It
is my joy to share with the world after 222 years the true, highest interpretation of the well-known and much beloved
opera “The Magic Flute”, which was composed by musical genius and Master Mason Wolfgang
Amadeus Mozart. The libretto (opera text) was handed to Mozart by a very close,
Masonic friend and “lodge brother”, the true authorship however, remains
unknown.
The Ka (hand gesture also used in Freemasonry)
Here a warning to your “Ego” (your current image of who and what you are, Egyptian “Ka”) -
studying this blog and the underlying materials, if you allow them to do so, may ignite a mental process within you that may one day in the future turn out to be fatal to your Ka, as it may eat away at your current world view and perception of your life. Preparedness to change your Ka opens the potential to activating your power of will (Heru), to open closed doors in your
mind (Egyptian “opening of the way”), to eventually lead you on the highest
spiritual path and, if successfully mastered, to allow you to redefine your Ka to the "Ba" (world soul) and ultimately, to bring the greatest possible
joy and peace to your life (Islam, Hetep, Shalom, Salem, Nirwana). If you love your ego the way that it is, this text is not for you.
It humbles me to serve as transmitter of this information and contemporary credit (the credit of our
time) must go to Ra Un Nefer Amen, who has brought back a great treasure to the world, the spiritual initiation system of ancient Khemit,
which he himself received through trance meditation from his ancestors and
published in a series of books only a few years ago. Timeless credit must go to
our ancestors in Khemet, the true, black cradle of civilization, who designed and
taught the Khemetic life system over 4,000 years ago and took great care to
preserve this information in a way, so that it could survive the millennia and
reach us in our time. They were well aware that their culture would have to
perish and that their spiritual system would die during the Piscean Age, and could
only be revived 4,000 years later, in the Aquarian age, which is now.
The infant Mozart showing Masonic gesture of the "hidden hand"
Mozart visited the Isis temple in Pompeii in 1769 at the age of 13
I am just starting to work on my own initiation and while listening to the Magic Flute in my car on the
way to work, the true meaning of this marvelous artwork has struck me and I
have spent the last two weeks understanding and fine tuning the metaphysical interpretation.
I am by no means done with my understanding, because the entire Opera, line by line,
word by word, is overflowing with genius. I can state with certainty that
the libretto (Opera text) must have been authored by a fully enlightened (Ausar) being,
and the very fact that the Opera visualizes what otherwise could not be learned
in an abstract way, makes this piece of musical art, in my humble opinion, the
greatest Opera of all times and perhaps also the greatest work of art outside
of Khemit, ever to be created by a European (Caucasian). Only the musical
genius Mozart would have been able to supply the musical composition worthy of
the divine contents. From his personal letters we know that he was able to
compose outside of time, meaning, he was able to “hear” all musical notes at
the same time, and thus paint a picture. He was using the capacity of his
right brain hemisphere. In the picture above you see him displaying the “hidden
hand”, which is a Masonic gesture.
That
the Opera has “Masonic elements”, is not hard to see and nothing new. Other
authors have extensively written about the tonality E-flat being typically
Masonic (what is the practical value of knowing this?), the Queen of the Night representing
anti-Masonic Maria Theresia, three trumpets this and 18 x 4 = 72 that (again,
what is the practical value of knowing this?), Mozart being a Mason this, the history of the Singspiel
that,….. The fact is that all authors on the subject up to this day have failed at even
remotely capturing the highest, metaphysical meaning of this opera.
I am going
to summarize this highest meaning below and invite any so-called “scholar” to step
forward and attempt to challenge this interpretation, which will be a failure, even
before the attempt is made. The fact is, that we all need to re-learn ancient
science, and that most things that we think we “know” today, are simply beliefs and mostly wrong.
Knowledge is no product of analysis (left brain activity), it is instead
received through the right brain. If admitting to be wrong hurts your ego, you
are hereby invited to study the Magic Flute after reading this blog entry. The Opera itself
is designed to provide the remedy to all ego problems (and all other problems
of life). In this sense, it is more than just art (few people today realize that art is a science, a knowledge), this opera is a technology that can be used ritualistically, a vehicle to transcend your ego. It has a practical application.
