Poetry, Petrarch and ‘Shake-speare’ – essential precursors to The Wave and Laura..???

Michael B-C

FOTCM Member
To everyone who has posted above, the honor is all mine just to be part of a conversation on this that might have some enjoyable and mind-stretching wings for us all....

Metaphorically speaking, I suffered a mental "cramp", because the thinking muscle is not "stretched" enough and this thread is the opportunity to do such an exercise. It is fundamental for the intellect the slightly incomprehensible, because in the process of understanding, the mind gets the energy needed to continue on the path of learning.
much new to think about.
Like so much else in this world knowledge hidden in plain sight. What English Literature in schools would have been like if this was on the syllabus.
But just to say, it's an area that touches a type of intellectual, aesthetic/artistic excitement in me.
And as a sort of bonus, consciously making this time and really reading and contemplating the words, gave me the opportunity to practise a certain kind of exercising will power to stay with the words, the sentences, the contemplations, soaking up what was there, and i thought for me this constituted something like a wonderful meditation.
I wish I had learned this when I was studying Ovid and Shakespeare's works back in school! So much hidden in plain sight. Makes one wonder how much was known about the reality of this world in ancient Times.

Hidden in plain sight... mental stretching... new avenues of thinking ... consciously making time to contemplate... exercise in 'Will' power.... lost knowledge...

You've all said it! There's something very deep about the quiet invitation Shake-speare offers us to use our wills so as to contemplate, hold, weigh, stretch, etc, the multiplicity of intertwined ideas/thought forms/strands, he tantalizingly shares so freely... I can only say from my experience that the regular act of doing this, despite the understandable feeling of ineptitude and the daunting gap between oneself and his offering, that regular practice can and 'will' reap the most amazing rewards as the muscles start to strengthen and respond back to you. I mean when I started out on this path all those years ago I was completely dumb and I had no idea what it was I was doing - and that hasn't changed much in between I assure you! - but I do now know there is a road map, there are a myriad jewels waiting to be uncovered, hidden in plain sight! And they offer nothing but delight and nourishment for the hungry soul (with some frustration and head banging along the way!)

I think Mike has said something important with relation to thought forms being all that exist:

If information and theories on information for the universe forms a key aspect of understanding reality, then questioning and finding answers is an active or activating component of information and fundamental component of reality. Could this active process from 1D thru to 7D be in and of everything as the C’s explain about gravity?

Words are obviously thought forms and I wonder if gravity plays some hidden role in forming/binding them into what we call words...? In that, if we take the C's on face value, it would not be awry to say that gravity is thought form in action... the greatest of binders.

If you think about a word, it's basically a formed package around an energy/information construct... boundary making around an otherwise free wave form that takes up some kind of particle nature by its linguistic definition.

When I've worked with actors on trying to access the fullest possible content of a packaged word, we would sometimes practically/physically play at deconstructing - reverse engineering - a single word to discover the energy and energetic meaning held tight inside the confines of that particular form. One simple way of thinking, for example, would be that vowels represent - or rather contain - the pent up essence of being, of the essential energy of the feeling/emotion around something. Vowels are round, and/or long, and free formed, and in some way endless. They are at the very heart of the energy of knowledge of being; they fundamentally reside in the body and are grounded in the lived essence of being alive. They are then held in check, or shaped, or directed, (or even limited) by the consonants. In English (as well as many classically based languages), consonants are the sound tool of the intellect, the thinking mind's chisel, the 'yes, but'.... they are more rational, more dogmatic more 'scientific'. They carve the free wheeling wave into defined shapes and bind them fast into word units.

Inside the set boundaries of every word there's some kind of a struggle, or tussle going on to find a balance between comprehension and apprehension. Together - vowels and consonants - prompt an eternal wrestle for balance even as though each seeks dominance over the other. This lived struggle in the hands of 'Shake-speare' is a primal tool by which to hold these seemingly opposite points of view in a perpetual dance of reorientation so as to seek out a third possible way - harmony between the fixed and the free. Squaring the circle.

Seeking balance between the fixed and the free; between tight things and loose things.

And through balancing, a third way mysteriously emerges...

This is absolutely at the core of where 'Shake-speare' starts and finishes. If there was just one thing on this subject that I could share and suggest you never lose sight of as being pivotal to all else, then it would be this one.

And we know this because his entire philosophy is based on a practical experiment using a meter construct based inherently and entirely on this precept.

Remember anyone that horrifying phrase from your school days - Iambic pentameter?

Very interesting post Michael. Here's a link that is pertinent I think.

That was a great find jupiterbeings, thank you. When you realize that we are dealing with knowledge embedded in something as old as Sanskrit, then we're truly in ancient territory.

A quick crash course that I hope will maybe help and shed some of the shivers around this.

All meaningful poetry, especially that classically derived, works on the basis of a meter rhythm. There are many forms, but it is generally accepted that they probably originated in forms of ritual chanting or marching that held large groups together, creating a semi-meditational state that helped say an army march as one across vast distances. Bring to mind all those US war films of grunts being trained on the parade ground!

As jupiterbeings article talks about, this is normally in some form of exchange between the number of beats (steps) and the contrast between a firm note and a soft note.

When I used to teach acting for 'Shake-speare', the issue of Iambic pentameter was always the very first step. I would get all the actors to jump up and down on the spot like grunts until the pulse/breath was going good and strong and then get them to stop, stand still, close their eyes and put their hand on their heart... and silently feel the beat... (try it at home - its strangely instructive!)

de-DUM, de-DUM, de-DUM, de-DUM, de-DUM....

Its that simple.

The essential rhythm/beat/measure of a unit of a line of 'Shake-speare's' verse is our living heart beat. The beating heart of mankind. The beating heart that goes on every second of your life. It never leaves you until its done.

The body gently takes in blood ('de') and then generates a great pulse (-) before cascading it off with a great force around the body ('DUM') .

de-DUM, de-DUM, de-DUM, de-DUM, de-DUM....etc

An 'iamb' (notice the I Am) is simply one 'de-DUM' - the measure of the beat - a full heartbeat with 2 parts to it (drawing in/pushing off out). Its energy in perpetual lived action. A soft beat followed by a hard beat.

And a 'pent(10)-ameter' is the lenth of the line (meter) = 5 full heart beats made up of 10 unchanging component parts.

de-DUM, de-DUM, de-DUM, de-DUM, de-DUM = a line of Iambic pentameter.

Why 10 beats and not say 8 or 12? Because it seems to be the closest to the duration of a reasonably normal full exhale of breath before the muscles send back a message to take in another breath. And also 10 is harmony; number of toes, number of fingers - its a body natural figure.

There is no intellectual mystery to these biological basic facts. Its not academic. Its our underlying life force!

