The final chapter of the Red Pill is the realization that our ancestors were right to practice early marriage for women. While it is good for women to remain celibate, if they cannot contain, it is better for them to marry at a young age than to burn, and it is wicked and evil to prevent them from marrying. Artificial age restrictions on marriage are immoral, unjust, and ungodly.
Whether of the Dark Enlightenment or the Manosphere, the Red Pill represents truth over the false demons of Equality, Progress and Enlightenment. However, the Red Pill is also an allegory of the spiritual struggle involved with seeking answers, as the further one descends into its chapters the more one wanders off the Overton Window into the abyss of ideological alienation.
This discomfort is the result of a corrupted culture, the distorted behaviors, values, beliefs, and symbols that our current regime inculcates in its subjects through its control of the microphone, thus allowing it to create an official artificial reality. While it is becoming common knowledge that Marie Antoinette never said, “let them eat cake,” it is far less known that Uncle Tom never existed (Harriet Beecher Stowe invented him in Maine), Marie Curie was a respectable but otherwise unnoteworthy scientist (no one can name the man who discovered Radon, a far more important element than Radium), and that Amelia Earhart was carried across the Atlantic by a man. When Leftism cannot find something to distort, Leftism will invent; the evil slave trader in “Django Unchained,” the noble bugger in “Philadelphia,” and the woman genius in “The Queen’s Gambit” are some of countless examples. As such, taking the Red Pill is like climbing out of Plato’s cave, with the shadows off the wall having a more literal meaning.
Leftism will demonize moral behavior by associating good with evil. According to the shadows off the wall, supposedly one hates negroes because magical, women because wonderful, and gays because so stylish. “Child marriage” is also a distortion, a cultural idée fixe comparable to the evil Nazi, the exploitative sweatshop owner, the drunken wife-beater, or the sadistic slave owner. The goal of Leftist propaganda is to trick the audience into confusing its target with wickedness by association, that loving one’s nation means killing Jews, that owning a business means exploiting workers, that having a traditional marriage means abusing one’s wife, et cetera. The contemporary cultural impression of early marriage originates from Vladimir Nabokov’s Lolita, a story about a man who marries a woman in order to abuse his stepdaughter. Nabokov conflates fornication and lying with a woman and her daughter, both wicked sins, with early marriage for women, when what Humbert did would have been just as evil whether or not Lolita had been six years older.
If one has taken the Red Pill without vomiting it purple, the cultural conceptions of Leftism will be revealed to him as no more than fixations designed to cover for immoral acts. Is it any wonder then, that those who decry “child marriage” are also the most enthusiastic about spreading abortion, birth control, pornography, and decadence to every corner of the globe? Is it any wonder then, that those who fixate on “child marriage” are those most dedicated to the cause of providing sex education in the interest of turning every young woman in the world whore through the feminist life plan? The obsession with “marriageable age” and “consent” is nothing more than a pretension to mask an evil intent. Should Leftism find the existence of sunflowers as a threat to its Gnostic eschaton, we would conflate sunflowers with manure. However, no amount of propaganda can stop someone, should he find a sunflower in the field, from finding it beautiful.
It is surprising how something like Violet Evergarden (2018) could be created in this age, or perhaps it should not considering this came from a country which only fell under Leftism as a result of military defeat less than a century ago, but the show’s fifth episode portrays early marriage for women in a positive light away from the corrupting influence of contemporary Progressive culture. On the request of the military, our heroine Violet is sent to the kingdom of Drossel in order to write a public love letter correspondence for its teenage princess, Charlotte, to Damian, the prince of the neighboring kingdom of Flugel. The episode stands on its own, independent of the show as a whole, standing as a sunflower in a field independent of the shadows off the wall.
Link as follows: aniwave.to/watch/violet-evergarden.mymp/ep-5
In conclusion, while this little animation from across the world perhaps cannot stand on its own against the endless filth of Progressive media, perhaps you, dear reader, may find it beautiful for yourself. Can one look at the romance between Charlotte and Damian as anything other than cute and wholesome?
