Comic Relief in Sophia's Correction
In Her Name is Silence I considered some variations of the theme of divine intervention. It's a fascinating topic that ranges across all cultures and spans all periods of history. Many dozens of examples could be cited, demonstrating how diverse cultures through the ages have imagined the breakthrough of the Supernatural, or Nagual, into the Tonal, the ordinary world. Speculation and superstition abound in lavish, often grotesque measure in the many prophecies and predictions connected to the belief (stated traditionally) that God can openly display his hand in world affairs.
Expectations and prophecies of divine intervention often generate social movements. In The Seeker's Handbook (1991), I covered some instances of the religious madness that erupts when people expect a sudden event to reveal God's will, inciting the end of the world and "the Rapture." In the talks on Gnostic Sabotage, I delved into the most well-known end-of-the-world scenario, the Book of Revelation containing the prophecy of John the Divine. Jewish historian Norman Cohn examined what are called millinneal or chiliastic cults in The Pursuit of the Millennium: Revolutionary Millenarians and Mystical Anarchists of the Middle Ages (1957). Many other studies could be cited.
The key point here is, belief in divine intervention has massive implications for history. It has often been regarded as the decisive event in history, promising the total overthrow of the social order, God's vindication, the glorification of the faithful, damnation of sinners, etc. Consistent with that long-standing trend, I am asserting that Sophia's Correction is an event to be seen unfolding in history -- in fact, at this precise historical moment, right now. In the full view, Correction comprises about ten different aspects or dimensions, but foremost and outstanding among these are the historical and the supernatural aspects. The theme of divine intervention leads steeply into complexity, perplexity, and sheer absurdity. I assure you that you will be wisely guided in this territory, and not lose your way, if you concentrate on these two factors, the historical and supernatural dimensions.
It could be said that Correction comes into full force in ways that cannot be denied even by the collective mindset, when its historical aspect and its supernatural aspect merge and operate co-dynamically. I have my sights set on this prospect, continually contemplating how it might come to pass. Of one thing I am sure, the legend of the Grail plays a key role in this merge due to the way that it situates the supernatural factor in a social narrative. More on this point in forthcoming talks.
Jews have consistently promoted the milleniarian theme, going all the way back to the prophecies of Daniel, Isaiah, and Ezekiel. Indeed, Jewish prophecies from the Old Testament have established the paradigm for divine intervention that has most widely effected human psychology and civilization itself. This paradigm posits the supreme power of a judgemental off-planet creator, relies on the framework of theocracy, and asserts that ultimate intervention comes at a certain historical moment in linear time. The supernatural agency of God impacts history from outside this world. and directs the course of human affairs toward the outcome effected by divine will.
The "Jewish revolutionary spirit" , as it has been called, operates on an insidious agenda of social overthrow under the false pretences of making a better world. The Jewish ideal of tikkam olam, "fixing the world," is not the benevolent program it pretends to be. Its actual aim is to enable total Jewish dominance of the Goyim, the non-Jewish nations, and centralization of all wealth and power in the Jewish elite, such as the Rothschild crime mafia. The trajectory of history over three millennia shows that Jews have been centrally involved in the corruption and destruction of many civiilizations. Those particular Jews who foment revolution and agitate for social upheaval are pursuing their program to steer history toward their objectives, claiming to represent the aims of God Almighty. For the Zaddikim as well as Talmudic Jews, history is a process in which divine intervention is continally underway in the social order, with the Chosen Ones acting as God's agents.
The concept of messianic intervention in Judaism is solidly historical. That is clear from the inception of the cult of the Zaddikim described in Genesis. The historical date attached to this event in 1850 BCE. A decisive event happened in the 17th century when the Jewish population of the world underwant a messianic crisis that altered the self-image of the Chosen People in a profound manner. The appearance of the messiah Sabbatai Zevi rocked the Jewish world and divided its people between those who accepted him and those who did not. It took about a century from the time of Sabbatai Zevi (1666) for the Rothschild financial dynasty to get up and running. The patriarch Mayer Amschel Rothschild established his banking firm in Frankfurt in the 1760s. Come a century further ahead and in 1849 the Jews were emancipated by Napolean -- an act which he came to regret.
The recent historical progression of what might be called "Jewish intervention" is clear-cut: 1666 - 1760s - 1859. It goes back much earlier, of course, but these three dates vividly show the consistent momentum coming up to today. Gnostic seers warned that Jews are proxies of the Archons. In other words, they identified an alien supernatural factor working in the background of the religious-racial agenda of the Jews. The Archontic intrusion into the ancient Hebrews produced the anomaly of the Zaddikim sect of the "righteous ones," and developed into the ideological basis of Jewish master race supremacy. JAWS: Jewish anti-white supremacy.
