Quadra Sent Him and Trinity Too 2

By Their Fruits

Shakespeare's Tempest returns in the Opening Ceremony of the Paralympics, which featured Prospero's daughter Miranda. Readers of this blog will recall that Miranda was corresponded to Miranda Tate of Dark Knight Rises, the alias of Talia Ghul and the lover of the Caliban-like Bane. In this ceremony, Prospero is played by Ian McKellan, an actor perhaps best known for his role of Gandalf in The Lord of the Rings. Gandalf, Prospero and Dee are all variations on the wizard archetype which first enters British literature in the figure of Merlin. Miranda is at once daughter and disciple of this wizard figure.

 

Miranda is on a journey of "Enlightenment," and this is the title of the Opening Ceremony. A real life "wizard"appears centrally in the cyborg-like form of Stephen Hawking. The Paralympic Games, in one sense, are the celebration of the cyborg. As things progress and technology increasingly comes to dominate sports and physical enhancement, we can expect that in the future the Olympics and Paralympics will merge into one Cyborg Games. This may be where Miranda's "enlightenment" is taking her.

This would seem to foresee a future dominated by science, technology and the precise programming of all aspects of life. Surprisingly, though, Hawking the atheist wizard asks,

Even if we do find a complete theory of everything, it is just a set of rules and equations. What is it that breathes fire into the equations and makes a universe for them to describe?

There are the programming, deterministic equations and then there is the creative Fire that breathes into them. Is this Fire the real enlightenment that Miranda seeks? This recalls Dante's arrival on the summit of Mount Purgatory. After passing through the flames of physical lust and desire and as Dante is about to join in the Fire of consummation with Beatrice, his guide Virgil, the poet of rationality, informs Dante that he can no longer lead. Dante has reached the Fire beyond the Equations and is now ready to ascend to the stars. Is this what Hawking is saying?

Miranda is directed by her father to venture through the maze --  the same labyrinth discussed in a previous post of this blog. Eventually her enlightenment is attained by the biting of the Golden Apple. Symbolically this is the same Apple, mentioned previously, that was in Eden and in the Garden of the Hesperides. 

 
There are three versions of the Fall involving the Apple in the Western tradition. The best known is the Fall in Eden, at the summit of Purgatory. The second is the Fall that eventually sparked off the age-turning war at Troy. And the final Fall is Newton's Apple.

Hawking also represents the physicist/alchemist Newton. With the fall of this apple, according to the myth, Newton "discovered" the Law of Gravity. In a sense, this Fall represents the end of levity and enchantment in the world. It begins the grave reign of Law, Quantity and the Equations. For a couple of centuries the primal Fire was forgotten, hidden and suppressed. Prospero's renunciation of magic and the casting of his wand into the sea represents this Fall of disenchantment at the end of the Tempest.

 

When Miranda bites this Apple she ritually reenacts the Fall in all three variations of the story. And not only her. The tens of thousands of members of the audience were also invited to bite on an apple, given to them as they were seated, as she did. We all became Eve and celebrated the Fall together. Very heavy indeed.

Two other symbols dominated the Opening Ceremony. Perhaps the most obvious was the Umbrella, which was also featured in previous Olympic ceremonies, and in the Opening was shown as the World Mountain -- taking the place occupied by the Glastonbury Tor and the Great Wheel during the Olympic ceremonies. Much has already been written on the net about this umbrella symbolism so I'll leave this to others.

The second symbol is the full moon which is raised on a column throughout the ceremony. This conforms well to the analysis in a prior entry of this blog. The opening and closing ceremonies of the Paralympic Games once again reenact the passage from the Moon to the Sun, as depicted in Cards 18 and 19 of Crowley's Thoth tarot deck. Miranda's journey is the traditional, mystic, sub-lunar journey which ends, upon biting the apple, with the marriage of the Sun and Moon.

Root and Branch, Tooth and Claw

If the Opening Ceremony is ruled by the Moon then the Closing Ceremony is all about the Sun. The centre mandala now becomes the sun dial. The ceremony is called "The Festival of the Flame," and the flame would appear to be Hawking's fire which breathes into the equations. It is the Fire of consummation which reverses the Fall, transforming gravity to levity, at the site of the Earthly Paradise.

The ceremony kicks off with an open Druidic solar invocation for the four seasons -- blatant, in-your-face Paganism. What did the Christians think of this? This was followed by a mostly musical presentation, featuring Coldplay, but packed with drama and imagery depicting the Sun's journey through the seasons.

We are introduced to the principal God of the ceremony -- the presiding deity over the whole of London 2012 and represented as the phoenix in the closing of the Olympics. He is the "Sun King," the Green Man, and his imagery also contains the coiling dual serpents of the Caduceus, the Tree of Life and in DNA. He is Apollo and it was he who was invoked in the lighting of the Torch in Greece back in May. At last he is revealed radiant in flames. In this iconic image a man and a woman, our original parents, behold the fiery God.

 

The spirit of the Sun King is also depicted by nineteen "fireflies" which take flight within the stadium. Why nineteen? Could it have anything to do with Card 19, the Sun? Crop circles are burned into the ground during the ceremony and part of the stage becomes a vast circular sigil, which web research has shown to most closely resemble a magical Icelandic sign that bestows invisibility -- an ironic sign to display to millions across the globe.

 

Perhaps intentionally, though, this more than anything else sheds light on a key purpose for the entire London 2012 series of rituals -- not to make the visible invisible, but the reverse. 2012 is the start of the 108-year cycle to bring what was hidden out into the light. What was restricted to small occult and artistic circles in the past century is now mainstream and primetime.

To close off the age, however, is not as simple as conducting a series of rituals. Many researchers were confused, and some almost perversely disappointed, that no "events" took place during the whole of London 2012. All indications seemed at least to point to a false flag attack, if not a real or staged alien invasion. Instead, everything went off without a hitch. What happened?

One other large reason for the blatant display of occult symbolism, and the promotion of the idea that security was lax, was to attract as much and as varied attention as possible. This the organizers achieved. Maybe nothing was "scheduled" to occur during the Games. Maybe all of these rituals of 2012, which for the London Games really stretched back to the Torch Relay in May and in a wider sense began with Madonna's Superbowl ritual coinciding with Imbolc, were to ensure the success of what would follow.

The Garden Harvest

Just two days after the final conclusion of London 2012 the "events" began -- on 9/11. The US Embassy at Benghazi, Libya was attacked and its ambassador was killed and dragged through the streets by the mob. This was the first time an acting US ambassador has been killed since 1979 -- significantly 33 years ago in Afghanistan. Embassy attacks also took place in Cairo and violent protests spread throughout Muslim countries and around the world.

                                      All of this happened, so the story goes, in response to the Youtube release of a cheesy and repugnant video promo which intentionally blasphemed the prophet Mohammed. This was produced by a man with the imbecilic psuedonym of Sam Becile.  It's not the intention here to get caught up in the many largely staged debates swirling around these events, nor is the purpose to analyse this as an "operation." The main point is that while much of 2012 has been relatively quiet, compared to the roiling chaos of recent years, things are once again in full swing.