Even though I take care not to give much importance to my ego, as you see proven by the fact that this website here
does not promote my person, I wish to express my great joy, as my self-instructed
studies of occultism/ mysteries have led me to the deep understanding of Khemet
initiation rites within only a few months. The key to this “learned,
secondary” knowledge were books, my accelerated progress however, is owed to the continuous, relentless training of my right brain thinking, which I have been able to elevate beyond art (harmony perceived by 5 senses). After seeing the Magic Flute, Bavarian Illuminati
member/ Master Mason/ literary genius Johann Wolfgang v. Goethe had this to
say:
"It is enough that the crowd would find pleasure
in seeing the spectacle; at the same time, its high significance will not
escape the initiates."
This holds great truth, because all meaningful myth/ symbols/ initiation rites/ holy scriptures/
stories, etc. are designed in a way that several meanings can becommunicated on different
levels. The meaning (so-called “truth”) thus lies in the mind of the observer
and is a direct reflection of his/her own level of consciousness.
This is how billions of people can understand the Torah/ Koran/ Holy Bible etc. as historical
stories, which is the lowest level of meaning, targeted at the spiritually uneducated masses. Elevated initiates are able
to comprehend the higher, allegorical meanings. It is the exact same with
the Magic Flute, the opera can have a valid, different meaning to different individuals. As the
contents are of spiritual nature, as I will prove, this Opera qualifies as “religious” art. “Religion” (latin: re – ligere) means to “tie back” (to nature
and to spirituality and to our ancestors), and in this case, the Opera ties back
to the initiation system of Khemet. I am truly not able to say, what could be more
religious than this, because Khemet is the cradle of all world religions.
Even most
of today`s higher initiates however, due to the density of the Piscean age, a
natural effect, are not able to capture this “high significance” that Goethe
mentions. As meanings of symbols get lost over time, most
initiates today have limited knowledge about the highest meaning of their own myths
and symbols. This is also due to the predominance of the “modern” way of
thinking, which is 95% left brain (separating) and maybe 5% right brain
(synthesis), a way of thinking (and thus, living) that is hammered into our brains from cradle to
grave. It starts by not allowing children to cultivate chaos in their rooms and it
ends by still reading newspapers at high age and believing, that this means to
be “informed” about what is going on in the world. “Belief” is the natural
consequence of left brain thinking. Knowledge is a right brain companion. Masonry
has decayed from attempting to preserve the highest wisdom of Khemet to being a modern chain
of “business clubs” (including their Rotary, Lions Club offshoots), where rituals are performed, but whose members are more or less clueless about their own symbols and true heritage. On the highest levels (33 and above), "modern" highest Masonry, as under the influence of the likes of Albert Pike, has erroneously re-interpreted our spiritual mission as human beings, away
from acting as intermediaries for establishing a divine plan, to a way that justifies
men to “play god”, meaning they create and implement their own plans, irrespective of divine
will. The lodge system in the western world, like all other western institutions, has therefore failed
and I doubt, whether it can be “repaired”. Let`s briefly analyze Masonic
terminology.
The first example serves to show, how right-brain thinking works through the visual faculty (instead of left brain analysis, which relies on hearing/ language). If you look at the word “Masonry”, you will note that the son is within Mary, which symbolizes the spirit in matter that can be "born". Spirit is played in the myth by Heru (Horus, Krishna, Jesus, etc) and matter by Isis (Meri, Mary, Maria, mar,
Meer, mer, Fatima). It is Horus in the lap of Isis, which is the origin of the “black Madonnas”
in southern Europe. Spirit in matter is the
human condition. Thus, every human being is Ma-son (son of mother Isis).
"Freemason" is an anglicization
of the Khemetic words “Phree” and “Messen”. Yes, Masons may also think that they are “free”
and in the Middle Ages builders were organized as “masons”, but the true origin
of these words is the Egyptian language, as the people who constructed the
breathtaking monuments in Khemit necessarily had to be enlightened. Freemason therefore
means “reborn children”, and the “mes” is the same
“mas” that you find in holding a “mass” or in Christ-"mas”, in “Mos"-es, “mes”
means “reborn”. It corresponds to the sun/son that is reborn at the winter
solstice (Dec 25th), which we call “Christ-mas”. The Gnostic Christ
symbol was a serpent called “Mesi”. Egyptian “Mas/ mes” also means to pour/
anoint, and this refers to renewal within the human body (as without, so
within), same as the Sanskrit “kri”, as in “Kri”shna. Heru`s most ancient name
was “Chresh Mes”, the sun born at Christmas, then re-born again after 9 months
as spiritual seed in Virgo (the “virgin”). A “phre mes” is therefore a Heru, or Horus,
or Krishna, or Christ. Compare to “Fremen”
in the movie “Dune” (written by a Sufi master).
