“The first Whig was the devil.” – Samuel Johnson
“The left is a collection of those who blame society for nature’s shabby treatment of them.” – Nicolás Gómez Dávila
It is worth noting that contemporary social justice warriors would, in more noble and civilized times, be considered archetypal evil villains.
The average social justice warrior, indeed any radical leftist really, is driven at his core by resentment, generally against those perceived to have some sort of ‘unfair’ privilege, and fueled by his own feelings of inadequacy.
Thus we see obese women shouting body positivity and demanding to be called beautiful, misanthropic feminists decrying a patriarchy that exists only in their minds, and a socio-political environment that is increasingly and openly hostile to white people in general.
That these hate-filled, green-eyed, would-be revolutionaries are seen as harmless by some and lauded by others is indicative of just how far society has fallen, and the extent to which a man with a functioning moral compass is a rarity in this day and age. Traditionally, however, SJW-types and the evil of which they are capable were precisely whom our tales, fables, legends, and stories warned against.
Johnson called Lucifer the first Whig, but first social justice warrior works just as well. Envious of ‘human privilege’, Satan sought to challenge God’s rightful authority and desired to corrupt his creation. All revolutionary and social justice movements follow that basic pattern.
Other than the story of Lucifer and his fall itself, the works of Shakespeare also provide good example of this danger. Consider the fictional Richard III, deformed and greedy, or Shylock, foreign and envious. Even classic fairytale baddies have a familiar social justice bent — think ugly stepsisters or witches (old, unmarried women who are into the occult and killing children — i.e. modern feminists). There is an evident pattern here.
Traditional villains are frequently motivated by clear social-justice-like tendencies — a jealousy or sense of unfairness (‘who is the fairest of them all?’), a desire to make the world a better place or construct a utopia, hatred of God, or mere greed.
Dávila noted that ‘hierarchies are heavenly. In hell all are equal.’ Thus do we find a fundamental — if not the fundamental — distinction between classic literary good and evil: the good defends society’s heavenly hierarchy, the bad wishes to tear it down.
And so, whilst villains traditionally embodied the characteristics of contemporary social justice warriors, the heroes who fought them were the very embodiment of everything which the modern social justice left despises — white, male, wellborn, and Christian. Think Arthur, Beowulf, etc. Indeed the classic Western hero is very much the knight in shining armour.
Thus, the classic Western hero is inherently linked to the classic Western social order; agricultural in nature, feudal in character, orthodox in spirit. A culture’s myths and tales reflect its fundamental values, and as the moral and theological foundation of Western civilization was subverted so too were its fictional villains.
Before that Luciferian revolution called the Enlightenment, the noble-born warrior slew the monster — afterwards he became the monster. Consider Stoker’s Dracula; the villain — Count Dracula — is a nobleman from an ancient family who quite literally survives by feeding off of the blood of the local peasantry. His enemies and ultimate vanquishers consist of Jonathan Harker, a lawyer, Van Helsing, a doctor and professor, John Seward, also a doctor, and Quincy Morris, a nouveau riche American: the bourgeoisie.
But despite the clear distaste for the traditional Western social order, at least Stoker promoted to a certain extent the traditional Western moral order; Dracula, though an anti-aristocratic caricature, is nevertheless evil and anti-Christian.
Alas, those of us in contemporary times are aren’t even afforded that simple luxury. There is little space for the struggle between good and evil in today’s fiction, most of which is Cultural Marxist propaganda masquerading as entertainment.
The tales we as a culture and society tell are important, and our civilization’s tales of old call to us, a chorus of voices warning against those who wish to change their world or unseat their social superiors. We should have listened.