Alton Towers, Sir Francis Bacon and the Rosicrucians

Crowley's take on Kali:

"Kali" by Aleister Crowley

There is an idol in my house
By whom the sandal alway steams.
Alone, I make a black carouse
With her to dominate my dreams.
With skulls and knives she keeps control
(O Mother Kali!) of my soul.

She is crowned with emeralds like leaves,
And rubies flame from either eye;
A rose upon her bosom heaves,
Turquoise and lapis lazuli.
She hath a kirtle like a maid: --
Amethyst, amber, pearl, and jade!

Her face is fashioned like a moon;
Her breasts are tongues of pointed jet;
Her belly of opal fairly hewn;
And round about her neck is set
The holy rosary, skull by skull,
Polished and grim and beautiful!

This jewelled shape of gold and bronze
Is seated on my bosom's throne;
She takes my mused orisons
To her, to her, to her alone.
Oh Kali, Kali, Kali, quell
This hooded hate, O Queen of Hell!

Her ruby-studded brow is calm;
Her eyes shine like some sleepy flood;
Her breast is oliban and balm;
Her tongue lolls out, a-dripping blood;
She swings my body to and fro;
She breaks me on the wheel of woe!

To her eternal rapture seems
Mere nature; underneath the crown
Of dusky emeralds there streams
A river of bliss to sluice me down
With blood and tears, to drown my thought,
To bring my being into naught.

The cruel teeth, the steady sneer,
The marvellous lust of her, I bring
Unto my body bright and clear
(Dropped poison in a water spring!)
To fill me with the utmost sense
Of some divine experience.

For who but she, the adulterous queen,
Made earth and heaven with all its stars,
The storm, the hunger epicene,
The raging at invisible bars,
The hideous cruelty of the whole? --
These are of Kali, o my soul!

The sterile force of bronze and gold
Bends to my passion, as it grips
With feverish claws the metal cold,
And burns upon the brazen lips
That, parted like a poppy bud,
Have gemmed curves like moons of blood.

The mazes of her many arms
Delude the eye; they seem to shift
As if they spelled mysterious charms
Whereby some tall grey ship should drift
Out to a windless, tideless sea
Motionless from eternity.

This then I seek, O woman-form!
O god embowelled in curves of bronze!
The shuddering of a sudden storm
To mix me with thy minions
The lost, who wait through endless night,
And wait in vain, to see the light.

For I am utterly consumed
In thee, in thee am broken up.
The life upon my lips that bloomed
Is crushed into a deadly cup,
Whose devilish spirit squats and gloats
Upon the thirst that rots our throats.

Gape wide, O hideous mouth, and suck
This heart's blood, drain it down, expunge
This sweltering life of mire and muck!
Squeeze out my passions as a sponge,
Till naught is left of terrene wine
But somewhat deathless and divine!

Not by a faint and fairy tale
We shadow forth the immortal way.
No symbols exquisitely pale
Avail to lure the secrets grey
Of his endeavour who proceeds
By doing to abolish deeds.

Not by the pipings of a bird
In skies of blue on fields of gold,
But by a fierce and loathly word
The abomination must be told.
The holy work must twist its spell
From hemp of madness, grown in hell.

Only by energy and strife
May man attain the eternal rest,
Dissolve the desperate lust of life
By infinite agony and zest.
Thus, O my Kali, I divine
The golden secret of thy shrine!

Death from the universal force
Means to the forceless universe
Birth. I accept the furious course,
Invoke the all-embracing curse.
Blessing and peace beyond may lie
When I annihilate the 'I'.

Therefore, o holy mother, gnash
Thy teeth upon my willing flesh!
Thy chain of skulls wild music clash!
Thy bosom bruise mine own afresh!
Sri Maharani! draw my breath
Into the hollow lungs of death!

There is no light, nor any motion.
There is no mass, nor any sound.
Still, in the lampless heart of ocean,
Fasten me down and hold me drowned
Within thy womb, within thy thought,
Where there is naught -- where there is naught!
 
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Crowley's take on Kali:

"Kali" by Aleister Crowley

There is an idol in my house
By whom the sandal alway steams.
Alone, I make a black carouse
With her to dominate my dreams.
With skulls and knives she keeps control
(O Mother Kali!) of my soul.

She is crowned with emeralds like leaves,
And rubies flame from either eye;
A rose upon her bosom heaves,
Turquoise and lapis lazuli.
She hath a kirtle like a maid: --
Amethyst, amber, pearl, and jade!

