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Merlin//Feminine//Music?-Re: .Wagner: Occult imprisonment

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  • Bradford Riley
    Elaine wrote; 1) You write of Merlin and his occult imprisonment--glass house, etc. and story of renunciation of his powers, story of his disappearance.
    Message 1 of 1 , Jan 31, 2002
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      Elaine wrote;

      1) You write of Merlin and his occult imprisonment--glass house, etc.
      and story of renunciation of his powers, story of his disappearance.
      Something here reminds me of Shakespeare's Prospero in *The Tempest*.
      Prospero is banned to a remote island, renounces his magic, and must
      find a new way. He is redeemed through his daughter and her love (for
      him and for her lover, Ferdinand, in the marriage of old and new, or
      perhaps simply new?, forces). The play ends with his sailing to
      return home, but I am not convinced of the ending of this (almost)
      wonderful play (the Caliban part is a problem...).

      Bradford Writes; Of Tempests, Sylphs and SSSSS Hobbittssssssssss!

      As the play hinges on an occult transformation under a 12 year cycle of one
      round of Jupiter, we observe that somehow there should be a payback for a
      human being who takes time out from the busy affairs of running an empire to
      devote themselves to occult study. In doing so he let his shadow brother
      personality take over the affairs of the Kingdom. There is a luciferic
      withdrawal and his little daughter or his future Spirit Self have been cast
      forth on a boat in hopes that they should die.

      But the Representative of Man, the Christ statue emerges as the dross of his
      Caliban instincts and the earthly double fall away, or are splintered off
      the soul from one side. The other side develops an Astral link to the
      surrounding elemental worlds. Ariel is the otherside of the pole between the
      sub-earthly and the super-spiritual initiation that Shakespeare outlines in

      His karmic destiny took a time out and it cost him dearly. It cost the earth
      dearly. It was a Luciferic, Christed move that has essene overtones to it.
      But the results in Shakespeare, as his final play, reveals, the balance
      between earthly karmic life and the development of higher faculties can be
      weighed. He must sacrifice something in himself, free something up in
      himself for new karmic events in the making. In one round of a lifetime from
      his accumulated lifetimes he has achieved something astonishing.

      I have found that Ariel attains to guardianship over the entire body of
      Shakespeare's work. It is important in our consideration of the Spirit-Self,
      that Art and the body of works achieved by individuals are part of a higher
      transformation of the human Spirit Self condition. Wagner has about 13 works
      that create a new or lifted body out of the Merlin Celtic and Norse
      Arthurian esoteric investigations he achieved. Stanley Kubrick has about 12
      works that outline a body of works that he investigated with very profound
      themes in them. Rod Serling has a body of work dealing with the psychic
      structure of the American Folk. Novalis has an achievement in his Raphael
      incarnation that brings the Spirit Self out of his own karmic, Human
      Archangelic knowledge. However Shakespeare, who wrote his massive symphonic
      structures out of actual Devachan personalities, achieved a freeing up of
      some of his Soul development as well. We might even think of the Achievment
      of Mozart and Beethoven as well.

      The Spirit Self as the purified Astral body becomes radiant in beauty also
      develops the auric field painted around the heads of saints. The clarifed
      astral body. This purified astral body of the Spirit Self are the white
      garments for the wedding.

      Ariel has an air spirit and puck from Midsummer Nights Dream, and the
      related studies in temperaments and lovers prove that Shakespeare was living
      in great configurations of Nature and Destiny that were also rooted in the
      Celtic/English life. He saw several layers of depth which reveals that we
      are just babes in consciousness soul knickers. Ariel as an Air Spirit
      elemental was so worked through by Speech and Word forces that He or It
      became the actual emancipated guardian of the entire body of Shakespeare's
      artistic works that were bestowed on humanity.

      Shakespeare freed up any egotism in his Caliban earthly system and bestowed
      on his soul life a new start on a higher level. The entire task of humanity
      is to learn to free up, Humanize and build a new nature out of our inner
      development for the new Jupiter condition. Nature will be what Humanity has
      transformed of the elemental beings who willingly are enchanted into our
      physical forms and live in the air, poetry, creativity, watery, bone and
      fiery composition of the visible Human form.

