Re: Outer and Inner meditations on Schooling
"...phony lies are muttered and hopes for raw materialistic greed, riding on the gasoline and oil of dead people we have willingly and continue to willingly murder so that we get our little materialistic goodies and they don't. They get murdered and maimed and poisoned with depleted uranium so we get our goodies."
The Pentagon is the War throne of Ahriman. The Ahrimanic Kings also bring an offering our own Christ Child nourished on Michael fire. Rendition and torture centers around the world are the breeding ground of saddistic sorathian and asuric schools of future Hannibal lecters. It is all a beautiful scheme woudn't you say? We are all guilty and all participating in a vicious cycle of murder and it traces itself back to Henry Ford and the gasoline engine. Known in Egypt as the Ka and known in Amerika as the Car. The same molded to fit the materialistic egotism of those who seek the adventure on the open road.
The Kings come along and enter the precincts where NaZARATHUSTRA/Nazareth where, Zarathustra of the Solomon line, that would be for the newbie, Zarathustra/Jesus, by any star wisdom and prophecy is to appear, reincarnate again. The three Kings come openly into the Hot Spot of mega-supra history. The Three Kings naively believe that the leader in his own kingdom knows what is going on so they mosey on up to the legal town hall and explain why they are visiting from such a great distance. No, they explain, this is not some black ops, operation to sneak inside some country, like say, Iran or Syria or even sneak into the U.S. like the famous, never to be discussed, like the dancing Israelis, who cheered and took pictures as the Twin Towers fell. Just what were they so hapy about?
Of course the FBI let all that disappear because it was moving company and they let that front, that false flag business front fold up and get out of the country without being held for questioning and the questioning that was held was overridden by higher ups and the term CLASSIFIED was stamped on it and back to Israel without any questioning they went. Herod and his minions could suspect that some foreign power mighty be sending spies for some invasion, of course at that time it wasn't the oil rich Haliburton spies... The region was dirt poor, but an amazing super treasure, super event was planned by the whole starry community in cahoots with the best of humanity, to insert itself into a region and make that region, if the mission succeeded, into the most important Golgotha Pivot, Super Gold event ever undertaken in human history.
That certainly if such a great incarnation was expected, certainly the star wisdom and prophets, the ancient texts, would have indicated it to Herod, and in the dramas of the Three Kings, there are three evil sacred text readers who spin the fallen soul forces of Herod, they work from the same soul forces that King Lear discovers and Bram Stoker discovered as three delicious vampire women knotted to count Drac... they are his fallen soul forces, three of them, who call ole Drac daddy! But I suppose the inattentive Anthro and newbie never put Triadic soul forces together out of King Lear or Drac or the Mystery Drama of Rudolf Steiner. That would be a lot to ask of interested and attentive students of Anthroposophy I know. Everyone that I hung out with always went to see these Three plays through the Holy Nights, and these Three plays come in all forms, lots of singing, The Shepherds, which I performed in and directed many times, Adam and Eve and Three Kings plays, in Everyman and of course through the famous Hroswita von Gandersheim, aka, Schroer and the insignifcant individual Plato Himself. Ah the also fairly unstudied Oberufer Plays that so attracted Karl Julius Schroer. Ah, but why, but why in the great scheme of things, why?
Of course for the Newbie and most Anthros who have never gone back and researched the readable plays of Hroswita von Gandersheim, they wouldn't have an idea that the plays that Schroer thought so important came directly out of the previous incarnation of Plato/Schroer as Hroswita von Gandersheim, where she, she was she then, living in a christian nunnery, she wrote these seed core plays that had in them even the seed germs of Shakespeare and King Lear and rich Christian themes all rolled into a woman. A female playwright and we would have to recall and some of us can recall that Plato really wanted to be, and was a frustrated playwright who got his heart stuck in a crucial drama around his friend Socrates. Yes connected issues but how and how were you thought to not think through into the heart of things, those things that motivated and struck our elders.... Steiner calls Karl his teacher, imagine that, Steiner's teacher. But all this basically drifts by the inattentive newbie and Anthro student as too much information. Too bad!