Her face is fashioned like a moon;
Her breasts are tongues of pointed jet;
Her belly of opal fairly hewn;
And round about her neck is set
The holy rosary, skull by skull,
Polished and grim and beautiful!

This jewelled shape of gold and bronze
Is seated on my bosom's throne;
She takes my mused orisons
To her, to her, to her alone.
Oh Kali, Kali, Kali, quell
This hooded hate, O Queen of Hell!

Her ruby-studded brow is calm;
Her eyes shine like some sleepy flood;
Her breast is oliban and balm;
Her tongue lolls out, a-dripping blood;
She swings my body to and fro;
She breaks me on the wheel of woe!

To her eternal rapture seems
Mere nature; underneath the crown
Of dusky emeralds there streams
A river of bliss to sluice me down
With blood and tears, to drown my thought,
To bring my being into naught.

The cruel teeth, the steady sneer,
The marvellous lust of her, I bring
Unto my body bright and clear
(Dropped poison in a water spring!)
To fill me with the utmost sense
Of some divine experience.

For who but she, the adulterous queen,
Made earth and heaven with all its stars,
The storm, the hunger epicene,
The raging at invisible bars,
The hideous cruelty of the whole? --
These are of Kali, o my soul!

The sterile force of bronze and gold
Bends to my passion, as it grips
With feverish claws the metal cold,
And burns upon the brazen lips
That, parted like a poppy bud,
Have gemmed curves like moons of blood.

The mazes of her many arms
Delude the eye; they seem to shift
As if they spelled mysterious charms
Whereby some tall grey ship should drift
Out to a windless, tideless sea
Motionless from eternity.

This then I seek, O woman-form!
O god embowelled in curves of bronze!
The shuddering of a sudden storm
To mix me with thy minions
The lost, who wait through endless night,
And wait in vain, to see the light.

For I am utterly consumed
In thee, in thee am broken up.
The life upon my lips that bloomed
Is crushed into a deadly cup,
Whose devilish spirit squats and gloats
Upon the thirst that rots our throats.

Gape wide, O hideous mouth, and suck
This heart's blood, drain it down, expunge
This sweltering life of mire and muck!
Squeeze out my passions as a sponge,
Till naught is left of terrene wine
But somewhat deathless and divine!

Not by a faint and fairy tale
We shadow forth the immortal way.
No symbols exquisitely pale
Avail to lure the secrets grey
Of his endeavour who proceeds
By doing to abolish deeds.

Not by the pipings of a bird
In skies of blue on fields of gold,
But by a fierce and loathly word
The abomination must be told.
The holy work must twist its spell
From hemp of madness, grown in hell.

Only by energy and strife
May man attain the eternal rest,
Dissolve the desperate lust of life
By infinite agony and zest.
Thus, O my Kali, I divine
The golden secret of thy shrine!

Death from the universal force
Means to the forceless universe
Birth. I accept the furious course,
Invoke the all-embracing curse.
Blessing and peace beyond may lie
When I annihilate the 'I'.

Therefore, o holy mother, gnash
Thy teeth upon my willing flesh!
Thy chain of skulls wild music clash!
Thy bosom bruise mine own afresh!
Sri Maharani! draw my breath
Into the hollow lungs of death!

There is no light, nor any motion.
There is no mass, nor any sound.
Still, in the lampless heart of ocean,
Fasten me down and hold me drowned
Within thy womb, within thy thought,
Where there is naught -- where there is naught!
Thank you for this. I didn't realise that Crowley was such a poet. A pity he didn't take these lines to heart though:

Blessing and peace beyond may lie
When I annihilate the 'I'.


As one of the greatest hedonists of the 20th Century, he evidently failed in annihilating his "I".
 
Maybe, maybe not. With Crowley it is always difficult to get to the bottom of things... But if you look, you can find interesting things, like this, for example:

[Note, however, how close the name Sa-re is to ‘Sara’ or Sarah, the name of Abraham’s wife, who the C’s have confirmed was Nefertiti the wife of Pharoh Akhenaten. Is this just coincidental, bearing in mind that Nefertiti was a deep level punctuator from the underground civilisation and that the C’s said she was primarily responsible for Akhenaten’s sun worship?

