The True Lucifer is Sophia
Part Three: Lucifer Liberated
In this, the third installment of the three-part essay on the Sophia/Lucifer implex, I invite you to consider the implex as it might morph into an imaginative event -- namely, the liberation of Lucifer -- that could somehow reach the first attention of the human species. If it is possible, first, to conceive of such an imaginative event happening in our time, that is quite a prospect. How, then, would you proceed to "manifest" such an event, if you and only you knew what it comprises at the imaginative level?
The question here, in sum, is how to release, or birth, a demonic supernatural force into the mind of the population at large. This challenge would come under the category of the maieutic arts, requiring mantique, divinatory technigue. Maieutic comes from the Greek maieutikos, from the verb maieuesthai ‘act as a midwife’, from maia ‘midwife’. May YOU tick. Closely related to the art of dialectic, conversing, pursuing a discussion with intent to learn rather than argue for persuasion (rhetoric) or to sow platitudes (sophism).
Mantic skills entail not only reading omens but also producing them, releasing them. This can be done through directing operations in the endopsyche, realm of the 2nd attention, across the membrane that divides it from the exopsyche, realm of the 1st attention: the 6/5 boundary in the model of 10 dimensions. The acronymn for this membrane, /, is C-ERN.
C-ERN stands for cognitive-erotic resonance nexus. It is a field of surface tension within the human psyche, reflected in the surface tension of the atmosphere (barometric pressure): everything is material. C-ERN is a massive non-local membrane that acts exactly like the wall of a living cell. It is porous and osmotic. The interior of the endopsychic cell when excited (read: imagination triggered, or memory cued) discharges across the membrane into the first attention: what is sensed and imagined. or recalled with emotive content, then comes to be openly noticed, discussed, described. Discharges often produce sensational effects, controversy, violent debate, raves, "all the rage," "trending."
Excitation of the endopsychic membrane C-ERN causes the Mandela Effect, which in turn induces complementary changes in the material medium, the envelope of barometric surface tension of the troposphere. And vice versa, activity in the barometric field can induce psychic excitation or bring attention to it, as discharges come and go, and build. The material effects of this endopsychic-atmospheric activity target the air-filled columns of the eustacian tubes, causing a form of tinnitus. Those who experience the Mandela Effect also widely report the sensation of ringing in the ears. This high-pitch signal is an audial effect of the discharge, pinging, or even shearing of the C-ERN membrane.
Yes, C-ERN -- or more precisely, osmotic agitation of C-ERN -- causes the Effect. Which properly should be called the Correction Effect. (New Agers have already hijacked "Sophia Effect" for the ME.)
When a supernatural force is banished from the collective mind due to fear or ignorance or taboo, or a combination of all three, it is bound to re-emerge in a threatening guise, even when its original form was good, positive, luminous, benevolent. The word devil derives from the Indo-European root div-, "to shine, radiate," closely related to deva, a supernatural being comparable to an angel. One letter produces the shift from divine to devine, a frequent misspelling of divine. It is worth noting here that "spelling" is another name for witchcraft.
Is it possible that supernatural powers of a radiant and benevolent kind have been repressed and inverted into evil, diabolic powers which then return to haunt the human mind under the guise of vampires, devils, witches, and the like? Considering the unique case of Lucifer, this prospect seems more than probable: it is an historic certainty. Not only was Pan inverted into the Devil/Satan, but even the living luminosity of the planet, the Organic Light, has been so inverted and returns in figures like the winged witch pictured above, a contemporary rendering of Lucifer as a femme fatale.
Needless to say, such figures have tremendous allure for the human species, and especially for "mystery-seeking teenagers," to borrow a felicitious term from British comic Stuart Lee. Teens are naturally the age of taboo-breaking and defiance of social and parental norms. The glamor of "goth", ghouls, and vampires returns with every generation. A perpetual fascination with the Underworld comes to expression in countless films and TV series, novels, songs, costume trends, horror films, witches and warlocks, satanic memes, etc.
Digression on Goethe: see The Romantic Agony by Mario Praz. Vampires trending. See also Dykstra, Idols of Decadence.
There is one grave factor of misdirection here, resulting in a tragic twist of fate for the human species. It could as well be called a factor of dissimulation, due to a long history of religious programming enstated in Zoroastrian dualism: cosmic good versus cosmic evil. Dissimulation involves concealing something under the guise of something else. It so happens that the Supernatural, when banished from recognition and acceptance in the collective mindset, can turn into something sinister and returns from the unconsciousness with a vengeance. Or so it seems. But is it really the Supernatural, the "Divine Demonic," that changes -- the Supernatural in itself?
Human perception of the reutrning Supernaturalo, the Divine Demonic, is the matrix of many phantoms. But such phantoms are merely reflexes of fantasy and imagination, distortions and fabrications of the 2nd attention, not real and genuine manifestations of the Supernatural in itself. Coming out of repression, the Supernatural is typically perceived as evil, dark, demonic, satanic, not because it is so, or ever was so, but due to the distortion of its mirroring in human imagination which in turn throws up a distorted perception into the mind.