Not to forget of course that if we examined the Mystery Dramas we find a curious relation to the two Egyptian hierophants, and one, one who refuses and holds back a key element of the ritual and Initiation rites in the depths of Egypt and from this, holding back a key element, and lest we forget, which most of you aren't exposed enough to real insights into the history of the world, Initiation in the Egyptian world was today, and IS today more in it's raw reality, exactly like an ER unit, a Life Support system emergency room only without the macines. The machines are modelled on Life support systems from what the ancient TWELVE SUPPORT trained interior Initiation crew each did to sustain the vast complex of a single, solo traveler released under supervision out of his body and having an Out of Body Experience under supervision.
That literally and I mean literally, that the staff on the Egyptian Initiation shift were trained to take over the Life Support of the novice so that he/she could soar out to a core revelation and solid insight of the spiritual world, not unlike today's NDE or Near Death Experience or OBE. The medical staff in the Egyptian Intiation were highly schooled practicioners of the various physical, etheric, astral and seed, sub-seed i am.... I just thought you should know this, because part of Plato and Aristotle's working together seems to revolve on opening, rather shattering the ancient Egyptian center and opening up the gateways to the Schooling of Human freedom... All this, all this, a nun, a frustrated playwright, a magnificent philosopher who shared his experience of THE OTHER, Socrates, and recorded the depths of a human being, Socrates and all this ends up in Raphael's THE SCHOOL OF ATHENS. But why, we know it was meant to be Paul now wasn't it, why did it end up being Plato and Aristotle, Oh well, silly human beings, somebody must have messed up, or did they?
We can leave this tidbit for Frank or someone else to translate; El tema había sido tratado el siglo x por la monja Hroswita, abadesa de Gandersheim, en su drama en latín Pafnutius, a partir de fuentes siríacas, griegas y latinas, y la leyenda se mantuvo a lo largo de la edad media (Villon la cita en su famosa Ballade des dames du temps jadis).
Men: kvinnliga pionjärer har det funnits gott om, trots att de flesta glömts bort. På 900- talet verkade t.ex. Hroswita av Gandersheim. Hon kan kallas en föregångare till Shakespeare, men hon var också mycket annat. Hon behärskade, tillsammans med två andra av Burtons idoler, Herrad av Landsberg och Hildegard av Bingen som verkade på 1100-talet, så gott som alla vetenskaps- och konstformer som existerade vid denna tid. De var enorma kunskapsbanker.
So these three soul forces and Hroswita von Gandersheim, all undiscovered by those who have yet to even have a whiff of deeper interest, and the Shepherds Plays sacred to Anthro lore, and of course the Three Kings and Oberufer plays arrive via Plato sans Karl Julius Schroer. And in most plays we have the Three Kings checking in with Herod and the evil advisers, the shadow of the three, advise Herod that if a big ole fat king, a child who will outshine any of the kings ever and put Herod in the dust and everyone will bow down and worship HIM, it would be best for the short term reputation and power bloc of Herod if he murdered all the children under a certain age. Or, in our world send those around the first moon return, 18 to 19 year olds out to maimed and murder and kill for your Ka, your Car, brought over by Henry Ford from his Egyptian incarnation.
Orwellian registration and taxes and everyone on record, ya see, here how Ahriman and everyone having a computer code, cell phone and SSN, records, and data mining and illegal wire taps and Amerika takes up the modern thread of Herod and the Three Kings? I knew you would understand if it was explained to you properly. Most of us have grave difficulty seeing how updated spy ware into everything we do, down to our genetic bar code allows Ahriman the ability to manipulate truth and quietly murder and put out fires that might lurk in your thoughts. Are you thinking thoughts now? Well these thoughts put you already on a suspect list in America today.