Q: If the Levites were the Hittite Moon worshipers, how come Akhenaten, who hung out with Nefertiti, instituted Sun worship? That doesn't make sense.
A: Future Ho into.
Q: Future what into?
A: Ho
. [MJF: probably Jehovah which is another version of Yahweh, the God of the Hebrews or Israelites]
Q: HO must stand for something. I don't understand. Was Nefertiti responsible for Akhenaten's Sun worship?
A: Mostly.
Q: Well, why did it turn into Sun worship instead of Moon worship?
A: Future honour of Ra. Go 353535. Deity.
Q: So, in other words they were laying a foundation for future layering of other concepts?
A: Yes
.

Sa-re is equivalent to Sa-ra, since Re and Ra are just different versions of the Egyptian sun-god’s name.]

The ho of 'Jehovah' (Jod He Vav He) would be the Hebrew letter He.

The Golden Dawn teachings included the association of the Hebrew letters with the Major Arcana of the Tarot and further included the association of the Major Arcana with the connecting paths of the Sephirot of the Kabbalistic Tree.

The interesting thing in this context is that Crowley, after much pondering, felt that the assignments of the letters Tzadi (the Star) and He (the Emperor) had to be changed to Tzadi - Emperor and He - Star.

Tzadi/emperor makes 'sense' in a way, because - Tsar, Caesar.

And He/The Star is interesting because in the Tetragrammaton, He represents the 'queens' and the 'princesses', i.e. the Shekinah.

Could that make sense in conjunction with the C's comment? I have to think about it a bit more...
 
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Maybe, maybe not. With Crowley it is always difficult to get to the bottom of things... But if you look, you can find interesting things, like this, for example:



The ho of 'Jehovah' (Jod He Vav He) would be the Hebrew letter He.

The Golden Dawn teachings included the association of the Hebrew letters with the Major Arcana of the Tarot and further included the association of the Major Arcana with the connecting paths of the Sephirot of the Kabbalistic Tree.

The interesting thing in this context is that Crowley, after much pondering, felt that the assignments of the letters Tzadi (the Star) and He (the Emperor) had to be changed to Tzadi - Emperor and He - Star.

Tzadi/emperor makes 'sense' in a way, because - Tsar, Caesar.

And He/The Star is interesting because in the Tetragrammaton, He represents the 'queens' and the 'princesses', i.e. the Shekinah.

Could that make sense in conjunction with the C's comment? I have to think about it a bit more...
You mention above that "He represents the 'queens' and the 'princesses', i.e. the Shekinah". Could you elaborate on that reasoning perhaps.

The reason I ask is because Shekinah (or Shechinah, (Hebrew: שְׁכִינָה Šḥīnā) is the English transliteration of a Hebrew word meaning "dwelling" or "settling" and denotes the presence of God, as it were, in a place. However, while shekhinah is a feminine word in Hebrew, it primarily seems to be featured in masculine or androgynous contexts referring to a divine manifestation of the presence of God, based especially on readings of the Talmud. This makes me wonder whether the term might represent a vestige of the older Mother Goddess worship subsumed or carried over into a Jewish male deity, which if so, might explain why it is connected to queens and princesses.​

Any thoughts on that?
 
It's too much to explain for me in a forum post that I have to write 'not with my mother tongue'.
You will understand this, when you read the Books, I mentioned some days ago:

Joel David Bakst "Beyond Kabbalah - The Teachings That Cannot be Taught".
Books by Bakst

Christopher Jon Bjerknes - "BeWARe the World to Come"
Books by Bjerknes


If you read only one, pick the one by Bjerknes. I will upload it again below.
I would even strongly suggest Lauro to read it, if she wants to write a second volume to her book about Paleochristianity.

The Tetragrammaton [ יהוה ] is a cabbalistic FORMULA not a name.
Seen from this perspective, to pronounce it as a name (Jahwe/Jehova) for god, is like to pronounce E=mc² in some way as a name for energy.
What does the formula יהוה tries to express?
Maybe "universal creative orgasm".

The court-cards in tarot (Kings, Queens, Princes, Princesses) represent the single letters of the Tetragrammaton in each suit.