A "Ma-son" is also a “widow`s
son”, because Heru`s father was “killed” by Set(h) before his birth (the sun-
set, which takes place in Virgo, the virgin, ruled by Mercury, this is why
“Satan” has little horns). The son/sun as the “redeemer”, is the spiritual “son
of man”, which is Aquarius, the human being within the animal circle (Zodiac),
who pours out his waters (origin of “baptizing”). It is also Ma-son as in Ma`at- Ra, the
justice/ love of the energy contained in the rays of the sun (“Ra” does not
mean “sun”, the word for sun is Aton). Every human being is a “Ma-son” by birthright!
“Frea Maso” also means to
“prepare dough”, as raw material, which refers to the allegory that man was
formed from clay (“Adam”). This was first done by Ptah on his potter`s wheel,
from which you get Heru Ptah, or “Harry Potter”. Hollywood knows exactly what they are doing. The idea is that objective reality was formed from subjective reality, matter was created out of mind. Therefore, "magic" is the subject of this movie series.
M.A.S.O.N.: Mem (mother), Aleph (father), Sin (fell
short, “ate fruit”), Ayin (all-seeing eye), Nun (fish, seed, first born). As
can be expected, even the single letters carry a meaning, which is a tiny
leftover from the times, when symbols were regarded higher than letters and
right brain thinking was still the main way of operating, as communication through visual imagery is superior to left brain "reading".
To
summarize, the concept of “Masonry” is as Egyptian, as anything could be. In
this sense, it is just as Egyptian, as Judaism, Christianity, Islam, the
Hebrew and Latin languages, all mathematical accomplishments and all knowledge
later claimed by Greeks, Romans and later (Caucasian) cultures. And the Egyptian
system of spiritual initiation happens to be the key to Mozart`s masterpiece,
which is so overloaded with hints at Egypt that it stretches imagination to the
maximum how anyone can be so blind as not to see the obvious references and
analogies to Egyptian initiation rites, which have later been copied by Masonry, Rosicrucians, etc. These
European/ Caucasian groups claim to be custodians of ancient wisdom, but they are not. The
true custodians are the walls and texts of Khemet. The knowledge is set in stone. Mozart`s
Magic Flute is based on pure Egyptian wisdom (with one exception, more about
this in the analysis). Let`s get started!
Physics
confirms that all matter is illusion and that therefore, all is mind, and what we perceive as “our thinking” is in fact a
unified working of a multiplicity of intelligent agencies, which have been
assigned as “deities”, or better “Neter” (nature) by our ancestors. The Magic
Flute is a personified interaction between these spiritual faculties (Neter). The
Neter (faculties of human consciousness) are “played” by different characters
and can thus lead conversations with each other. All involved characters are thus
merely different aspects, or components, of your own,
internal construction as a human being. The original libretto (text for a
musical work) in German language (see here) fits the
Egyptian initiation/ spiritual mystery system like a glove. In fact,
every single line that is said by any character in this Opera, underlines what
I have just stated. Once you have the key, which you are about to receive, you
can study this artwork and, if you are interested, you can use it to develop your spirituality accordingly. If all of this is new to you, reflecting
on this Opera may help you to start developing your own spirituality, which
will also be the key to understanding what is truly going on in the world
today. Whether you care about spirituality or not, It is your birthright to receive this choice. It is not the
exclusive right of some enlightened masters (Buddha, Mohamed, Jesus, lodge brothers, etc),
it is the birthright of every single human being to learn about his/ her own
nature. This information was taught to the broad public in universities in
ancient Khemet and the largest temple was able to hold up to 80,000 people (Karnak, the largest ancient religious site in the world,
see image above).
Original costumes, note the snake on the bottom right
resembling Apep (right side)
The
tools that you need to follow my interpretation are openly available and they
are the same ones that I have been suggesting throughout my blog:
-
The Zodiac, including planet rulership, (plenty available online, first step is to learn about planetary rulership and correspondence to the four elements)
-
The Paut Neter (a specific version of the Egyptian Tree of
Life), as supplied by the Ausar Aset Society/ New York (here)
-
The libretto of the Opera (ideally the German original, here. The English translations that I was able to find were
of such poor quality that I provide no link here).
-
A recording of the Opera, as this is some of the most divine
music ever received and captured in notes. The harmonies and arias are out of
this world, especially if you understand the meaning of the story.
