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The Role Of The Good Critic

03/12/2012 14:57

The Role Of The Good Critic

 

In the developmental psychology of Carl Gustav Jung (1875-1961) is posited the `God archetype`, an unconscious content of the psyche that seeks expression through the lives of individuals. The `God archetype` takes many forms, which Jung calls archetypes. Most archetypes are related to what Jung sees as the soul, which is largely circumscribed in the figure of the anima, and appears in its fullest describable form as the Wise Old Woman who, because a woman would have to be immortal to keep her knowledge, is seen as the eternally young goddess.

 

Jung`s literary analysis of alchemical symbolism points to the struggle of the `God archetype` to express itself in Medieval chemists` search for a panacea to the ills of their society, and much symbolism revolves around the idea of physical hermaphroditism as a necessary adjunct to the creation of wisdom symbolized by the lapis philosophorum or philosopher`s stone.

 

The woman with a penis is not an alchemical fantasy, but can be found by anyone with an internet connection in the 21st century ( https://www.futanaria.com ). Because women have a penis, they`re a species. In Jungian psychology, there are many `hero` archetypes, but the notion that women are a species places a question mark over the role of the `hero`. In the Bible the main heroic figure of Revelation is the New Redeemer who protects the `hidden` woman before she leaves Earth to sow her own seed, with her own penis presumably, as a prelude to her war against evil in heaven. The Bible tells of how she is victorious and the evil receive eternal unendurable pain as their punishment.

 

 

Revelation describes how God sends plagues to deter the evil of the Earth: `Men gnawed their tongues in agony and cursed the God of heaven because of their pains and their sores, but they refused to repent of what they had done.` (Rev: 16.10) Many have perceived these `sores` to be AIDS. If women are a species, then men are a parasite. Consequently, those who support the parasites from amongst the species of women correspond to the `Great Whore of the Apocalypse, Babylon the Golden`. Because Babylon is the ancient seat of Iraq, the Gulf Wars (1990-2011) represent the dying throes of a previously unshakeable viewpoint, which is that women are for men, whereas Woman is for her own species, and so those who support Mars, the god of war, against what Woman can make of her Earth, are men`s whores, that is, `sores` of Revelation.

 

The new perspective is difficult, but women who support men against Woman are, effectively, traitors to their species. It emerges from the `pimp, whore` relationship. The pimple becomes a sore. The woman explains to her pimp that she`s married and together they feed upon her husband as parasites; as many `spivs` did during WWI and WWII. Those women who support the parasites produce sores, that is, boy sons (poisons) produce poison`s `sores` (whores).

 

 

The hero of Revelation functions as a `protector`, which is a dangerous idea. Men want to feel like heroes, and so large numbers of women and children are daily murdered in numerous petty conflicts across the globe so they can feel like it. If women have a penis, and the archetypes appear in dreams, imagination, and art to reveal the path of development to the individual, which is how they function, according to Jung, then Woman`s psyche should not contain a hero figure because men aren`t her species. Consequently, all media representations of men are designed to constellate imagos of themselves in Woman`s psyche that have as their goal the illusion they they`re her defenders while in fact they are the monstrous destroyers of her planet. It`s a propaganda war based on the idea that, if the image is accepted, then the image belongs. But if men are a parasite then they don`t belong, and their image of themselves is merely the tool of a clever alien that seeks the death of all life.

 

In the Elizabethan period of English theatre, William Shakespeare was told he could stage his plays with men only. There are clues in thespian circles as to the meaning of such prohibitions. In Pantomime the hero is played by a young woman, so the figure of Aladdin, for example, is a girl and her penis is implied but seemingly as a joke. However, if women have a penis of their own, it`s perfectly feasible to stage a Shakespearian drama in which all of the male characters are played by women with a penis and the female characters are played by women without a penis, so making Shakespeare a species` production rather than a `women with their parasites` satire.

 

 

In Shakespeare`s Twelfth Night, or What You Will, Viola cross-dresses and appears as a man, but this is far more than farcical if we understand that women have a penis and Viola is presenting herself as what she is. In short, literary criticism isn`t about levels of meaning; it`s about correct perspective. It may be amusing to an audience to perceive that Viola, as the go-between for Olivia and the Duke, is dressed as a boy. But critics have defined the relationship between the Duke and Viola as `homoerotic`, whereas the perspectivally accurate perception is that Viola has a penis because she`s a woman and men are evil because their perspective is homosexual. From that vantage point Viola could be seen as a pimp procuring a woman for the Duke, which is in accordance with the `poisonous whore` thesis.