You see Bush and spying on American citizens and the George Orwell school warning, allowed us to study the Ahrimanic intent combined with a vicious Luciferic abuse of the mysteries and a vicious abuse of occult insights brought and confirmed by the Three Kings and a vicious attack on human freedom in a whole new digital age, makes the Three Kings play today still a shocker. Records, taxes, how many children and now of course we are already into the Thought Police, just like Nazi Germany and Stalin and everywhere Ahriman tries to fend off Michael Freedom, we are in the brilliant insights that George Orwell shaped for us but we would rather fall asleep, all this is too, too much... well go the hell back to sleep if you must.
Herod, aka Cheney has sent his hordes out to murder humanity and humanity is caught having to defend it's moral principles at the gas pump. Now of course the Three Kings from Lemuria and Atlantis and Euro are rich, rich with the legacy of the great movements and developments of humanity but poor, poor newbies and Anthros find it too difficult to connect these things and stand in the middle of the Michael stream. Steiner pick up the three different strata of the Three Kings in that these Three Kings can be seen as the riches of the TAO of ancient Atlantis and Adam and Eve of Lemuria and a kind of repeat, a repetition, a recapitulation of the earliest beginnings of human evolution. Steiner picks up this particular thread of what the Michael Age and it's dawning is really all about.
The Michael Age and the Four Kings that appear in the fairy tale, the condensed Devachanic Imagination of the dawn of the Michael School on Earth, THE GREEN SNAKE AND THE BEAUTIFUL LILY, has these Four Kings, possibly representing the vast in depth research of Occult Science an Outline, of ancient Saturn, ancient Sun and ancient Moon evolution in the depths of Lemuria, Atlantis and Euro consciousness soul. The good ole Magna Carta. Even the good ole Magna Carta is now owned by Ahriman. It was bought outright by the Bushes Dad in his Carlyle Group. Magna Carta and the Euro Gold. But folks, folks!? If Steiner sees the hidden text from the devachan in THE GREEN SNAKE AND BEAUTIFUL LILY, is he gonna get any help from Plato here? Does he have to do all the heavy lifting to lift up this underground temple or do we do some of the heavy lifting and help? Interesting question huh! You can tell by your drowsy and drifting concentration on these words that you don't feel like you can do any heavy lifting because you don't have the schooled interest or the objective interest in much of anything but your petty subjective feeling life... just circle around that and make all this as simple as possible, let Dr. Steiner do all the heavy lifting. Let the Waldorf Schools and Anthro Centers do all the heavy lifting to match, to match the awakening and dawning of the mightiest event of the 20th century, the dawn of Pauline Spiritual Science weighed against the Dawn of physics and the nuclear Age! It is all just so impossible to get all the jiggers and imps out of your sloppy lazy ass thought processes and leap, all of a sudden into the historical stream where Dr. Steiner was forces to do all the heavy lifting. It is now our turn to do some of the heavy lifting.
Of course there is a difference between the ancient Sun Gold King in Goethe's fairy tale and that which is within the intellectual soul's will o wisp grasp, the eating out of all the ancient wisdom of the Fourth Mixed Metal, mushed together King... and from this, from this we find Steiner entering history, Time, and heart and mind and bringing to the surface out of the depths of the unconscious or subconscious, the entire mystery content of THE GREEN SNAKE AND BEAUTIFUL LILY and all that remains and all that exists of still useful gold in the soul and history of humanity, is still being devoured... but the will o wisps aren't allowed to touch the Gold King, The Silver King or the Brazen King. Go figure, eh, go figure? Why is that?
"....the stately figures of the Kings appeared within the Sanctuary....the gold King asked: "Whence come ye?" "From the world," said the old Man. "Whither go ye?" said the silver King. "Into the world," replied the Man. "What would ye with us?" cried the brazen King.
The Gold King
The Silver King
The Brazen King
The Mixed KingHrosvit, also known as Hroswitha, Hrotsvit, Roswitha, and Hroswitha of Gandersheim, (c. 935 to c. 1002) was a 10th century German canoness of the Benedictine Order, as well as a dramatist and poet who lived and worked in Gandersheim, in modern-day Lower Saxony. She wrote in Latin, and is considered by some to be the first person since antiquity to compose drama in the West.