-
An open mind, because you are about to be learn the core of initiation into the mysteries. This is going to require leaving the usual left
brain thinking and activating the right brain hemisphere. Your body (the brain is part of the body) is bound to protest, put a golden lock on its mouth!
The Paut Neter, Tree of Life, carried to Canaan
by the Heb Heru ("Hebrew")
The
Paut Neter (Kabalah, Ka/ Ba/ (la), the perceived image of the ego (Ka) and the
higher self (Ba) was carried to Canaan by the original “Hebrews, who
were the Heb Heru (“House of Horus”), who were black Egyptian priests of light energy
(Ra). “Hebrew”, “Jew” and “Moslem” are Egyptian mystery titles. The Kabala is a
somewhat insufficient copy of the original Paut Neter, because the original,
pictorial deities (Neter) have been replaced by Hebrew words of power (Khemet: "Hekau"),
which are effective, but they are not able to move the spirit in the same way
that images/ Neter can. To study the re-discovered original instead of the
diluted, jealously-guarded Hebrew version from Canaan,
means to gain access to the practical, original knowledge, which was meant for
educating and practical application by the masses in every day life. The 10
Spheres of the Paut Neter correspond to Khemet deities, Kabalah Hekau, planetary rulership and to the seven levels of human spirit, as
follows:
KEY:
sphere #:
Khemet deity = Kabalah title (astrological correspondence), LEVEL of the human spirit
(explanation)
0:
Amen = Ain, triple stage darkness (universe), SOURCE/ UNITY/ GOD (black chaos,
infinite potential, non-objective realm)
1:
Ausar (Greek: Osiris) = Kether (galaxy) BA (world soul, union with Source,
Higher Self, control of life`s events)
2:
Tehuti = Chokmah (solar system) KHU (divine will, omniscience)
3.
Seker = Binah (Saturn) SHEKEM (divine spiritual power, omnipotence)
4.
Ma`at = Chesod (Jupiter) AB level (divine law, order, love)
5.
Herukhuti = Ceburah (Mars) AB level (divine justice, oppositions)
6.
Heru (Greek: Horus) = Tiphareth (Sun) AB level (balance, power of will)
7.
Het-Heru = Netzach (Venus) SAHU level (imagination, harmony, beauty)
8.
Sebek = Hod (Mercury) SAHU level (rationalization, external differences)
9.
Auset (Greek: Isis) = Yesod (Moon) SAHU level (false “Ego”, Lower Self, mother
of all living things, “mirror” of all Spheres above it)
10a:
Geb = Malkuth (Earth) KHAIBIT (motive power, breath, animal spirit, “soul”)
10b:
Geb = Malkuth (Earth) KHAB (physical body, individual existence)
The
tree of life contracts upon itself from Amen (= involution), followed by condensation from the bottom (=evolution). Viewed top-down, the tree
is therefore a symbolic reference to mind energy angles taken by universal intelligence,
which moves into matter in order to get to know itself (the teacher becomes the
student, which is the reason for creation). In this sense, spheres 0-9 represent “cause”
and sphere 10 is “effect” (life on earth). Viewed bottom-up, the condensation
process from sphere 10 upwards becomes the infinite potential that we
participate in, called “life”. Every sphere thus designates (amongst other things) one of the divine, human desires. You will get to know these
within the analysis below. (For detailed information you may refer to “Metu
Neter, Vol. 1” by Ra Un Nefer Amen. No, I don’t earn money on these books, they
are simply the best out there).
The
Magic Flute takes us on the journey of spiritual evolution from Sphere 10 (life
on earth) to Sphere 1 (union with SOURCE/ “god”), which is precisely the
journey that the mind should take during the initiation process (if things go
well). The first big revelation for understanding the Opera is therfore a right brain
concept: there is only one single character in the story. All characters are
one, they are a multiplicity of agencies working in a unified way. There are no “good” or “evil” characters and it also means that the
entire story is allegorical, which is the exact same way that major holy
scriptures (Koran, Torah, Bible) are meant to be understood at the highest
level. If you master the abstract message of the Magic Flute, you will acquire the capability to understand scripture. Let`s begin with the analysis.
