The Bridge Across Forever

Over the bridge across forever
Entangled in its multitudinous strands
Drawn ever onward through inertia’s bounds
By the light of the shining hand

Spanning the night from the ruins it flows
Bearing yesterday’s dreams with tomorrow’s woes
Linking with such infernal care
one to all and all to one

Wending its way through the need to know
Bubbling forth out of life’s loopholes
Finding its level wherever it goes
The Bridge across forever.

Sid. (2004)

Unlocking The Prisoner

Introduction

The Prisoner is an iconic drama series from the Sixties whose enigmatic theme and message has continued to puzzle viewers in the fifty years since its inception.  The basic premise of the story, outlined in the opening credits of the show,  hinges around the attempt of a top secret agent to hand in his resignation and progress to an idyllic life, free from intrigue and danger,  on a beach in the tropics. After handing in his notice, he is gassed in his apartment while packing and whisked off to a secret location, The Village, where he is stripped of his identity and given a number, No. 6. His gaolers, led by an ever changing No. 2, seek to discover the reasons for his resignation through all manner of devious and subtle tortures. No.6’s goal is to escape to freedom and become an ex-spy, ex-citizen, ex-everything!

I will not try to detail all the incredible twists and turns surrounding the struggles of No. 6 with No. 2 and the system but rather strongly recommend that you watch the series before progressing further. Presently, at the time of writing, the complete episodes have been uploaded on YouTube. There is also an article in Fortean Times celebrating its 50th anniversary (October 2017, FT358:48-53) that gives a thorough account of the underlying memes and themes identified within the show. This article aims to distill an underlying pattern from the abundant and powerful symbolism within The Prisoner and use this pattern to explain  the means of escape in the baffling final episode, “Fall Out”. In order to achieve an understanding of this world of numbers, some esoteric number-based tools are first required.

The Tools

The first important item pulled from the tool bag is Pascal’s Triangle.

Top six rows of Pascal’s Triangle

Each number in a row is obtained by summing the two numbers immediately above it. For example, “6” comes from adding the two “3” ‘s on the previous row. One can immediately see the first three numbers along the central axis of the triangle, (1, 2 and 6)  are those crucial within the plot of The Prisoner – No.6 is always trying to get past No.2 to reach No.1 at the top of the chain of command.

All positive whole numbers are found in Pascal’s Triangle and appear twice in one row except those on the central axis, which appear only once. Each number is restricted to appear in only one row with the following three exceptions.

No.1 appears along the edges of the triangle and hence defines  the shape of the triangle without a base line , “∧”.

If the numbers in a row are added, they give a power of No.2:

1+2 +1 = 4 = 22   ,    1+3+3+1 = 8 = 23   ,    1 + 4 + 6 + 4 + 1 = 16 = 24

Thus through aggregation and assimilation (property, ownership), the powers of No.2 extend to every row throughout the triangle. Do they apply even to the very pinnacle, given that 20 = 1? All zeroth powers (e.g. 20 , 110 , 190 , 1230 …) are defined to be No.1 and hence No.1 is the zeroth power. Thus, No.2 cannot approach the pinnacle by his aggregative powers.

No.11 also has access to all rows other than the pinnacle by virtue of the property of Pascal’s Triangle called Magic 11’s. Here, powers of No.11 are represented as the “face value” of the digits of a particular row. For the first five rows there is direct correspondence, while in subsequent rows, carrying of digits must be applied.

11 = 111  ,  121 = 11,   1331 = 113   ,   14641 = 114

The second tool to help with the study is the  Thoth Tarot deck.  The Trump cards of the deck are particularly important as the numbering and position of the cards in the sequence of Trumps is associated to their underlying meaning. With the cards we have a method to ‘put flesh on the bones’ of the numbers that form the basis of Pascal’s Triangle and hence give them more meaningful significance.

The final tool in the toolkit is the set of Roman Numerals. As you will see in the subsequent analysis, numerals were used to express multilayered themes throughout the series. Firstly it is important to note that the Tarot Trump cards are numbered as Roman Numerals.