"They had not gone far till the procession halted in front of a large brazen door, the leaves of which were bolted with a golden lock. The Man now called upon the Lights to advance; who required small entreaty, and with their pointed flames soon ate both bar and lock.
"The brass gave a loud clang, as the doors sprang suddenly asunder; and the stately figures of the Kings appeared within the Sanctuary, illuminated by the entering Lights. All bowed before these dread sovereigns, especially the Flames made a profusion of the daintiest reverences.
"After a pause, the gold King asked: "Whence come ye?" "From the world," said the old Man. "Whither go ye?" said the silver King. "Into the world," replied the Man. "What would ye with us?" cried the brazen King. "Accompany you," replied the Man.
The composite King was about to speak, when the gold one addressed the Lights, who had got too near him: "Take yourselves away from me, my metal was not made for you." Thereupon they turned to the silver King, and clasped themselves about him; and his robe glittered beautifully in their yellow brightness. "You are welcome," said he, "but I cannot feed you; satisfy yourselves elsewhere, and bring me your light." They removed; and gliding past the brazen King, who did not seem to notice them, they fixed on the compounded King. "Who will govern the world?" cried he, with a broken voice. "He who stands upon his feet," replied the old Man. "I am he," said the mixed King. "We shall see," replied the Man; "for the time is at hand."
"The Lights, who till now had been employed upon him, drew to side; they appeared, although pale in the morning radiance, yet the more well-fed, and in good burning condition; with their peaked tongues, they had dexterously licked-out the gold veins of the colossal figure to its very heart. The irregular vacuities which this occasioned had continued empty for a time, and the figure had maintained its standing posture. But when at last the very tenderest filaments were eaten out, the image crashed suddenly together; and then, alas, in the very parts which continue unaltered when one sits down; whereas the limbs, which should have bent, sprawled themselves out unbowed and stiff. Whoever could not laugh was obliged to turn away his eyes; this miserable shape and no-shape was offensive to behold. "
Roswitha was born into the German nobility and later became a nun at the Benedictine Abbey of Gandersheim. Her work shows familiarity, not only with the Church fathers, but also with Classical poetry, including Virgil, Horace, Ovid, Plautus and Terence (on whom her own verse was modelled). Several of her plays draw on the so-called apocryphal gospels. Her works form part of the Ottonian Renaissance.
Hrosvit studied under Gerberg, daughter of Henry-the Heinrich, whose brother Otto penned a history. Otto's history became one of Hrosvit's poetical subjects-De Gestis Oddonis I. Imperatoris-which encompasses the period up to the coronation of Emperor Otto I in 962.
Hrosvit believed Otto had an affinity for Italy because of romances which are set there such as the story of . Pilgrims returned commending the troubled Queen Adelheid. Hrosvit penned a number of legends in verse. Two of these are St. Gingulphus and Theophilus.
The story of Theophilus was one of the most popular written in any language. It describes how the young archdeacon was disappointed about his promotion. He consults a Jewish sorcerer and is taken to a meeting of devils. Theophilus renounces God in a written document, then repents. He is rescued by the Virgin Mary. Hrosvit supplements the story with her description of Theophilus in The Seven Arts:- De Sophia rivis septeno fonte manantis.
The most well known and original of the works of Hrosvit is her imitation of Terence. It was written in prose as six comedies. She writes in her preface that her writing will appeal to many who are attracted by the charm of style.
The comedies of Hrosvit took the place of Terence in the studies of Gandersheim. Her themes remained love stories. Among them include Gallicanus, Dulcitius, Callimachus, Abraham, Paphnutius, and Sapientia. The reader will note Dulcitius being stricken with illusion, embracing the pots and kettles in the kitchen. In the meantime three lovely maidens, Agape, Chionia, and Irene, are rescued from his villainy.