If they just taught this in schools 90% of the terror would vanish in an instance. An Iambic pentameter is your natural body's language, its naturally given rhythm of life.

The real mystery of 'Shake-speare' is that he takes this fixed point of reference and then repeatedly breaks it's rules. This is absolutely key.


If all we lived was de-dum, de-dum, de-dum etc we would soon disappear into a bland, sleeping-waking state of rigid conformity. The fixed on its own teaches us nothing. The universe simply doesn't work like that. Sure it has maths but it also has chaos! Everything is contrast. Everything is binary. Everything is either/or. Everything is antitheses.

This is the second vital, if deadening, technical word relating to 'Shake-speare's' greatness. No other artist/thinker has so deliberately sought out every possible opportunity to set one thing up against another. That's what that word means - antithesis = one idea/thought in direct opposition to another.


'Now is the winter of our discontent made glorious summer by this son of York'
Richard III

The above is a very simple example of an antithesis of ideas and there are thousands upon thousands to be found in his work - but it also functions just as importantly in the underlying nature of the form, the meter itself - for the very same reason. Because if the rhythm were constant there would be a deadening certainty to it all and we would all soon nod off. de-dum-de-dum-de-dum-de-dum for eternity! So he uses antitheses of form to keep you constantly on your toes, constantly alert to an ever changing mood, or energy, or thought process that is permanently wrestling with beingboth fixed and free so as to try to resolve this reality (as well as dramatically realize in action that we humans are in a permanent state of change, flux, contradiction, emotion, etc which he manifests in the rhythm itself).

Taking a few lines at the start of Sonnet 126 as an example:


Do you see how the most informationally full word elements are set to the DUM beat?

Thou... love... boy... in... pow!

They're the powder keg of the energy of the line. You can still sense the key meaning here even though they're stripped somewhat bare. If you say them out loud you'll feel that and I would kind of still understand your essential meaning.

O... my ... ly ... who ... thy

Is the supporting energy - not unimportant but not the heart or meat of the matter.

But is the line an Iambic pentameter? Top marks for those who said no, not quite!

Because although the beat is regular (de-dum ) all the way, there is a rogue 11th beat hanging out over the end - the 'er' from power - making an 11th beat.

So straight up, from our very first line, all is not totally ordered or fixed.

This 11th beat is called a 'feminine ending' by academics (don't blame me!!!)

It weakens the landing place of a normal Iambic pentameter line which should land firmly on a strong 10th beat before launching off to a new line with confidence.

Why does he do this here?

Perhaps it has something to do with the inherent, hidden contradiction of the word power... that the word contains the lack of something as well as the reaching for something... and by placing it at the end of the line, he's amplifying this 'mystery'... he's saying the lovely boy has and doesn't have power... and on with the game...

The most famous line ion all 'Shake-speare' plays the same trick:


He makes the very act of trying to explore through question 'A' vs question 'B', being and non being, something fraught with discovered ambiguity - and its discovered in the very second of saying it - ON THE LINE - IN THE LINE - AT THE VERY MOMENT OF SELF-DISCOVERY - in the very last beat... and as the 'ion' falls weakly away from the 'quest', the character of hamlet (and the listener) should be left with the vibration of discovered uncertainty in his body and in his mind... that the quest itself is not safe!!!

Thats why one of teh greatest actors in this idium, Laurence Olivier, said to actors:

'you have to find the truth through the verse'

Not before it or after it, or above it, or below it - but inside it... going through it as if freshly coined and lived in the moment of discovery.

In the middle of the Hamlet line, perhaps notice the way the heavier DUM emphasis lands on the 'is' rather than on the 'that' which one might otherwise think. This is a direct directorial instruction from him to the actor - he's saying the word 'is' is a better place for you to land, to point up, because in this very second you realize that the quest for what 'is' is what you are actually struggling with right now...

Yes you could argue that it's actually a Dum-de rhythm, that it's really a 'that is' as a stress pattern, which might also point up the idea. But in truth you have to assume that the de-DUM rule is the fixed norm unless you can clearly see by the word itself that the energy is definitely reversed... and the words 'that' and 'is' are too small a power surge to argue that he would change the beat for them... and his choice I think is more lived, less academic and already under the character's self-control... and that's not Hamlet!

All in all, utter, subtle genius...

This could go on and on into millions of directions and examples... but I've already made this a monster and probably fried a few brain cells on the way... but I can't tell you the incredible, nuanced, powerful discoveries you uncover when you start to make this part of your thinking when approaching his work... its jaw dropping in its implications... every word and every choice of word against word is meticulously placed, 'scientifically' designed, in a great linguistic experiment of lived experience...

I'll sign off this with the next few lines of Sonnet 126 as an example - see if you can spot the implications of the iambic rhythm and when he chooses to deliberately breaks it to create counter note...



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Michael B-C

FOTCM Member
For those who may be interested, the below video series is still the best practical distillation created of the challenges and techniques faced by actors of our age when trying to embody all the elements 'Shake-speare' brings to the table. It was made for TV back in 1984 by John Barton, of the RSC who was perhaps the last great exponent of the hidden 'tradition' whilst being equally driven to filter this knowledge through the preoccupations of modern instruments (i.e. actors) Because in truth 'Shake-speare' is closer to music than to normal speech and this is an alien idea to modernists. People of the 16th century went to 'hear' a play, not 'see' a play. No one read plays - the idea would have been seen as bizarre! Oral abilities (and by default spoken abilities) were much stronger, richer, more nuanced and complex in being. Despite what many think, the clipped, clean, tight, nature of British RP (received Pronunciation - BBC English as it was once known) is utterly anathema to what originally would have been an accent that was something like a cross between East Coast American, West Coast Irish, and West Country/Midlands English! Full of colour, and texture and twang! The modern obsession for the word 'text' thus fills me with terror - because it hints at the drier, more barren, more academic, control seeking left brain obsession of our age. Even this great line up of actors (and you'll get to see the likes of a young Ian McKellen/Gandalf and Patrick Stewart/Star Treck's Jean-Luc Pakard) is haunted by their modernity. But there's still just enough old school in their upbringing and training that something of real quality shines through that just wouldn't be there with actors of today, a mere 35 years on. My favorite of all is Alan Howard. He was known in the business as 'Mr Voice' and many sneered at this - but he had a remarkable vocal instrument of immense power, clarity and - when necessary - 'poetry' and he more than others is able to hark back whilst being very much alive (even if via his RP upbringing and tradition!)

Anyway, it might give some pleasure and further illumination if interested. But don't expect anything that touches on the deeper issues we are exploring here.

There are 9 parts in the series (god be the days when this sort of programming went on!) and I think all are still up on Youtube if you follow this first one.


