"But behold, the ferocious wife of Jove returning from Inachus’s Argos, winging her airy way, saw the delighted Aeneas and his Trojan fleet, from the distant sky, beyond Sicilian Pachynus. She gazed at them, already building houses, already confident in their land, the ships deserted: she halted pierced by a bitter pang. Then shaking her head, she poured these words from her breast: ‘Ah loathsome tribe, and Trojan destiny, opposed to my own destiny! Could they not have fallen on the Sigean plains, could they not have been held as captives? Could burning Troy not have consumed these men? They find a way through the heart of armies and flames. And I think my powers must be exhausted at last, or I have come to rest, my anger sated. Why, when they were thrown out of their country I ventured to follow hotly through the waves, and challenge them on every ocean. The forces of sea and sky have been wasted on these Trojans. What use have the Syrtes been to me, or Scylla, or gaping Charybdis? They take refuge in their longed-for Tiber’s channel, indifferent to the sea and to me. Mars had the power to destroy the Lapiths’ vast race, the father of the gods himself conceded ancient Calydon, given Diana’s anger, and for what sin did the Lapiths or Calydon, deserve all that? But I, Jove’s great Queen, who in my wretchedness had the power to leave nothing untried, who have turned myself to every means, am conquered by Aeneas. But if my divine strength is not enough, I won’t hesitate to seek help wherever it might be: if I cannot sway the gods, I’ll stir the Acheron. I accept it’s not granted to me to withhold the Latin kingdom, and by destiny Lavinia will still, unalterably, be his bride: but I can draw such things out and add delays, and I can destroy the people of these two kings. Let father and son-in-law unite at the cost of their nations’ lives: virgin, your dowry will be Rutulian and Trojan blood, and Bellona, the goddess of war, waits to attend your marriage. Nor was it Hecuba, Cisseus’s daughter, alone who was pregnant with a fire-brand, or gave birth to nuptial flames. Why, Venus is alike in her child, another Paris, another funeral torch for a resurrected Troy.’When she had spoken these words, fearsome, she sought the earth: and summoned Allecto, the grief-bringer, from the house of the Fatal Furies, from the infernal shadows: in whose mind are sad wars, angers and deceits, and guilty crimes. A monster, hated by her own father Pluto, hateful to her Tartarean sisters: she assumes so many forms, her features are so savage, she sports so many black vipers. Juno roused her with these words, saying:‘Grant me a favour of my own, virgin daughter of Night, this service, so that my honour and glory are not weakened, and give way, and the people of Aeneas cannot woo Latinus with intermarriage, or fill the bounds of Italy. You’ve the power to rouse brothers, who are one, to conflict, and overturn homes with hatred: you bring the scourge and the funeral torch into the house: you’ve a thousand names, and a thousand noxious arts. Search your fertile breast, shatter the peace accord, sow accusations of war: let men in a moment need, demand and seize their weapons.’" - Virglil's Aeneid, Chapter 7
|Hounds of Love|
. . .
|Feeding toroid tauroboliums to Water and Water|
|GATES OF HELL|
Damsels in distress: "It was for her sake, he said, that the Greeks and Barbarians fought the Trojan War, deluding themselves with an image of truth, for the real being was then present with the First God."
|Ghost in the Kelipot|
The Other and the Constitutive Other are key concepts in continental philosophy and in the social sciences; as such, the Other opposes the Same.  The terms the Other and Otherness refer to who is and what is alien and divergent from the norm, from identity, and from the self. The Constitutive Other usually denotes a different, incomprehensible Self that is external to the one's own Self; thus, the word Other usually is capitalized, because, conceptually, the Other is a mystification reduced to a fetish, by a hegemonic subject.
The French psychoanalyst Jacques Lacan and the Lithuanian-French philosopher Emmanuel Lévinas were instrumental in coining contemporary usage of "the Other," as radically other. Lacan associated the Other with the symbolic order and language. Levinas connected it with the scriptural and traditional God, in The Infinite Other. . . .