The most important manuscript of her works, containing all the texts other than Primorida, is the Codex Bayerische Staatsbibliothek(Bavarian State Library) Clm 14485, a manuscript written by several hands in Gandersehim toward the end of the 10th or start of the 11th centuries. It was discovered by the Humanist Conrad Celtis in 1493/94 in the Cloister of St. Emmeram in Regensburg and formed the first edition (illustrated by Albrecht Dürer).
Her plays feature the chastity and perseverance of Christian women and contrast these to the Latin portrayal of women as weak and emotional. Her Passio Sancti Pelagii is derived, she says, from an eyewitness to the martyrdom of Pelagius of Cordova.
Hrosvit divided her work herself into three books. The Book of Legends contained eight legends with the exception of Gangolfin dactylic hexameters:
The third book comprised two historical writings in Latin Hexameters: the Gesta Ottonis (a history of the Ottonian houses 919-965) and the Primordia coenobii Gandeshemensis (a history of her order from 846-919). Neither has survived, but further works may be discovered.
Biography from the 1911 Catholic Encyclopedia
HROTSVIT: celebrated nun-poetess of the tenth century, whose name has been given in various forms, ROSWITHA, HROTSWITHA, HROSVITHA, and HROTSUIT; born probably between 930 and 940, died about 1002. The interpretation of the name as clamor validus contains no doubt a reference to the bearer herself; this accounts for her being also called "the mighty voice" and sometimes even the "Nightingale of Gandersheim". In all probability she was of aristocratic birth; her name appears on an old wood engraving as "Helena von Rossow."
EDUCATION IN THE CLOISTER: She seems to have been still in her earliest youth when she entered the convent of Gandersheim, then highly famed for its asceticism and learned pursuits. Her extraordinary talents found here wise and judicious cultivation, first under guidance of her teacher Rikkardis, then under the special care and direction of Gerberg, a niece of Otto I and the most accomplished woman of her time, who was later to become her abbess (959-1001). The latter took particular interest in the development of her muse, by the training of which she hoped "to contribute something to the glory of God".
POETIC WORKS: This is about all that is known of the external life of the first German poetess. Hroswitha shares the lot in this respect of all the poets of olden time: we are far better acquainted with her works than with her personality. Furthermore, the Latin poems of this unassuming nun have had a curious history. After centuries of neglect, they were discovered, as is well known, by the poet laureate Conrad Celtes in the Benedictine monastery of St. Emmeram at Ratisbon, and were published in 1501 to the great delight of all lovers of poetry. The poetic work of the childlike, pious religious took at first the epic form; there appeared two Biblical poems and six legends. For these she drew upon Latin sources, and used her poetic freedom in the psychological treatment of her characters and their actions. The material of her "Leben Mariens" (859 hexameters) was taken from the Holy Bible, and from the apocryphal [Gospel of St. James]. This life of Mary was rather closely connected with her poem "Von der Himmelfahrt des Herrn" (150 hexameters).
On the other hand the themes of her six legends are quite varied: "The Martyrdom of St. Gangolf" (582 distichs), a Burgundian prince; "The youthful St. Pelagius" of Cordoba, whose recent martyrdom she relates in 414 verses in accordance with reports gathered f rom eyewitnesses, was a contemporary of hers, hence the realism and impressiveness of the picture; the legend of "Theophilus" (455 verses) is the earliest poetical treatment of the medieval legend of Faust; of a similar tenor is the legend of St. Basil (259 verses), in which an unhappy youth is saved from a diabolical pact; the list closes with the martyrdom of St. Dionysius (266 verses) and that of St. Agnes (459 verses). This last poem, which is based on the biography of the saint ascribed to St. Ambrose, is written with great fervour. The language is simple but smooth, and frequently even melodious.