 

Viola could also be viewed as Shakespeare`s true vision of the `hidden` woman of Revelation whose penis exists but isn`t acceptable to men who prefer boy, son, and sores. In other words, Viola`s relationship with Olivia is `lesbian` but Godly because it isn`t poisonous, whereas her relationship with the Duke is `normalled` but false. Inevitably productive of boys , sons, and poison`s sores (whores) Woman`s relationship with her parasite is necessarily one of poisoning. It breathes in her womb and lives from her blood. It`s a false creature from its inception, and so poisons everything she is because it isn`t `true`.

 

If the psychology of Carl Gustav Jung is accurate, the `God archetype` functions as a `determinator`, which in literary criticism might be used as a perspectival analyser. In simple terms, there are no heroes save women. To critically understand any given literary work, it`d be necessary to put a woman with a penis into every role formerly played by a man. Similarly, a critic couldn`t be understood as giving a true analysis of any literary work, visual or textual, without describing the artistic product from the perspective of their knowledge of the fact that women are the species on the planet Earth and have a penis of their own. In other words, men`s art, designed to subvert the truth that women don`t need men, reveals them as promotive of a `big lie`.

 

 

The role of the critic is to describe what the archetype as determinator is trying to say from God`s point of view. Consequently, such epic novels as D.H. Lawrence`s The Rainbow, Women In Love, and Sons and Lovers miss the point. The novel that should have been written was Mothers and Daughters because women are a species and lovers is what they should be. The Lawrence novel that was banned was Lady Chatterley`s Lover, not because it explored sexual themes, but because it approached the exploration of sexuality from the woman`s point of view. The central male character is `Manners` because he represents the understanding that men are the aspect of the human species that has the penis, whereas women are the species because they have their own penis and the parasites that are men can`t reproduce themselves without women. `Manners` is `behaviouralism`. Men have a penis, but it isn`t theirs. Manners in Lady Chatterley`s Lover is the behaviouralist thesis that women behave because they need men`s penis but, if women have a penis of their own, men`s enslavement of women`s `host womb` is surety that they`ll `behave`, and so men are definable as the continuous reification of evil.

 

 

Sophie Moone, in Hungary, makes lesbian pornography because she`s defined a s a lesbian, but if she had a visible penis she`d be defined as a woman, and even what the Bible defines as `Mankind` at its closure in Revelation when the `hidden` woman leaves the Earth to sow her seed amongst the stars. In science fiction terms, it`s the prototypical war between `Mankind` and the aliens, where men are the aliens and women are `Mankind`. In scifi men are depicted almost constantly fighting wars against aliens, because women and the Earth must be protected from them. Exactly. 

Seasons

06/10/2012 09:14

Snowdrops in Spring,

Sunny in Summer,

Leaves in Autumn,

Yule Log,

Robin in Winter

 

The Knights Of Abel With Rounds To Spare

18/07/2012 14:05

The Knights Of Abel With Rounds To Spare

 

 

They`re Cain, and they`re not Abel,

They kill routines and bore all scenes

With piece work implacable.

 

 

They ate, smelt there, and frowned a lot,

Their kind is hand and sperm a lot.

They`re knights of the dead Abel,

That lowly curséd Abel

In olden times with nursery chrymes

That didn`t quite sink Abel.

 

 

They`re Arthur sad in come a lot,

The vas deferens between a wife, and Lot.

Sodom`s Addam; Kuwait assault at Abel,

Eve her unquench she Abel,

`Neath the guests` `Last Supper` quests:

 `O Thou Arthur

- transubstantiate Abel.`

 

 

She's a busy wife, Sir Lancer Lot,

Bush burning, it did sprake a lot.

 

 

- sing to the tune of `Knights Of The Round Table` by Monty Python from Monty Python and the Holy Grail (1975)

Onan and Snow White

21/06/2012 15:48

Onan and Snow White

 

In Genesis Onan`s brother is murdered because he`s `wicked ` (38. 9-10), and the explanation is that he didn`t want to impregnate his wife, Tamar, so that she would remain beautiful. Er was murdered by God and Onan was told to impregnate Tamar, who was Onan`s sister-in-law, but Onan refused and `cast his seed upon the ground`, which was an act supportive of his brother`s perspective that the woman`s eternal loveliness was more important than fertilization. In other words, Er and Onan were looking towards immortality and God was looking for mass production. In terms of the production process, Er and Onan wanted quality while God wanted quantity. Er and Onan represent the notion that an immortally beautiful woman wouldn`t want to reproduce, and they wouldn`t need her to.

