Camus, The Rebel, Dostoevsky, the Tower of Babel & the European Parliament

A very important and interesting work is The Rebel by Albert Camus in which he describes the great revolutions of the 19th century onwards as stemming from at source metaphysical rebellion, ie rejection of reality as being intrinsically unjust. Which of course is insane; how can one rebel against oneself, since to be alive is to be an inextricable part of reality. The metaphysical rebellion here is not against an unjust God, but simply against a concept of their own minds, necessarily limited by their own egotistical concept of themselves. God to them is merely a bigger ego.
The book is a key one, but Camus is himself not entirely free of the mindset and phenomena he analyses. For example, he fails to realise that Dostoevsky, with a character like Ivan Karamazov, isn't presenting this rebellion as a sane justified stance towards reality, but as an infection of Ivan's being by a diseased concept, and indeed as the novel progresses when Ivan finds himself pushed into an intensified immersion in reality, he finds that his personality threatens to break down under the strain of his false ideological constraints.
Camus' standpoint is a curious mix of far-sightedness and myopia; he doesn't quite seem to understand that in mythic-cultural terms with metaphysical rebellion we are clearly in the area of the satanic position regarding one's attitude to reality.

This is obviously a very brief look at Camus' great book, but in the light of Camus' easily justified, but superficially surprising, assertion of metaphysical rebellion as the great ideological mover in history of the last few centuries, it is interesting to take a look at the design of the European Parliament at Strasbourg. Its design is based on a replication of the Tower of Babel from Breughel's famous painting. The Tower of Babel where man attempted to topple God- "And they said, Go to, let us build us a city and a tower, whose top may reach unto heaven." First showing the Strasbourg building and then a superimposition of Breughel's painting over the building.


And to leave one in no doubt as to the truth of this, an official poster by the EU below. The stars are shown as inverted pentagrams, which are used as an occult symbol within Satanism.
Why in the world would the EU be celebrating and modelling its aspirations on a former doomed attempt, mythical or not, to overthrow the divine from the throne of reality- regardless of what one's views are of the existence of the divine.