‘X’ in The Prisoner

In the opening credits , the man to who receives the letter of resignation sits in front of a map of the British Empire. From this image, one can suppose our hero wants not only to be an ex-spy and ex-employee but also an ex-citizen of The Empire.  Within The Prisoner, the idea of “ex-” is expressed through the letter “X”. Many examples of the usage of the  letter are seen throughout the series. It is seen in the posture of No.1 when confronted by our hero’s sudden appearance, used to void our hero’s ID card and shown on the cover of the cage that becomes  his escape vehicle in the final episode. As an aside, it is interesting to note that there are three X’s on this cover which hints at an alternative meaning for the eponymous greeting in The Prisoner. The hand gesture of the greeting conveys O.K. while concealing ‘666’ within its shape. The verbal element consists of “Be seeing you”, alluding to the all-pervasive surveillance, but phonetically could also be written as “Be C-ing you”.

Be seeing you!

Now as a Roman Numeral:

C = 100 = 10 x 10 = X x X = XXX

Thus each greeting No.6 makes is a promise of liberation. Hints of the numeral are also to be seen in the strange C-shaped telephones. Were you hearing or C-ing when you used them?

c-shaped telephone
Eye in the triangle as crown

The final Roman Numeral to be considered is “I” that has the value of No.1. There are direct references to the letter in the final episode and it is implied throughout the series in the presence of the all-seeing eye, especially when set at the top of a triangle. This is the “Eye in the Triangle” and is synonymous with the No.1 at the top of Pascal’s Triangle. This symbol represents the controlling force or entity steering the fates of the residents within The Village from behind the scenes. It does also allow for interpretation as representing the “I”, self-identity or ego of No.6. Thus the battle becomes an internal struggle of competing forces within our hero’s mind seeking ultimate control. To understand the nature of this battle, we need to consider our hero’s mental state prior to being abducted and the method by which the conflict was instigated by the abduction. Finally, on the topic of numerals, it is interesting to note these three Roman numerals when taken together as “CIX” phonetically give “six”.

The Prisoners Dilemma

The aim of our hero is laid out clearly in the opening credits. He is a spy working for the British government who wishes to leave the world of espionage and intrigue behind for a life of leisure in The Tropics. He hands in his letter of resignation which is duly processed in an automated system. He rushes home and is in the process of packing for his new life when he is gassed and kidnapped, to awake the prisoner No.6 in The Village. The letter itself holds clues as to the nature of his imprisonment and the ensuing struggle to win freedom.

The resignation letter

The letter is marked “Private + Personal” and “By Hand”. These inscriptions are normal practice when used to indicate a sensitive communication to be read by the person to whom it was delivered by hand. Other layers of meaning may be indicated. “By hand” is  considered later in the notes at he end of this analysis. “Private + Personal” may be a harbinger of the future No.6, stripped of both privacy and personality. The former is certainly achieved through the panopticon – based society of The Village. But what of the latter? To explore this we need to go deeper into the psyche of our hero before and after removal to The Village.

We know our hero only as No.6 . He professes he is a free man and not a number. He must gain freedom through resignation which suggests he was a number while in the employ of the empire. As all numbers are derived from other numbers, it is reasonable to presume No.6 was derived from this previous number. I contend No.11 was his original number.