The Archontic parasite disguises itself in religious ideology and even pretends to be white. Many Jews today pass for white people -- that is, Aryan-Nordic-Caucasian or European ethnicities, such as eastern Europeans who comprise the "Askenazi" variant of the Jewish identity psyop. Jews are anything but white and openly call for the total extermination of the white races of the Anthropine species: Noel Ignatiev: https://www.youtube.com/watch?v=wUjRoLLRtOE
Verdun Altar, 1181, showing Melchizedek with Abraham
To summarize, anyone considering the topic of divine intervention in a sober and serious manner today needs to take into account that there is an alien supernatural intrusion underway, working itself out in concrete terms in history, particularly evident in the ravages of communism which is a movement planned, supported, and managed by a nefarious cabal comprised of Jewish financiers (euphemistically called globalists, or internationalists) and their accomplices.
In counterpoise to the alien supernatural intrusion in history, the historical aspect of Sophia's Correction now comes into play. Her Correction is a genuine supernatural event, not an alien takeover affectuated through parasitical proxies within the species. How Correction will impact the events of history on this planet remains to be seen, but you don't need to hold your breath on this one. The results and ramifications are now becoming evident even to the mainstream mindset (written November 9, 2016),
Generally, divine intervention is not considered to play out as a comedic event. On the contrary, it's a pretty grim scenario in the minds of those who fervently await the end of the world, the judgement of God, and the punishment of sinners. There are, however, certain little-known examples of comedic intervention. For instance, consider the bizarre phenomenon of the cargo cult:
The Gods Must Be Crazy (1980) was a film about African tribal people (Ju'/Hoansi bushmen) living happily the Kalahari Desert. They are content in their belief that the gods have provided plenty of everything, and no one among them has any wants. One day, a Coca-Cola bottle thrown out of an airplane falls to earth unbroken. Initially, the tribe supposes this strange artifact is a gift from the gods and find many uses for it. They regard it with religious awe, as happens typically in the cargo cult where, for instance, natives in Borneo were seen to worship the wreckage of WW II airplanes, turning instrument panels into magical altars. But eventually, the divine gift causes trouble and disappointment in their way of life. The Coke bottle motif of the film plays on the genuine phenomenon of the cargo cult. The film is a comedy based on a one-line joke, a rare example of a comedic slant on divine intercession.
Dante's epic, The Divine Comedy ( Divina Commedia, circa 1320) is so named because it ends happily, even though it covers a lot of grim events including gruesome scenes of punishment in Hell, Dante's Inferno. In the exegesis of classical literature of Europe dating from Aristotle, a work in the genre of comedy has a happy ending, contrasted to a tragedy, which does not. Is it possible that Sophia's Correction could be a comedy with a happy ending? Does the Wisdom Goddess have a sense of humor? Even, perhaps, a wicked sense of humor?
The words "wit" and "wicked" both derive from the same root as "wisdom". Due to consonantal shift, the Indo-European root WIZ- occurs in variants such as WIT-, WIC- and VID-. The online etymological dictionary for WIT says:
PIE means Proto-Indo-European, often related to Sanskrit. The Sanskrit word vidya is identical to the Greek Sophia. Vidya :: wit, wisdom, wicked, witch. The suffix -ya in Sanskrit means "in, or according to, the condition of." Hence, vidya refers to the condition of wit, and wit is wicked, and wickedness is the characteristic of witches and wizards who practice witchcraft.
The cliche image of an ugly, hook-nosed, wart-faced witch laughing with evil glee as she casts a spell on someone is pure Hollywood kitsch. Such an image derives from a long tradition of disinformation about witchcraft spread by the Catholic and Protestant ideologues in their battle against indigenous forms of "nature worship." If you want to contemplate the true image of an evil witch, try this one:
Personally, I would never apply the term witch to such a vile creature. I reserve it as a title of respect for women who revere life and beauty. Abramovic is a fiend or ghoul, not a witch. Her performance art is Jewish kitsch that verges neatly into the genre of the snuff film. She is the artistic sister to Jewish director Eli Roth whose Hostel franchise may well have presented actual torture and murder to an unsuspecting public. Whether he has done it or not, Roth could easily pass off a genuine murder for a pretended one.
Roth, Abramovic, and others too ugly to name, belong to the ghoulish club of pseudo-supernatural kitsch, promoting the Jewish sense of morbidity as if it were witty, trendy, entertaining. They give witchcraft a bad name and a sick, disgusting look. Are actual satanic practices of cannibalism and human sacrifice being performed behind the theatrics here? Possibly, yes. That may seem to be a horrible prospect, but consider this: the morbidity of this Jewish vaudeville is already a horror show of ugliness, degeneration, and obscenity. To some minds (including yours truly), the ugliness on display is as despicable as any alleged satanic rites in the backroom.