Here some excerpts from "BeWARe the World to Come" to get a start:

The Jewish mystical set of beliefs known as cabalah teaches that the corruption of the androgyne gods and of androgynous Adam into distinctly male and female forms was a terrible calamity that needs to be rectified through a process the Cabalists call "Tikkun Olam", which expression means that Jewish people must "repair the world".
They believe that this process of repairing the damage began about six thousand years ago when Adam was created, then divided into Adam and Eve, and needs to be completed now, or terrible things will happen.
Fixing humans by making them androgynous will also repair the gods and return them to their androgynous form, because what happens on Earth affects what happens in Heaven.
The Androgyny Agenda is a religious agenda. It is a cabalistic agenda.
...
The restoration of the world must be completed within 6,000 years by human beings, or Yahweh and Shekinah will do it themselves with disastrous consequences for humanity.
The process is a cycle where the end matches the beginning in form and function.
Yahweh and Shekinah started off as one androgynous being and must be restored to one androgynous being.
They separated when Adam mistakenly thought that Shekinah was the only god.
Shekinah left Yahweh when the First Temple of Solomon was destroyed and accompanied the Jews into exile.
The separation of Yahweh and Shekinah causes much suffering in the world.
The Temple must be rebuilt in order for Shekinah to return to Yahweh and for them to once again become one androgynous being in the World to Come.
Just as the gods must again bond into an androgynous being, so too must human beings become androgynes in order for the end of the cycle to match the beginning and the World to Come to arrive.

From Hermann Hesse's characters Steppenwolf and Siddhartha, to David Bowie's persona and the movie The Matrix, androgyny is increasingly entering popular culture as we approach the end of the Age of Pisces and the six thousand years (six days) of creation.


This is in large part by design and is being deliberately orchestrated by some who are engaging in Tikkun Olam, restoring the world to a perfect, androgynous state, so that it will be the same at the end of time as it was when time began.

The ultimate aim of Tikkun Olam is Tikkun ha-Shekinah, restoring the gods Yahweh and Shekinah to their original androgynous union above in Heaven, by reforming human beings to the original androgynous state of Adam before Eve was separated from him below here on Earth—as above, so below.

The occult principle "as above, so below" means that the lives and actions of the gods are reciprocally mirrored by the lives and actions of human beings.
It also means that the lives and actions of human beings affect the actions and lives of the gods.
Furthermore, the doctrine articulates the belief that human beings are created as mirror images of the gods, and the Earth as a mirror image of the heavens.
This symmetry between the gods and humanity, the heavens and the Earth, is understood as giving human beings the power to mold the gods in their image and repair the damage human beings have previously done to the gods through their human misconduct by means of the restorative work of Tikkun Olam.

The only means the Jews have to´reform the androgyne of Yahweh and Shekinah is to make human beings androgynous and to build the Third Temple to their gods in Jerusalem.
Because the gods in Heaven mirror what the Jewish People do on Earth, should the Jews once again become androgynes, the gods will also become androgynous and order will return to Heaven and Earth.
This Tikkun or repair of Shekinah and Yahweh into an androgynous form also entails the restoration of the Jewish People to Palestine, the reconstruction of the Temple and the extermination of the Gentiles, whose souls are evil, darkness.
Shekinah will not return to Yahweh unless and until the Temple, their bedchamber, is rebuilt.
...
Perhaps in Canaan, the land of the ancient Jews, the people started to worship the Canaanite goddess Asherah (Shekinah) to the exclusion of the male gods El and Baal (Yahweh).
Then, some horrific catastrophe occurred which led the people to believe that El and Baal were punishing them and were jealous of Asherah.
That would explain the very ancient roots of this oral tradition of the separation of Adam into Adam and Eve, and of the godhead into Yahweh and Shekinah.

The ancient roots of Jewish Shekinah worship, and the Jewish belief that the original and natural state of man and the gods are androgynous, branch out to ancient Egypt, Greece and Sumer.
The Sumerians worshiped the goddess Inanna, the Queen of Heaven, who later became known as Ishtar. The Gala priests of Inanna were androgynous, and bisexual or homosexual. They wore women's clothing, used female dialects and appeared to transform themselves into women.
Ishtar was thought to have the power to transform men into women.
Ishtar herself transformed into Astoreth in Canaan where she became Asherah, who then became the goddess Shekinah of cabalah, the twin-soulmate of Yahweh.