I have written in a previous article how Pascal’s Triangle is a useful and simple model to represent hierarchical society. As I described above, a property of Pascals Triangle is that the powers of No.11 extend to every level. Thus No.11 represents the everyman who could belong to any social sphere. By the same token it can stand for a spy who has access to all levels of society. This power of No.11 is linked to taking things at “face value”. Our idea of self-awareness and self-identity is strongly linked with this idea – The Mirror Test is the means by which the presence of self-awareness and self-identity is determined. Thus a child’s individual personality and ego has begun to develop when it first recognises itself in a mirror. Our hero was fully in harmony with himself and takes himself at “face value” until the resignation. He woke up that morning and didn’t like what he saw in the mirror: the conflict with his ego had begun. The two 1’s in No.11 can be seen as the two individual aspects of the divided self bound together, the dominant outer self or ego and the inner self. In Roman Numerals, the nature of the two selves becomes clearer. Together XI is the Tarot card “Lust”, also known as “Strength”. Our hero is certainly a strong character, demonstrated by his purposeful march into the office to tender his resignation. The two components of the number are “I” and “X”. Here is the controlling ego and the wish to escape. The associated Tarot cards “The Magician” and “Fortune” reflect this antithesis admirably. “The Magician” represents total order – “The Magician” controls all aspects of his environment with nothing left to chance. “Fortune” represents chaos, randomness, chance and absence of order. “X” and “I” are thus diametrically opposed opposites. Our hero craves freedom from order and rails against his “I” or mirror self. He has a dilemma in this struggle – “The Magician”, as the ultimate controller, is an entity from which he cannot escape. By the cruel arts of the controlling forces our hero is transported The Village where the dissection of his mind is pursued…

Our hero is split from his mirror image which is now the part of him who was the citizen, spy and servant of the empire. This element of his identity has been dominant up until the resignation and thus assumes the role of Tarot Trump IV, “The Emperor”, desperate to know from his rebel self, No.6,  ” Why did you resign?”

No.6 is represented by Tarot Trump VI, “The Lovers”.  This card represents the union of two separate identities in a new relationship. On an abstract level it is the integrating of seeming immiscible forces in a harmonious fashion. Thus the whole mission of No.6 is to unite with his other half… but he has to get past No.2 first.

The Priestess

No.2 is a vital stepping stone towards the final goal of No.6, that of union with his once-dominant half. As mentioned earlier in Pascal’s Triangle, it stands between No.1 and No.6 along the central axis of the triangle. A more important property of No.2 are its powers of aggregation and assimilation whereby every level of Pascal’s Triangle is a power of No.2 through addition. No.6 needs this ability in order to “add” his other half to himself and thereby assimilate it. The Tarot Trump II, “The Priestess”, can give us further clues to the role of No.2. It represents the link or bridge between the higher spirtual realm and the lower world. Mathematics in its Platonic sense is transmitted through “The Priestess” which is in agreement with No.2’s arithmetic powers. In the final episode, “Fall Out”, the ex-No.2 tells of how he was once a normal and honest man, taking things at face value before he was twisted into service by the system. Was he thus also once No.11 but tried to solve his problem of divided self by simple addition of the digits, thereby being caught in the trap of aggregation, property and possession. One final property of “The Priestess” is that it represents The Moon in its exalted sense and is a symbol of the powers of the unconscious mind. “The Priestess” can be seen as the bridge between the unconscious and conscious mind. No.6 will need to cross this bridge to solve his inner conflict.

The Resolution

No.6 as “The Emperor”

In the penultimate episode, “Once Upon a Time”, No.6 breaks No.2 through the ordeal of Degree Absolute and crosses the bridge into the inner, hidden world of The Village. The final episode, “Fall Out” is the adventures of No.6 inside this inner sanctum. As he has defeated No.2, he assumes the role of proxy leader and is enthroned on the royal chair. He has become “The Emperor” and hence taken on the role of his once-dominant other half.  The President, in his welcoming speech, recognises our hero is no longer a number and is elevated beyond the world of numbers. Whether this is strictly true, we shall soon know. The Assembly is called together in judgement over two revolutionaries, No.48 and the late No.2.  No.48 begins singing “Dem bones, dem bones…” to indicate Death come amongst them. Through the intercession of our hero, the song is adopted by The Assembly to “expedite” matters. Hence the judgement becomes “The Last Judgement”, Tarot Trump XX, and all are condemned to death. The late No.2 then takes the stage as the next revolutionary and berates The Assembly for his abduction and transformation. He leaves, the last to give the eponymous greeting “Be seeing you”, but this time without the associated hand gesture. He promises three X’s and not three sixes. We have met two X’s (i.e. ex-everything’s) in the late No.2 and No.48 but what of the third? Our hero is given his severance package and offered the chance to lead. He quickly learns he has not the control of “I” to carry out this role – he needs to confront his mirror self first to gain full control. Towards this final confrontation, our hero is next led deeper into The Village.