It is no mistake that things began once again on 9/11. It is also no mistake that the focal point was Benghazi. Benghazi has traditionally been associated as the site of the mythical garden of the Hesperides. We witnessed the Golden Apple of the Hesperides during London 2012 -- the very apple that led to the Trojan War. Now, at the site of this Garden a new war may be beginning. Is this intended as a further Fall before a final fiery Redemption? 

Web researchers have noted that Sept. 11th, 2012, significantly eleven years after the original 9/11, also fell on a Tuesday -- a day dedicated to the God of War. Eleven years before 9/11, September 11, 1990, was also a Tuesday and it was the day George H. W. Bush gave his famous, 33-minute-long, New World Order speech to Congress. A pattern is certainly evident here, at least to feverish minds.

The Cursed Play

September 11th, 2011 marked the 10th anniversary of the attacks and provided the occasion for an important ceremony, and another colourful strand in the pattern. The Guardian provided a great timeline of the day's events. There were three main speakers; Obama, Bush and Mayor Bloomberg. It is what they said that I want to examine.

Bloomberg starts the proceedings, speaks for a bit, and calls for a minute of silence at 8:46 when the first tower was struck. Next Obama speaks:

Obama reads the entirety of Psalm 46 which emphasizes the fact that God is with us even in the darkest of times. Many people commented on how ominous this text is. It discusses earthquakes, the earth melting, war, etc. It sounds like the end of the world. Definitely this is a weird text to read for such an occasion, but beyond this surface level things get even weirder.

The original King James version of the chapter can be found here. Digging a little deeper we find that this 46th chapter has always been mysterious. If you start with the first word "God" and count 46 words you will come to "shake." Then, if you start with the last word "refuge" and count back 46 words you will come to "spear." Together we get shake-spear or Shakespeare.



For decades researchers have been seriously convinced that this Psalm points to the secret authorship of the King James Bible -- perhaps Shakespeare himself or at least Francis Bacon, who was according to some the chief editor of the translation project, writing as "Shakespeare."

Whether or not Shakespeare and/or Bacon were involved in translating the Bible is not really important here. It is clear in any case that whoever translated the text seems to have intentionally arranged this. And regardless, Obama and/or his handlers would have been well aware of the controversy surrounding this chapter as they selected it specifically to be read on this most important day.

Were they trying to subtly point out that 9/11 also has a secret authorship?

Obama's speech actually uses a different version of Psalm 46. "Shake" is still the 46th word from the start, but "spear" is the 45th from the end. To my mind this doesn't matter significantly. It is what the chapter represents that is important.

In seeming recognition of his connection with Psalm 46, at the Holy Trinity Church in Stratford-upon-Avon, the church where Shakespeare is entombed, on display under glass is an original edition of the 1611 King James Bible which is uncannily opened to Psalm 46.





Shakespeare was himself 46 at the start of 1611, and this year was also when he published the last play he wrote alone, The Tempest. 2011, when Obama made his speech, was the 400th anniversary of both the King James Bible and the Tempest.  It's also interesting that older English translations of the Bible include the word "tempest" in the same verse with "shake."

3 Though the waters thereof rage and swell: and though the mountains shake at the tempest of the same.

Another strange thing about Psalm 46, regardless of the version, is that it is the 666th chapter of the Bible if we count back from the last chapter, Revelations 22. This can be easily verified. 666, according to certain researchers, was another code for Bacon, but in any case it is a ominous number to associate with 9/11.

So if we follow all of this, Obama's speech appears to subtly point to Shakespeare. But does Shakespeare have anything to do with the 9/11 ceremony? It seems so. The Guardian's timeline notes that right after the president spoke Bloomberg returned to the stage:

The mayor uses a quote from Shakespeare's Macbeth – "Let us not measure our sorrow by their worth, for then it will have no end."

So now we know which Shakespeare play the hidden authors of the ceremony had in mind -- Macbeth. Why? The next and last dignitary speech comes from Bush and this might provide some sort of an answer:

Bush's speech appears to be a pretty straightforward and appropriate comparison of Lincoln giving thanks to a mother for the sacrifice of her sons to the republic, and the sacrifice of those who died on 9/11. But is there any connection between Macbeth and Lincoln? With just a bit of research we find out immediately that yes there is a huge connection.

Macbeth was Lincoln's favourite play. He constantly read and quoted from it and, famously, five days before he was assassinated he read out a passage from the play to a group of people on a ship. The passage concerns the assassination of Duncan. This event, and his subsequent killing, added to the reputation of Macbeth as a cursed play. At the time, Lincoln's connection to Macbeth was so well known that Macbeth quotes even appear with drawn depictions of the assassination.



This means that in the same 9/11 ceremony, the 10th and most important yet, we get Psalm 46 and its end of the world vision, pointing to hidden authorship and Shakespeare (the 46th Superbowl may also factor into this). Then, the pertinent Shakespeare work is identified as the "cursed play," Macbeth, and this is finally tied together with the Civil War, Lincoln and his assassination. What is all this implying? Does this finely intertwined set of symbolic references point towards some future occurrence or is this just another set of patterns helping to reveal a reality almost beyond comprehension?

And, to bring it to almost full circle, Obama gave a speech in 2009 in which he mentioned Macbeth. The speech was given at Ford's Theater -- the place where Lincoln was shot.

Arose Across Along The

Joseph Campbell brings attention to another connection with 432. If this number of the Yuga cycle is divided by 4, for the 4 Yugas or Ages, we get 108. As discussed in this blog before, it is exactly 108 years since the start of the Age of Horus in 1904 to 2012. This is the period of transition between active periods according to the Rosicrucians. It is the degree and a half between the Age of Pisces and The Age of Aquarius.

It's extremely fascinating, then, to find out that according to certain of Bacon's biographers that the mage founded the first open Rosicrucian lodge in 1580 -- 432 years, or four 108 year cycles, before 2012!

From his understanding of the secret information he had learned during his initiation into the Knights Templar, he conceived the idea of reactivating various Secret Societies and in 1580 founded the secret Rosicrosse Literary Society in Gray’s Inn.

There also seems to be a direct connection of Bacon to The Tempest. According to one researcher, Bacon "signed" his name in code in the last word of the play -- "free." The simple count of both "free" and "Bacon" is 33, while the reverse count of "free" and "Francis" is 67. This is a perfect sign off to Shakespeare's last play -- concluding a speech where Prospero begs the audience to set him free.

Is Shakespeare really Bacon? This is yet another question to leave open. To answer is to limit. As in Finnegans Wake, Bacon the rationalist and Shakespeare the poet are just another set of Hero Twins, the brothers Lucifer and Jesus, returning to spin the wheel again.

Concrescence

And to tie this whole mess back to 432, here's one final coincidence. If we happen to add 432 days to the 10th anniversary of 9/11 last year, a ceremony of uncanny symbolic coherence and weirdness, we come to November 16th, 2012. Is there anything special about this date?

