"the ill magic of fear". Well said! Perhaps you could tell us how that card trick worked over the phone? 🙂
BTW "Shakespeare" has lewd Mercutio (Mercury is Hemes) instigate the murders in 'Romeo and Juliet' that will lead to the ultimate sacrifice- of Juliet. Friar, the magician, tricks the town of Verona in the play (not counting his 'helpers' Nurse and Prince) as well the audience of the play including brainiac scholars who might stilll go see a performance on Valentine's day. That's some magic! The entire play is an inversion, a mockery and a master "how-to" class for adepts. Trickster is Deceiver
"Hidden Alchemy Shakespeare: The Old Religion and "Romeo and Juliet"
Thanks for your comments. The trick is getting the person without realizing it, to pick the card you want them to. Just like getting the parrots to think that they are speaking their own thoughts.
Here is the central essay from my book Katabaic Wind that goes into many of the mystic questions raised. It compares Hamlet to Arjuna of the Gita.
One of the things Steiner got wrong was his conclusion that the apparently illiterate glovemaker's son from Stratford-on-the-Avon wrote the plays attributed to him. He concluded this not from his akashic insight, but because he thought the writer of the plays had to be an actor who understood theater.
The work of Alan Green in showing John Dee and Edward DeVere's encoding within the plays is astonishing, beyond chance, and really unbelievable. To the point of showing the coordinates of the Giza pyramid in the sonnets, I believe, and all of the mathematical and scientific constants encoded in the pyramid, also in the frontispiece of the Sonnets. No one that I know of has put together all of the puzzle of the Spear-Shaker.
But I agree with your post below that a part of what they were doing was an externalization of the mysteries, at least the lesser mysteries, for the Renaissance human. Once James I replaced Elizabeth I, Dee, and his practice of magick, went into sharp decline, to this day really.
Fascinating take—are you suggesting that Romeo and Juliet was deliberately constructed as a kind of initiatory drama, where only those with eyes to see would recognize the ritual mechanics and archetypal trickery at play?
Yes. That scenario runs through all of the plays I've studied. For instance "The Tempest" is literally an allegory of initiation (among other things- the plays always seem to operate on multiple levels). The Colin Still book (link below) blew open the doors...although the depth of Still's discovery was too dark and weird for for his full appreciation of the implications. His book had a huge influence on TS Eliot- generally ignored otherwise, but not totally. Still patiently proves that The Tempest is an allegory of Eleusinian initiation. For me, let's just say initiation generally. I think the mysteries had by then been captured and altered for Empire. At any rate, imho Still's conclusion is undeniable and the implications are mind blowing.
One of the more famous masks was the face paint of John Wayne Gayce.
I don't think anyone knows if it was intentionally conveying a sinister difference from other clowns.
Then there are the spiritual messages in secular company symbols and the various bits in structures of narratives that seem like they are meant for a different purpose.
"the ill magic of fear". Well said! Perhaps you could tell us how that card trick worked over the phone? 🙂
BTW "Shakespeare" has lewd Mercutio (Mercury is Hemes) instigate the murders in 'Romeo and Juliet' that will lead to the ultimate sacrifice- of Juliet. Friar, the magician, tricks the town of Verona in the play (not counting his 'helpers' Nurse and Prince) as well the audience of the play including brainiac scholars who might stilll go see a performance on Valentine's day. That's some magic! The entire play is an inversion, a mockery and a master "how-to" class for adepts. Trickster is Deceiver
"Hidden Alchemy Shakespeare: The Old Religion and "Romeo and Juliet"
https://robertfrederick.substack.com/p/the-occult-shakespeare-the-hidden?r=1iqqju
Thanks for your comments. The trick is getting the person without realizing it, to pick the card you want them to. Just like getting the parrots to think that they are speaking their own thoughts.
Here is the central essay from my book Katabaic Wind that goes into many of the mystic questions raised. It compares Hamlet to Arjuna of the Gita.
https://www.academia.edu/31292200/Hamlet_and_Arjuna_Handle_Crisis
One of the things Steiner got wrong was his conclusion that the apparently illiterate glovemaker's son from Stratford-on-the-Avon wrote the plays attributed to him. He concluded this not from his akashic insight, but because he thought the writer of the plays had to be an actor who understood theater.
The work of Alan Green in showing John Dee and Edward DeVere's encoding within the plays is astonishing, beyond chance, and really unbelievable. To the point of showing the coordinates of the Giza pyramid in the sonnets, I believe, and all of the mathematical and scientific constants encoded in the pyramid, also in the frontispiece of the Sonnets. No one that I know of has put together all of the puzzle of the Spear-Shaker.
But I agree with your post below that a part of what they were doing was an externalization of the mysteries, at least the lesser mysteries, for the Renaissance human. Once James I replaced Elizabeth I, Dee, and his practice of magick, went into sharp decline, to this day really.
I’m diametrically opposite to Alan Green on Shakespeare. I find his numerology absurd and silly. Shakespeare is about one thing. Power. It worked.
Steiner made a fool of himself with that lecture. Why didn’t he just check the Akashic records?
At any rate - how do you get someone to pick a certain card over the phone? I don’t get it.
Fascinating take—are you suggesting that Romeo and Juliet was deliberately constructed as a kind of initiatory drama, where only those with eyes to see would recognize the ritual mechanics and archetypal trickery at play?
Yes. That scenario runs through all of the plays I've studied. For instance "The Tempest" is literally an allegory of initiation (among other things- the plays always seem to operate on multiple levels). The Colin Still book (link below) blew open the doors...although the depth of Still's discovery was too dark and weird for for his full appreciation of the implications. His book had a huge influence on TS Eliot- generally ignored otherwise, but not totally. Still patiently proves that The Tempest is an allegory of Eleusinian initiation. For me, let's just say initiation generally. I think the mysteries had by then been captured and altered for Empire. At any rate, imho Still's conclusion is undeniable and the implications are mind blowing.
Shakespeare's Mystery Play A Study of The Tempest
https://www.amazon.com/Shakespeares-Mystery-Play-Study-Tempest/dp/1162580461
Good intro: NORTHROP FRYE AND COLIN STILL https://macblog.mcmaster.ca/fryeblog/2013/01/30/frye-and-colin-still/
So interesting!! WOW, a new rabbit hole for me..thank you xxx
One of the more famous masks was the face paint of John Wayne Gayce.
I don't think anyone knows if it was intentionally conveying a sinister difference from other clowns.
Then there are the spiritual messages in secular company symbols and the various bits in structures of narratives that seem like they are meant for a different purpose.