The Sun

He passes the two revolutionaries trapped in their “orbits”. One pod is empty, awaiting its new incumbent: our hero is walking into a trap! The symbolism of the orbit suggests each person in The Village is an individual world imprisoned in an orbit. The symbolism is further reinforced by the proliferation of globes at the top of the winding stair.  Of course the planets must be orbiting around a centre, Tarot Trump XIX “The Sun”.  This card indicates the promise of utopia, The Brave New World. But this world has its price.The wall in the card is the necessary control to achieve this “heaven on earth”. The Village is the crazed vision of “The Sun” realised. The two children in the card remind us of the split selves of our hero and his mirror self first seen in Tarot Trump VI, “The Lovers”. They are now skipping happily together hand-in-hand. Is our hero fooled by this sudden openness and hand of friendship?

Our hero spots a hooded figure busy at the controls of the inner sanctum. The figure turns and reveals the masked figure of No.1 holding a crystal ball in his hand. He is not truly No.1 – if we see the crystal ball as a zero, he has two digits, a one and a zero. In truth the hooded figure is No.10. He hands the crystal ball to our hero and immediately puts his hands up in mock surrender but also in the shape of “X” – he is mirroring our hero as the new No.10. Our hero has solved the conundrum and united his divided self through addition…

The crystal ball

By transferring the zero, the antagonist self has returned to being No.1 and our hero transformed from No.1 to No.10. Has our hero not fulfilled his wish, received his severance and become an ex-everything? The trap is sprung! He is still a number! He looks inside the crystal ball and sees his prison bars. He knows this world will only ever be a prison to him. But our hero has moved beyond the rules of numbers. He drops the crystal ball and allows his vision of the future to shatter into a thousand pieces. By dropping the  zero he once again becomes “I” forcing his other half to mirror him.  We now have the two ones of No.11 facing each other without the mirror to separate them. Our hero will not take his antagonist at face value and  allow him to hide behind the masks of duality or the bestial self but unmasks the inner madman. At this point both selves mirror each other in their shared schizophrenia and a mad, confused pursuit ensues. Our hero manages to trap his enemy by his own crazed ambition to rise to the top. What better way to do this but to send him upwards in a rocket to become the super-ego. Our hero sets the countdown for the destruction of utopia and “extinguishes” any minions of his enemy that get in his way. He then escapes with his two fellow revolutionaries thus finally making good on the promise of “Be C-ing you”. The antagonist self takes off in the rocket to become the Man on the Moon, symbolically representing his return to the unconscious realm. The three escapees travel back to England in the portable prison cage but the bars are on the outside. The man driving past in his Rolls-Royce is looking through his own prison bars at the free souls within. The revolutionaries return to life to do as they please, whether it be to wander the world, rule the imprisoned or just go for a drive in their favourite sports car.

Additional Notes

“Dem bones dem bones…”

The repeated references to the song, even on return from The Village to normal life, suggests there is added significance to the theme of death within the final episode. The fact that the late No.2 and No.48 have both died in previous episodes opens up the possibility that our hero is also dead, having not survived the gassing at his flat. The whole series of episodes have in fact being the freeing of his soul from his mortal bounds much in the same way as is portrayed in the film, Jacob’s Ladder. The dropping of the crystal ball is emblematic of his leaving the world of the material behind, transcending its rules and overcoming his materialistic self in the process. In this interpretation, heaven is an open-topped sports car.