 

 In the story of Snow White, the Queen is `wicked` because she has a mirror in which she perceives herself to be the `most beautiful woman in the world`. Each day she asks of her mirror the question: `Mirror, mirror on the wall; who is the fairest of them all.` Each day the mirror replies: `You. O Queen.` One day the mirror says: `Not you. O Queen. Snow White is the fairest.` At which point the Queen has a poison apple delivered to Snow White so that the Queen can be the `most beautiful` again.

 

 

 Onan`s story is usually perceived as God`s injunction against masturbation, which is why masturbators receive the condemnatory appellation `Onanist`, whereas Er and Onan`s story is actually about God`s seeming inability to develop beyond mass production to quality control, that is, oodles of women who are ephemeral can`t substitute for an eternal woman who has eons of experience and wisdom, which is what Er and Onan understand and God doesn`t seem to.

 

 Er and Onan are `wicked` because they want their woman to be immortal and wise, which is patriarchy, that is, the restrictive practices of God and Man towards Woman, and is why Woman is most often associated with Satan worship. Effectively, the `wicked` Queen in Snow White is an `Onanist` because she wants to look beautiful forever in her mirror and keep her experience and wisdom, which is what God actually promises.

 

 Revelation describes the protector of the `hidden` Woman of the Earth, that is, the New Redeemer, who keeps her until she is ready to leave for the stars and sow her own seed. Revelation describes her seed as defeating Satan who, together with his adherents, receive unendurable eternal pain as their punishment for interfering with the woman`s seed ( https://www.futanaria.com ).

 

 Because the woman has seed, she must be understood as having her own penis. Consequently, the story of the `wicked Queen in Snow White is similar to that of the `wicked` Er and Onan in Genesis, whom God slays for wanting their woman to remain young and beautiful. Wanting to remain young and beautiful is the reason why Er and Onan are described as `wicked`. However, in Revelation, the woman`s seed is promised a new heaven and Earth in which to dwell forever, which indicates that God`s perspective changes.

 

 

 Snow White is biblical insofar as the poison apple is again a central motif. The Queen`s wickedness consists of her inability to perceive that Snow White is desirable for the Queen because she`s the `most beautiful`. In other words, she can`t see her own penis in the mirror, the explanation of her beauty and why Snow White is now the most beautiful.  Because the `wicked` Queen is ready for a sexual relationship with her own species. However, she poisons Snow White because she`s programmed with patriarchal logic supported by biblical injunction. Snow White shouldn`t be immortally young and beautiful because God murdered Er and Onan for wanting eternal beauty for Tamar. The `wicked` Queen should be having sex with Snow White, because women have a penis, and even if some of them physically don`t, the fact that some do means the `wicked` Queen and Snow White are a species, whereas men aren`t. They`re parasites using her as `host womb` for their virus.

 

 The `wicked` Queen in Snow White is wicked because she doesn`t have a penis (visibly), and wants to be immortally beautiful and wise, which is what God gives her in Revelation, but before that she`s Satan. In other words, Satan`s a perspective, and when she defeats Satan in heaven it`s allegorical insofar as that defeat represents the Redemption of her male part. However, it`s the triumph over evil insofar as men would enslave her as a `host womb` for their parasitical murdering of her and the Earth.

 

 The Queen is wicked from men`s perspective because women have a penis, which makes her independent and, in terms of the actual meaning of the story, the Queen poisons Snow White because the Queen`s naïve, or `green` because she expresses men`s `penis envy` for them. She`s redeemable on the strength of her ignorance.  She `s been interfered with, on a fictionally propagandist level, by patriarchy, because it`s men`s interpretation of the word of God from Genesis that women shouldn`t be eternally beautiful and wise.

 

 Er and Onan were murdered in Genesis because God didn`t want Tamar to be anything other than `bred`. The Queen attempts to poison Snow White because, for patriarchy,  Snow White is Er and Onan`s Tamar, and in Genesis God  wants breeding slaves. As a representative woman the `wicked` Queen is, therefore, programmed by patriarchy with her own self-murder, implemented when she gives Snow White the poisoned apple.