Cabalah teaches that every human being has a "twin-soul" which is both male and female.
Originally, every twin-soul was one androgynous body with a male and a female face, and only became divided when Yahweh literally cut them apart to form Eve from Adam.
These two separated half-souls yearn to reunite, which is why men and women seek out their ideal mate, who is their other half-soul of the opposite sex.
For every man there is one and onl one woman who was separated from him in the beginning.
In the end times, the twin-souls will reunite into single infertile androgynous beings and become immortal.
The Gentiles and their guardian Angel of Death, Samael, will have been vanquished and death will disappear from the Earth together with them.
Cabalistic theology is highly derivative of Plato's Symposium...
...
The early Christian scholars Origen of Alexandria and Gregory of Nyssa adopted the Gnostic view of the androgynous beginning of man.
Philo Judaeus of Alexandria was a devotee of Plato and he incorporated the notion of the Platonic ideal of the androgynous origins of man into Judaism.
...
Gnosticism has its roots in Canaanite religions.
The Canaanites worshiped Moloch and sacrificed their first born sons to Moloch.
In Christianity, El (Yahweh) sacrifices his first born son Baal (Jesus) to mankind and so inverts the sacrificial process of Moloch worship to bless humanity with eternal life.
In Gnosticism, Satan and Lilith sacrifice their son so that material death becomes the eternal life of the spirit.

The Canaanite goddess Asherah is the goddess of prostitutes and is herself a prostitute. She is also the goddess of the sea and is the mother of Baal and wife of El.
In the Old Testament, Asherah appears in the opening paragraph in the book of Genesis as the Holy Spirit which hovers over the waters.
She is the Holy Spirit of the Bible, and is renamed "Shekinah", and is the wife of Yahweh, in cabalah.

In Canaanite religion, the prostitute goddess Asherah is not only the mother of Baal and wife of El, she is also the sister of Baal and his wife.
In the life story of Jesus as told in the Talmud (Shabbath 104b; Sotah 47a; Sanhedrin 43a, 67a, 106a-b, 107b) and Toledot Yeshu, Mary, mother of Jesus, is a prostitute who is impregnated by a Roman soldier.
In Gnostic writings, Jesus marries the prostitute Mary Magdalene.

The occult principle "as above, so below" means that what happens in the heavens to the gods is mirrored by what takes place on Earth among human beings.
Because the goddess of the Jews is a prostitute and gives birth to a heavenly son who represents the androgynous oneness of the "Parents", so too must the mother of the messiah, the son of god on Earth be a prostitute.
And just as El and Baal are marrieds to the prostitute Asherah, so too must Jesus and any other messiah and first born son of god be married to a prostitute so as to create a dynasty of the same order as the gods.

Yahweh commanded the prophet Hosea to marry the prostitute Gomer. (Hosea 1:1-3)
The 17th Century false messiah Shabbatai Zevi married a prostitute named Sarah, so that he could claim to be the messiah based upon the fact that Hosea had married the prostitute Gomer.
Zevi married twice, once to the Torah and the second time to the prostitute Sarah.
...
Dr. Maurice M.Mizrahi wrote in his article Mashiach's Dubious Ancestry,

"So the Messiah will be the result of intermarriage with idolaters, prostitution and deception. But that’s not all, oh no. Boaz was married to Ruth, a Moabite woman. And who is her ancestor Moab? He is the son of Lot by Lot's own daughter. His father was also his grandfather.
[***] Now let’s summarize. Our Messiah will be the necessary product of a process that REQUIRED breaking away from one’s Jewish family and intermarrying with idolaters [that's Judah], prostitution and deception [that's Tamar], incest [that's Lot's daughter], self-exile and marrying idolaters [that's the family of Ruth's first husband], adultery and abuse of power bordering on murder [that's King David]. Why? Why can't the Messiah be a nice Jewish boy from a good family, as you might expect? Couldn't God have chosen better, to teach us the rewards of virtue?
"

Jesus Christ was descended from Tamar, who pretended to be a Temple-prostitute (Kedeshah), and Rahab, who was a prostitute and a Canaanite.
To mirror the gods above where both Asherah/Shekinah and Lilith are prostitutes, the messiah ought to have prostitutes for his mother, sister and wife, and preferably they should all have the same name, like Jesus' mother Mary, possibly one of his sisters and his wife Mary Magdalene (Gospel of Philip).
The incestuous androgynous nature of the messiah having the same woman as mother, sister and wife is meant to imply androgynous and divine procreation as opposed to mundane birth and death through the procreation of the separated components of male and female. The "Son" of the "Parents" is the androgynous totality of the male and female in one body and reflects theirunity, not separation. Therefore the Son is really the symbol of the combination of its Parents into one androgynous form and the Trinity is really composed of the gods as one androgynous god and this same god separated into its two gender components, making atotal of three forms from the one, the Son being the unity of the Parents male and female.
 

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'Jahwe' - "the old storm god"
ה - "window"

What do we get?