The original flyer of the Opera from September 30, 1791
(precisely 222 years ago)
Tamino
represents the young apprentice, who at age 28 is well educated and ready for initiation but still trapped within his Ego (the false Self, Sphere 9, Auset), which is mainly fed by Sphere 8, Sebek, also home of Seth (who later became Satan/
Shaitan). Tamino runs from a giant snake (Sebek, Sphere 8/9, the crocodile deity, also Apep, the snake) to Sphere 9 (Auset, center of higher learning through trance). The ego is
running from divisionary thinking (a “cunning snake”) and (mentally) cries for
help (to himself, to the Neteru). The Ego thus falls unconscious and a temple door opens (the mind enters
trance and opens the door to the realm of Isis) and three ladies with silver
spears (silver as reference to the moon, representing Isis)
appear and declare “triumph!”. The three ladies represent the three spheres of the SAHU spirit, (Spheres 7, 8, 9), which are the realm
of Isis (“country of the Queen of the Night”) and which are considered to be
female in the Paut Neter, thus there are three ladies.
The physical "animal" body (Khab)
The human body is the "soul catcher" ("bird" catcher)
Sphere 10 (“the
wilderness”, which also in the Bible represents the human body) contains a
double character: The body (Khab) and the “soul” (Khaibit), which are played by Papageno and
Tamino, respectively. Sphere 10b,
the human body, is “played” by Papageno, the birdman (animal man), who throughout
the entire Opera is being asked to be silent, because all spiritual work
requires “quieting” the body. Papageno (the human body) is “a servant of the
Queen of the Night” (Isis), who is representing Sphere 9 (Auset, Isis, also the
“blazing star” of Freemasonry, which is represented by Sirius. The Queen
of the Night is twice referred to as “starflaming”/ “sternflammend” in the
libretto). Human emotions are created between Sphere 10 and 9, thus between Tamino and Papageno. The three ladies silence Papageno (the fully developed SAHU spirit quiets the body, meditation technique) and put him
on a diet (nutrition is key to spiritual development), by taking wine and sugar
and replacing it with water and stone (minerals).
Auset (Greek: Isis), the Queen of the Night
Tamino
is now handed the image of Pamina by the three ladies, and
Tamino immediately "falls in love" with the image (not the woman!). This symbolizes
transcendence of Sphere 7 (Het Heru,
visualization, Venus, beauty, Art, imagination). The soul (Tamino) falls in love with a
projected image. Love (sex, tantra, kundalini) is the “flaming” Isis
energy that is needed to push into higher spiritual realms and must be developed in Sphere 7 (Het Heru). The Vatican has
done a great job in hiding this fact and this is the answer to the question why
women play a lower role in Abrahamic religions. This is key to preventing
spiritual development and exercising control over the masses. Tamino thus sings the beautiful
aria “This image is bewitching” (a rather poor translation of the German text), in
which he mentions that he feels a “burning fire”, which is a reference to
kundalini energy, the “heat” within that must be raised to proceed in the
spiritual quest. His image of Pamina at this point is still based on false ideas deriving
from Sphere 8 (Sebek), which are
expressed to the soul (Tamino) by Isis (the false Ego, Lower Self). She
mentions that her daughter has been robbed by Sarastro (Sphere 1, Osiris, the Higher Self) and that he has a "strong castle". This is the same castle as Jericho in the Old
Testament, of which “the walls must fall”, so it can be conquered. It also
refers to the calcified pineal gland.
Auset, note the throne above her head (her Hieroglyph)
Note that female power is the true power "behind" the king
In
Scene 6, The Queen of the Night sits on a throne covered with stars. The
Khemetic name of Isis was “Auset”, and her
hieroglyph is a throne. In fact, the name “Au Set” resonates the English “a
seat”, which is a throne, or a chair. She now sends the soul (Tamino) on a mission. As
Tamino is about to leave, his body (Papageno) starts obstructing him again.
Tamino says that he is too weak to help him and he emphasizes this several
times. Thus the three ladies appear again and free Papageno and
hand Tamino the Magic Flute. A flute is an Egyptian instrument played by air
(breathing technique) and the octave on it represents the chakra system (the
“seven churches”, the “seven cities of gold”, the “seven Elohim”, etc.). The three ladies also command the body (Papageno) to serve the soul (Tamino) on its mission and
hand him silver bells, which may represent the endocrine glands/ or lung system. She also
introduces three boys which will serve as guides on the quest. These three boys
represent the AB level of the spirit (Spheres
4, 5, 6, AB level), which in the Paut Neter are considered to be masculine Spheres (even
though inhabited by male and females deities, e.g. Ma`at).