For myself, this calculation blew me away because Nov. 16, 2012 is the original end date that Terence McKenna posited for his Timewave Zero before he synched it with the Mayan calendar endpoint of Dec. 21st. He gave a few November dates at different times, and his calculation might be off, but this I think is the day he favoured as it would have also been Terence's 66th birthday. He discusses this date in the following clip:

By studying the myths of all cultures regarding the shifting of previous Ages, and prophecies for the present shift, we can find valuable symbols and concepts. The appearance of the Hero Twins, the descent into and surfacing of the underworld, the revelation of the New Jerusalem, the crossing of the Abyss, the Rainbow Bridge, the final battle, and key numbers like 432 all return at these points of climax within the cycle. To grasp all of this simultaneously, as one complete vision, is to crack the Matrix.

We always keep in mind that these symbols and rituals are never entirely good or evil. To be effective they must contain all phases of the cycle at once. As in Finnegans Wake, the River Liffey is at once the pure and sparkling streams of the mountain headwaters, the sluggish, brown estuary washing out all of the mire and filth of Dirty Dublin (in Joyce's day), and the rain-laden sea clouds. To become attached to, or afraid of, only one part or meaning of the cycle or symbol without seeing the whole is to suffer.

Dee's hieroglyph represents the whole of being, both macro and microcosm. This can be applied to every hieroglyph. The cipher always stands for the whole of being, even if it only consists of one triangle, the simplest and most frequently used figure. -- Dietrich Donat

Quadra Sent Him and Trinity Too 1

432 is a number that has kept showing itself over the last year and it seems to be intrinsically related to topics covered in this blog. Recently a piece on 432 was posted on the excellent Sync Netz blog, and in April another entry on 432 appeared in another favourite blog, The Building Roam. Prior to seeing these, I had already began to ponder this number with some fellow researchers. The net itself is pretty filled with talk on 432. Why? I'd like to add to this discussion.

The last post laid out the "method" of this blog -- the attempt to connect all things symbolically into one vast tapestry of correspondences that can be wholly grasped in a single instant. No need for modesty here! So this is where I'll start with 432 (and 4 and 32). I will try to bring in as many elements as possible in the attempt to create a whole picture, a gestalt, that vividly emerges from the fractured and alienating nightmare of modernity.

 

Walking on Shells

We can begin the ride back at the Madonna Superbowl ritual on the 5th of February. Much has already been written about this on the net, (including its possible sinister connections with the Queen's Diamond Jubilee starting on Feb. 6th and the death of Whitney Houston on the 11th), so this post will only cover the central symbolism involving 432.

During the halftime show of the 46th Superbowl, Madonna as Isis/Ishtar/Esther makes her entrance held aloft by a phalanx of Roman/Egyptian/Babylonian centurions seated on a golden throne with the glyph for her MDNA album displayed on it. The A of MDNA is at the top. This provides the clue.



MDNA in simple English numerology is 13+4+14+1, four numbers that sum to 32. 32 is the number of paths on the Tree of Life. MDNA describes a journey, across the Abyss, on the central pillar of the Tree of Life. It begins on the 13th path of the High Priestess, crosses the 4 at Da'at (beginning with the fourth letter Daleth or Delta -- the door), intersects the 14th path (14=N) between Binah and Chokmah, and finally reaches the Aleph at the crown of Kether. From here it is possible to merge into the Ain Soph -- the 33, or 32+1.



Madonna's serious involvement with the Kabbalah is a matter of common knowledge. She is a high-ranking member of the controversial Kabbalah Centre, and the symbolism of MDNA would certainly be known to her. Among traditional Kabbalah practitioners, however, the teachings of the Centre, and the actions of its celebrity followers like Madonna, are highly unorthodox. Here is a statement from one Rabbi about Madonna's practices:

I personally do not know Madonna and therefore, I do not wish to cast aspersions on her that she intentionally and willingly wishes to act with sacrilege against the holy Torah and the sacred Kabbalah. That would be anti-Semitic and I do not believe that Madonna is an anti-Semite. I cannot tell you why Madonna presented herself as having a tattoo of a holy Name on her shoulder, wrapped herself with mock tefillin straps, and made use a Holy Name in a most unholy fashion (in a rock music video).

The challenging of orthodoxy can sometimes be a good thing, but in the case of this and many other very public rituals it appears that traditional rites are intentionally inverted. Even Crowley warned about attempting to cross the Abyss with one's ego firmly intact. Instead one must become "no man" or "nemo." If the public rituals are attempts to signify and thus direct the collective passage across the Abyss, the thing most noticed is the complete glorification of the ego and its materialist aims.

Within the tradition of the Kabbalah, these aims can be acquired through magical work with the Qliphoth, the Shadow of the Tree of Life. These rituals are very powerful, but they are systematic inversions of the real thing. Here's a bit on what occult adept Dion Fortune writes about the Qliphoth:

The Qliphoth are aptly termed the evil and averse Sephiroth, for they are not independent principles or factors in the cosmic scheme, but the unbalanced and destructive aspect of the Holy Stations themselves. There are, in fact, not two Trees, but one Tree, a Qliphah being the reverse of a coin of which the obverse is a Sephirah. Whoever uses the Tree as a magical system must perforce know the Spheres of the Qliphoth, because he has no option but to deal with them.

Are Madonna and others intentionally working with this type of magic? Do those behind the rituals realize that an egoless passage across the Abyss is an impossibility for the Masters of the Empire of Ego, and that therefore the only option they have for continued dominance is to pass through the Door in reverse? We must be wary of one-sided interpretations.

The Man in the Mountain

The Tree of Life is also representative of the body of Man. He is called Adam Kadmon in the Kabbalah, Albion in Blake, and Finn in Joyce. Each country, and the world itself, is also a higher fractal iteration of this cosmic Man. Nature itself has fallen with his Fall. Nations, then, also have this four and thirty-two structure.



Both Blake and Joyce employ the symbol of the four provinces of Ireland and the traditional 32 counties. Blake expands this out to the 32 nations (eight on each of the four continents of America, Europe, Asia and Africa) who will rule the Earth and protect liberty after the revelation of the New Jerusalem at the end of the Age.

Interestingly, there were exactly 32 nations involved in fighting World War One. This war is what most historians agree ushered in our present modern era and these 32 nations have now, through decolonization and separation, become the several score of nations making up the present UN.

The UN itself appears to be perpetuating this symbolism on its flag. 32 segments of the globe are depicted with the 33rd circle at the Pole representing Zion, the New Jerusalem. Even the blue shade of the flag is reminiscent of the Israeli flag.

Other traditions also uphold the 32 division of the cosmic Man. In Buddhist tradition the Buddha is identified by 32 signs on his body. It is also significant that these 32 signs are also found on the body of the Cakravartin, the future benevolent leader of the 4 traditional continents of the world.



In our own bodies, naturally divided into four by four limbs and also by front, back, left and right, 32 is prominent. Adults naturally have 32 teeth (upper and lower jaws, right and left side =4), and there are 32/33 vertebrae in our spine. Of course there are 32 main degrees in Freemasonry crowned by a symbolic 33rd degree. Christ was 32 or 33 when he was crucified (cross=4). etc.
  