Out on the wily, windy moors
We'd roll and fall in green
You had a temper like my jealousy
Too hot, too greedy

How could you leave me
When I needed to possess you?
I hated you, I loved you, too

Bad dreams in the night
They told me I was going to lose the fight
Leave behind my Wuthering, Wuthering
Wuthering Heights


Heathcliff, it's me, I'm Cathy
I've come home, I'm so cold
Let me in your window

Heathcliff, it's me, I'm Cathy
I've come home, I'm so cold
Let me in your window

Ooh, it gets dark, it gets lonely
On the other side from you
I pine a lot, I find the lot
Falls through without you

I'm coming back love, cruel Heathcliff
My one dream, my only master

Too long I roam in the night
I'm coming back to his side to put it right
I'm coming home to wuthering, wuthering
Wuthering Heights

...
 
Next one:

'Jahwe' - "the old storm god"
ה - "window"

What do we get?

I know it is possible to read all sorts of things into pop songs but you may need to explain this one to me. Kate Bush's song is based on two characters from Emily Brontë's 1847 novel Wuthering Heights, Cathy and Heathcliff, who embark on a doomed love affair. As to the song, quoting here from Wikipedia:

Bush wrote the song aged 18, within a few hours late at night on 5 March 1977. She was inspired after seeing the 1967 BBC adaptation of the 1847 novel Wuthering Heights. She then read the book and also discovered that she shared her birthday with author Emily Bronte.

"Wuthering Heights" is sung from the perspective of the Wuthering Heights character Catherine Earnshaw, pleading at Heathcliff's window to be allowed in. It quotes Catherine's dialogue, including the lyrics "I'm so cold", "let me in", and "bad dreams in the night". Cathy is in fact a ghost, which the listener may only realise upon reading the novel. Critic Simon Reynolds described it as "Gothic romance distilled into four-and-a-half minutes of gaseous rhapsody".

If it had been David Bowie, a well known occultist, then there would be good reason to look for occult symbols and lyrics but I am not convinced where Kate Bush is concerned​
 
Maybe, maybe not. With Crowley it is always difficult to get to the bottom of things... But if you look, you can find interesting things, like this, for example:



The ho of 'Jehovah' (Jod He Vav He) would be the Hebrew letter He.

The Golden Dawn teachings included the association of the Hebrew letters with the Major Arcana of the Tarot and further included the association of the Major Arcana with the connecting paths of the Sephirot of the Kabbalistic Tree.

The interesting thing in this context is that Crowley, after much pondering, felt that the assignments of the letters Tzadi (the Star) and He (the Emperor) had to be changed to Tzadi - Emperor and He - Star.

Tzadi/emperor makes 'sense' in a way, because - Tsar, Caesar.

And He/The Star is interesting because in the Tetragrammaton, He represents the 'queens' and the 'princesses', i.e. the Shekinah.

Could that make sense in conjunction with the C's comment? I have to think about it a bit more...
Let us not forget what the C's told Laura about the Major Arcana of the Tarot deck:

Q: (L) Okay, you said that the artefacts provide the key. I had a dream the other night that the artefacts in question were the major arcane of the Tarot deck, that they could be used to discover the mystery. Was this a legitimate clue in my dream?

A: Tools. So are astrological charts.

You state that:
.... in the Tetragrammaton, He represents the 'queens' and the 'princesses', i.e. the Shekinah.

That is interesting because, if one of those artefacts is the Grail, the pure crystal skull named Baphomet, and the Grail might through myth and legend have been equated with the Mother Goddess or Shekinah - particularly if it was used by Abraham/Moses as a tuning device for holographic projections or TV style communications from Yahweh (a Lizard front remember) via the Mercy Seat of the Ark of the Covenant:
Q: (L) Okay, you told us before that he saw or interacted with a holographic projection created by the Lizard Beings. Was that the experience on Mount Sinai?

A: Yes.


, then is it possible that the Empress or Queen card of the Major Arcana represents the Grail?

NumberTarot de MarseillesCourt de GébelinRider-WaiteEtteillaPaul ChristianOswald WirthGolden DawnBook of Thoth
(Crowley)
IIIThe EmpressThe Empress ("Queen")The EmpressNight / DayIsis-UraniaThe EmpressThe EmpressThe Empress

If so, could the Queen of Diamonds in the standard modern pack of cards represent the Grail as well?

Moreover, where the C's said "A: Swords points signify crystal transmitter of truth beholden", could the Grail have been used as a crystal receiver of that truth in the past?​
 
If so, could the Queen of Diamonds in the standard modern pack of cards represent the Grail as well?