I said years ago in Santa Fe that what provoked the witch craze in Europe was only in some measure the religious fanaticism of the witch-hunters and heresiologues (who also, previously, has persecuted and murdered the Gnostics). In greater measure, the assault on witchcraft was a pathological response to the beauty and dignity of those Pagans who loved the Earth Goddess and lived in harmony with her natural ways. Genuine witches and warlocks were then, and are still today, beautiful specimens of humankind, stunning and elegant in manners, erotically attractive, full of delight and scintillating wisdom. They radiate carnal beauty and honesty of character that puts lesser people to shame and can arouse murderous envy.
Marina Abramovic is a vile Jewish ghoul, possibly even an archontic hybrid, no longer human (if she ever was). The signature of the archontic infection is biophobia, revulsion for life. Such revulsion thrives in an atmosphere of morbidity and ugliness which Jewish perversion makes out to look trendy and mysterious. The Torah commands (Exodus 22:18) "Thou shalt not suffer a witch to live." Well, here's a witty turnaround: How about commanding that interdiction to fall upon Marina Abramovic? I would venture to say there are a fair number of people right now who would be delighted to see her murdered in cold blood, if not tortured as the grand finale of her performance art.
The Laughing Savior
Turning aside from Jewish humor, if you can call it that, let's consider for a moment another odd case of comedy in divine intervention. To Christians, the supreme example of God's will openly impacting history is the incarnation of Jesus Christ. This unique act of intervention culminates in the sacrifice of the Son of God for the atonement of the sins of the world. A pretty serious matter, to say the least, but even this event has been portrayed with a humorous aspect:
The Apocalypse of Peter from Nag Hammadi contains one of the more scandalous and heretical images to come from Gnosticism: the laughing savior. Biased by their Judeo-Christian education, Gnostic Scholars routinely presume that the crucified one on this scene is identical to Jesus of the Gospels. However, the exact designation I-S ETONE could be translated "Iasius Etone," the ever-living healer. Where Christians see Jesus, Gnostics saw a docetic figure (Nirmanakaya) that represents and carries a deathless regenerative power and cannot be killed, so it laughs in the face of death.
Another non-Nag Hammadi text, the Greek-language Acts of John, develops a similar view, treating the gruesome spectacle of the crucifixion as a vaudeville act for the masses veiling a mystical event whose nature is realized only by those who know, the Gnostic seers. Instead of the torture scene, the illumined witness John sees a mystic dance of ecstacy. "Those who do not enter the Dance / Do not know what is happening." This text was held to be so blasphemous that centuries after it was first circulated it was condemned by numerous Popes, including Leo V, and those who possessed a copy were at risk of being burned alive with it. The Second Council of Nicaea in AD 787 ruled that any existing copies of this apocryphal, gnostically inspired book be destroyed.
Both the Apocalypse of Peter and the Acts of John verge closely on the dubious hybrid of "Gnostic Christianity" which, as some of you know, I diligently avoid by concentrating on the non- and anti-Christian Sethian branch of Gnosticism. Nevertheless, these two instances of Gnostic humor are worth citing for the way they illustrate how comedy can feature in acts of supernatural intervention.
To return to witchcraft. In The Sovereign Moment Revisited, I explained that I made a reckless prediction in September 2015 which I later chose to retract: namely, I predicted that a tsunami of witchcraft would sweep across the planet in the coming year. At the time, I pictured this event revealing itself in the popular genre of cable TV series such as Salem, and films such as The VVitch (subliminal cue: "the V V itch"). In fact, that film has a unique twist that positively supports my intuition of the time. (Spoiler alert.) The heroine is a young Puritan woman in her teens who is not a witch, but constantly suspected of being one by her parents who witness alarming supernatural events they cannot explain, and end up blaming her for causing them. At the end of the film she decides to go with what she is accused of doing. If people are going to consider her a witch, she may as well become one, act the role, and enjoy it!
I encourage everyone who follows my treatment of Gnostic intel and the Sophianic vision of life to regard the planetary animal mother as the greatest of all witches. It seems that one of her familiars has appeared in the form of a humble frog named Pepe. This snappy name suggests the word peptide, from the Greek pepton, "cooked, digested," or just peppy, vital, active, full of life. I-S ETONE is peppy, charged with deathless superlife. The allusion to peptide suggests there is a catabolic process operating in the froggy familiar of the Earth Goddess: "cooked, digested." Peptides drive and direct the metabolism of food. Oddly but perhaps aptly, the cooked-digested theme could stand as true witchcraft against the "spirit cooking" of the Jewish ghoul. The blood libel against the Jews claims that they cook and eat Goyim children, as Marina Abramovic and her ilk are now suspected of doing behind the screen of titillating theatrics. Her time may be running out and she may soon cooked in her own morbid juices.
