THREAD FORWARD
I admit I’m opening this thread with some degree of trepidation. Here I am at home, bursting with intent and ideas and an almost unstoppable wave of energy that’s making me dig, and think, and write, and link, and write some more… and its all starting to pile up there on my computer with no one to share it with… and so I of course think – post it! – And then a voice pops up saying, ‘Not again! You can’t just dump your lunacies on the forum! Haven’t you noticed when you’ve done that before it’s not exactly generated a reciprocally charged feedback loop has it…? Especially with regard to ‘Shakes-peare’? No one will be interested… leave it alone! And it’s starting to look like a monologue which only you can ramble on with…’
Oh God!!!
Predator’s mind be damned! So instead I’m listening to my gut, telling that voice to shut up and I’ll leave it up to the Mods and the rest of you to decide either to pass or to merge or delete or whatever…
I do apologise that these first few posts are going to have to be somewhat lengthy – but there’s no way round it. I’m re-reading the Wave at the same time and daily reminded how Laura never self-censored her flow, thank God, so that gives me some small amateur degree of nerve to just go for it...
I’m suggesting this thread as a stand alone due to its specific subject matter - albeit one that is obviously connected to my previous general thread on the subject – because it is a very particular, brightly lit corner that might just be of interest as a stand alone topic to some here.
I’m also hoping the specifics in the title just might more readily pique the attention and interest of those of you to whom the word ‘Shake-speare’ is an automatic no-no and hence be a way of sparking surprised interest in the wider themes still waiting to be uncovered…
But come what may, it’s lit a fire in me at present and as I say below, the current deadening noise of 3D hysteria and unending programming warrants the occasional counter note, no matter what angle it comes from, don’t you think?
A teasing mind stretch at the very least is what I hope this offers to some of you …
So here goes…
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
INTRODUCTION
This time is filled with such a multiplicity of challenges that I for one feel a need to reach out for something else ‘creative’ to help my mind distance itself somewhat from the seemingly impenetrable scale of what is taking place day to day across our whole planet. So of late I’ve found myself delving back into my old love, the Bard of Avon and the mysterious meaning behind his coming and going… I confess find it hard sometimes to stay with my research for long before my mind wanders back to the here and now again… and the ‘tomorrow, and tomorrow, and tomorrow’… and ‘the petty pace’ of it all…
It was therefore with gratitude when the other day I read a post by Summerlite on the Coronavirus thread where he/she said:
Well that is something worth considering, something to try and remember each day! So back I come to my strange project.
I recently started a dedicated thread on the deep mystery that surrounds what I called ‘The Shake-speare project’.
There I'd taken some first steps in sharing the reasons why whoever this person was, (and his relationship to attempting to heal the consequences of The Fall), it was not the William Shakespeare we have been sold but was really ‘Shake-speare’, the still hidden real writer/’channellor’ of all those plays and poems.
It’s such a complex and mysterious topic that its almost impossible to know from what angle to first approach it, but a day or so ago, as so often before, I turned my mind back to the 154 collected Sonnets ‘he’ wrote and which(sic) seem to hold many a key to the whole remarkable tale.
In so doing I re-read a couple of off beat academic papers that, in a faltering manner, touch on the uniquely strange use of cosmic imagery and obscure knowledge that permeates his whole cannon from first to last. For example these commanding words from the very first scene of a very early play may surprise members here:
A startlingly resonant line of thought very much in our minds here today, is it not…?
Change of ‘times’… and ‘states’…
‘Crystal’ tresses… hmmmm…
I’ve known these lines for years but somehow today, they resonate with me with in a startlingly fresh and mysterious hint of things past and things yet to come…
Anyway, as I ploughed on I suddenly stumbled upon what seems to me to be a striking series of coincidences; ones that appear to relate prophetically to Laura and which disguise a pivotal mathematical mystery, one that perhaps links to the very heart of what ‘his’ being was about – and maybe also to Laura’s coming to us at this time of time’s.
So I thought I would share here this particular set of resonant clues to see if others might have any further illumination or comment to add on the specific matter… (especially the Maths!) including what on earth am I on and what on earth am on about…! Because of course I could easily be barking up the wrong tree!
But before I get to ‘Shakes-peare’ and the suspected connection to Laura’s work, I’ll speak briefly of the poets Ovid and Petrarch, and even of poetry itself… for it’s at the very heart of the matter.