Michael B-C

FOTCM Member
Bit of a data dump day… I’ve had the below prepped for a while so might as well add it whilst I’m at it today…


So finally we come to the number in question – a derivative of the Perfect number 8,128.

I've highlighted in red the key capital letters (and their words) that appear in the original but mostly not in modernized versions.


For those who like to see the real thing, here it is:

Sonnet 127 - a.jpg

Sonnet 127 - b.jpg

Note that there are 9 key - one might say active - capital letters, 7 of them inside the verse (I've excluded the other capital letter's at the start of each new line as they are a standard printing convention and I dont think part of his purpose). Interesting set of capitalised words don’t you think? Maybe also note that the ‘N’ and the ‘O’ are perfectly lined up in the original – reading ‘NO!’ A trinity of capitals reading I NO in fact!? I know??? Or I am not something...?

On a more prosaic level, also note that when a sonnet wraps over a page as this does there is the convention that the first word of the next line is first given on the page before… I think this to be no more than a printer’s convention but I could be wrong. There is also the H3 at the bottom that is a sheet folding guide. You also might see that my constant use of the term 'Shake-speare' is here given constant repetition at the top of every other page... an you would have thought he would have not allowed that if it was wrong...!

As before, here follows a modernized version of mine to maybe convey the feel of the literal meaning.

In ancient times blackness wasn’t thought of as fair,
Or if were thought so, it did not dare so openly to wear the name of beauty:
But now things of blackness are deemed legitimately a true beauty,
And beauty is slandered with a false shame:
Today it’s become acceptable for just anyone to take on the power that used to belong solely to Nature,
And grace even the vilest thing with false mimicry,
Sweet beauty has lost her name, has no holy resting place,
And instead is debased, even held in disgrace.
Therefore my mistress’ eyes are Raven black -
Well suited to current fashion - seeming to be in perpetual mourning -
As those who, not born beautiful, yet still wear it like a mask,
Thereby insult nature by taking on false worth:
And in this way they so ape and live out the manners of those in mourning,
That all today say 'this is how true beauty does really present itself'.

The surface explanation of this, as well as the whole section of ‘Dark Lady’ sonnets that follow, is that he is speaking about an actual woman, a real person that he interacted with… and no doubt he allows that surface analysis just to sit there – but I would suggest this is just a game of disguise to deceive the uninitiated. I suggest he is rather using this nature of dark ‘feminine’ energetic allure and danger to capture the essence of ‘desire’ itself, and more deeply that this desire is Moon born and Moon driventhe dark side of the moon no less. Again more on this another time because it’s a huge issue (but yes I am talking 4thD STS influence).

Some initial observations on the lines that will need to Wander about a bit to draw in just some of the many implications – remember each sonnet sits on its own yet only truly lives within the mosaic pattern of its relationship to others and the overall theme – so I’ll only touch on some initial observations for now in this post, but here goes:

  • Black equates to deception; Beauty to truth.

  • In ancient times (and by this the poet means the lost knowledge of the pagan world and maybe even earlier times), all things evil were not so readily mistaken for things that were good (STS vs STO?) and even if they were, evil did not dare to parade itself so openly as being truth itself, as it does now.

Let’s just deal with that idea for starters…

The use of the word ‘black’ denotes a surface and disguised energetic state – not the merely the superficial colour of say skin or hair as PC scholars like to suggest – though he is also playing with that metaphor to some occult-blind degree.

This harks to his play Macbeth – possibly the most acute dramatic distillation ever of the predatory power of 4thD STS over a willingly subjected human prey, wherein the step by step manipulation of the central character by the predator’s mind – inside and outside of him – is explored in a laboratory settings i.e. by the whole framing device of the play itself.

Macbeth opens with 3 witches intoning their infamous propaganda: ‘Fair is Foul and Foul is Fair’… (remember Petrarch? - "Remedies for Fortune Fair and Foul", a self-help book). The 3 witches in Macbeth just happen to be fell servants of Hecate!!!

Some words below of sour ‘Wisdom’ from Macbeth himself as his plunges down the raft to his doom…


I pull in resolution and begin

To doubt th' equivocation of the fiend

That lies like truth.

= ambiguous usage, double-meaning; an Equivocator is a dealer in ambiguities, a trader in double meanings

…And be these juggling fiends no more believed,

That palter with us in a double sense.

Palter = to prevaricate, deal evasively [with], quibble, evasiveness, equivocation, trickery

...keep the word of promise to our ear

And break it to our hope!

Its worth noting that in a play all about dark ‘Witch’ craft, ‘Shake-speare’ only uses that word once - but over and over again uses the sound quality of the word (and implicit question) ‘Which’ as its invisible replacement. There is a further mystery in his consistently pointed use throughout his ‘Whole Body of Work’ of the letter ‘W’ and its inverse the letter ‘M’….

Cassiopeia 1.jpg

Here’s one pivotal example; Sonnet 9 – at the dead centre of the ‘base’ of the pyramid of all the sonnets:


No less than 22 W’s + 9 M’s = 31

22 = 2x 11… 9 is a number of potential power and doom…

Regarding the No. 11, and its connection to the 353535 code… From The Wave, Vol 3 – Stripped to the Bone (in my old copy, pages: 173-176)

Q: (L) I wanted to ask about is the references I come across in tons of reading, that the number 33 is somehow significant. Could you tell us the significance, in esoteric terms, or in terms of secret societies, of the number 33?
A: As usual, we do not just give you the answers, we help you to teach yourself!! Now, take 11 and contemplate...
Q: (L) Well, three times eleven is thirty-three.
A: Yes, but what about 11?
Q: (L) Well, eleven is supposed to be one of the prime, or divine power numbers. In Kaballah, 11 is the power number...
A: Yes...
Q: (L) Eleven is 10 plus 1; it is divisible only by itself and by 1. I can't think of anything else.
A: Astrology.
Q: (L) Well, in astrology, the eleventh sign is Aquarius. The eleventh house is friends, hopes, dreams and wishes, and also adopted children. Aquarius the Waterbearer, the dispenser of knowledge. Does 11 have something to do with dispensing of knowledge?
A: Now, 3rd house.
Q: (L) Gemini. Okay. Gemini and Aquarius. Third house is how the mind works, communication, relations with neighbors and siblings, education, local travel, how one speaks. Gemini is known as the "consummate man." Somewhat shallow and interested in the things of material life. It is also the divine number of creation. So, what's the connection here?
A: Matrix.