      Ariel is not only a little story but an act of Christed Alchemy, where
      matter or one contribution, whereever, for eternity, Shakespeare Plays
      appear, his identity is obscured by Bacon of course, but the individual who
      was very likely initiated by Rosenkreuz, left a cultural legacy that is
      supervised by a highly transformed Humanized Elemental Being just below a
      human Angel. An Air spirit, sylph, for sure but a great one, where the
      cathedral of Humanity who not only witness but grow into performing his
      works as education and fashioning human intelligence, but also Ariel lives
      in the lungs and heartbeats of those who participate in those islands of
      cultural freedom planted as an antidote to Bacon's science.

      N. Tesla wanted to give his understanding of global free energy over to
      humanity as a gift, his inventions were stolen by Edison and humanity has
      suffered because of J.P. Morgan and Edison's stealing of his works.

      Ariel has become through Shakespeare's great work one of the magnificent and
      mighty caretakers, stewards, of human consonants and vowels. Because
      dramatic pictures were imprinted by the higher-ego of Shakespeare and
      reflect the laws of destiny and conscience, Ariel could safely carry outward
      the integrity, depths and heights of human thinking, becoming for all of
      humanity a leader in a cultural school that bridges the human with the
      cosmic Word. East and West were merged and carried forwards with the birth
      of Ariel. To be sure, Ariel is not an Angel, but a highly qualified servant
      to that nearby world. Ariel is a lawful resident of light, thought and word
      dimensions that are termed astral.The incubation and birth of Ariel in the
      laboratory of Shakespeare's breast brings a living leader into the school of
      human hearts for those of us who carry the highest potential of the human
      WORD in our own breasts.

      The result can be a teacher, with or without Shakespeare in front of ones
      nose, who is trained to instruct the child of the soul, the elemental sprite
      we each own, (tied as it is to our thinking, breathing astral/ego [blood]
      development) who learns to do the bidding of our hearts and serves the
      greater good of the human universe. The result can be the resurrection of
      each consonant and vowel, the restoration of each consonant and vowel,
      dipped in higher human warmth, that serves the uplifting potentials dormant
      in creation. The results can be a future, where each human being who has
      schooled the human soul and lifted the servants of the heart, the thought
      and the will upwards from elemental darkness, becomes empowered with
      co-creative speech capacity.

      The embryonic ariel in our own breast will find the baptized cosmic air
      spirit, who stands one stage lower than an Angel, already charged with all
      the lightening filled, heart wrenching drama, that the birth of conscience
      and the freeing up of wise cosmic servants of the soul entails, on the path
      of the developing human spirit. Ariel will bring to each of us, potent
      hidden forces that lay latent in language, in consonants and vowels, back
      from the brink of a dead cosmos into a living cosmos. The ecology, the
      healing and power invested in the human heart to pronounce, will once again
      be born in the conscience of each human spirit and nature will once more
      respond to the human WORD. This is also the destiny of human speech.

      Shakespeare understood the bondage of Ariel to the psyche as `S'; taking the
      `S' sound and linking it to the fallen psyche or SYCORAX. The future will be
      a matter of sycosis. The psyche is the bearer of the immortal forces of the
      human being but SYCORAX is the imprisonment and pollution of these forces
      which will lead to sycosis. Instead of Psyche; psychotic `S' or snake,
      serpent forces lock the spine and trap Ariel in lower kundalini like abuse.
      Syconium - a multiple fruit developed from a hollow fleshy receptacle,
      represents the multitude of spiritual forces that can blossom out of the
      human psyche or failing that become the host to armies of parasitical and
      viral, microbe furies.