Not poetry - as in the dull, limp, often superficially pleasing (if usually forgettable) whimsical stuff of our school days - but the mighty calling made to our ancestors to utilize sacred words in a deeply methodical – nay, deeply scientific – manner so as to unearth and reveal great mysteries hidden betwixt-and-between ideas, images, thoughts, impression, knowledge. For that was always what real poets did – bring the unseen into clearer focus by means of their brilliantly forged, utterly ‘rational’ word patterns/verse that utilised the mesmeric power of rhythm, musicality, form and energetic collision points, to squeeze through to the deeper consciousness of the attuned ear, some of the matters of life that would otherwise elude our programmed 5 senses. Words and language are a deep, deep mystery – they are the very stuff of ‘magic’ - and it is all in some way connected to the immense cosmic power of ideas that ‘begin’ or/and are ‘received’ as thoughts in the mind of man…
The Wave Vol. 3 p326
So let’s start our truly cosmic poetic journey with the most famous of all Roman verse-smith’s Ovid… I’m sure he needs little introduction to many, but for those who are not familiar here’s Wiki on the subject:
OVID
(note: a number of radical minded Dutch scholars have disputably claimed that actually Ovid invented the whole banishment story as an allegorical front for his own mid-life crisis, using the metaphor of exile as a tool to express his own inner conflict… this esoteric/occult idea of ‘invention’ of autobiography/biography as an occult blind to disguise the real sacred meaning and intent of their heretical work becomes central to understanding many of the most important Renaissance writers and especially ‘Shake-speare’.)
Despite the fact that Ovid de-sacralised much of the source myth he worked from, his influence cannot be underestimated, especially on the later Renaissance mind where translations of his emotionally playful and sexually charged works played a huge part in inspiring a whole new fascination with the ancient world and its miraculous stories of change and transformation as well as the mystical potential of ‘Love’ to act as a spur to spiritual development.
Many scholars have noted that of all the 100 or more classical authors ‘Shake-speare’ referenced, Ovid was his number one. Whilst this is debatable, (as I think they totally ignore the implicitly Stoic and Sophian development of his hidden philosophy), there is no doubt that the erotically charged verses of the Roman master were at the core of the early stages of the Bard’s process of inspiration and evolution and especially right at the out set when he specifically took Ovid’s tale of the fatal love quest between the Goddess of Love, Venus, and her son/consort, the God Adonis, and turned it into a cause celebre of the period. More on that pivotal choice and what ‘Shake-speare’ did with it another time.
Suffice to say Ovid, (especially his poems suggestive of reincarnation, self-transformation, and the mysterious power of the divine to intervene directly in the affairs of human kind through its spokesperson Nature), indelibly imprinted the burgeoning Renaissance mind. And in particular, arguably the greatest poet-mind of that period of unprecedented creativity and conflict, Petrarch.
And this is where it starts to get really interesting…
I admit I’m opening this thread with some degree of trepidation. Here I am at home, bursting with intent and ideas and an almost unstoppable wave of energy that’s making me dig, and think, and write, and link, and write some more… and its all starting to pile up there on my computer with no one to share it with… and so I of course think – post it! – And then a voice pops up saying, ‘Not again! You can’t just dump your lunacies on the forum! Haven’t you noticed when you’ve done that before it’s not exactly generated a reciprocally charged feedback loop has it…? Especially with regard to ‘Shakes-peare’? No one will be interested… leave it alone! And it’s starting to look like a monologue which only you can ramble on with…’
Oh God!!!
Predator’s mind be damned! So instead I’m listening to my gut, telling that voice to shut up and I’ll leave it up to the Mods and the rest of you to decide either to pass or to merge or delete or whatever…
I do apologise that these first few posts are going to have to be somewhat lengthy – but there’s no way round it. I’m re-reading the Wave at the same time and daily reminded how Laura never self-censored her flow, thank God, so that gives me some small amateur degree of nerve to just go for it...
I’m suggesting this thread as a stand alone due to its specific subject matter - albeit one that is obviously connected to my previous general thread on the subject – because it is a very particular, brightly lit corner that might just be of interest as a stand alone topic to some here.
I’m also hoping the specifics in the title just might more readily pique the attention and interest of those of you to whom the word ‘Shake-speare’ is an automatic no-no and hence be a way of sparking surprised interest in the wider themes still waiting to be uncovered…
But come what may, it’s lit a fire in me at present and as I say below, the current deadening noise of 3D hysteria and unending programming warrants the occasional counter note, no matter what angle it comes from, don’t you think?