 

The Destroyer of Worlds

4 and 32 are significant numbers in time as well as space. Connected with the spatial division of Ireland is the fact that it is the year 432 AD which traditionally begins St. Patrick's mission to Ireland. Robert Anton Wilson called Ireland "a living synchronicity, having 4 provinces divided into 32 counties and also having been converted to Christianity by St. Patrick in 432 A.D."

Modern historians have now come to doubt this date because, as Joseph Campbell points out, 432 has magical significance and may have been chosen for this reason. Campbell notes that 432 is intimately associated with the traditional reckoning of the Hindu Yuga cycle of 4,320,000 years, with 432,000 years in the present Kali Yuga.



Campbell also compares this with the tradition in the Poetic Edda of Iceland that at Ragnarok 800 warriors would emerge from the 540 doors of Odin's hall in Valhalla. This makes 432,000 warriors and matches the number of years in the Kali Yuga. Dividing the traditional 25,920 years of the precessional cycle by 60 (one Babylonian soss unit) we also get 432. The page linked here gives an excellent overview of 432's connection with precession and the shifting of the ages in various traditions.

St. Patrick is most commonly associated with his ridding Ireland of snakes. We also find this theme in many traditions. The story of Guru Rimpoche's subjugation of the demons of Tibet, which is then converted to Buddhism, is very similar. Both are variations on the dragon-slaying mythos which generally indicates the end of an age.



Similar themes are present in Homer's Iliad. This epic of the Trojan War is also about the the end of the Age of Heroes and the start of the present Age of Iron. Ages in mythology usually end with the slaying/banishment of serpents/dragons and/or a great world-destroying battle. Ragnarok, for example, has both. Ages can also end in floods or fire.

The Iliad in key ways directly parallels the Indian epic, the Mahabarata, and especially in its climax, the Bhagavad Gita. In the Iliad the hero Achilles needs convincing to join in the battle which he knows will end the age. In the Bhagavad Gita it is Krishna who convinces Arjuna to fight in a battle which ushers in this Age of Kali. Both Achilles and Arjuna are archetypes of the Cakravartin.

The pivotal point of the Gita is when Krishna reveals to Arjuna his universal form, the Vishvarupa.
 

In a modern parallel, it is exactly from this moment of climax in the Gita that Robert Oppenheimer quotes when witnessing the Trinity atomic bomb test on July 16, 1945:

Now, I am become Death, the destroyer of worlds.

The Trinity test is now held to be the start of the Atomic Age, a tighter turn of the Age of Kali spiral. Oppenheimer takes this quote from chapter 11 verse 32 of the Gita. 1132 happens to be the most recurrent, most mysterious number in Finnegans Wake, a book which RA Wilson believes predicts the atomic bomb.
 
July 16th is also significant. 25 years later the first manned mission to the Moon, Apollo 11, was launched on July 16th, 1969. 30 years later Kubrick's last film, Eyes Wide Shut, was released on July 16th, as he had intended, to mark to the anniversary of the Apollo mission. Kubrick's relation with the Apollo missions has been the cause of much speculation. On the same day in 1999, JFK Jr. died in a plane crash. It was his father's famous desire that put a man on the moon by the end of the Sixties. Why do these events all occur on July 16th?

The Islamic calendar also begins on July 16th, 622 in the Julian calendar. Some scholars say that this corresponds to the heliacal rising of Sirius, presumably in Mecca. This could easily be verified with astronomy software.

As laid out in the last post, the purpose here is to demonstrate how all things are linked together simultaneously in both time and space. 4 and 32 are key pieces to this puzzle. The body of Albion will be reformed at the end of the Age. This appears to be happening right now.

To the Fairest

The Iliad, an epic of the end of the last Age, is the story of the rise and fall of Achilles at the end of the Trojan War. We all know how the mythical Trojan War began. The goddess Eris or Discordia, crashed a party of the Gods and threw a Golden Apple with the words "To the fairest" inscribed on it into a cluster of three goddesses, Hera, Athena, and Aphrodite.



All three vainly claimed the apple for themselves and called on Zeus to judge who was the most beautiful. Zeus wisely refused to do so and demanded that Paris of Troy make the judgement. Each of the goddesses attempted to bribe Paris, but Aphrodite's offer was the best. The Love Goddess promised to grant Paris the beautiful Helen who unfortunately was already the wife of Menelaus, King of Sparta. Paris' abduction of Helen directly led to the war.

I'm most interested in the Golden Apple here. The apple was stolen by Hera from the Garden of the Hesperides. The tree was guarded by 3 or 4 nymphs and the serpent/dragon Lacon. This all has obvious resonances with the Garden of Eden story and, in this sense, the whole Trojan epic represents another version of the Fall.

The Hesperides are, in some accounts, the daughters of Hesperus, the Evening Star. Hesperus and his brother, Phosphorus the Morning Star, are later recognized as being one star, Venus or Lucifer. The nature of the snake in the garden becomes clear with this connection and definitely matches the Biblical account.



The eating of the Apple of the Garden of Eden, being the fruit of the Knowledge (Da'at) of Good and Evil, represents the passage through Da'at. The Golden Apple of the Garden of the Hesperides would also represent this. In the Greek story the Goddess (Eve) is divided into three parts -- the mother (Hera), the maiden (Athena), and the sexual temptress (Aphrodite). Paris' choice of Aphrodite clearly marks the connection of the Golden Apple with sexual Knowledge (Da'at or Gnosis).

The Snake coiled around the Tree in both myths is a version of Hesperus/Lucifer. This, of course, is also the symbol of Caduceus -- the staff of Hermes and also of Iris, the Rainbow. This symbol also appears as the spine in Kundalini yoga, and later as DNA. All of these symbols are linked and all signify the knowledge gained from generative energy.



Interestingly, the same symbols of the Sun, the Moon, the Golden Apple, and the coiling serpents were all very prominent during the opening and closing ceremonies of the Paralympic Games in London. This symbolism represented a continuation of themes presented at the Olympic Games, and it is evident that all of the ceremonies of London 2012 consisted of a powerful four-part mega-ritual designed, perhaps, to facilitate our collective passage through the Abyss.

A short note on Method

It is a good moment to briefly write about Method. It may seem too obvious to note, but this blog and the shifting community of similar blogs and researchers are not using the scientific method. We are not scientists. Perhaps we use the tools, observations, theories and metaphors of science but we apply them for our own purposes. This is a good thing. The scientific method is too limited for our project, and it actually might be a barrier to reaching our goal.



The scientific method is great for finding information that is universal, reproducible under laboratory conditions, and can be objectively and mathematically verified. Unfortunately, what we are looking at does not necessarily meet these conditions.

We are examining the interrelation of outer space and inner mind. This is inherently subjective, singular and deeply personal. Because of this our methods are also very different from those of modern science. We are a lot closer to the Medieval alchemists and Renaissance hermeticists than we are to modern scientists. Again, I think this is a good thing.

 

We begin with intuitions. These intuitions are "confirmed" by synchronicity, and through synchronicity we start to discern a pattern. This is exactly how traditional tables of magical correspondences were established. Sensitive people, likely shamans and sages, noted the synchronistic linking of certain "symbols" -- the moon and silver for example, and derived tangible effects by harnessing the power of these associations.