Have you ever wondered why representations of the occult, the paranormal, and supernatural, such as the Luciferic witch pictured at the head of this essay, are almost always seen negatively, charged with malice, fear, and harm? Now you know why. But suppose it were otherwise: The upsurge of the Divine Demonic comes out of the unconscious in figures of radiant beauty, elegance, bliss, benevolence, even playfulness. Could it be that the Supernatural in itself is fundamentally benevolent and playful? If that were so, those familiar manifestations of evil and fear projected upon the Supernatural would have to be seen for what they are, tainted projections, rather than accurate perceptions of a sublime paranormal reality birthing from within the human soul.
"All the clues in the world don't count if you don't know what crime has been committed." Among the clues I provide for the Sophia/Lucifer implex, there is the precious material alluding to Lucifer in Parzival by Wolfram von Eschenbach. To my knowledge, no one today who comments on the presumed Luciferian peril to humanity has cited this material. This omission is significant on a number of counts.
Pardon my rant:
First, it shows that self-styled "intelligence analysts" who tackle myth, legend, and esoteric lore, have not done their homework. Most, if not all, of them are grossly uneducated in world literature and never cite it. This is a serious handicap, to say the least. Second, they ignore what Joseph Campbell declared to be the leading narrative of the West or Western spiritual quest, as if it were irrelevant to their investigations. They pretend to be on a quest for direction and purpose that could put humanity on a better path, and in doing so, may range over a variety of religious and occult programs, but the guiding secular (as Campbell emphasized: non-religious) myth of Western civilization stands entirely outside their range of interest. Finally, they do not recount direct mystical experience, illumination, cosmic consciousness, etc, relative to the subjects they explore, certainly not of the kind that can be tested and verified by others.
And finally, again, they all have agendas which they do not state openly. Informing the world with the intent to wake people up is not an agenda. It is a contribution to higher education, as best. But you don't get to know about the agenda of those making that contribution, do you? To awaken people alone is not an adequate or even credible motive: there must be a puspose for awakening. But I digress....
Parzival makes a direct equation of the Grail to the radiance of the fallen divine figure, Lucifer. The hermit Trevrizent advises Parzival in Chapter 9: Those in the Company of the Grail
This passage alludes to a presumed body of medieval legend for which there are little or no textual traces. But in 19th century a German scholar of the Arthurian matter, Alfred Schulz (1802 - 1893) reconstructed the legend. In correspondance with a member of European nobility, Princess Carolyne zu Sayn-Wittgenstein (1819 - 1887), the German Romantic composer Richard Wagner discussed the medieval sources of Parzival and Lohengrin upon which he based his famous operas. The Princess told Wagner that the Grail was considered to be the jewel that fell from Lucifer's crown when he was cast out of heaven, a view that she based upon reading a study of Parzival by Schulz, published in Magdeburg in 1832. The relevant passage says:
Some scholars berate Schulz for making up this anecdote out of thin air, while others presume he drew it from legitimate sources in medieval literature. Is it a dubious invention or a legitimate reconstruction? Either way, it is plausible to suppose that Wolfram (writing around 1220) alluded to genuine sources, even though he did not specifically name Lucifer as Schulz does (writing six hundred years later). The passage in Ch. 9 nevertheless suggests that the Grail/Stone is a jewel that fell from the crown of Lucifer when he was cast down from heaven. Lapsit exillis is corrupt Latin that suggests "a stone fallen from heaven." By "stone" read: a luminosity of material immanence, a form of light with the apparent density of stone.
In restoring or fabricating the anecdote, Schulz (in his essay, "Parzival, The Knight's poem by Wolfram von Eschenbach, communicated by San Marte") gives it a strong Christian spin, stating piously that the stone
In researching background for his operas, Wagner was perplexed that Wolfram's Parzival contains rich and ample material about the Grail but does not directly cite the name of Lucifer in association with it. Any careful reader would be. Having noted (correctly) that Wolfram never says the Grail is a chalice or the vessel that collected the blood of the Savior, Wagner objected to the Christian spin on the Grail. Thus the Grail/chalice conflation in Schulz troubled him, as it might any inquiring person. One has to ask, If the stone from Lucifer's crown did not turn into the holy chalice, what happened to it? What did it become upon being brought down to earth?
The Company of the Grail in Wolfram and other Medieval epics might be considered as Gnostic insiders, the diaspora of the Mysteries, who had direct access to the epiphany of the Organic Light. The Grail is most certainly the jewel light from Lucifer's crown, that is to say, the primary substance luminosity of the Aeonic Mother, who did not fall to earth but who plunged from heaven (the galactic core) to become the earth.
Disgression on the ZOHAR. "Splendor" is just about the most appropriate designation one could attach to the spectacle of the Organic Light, the most beautiful sight any human animal can witness. The Organic Light cannot be profaned. (Marion talk, November 2006). Ain Soph Aour, Allusion to the Jewish legend of "The Orchard".
The remaider of this exposition continues vocally and independent of a written body of text, but I do supply some notes for further study and investigation.
Mantic arts: agitation at C-ERN, Mother Hack
jll: West-Vlaanderen 20 January 2017
In completion with Kali-Ma. Jupiter at the hinge. Lightning in the horns of the GOATFISH
Material by John Lash and Lydia Dzumardjin: Copyright 2002 - 2017 by John Lash.