Simone de Beauvoir changed the Hegelian notion of the Other, for use in her description of male-dominated culture. This treats woman as the Other in relation to man. The Other has thus become an important concept for studies of the sex-gender system. ("Other")
|APOKALYPSIS (Can you hear me, Major Tom?)|
|VIRAL WAR GAMES (LESSER JIHAD)|
In his work, The History of Baghdad, Al-Khatib al-Baghdadi, an 11th-century Islamic scholar, referenced a statement by the companion of Muhammad Jabir ibn Abd-Allah. The reference stated that Jabir said, "We have returned from the lesser jihad (al-jihad al-asghar) to the greater jihad (al-jihad al-akbar)." When asked, "What is the greater jihad?," he replied, "It is the struggle against oneself." This reference gave rise to the distinguishing of two forms of jihad: "greater" and "lesser". . . .
Some contemporary Islamists have succeeded in replacing the greater jihad, the fight against desires, with the lesser jihad, the holy war to establish, defend and extend the Islamic state. ("Jihad")
|The Prophet Baphomet|
|GOOD MORNING VIETNAM (THE RAES)|
|QUEEN OF SAIGON (THE OTHER NINA)|
Before pointing to the mystical associations between the murder of the president and Shakespeare's tragedy of Macbeth I wish to call attention to the appearance of the witches in Act I, Scene 1 and to the line in which they chant "Fair is foul, and foul is fair". This is reminiscent of Hermetic Art (alchemy) as well as the "individuation" or "shaping" of an integrated personality in the psychology of C. G. Jung in which the "archetype of unity" (self-head, auto-cephalous), the Yetzer Ha-Ra and Yetzer ha Tov of the Jews, and the "Mingling of All with All" is manifested.
Next it is important to note the appearance of Hecate to the three witches in Macbeth. Hecate is triple- countenanced and being three-fold in aspect she is known as Diana on earth, Luna in heaven and Hecate in hell. These three women, of course, comprise one of the triads of western mythology. . . .
There are of course some plot discrepancies between the tragedy of Macbeth and the tragedy of John Kennedy but then this too is somewhat typical. A very queer sorcerous strategy of the Masons is to plot murders using assassins who can be accused of murdering Masons and on the other are actually those who murder anti-Masons or symbolical scapegoats, at Masonic behest. This name is as unusual as the "coincidence" and infolding of the Macbeth-Kennedy tragedies in which in the former Macbeth murders King Duncan while in the latter a certain "Robert Duncan" of skirling bagpipes fame befriends Lyndon Baines Johnson and supports his bloody Viet Nam policy. (King Kill 33)
|SINGERS MUST DIE DAILY (GREATER JIHAD)|
|The world keeps spinning so fast|
(Maleficent: The blonde from the Day-World enters the Forbidden Forest of the Night-World and, having touched the Still Point of the Revolving Wheel [Nigredo], falls into the death of Amenti until she awakens with the touch from the brunette's chthonic lips--a power which both poisons and heals)
|Mingling of All with All|
|The Othered woman|
In Jungian psychology, the shadow or "shadow aspect" may refer to (1) an unconscious aspect of the personality which the conscious ego does not identify in itself. Because one tends to reject or remain ignorant of the least desirable aspects of one's personality, the shadow is largely negative, or (2) the entirety of the unconscious, i.e., everything of which a person is not fully conscious. There are, however, positive aspects which may also remain hidden in one's shadow (especially in people with low self-esteem). Contrary to a Freudian definition of shadow, therefore, the Jungian shadow can include everything outside the light of consciousness, and may be positive or negative. "Everyone carries a shadow," Jung wrote, "and the less it is embodied in the individual's conscious life, the blacker and denser it is." . . .