 

Magic grew out of similar systems of correspondences. Inner and outer patterns were not separated as they are today. Every object, every person was seen as being a reflection of the whole. In this way everything was entirely connected to everything else. This is what we are beginning to realize again.

In a sense, then, our method is exactly magic. Magic, even now, is taboo because it works. It works because, more than any other system of thought, it understands that the nature of reality is linguistic, even poetic, and through manipulation of language we can alter reality. The universe is not a vast law-bound machine. It is a dream. The shamans and magicians knew this and this is being rediscovered.

 

What the Gnostics called the Archons, the powers and principalities of this world, are able to maintain power over the world because they monopolize these magical methods. They have convinced most modern people that effective and novel knowledge can only be gained through science. Most people are not scientists, and most scientists are narrow specialists, so people resign themselves to never being able to discover anything new about the universe.

People are starting to see through this lie. Each individual is the master explorer of his or her own consciousness and encapsulated inside this consciousness is the entire cosmos. This is the primary secret that the Archons want to prevent people from knowing. If this was revealed fully their reign would immediately end.
 
An essential plank of the Archon's spell is the deception of linear time. We are conditioned to believe that C proceeds from B which in turn is caused by A. All events have immediately prior causes, and usually we are also provided with the Official Story of these causes.

What the shamans, magicians and poets realized, though, was that all times and places exist at once. Everything is simultaneous and ubiquitous. We really exist in the Eternal Now. Eternity is not infinite duration, but a singularity and a simultaneity of everything at once.



This is why our method is so radical. By making more and more connections, and most importantly by imbuing them with deeply personal meaning, we are breaking down the tyranny of linear time and causality. Once this goes all other control systems will quickly collapse in tandem.

We can get a lot of help with this Herculean task. This was also the aim of Joyce and Blake. This was also the task of all of the great epic poems from Gilgamesh onwards -- to present the entire tapestry of human imagination in one work. This is what I see that all of us are trying to accomplish.



In a sense, then, we are not trying to find some Truth that is Out There. There are no facts, as Nietzsche taught, only interpretations. In this way we differ greatly from the "Truth Movement." There is no Real Story to unveil behind transformative events like 9/11. To assert otherwise is to build yet another foundation, yet another Official Story. By attempting to do this we keep the Spell firmly intact.

These events represent immensely powerful occult workings and it is our job to prevent them from being frozen into any one interpretation. Their energies must be released by forging pathways of connection to all things. Power, both physically and symbolically, must not be monopolized. 

It has now been eleven years since 9/11, which coincidentally or not was also a Tuesday. Even now people are continuing to die in direct consequence of this event. Despite the heroic efforts of members of the Truth Movement -- which has awakened millions to the fact that the Official Story is a lie, the reigning powers seem more resolved than ever to let the entire system collapse before they reveal what really happened.

 

What realistically did we expect? Did we think that justice would be served? 9/11 is just too big, it has had too much of a historic impact, for TPTB to willingly shatter its myth.

The 9/11 Truth Movement has very similar aims and expectations to the UFO Disclosure Movement. Both hope that ultimately the system will blow the whistle on itself. This is not likely to happen. Instead, we do not have to demand or wait for a "disclosure." We already know that things are not as they are presented. Why do we need the system to admit this?

The only reason why it would do so is if it could no longer ensure its survival except in disclosing the "truth" -- in other words by trying yet another trick. Instead of waiting for this to happen, instead of letting ourselves to be spun into a tighter turn of deception, we can use our knowledge to further fragment the ruling Spell and to begin to imagine for ourselves. Let this be our aim and method.

The 108-Year Roscrucian Cycle Part Two

The previous post examined the 108-year Rosicrucian cycle as imparted by H. Spencer Lewis. This describes a system of alternating 108-year periods of open and hidden activity for Rosicrucian lodges. The post proposed that this cycle has been in effect in the years from 1904, the dawn of the Aeon of Horus, to 2012. In this year the behind-the-scenes Work of more than a century will be revealed to all.

Here, this lunatic fiction will be ballooned out even further. It will be shown that Crowley appears, either knowingly or otherwise, to have encoded the key developments of this 108-year timeframe within the 22 major arcana cards of his version of the tarot, The Book of Thoth.

While Crowley, and artist Lady Frieda Harris, altered some of the iconography and names in their deck, the basic structure, number and order of the cards highly conform to the traditional tarot. If anything, Crowley hoped to reverse some of the discrepancies and contradictions that he saw prevented the older tarot decks from fully corresponding to other occult systems like astrology, the Kabbalah, Egyptian mythology, etc. The Thoth deck, in this regard, is both modernist and traditional.

In most versions of the tarot, the 22 cards of the major arcana correspond to the 22 letters of the Hebrew alphabet, and both the cards and the alphabet can be placed on the 22 paths connecting the ten sephiroth on the Tree of Life. Certain authors also correspond the 22 trumps with the 22 chapters of The Book of Revelation.



It is well-known among occultists that the "story" of the major arcana on one level depicts an alchemical transformation of the would-be initiate. This blog will also touch upon this interpretation at some point. What is not so discussed, though, is that the sequence of 22 cards also reveals a collective and historical undertaking of the Great Work. It is surprising that this reading of The Book of Thoth is not more widespread, especially given Crowley's own preoccupation with the shifting of the ages.

This post will contend that the sequence of 22 cards in the major arcana of the Thoth deck depict the 108-year period of Great Work that will fully usher in the Aeon of Horus this year.

Bullock-Befriending Bard

The number 22, like the year 1904, is also prominent in the life and work of James Joyce. Joyce placed much significance in the fact that he was born on the Second of February -- 2/2 or 22. In addition to being the 33rd day of the year, on leap years ( and Joyce's year of birth -- 1882 -- was a leap year) there are 333 days left in the year. It was also celebrated as Imbolc in pagan Ireland, and later Christianized as St. Brigid's Day. Brigid plays a very important role in Joyce's fiction.

 

Joyce's first novel, A Portrait of the Artist as a Young Man, was first serialized on Feb. 2nd, 1914. His most celebrated novel, Ulysses, was published on his 40th birthday on Feb. 2nd, 1922 (2/2/22). The date June 16th, the setting of the novel, also sums to 22 (6+16), and both Joyce's protagonist, Stephen Dedalus, and Joyce himself were 22 years of age in 1904. Robert Anton Wilson points out in his Coincidance (a title taken from the Wake), that the first sentence of Ulysses contains 22 words the final being "crossed":

Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.

 
As several scholars have pointed out, this opening scene is really a mock mass, a theme that continues throughout Ulysses and eventually degrades into an open black mass. Joyce is consciously inverting religious tradition in order to make us all conscious of its power. Contrary to appearance, Joyce is entirely respectful of esoteric tradition and would have known well that in Jewish tradition only those 40 and over are allowed to study the Kabbalah. His final book, Finnegans Wake, is pure Kabbalah.