A teasing mind stretch at the very least is what I hope this offers to some of you …
So here goes…
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
INTRODUCTION
This time is filled with such a multiplicity of challenges that I for one feel a need to reach out for something else ‘creative’ to help my mind distance itself somewhat from the seemingly impenetrable scale of what is taking place day to day across our whole planet. So of late I’ve found myself delving back into my old love, the Bard of Avon and the mysterious meaning behind his coming and going… I confess find it hard sometimes to stay with my research for long before my mind wanders back to the here and now again… and the ‘tomorrow, and tomorrow, and tomorrow’… and ‘the petty pace’ of it all…
It was therefore with gratitude when the other day I read a post by Summerlite on the Coronavirus thread where he/she said:
Today at 4:01 AM
I've been thinking about the phrase "sit back and watch the show". In the last 3.5 years we've been watching people become more and more crazy which has been discussed here with many examples and threads. We were warned by the C's in the last session things would become even more crazy and of course we're seeing that. In the last few days I've started to "watch the show". This requires being detached from what’s happening in a certain way, so that I can observe without an emotional response to it. This seems to be an attribute of endeavouring to follow a Stoic perspective which I've been working on. Watching my thoughts to not be pulled into negative imaginings, accepting what I can't change, looking at my own death. Also putting energy into positive and creative things… I do feel fairly positive these days. So, I think there is a deeper meaning to this simple phrase "sit back and watch the show'. It’s a bit hard to explain but I find it helpful. Something like sitting in a movie theater and watching the drama unfold. Or being in the world but not of it.
Well that is something worth considering, something to try and remember each day! So back I come to my strange project.
I recently started a dedicated thread on the deep mystery that surrounds what I called ‘The Shake-speare project’.
There I'd taken some first steps in sharing the reasons why whoever this person was, (and his relationship to attempting to heal the consequences of The Fall), it was not the William Shakespeare we have been sold but was really ‘Shake-speare’, the still hidden real writer/’channellor’ of all those plays and poems.
It’s such a complex and mysterious topic that its almost impossible to know from what angle to first approach it, but a day or so ago, as so often before, I turned my mind back to the 154 collected Sonnets ‘he’ wrote and which(sic) seem to hold many a key to the whole remarkable tale.
In so doing I re-read a couple of off beat academic papers that, in a faltering manner, touch on the uniquely strange use of cosmic imagery and obscure knowledge that permeates his whole cannon from first to last. For example these commanding words from the very first scene of a very early play may surprise members here:
“Comets, importing change of times and states,
Brandish your crystal tresses in the sky.”
Henry VI, Part 1, Act 1, Scene 1
A startlingly resonant line of thought very much in our minds here today, is it not…?
Change of ‘times’… and ‘states’…
‘Crystal’ tresses… hmmmm…
I’ve known these lines for years but somehow today, they resonate with me with in a startlingly fresh and mysterious hint of things past and things yet to come…
Anyway, as I ploughed on I suddenly stumbled upon what seems to me to be a striking series of coincidences; ones that appear to relate prophetically to Laura and which disguise a pivotal mathematical mystery, one that perhaps links to the very heart of what ‘his’ being was about – and maybe also to Laura’s coming to us at this time of time’s.
So I thought I would share here this particular set of resonant clues to see if others might have any further illumination or comment to add on the specific matter… (especially the Maths!) including what on earth am I on and what on earth am on about…! Because of course I could easily be barking up the wrong tree!
But before I get to ‘Shakes-peare’ and the suspected connection to Laura’s work, I’ll speak briefly of the poets Ovid and Petrarch, and even of poetry itself… for it’s at the very heart of the matter.
Not poetry - as in the dull, limp, often superficially pleasing (if usually forgettable) whimsical stuff of our school days - but the mighty calling made to our ancestors to utilize sacred words in a deeply methodical – nay, deeply scientific – manner so as to unearth and reveal great mysteries hidden betwixt-and-between ideas, images, thoughts, impression, knowledge. For that was always what real poets did – bring the unseen into clearer focus by means of their brilliantly forged, utterly ‘rational’ word patterns/verse that utilised the mesmeric power of rhythm, musicality, form and energetic collision points, to squeeze through to the deeper consciousness of the attuned ear, some of the matters of life that would otherwise elude our programmed 5 senses. Words and language are a deep, deep mystery – they are the very stuff of ‘magic’ - and it is all in some way connected to the immense cosmic power of ideas that ‘begin’ or/and are ‘received’ as thoughts in the mind of man…
The Wave Vol. 3 p326
Q: (B) Are you a great distance from us in light years?
A: Distance is a 3rd density idea.
Q: (B) Light years is 3rd density?
A: Yes.
Q: (B) What do you mean by traveling on the wave?
A: Traveling on thoughts.