I knew that the current card game is a derivative of the Tarot, but when I read this last post of yours, I started looking for more information and I found some information that may be a good clue. I'm talking about Alice in Wonderland/Through the Looking Glass.


If the other Queens did exist in Wonderland at some point, however, what would they have been like?

To answer this question, we first must understand the symbology of the Queen cards for each suit. Afterwards, we will need to examine how Carroll created the obscure Wonderland lens to transform the traditional version of the Queen of Hearts into the insane fictional villain we’ve all come to know so well.

Queen Symbolism: Four of a Kind

In a mystical sense, playing cards are simply a different version of tarot cards. Each card and each suit represents a different aspect of life in both the material and spiritual worlds. The images on tarot cards generally represent obstacles we face in both plains of existence.


Metasymbology.com states that the French were among the first to create the modern version of the suits that we now know, (hearts, clubs, diamonds, and spades). In tarot, however, the four corresponding suits are cups, wands, pentacles, and swords. Just like in tarot, the four modern suits are connected to the four elements: fire (heart); air (clubs); earth (diamonds); and, water (spades).tarot suits and playing cards
Information from Seven Reflections indicates that each of the modern suits has meaning, but also the value of each card changes/adds to the suit’s meaning. Queen cards, for example, are often associated with authority and judgment. Although Queen cards are not as valuable as King cards, the two are placed next to each other and are supposed to demonstrate the masculine and feminine sides of power. Both sides are needed for balance. In accordance with Seven Reflections, each Queen passes judgment by one of four methodologies associated with her corresponding suit:


  • Hearts = Love
  • Clubs = Logic
  • Diamonds = Ethics/values
  • Spades = Wisdom

Regardless of suit, the Queen is generally linked to spirituality, intuition, and the divine. This interpretation of symbolism dates back to medieval literature where, more often than not, female characters, especially ones with authority, such as Queens, were deemed responsible for guiding people toward spirituality, decency, and God. Of course, there are two sides of the coin here. Typically, within medieval literature, a high percentage of female characters were designed as archetypes that fell into one extreme or the other: either the virtuous saint or the whore of Babylon.
It is interesting to read that at the end it returns again to the theme of femininity where there is the benign life-giving part and the other, the evil devouring part.

For the wisdom part it fits with what the C's said when referring to the spades:

Spades Suit

Spades. Each suit represents one of our stages of life. Spades correspond with older age, a Winter season, and the element Earth. Spades will have this look of wisdom on their faces. As a higher and the most powerful suit of all, Spades overlook life with a position of authority. Emotions, intellectual games, and evaluation of things do not excite them as much as willpower and wisdom. Spades stand for Labor and Higher Wisdom. Spades want to find the Truth. A suit of extremes, on a higher side Spades are spiritual giants. In life, they work hard for something that they believe worth it. They want to get the job done and take pride in the quality of the end product. Spades will not allow anyone to be in control of their life. With a tremendous potential of willpower, they are the ones who can accept responsibilities and work through any issues to successful completion. If the person who is identified with Spades understands his or her true potential - the keys to the infinite wisdom, they find happiness and the greatest satisfaction of all. Spades rule 49 birthdays. The ruling planets are Saturn and Uranus.
 
I know it is possible to read all sorts of things into pop songs but you may need to explain this one to me. ...​
It's not so important for the topic, if neptunatics like me see in every babe in the woods a scarlet woman dancing in the pasture...

"I height Don Quixote, I live on Peyote,
marihuana, morphine and cocaine.
I never knew sadness but only a madness
that burns at the heart and the brain,
I see each charwoman ecstatic, inhuman,
angelic, demonic, divine,
Each wagon a dragon, each beer mug a flagon
that brims with ambrosial wine. ..."

-> I hight Don Quixote, I live on peyote - Jack Parsons - Hermetic Library
------

The real question is, if the HO 353535 stands for Jehova as you suggested. (I think there might be something to it).
But then it would correspondend with the letter ה.
Everything else beyond that is just funny speculation.
 
Bush wrote the song aged 18 [chai!], within a few hours late at night on 5 March 1977. [that means, it was almost wiritten on the 6th, but than we would get a 33 out of the date, which would be too obvious] She was inspired after seeing the 1967 BBC adaptation of the 1847 novel Wuthering Heights. She then read the book and also discovered that she shared her birthday with author Emily Bronte.
[Shure. Poor girl.]​
Better not let Miles Mathis see that....
 