'The integration of the shadow, or the realisation of the personal unconscious, marks the first stage of the analytic process...without it a recognition of anima and animus is impossible'. Conversely 'to the degree to which the shadow is recognised and integrated, the problem of the anima, i.e., of relationship, is constellated', and becomes the centre of the individuation quest. ("Shadow")
The unindividuated man identifies with those personal qualities that are symbolically masculine; he develops these potentialities and to some extent integrates their unconcious influences into his conscious personality. However, he does not recognize qualities that are symbolically feminine as part of his own personality but rather projects them onto women. He will project his anima—those particular characteristics and potentialities that are significant components of his personal unconscious and therefore carry a special emotional charge—onto a few women for whom he will then feel a strong and compelling emotion (usually positive but occasionally negative). ("Anima")
Always Two Truths
On an exoteric level, believers of the Outer Church bend over to get fucked by the priesthood -- on an esoteric level, those of the Inner Church become girls kissing girls and consummate the union of Pneuma and Psyche
Lilith rules over the demons born from spent bodily fluids (Ebola transmission agents)
ISIS is the darkened Shadow of Western civilization, cast out into the desert as a Scapegoat where it gathers strength
Isis as Woman in her absolute sense of Otherness is the Anima as unidenified Reflektor of the Self
The world enters the death of Oblivion as Woman is identified as the demonized enemy to be simultaneously fought and possessed, rather than the initiator of Mnemosyne
Stolen images on a computer screen
September 11, 2001 was the unveiling of Lady Liberty between the two pillars in shadow form, like an image bound in a chamber; Kate's boy Monkey King George goes off to Babylon to fight for Helen's pretty face while we all jerk off to Millenium [sic] Paris Hilton's sex tape
Now "back to Iraq" for those 2001 Bowmen fighting for Penelope & Babalon instead
(The only satisfactory solution to the Subject-Object problem)
|PENELOPE CRUISE: ENDPOINT ITHACA (Spanish, Dark, and Filled with Poison)|
"IN the folk-tale told about the husband who comes home after years of absence, so changed by time and Fortune's hard usage that he must adduce proof after proof of his identity before his wife will admit his claim, the first Sign to be exhibited is the scar. This he reveals first to an aged dame, his old nurse, perhaps the only woman then alive in the world who was familiar with its appearance and history. For naturally the first token must not be of a kind so intimate and convincing as to make the wife's unreadiness to respond to it appear capricious and unreasonable. To this extent Homer has adopted the ancient tale"(questia.com/PM.qst?a=o&d=5372374).
"The book ends with another sign of the great sympathy that exists between the two, as Penelope admits she could gladly spend all night talking with Odysseus. The beggar has accomplished his mission of winning her confidence and now can see the means by which he might kill the suitors -- the bow" (chss.montclair.edu/classics/ODYNOTES19TO24.HTML).
"The bow, which really tells only one, although major, event -- how Odysseus gets the bow into his own hands. Notice the long description of the origin of the bow, indicating its importance in the events to come. Also, note some other themes, how Heracles, here the evil guest, had killed his host; Odysseus will reverse the situation - he will kill the suitors that have outraged him. Notice how Penelope weeps as she takes the bow out, which is still shining as the day it was put away. This is symbolic of the fact that its owner (Odysseus) is still strong. For Penelope, of course, it is a symbol of the man. In Telemachus attempting to string the bow Telemachus is probably intentionally acting a bit stupid, again to throw the suitors off. The reason that he tries the bow, of course, is to show us that he in fact is the equal of his father. He would have strung the bow unless Odysseus had not signaled him not to"(chss.montclair.edu/classics/ODYNOTES19TO24.HTML).
"The third Sign, which finally breaks down the suspicions and hesitation of the wife and throws her at last into the arms of her lord. Our quest will be neither long nor arduous, because Homer has used this third Sign in the same way and for the same purpose as in the old tale. The first Sign he used for purposes of tension --though also for purposes of recognition or proof to minor characters--the second Sign for a certain specific purpose as an element in the contest; the third Sign he uses in its original function, as means of proof between the principal actors in the story" (questia.com/PM.qst?a=o&d=5372374).
"The secret of the bed is that its main leg is built into an olive tree stump. These trees are extremely tough, and it is extremely hard to pull them up. This bed is also symbolic of a kind of hieros gamos, a holy or sacred marriage. The marriage bed, the center of the household where procreation takes place, is rooted in the earth. There is a tight connection between the marriage act and the very fertility of the earth. It is a type of axis mundi, the central beam of the world. By cutting this link the bond between household and land would be broken. No wonder Odysseus becomes angry. But he has been tricked into revealing that he indeed knows the secret that only the couple should know. Notice that it is not any old secret, but the symbol of the full importance of their union" . . . . ("The Use of Symbols and Symbolism in Homer's Odyssey," 123HelpMe.com)
|The Black Beauty at the center of the White House: A Dark Trojan Horse (ZEBRA)|