By Hand

The Hermit

The hidden meaning behind the term “By Hand” is apparent when one considers an alternative title of Tarot Trump IX, “The Hermit”, is The Hand. Hence on the day of handing in his resignation, our hero was No.9 rather than No.11. His change of heart from being No.11, taking everything at face value, is symbolised by the reversal of the position of the numerals. He wants to get away from everyone and become “The Hermit” on his own personal, private desert island.  “The Hermit” signifies a coming to wisdom which drives the need to resign. The splitting of IX into its mirrored elements also gives VI and IV, so our hero could equally well have undergone this transformation as No.9 or No.11.

No.48

I confess to have no clear idea of the numerical significance of this number. Let me know if you work it out 🙂

Tolkien, Tarot and the Two Trees

A central theme of this website is the exploration of a ‘Two Trees’ interpretation of the Hermetic Qabalah. The development of this idea can be viewed in the article on Jacob’s Ladder and the attribution of the Tarot Trumps to the Two Trees can be found here.  An earlier blog post examined the role of simple geometry as a framework used by Tolkien to illustrate spiritual themes within his works. The spiritual ‘sophistication’ of a race could be ascertained by their dimensionality. Elves, for example, were capable of dealing with the two dimensional nature of rings while men were ensnared by their complexity. The article posited Tolkien’s sympathies lay with characters of the simplest dimensions, identified as Tom Bombadil and his wife. These two characters represent points within the geometrical schema: Tom is the static point and his wife is the point constantly in motion. All other geometrical forms are constructed from the interplay of points and so Tom and Goldberry can be viewed as the creators of the spiritual geometry within their world. From this viewpoint, they are also valuable in illustrating aspects of the Two Trees system.

The Two Trees combines the fluidity and dynamic nature of Taoism with the deep insightful approach of the Hermetic Qabalah. Tom and Goldberry fit naturally into the two points of opposite colour found in the two halves of the Yin-Yang Symbol.

Tom is ‘Daath’ the microcosm of the Tree of Life found in the black realm of the Tree of Knowledge. Goldberry is ‘Yesod’, the microcosm of the Tree of Knowledge embedded in the white realm of the Tree of Life. Tom is the single-pointed representation of Life in its totality while Goldberry is the complementary point representing the totality of all knowledge.

Further insight is gained from the Tarot attribution to the Kether sephiroth on each of the trees. The Tree of Life has ‘The Fool’ in Kether while ‘Adjustment’ is its complement on the ‘Tree of Knowledge’. Tom can be easily identified with the archetypal ‘Green Man’ figure often associated with the iconography of The Fool.  The description of ‘Adjustment’, also known as ‘Justice’ in other Tarot decks is seen as the feminine aspect of ‘The Fool’.  The fluid grace of Goldberry speaks of the dancing Harlequin, a perfect complement to the merry capering of Tom,  the Clown.  ‘Adjustment’ represents perfect balance, the pivot of the scales held by Lady Justice. She defines the centre, the place of equilibrium.  In Tolkien’s ‘Fellowship of the Ring’, Goldberry is found at the homestead,  the centre of  Tom’s world while he is portrayed roaming around The Old Forest and beyond: when journeying with the hobbits, he always insists he must return to Goldberry as she is waiting.

As mentioned in the post on Tolkien geometry, Tom and Goldberry may be seen as the two points defining the lines of fate within Middle Earth. The One Ring has no effect on the couple because they belong to a much greater cycle of existence. The ring cannot make Tom disappear but Tom can make the ring disappear. The hobbits meet them as they leave behind the Shire, the only world they have ever known. When they leave the couple’s farmstead, they are moving ahead into the jaws of the great adventure that will engulf them all. Tom’s last appearance is to free the hobbits from the grasp of the barrow wights and again set them on their way. The barrows and burial grounds are recognisable as those ancient sites found around Great Britain. The hobbits’ burial in the barrow mounds and ‘resurrection’ by Tom is also reminiscent of the dramatic ritual of Christian Rosenkreutz found in the Rosicrucian and Hermetic traditions. Here the hobbits leave behind their old life and are ‘reborn’ into a vast and dangerous realm beyond the wooded borders of the Shire.  We, as readers, are also taken through this path of burial and resurrection in the familiar surrounding of a barrow in order to be ‘reborn’ into this new and strange world of elves, goblins and men. As ‘The Green Man’, Tom is the guardian and warning awaiting the hobbits at the boundaries of their experience as well as being the initiator into their new adventures.