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I recently discovered an existing Forum thread on the Black Madonna if people are interested - see: Re: The Black Madonna.

I set out below one particular post from transdimensional that touched on the origins of the veneration of the Black Madonna, which refers to St Bernard of Clairvaux, the Templars and Solomon's The Song of Songs:
Michael P. Duricy is the Information and Multimedia Coordinator for The Marian Library/International Marian Research Institute, University of Dayton. He examined the origin of the Black Madonnas.

I extract the most important parts of the text here:

[...] The meaning of Black Madonna used here refers to a type of Marian statue or painting of mainly medieval origin (12C-15C), of dark or black features whose exact origins are not always easy to determine, and most important, of particular prominence. The latter, the prominence of the Black Madonna, is mostly due to the allegedly miraculous character of the image. [...]

History of the Black Madonna Genre

Important early studies of dark images in France were done by: Marie Durand-Lefebvre (1937); Emile Saillens (1945); and Jacques Huynen (1972). The first notable study of the origin and meaning of the so-called Black Madonnas in English appears to have been presented by Leonard Moss at a meeting of the American Association for the Advancement of Science on Dec. 28, 1952. Amazingly, all the images in Moss' study had a reputation for miracles. Based on a study of nearly one hundred samples from various parts of the world, Moss broke the images into three categories:

1) dark brown or black madonnas with physiognomy and skin pigmentation matching that of the indigenous population.

2) various art forms that have turned black as a result of certain physical factors such as:
deterioration of lead-based pigments; accumulated smoke from the use of votive candles; and accumulation of grime over the ages.

3) residual category with no ready explanation.

That a certain percentage of black images falls into the first group seems self-evident. For example, negroid features accompany dark color in African images. This trait is also apparent in many of the ethnic crèches in the Marian Library collection. Also, the famous image of Our Lady of Guadalupe from Mexico [at right], though not particularly dark, was included in this class by Moss.

The second explanation is frequently cited by Catholic non-experts in relation to particular images. Though overused, it certainly applies to a certain percentage of Black Madonnas. The famous statue of Our Lady of the Hermits in Einsiedeln, Switzerland illustrates this phenomenon. After evacuation to Austria in 1798 to escape the designs of Napoleon when the Madonna was returned in 1803, she was found to have been cleaned during her stay in Bludenz. It was promptly decided that she should be restored to her wonted blackness before being exposed once more to the gaze of the faithful.

Similarly, the statue of Our Lady of Altötting was rescued from the ravaging of the church by flame in the year 907. This might account for the darkened features, though Moss has his doubts. If not the image at Altötting, other Black Madonnas were certainly altered in appearance after 'miraculous' rescues from burning churches.

After accounting for images which fall into the first two categories, we are left with a number of black madonnas still requiring explanation. As Moss notes: "It is difficult to rule out artistic license." In the absence of texts stating the artist's intent, only speculation is possible. However, assuming that some of the images were darkened intentionally, we may attempt some explanations.
There seem to be two particularly strong theories.

The first is that the images were darkened to illustrate a text from the Song of Songs: "I am black but beautiful" [Negra sum sed formosa]. In support of this theory, note that many of the black madonnas exist in France, and date from around the time of the crusades, when Bernard of Clairvaux wrote numerous commentaries on the Canticles, comparing the soul to the bride, as well as many on Our Lady. He was also known to have visited several shrines of the Black Madonna, for example: Chatillon and Affligem. In the Gothic period texts explicitly interpreted the Bride in Canticles as referring especially to Mary. Once artistic precedent had been set, subsequent black madonnas may be explained by artistic convention rather than theological motivation. Based on historical correlations, Ean Begg speculates that the genre developed from an esoteric popular religion common among the Templars and Cathars, perhaps as a complement to the impetus from Bernard.

The other prominent theory is briefly summarized by Stephen Benko: "the Black Madonna is the ancient earth-goddess converted to Christianity." His argument begins by noting that many goddesses were pictured as black, among them Artemis of Ephesus, Isis, Ceres, and others. Ceres, the Roman goddess of agricultural fertility, is particularly important. Her Greek equivalent, Demeter, derives from Ge-meter or Earth Mother. The best fertile soil is black in color and the blacker it is, the more suited it is for agriculture. [...]

We received the following commentary to add to this information:

"Concerning why is she black--in Aramaic the language of Jesus--black means "sorrowful." It is a language of idioms. This links the Blessed Mother to Isis who was called "sorrowing" in her search for Osiris.​
 

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