Moors are often depicted as the bad guys -
this has historical reasons, because the Masonic empire took over
from the Moorish world empire
In
the 9th scene (in an “Egyptian room”) appears Monostatos and he plays
the “double” of Tamino`s Higher Self, the dark Hero, the “Doppelgaenger”, the
shadow of the Higher Self, in this case depicted as a Moor. I have mentioned
earlier that there is one flaw in the opera. It is no coincidence that a
Masonic opera depicts the “bad guy” as a black man. It needs to be acknowledged that
European/ U.S. –based “western” Masonry bears a clear racist element in it,
which is proven by the fact that black men were not allowed in lodges (and thus
Prince Hall Masonry was created. Women were not allowed in lodges either (later the “Eastern Star” was founded, which of course is Sirius, or Isis) but this is not really based on chauvinism, it rather accounts for the fact that females are gentle and loving by nature and don`t require spiritual initiation, it is the males who need it most! As for the apparent racism (let`s call a spade a spade!), I
have explained the true origin of this in previous posts. It is paradox that highest Egyptian (black) wisdom is presented and that the “bad guy”
is depicted as a black man.
Seker, Sphere 3
Pamina
“plays” Shekem/ Shekinah, which dwells in Sphere 3 (Seker(t), which becomes
clear when she stops Monostatos` advances by using a word of power (Hekau), in
this case the word “Osiris”. But shortly after, Monostatos captures her again.
It is the “double” of the hero (Heru) performing “a dark version” of what the
Hero intends, a natural process of the mind. In Scene 12 the Khab and the “shadow”
of the Higher Self meet and each both think that the other is the “devil”. The
“devil” is a character created by the Vatican on the basis of Sebek/ Seth,
so this scene reflects the spiritual confusion of the general public.
Interestingly, the devil is supposed to dwell “below”, which is a reference to
the sub-conscious, the realm of the dark double. The Vatican has made this part of our
consciousness “bad” in order to scare us away from it. The fact is that we need
to look at it very carefully and get to know it, in order to keep it under full
control. Vatican social engineering thus
becomes apparent by studying the Tree of Life, the very spiritual technology that they are
trying to hide, because it empowers the public.
In
Scene 14 Papageno meets Pamina and he talks to her in plural, which is a hint
that he and Tamino are one and the same. It is natural that the Khab responds
to the Shekina first. They continue to sing about the higher purpose of love
and partnership of the sexes and how man and woman have a higher purpose and
together may reach godhood. (Side note, love in German means "Liebe", which refers to "libido", sexual energy. The word "romantic" relates to the Greco-Roman twisted concept of "Rome - antics", this is a mind control term. It is silly to assume that men and women should be romantic by nature, this is a detrimental belief system. The modern 50% divorce rate proves this point.).
In
scene 15 three temples are shown. In the middle a “temple of wisdom”, on the
right the “temple of reason” and on the left the “temple of nature”, which
correspond to the crossroads at Sphere 9 (see Paut Neter diagram). The three boys now tell Tamino to be
a “true man” and to proceed. Tamino tries the left and right “doors” and is
called back and finally opens the middle door (the path to Sphere 6), where a male priest explains to him the true situation concerning Pamina and Sarastro, the soul learns a “higher truth”. This symbolizes the spirit leaving the (female) SAHU realm and
entering the (male) AB level of spirit. Tamino is being told that he must drop
his hatred and seek friendship and thus leave the “realm of darkness” (Sphere
9, Isis, direct pathway on the Tree to Sphere 6, Heru), which he celebrates by
playing the Flute.
In
scene 17, Monostatos is defeated through the silver bells, the “Mono-state” of
thinking is overcome by activating the endocrine gland system/ proper breathing technique. The body (Papageno) is
shaking off its emotional responses.
Sarastro enters on a chariot pulled by six lions
In
scene 18 Sarastro (the Higher Self, full control of all life`s events) enters the stage on a chariot pulled by 6
lions. This is a more than clear hint that the setting is now located in Sphere 6
(Heru, the power of will), the Sphere ruled by the sun, which in astrology rules Leo (a lion). Heru (Sphere 6) balances the entire Tree of
Life (the will is the only "free" element in the human spirit, it balances between the Lower and the Higher self), thus Sarastro (speaking as Heru) declares that he has full control over
the Queen of the Night (Lower Nature).
blindfolding and mock death are both elements
in the Masonic initiation system
In
scene 19 Papageno and Tamino are prepared for initiation and have their eyes
covered (compare with Masonic initiation). Thus begins Act 2, which is all
about the initiation procedure itself, which can begin, now that Heru
consciousness has been met and the SAHU spiritual level is about to be fully overcome. The setting includes a pyramid and Isis and Osiris are praised.
