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Revelations, Seals & Consciousness: The Second Seal*

Friday, February 8, 2019 9:42

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The opening of the Second Seal of the Revelation of John symbolizes, in a negative sense, ‘the Fall’ into the self-created (by the ‘movement’ of self-reflection; which is the origin of all dependent dualities)—i.e., the “first born”—dualistic, 3-dimensional ‘curved’ space, “beast of the sea” consciousness of the “self”; the swordsman on the red (Chapter 25, verse 30 of Genesis) horse being Esau [-->the apostle Judas-->Susan] (Chapter 27, verse 39 of Genesis).

In addition, the origin of the ‘spatiality’ of the “self” is graphically demonstrated in the final conflict between Agent Smith and Neo in Matrix Revolutions; Agent Smith representing the origin of the duality (the “dragon”), and Neo representing non-duality (Mi cha el) at time segment 2:13-2:18, followed by ‘the Fall’ from time segment 2:30-2:46 of:

Neo vs Smith–origin of the “self” ;

whereas the following video:

Matrix Ending (“beast of the sea”/”beast of the earth”)

graphically demonstrates Agent Smith (the “dragon”) as having ‘morphed’ into, first, the “beast of the sea” (at time segment 0:10-0:14—see Chapter 13, verse 1 of the Revelation of John); and, then, the “beast of the earth” (at time segment 0:55—see Chapter 13, verse 11 of the Revelation of John).

Nor is it a mere coincidence that, through a time-reversal (time segment 1:25-1:28 of:

Sleeping Beauty–Maleficent Morphs Into the Dragon ),the ‘two-horned’ Maleficent (representing the consciousness of the ‘thinker’) morphs into the “dragon” (representing the origin of the duality, which is the foundation of the “tree of the knowledge of good and evil” consciousness of the “self”)…

But only after the rider on the white horse has cut through the thorns around the castle; which represent the metaphysical nonsense concocted by the dog-in-a-manger Jewish, Christian and Muslim religious ‘authorities’ for the purpose of preventing people from understanding the Truth of the Revelations.

In a positive sense, however, the woman in the red dress in the following dance represents not merely the ‘fallen’ consciousness of the “self”:

“Gypsy” – Michael Flatley’s “LORD of the DANCE” ;

but, also, the 3-dimensional ‘curved’ space reality within which we all must live—the five ‘swimming’ movements of her left (the Feminine Phonetic Tones) and right arm (the Masculine Phonetic Tones) at time segment 0:20-0:25, for example, representing the Ten Principal Phonetic Tones of Creation.

And because these Phonetic Tones pertain to the Creation of the space-time reality, the woman in the red dress also represents the observations (and experiments) of the scientific method (which constitute a ‘special case’ of the “observing consciousness” directed toward the space-time reality) which establish the foundations of scientific truth.

Many of her other movements, however, signify characteristics of the consciousness of the “self” which can be accurately explained in detail only in an oral Teaching.

And, to the extent that there are emotions associated with both ‘the Fall’ into the dualistic consciousness and the (violent and bloody) consequences of that ‘Fall’, there is a significant correspondence between the emotions associated with the Second Seal, the Fifth Seal, and the Sixth Seal; the Fifth Seal signifying sorrow, but the Second and the Sixth Seals signifying not merely sorrow, but an infinite abyss of unresolved anguish, hopelessness, desolation, despair, and the unrelenting stoppage of time itself: emotions experienced by those who have suffered extremes of violence, torture, mass-murder or warfare, as conveyed by:

▶ Dead Can Dance – Persian Love Song live Toward the Within and

▶ Dead Can Dance – “Cantara”

And, with regards to the Teaching of Jesus, it can be said that Paul was the ‘rider on a red horse’; the ultimate consequences of his perversion of that Teaching—through, in particular, the doctrine of ‘vicarious atonement’ and its ‘dependent idolatry’: the deification of Jesus as ‘God’—being expressed in these two songs.

Michael

*Previously published on December 1, 2013

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