Q: (L) The third house and the eleventh house create a matrix?
A: Foundation.
Q: (L) In terms of cosmic things, Gemini is in June, Aquarius is in February... Gemini is the physical man, and Aquarius is the spiritual man?
A: Yin Yang.
Q: (L) So Gemini is the physical man and Aquarius is the spiritual man... yin yan... is that the...
A: Yes... Medusa 11.
Q: (L) Medusa 11? What does Medusa have to do with it?
A: Heads.
Q: (L) Heads. Medusa. 11. This is really obscure... you need to help me out here.
A: We are. 11 squared divided by phi. 1 times 1; 5 minus 3.
Q: (L) I don't get it. A math genius I am NOT. What is the concept here?
A: Look: 353535. Is code.
Q: (L) What does this code relate to?
A: Infinite power.
Q: (L) How is infinite power acquired by knowing this code? If you don't know the correspondences, how can you use a numerical code?
A: Lord of Serpent promises its followers infinite power which they must seek infinite knowledge to gain, for which they pledge allegiance infinitely for which they possess for all eternity, so long as they find infinite wisdom, for which they search for all infinity.
Q: (L) And that is the meaning of the number 33? Well, that is a round robin... a circle you can't get out of!
A: And therein you have the deception! Remember, those who seek to serve self with supreme power, are doomed only to serve others who seek to serve self, and can only see that which they want to see.
Q: (L) The thought that occurs to me, as we are talking here, is that the STS pathway consists of an individual who wants to serve themselves - they are selfish and egocentric -they want to impel others to serve them; they want to enslave others; and they find ways to manipulate others to serve them. But, they end up being impelled by some higher being than they are. Because they have been tricked into believing that by so doing, they are actually drawing power to themselves through the teachings, including the popular religions which promote being "saved" by simply believing and giving up your power. And, then, you have a whole pyramid of people TAKING by trickery and deception, from others. The taker gets taken from in the end. A pyramid where all those on the bottom, the majority, have no one to take from, so they get absorbed into the next level higher, until you get to the apex and everything disappears in a black hole! But, in the STO mode, you have those who only give. And, if they are involved with other STO persons, everyone has and no one is at the bottom or at the top, in a void. In the end, it seems like everyone ends up serving someone else anyway, and the principle is the INTENT. But in STO, it is more like a circle, a balance, no one is left without.
A: Balance, yin-yang.
Q: (L) Obviously the 33 represents the Serpent, the Medusa, and so forth...
A: You mentioned pyramid, interesting... And what is the geometric one-dimensional figure that corresponds?
Q: (L) Well, the triangle. And then, if you have a triangle point up you have 3, joined to a triangle pointing down, you have 3, you have a 33. Is that something like what we are getting at here?
A: Yes.
Q: (L) Is there a connection between the number 33 and the Great Pyramid in Egypt?
A: Yes.
Q: (L) And what is that connection? Is it that the builders of the pyramid participated in this secret society activity?
A: Yes. And what symbol did you see in "Matrix," for Serpents and Grays?
Q: (L) You are talking about the triangle with the Serpent's head in it?
A: Yes.
Q: (L) Are we talking in terms of this 33 relating to a group of "aliens," or a group of humans with advanced knowledge and abilities?
A: Either/or.
Q: (L) Is this what has been referred to in the Bramley book as the Brotherhood of the Serpent or Snake?
A: Yes.
Q: (L) So, we have a bunch of people who are playing with mathematics, sacred geometry, and playing with higher knowledge, basically as a keep busy activity to distract them at the human level from the fact that they are being manipulated at a higher level. Is this what is going on? Or, do they consciously know what they are doing? Is it a distraction or a conscious choice?
A: Both.
Q: (L) If I were to name some names, could you identify if named individuals were involved in this secret group?
A: It would not be in your best interests.

From the following threads where the 353535 code is further explored:

Mar 1, 2007
Agni said:
Did anyone figure out 353535 code mentioned in transcripts? If so, does it have anything to do with a "pivot point" or "median"?

I don't have the answer. There are only two hypotheses that I could think about.

1/ The 353535 code could describe the human condition, i.e. the permanent cycle of reincarnation, that is the permanent shift between 3rd density (as human beings) and 5th density (death density)

2/ It could also describe the energy usurpation that happen between the 3rd chakra (lower emotional center) and the 5th chakra (lower intellectual center)

Apr 15, 2010
So far, my take on the 3/5 code, when taken in the context of the discussion where it was bruited, is that we have 3 centers until We Work, at Which point We can acquire access to two higher centers and becoMe 5, or a "star."

As for the number 31 (22+9):

31 is the number of regular polygons with an odd number of sides that are known to be constructible with compass and straightedge.

31 is the third Mersenne prime (25 − 1) and the eighth Mersenne prime exponent, as well as the fourth primorial prime, and together with twenty-nine, another primorial prime, it comprises a twin prime. As a Mersenne prime, 31 is related to the perfect number 496, since 496 = 2(5 − 1)(25 − 1). 31 is also the 4th lucky prime and the 11th supersingular prime.

31 is a centered triangular number, the lowest prime centered pentagonal number and a centered decagonal number.

31 is the eighth happy number.

No integer added up to its base 10 digits results in 31, making 31 a self number.

The numbers 31, 331, 3331, 33331, 333331, 3333331, and 33333331 are all prime. For a time it was thought that every number of the form 3w1 would be prime.

Thirty-one is also:

  • The number of kings defeated by the incoming Israelite settlers in Canaan according to Joshua 12:24: "all the kings, one and thirty" (Wycliffe Bible translation)
  • A type of game played on a backgammon board
  • In music, 31-tone equal temperament is a historically significant tuning system (31 equal temperament), first theorized by Christiaan Huygens and promulgated in the 20th century by Adriaan Fokker
  • Number of letters in Macedonian alphabet

22 W’s + 9 M’s = 31

I think 'Shake-speare' was ‘Will-ing’ to play with self-fire here – to seek to hold and unfold the all and be all in the inclusive contradictions that resolve in balance (centres), using himself as the cauldron and his mind as the sword… and the ‘codes’ were all aiming for that ultimate possibility… the formation of a 5 pointed star

Wave 3 – 340-342
We notice that, on the Cosmic Tree, the position of Knowledge is a facilitator for the cycling of 6th density energies to move into Union with the one which is, in effect, an instantaneous (or timeless) to Being and Non-being which then initiates a new cycle of consciousness that regenerates as dense matter and consciousness that emerges bilaterally into the Beautiful Names and Wrathful Names of God to initiate the drama all over again.

When we look at the Human Tree of Life, which is the mirror image, we see that the position of Knowledge is now the genetic body which is ON the Central axis. We then realize that THIS is our facilitator.

The genetic body is the control center for the physical body since it transduces the Central axis energies, so whichever Thought Center is dominant will control the physical experience.
Not only that, but we can see another possibility - namely, that knowledge and genetics are DIRECTLY INTERACTIVE. At the 3rd density level, GENES are the LOGOS!