Q: (L) Whose thoughts are they?
A: Thoughts unify all reality in existence and are all shared.
Q: (S) You travel on a wave of energy created by all thought forms?
A: Thought forms are all that exists!
So let’s start our truly cosmic poetic journey with the most famous of all Roman verse-smith’s Ovid… I’m sure he needs little introduction to many, but for those who are not familiar here’s Wiki on the subject:
OVID
Publius Ovidius Naso; (20 March 43 BC – 17/18 AD), known as Ovid in the English-speaking world, was a Roman poet who lived during the reign of Augustus. He was a contemporary of the older Virgil and Horace, with whom he is often ranked as one of the three canonical poets of Latin literature. Although Ovid enjoyed enormous popularity during his lifetime, the emperor Augustus banished him to a remote province on the Black Sea, where he remained until his death. Ovid wrote that the reason for his exile was carmen et error – "a poem and a mistake", claiming that his crime was worse than murder, more harmful than poetry, but his discretion in discussing the causes has resulted in much speculation among scholars.
(note: a number of radical minded Dutch scholars have disputably claimed that actually Ovid invented the whole banishment story as an allegorical front for his own mid-life crisis, using the metaphor of exile as a tool to express his own inner conflict… this esoteric/occult idea of ‘invention’ of autobiography/biography as an occult blind to disguise the real sacred meaning and intent of their heretical work becomes central to understanding many of the most important Renaissance writers and especially ‘Shake-speare’.)
The first major Roman poet to begin his career during the reign of Augustus, Ovid is today best known for the Metamorphoses, a 15-book continuous mythological narrative written in the meter of epic, and for works in elegiac couplets such as Ars Amatoria ("The Art of Love") and Fasti. His poetry was much imitated during Late Antiquity and the Middle Ages, and greatly influenced Western art and literature. The Metamorphoses remains one of the most important sources of classical mythology.
…Ovid’s father wanted him to study rhetoric, toward the practice of Law. According to Seneca the Elder, Ovid tended to the emotional, not the argumentative pole of rhetoric… He married three times and divorced twice by the time he was thirty years old.
His earliest extant work is thought to be the Heroides, letters of mythological heroines to their absent lovers, which may have been published in 19 BC… The first five-book collection of the Amores, a series of erotic poems addressed to a lover, Corinna, is thought to have been published in 16–15 BC; … the premiere of his tragedy Medea, which was admired in antiquity but is no longer extant.
Ovid's next poem, the Medicamina Faciei, a fragmentary work on women's beauty treatments, preceded the Ars Amatoria, the Art of Love, a parody of didactic poetry and a three-book manual about seduction and intrigue, which has been dated to AD 2 (Books 1–2 would go back to 1 BC).
By AD 8, he had completed his most ambitious work, the Metamorphoses, a hexameter epic poem in 15 books. The work encyclopaedically catalogues transformations in Greek and Roman mythology, from the emergence of the cosmos to the apotheosis of Julius Caesar. The stories follow each other in the telling of human beings transformed to new bodies: trees, rocks, animals, flowers, constellations etc. At the same time, he worked on the Fasti, a six-book poem in elegiac couplets on the theme of the calendar of Roman festivals and astronomy. The composition of this poem was interrupted by Ovid's exile…
Despite the fact that Ovid de-sacralised much of the source myth he worked from, his influence cannot be underestimated, especially on the later Renaissance mind where translations of his emotionally playful and sexually charged works played a huge part in inspiring a whole new fascination with the ancient world and its miraculous stories of change and transformation as well as the mystical potential of ‘Love’ to act as a spur to spiritual development.
Many scholars have noted that of all the 100 or more classical authors ‘Shake-speare’ referenced, Ovid was his number one. Whilst this is debatable, (as I think they totally ignore the implicitly Stoic and Sophian development of his hidden philosophy), there is no doubt that the erotically charged verses of the Roman master were at the core of the early stages of the Bard’s process of inspiration and evolution and especially right at the out set when he specifically took Ovid’s tale of the fatal love quest between the Goddess of Love, Venus, and her son/consort, the God Adonis, and turned it into a cause celebre of the period. More on that pivotal choice and what ‘Shake-speare’ did with it another time.
Suffice to say Ovid, (especially his poems suggestive of reincarnation, self-transformation, and the mysterious power of the divine to intervene directly in the affairs of human kind through its spokesperson Nature), indelibly imprinted the burgeoning Renaissance mind. And in particular, arguably the greatest poet-mind of that period of unprecedented creativity and conflict, Petrarch.
And this is where it starts to get really interesting…