Both Crowley and Joyce, then, recognized the value of 22. The 22 major arcana map out the progression of this 108-year period between ages. I have not found a precise pattern in the "playing" of these cards. They are not evenly played at regular intervals during the 108 years. Instead, it appears that like in Mckenna's Timewave Zero there is an acceleration or compression towards the end of the cycle. More cards are played near the culmination of the 108 years. 

Much work needs to be done here to make this a comprehensive theory. What follows is a rough sketch that is only intended to be suggestive. At this point it is nothing more than a fictional narrative.

The Dark Mandala

The first card which is readily recognized in relation to events comes very late in the sequence. It is hoped that at some point the whole progression of 22 trumps will be matched with events that have taken place from 1904 to 2012, but at this stage I'll start with the playing of card 16, The Tower.



The iconic connection between The Tower and the attack on the World Trade Center on 9/11 was quickly noticed by many observers. The fire from above, the collapsing tower, the falling bodies, even the sinister overseeing Eye are symbols common to both.



9/11 is still a great mystery that continues to influence nearly everything on the world stage. There is no consensus as to what happened or what it ultimately meant. Even the official version of events, as is often pointed out, is a conspiracy theory and the only question is how far and how deep the conspiracy extends. It is obvious that the official U.S. 9/11 Commission was in no way interested in finding this out. The actual details will likely remain in shadow.

The greater significance of 9/11, though, is its identity as an era-changing event. While it falls late in the 108-year cycle, it is the opening pulse of the more compressed fractal iteration of 11 years. As noted in the last post, this shorter period roughly corresponds to the 11-year sunspot cycle.

In a sense, it is a major bifurcation point. It tended to push people in one of two directions. On the one hand, it provoked an even deeper entrenchment into the dualistic mindset -- "either you're with us or with the terrorists." Conspiracy theorists also did not escape this polarizing trance. The active dualism was only replaced by the "patriots" or "truth seekers" vs. the "globalists," the "NWO," or the "Illuminati." This might represent a higher turn in the spiral, but it remains mired in dualism.
 

On the other hand, 9/11 forced a smaller group of people even further down the rabbit hole. It exposed the matrix-like unreality of the entire world system. Everything is a part of the conspiracy. But beyond even the matrix is the realization that even the dreamers are a part of the dream. The Illuminati are dazzled by their own Spell. We are the Illuminati. It reminds me of Nietzsche's "History of an Error," in which he explains the interdependence of  "reality" and "appearance,"

The real world—we have done away with it: what world was left? the apparent one, perhaps? … But no! with the real world we have also done away with the apparent one!

The dualistic reality models as shown in movies like The Matrix quite naturally morph into the more complex, less certain, multi-layered models as depicted in a film like Inception. Of course these are mainstream representations. Fans of Philip K. Dick and psychedelics would have known all this long ago. With 9/11, the clear blue-sky veil of reality was irreparably rent. The door opened between the two pillars. Strange things are pouring through.

9/11 does not wholly represent the crowning act of the New World Order, a mass sacrifice and the capping of the pyramid, but instead it is a desperate gesture, a fumble and flailing to maintain illusory control. But it is also something more than this. It was, and really still is, the centre of a dark mandala of world attention.

 

It was a ritual on a global scale orchestrated more than anything, perhaps, by the process of consciousness itself.  9/11 satisfied a mass desire for something momentous to happen, something apocalyptic, something to shake us all up, something to make us face our many problems, something to get things rolling. If 9/11 did not happen we would have been forced to make it happen. Maybe we did?

Quite early on, researchers like Goro Adachi, Jake Kotze and others pointed out the "megaritual" quality of 9/11. Those deepest down the rabbit hole, addicts of the red pill, were "initiated" by this ritual and able to see the matrix beyond the matrix beyond the matrix..... Conspiracy theorists went mainstream and predictable, and synchronicity artists are now entrenched in the radical margins. 

The next card was not played for several years after 9/11. Presumably the full consequences of 9/11 had to first run their course before the next act was staged.

Following 9/11, Fear and his cohorts have had a heyday -- the War in Afghanistan, the War on Terror, the War in Iraq, multiple terrorist attacks across the globe, the deepening and darkening of the conspiracist subculture, all manner of natural disasters, multiple epidemic scares, the Patriot Act and its equivalents internationally, the steroidal expansion of the police state control grid, etc., etc. All this was an expected outgrowth of 9/11.

Higher Turn of the Spiral

The next shoe to drop, though, was economic -- the "financial  9/11" of 2008, signified most obviously by the collapse of Lehman Brothers. The world must not only be transformed geopolitically, and in terms of "security," but the entire structure of the production, distribution and consumption of wealth must be completely overhauled. All human transactions must be transformed.

The card for this is not as obvious as The Tower, as its corresponding event is not as sudden or dramatic. And whereas The Tower has almost wholly negative connotations the next trump, The Star, is much more ambiguous in its meaning. The collapse of the global economic system is undoubtedly a terrible thing, but for many it represents the end of a great evil and its demise is the sign of Hope. This is precisely the meaning of The Star.

  
We know from some of the earliest tarot decks, as in the interpretation of Antoine Court de Gébelin, that the star of Card 17 is really the Dog Star, our old friend Sirius. Crowley uniquely corresponded this card with the Hebrew letter, Daleth "the Door" -- the letter of Da'at. There is a mystery in this.

We also know that the astrological sign corresponding to this card is Aquarius, the water-bearer. The Star is the sign, for those who have eyes to see, of the coming Age of Aquarius -- the dawning of which coincides with that of the Aeon of Horus. Of her design of the Star card Frieda Harris writes,

This is built up as a design on a spiral to show the rising force of a new age. The woman holds two cups, the north and south poles of magnetic attraction. Above her a new star is rising, beneath her are the crystallising dogmas of a former Age.

The spiral represents the transcendence of Euclidean conceptions of space. Crowley writes that "It will be seen that every form of energy in this picture is spiral." In the New Aeon even our old ideas of time and space must be laid aside. Joyce repeatedly makes this same point in both Ulysses and Finnegans Wake.

The spiral appeared in the sky of Norway on Dec. 9, 2009. This is a classic NCE (Non-Consensus Event). The official story is that it was an out-of-control Russian missile, but many still believe that it was a type of UFO or an opening wormhole. A creative interpretation is that it was a "crop-circle of the sky."

Whatever it was, it brought the figure of the spiral to the conscious attention of millions. It was a living symbol of the "playing" of the Star card.  While old forms, most notably economic, are in the process of passing away a symbol, "real" or not is unimportant, of the new was revealed -- and coincidentally on the day before Obama received the Noble Peace Prize in Norway. 

The Sinister Passage

The next card in the major arcana is The Moon. This is called by Frieda Harris "the most sinister card."



Card 18 reveals the dangerous passage between the towers of death and horror. In this it reminds one most of the terrifying journey Frodo and Sam made between the towers of Minas Morgul in order to pass into the dark land of Mordor in The Lord of the Rings. As in the meaning of this card, theirs was a journey through a shadowy realm that was necessary in order to restore the light. Harris also writes,

This card represents the state of impure horror, hidden darkness which must be passed through before light can be reborn.

