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