Goldberry is at the other end of the line of destiny unfolding through the hobbits’ adventures – this may explain the parting image of Goldberry with outstretched arms, awaiting their return:

“But Frodo found no words to answer. He bowed low, and mounted his pony, and followed by his friends jogged slowly down the gentle slope behind the hill. Tom Bombadil’s house and the valley, and the Forest were lost to view. The air grew warmer between the green walls of hillside and hillside, and the scent of turf rose strong and sweet as they breathed. Turning back, when they reached the bottom of the green hollow, they saw Goldberry, now small and slender like a sunlit flower against the sky: she was standing still watching them, and her hands were stretched out towards them. As they looked she gave a clear call, and lifting up her hand she turned and vanished behind the hill.”

 Tom and Goldberry form that never-ending flow to which elves, men, rings and even hobbits belong. Perhaps the strangest and most meaningful part of the great tale of Middle Earth is not in its ending but in its beginning.

Tarot Trump Attributions to The Two Trees

After a number of fruitless years attempting to attribute the Tarot Trumps to the Two Trees out of 1021 possible permutations, the assignments given below flooded through in a moment of intense illumination. The attributions should be treated as a personal interpretation but it will give a starting point for anyone who wishes to collate a version which better reflects their own point of view. Daath and Yesod do not have assignments as they represent, respectively, the totality of The Tree of Life and The Tree of Knowledge in microcosm. A more detailed article on the relationships and patterns of the Tarot Trumps and The Two Trees will follow in the near future.

A full page image can be viewed here.

Rick and Morty, Scary Terry and Magick

Greetings!

Recently, I’ve been getting into a brilliant cartoon series, on the Net, called ‘Rick and Morty’ – part of the ‘Adult Swim’ stable.

If you’ve never heard of it, check out the following link:

https://www.youtube.com/watch?v=Z_BwmkbH90Q

 

The pilot isn’t great,

 

but the second episode is good:

 

 

 

*Spoiler ALERT! – Watch episode (at least twice) before continuing!*

 

 

 

 

 

Ok, done it?

Good!

The episode contains two stories. Jerry asks Rick to try and make his dog ‘smarter’ so that it doesn’t pee on the carpet, (with consequences!) and Rick and Morty plan to enter the dreams of Morty’s Maths teacher, Goldenfold to make him give Morty ‘A’ grades in maths.  (On the way, referencing the films ‘Lawnmower Man’, Inception’ and ‘A Nightmare on Elm Street’.)

In Jerry’s story,  Snuffles the dog does not want to be called by his ‘slave name’ anymore. He wants to be called ‘Snowball’.  That was the name of the main protagonist (and Leon Trotsky stand-in) in George Orwell’s ‘Animal Farm’. The ensuing war between the humans and dogs parallels the battle between the creatures of Animal Farm and their human masters.

In the book, the rebellious animals slowly turn into the farmers they had fought against, and the final scene shows pigs standing on two feet and wearing clothes, completing the final transformation into their human overlords.

In Rick and Morty, with help from inception, a dystopian nightmare is averted when Snowball realises he’s slowly turning into everything he always hated about humanity.

In the second story, Rick and Morty sneak into Mr Goldenfold’s home, (earth) and after nodding off whilst watching soap actress Mrs. Pancakes, is ‘incepted’ by Rick and Morty.

In Goldenfold’s first dream, they’re in an airplane, (air) things don’t go to plan, and they escape into Mrs Pancakes dream ( Goldenfold’s sub-dream) in which he fantisises about her as a ‘madam’ of this kinky sex club (masked dwarves and all – a nod to Kubrick’s eyes wide shut?)  with blue fire (fire of water) in the background.