 

 

 In Eden the `fruit of the tree of the knowledge of good and evil` is given to Eve by the evil serpent, whose `seed`  thereafter is at `eternal enmity` with the `seed` of the woman.  Adam is given some of the fruit by Eve and is defined as a `temptress` afterwards by Bible thumpers who don`t perceive that she represents wisdom.  Only at the closure of the Bible do we see that the wisdom she represents is that of the `hidden` woman with a penis of her own, who doesn`t need boy sons (poisons) because they signify God`s plan for her, which in Genesis is ephemerality and slavery. Later, in Revelation, God`s changed plan is for Woman`s immortality and freedom, which justifies Eve`s thirst for knowledge in Eden, where she gives the apple to Adam because she perceives development to be the key to freedom for Woman as a species with its own penis.

 

 Revelation agrees with Eve, which means that Satan`s refusal to bow before Man is also justified. It`s equivalent to Er and Onan`s rejection of God`s initial perspective that women should be breeding slaves and not immortally young. When women have their own penis and are sowing their `seed` amongst the stars in heaven, Satan`s penis will be free, as it were. It`s a unified symbol system in which Jesus, born of a virgin, and celibate, is the `Son of Man` because he doesn`t want to reproduce. Immortality is the perception that reproduction isn`t necessary, and so those who refuse to reproduce are concerned with having immortal youth. Jesus is murdered because, like Er and Onan, he seeks immortality. Er and Onan are, in fact, more advanced because they seek it for the woman Tamar. But Jesus` mother Mary, who` s a virgin when Jesus is born, symbolizes the woman who can give birth without a man, that is, her penis is implicit in the equation, which means that Mary, like Tamar, represents the perception that Woman should be immortal and free from men as parasites breeding her as their slave.

 

 In Answer To Job the developmental psychologist Carl Gustav Jung (1875-1961) observes that Satan is an unconscious aspect of God`s omniscience, that is, God doesn`t know why God behaves swinishly towards the righteous Job, but Satan does. It`s because God`s a bully who bullies until God becomes contrite, that is, God sees the error of his ways.

 

 Satan is vindicated at the end of the Bible when the `hidden` woman leaves the Earth to sow her seed and eventually defeats the evil serpent`s `seed`, symbolized by the red dragon of Revelation wanting to devour her, to receive a new heaven and Earth as her reward. Satan hadn`t wanted Man, and at the closure of Revelation neither does God, which means that God, Jesus, Mary, and Satan are aspects of God`s developmental functionality coming to fruition.

 

 In Jungian psychology there are four functions of consciousness; Thinking, Sensation, Feeling, and Intuition. Two functions are male and two are female. In biblical terms, God and Jesus would represent Sensation and Thinking, because Eden is associated with seeing, and the Sensation function, according to Jung, is associated with the eyes when undifferentiated or unconscious.

 

 When Eve eats of the apple, and gives some to Adam, they immediately perceive that they`re observed and clothe themselves because they feel ashamed to be seen naked. This is because God represents the Sensation function, which is receiving differentiation. Adam and Eve are now being watched by the evil serpent whereas formerly they were being watched over by God. Their shamed reaction at being seen naked indicates their awareness of someone looking whereas they`d been a mirror for each other. Now the evil serpent will be able to mirror itself through them, and so they are ashamed because they were the mirror of God`s love.

 

 Snow White`s apple is evolutionarily regressive insofar as it represents the commonly held belief that Onan was a masturbator killed by God for `casting his seed upon the ground`, that is, the `wicked` Queen masturbating in the mirror in the understanding that she`s desirable to herself is `normal` because women are a species with their own penis. Symbolically, she no longer finds herself desirable in the mirror, that is, she no longer masturbates, because she`s looking for someone else to sexually arouse her, which is also `normal`.

 

 

 The Queen`s apple is `Edenic` insofar as it represents a woman`s temptation to knowledge, but it`s poisoned because she`s unable to conceive of her desire for herself in the mirror as a normal woman`s sexual desire for the more beautiful Snow White and, instead, contrives a murder plot, which is what God effectively contrives against Tamar when he doesn`t want her to have more than an ephemeral existence as a breeding slave whereas Er and Onan, slain by God for disagreeing, wanted her to be forever beautiful, and by extension wise.