DRAMATIC WORKS: But her poetical reputation rests, properly speaking, on her dramatic works. As regards her motives in adopting this form of literary expression she herself gives sufficient explanation:
"Lamenting the fact that many Christians, carried away by the beauty of the play, take delight in the comedies of Terence and thereby learn many impure things, she determines to copy closely his style, in order to adapt the same methods to the extolling of triumphant purity in saintly virgins, as he has used to depict the victory of vice. A blush often mounted to her cheeks when in obedience to the laws of her chosen form of poetical expressions she was compelled to portray the detestable madness of unholy love."
This last remark applies peculiarly to the case of five of her dramas, the theme of which is sensual love. The pious nun's treatment of her subject is of course on a higher moral plane, and she is skilled in demonstrating the principle, in the midst of rather bold situations, that the greater the force of temptation the more admirable is the final triumph of virtue.
The most popular work, judging at least from the numerous transcripts thereof, is the "Gallicanus". This general of Constantine the Great, while still a pagan, seeks in marriage the emperor's daughter, Constantia, who however has long since consecrated herself as a spouse to the Lord; the suitor becomes converted and suffers a martyr's death. Her second drama is a most singular composition, in which humour and gravity are strangely compounded. "Dulcitius", a prefect under Diocletian, wishes to force three unwilling Christian maidens into marriage with high dignitaries of the Court, he has his victims imprisoned in a kitchen and with evil intention makes his silent way towards them under cover of the night; but God punishes him with blindness, and the prefect embraces but sooty pots and pans. Though he does not know it, his appearance as he emerges is that of a charcoal burner, and his utter discomfiture is led up to in the merriest of scenes; the three maidens win the palm of martyrdom.
In "Callimachus" the violence of passion is carried to a threatened profanation of the dead which however is miraculously averted. Here indeed is the boldest situation of all, which reminds one of Goethe's "Braut von Corinth". The two succeeding plays, "Abraham" and "Paphnutius", tell in a touching manner of a fallen woman's conversion. Finally, the last drama relates in a plain and simple way the legend of the martyrdom of the three sisters Faith, Hope, and Charity, daughters of Wisdom.
The literary significance of Hroswitha's dramas has been expressed in a comparison which likens them to snowdrops: "In the very midst of winter they lift their white heads, but they die long ere the advent of spring, and there is none to remember them."
EPIC WORKS: Her prolific career as a poetess closed with two greater epics, the one singing the achievements of Otto I (Taten Ottos I) down to the year 962, and the other celebrating the foundation of the monastery of Gandersheim (Die Gründung des Klosters Gandersheim). Quite a romantic touch is given to this last composition by the number of legends which the author has skilfully woven into it. The eulogy of Otto I, on the other hand, is highly prized by historians who "find the account given to the poetess of direct assistance in historic work". The poem was written in 967 and was dedicated to the emperor.
EDITIONS: In addition to that of Celtes, the following are the chief editions of Hroswitha's works: Barack, "Die Werke der Hroswitha" (Nuremberg, 1858); Schurzfleisch (Wittenberg, 1707); Migne, P. L. CXXXVII, 939-1196; de Winterfell, "Hrosvithae opera" (Berlin, 1902).
- --- In email@example.com, "carynlouise24"
> This is quite poetic Steve; it's like the Phoenix rising from the
> ashes! We may consider Saint John the Eagle rising from the winter
> sting of the Scorpion into the Eagle of summer ...
> Then again we may also consider the Earth is awake in winter and
> sleeping in summer - so it may be the other way around!
> Yes, I do remember the lunar eclipse on the 20th February when the
> Sun ate the Moon! Also still curious about seeing Saturn on the
> right and you saw it on the left - although a later picture
> it to be on the right.My experience of the Lunar Eclipse of 2/20/08 was that it was the
> Interesting about Mars hey - the land is jelly-like substance -
> suppose the astronauts have to have special boots made to walk on
converse! The Earth ate the Moon; which really means that the moon
gave a nod to the fact that the earth beholds the "earthshine" when
in the shadow zone.
Every so often, the moon gives an objective proof of this. It is
called a lunar eclipse.