      Shakespeare already prepares the anti-dote to Francis Bacon's fall of
      knowledge and SYCOlogy with a refined speech born child from a healthy human
      psyche. `P' is the glyph of the head carried above the spine and that is
      what prosperous should mean, not greed tied to prosperity but the embodiment
      of the riches of the soul `P'rospero. Here we see that the false values of
      prosperity that would drag the sycology of humanity down, countered by the
      warmth ether generated by Shakespeare and infused into the conscious
      Initiate Prospero. He brings healing and prosperity from the deep magic of
      the universe instead of the external greed of the prosperous few and the
      restless many. Shakespeare towers above Francis Bacon because he uses his
      art as a training ground for the physics of the soul, that is what the term
      MICHAEL signifies.

      The hardened and rigid immobility of the psychic structure within the body
      is described by Shakespeare. In act I, Scene II of THE TEMPEST, Ariel has
      been trained by Prospero to effect fluctuations in the conscience of others.
      This magic is not what Prospero himself approves of, but in the dramatic
      situation he must use all his inner abilities to recover his rightful path
      of destiny. Formerly the training of Ariel was for selfless pursuits of
      knowledge. Shakespeare was wise enough to intuit how manipulation of media
      events could end in black magic like the fate of Sycorax. Ariel is nearing
      maturity and Shakespeare is nearing the point when he must release this
      mighty cosmic servant and companion of the soul. But briefly, Ariel must be
      disciplined and reminded of how difficult it was to extricate the
      air-spirit, psychic servant, from its confinement in the body.

      Dost thou forget from what a torment I did free thee?


      Thou dost; and thinkst it much to tread the ooze of the salt deep, to run
      upon the sharp wind of the North, to do me business in the veins o' the
      earth when it is baked with frost.

      I do not, sir.

      Thou liest, malignant thing! Hast thou forgot the foul witch Sycorax, who
      with age and envy was grown into a hoop? Hast thou forgot her?

      No, Sir.

      Thou hast. Where was she born?

      Sir, in Argier.

      O, was she so? I must once in a month recount what thou hast been, which
      thou forgetst. This damned witch Sycorax, for mischiefs manifold, and
      sorceries terrible to enter human hearing, from Argier thou knowest was
      banished. For one thing she did they would not take her life. Is not this

      Ay, sir.

      This blue-eyed hag was hither brought with child and here was left by the
      sailors. Thou, my slave, as thou reportst thyself, was then her servant;
      and, for thou was a spirit too delicate to act her earthly and abhorred
      commands, refusing her grand hests, she did confine thee, by help of her
      more potent ministers, and in her most unmitigable rage, into a cloven pine;
      within which rift imprisoned thou didst painfully remain a dozen years;
      within which space she died and left thee there; where thou didst vent thy
      groans as fast as mill wheel strike. ...Thou best knowst what torment I did
      find thee in. Thy groans did make wolves howl and penetrate the breasts of
      ever-angry bears. It was torment to lay upon the damned, which Sycorax
      could not again undo. It was mine art, when I arrived and heard thee, that
      made gape the pine, and let thee out.

      I thank thee, master.

      If thou more murmurst, I will rend an oak and peg thee in his knotty
      entrails till thou hast howled away twelve winters.

      Sycorax wanted the high magic of the WORD, the higher psychic forces, to
      be enslaved to the lower development of abomination. Sycorax believed that
      blood should serve greed, prosperity and selfish gratification of instincts.
      Therefore a refined spirit such as Ariel seemed of little use except to
      those who knew how to harness the cosmic forces of destiny, luck, harmony,
      tracking and joy to this little loyal companion of the human heart. In a
      fight with wolves it would be better to have a loyal dog with sharp teeth at
      your side; likewise to harness cosmic help it doesn't require technological
      brute forces but rather refined poetic intuition that has access to the
      secrets of creation and functions strictly on the food from the warmth of
      the sympathetic, developing human conscience.