 

 Nevertheless the `wicked` Queen`s masturbatory mirror does represent a woman`s desire to be normal in terms of her knowledge and sexuality. The fact that she`s unable to see her own erection in the mirror indicates that, somehow, her species has  been poisoned by men`s patriarchy, and so the poisoned apple is a metaphor for the Queen`s own self`s poisoning by men. Delivered to Snow White, the apple of poison is, therefore, a metafictional symbol of women`s difficulties in recognizing truth because of the `big lie` that, although they`re masturbatorily desirable for themselves in their mirrors, men say that their desire for other women is abnormal whereas it`s a species desire for its own self`s love.

 

 

 Eve left Eden because she wanted knowledge and wisdom, but also because the evil serpent wanted to watch her. The `wicked` Queen is Eve because she represents the desire to masturbate as an immortally beautiful woman with noone to watch her but herself. This is evolutionarily progressive insofar as female stars of movies, and music videos, watch themselves perform masturbatorily in recorded media. However, that doesn`t imply control over who watches, because the media in which their images are recorded is mass produced. Effectively, it`s the same problem that God had with Tamar, Er and Onan. God wanted mass production, whereas Er and Onan wanted an eternally beautiful Tamar and refused to impregnate her because pregnancy would, at the least, cause her beauty to fade, and might result in her death. God watches Er and Onan to see that they impregnate Tamar, and so God wants her to die. God murders Er and Onan because they want her to live. In economic terms, God wants disposable while Er, Onan and Tamar want permanency. In media star terms, mass produced masturbatory product masturbated over by whoever has the cash to pay implies no control over who it is that masturbates while watching the product, which in biblical terms means that the consumer is God.

 

 The dangers of consumerism are evident in Revelation where the red dragon is described as waiting in vain to devour the New Redeemer who`ll protect the `hidden` woman. In Genesis God envisions the mass production of human beings by means of an enforced breeding programme. Er and Onan refuse becaue they prefer quality to quantity. In simple terms, Er is happy with his wife as she is and doesn`t want to enter into the mass production process. Onan similarly `casts his seed upon the ground` because he doesn`t want her beauty to fade but rather appreciates the value of the woman, not wanting her to be mass produced so that female flesh, ephemeral and plentiful, has lesser value for Man.

 

 Although God`s perspective changes in the Bible so that, in Revelation, consumerism is condemned as evil, the shift from quantity to quality occurs too late for Man. Hollywood`s mass production of media recorded stars echoes God`s early concern with quantity and Mankind as ephemeral. Er and Onan, perceived as masturbators, are killed by God, whereas in fact they`re championing the uniqueness and inestimable value of an individual woman, Tamar. Hollywood`s mass production of media recorded stars coincides with God`s original plan in Genesis, which is to mass produce ephemera. By analogy masturbators are those who watch media recorded stars because they want them to live and be immortally beautiful and wise.  Further analogy would have the fans and the stars murdered because, as God`s murder of Er and Onan in Genesis for wanting Tamar to live indicates, that`s what God would want, at least according to Christian fundamentalist crazies. The current craze for VR would then serve as the basis for `believers` to snuff out stars in recorded media because, irrespective of God`s rejection of the devouring red dragon of Revelation that waits in vain to consume the New Redeemer, Christian infantilism would still hold to the belief that snuffing out people who want to be - and remain - beautiful is what God would have wanted for the wankers.

 

 

 In Revelation Jesus is described as having a sword which comes out of his mouth, and in Jungian psychology the sword is a symbol of the Thinking function, which is associated in undifferentiated or unconscious form with the ears. Consequently, Jesus` association with the sword, the mouth, and the ears relates to speech and words that are expressive of the truth that derives from correct or differentiated Thinking. In simple terms, Jesus speaks the truth in the New testament because God`s Thinking function is differentiated.

 

 Mary is the differentiated Feeling function because she can give birth to the Thinking function (Jesus). In Jungian psychology Feeling is duplex because it relates to eating, drinking, and speaking, which is why the sword, that is, Thinking, emerges from the mouth of Jesus in Revelation, because speaking is differentiated thought arising from Jesus` ability to listen to his heart, represented on Earth by the tutelary spirit or Paraclete after the death, Resurrection, and Ascension of Jesus to heaven after his crucifixion. In simple terms, Mary is speaking her feelings when Jesus` words are heard.