After being ‘unmasked’ as imposters, they incept the centaur, and his dream is a scary basement lit red (fire) in which we meet ‘Scary Terry’ -“Looks like some sort of  legally-safe knock-off of an eighties horror character, with minature swords for fingers instead of knives” says Rick!

Trying to escape further, all they have is the little girl, and her dream is  the same as the previous one!  (Spiritual fire) “Looks like we hit dream bedrock here, Morty”  and guess what?  Scary Terry’s here too!

“Oh shit Morty,  he can travel through dreams – he can travel through dreams! We’re so screwed!!”

But after turning Scary Terry’s catchphrase “You can run, but you can’t hide, bitch!” on it’s head, and hiding, Scary Terry gives up and returns home  – to his wife, Scary Melissa, and his son, Scary Brandon!

Remember, all this is going on in maths teacher Goldenfold’s head –  Contrast this scene with the reality of his own life:

 

divorced and single, no real social life to speak of,  we see that Scary Terry is his subconscious  – as a matter of fact, Scary Terry is the same as our own subconscious – the reason he is ‘scary’ is that he is scary to our conscious self – we don’t know his motivations, or what he will do next – so we will always try to suppress him –  but how? – back to the story!

Our two then find even Scary Terry has nightmares!  But when they enter his head, we see what scares Scary Terry – Late for class, not wearing his trousers and being badgered by an overbearing John Houseman – like teacher:

 

That teacher is how Goldenfold sees himself which is nothing like reality- it’s his overinflated Ego  which keeps  Scary Terry (the subconscious) in check, and it’s up to Rick and Morty to chase the Ego away and resolve Scary Terry’s nightmare.

What they’ve done is to recognise the subconscious and engage with it, finding out what it needs and providing it, while making sure the Ego doesn’t get up to it’s tricks and ruin the whole process.

In the realm of any endeavour, including Magick, the Ego is your most powerful adversary – as my father used to say, “You are your own worst enemy”

In the Kabbalah, there is a area just above the spheres of Hod and Netzach, just before Tipareth, known as the ‘Veil of Paroketh’.

Some sources see it as the veil of illusion, in which the Ego is reflected which makes the egotistical self choose the wrong path and go in completely the opposite direction :

The Mists of Paroketh: The Veil of Illusion

So, instead of advancing up the tree, you go downward – instead of moving up Pascal’s triangle, simplifying the equation and getting rid of the ‘ordeals’ of ‘I’ plus ‘X’  you head down the triangle, multiplying the ordeals, till you drown in the infinite sea of numbers!

A magickal teacher had a saying;  “You have to take  responsiblity for all your actions” That means no putting the blame on to others, no lying to yourself!

So the first lesson in magick is to ‘leave your ego outside the door’ or better still, get rid of it ( ! ) and what you are is ‘your true self’ – no ego armour to protect you,  no mask to hide behind,  you are you – warts and all, this is your ‘True Self’  and ‘Scary Terry’ is scary no more!

 

The Egotistical self…….

 

 

‘Scary Terry!’

 

The ‘True Self’  has access to the subconscious, and this is where magick works!

All the paraphernalia of ritual, overloads the conscious and acts directly on the subconscious, and the results can take a while – but if you have a ‘gut feeling’ – a positive emotional response – ( which can include tears! ) to what you’ve experienced, then the ritual has done it’s job.

So, the boys have freed ‘Scary Terry’ from his cage, and he goes up through the dream levels,   literally cutting through the ego blockages that Goldenfold  has – He hated the little girl’s song; The Centaur’s halves ( human and animal ) don’t belong together;  and he slices Mrs Pancakes,  saying  ‘sex is sacred!’         (And look at how the ego has totally FUBAR’ed that aspect of humanity!)

And finally, with  Goldenfold, Terry gets him to give Morty an ‘A’ in Maths!

So, next time you  see Scary Terry in your nightmare, Have a chat, and give him my regards!

“Awwww, Biiitch!!”

 

 

Maat Kheru,

Meni.