute Woman, the Divine Woman, is only one and, from 
somewhere outside the Universe, she asserts herself to us as irreplaceable, irreprehensible. 
For Krishna she was Radha, the Parakiya, the wife of another. Só em momentos especiais ela 
abandonava seu marido e vinha dançar com seu Deus, que a espera eternamente" - free 
translation from Spanish (SERRANO, Miguel. Adolf Hitler, El Último Avatãra, p. 169).
Judaeo-Christianity would be, then, the main responsible for the cessation of primitive 
androgyny, and, consequently, for the separation of the masculine and feminine principles, 
which previously participated in the same nucleus, so to speak, asexual. This is evidenced by 
the emergence of the Primordial Egg of the Orphic cosmogony, from which the Demiurge 
would withdraw the simulacrum of order structured from dualities, multiplicities and 
decomposabilities. The unum mundum is divided into several smaller fractions that concur to 
form the pseudo-ordered totem (whole). The latter, in turn, bears no resemblance to the 
archetypal, hyperborean universe. Thus, "the division of the Ele and Ela, the rupture of the 
Orphic Ovo, Hyperborean, has repercussions in War, thus separating itself in order to enter 
into combat in a Universe divided into pairs of opposites, corrupted by the Demiurge Jehovah. 
They are the heroes, warriors, Astros, Allouine, Lucifer, Lilith and some others who are still 
trying to rescue and transfigure the earth, defeating the Lord of the Graves, destroying his 
Archetypes, freeing his prisoners and finding the Exit from the Infernal Round of the Eternal 
Return - free translation from Spanish. (SERRANO, Miguel. Adolf Hitler, The Last Avantãra, p. 
169)
Considerations are also made regarding the Archetype of Valkyrie and the hatching of the 
Ultra-Cosmic Egg in Manú - "For the Man Who Will Come", as extracted from the following 
passage:
"The hero, as we have already said, searches for his wife in all women, until he is convinced 
that he will only marry her inside, internalizing her. There is no doubt that the warrior's sacred 
chastity is the ideal of this Combat, being the external and profane marriage a dangerous 
mistake for the magician-initiate. When the Vîra arrives to meet the "Ela" of ELAELE, who was 
the A- Mada of ELEELA, in the sky of the Raio Verde, and who in this Round of the Eternal 
Return will appear as his Valkyrie, his Allouine, his Mede, his soul will come to life, being able 
to finish his pilgrimage, because he will have found a Rosto for his soul, for her. It will be the 
Meio Dia
do Eterno Retorno e da Revelação". (SERRANO, Miguel. Manú - "For the Man Who Will 
Come", p. 61).
Dessarte, the Valkyrie symbolizes the recomposition of the spiritual unity, typically 
hyperborean. The Eros that triggers the flame of the sacred marriage chosen between the 
virgin and the Absolute Woman, its metallic face, has nothing to do with the demiurgicmundane representation of the masculine and feminine principles, but with the pure state of 
androgyny, given that all division cannot manifest itself except in an essentially profane and 
anti-spiritual dimension. This is due to the orphic symbolism of the Primordial Egg and to the 
fact that, in the condition of a pasu, man is imprisoned to the Law of the Eternal Return, from 
which he must free himself if he wishes to awaken as a legitimate Arian. If in Julius Evola's 
conception the distinction between the solar (masculine) and the lunar (feminine) is quite 
recurrent, in Miguel Serrano these principles would be subordinated to an even more 
primordial commandment in the cosmic hierarchy. For the latter, only that which is embodied 
or solidified in a single magnetic center, that is: the Hyperborean Wisdom, has archetypal 
value.
Or Archetype Gravis:
In Fundamentos da Sabedoria Hiperbórea, Nimrod de Rosário defines the Gravis Archetype as 
that which occupies the top of the archetypal hierarchy, and, therefore, the most important, 
"the archetype whose process is faster than any other on the material plane". (ROSÁRIO, 
Nimrod de. Fundamentos da Sabedoria Hiperbórea, vol. II, volume II, p. 35). It is the archetype 
without which the other archetypes would be unable to manifest. To develop his explanation 
of the Gravis Theory, Rosário attacks two theses, which we will now analyze: Isaac Newton's 
center of gravity and Leibniz's monadology. As an introduction, it should be noted that the 
general formula of the Gravis Theory is, according to Rosário, the following: "THE 
GRAVITATIONAL FIELD IS THE POWER OF A PSYCHOID ARCHETYPE" (Rosário,
Nimrod de. Fundamentos da Sabedoria Hiperbórea, vol. II, volume II, p. 34).