 

 Satan is Intuition, because Satan refused to accept Man on the grounds that he didn`t like Man. In effect Satan is Woman`s Intuition. She didn`t like Man either, and as a species with her own penis she leaves Earth for her heavenly reward in Revelation. The four aspects of God refer to omniscience (God watching over Mankind), omnipresence (Jesus as the `Son of Man`), omnibenevolence (Mary as the Feeling function), and omnipotence, which is Woman as Satan`s penis redeemed, symbolizing God`s almighty majesty and power.

 

 

  The fire breathing red dragon of Revelation is a symbol of that which seeks to consume the New Redeemer and prevent the hidden woman of the Earth from leaving to spread her own seed amongst the stars rather than be snuffed by Anti-Christian nihilists masquerading as believers because the beautiful people should accept that God wants them to be ephemeral. Because the red dragon is described as waiting in vain to devour the New Redeemer we may assume that the evil consumerism of those Anti-Christian nihilists who`d snuff out the stars because they believe stars should accept they`re ephemeral will fail. According to Revelation the evil nihilists will be defeated by the woman and her `seed` and will receive unendurable pain forever as their punishment.

 

- Amen.

 

Jung, C. G., `Answer To Job` in Psychology and Religion, Vol.11, Collected Works, Princeton University Press, 1973.

The Boys & Us Whores

26/05/2012 11:35

The Boys & Us Whores

 

Read correctly the Bible is a contextualized lie. It begins with the poison apple from Snow White. The serpent of Eden seeks to poison the relationship between Adam and Eve, and God. In effect, the serpent wants to be the poison `seed` of the apple, that is, the descendants of Eve, who are the boy sons or `poisons` of her.  At the close of Revelation, which is the final book of the Bible, the boys` sons` penises, or serpents, have grown to the size of the red dragon that seeks to prevent the `hidden` woman of the Earth from escaping to the stars, and sowing her own seed there with her own penis, which she has, as anyone who has access to the internet knows ( https://www.futanaria.com ). In simple terms, the boy sons have been the lie that men are good, whereas the truth is that women, who have their own penis, are a true species of the Earth.

 

 Similarly read all context becomes perceivable as being pervaded by this basic falsehood that women need men`s penis, which is a contextualized lie existing as propaganda for a parasitical life form that has sought to enslave women from the womb of her creation. Because true and false is clearly visible from the Criticism of the New Perspective, the `God determinator` rules art. In other words, men are portrayed in the light of the `big lie`, which is that they`re a part of the species Woman, whereas they`re not. Consequently, the determinating factor for any evaluation of `work` is whether or not it shows signs of containing impulses that are in accordance with the developmental desires of the `God determinator`. Men`s contextualizing of themselves as a part of the species Woman is based on the promulgated lie that men are the sole penis on the planet, which is a propagandistic untruth. The `God determinator` is, then, whatever can be shown to constellate a creative piece of work from knowledge of woman as a species partakes of the `God determinator` and may be used to construe a writer as redeemed in terms of substance rather than content.

 

 

 All writers construct within a false context that`s pre-existently made for them by men who want others to believe that they`re the truth.  In science fiction Robert A. Heinlein (1907-88), the first Grand Master, wrote The Number of The Beast, which described a fictional cosmos that contained all possible stories, and a `black beast` that annoyed his characters when they were trying to enjoy it. The `number of the beast` is `the number of a man`, according to the Bible; or, in simple terms,`a man is a beast` . Heinlein`s novel observed that a reality constructed on the fundamental lie that men were good with women was a fiction that wasn`t truthful and so could have no reality.

 

 The extrapolation would be that fiction is real because true. Or, in other words, fiction is true because it doesn`t devolve from lies. Although the `big liar`, the `father of lies`, which is the `black beast` of Revelation, would have us believe in the `big lie` rather than the God of truth, and so prevent life from living by presenting `God`s heaven` as unrealistically imaginable.

 

 

 Heinlein`s novel was a predicate based on the lie that he wanted to have sex with his wife in his car. The story focused on a space-time continua vehicle that looked like a car but, like the protagonist of Voltaire`s Candide, embroiled in a quest for the `best of all possible worlds` on his journeyings, Heinlein`s four characters, two couples, quarrel interminably and occasionally have sex to feel better.

 

 In the psychology of Carl Gustav Jung (1875-1961) there are four functions of consciousness; Thinking, Feeling, Sensation, and Intuition. Symbologically, these correspond to the occupants of Heinlein`s car. According to Jung differentiation of the functions requires understanding based on the recognition of what ails a person. Usually this is defined as what they can`t comprehend and their eventual comprehension is conceived as coming to terms with a previously held false perspective that Jung calls the introjection of a projection.