The case for blood libel among the Jews has been exhaustively proven in numerous cases through the centuries. Most famously, the first major public legal trial held in Russia when the Jewish Bolsheviks came to power was the Beilis case. The Bolshies used murder, extortion, and extensive bribery to win an acquittal for a Jew accused of ritual murder in Kiev in 1913. Concurrently, Lenin made anti-semitism a crime punishable by death across the newly formed Soviet Socialist Republic.
Whether or not some demented Jews torture and consume Goyim children, the Anthropos is deathless, full of vim and vigor, peppy. Can humor and punning, visual allusions referring to icons and logos, and trivial tricks such as changes in spelling, exhibit the sense of humor of Sophia, even when the gravest matters of survival are at stake? It remains to be seen who can appreciate Sophia's wit. The same joke that puts some people on the floor in convulsions of laughter can leave others stone-faced, missing the punch-line.
Pepe the Frog, widely regarded as an icon of the "alt right".
How would the Wisdom Goddess reveal her sense of humor in the act of divine intervention called Correction? Defiant humor, laughing in the face of death? Transcendent humor, as seen in the presumed savior laughing on the cross? Brutal humor, when the morbido of the human animal turns against morbidity and biophobia with the intention to eliminate the enemies of life? The trenchant humor of retaliation, lex talionis?
My predictions about the tsunami of witchcraft breaking over the planet could not be substantiated in the Fall of 2015. I was running on an inspired guess based on something I sensed in the air, but could not detect in any external signs. Later, in July 2016, I found the evidence to support my presentiment. To my astonishment, I discovered that the phenomenon manifesting Sophia's witchy sense of humor had a timeline that matches the development of the Terma of Gaia Awakening from August 2008. In other words, human attention to her witchcraft developed by ebbs and flows of interest that can be tracked on Google search trends, and the timeline revealed is a near-perfect duplicate of the development of the Terma, PT, and the GNE.
Of course, I allow that the information drawn from Google trend searches might not be trustworthy. Purely archontic as it is. However, Sophia can use the system of the archons, including all features of IT and AI, as she wishes for her own aims and purposes. She produced the archons who cannot do anything without using the spark of Aeonic intelligence she loaned to them. Consequently, she can do as she likes with archontic systems. She can subvert IT and direct it to her own ends.
Curiously, the timeline of the current wave of witchcraft reveals exact parallels to Gnostic instruction and the elements of the Terma, which can be tracked even before the phenomenon acquired its name sometime in 2010. This is truly uncanny, and it supports my claim that the witchcraft of the Aeonic Mother now breaking into the mainstream mindset derives from her initial act of intercession, the Terma of Gaia Awakening.
Google trend searches allow you to track by comparison of topics or themes, or merely words. For instance, compare the spellings of Theresa and Teresa in the name of Mother Theresa. The trend search shows that people were already inquiring about which spelling is correct in 2008, although general keen interest in variant spellings did not become an open topic until two years later. Theresa or Teresa means "harvest" and refers to goddesses of agriculture such as Demeter and Kore. Is there a "mother harvest" underway? A harvest by the Aeonic Mother who selects what is viable for the future of the divine experiment with the Anthropos, the human genome?
The Jewish Rabbi Reichorn, speaking at the funeral of Grand Rabbi Simeon Ben-Judah in Paris in 1869, is reported to have said:
Henry Ford is said to have commented, “And no harvest is as rich as civil wars.” Oddly, Ford, or the Ford logo, figures among the tropes of Sophianic wit that currently reveal her wicked sense of humor.
So whose harvest is it going to be?
In concluding, I cannot emphasize too strongly that you can disregard all variations of divine intervention and concentrate on these two: the archontic intrusion implemented by their proxies, those particular Jews bent on world domination, and the current intervention of the Aeon Sophia, her Correction in which historical and supernatural elements combine and cooperate. Concentrate on that co-dynamic, and as you do so, never forget that Sophia's Correction, if it becomes a reality to you, will reveal itself as authentic and objective by striking novelties, including humorous tropes and allusions, a breadcrumb trail of clues. It will stand out as an unprecedented and unparalleled event, totally different from any previous predicated instances of intercession from a transcendent, supernatural power. It will make you laugh like you have never laughed before.
"The Aeonic Mother has agency." Since August 8, 2016, this is HER sovereign moment, ongoing. She applies it with a wicked sense of humor. Loony Toons are not that far from lunar tunes, celestial frequencies. Who knows, Bugs Bunny may turn out to be the laughing savior in this movie. Keep an eye on that wacky wabbit.
"That's all, folks."
jll - 10 November 2016 Andalucia
Added with spoken commentary, January 30, 2017:
Material by John Lash and Lydia Dzumardjin: Copyright 2002 - 2017 by John Lash.