The Moon further represents illusion and the breaking of illusion. It is "at the brink of important change." This dangerous passage well describes our collective experience of the last year and a half. We all have had the sense, consciously or not, that the world is on the brink. We live in constant anxiety of total economic collapse as the ramifications of the 2008 crisis have not in any way resolved themselves.



In 2011, protests, riots and revolutions spread across the globe most in direct response to economic pressures. It is a mistake to conclude that these movements were in all cases fully created and/or manipulated by the elite. Obviously the intelligence agencies had their fingers in the pie -- it is their job to attempt to control events -- and we see this most in "rogue" nations like Libya and Syria.

But what of all the unrest in allied or complicit countries -- in Bahrain, in Djibouti, in Kuwait, in Israel, in Spain, in Chile, in the UK, in New York City? Was this all orchestrated as well? Or, as this blog keeps saying, is something bigger happening? Is the genuine unrest and the covert manipulation all part of a more complex pattern?

Added to the disruptions in economic and social systems are the "natural" disasters which have been afflicting much of the planet -- earthquakes, tsunamis, floods, droughts, storms of all sorts. Are the "Illuminati" the cause of all of these as well? Or, reflecting the non-divisible unity of mind and body, is the imbalance of the global brain -- planetary human civilization --  causing dis-ease within the body of the Earth? The narrow passage is also the passage along the birth canal. The scarab acts as midwife and a new Sun is about to be born.

The sign of The Moon card came with the Moon herself. On December 21, 2010 -- two years before the Mayan calendar end date -- there appeared a dramatic and rare Winter Solstice lunar eclipse. To me, the blood red Moon is as good a sign as any of the dark passage before the coming Aeon emerges brightly from the shadows for all to behold.

Here Comes The Sun

Card 19 is The Sun and the imagery of this card matches nicely with the symbolism that's been apparent in London 2012. There is good reason to suppose that this powerful trump was "played" during the Closing Ceremony.

Crowley's version of the card depicts the Sun rising over the World Mountain. The mountain is at once Mount Olympus, the Glastonbury Tor and the Mount of Purgatory.

The Closing Ceremony, while not as multi-layered and as rich in symbolism as the Opening, is certainly a ritual to mark the shifting of the ages. I won't go through every aspect of this symbolism, others have already brought much of it to light, but I'll focus on aspects of the Ceremony relating to the ongoing analysis of this blog.

With the very first act we know where we are. During the first performance by Emeli Sandé the camera takes a close-up of the truck she is singing on. The truck is wrapped, like everything else in the ceremony, with newsprint bearing headlines from the plays of Shakespeare and other works of British literature.

The first headline we notice should be familiar to the readers of this blog -- "We are such stuff as dreams are made of." This is from Prospero's famous soliloquy closing The Tempest, which was quoted at the end of a previous post. We are still in the dreamland of Purgatory. We are still on Prospero's mysterious island.

This all becomes blatant a few minutes later. The focus shifts to the middle of the stadium, the intersection point at three crosses of a huge Union Jack, where Winston Churchill emerges from the top of the Big Ben tower (note the time shown on the clock -- 9:11) and delivers the same Caliban speech as Brunel gives at the Opening Ceremony.

 

This sets up a number of symbolic parallels. The centre of the three crosses of the Union Jack, representing also the saints of Britain, is at the same "location" as the Glastonbury Tor was during the Opening Ceremony. This is the Axis Mundi. As George Michael revealed during his performance later in the evening,

Remember right now you are at the centre of the universe.

The Big Ben tower is the equivalent to the great Oak, the World Tree, which was the living portal atop of the Tor at the Opening Ceremony. We notice that while Brunel gave Caliban's speech at the base of the World Mountain now, after completing the Purgatory of the Games, Churchill/Brunel gives the same speech emerging from the "Tree" at the summit of the "Mountain."

Dante gives us our bearings here. At the top of Mount Purgatory is the Earthly Paradise, Eden. We can only return to the Garden after purging all of our sins -- transmuting selfish vices into virtues. The three crosses of the Union Jack also remind us of this -- the three X's of the XXXth Olympiad. These are the three crosses of Golgotha, another representation of the World Mountain which by tradition was the resting place of the skull of Adam.



The three crosses are also the two pillars and the veil of the Temple. The veil is torn and and we return to the Tree of the Knowledge of Good and Evil, the site of the Fall. Once again we come back to the portal of Da'at. This exactly what is being conveyed at the centre of the Olympic stadium during the Closing Ceremony of London 2012.   

This should not surprise us. This point is always where we return to at the shifting of the ages. The world is once again at the chaotic tipping point between the Fall and the Redemption. The Closing Ceremony, London 2012 in general, the entire sequence of the thirty modern Olympic Games, the "playing" of the Major Arcana exist as rituals to honour this passage in an attempt to derive power from it.

Also situated at the middle of the stadium, the intersection of the three crosses, is a familiar symbol -- the Ferris Wheel. This simulation of the obviously esoteric London Eye is either anchored to or suspended above the centre during the entire Ceremony. Why?



This is an obvious response to the original Ferris Wheel last in operation at the 1904 Olympic Games in St. Louis. The 2160 passenger capacity represents the 2160 years of an astrological age. The wheel's return to the centre of London 2012 indicates that the cycle has now closed. The wheel has turned, a new age has now begun, the 108 years of hidden activity is now complete.   

Many of the "headlines" shown may also refer to this juncture, this transition between states:

To be or not to be,
This is how the world ends,
After this is silence

We are in a moment of collective passage through the portal, through the stargate. The Ceremony contained much symbolism of this sort, too much to briefly explicate here. Many researchers have pointed out the connections of the Ceremony and the Aurora shooting -- Michael Caine, Bruce Wayne's butler in the Dark Knight trilogy, counting down to a Batman pantomime. Why was this featured? Either as synchronicity or as an intended message, the implications are pretty staggering.

We can expect more and more of these sorts of connections, and an ever increasing number of people to become aware of them. I think it is a mistake, though, to interpret these connections too hastily or too definitively. Too much is in play here and things are moving too quickly to make any final conclusions. All we can say with certainty is that the weirdness is approaching a crescendo.

Up From The Ashes

The most significant point of the entire ceremony was the extinguishing the Flame in the Olympic Cauldron. The symbolism here was absolutely mind-blowing. The Flame may have been snuffed out, but the Phoenix arose from the ashes. The transition into the New Aeon was completed.



The symbolism of the phoenix is precise -- it exemplifies the culmination of the Great Work. In The Secret Teachings of All Ages, Manly P. Hall spells this out very clearly,

Mediaeval Hermeticists regarded the phoenix as a symbol of the accomplishment of alchemical transmutation, a process equivalent to human regeneration.... to all initiates and philosophers the phoenix is the symbol of the transmutation and regeneration of the creative energy -- commonly called the accomplishment of the Great Work.

We see this reflected in the iconography of numerous alchemical prints of the Medieval and Renaissance periods. It is easy to see the parallels with the Closing Ceremony.
　
 
The Phoenix is also commonly known as the bird that rises from the ashes of its parent and former self. This symbolism is universally related with the turning of the ages. As the bird of fire returns to its nest, incinerates itself, and a new bird rises from the ashes the grand cycle is renewed. Just as the Phoenix is both an individual and a collective symbol, so the Great Work is completed on both individual and collective levels.