According to Rosário, there is an archetypal staircase that begins to unfold in the longest 
corners of the sphere of being and "descends" to reach the material plane. The Gravis 
archetype, located at the upper vertex of the hierarchical pyramid is above all and any 
universal archetype of the collective unconscious by the simple fact of its supra-cosmic action 
directly influencing the cosmic space. It was precisely this primordial archetypal matrix that 
the Demiurge used to imprint order on chaos. The matter that, according to physicists, "folds" 
space is substantially decorated by the Gravis Archetype. According to Rosário: "The 
Hyperborean Wisdom calls 'gravis' both the universal archetype and the entities produced by 
it, that is, the 'gravis species'. The 'specific gravis' are the sets of 'archetypal atoms' that 
sustain and spatially drive matter, which give it 'amplitude'. The Gravis Archetype with its unity 
manifests itself in the specific gravis that underlies the whole entity: that is why in every 
concrete entity, in every material body, in every substantial thing, the Gravis Archetype is 
present as a primary substratum. But such an instance of the one in the multiple cannot be 
given in any other way than as a participation: the material entities
participam da enteléquia gravis o, com outras palavras: em todo ente está presente a 
enteléquia potencial gravis (...)" (ROSÁRIO, Nimrod de. Fundamentos da Sabedoria Hiperbórea, 
vol. II, volume II, p. 35).
This occurs because, ontically, the Gravis is materially faster than any other archetype, which 
in it participate as mere possibility (the becoming of the potential entelechy) until penetrating 
the nucleus that physicists call "gravitational field". But, warns Rosário, we are speaking in 
rigorously ontic-processual terms, which have nothing to do with the ontological essence of 
the Gravis Archetype. "The root of this high speed of response, of the 'almost instantaneous 
link' between the archetypal plane and the material plane, is that the gravis archetype can be 
reproduced by the demiurge in all the spatial extension of the macrocosm, that is, in every 
point of the universe, in a plurality of 'archetypal atoms'. These archetypal atoms are the ontic 
manifestation of the archetype gravis, the 'specific gravis' (...)" (ROSÁRIO, Nimrod de. 
Fundamentos da Sabedoria Hiperbórea, vol. II, volume II, pgs. 35 and 36).
With these considerations in mind, Rosário argues that Newton was right when he asserted 
the existence of a relationship between the mass that folds space and the gravitational force 
that confers it amplitude, since the mass, composed of archetypal atoms, participates in the 
potential entelechy of the center of gravity that, in turn, inhabits a kind of pre-spatial zone 
called transcendental time. It is from this archetypal dimension of transcendental time that, 
driven by the demiurgic design, the metric or quantitative space acquires form; this does not 
mean that the gravis archetype determines the form of space, even because one of the 
characteristics of the gravis is formal indeterminacy, which means that it only "(...) possesses a 
power to determine the form of the space"....) possesses a power that drives it to spread out 
in an evolutionary process" (ROSÁRIO, Nimrod de. Fundamentos da Sabedoria Hiperbórea, vol. 
II, tomo II, p.
36).
Newton's mistake, according to Rosário, which would be transmitted to all physicists after him, 
was the fact that he qualified the nature of this relationship between mass and gravitational 
force as a causal relationship, in which the mass would be the cause of the effect of the gravity 
field. "The reality is that, although the 'gravitational force' is mathematically related to the 
mass, it is not its 'cause', but, in turn, the mass is the concrete effect, the act, of the Gravis 
Archetype. The 'gravitational force' is, thus, the action of an archetypal power that proceeds 
from the entelechy and 'attracts' to its entelechy, which some call 'center of gravity'" 
(ROSÁRIO, Nimrod de. Fundamentos da Sabedoria Hiperbórea, vol. II, tomo II, p. 38) Dessarte, 
while Physics advocates the idea that around the Earth there is a field of gravity, the 
Hyperborean Wisdom defends that in this same place there is the act of the power of the 
Archetype gravis, which is never a complete process, but always a becoming-to be-to the 
nucleus of the potential entelechy (the center of gravity).
Leibniz's mistake lies in his monadological theory, governed by the principle of identity of 
indiscernible things (principium identitatis indiscernibilium), according to which the creator of 
the world could not create two identical things, since, if they were identical, they would be 
one.
one and the same thing. Such a principle would, according to Rosário, unconsciously limit the 
entire scope of Western epistemology and scientific thought in general. In this sense, he 
points out: "the important thing is that the Gravis theory contradicts the principle; and it does 
so because such principle is completely false. The Hyperborean Wisdom affirms that 'there 
can be two equal things' and points out as an example the potential entelechies of external 
entities, their indiscernible nuclei, or the 'centers of gravity' determined by the Gravis 
Archetype" (ROSÁRIO, Nimrod de. Fundamentos da Sabedoria Hiperbórea, vol II, tomo II, p. 
38) What underlies this Rosário's position in the face of Leibniz's monadology is the 
"indiscernible point", which can be explained more easily through an example given by the 
author himself: if we imagine an oca sphere, whose center of gravity cannot be abstracted by 
means of any specific point of gross matter, we would be forced to search in the extra-cosmic 
dimension of transcendental time - that is to say, outside cosmic space - for the process of the 
entity towards an ideal of perfectibility that will culminate in the center of gravity, or the 
gravis archetype.