In
scene 2, the first trial begins and Papageno (the body) fears for his life,
corresponding to the “mock death” of Masonry, which symbolizes the death
of the Ego, not the death of the body. In scene 3, Papageno emphasizes that
he doesn’t care for higher initiation (of course not, because he is merely the
body), but he learns that also for him, the permanent partnership with a single
woman will be more rewarding than “animal life”. This tells us that our animal
nature (sex life) can also be fully satisfied in parallel with our spiritual development,
it must not be “killed” or surpressed. This emphasizes the higher purpose of "love"/ sexual
relationship, which the Vatican
has distorted (celibacy, demonization of sex as something "bad", extensive homosexual
elements within the New Testament (read "Piso Christ"), the womb has been removed from the Ankh symbol and two penises form a male cross, etc.). In Islam, this has been addressed by covering women in veils and putting them under male dominance.
In
scene 4, the initiates realize that they are blind whenever the priests leave.
This refers to the fact that spiritual things can not be perceived with the
five senses.
Heru, when fully developed and harmonized with Ausar
In
scene 5 the first trial takes place.
The three ladies (SAHU level) appear “from below the stage”, which symbolizes the
“sub-conscious”. They try to scare the two initiates (Ego and animal spirit)
and these have to stay silent, i.e. not pay attention to “female voices”, which
are mental impulses from the SAHU level. This test of will corresponds to
mastering Sphere 6 (Heru, power of
the will).
In
scene 7 the divine spiritual power (Pamina, Shekina, Sphere 3) is sleeping and the dark hero/ Heru attempts to force
himself on her, but Isis appears and explains to Pamina that her father, before
he “died”, handed a seven-fold sun circle to Sarastro. This symbolizes the
7-fold spirit of man (see beginning of this article), which Sarastro now wears
on his chest. My interpretation of this is that the sun in our solar system is
actually a “son / sun” of Sirius B, which imploded and thus our sun (sol/
“soul”) was “born”. Today`s Sirius (Isis) is thus powerless and Helios (our son/ sun)
is master of this solar system. Isis (Sirius) thus asks her daughter (Sirius power on earth, now under the influence of Ausar) to kill Sarastro, an
attempt of the Lower Nature to take the place of the Higher Nature, which of
course is bound to fail. The obsession of the ancient world with Sirius is due to the fact that our sun is a "child" of Sirius B, which has "died", it is the same principle as the Christ myth, as above so below.
In
the following scenes there are various plots of spirit elements to break the power of Osiris
(Sphere 1, the Higher Self). In
Scene 12 Osiris sings his famous aria “Within these sacred halls, revenge has
no place”. This aria should be played on over-sized loudspeakers over Washington D.C., France, the United Kingdom and Israel. It is highest, divine wisdom. The countries that I have just mentioned are the ones under full Masonic control today and you will see that the Grand Lodges in Europe have been founded in France and England. Israel is the Zionist outpost created to drive wars (and justify false history).
Sphere 4, Ma`at, divine & order, love.
She weighs the heart against a feather (attached to her headband)
On a deeper level, she is Auset, elevated by Ausar
Scene
13 contains the second trial, which
again consist of silence. It symbolizes mastery of Sphere 4 (Ma`at, Jupiter). One priest mentions that failure in this
trial is punished with “lightning and thunder”, which is the scientific hint,
because Jupiter is a planet with intense electrical activity, it is constantly
covered with thousands of storms of thunder and lightning.
Heru, standing on Sebek crocodiles and
holding weapons in his hand (supplied by Herukhuti) is contained within the Higher Self
(this is also the origin of "St. Andrew", who slays the dragon, except that the Vatican left out your higher self)
In
scene 16 the divine “help” (flute and bells) are returned to the initiates by
Sarastro. They are reminded that Tamino requires courage and that Papageno must
remain silent. The soul and body are assisted by the Higher Self, a concept represented in the picture above.
18 x 4 = 72 spirits of Mercury, Shem-Ham-Phoras
Scene
20 includes another song dedicated to Isis and Osiris and various priests are
carrying illuminated pyramids. In scene 21 Pamina and Tamino are finally
united, and she feels that Tamino must die (which is true, the false Ego dies with the Lower Self. This is what Christians refer to as being
“born again”). Sarastro, Pamina and Tamino then emphasize repeatedly, that Tamino must now leave (the Ego is about to overcome). In
Scene 23 Papageno is separated from the couple and explained, that he is not
eligible for highest initiation. He then wishes for a female companion, which
appears as old lady in Scene 24. The animal body must accept the fact that it
grows old and love must be maintained.