The length of the cycle that the Phoenix's fiery death and rebirth spans has differed in traditional accounts. While 500 years became the standard classical Greek reckoning, there is evidence of an older and much more precise Egyptian measure.

The Egyptian precursor to the Phoenix is called the Bennu, a mythical bird whose self-immolation and resurrection coincided with the Sothic cycle of 1461 years. The Sothic cycle describes the number of years, due to precession, it takes for Sirius to rise with the Sun at the same position. (It's interesting that the Wikipedia entry for this notes that, "This cycle was first noticed by Eduard Meyer in 1904...")

The Phoenix has in this way always been connected with Sirius. This blog has explored how the 70 days of the Torch Relay represented the traditional journey of Sirius through the underworld, or Duat. We also looked at how the actual heliacal rising of Sirius with the Sun over London occurred on Aug. 12th, the day of the Closing Ceremony.

The symbolism of the Phoenix, then, not only points to the heliacal rising but to the shifting of the ages. This refers to the 108-year transitional period, but also to the wider shift between the Ages of Pisces and Aquarius and possibly even greater cycles of time as the Maya calculated.

 

A Strange Loop

Many researchers and web commentators appeared almost disappointed that false flag doom did not strike London 2012. They were convinced that all signs seem to indicate this and when it did not occur they concluded that the "Illuminati" themselves promoted this false conspiracy in order to further discredit and ridicule the "Truth" movement. After "crying wolf" for so many times the "Truth" movement would be understandably entirely ignored by the public as a source of reliable information.

This whole line of analysis, this blog maintains, is misguided. The elite may have promoted these conspiracy theories, but not primarily to discredit anyone. The conspiracy theorists are already sufficiently effective at this. Instead, the promotion of the esoteric, conspiratorial dimension of London 2012 was to attract attention.

Billions of mainstream sports fans predictably tuned into the mass spectacle, but the spinners of the matrix also required a more discerning audience. They want us, esoteric researchers, to analyze their symbolism, to speculate on its meaning, and spread these theories over the web. They require the ambiance -- made legitimate because derived from "alternative" sources -- of fear and mystery that we imbue the Games with.

Perhaps we are creating the occult narrative. The masonic sorcerers require our input. This appears to be confirmed in rumours that the theme of "the green and pleasant land," etc. was inspired by Danny Boyle's perusal of conspiracy websites. Regardless of the veracity of these of rumours, we see this kind of thing everywhere.



In movies, in music videos, in concerts, in advertisements, in political campaigns, in fashion, and so on we see the same esoteric symbolism and meaning as is exposed in conspiracy sites. Are the marketing experts and trendsetters simply scouring the net for new and vital memes, realizing that occult and conspiratorial images and suggestions will get their products and clients far more widespread and close attention then conventional promotion? Are we all just unwitting and unpaid stooges in a vast viral marketing scam? Are we only auditory distortions in a giant feedback loop?

If this the case, why bother to continue with this? Why provide TPTB both the creative fodder and the attention that they so desperately crave? Once again, though, we must look beyond the obvious polarities. Are the symbols coming from esoteric researchers which are then co-opted and disseminated by advertisers hungry for attention? Or do corporations and governments intentionally use these esoteric symbols in order to derive magical influence from them, and later we researchers expose these intentions?

This is a chicken and egg question. Could it be, though, that the symbols emerge, as it were, on their own? Does the human collective unconscious, acting like a psychic planetary thermostat, cause symbols and archetypes to well up into consciousness as they are required? This is the suspicion of this blog. The 108-year cycle is much more like a pattern or a rhythm than a plan.

 The Forging of the Lapis

Sirius rises with the Sun in Leo, the House of the Sun. The Phoenix presides over the hottest dog-days of summer when Sirius doubles the power of the Sun. Representations of The Sun Card in other tarot decks directly associate it with the Phoenix, and the eight rays of the Sun are often shown in a pattern identical to the crosses of the Union Jack. There is little doubt that The Sun was played during the Closing Ceremony of London 2012.

  

The following 17th century alchemical print, reproduced in Jung's Psychology and Alchemy and titled "The Mountain of the Adepts," really encapsulates much of the symbolism behind London 2012. The Great Wheel, the London Eye, is shown here as the precessional cycle of the zodiacal ages. This reveals that the Great Work is both individual and collective.

The four elements are also the four directions, the four points of the cross, the Four Apostles, and the four kingdoms of Britain with their respective saints. The Mountain, like Purgatory and like the Glastonbury Tor, rises up from seven tiers -- depicted here as the seven stages of the alchemical process. 

 
The fiery Phoenix arises from the ashes of the consummation of the Sun and the Moon. This consummation is discussed in Dante, in Blake, and throughout the poetic and alchemical tradition. It is the hieros gamos of Dante and Beatrice, The Lamb and the Holy City, Salt and Mercury, the boy and girl dancing together on the mountain of the Sun card.

This Divine Marriage reverses the Fall of Adam and Eve, and the rise of the Phoenix signifies the new Redemption. The final forging of the Lapis, the Philosopher's Stone, is the equivalent to the return of Christ (and also Antichrist). It is also the portal of Da'at.

All symbols, to be effective, must be ambiguous. They must contain at once the entire cosmic cycle of dissolution and coagulation. They must contain day and night, summer and winter. For something to be truly Whole, as Jung continually taught, it must also integrate its Shadow. This is why we go astray when we interpret ritualized events like London 2012 as only the evil Illuminati, or as only the culmination of the Agenda to implement the full New World Order.

There is no doubt that this is a big part of what is going on. But it is not all. Just as on a fairly mainstream level we can interpret the Olympics in two opposing ways -- idealistically as the coming together of all nations in a celebration of human excellence, or cynically as an orgy of nationalism and corporate consumerism only made possible with the implementation of a temporary police state -- esoterically we can also take two perspectives.

Was London transformed into Zion? The green and pleasant land of the opening was by the closing a Union Jack highway intersection. No obvious transcendence there. But it, like 9/11, was also the centre of a planetary mandala of attention -- a mandala that even sucked in hardened and cynical researchers like myself. We also played our role. And that was the point. The Sun card was played and the Ages are completing their shift.

There are only two cards left to complete the 108-year cycle which we can expect to see played by the end of this year. The first will be The Aeon, when the new age is definitively announced, and The Universe is last, when the completion of cycle merges into the completion of all cycles. And with The Universe comes the return of the Woman and the Snake.

   

Postscript One Hundred and Eight

In a cosmic giggle-type confirmation of these blog posts a crop circle appeared in England on Aug. 26th, probably the most stunning of the entire season, featuring a huge circle with a three dimensional cube inside of it. The cube is showing only three of its faces, but on each face is 36 "squares." In total, then, there are 108  sections.

Additionally, as the three hidden faces of the cube presumably also have 108 divisions then we reach the full 216 years of the Rosicrucian cycle -- 108 years of hidden activity and 108 years of open movement. Is there still any doubt that this year begins the next cycle?