The process itself always acts in the power of the gravis as a becoming, which is why it is 
completely hidden from the spectrum of the external observer. The entelechy would be, 
therefore, "the future aspect of the gravis archetype. What can be expected then, from the 
'center of gravity', according to the Hyperborean Wisdom? An indiscernible point, so to speak, a 
point that contradicts Leibniz's principium identitatis indiscernibilium. This occurs because the 
entelechy, as the final perfection of the archetype, is the archetype itself: FROM THE 
ENTELECHY, THE GRAVIS POMOVES A PROCESS THAT CANNOT INTERRUPT ITSELF AND THAT 
GOES FROM THE POTENTIALITY
(gravitational field) ATÉ A ENTELÉQUIA (center of gravity) QUE ESTÁ NO FUTURO; SU TAL 
CAMINHO PROCESSUAL ABRE UMA BRECHA NO ESPAÇO, O 'DISTORCE', PRODUZINDO UM
TOPOLOGICAL CONTACT BETWEEN DIFFERENT PLANES. Strictly speaking, what happens in the 
'indiscernible point' is that the entelechy 'regenerates' a point of space by transforming it into 
time; it 'elevates' it, if you will". (ROSÁRIO, Nimrod de. Fundamentos da Sabedoria 
Hiperbórea, vol. II, tomo II, p. 40) There would be, then, spatial coincidence between the 
gravitational field of the power and the center of gravity of the entelechy, but not temporal 
coincidence, as Rosário concludes, because the "time" that sediates this process is not the 
chronological, conventional time, but the transcendental time.
It follows, from all the considerations expressed in this topic, that space is as if it were a 
secondary dimension, or, in the words of Rosáro, a "second degree of transcendent time", 
insofar as it only manifests itself if it is in relation to matter, that is to say, if matter is the cause 
of which space is the effect, and if, as we observe, matter participates in the process of the 
Gravis Archetype without being able to escape its "shaping power" and the operationality of 
this process is given in transcendent time, we have that "(...) space is the cause of the 
transcendent time"....) space is CAUSED by transcendent time through the matter organized by 
gravis" (ROSÁRIO, Nimrod de. Fundamentos da Sabedoria Hiperbórea, vol. II, tomo II, p. 39) The 
gravis is, therefore, the primordial archetype, conditio sine qua non of the spatial manifestation 
of the other universal archetypes of the collective unconscious.
Fine Considerations:
From all the above, it is concluded that the Hyperborean Archetypes of the collective 
unconscious can only be accessed by the awakened virya, the Aryan spirit confined to the 
gross matter of the animal-human by the Platonic Demiurge when the world is created from 
the Gravis Archetype, from whose entelechy or center of gravity the material entity 
participates in a potential way, as a vir-a-ser in the Law of the Eternal Return. All the other 
Archetypes (the Hero, the Chief, the Mountain and the Valkyrie) flow through the ultra-cosmic 
dimension of transcendent time, where, as recorded, occurs the processual unfolding of the 
liberation of the pure spirit from the autonomous sphere of the microcosm to the collective 
sphere of the macrocosm. The eschatological battle traversed between the hyperborean 
forces of the Golden Age of humanity and the demiurgic influences that in the twilight of the 
Satya Yuga made the Orphic Ovo to become extinct, banishing the deuses of the Ultima Thule 
from this profane dimension, has been occurring since the beginning of time, in such a way 
that, upon leaving this plane of existence, its martyrs are "snatched" in the direction of 
eternity, to the kingdom of Agharta.
Special Thanks:
To comrades Raphael Machado, Uriel Irigaray and Elias Fregonezi (for the bibliographical 
references), Maurício Oltamari (for the clarifications provided about Serrano and Rosário) and 
Arthur Nasguewitz (for the discussions on Nordic mythology), without whom this article 
would not have been written.
NOTES:
[1] EVOLA, Julius. Revolta Contra o Mundo Moderno, p. 255 á 260.
[2] The idea that Hitler was the last Avatar is only one of several conceptions of reality. Besides 
this, we have, for example, Alexandr Dugin's in Russia: The Mystery of Eurasia, where the 
author supports the idea that the Russians are still waiting for the advent of the Hyperborean 
Hero - the Russian Avatar - in the following terms: "the hyperborean gnosis of Holy Russia, in 
complete harmony with the orthodox soteriology, knew the necessary arrival of the dark 
times, knew the existence of the Dragon of the 'Black Sea' and previous the advance of the 
cosmic half-noite, of the cosmic winter. But even knowing it, the Russian conscience possessed 
the absolute conviction that it would be precisely in those moments of apparent victory of the 
'meridionic' and demonic forces when from the spiritual and invisible center of Tradition 
would arrive the Heavenly Hero, the Savior, the true Tsar and Lord of the Sacred Cosmos, of 
the Sevenfold Circle, the Pantocrator, the 'Almighty Lord'. And today Russia is in a mysterious 
wait for the Millennium, the Millennium of the New Year, the almost impossible Victory of the 
Great Sun over the dark force of the Antichrist. In correspondence with the laws of its own 
sacred geography, the Russian soul believes that the savior of Russia will be a Russian Savior, a 
hyperborean Avatar who will manifest himself in the heart of the Sacred Homeland, in the 
Heart of Gold of Russia and who will come as a Knight mounted on a white horse, as a Hero, as 
a
a Bogatir, as the Ressuscitated and, at the same time, the Eternal and powerful Son of the 
Absolute God". (DUGIN, Alexandr, Russia: The Mystery of Eurasia, p. 99).