Herukhuti (Sphere 5) holds the weapon to cut the Ego
Scene
28 is the third trial, a trial of
“fire and water”. This refers to the mastering of Sphere 5 (Herukhuti). The symbolical connection here is that Sphere 5 is represented
by Mars and in astrology, Mars rules Aries and Scorpio, which are fire and
water signs, respectively. A priest reads a pyramid text, which refers to the
four astrological elements (the four faculties of the Shekina, which form the character of all things in nature. Also of note is that "Earth" and "Air" are considered subdivisions of "Water" and "Fire") and the “mysteries of Isis”. The
couple thus goes through this trial united (this is the core of the Isis
mystery, which has a lot to do with Scorpio energy, which in astrology represents
the mysteries and sex and is a female symbol, while Aries is male). As a
logical consequence, they use the Flute (male, solar) and the silver Bells
(female, lunar) to overcome the trials.
In
Scene 29 the three boys (AB spirit) explain to Papageno that he only lives
once, which of course is true, because the animal body, other that the animal
soul, has only one life, while the soul is eternal. Upon playing the bells,
Papagena and Papageno are now also united and they sing a duet, in which they
declare that having children together is the highest joy (on the animal level) and how it is a
blessing for the parents to see the younger ones playing. How parents feel
deepest happiness to see their offspring, which resembles them and will take
their place. When I think about promotion of homosexual marriage and “Pussy
Riot” in the media, I must say, we are still in the middle ages of
spirituality. It is also part of the animal nature, to only love one`s own children. In Higher nature, one loves all children. For western governments, children are the primary target for perpetuating the economic slave system.
The stage setting for the final scene
Scene
30 is the last plot by Monostatos, Isis and the three ladies to abduct Pamina,
but she and Tamino have risen to godhood, and the entire theater is lit up with
sunlight (enlightenment, illumination). Isis and Monostatos sink into the
ground and Isis and Osiris are praised again.
-----
What is there to add? Perhaps for one thing, that my analysis is unlikely to be
perfectly accurate (derived from reading, not by trance) and secondly, that I
have not been able to decode every single detail of the Opera, only the major
elements. I leave more detailed analysis to other scholars. There are also some
numerical nuts to crack, e.g. the old lady telling Papageno that her age is 18
years and two minutes, etc.
I
hope this post will reach many opera lovers and lovers of divine truth in this world and that it
may bring to them the same joy that this discovery has brought to
myself during the last days. I write this blog with the intention to uplift
people and free minds from religious dogma. The opera, using the Paut Neter key, can be used for meditation purposes and training of the right brain.
I would like to add as final comment that the Paut Neter is not just “any”
system or graphical representation of our spiritual faculties. It is a 1:1 representation of
spiritual reality, as received over ten thousands of years and confirmed by
thousands of sages, a long, long time before any of today`s religions were created. Again, temporary credit goes to Ra Un Nefer Amun (whom I have
never met in this life and I hold no commercial interest) for bringing this
knowledge back to the world. My analysis of Mozart`s masterpiece is proof that
the system must have been known and practiced by highest adepts in Mozart`s time.
Most
people today are caught in the SAHU spirit: Sphere 10 (body worship, fashion), Sphere
9 (worship of the Ego) and Sphere
8 (left brain analytic thinking, all belief systems). Only few reach Sphere 7 (Artists, right-brain activities, but still controlled by the "Queen of the Night"). If you are looking for
a “bad guy”, Sphere 8 is the one,
true devil (note, how the astrological symbol for Mercury has small “horns”…) that creates most
problems in the world today (typical Sebekian elements are for example money,
commerce, divided religions, divided sciences, written language as primary
education tool, man`s separation from nature in general. The main tool of Seth(an) is deception and the main way of deceiving is through language, as outlined in my older posts).
As
Sarastro says in the Opera, if more people in this world would follow this path
(allow Tehuti to slay Sebek, to overcome their Ego and unite their Lower
and Higher Self, exercise divine will through their Heru facility), the world
would be indeed a better place. What we commonly refer to as “evil” is part of
our own nature and needs to be kept in check.
Be
invited! Liberate yourself from dogma of the Piscean age (churches, governments, 5-senses science, false history, etc.)
The ancient, true knowledge is no longer hidden.
Hotep!