"In the beginning was the Word, and the Word was with God, and the Word was God Himself. He was present originally with God. All things were made and came into existence through Him; and without Him was not even one thing made that has come into being."

In the above – as with all English versions of this passage - the Word is a ‘HE’. However in the original Greek the Word was actually a ‘SHE'.

Sounds like Cosmic Chromosomes! It is through our genetics that we have the potential of aligning with the Central vertical axis and "changing Thought Centers." And, just as 2nd density Nature is a reflection of 6th density Knowledge in the Cosmic Tree, so is our genetic code the 2nd density reflection of all that exists as potential within US as human beings.

It could even be said that ALL of nature exists within US.

...As third density bioengineered beings, you lead the smorgasbord parade of that which surrounds you in the physical realm. ...Each individual possesses all of creation within their minds. ...Each soul is all powerful and can create or destroy all existence if know how. ...You may create alternative universes if you wish and dwell within. You are all a duplicate of the universe within which you dwell. Your mind represents all that exists. It is "fun" to see how much you can access. ... Challenges are fun. Where do you think the limit of your mind is? ... If there is no limit, then what is the difference between your own mind and everything else? ...And when two things each have absolutely no limits, they are precisely the same thing.

Is that SO?!

You see, our genes are more or less encoded copies of all the possible "dramas" of which we can be participants. Much of this information is like closed books, stored in a room that is never opened. We have the potential, via knowledge and exercising certain functions, to open these books and "link up" with the Central Axis and thereby make a "shift" in the essence or Name by which we are dominated. And, in doing this, we have the possibility of participating in a different "drama" or myth or 4th density movie being projected into 3rd density.

The last line of Laura’s above is what I think ‘Shake-speare’ may have actually did…


Here we have one of the major clues to how it will help us to study nature. If our genetics are the physical interface between us and the vertical axis, if they are the physical manifestation of the Thought Centers through which our existence is extruded, then we might very much want to examine nature and the creatures within it in order to be able to determine just exactly what potentials we may be enacting, what potentials we CAN activate that may not be activated, and how to suppress those potentials that belong to Thought Centers that we do NOT choose to be the arbiters of our destiny.

We can study nature and discover what Archetypes are manifested in our lives and, if we don't like the script, we can discover the ways and means to "change the selection," so to speak. That means that we can "create our own reality" in the sense of "changing channels" in terms of which thought center is in control of our lives. It also means that we can have a choice as to which Face of God we behold!

In the study of Nature, we have been given a "tool," a means of assessment that, if used rightly, can lead us to make "felicitous" decisions that activate our DNA in ways that align the Three Worlds of our Soul centers with the Four Worlds of our Bodies of existence.

Remember the 3/5 code that the Cassiopaeans hinted about? Let's look at it again:

Q: (L) I don't get it. A math genius I am NOT. What is the concept here?
A: Look: 353535. Is code.
Q: (L) What does this code relate to?
A: Infinite power.
Q: (L) How is infinite power acquired by knowing this code? If you don't know the correspondences, how can you use a numerical code?
A: Lord of Serpent promises its followers infinite power which they must seek infinite knowledge to gain, for which they pledge allegiance infinitely for which they possess for all eternity, so long as they find infinite wisdom, for which they search for all infinity.
Q: (L) And that is the meaning of the number 33? Well, that is a round robin... a circle you can't get out of!
A: And therein you have the deception! Remember, those who seek to serve self with supreme power, are doomed only to serve others who seek to serve self, and can only see that which they want to see.

Well, that particular session nearly drove me nuts in trying to figure it out. We came back to the subject again and that was even stranger:

Q: (L) OK, let me jump over to this other subject of the number 33 and the number 11. Is there anything beyond what was given on 11-11-95, that you could add at this time, about any of the mathematics or the use of these numbers?
A: Prime numbers are the dwellings of the mystics.
Q: (L) What do you mean, "prime numbers are the dwellings of the mystics?"
A: Self-explanatory, if you use the tools given you.
Q: (L) How can a number be a dwelling?
A: Figure of speech. [Planchette spirals several times, vigorously] And how interesting that we have a new "cell" phone company called: "Primeco."
Q: (L) And how does a cell phone company called "Primeco" relate to prime numbers being dwellings of mystics?
A: Not for us to answer.

We stopped at this point and did a little exercise in word association. Some of the words we came up with were: encryption, cells of monks, prisons, prime number divisible by one or self.

Q: (L) Is encryption the key?
A: Oh, there is so much here. One example is: "Snake eyes" is not so good as 7,11, eh?
Q: (T) They are all prime numbers, too; seven and eleven. (L) What kinds of documents or writings... or what would be applicable...
A: No, Laura you are trying to focus, or limit the concept, my dear. Think of it, what is the Judaic Christian legend for the creation of a woman?
Q: (L) That woman was taken from the rib of Adam. That Eve was created from the rib of Adam.
A: Ever heard of a "prime rib?"
Q: [Groans] (T) I hate being in kindergarten and not knowing what the subject is. Ok, prime rib. We have a prime rib, so...
A: What happens in a "Primary."
Q: (L) An election. You narrow down the candidates. What happens in a primary?
A: Who gets "picked" to run?
Q: (L) Ok, keep on...
A: "Prime Directive?" "Prime time?"
Q: (L) The first, the best... and...
A: Not point
Q: (L) I know that's not the point! Is what we're saying here, is that we can use these prime numbers to derive something out of something else?
A: We told you about the mystics.
Q: (L) So, mystics... the mystics, the mystical secrets... dwell in the prime numbers if used as a code.
A: Name the primary mystical organizations for key to clue system.

We named: Catholicism, Christianity, Judaism, Cabalism, Sufism, The Koran, Mysticism, Jesuits, Masons, Knights Templar, Rosicrucians...

Q: (L) All right. With our little list that we're making, are we on to something, or are we completely off track?
A: Yes, now check out those crop circles photos... any prime number combos there?
Q: (L) Do you mean in terms of dimension, or do you mean in composition?
A: Composition and dimensions... anything you can find.

We stopped again and discussed Sacred geometries and the fact that all the sects listed use prime numbers. We also noted that in Genesis, Ch.2, verse 22, it says "rib taken from the man and made woman."

We also noted that 2 is the only even prime number and that it was referred to as "snake eyes." In Genesis Ch 3, v5 (the 3/5 code in mind) it says "your eyes shall be opened and ye shall be as the gods" referring to the temptation of the serpent in Eden.

Q: (L) Are we thinking in any of the lines of something we ought to follow, or are we drifting?
A: All are lines you ought to follow.