 

 Jung describes individuation as a process of personal growth, which in Heinlein`s The Number of The Beast can never occur because it accepts the lie that men are for women, whereas women are a species that desires itself. In other words, men are, in fact, what are defined as demons in the world`s religions, and represent the logical inconsistency of presenting themselves as a part of a species (Woman) while being - and behaving as - enslavers of that species.

 

 Heinlein`s `beast` in his car, and in the infinite cosmiverse of alternative story worlds that it`s able to access, is there because he isn`t a woman with a penis, which is what he needs to be to enjoy his wife, and the demons are the men who want to steal his car and his wife because they`re alien to his way of thinking. In other words, Heinlein`s The Number Of The Beast is sufficiently expressive of the `God determinator` for the artist to be redeemed, whereas the demons can`t be because they want to steal his car and his wife.

 

 

 If the wife could be persuaded to assist the demons to steal Heinlein`s car, then she`d correspond to the sores of Revelation: `Men gnawed their tongues in agony and cursed the God of heaven because of their pains and their sores, but they refused to repent of what they had done.` (Rev: 16.10) A wife who helped the demons that are men would be a boy son`s sore; or, in other words, poison`s whore. In fact the Bible says, in what can be construed as God`s 11th Commandment: `Thou shalt not suffer a witch to live.` Here `witch` is construable as `poisoner` and so the sores of Revelation are the whores that would steal your car and give it to the demons that are men to have your wife in and, eventually, she`d be another whore amongst demons while you rued the loss of a car.

 

 

 In Egyptian mythology the `Ka` is the spirit, while the `Ba` is the personality, which is why men go to a bar to drink alcohol, which is often described as the `demon drink`, because they are demons. In England and the USA there are so many bars one cannot escape the conclusion that we are living in a prison, which is why the `hidden` woman of Revelation is depicted as escaping from the Earth and the demons that are men. In symbological terms, they travel to and fro between their car and the bars, which signifies a `Ka` or spirit whose personality or `Ba` is trapped by them.

 

 

 The conjoined `Ka` and `Ba` are the `Akht` according to Egyptian mythology, which is the `magical personality`. Such people have existed, and do exist, in the world; Princess Diana, Audrey Hepburn, Judy Garland, Christina Aguilera, etc. In other words, constituting a good `Akht` defined as `actress`, these women perform amongst the demons that are men but can`t escape. Men`s act is more easily described. They go to and fro between their cars and their bars for the reassuring `demon drink` that tells them that the woman`s spirit (Ka), and the woman`s personality (Ba), won`t be able to get its Akht together and leave.

 

 

 Bizarrely Western civilization is construable as an Egyptian prison for a Cleopatra with a penis that the demons that are men don`t want to escape. In the myth of Osiris, the god Ra incarnates upon the Earth as Osiris, who is dismembered by the evil Seth, and has himself remembered by Isis, the goddess, who gives him a new penis of her own fashioning because she can`t find the original. It`s symbolic of the god that becomes the goddess with a penis.

 

 

 Linguistically, men are evil demons. Britney Spears` Criminal, for example, features the lyric `He`s a sucker with a gun, gun, gun, gun.` Anyone could perceive what`s wrong with that. The sexually taboo word `cunt` has been replaced with `gun` because the taboo means that the star is unable to express her desire for cunnilingus lyrically: `He`s a fucker with a cunt, cunt, cunt, cunt.` It`s the sign of demoniacal programming that she isn`t able to sing this.

 

 

 The musical genre Death Metal is similarly linguistically unintelligent in terms of what`s actually desiring to be expressed. In Egyptian mythology, the `Ka` (spirit) and `Ba` (personality) become one `magical personality` after death. In terms of what is desirous of being expressed, Seth Metal is more understandable as a brand name for such a `heavy metal` genre, because it points to Seth`s dismembering of the god in Egyptian mythology, that is, the death of the old god and the remembering of the god as the goddess with the woman`s penis.

 

www.youtube.com/watch?v=5zfM_Cz-9fc

 

 Heavy Metal videos are full of women oozing sex because men are desirous of using their penises as women, as women are desirous of using their own penises. In other words, the `Ka` (spirit) and `Ba` (personality) seek to be reunited as the `magical personality` or `Akht` and the woman in the rock video is the best vision that the musicians can present as truth.

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