      Poetry now has restored tools that could only be vaguely remembered by
      Plato, Cratylus , Aristotle and the holy sanctuary of Ephesus. Medical,
      psychological, ecological and astrological laws are all part of the same
      dynamic system that has been torn to ribands by the Francis Bacon school of
      science. Our information addicted culture has given birth to a sociological
      genetic conceit, applying the technique of an industrial assault on
      immortality left over from the actions of Hitler, to each child who comes
      onto earth. The tools available through Goethean science and the deed of
      Shakespeare turn knowledge away from the splintering destruction of data
      bytes, back to the wisdom where humanity can attain a boon higher than the

      At Ephesus, where the beginning of St. John's gospel soars with the
      revelation of creation and the human word, is where the ecological depth of
      Diana, with her hunting hounds and crystal springs of moonlight, taught the
      ancient ones the craft and secrets of nature and the word. Diana's many
      breasts were each species nourishment, fostered from a single source and
      crowned with what humanity could do through the milk of human kindness for
      the future of suffering creation. Today the mysterious codes of creation
      and their integration with the wise system of nature are being scrambled for
      consumer egotism. Instead of an upward path that lifts creation, as taught
      at Ephesus, a downward spiral into viral and retro viral fields is ripping
      creation from the bosom of the divine.

      Shakespeare was forty-four when he passed the mid-life crisis depicted in
      Macbeth and King Lear. He saw the forces of destiny and the word, that have
      their origin at Ephesus, in the patterns of his own life. In his PERICLES,
      PRINCE OF TYRE, written in 1608, Shakespeare feels the mighty pull of
      Ephesus that all WORD-CRAFTERS must acknowledge in their development. It is
      the profound sanctuary of Diana/Sophia. Ariel must be baptized and
      instructed here. Pegged in a sealed coffin is the heart of Pericles or the
      heart of Shakespeare. Just as Ariel is pegged in a knotted pine by Sycorax
      until released by Prospero, so is Thaisa entombed in an air-tight coffin,
      until she is released by Cerimon, priest and healer at Ephesus.

      "The chest bearing Thaisa is washed ashore at Ephesus. We see with what
      artistry and with what esoteric wisdom it has been guided to this
      destination; for at Ephesus is the Temple of Diana, Thaisa's vow to whom of
      a year's service has been broken; and at Ephesus are the Mysteries of the
      Uncreated Word; and from Ephesus are to come St. John's Gospel of the Word
      made flesh and, later, the western Grail-stream...

      "...Thaisa has been raised from a suspension of life which is not yet
      death; Cerimon stands beside her like the hierophant, the guardian of and
      inductor into hidden spiritual knowledge. Through music he is able so to
      command her inner rhythms that the breath of life flows back into her body;
      the heated cloths wrap her about with fire's healing till the chilled heart
      beats again."

      The restoration of the poetic faculty and the development of intelligence
      that leads to wisdom has been no cake-walk. It has consistently required the
      attentiveness of our conscience. The poetic faculty has been able to read
      the writing on the wall and the twentieth century has seen the rebirth and
      reinvigoration of the Word and the poetic path salvaged from the embers of
      the Romantics but also witnessed shattering historical lessons that were
      equivalent to ancient oracles.

      While Bacon, Nietzsche, Hitler and cyberpunk have moved science into the
      status of, vampire's in the service of Sycorax, they have also proved that a
      counter-image of goodness can incubate from the words, thoughts and deeds of
      humanity. Humanity is incubating cosmic parasites. How do we prepare
      ourselves to set free a portion of our warmth- ethers to be the spark that
      lights our immortality?

      "In mediaeval books one reads of sylphs in the service of magicians, and
      however superstitious this may sound, it is indeed true. They frequently
      serve human beings instead of angels, and get their experience in this
      relation instead of the more usual one. Ariel is far more than a poetic
      invention. In fact, in all the literature that I know this characterization
      is the closest description of a sylph available. The feeling of Ariel that
      he was bound to his master by mingled respect and love, his spirit of
      mischief and his quick and adroit actions backed by the power of Prospero,
      his tolerant attitude toward all beings, his control of the lumpish Caliban,
      his command of the elements - all this shows the knowledge of the Poet to be
      as sound here as in those fields where his knowledge is accepted as sure."

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