We can even note HOW the "cover-up" machine began to do this "damage control." When you study the history of social and religious movement and change, you can see the "control mechanism" morphing with every discovery or realization made by human beings. As they outgrew the old religions, the simplistic explanations, new "religions" were put in place. At exactly the right time - the period of scientific expansion and growing knowledge of the nature of reality which brought the old religious views into serious question - the whole spiritualist movement began, leading to channeled information that was designed to patch up the holes in the control net. Newer and more elaborate explanations of the "higher realms" came into our reality. And, with each new question, the control system had a new answer to help everybody calm down, relax, and stop asking questions!

P 355-6

Of course, it does seem that many of the ancient schools and mystical paths kept some of this information intact. But, for the most part, even that was "faded on the page" due to the long period of time since such things were known and acknowledged. But still, there are those who have seen the contradictions in our reality and our beliefs and who have sought in these ancient teachings to discover what MIGHT be known. And many of them have made discoveries that, when considered with information from many other fields, assists us in this essential discovery of our true condition and purpose.

Gurdjieff was one of these.

And so, because he DID it, he made it possible for others to do it.

Even though it seems that each person who makes progress in this discovery gets "damped down" or obfuscated by their followers, each person who blazes a trail makes it easier for the next traveler to follow in their footsteps. Of course, each trailblazer is in the position of having to cut and slash their way through the thickest and most dangerous jungle surrounding the truth, and this takes them only so far. But, having arrived at a new vantage point through this great effort, they CAN see more of what is ahead, in the center. Perhaps they can only get glimpses, but these glimpses at least assure them that they are on the right track. On the other hand, they may even see the whole picture and, in keeping with the maturity of the group mind in their time period, attempt to express the revelation in terms understandable to that generation.

Gurdjieff's teachings became known as the Fourth Way as opposed to the three ways that had, as far as we can tell, evolved out of the very religious and social structures that we may think are in place for the purpose of keeping us imprisoned. This is what Gurdjieff meant when he said that many are hypnotized into believing they are Men or Magicians. The problem with these three ways, as we have already discussed, is that they concentrate on only one of the three centers in man: bodily discipline, mental development or the "way of the heart" - Love. Gurdjieff's way incorporated all of these through a form of Conscious Labor and Intentional suffering.

P 356-7
Even so, we have to see each of these things as "steps." We can't leave out Sufism, Alchemy, Catharism, and other persecuted systems of knowledge which were the stepping stones before Gurdjieff. By looking at the overall picture, we can pretty safely say that when a revelation is seen to be useful, that it helps the people who are involved in it to lead fuller, more meaningful lives, the forces that be will immediately go into overdrive to destroy or conceal it. And, if they cannot do that, they will ensure that it is distorted and corrupted by putting their own "agents" in place on the "inside" to see the job done. Witness the development of Christianity via the Catholic Church.

p357-360 / In Search of the Miraculous – p310-315

The humanity to which we belong, namely, the whole of historic and prehistoric humanity known to science and civilization, in reality constitutes only the outer circle of humanity, within which there are several other circles…

So that we can imagine the whole of humanity, known as well as unknown to us, as consisting so to speak of several concentric circles.

The inner circle is called the ‘esoteric’
; this circle consists of people who have attained the highest development possible for man, each one of whom possesses individuality in the fullest degree, that is to say, an indivisible ‘I,’ all forms of consciousness possible for man, full control over these states of consciousness, the whole of knowledge possible for man, and a free and independent will.

They cannot perform actions opposed to their understanding or have an understanding which is not expressed by actions.

At the same time there can be no discords among them, no differences of understanding. Therefore their activity is entirely coordinated and leads to one common aim without any kind of compulsion because it is based upon a common and identical understanding.


In literature which acknowledges the existence of esotericism, humanity is usually divided into two circles only and the ‘exoteric circle’ as opposed to the ‘esoteric,’ is called ordinary life.

In reality, as we see, the ‘exoteric circle’ is something very far from us and very high. For ordinary man this is already ‘esotericism.’


"So that the possibility for people to understand depends on the possibility of penetrating into the exoteric circle where understanding begins.

"If we imagine humanity in the form of four concentric circles we can imagine four gates on the circumference of the third inner circle, that is, the exoteric circle, through which people of the mechanical circle can penetrate.

"These four gates correspond to the four ways described before.

"The first way is the way of the fakir, the way of people number one, of people of the physical body, instinctive-moving-sensory people without much mind and without much heart.

"The second way is the way of the monk, the religious way, the way of people number two, that is, of emotional people. The mind and the body should not be too strong.

"The third way is the way of the yogi. This is the way of the mind, the way of people number three. The heart and the body must not be particularly strong, otherwise they may be a hindrance on this way.

"Besides these three ways (fakir, monk, yogi) yet a fourth way exists by which can go those who cannot go by any of the first three ways.

"The fundamental difference between the first three ways, that is, the way of the fakir, the way of the monk, and the way of the yogi, and the fourth way consists in the fact that they are tied to permanent forms which have existed throughout long periods of history almost without change. At the basis of these institutions is religion. Where schools of yogis exist they differ little outwardly from religious schools. And in different periods of history various societies or orders of fakirs have existed in different countries and they still exist. These three traditional ways are permanent ways within the limits of our historical period.

"Two or three thousand years ago there were yet other ways which no longer exist and the ways now in existence were not so divided, they stood much closer to one another.

"The fourth way differs from the old and the new ways by the fact that it is never a permanent way. It has no definite forms and there are no institutions connected with it. It appears and disappears governed by some particular laws of its own.

"The fourth way is never without some work of a definite significance, is never without some undertaking around which and in connection with which it can alone exist.

When this work is finished, that is to say, when the aim set before it has been accomplished, the fourth way disappears, that is, it disappears from the given place, disappears in its given form, continuing perhaps in another place in another form.

Schools of the fourth way exist for the needs of the work which is being carried out in connection with the proposed undertaking. They never exist by themselves as schools for the purpose of education and instruction.

"Mechanical help cannot be required in any work of the fourth way. Only conscious work can be useful in all the undertakings of the fourth way. Mechanical man cannot give conscious work so that the first task of the people who begin such a work is to create conscious assistants.

"The work itself of schools of the fourth way can have very many forms and many meanings. In the midst of the ordinary conditions of life the only chance a man has of finding a 'way' is in the possibility of meeting with the beginning of work of this kind. But the chance of meeting with such work as well as the possibility of profiting by this chance depends upon many circumstances and conditions.

"The quicker a man grasps the aim of the work which is being executed, the quicker can he become useful to it and the more will he be able to get from it for himself.

"But no matter what the fundamental aim of the work is, the schools continue to exist only while this work is going on. When the work is done the schools close. The people who began the work leave the stage. Those who have learned from them what was possible to learn and have reached the possibility of continuing on the way independently begin in one form or another own personal work.

There is the possibility that some elements of what others have termed The Shakespeare Project ‘team’ may have been secret snake Worshippers… but he himself was another Matter all together… and I suspect there was a strange balancing of purposes going on for a brief period at that time which meant he was able, if for but a few short years, to point his evolving star in a completely different direction for human kind…

That he may be ‘failed’ like others (or maybe not) until perhaps our time and Laura came along may be the deepest mystery of all…

More anon…


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The Living Force
FOTCM Member
The essential rhythm/beat/measure of a unit of a line of 'Shake-speare's' verse is our living heart beat. The beating heart of mankind. The beating heart that goes on every second of your life. It never leaves you until its done.

The body gently takes in blood ('de') and then generates a great pulse (-) before cascading it off with a great force around the body ('DUM') .

Reminds me of the Beatha portion in EE - baaaaah-HA - life in-take in the baaaah portion, and expelling stress and tension in the HA portion. which creates the round breathing, like the pulse of our hearts pumping blood.


FOTCM Member
Anyway, it might give some pleasure and further illumination if interested. But don't expect anything that touches on the deeper issues we are exploring here.

There are 9 parts in the series (god be the days when this sort of programming went on!) and I think all are still up on Youtube if you follow this first one.

That was fun, loved the exchanges of line-parts recited within The Merchant of Venice - avoiding the traps, as was said (and great to see a young McKellen). Next was your work on SONNET 127 through to unraveling the language - 'Black' (there was something else about this word related to a Welsh period name that will have to look up) and 'Beauty', which brought up W and M's and code - and much much more. So, it was and will be interesting to see where this goes, and have made mental notes, too, as you have obviously thought about these things likely for many years, and thus you are sharing them here - excellent!

Now there was some points that perhaps, if you follow, I'll leave them in the other ‘Shake-speare’ thread here. Now these points are more mundane historical period dots that may in fact not connect and lead anywhere, yet by you bringing back Shake-speare/Shakespeare into the light it has created some renewed enthusiasm to see where things might go.

Bravo, Michael-B.C!

Michael B-C

FOTCM Member
That was fun, loved the exchanges of line-parts recited within The Merchant of Venice - avoiding the traps, as was said (and great to see a young McKellen). Next was your work on SONNET 127 through to unraveling the language - 'Black' (there was something else about this word related to a Welsh period name that will have to look up) and 'Beauty', which brought up W and M's and code - and much much more. So, it was and will be interesting to see where this goes, and have made mental notes, too, as you have obviously thought about these things likely for many years, and thus you are sharing them here - excellent!

Now there was some points that perhaps, if you follow, I'll leave them in the other ‘Shake-speare’ thread here. Now these points are more mundane historical period dots that may in fact not connect and lead anywhere, yet by you bringing back Shake-speare/Shakespeare into the light it has created some renewed enthusiasm to see where things might go.

Bravo, Michael-B.C!

I'm glad it's proving to be some fun and of interest Voyageur in these times of the mind-flayer! Its helping to keep me sane I must say. You give me confidence and faith to plough on in present company despite the sense that we're trying to untangle a room full of spaghetti! It's mostly just great fun however - and the discoveries do come thick and fast I find (whilst being wary of looking for them too much and falling into traps of projection!) Without Laura's Wave series etc I think it would be impossible. But every time I put a tentative toe in the water ripples come back even when I feel I'm in danger of being blind sided. I mean here's a small example this morning...

Note that there are 9 key - one might say active - capital letters, 7 of them inside the verse (I've excluded the other capital letter's at the start of each new line as they are a standard printing convention and I don't think part of his purpose). Interesting set of capitalised words don’t you think? Maybe also note that the ‘N’ and the ‘O’ are perfectly lined up in the original – reading ‘NO!’ A trinity of capitals reading I NO in fact!? I know??? Or I am not something...?

Having posted this I went to bed and something in my head went... 'Now why did you feel the need to say that because actually you didn't bother to count them all, you just took them for granted as being unimportant?' So this morning I did count them. The simplest of tasks. At first I discovered that I was being a fool to think there could be such a simple obvious neat little formula because hey-presto there was only 21! I almost gave up and forgot the idea... then I looked one final time at the original just to check and there at the bottom of the page the word 'Therefore', which is the first word of the next line repeated to create continuity as you turn the page - and thats got a capital T.... making in total...


Looking for something that isn't there and finding it? Or finding it, hidden in plain sight.... I love the universe!

One has to say there being 22 (or rather 22 dressed, or hidden behind the more obvious 21) does give me pause for thought!

In final passing, I had intended yesterday to say something further clarifying why I think the ancient 4th way path came through from Petrarch to 'Shake-speare' and that he then took it on to a whole other level as we will find through the 126/127 transition (plus all the other places this plays out) but of course its complex and would take pages. Plus I'm still trying to tease out the actual form or language to convey the meaning/argument - but I'm reasonably confident it has a great deal to do with the uniquely developed ability he had to hold opposites in his mind at full force whilst also living them out in his life all at the same time and to harrow them side by side in such a way that the third way was able to distill inside him and then out into the public space through his Work. That he was the crucible in which all this fermented and the Globe theatre (of course designed and built to represent a microcosm of the macrocosm) was the place the resolutions were inch by inch presented.

Petrarch effectively admits that the terrifying wonder and over powering nature of 'Laura' - the laurel of universal truth - the gnosis in action of the universe - was just too painful and disturbing in its implications for him to handle, and without criticism it seems as if in the end he fell back on some form of wishful thinking and retired from the task. I find the opposite to be true in 'Shake-speare's' case - he almost willfully allowed everything that there is to be found to fill him up and yet never overwhelm him. The well known chant of the 3 witches from Macbeth comes to mind

Double, double toil and trouble;
Fire burn and caldron bubble.

This double-doubling of information, this toil, this trouble (the 22 is a form of this doubling)... that's how he was willing to be 'cauldron-cooked'. He clearly knew the dark side as fully as he knew the light - I suspect he was surrounded by and intimate with all the English and continental nasties of the time who were busy cooking up the matrix of plans that are coming to fruition now (or not as we trust in the universe!) - banking, espionage/deep state, imperialism, control, secret societies, conspiracy etc - he was right in the thick of it in some way. But uniquely he seems not to have taken the bait... rather he seems to have used this remarkable confluence of forces to undertake the Work... and it seems as if for a while he was 'allowed' to do it so publicly as well as privately... and he willingly and determinedly took the opportunity that only that time could have granted - when in some sense both forces were openly at play in some kind of tussle for balance - and he somehow straddled both worlds.

When you explore the plays in the brilliant manner that Ted Hughes suggests, you see that each key play pushes the wave further up the beach before sloshing back into him for further refinement and or resolution - and that he used each play like a widening or narrowing perspective on the same repeated central issue of pursuing a balancing hypothesis that could hold all realities and by so doing in some way release the hold they have on us through illusion, wishful thinking, blind-spots, etc. I'll try and post something soon on the essential themes - or equation as Hughes rightly called it - on the other thread where all this started but for now see below for Hughe's wonderful distillation early on in his book of the practical mechanism and purpose:


Without assuming that Shakespeare was a devout Occult Neoplatonist, or was more than amused by the ingenuities, curious about the claims, and intrigued by some of the ideas, one can suppose that out of this vast complex of archaic, magical, religious ideas and methods, the following items caught his attention:

  • The idea of an inclusive system, a grand spiritual synthesis, reconciling Protestant and Catholic extremes in an integrated vision of union with the Divine Love.

  • The idea of a syncretic mythology, in which all archaic mythological figures and events are available as a thesaurus of glyphs or token symbols - the personal language of the new metaphysical system.

  • The idea of this concordance of mythological (and historical) figures simply as a Memory System, a tabulated chart of all that can be known, of history, of the other world, and of the inner worlds, and in particular of spiritual conditions and moral types.

  • The idea of this system as a theatre.

  • The idea of these images as internally structured poetic images - the idea of the single image as a package of precisely folded, multiple meanings, consistent with the meanings of a unified system.

  • The idea of as-if-actual visualization as the first practical essential for effective meditation (as in St Ignatius Loyola’s Spiritual Disciplines, as well as in Cabbala).

  • The idea of meditation as a conjuring, by ritual magic, of hallucinatory figures - with whom conversations can be held, and who communicate intuitive, imaginative vision and clairvoyance.

  • The idea of drama as a ritual for the manipulation of the soul.

It might or it might not be too much to add to this list the four ethical aims fundamental to Cabbala. They could just as easily be cited as the four fundamental aims (and achievements) of Shakespeare’s cycle of dramas, becoming more refined and pronounced with each successive work.

The first is to achieve harmony between the fixed and the free, between the severe formal powers of Judgement and the flowing spontaneous powers of Mercy: the second is to achieve the sacred marriage, the conjunction of masculine and feminine; the third is to redeem the Shekina from the abyss of the demons, where the Shekina is the Divine Spirit (originally the soul of Israel (Ariel), imagined as female, the soul as God’s bride) immersed in material existence; and the fourth is to attain mastery over - or defence against - the demonic powers of the abyss. These four principles are also the cornerstones of the Gnostic myth of Sophia which rises so forcibly into the substructure of the ‘romances’
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Jedi Council Member
There is a further mystery in his consistently pointed use throughout his ‘Whole Body of Work’ of the letter ‘W’ and its inverse the letter ‘M’….

Been wondering where ‘Cassiopeia’ would surface...😊

Funny that I’m wrestling with a ‘speare’ post myself...

Hope this doesn’t interrupt the flow Michael ;

One of the most intriguing astronomical references in Shakespeare comes in the first scene of “Hamlet”. The young prince is meeting with his friend Horatio and two castle guards, who are telling him of their having sighted a ghost. One of the castle guards, describing the time when he last saw the ghost, says:

Last night of all,
When yond same star that’s westward from the pole
Had made his course to illume that part of heaven
Where now it burns, Marcellus and myself,
The bell then beating one...

In 1998, a collaboration between Physics professors Don Olson and Russell Doescher, and English professor Marilynn Olson, of Southwest Texas State University suggested that the star to which the castle guard refers is in fact Tycho’s supernova...

The 1572 supernova was in the constellation of Cassiopeia… the constellation which, at 1am in November, can be observed to be in the northern sky to west of the pole. This is exactly where the star in “Hamlet”, called out as particularly noticeable by the castle guard, was seen. Shortly after the supernova exploded, it would have been nearly as bright as Venus in the sky. The appearance of this new star, one of the brightest things in the night sky, second only to the Moon and perhaps Venus, doubtless left an impression on the active mind of the child Shakespeare...

Michael B-C

FOTCM Member
Been wondering where ‘Cassiopeia’ would surface...😊

Funny that I’m wrestling with a ‘speare’ post myself...

Hope this doesn’t interrupt the flow Michael ;

Please, please don't put anything like that on to your or anyone else's participation in this process gnosisxsophia; it really doesn't/mustn't belong or source from me - you are just as, if not more, important - your input, your feedback, your ideas. Not for me, but for us - the "we few, we happy few, we band of brothers..." who will pop in and out of this stream and scrub each other clean as it goes forward. Thank you as an equal in awe ("no more or less than is required") member of this nourishing conversation. :thup:

Great find and spot! I'd completely forgotten the 1572 supernova in Cassiopeia but it was indeed possibly a pivotal source of 'divine inspiration' - a charge of cosmic information at that precise time and in some way picked up on earth, and very likely by our man... I'll dig out the paper I have somewhere on this very topic and share it asap. But really great to have that idea in the cauldron going forward. Exciting!


Padawan Learner
I think is safe to say that we, or many of us, understand the “frustration” or even the spiritual pain caused by the gaps of knowledge, because we have been there and still are in one level or another. And boosted by this condition we have placed these posts and threads with that that touches our soul, and which are like a silent asking for help. I mean, it is not certain that someone will step in and offer the answers for that we seek. But, at least we are sharing a part of our perception that, someday, may be that missing part of the puzzle sought by some else. This is what matters if you are pursuing the sto path.

Is there a good and fast solution to enlightenment? I believe so. C’s have systematically provided information to fill those gaps, but they are not here to do our Work. They mostly just point the gate. Thus is up to us to cross that door. Some of us may state, "but we don’t see the gate!" Okay, then I will highlight the way given by the C’s and others before them: faith! Faith is an effective way to fill the gaps. Please don’t misunderstand this as some religious claim, it is not. Hard work such as a research in Shakespeare, the remarkable Ovid, or Homer is part of the construction to active the faith, unless you be like Christ, though even him had outstanding earlier lives, if we are to believe what C’s told us.

Furthermore I suspect that only “silent asking” may somewhat attune to “Wishful Thinking.” Therefore, to avoid such, from there we might give the next step to active faith, such as plainly asking for help. For example, literally speaking or writing our questions. Why? Because, if you sincerely asked, this implied you are ready to abandon your rooted assumptions, and then listening and accepting the infinite source from what all of us is forever part. Alas! This is just some thoughts.:cool2:;-)


The Force is Strong With This One
Hey M, interesting post. I think the chiasmus is the term that most applies, the fulcrum in the middle, mesotes if you will.. I bet that caused you to spill wine all over your copy of the wave.
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