The Blood of Kali

Fortune & Glory, kid --

Fortune, and Glory….

Meanwhile, 

in The Cave of 

Dionysius —

Goddaughter Inanna  Ma’at 

[ YES, it’s a FLEABAG Reference ] :

You okay up there?

Old White Father God, Jr. : 

— Yes. (GRUNTING)

Goddaughter : 

You’re not Moving.

Old White Father God, Jr. :  

— I’m THINKING.

Goddaughter : 

…..about?

Old White Father God, Jr. : 

About what the hell 

I’m DOING up here, 

40 feet in the air, 

with CRAP shoulders, 

crumbling vertebrae, 

a plate in one leg, 

screws in the other….

Goddaughter : 

……Yeah, I get it. 

I get it.

Old White Father God, Jr. : 

NO, You Don’t “Get it” — 

You’re HALF My AGE. 

YOU haven’t been forced to 

Drink The Blood of Kali —

Goddaughter : 

No. Fair enough —

Old White Father God, Jr. :  

— OR been tortured with VOODOO.

And, I’m just guessing, but I don’t Think 

You’ve been SHOT nine times, including 

once, by YOUR Father.

Goddaughter : 

(CHUCKLES) 

Dad SHOT You?

Old White Father God, Jr. : 

Don’t Talk to Me. 

Just Go ahead. 

I’ll Follow You.

It is Said that They are DECEIVERS

How about Two Snakes 

coming together over 

A Black Sun? 

A magnificent 

standard. 

The only snakes I know of are 

those of Set, in those cursed towers. 

They have spread to every city. 

Two, three years ago, it was just 

another snake cult. Now, everywhere. 

It is said that They 

are DECEIVERS...

They murder people 

in The Night -- 

.....I know nothing. 

 

warlock (n.)

Old English wærloga "traitor, liar, enemy, devil," from wær "faith, fidelity; a compact, agreement, covenant," from Proto-Germanic *wera- (source also of Old High German wara "truth," Old Norse varar "solemn promise, vow"), from PIE root *were-o- "true, trustworthy." Second element is an agent noun related to leogan "to lie" (see lie (v.1); and compare Old English wordloga "deceiver, liar").

Original primary sense seems to have been "oath-breaker;" given special application to the devil (c. 1000), but also used of giants and cannibals. Meaning "one in league with the devil" is recorded from c. 1300. Ending in -ck (1680s) and meaning "male equivalent of a witch" (1560s) are from Scottish. 

Related: Warlockery.

Entries linking to warlock

lie (v.1)

"speak falsely, tell an untruth for the purpose of misleading," Middle English lien, from Old English legan, ligan, earlier leogan "deceive, belie, betray" (class II strong verb; past tense leag, past participle logen), from Proto-Germanic *leuganan (source also of Old Norse ljuga, Danish lyve, Old Frisian liaga, Old Saxon and Old High German liogan, German lügen, Gothic liugan), a word of uncertain etymology, with possible cognates in Old Church Slavonic lugati, Russian luigatĭ; not found in Latin, Greek, or Sanskrit. Emphatic lie through (one's) teeth is from 1940s.

*were-o- 

*wērə-o-, Proto-Indo-European root meaning "true, trustworthy."

It forms all or part of: aver; Varangian; veracious; veracity; verdict; veridical; verify; verisimilitude; verism; veritas; verity; very; voir dire; warlock.

It is the hypothetical source of/evidence for its existence is provided by: Latin verus "true;" Old Church Slavonic vera "faith," Russian viera "faith, belief;" Old English wær "a compact," Old Dutch, Old High German war, Dutch waar, German wahr "true;" Welsh gwyr, Old Irish fir "true."

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Trends of warlock

Iowa

organized as a U.S. territory 1838; admitted as a state 1846, named for the river, ultimately from the name of the native people, of the Chiwere branch of the Siouan family; said to be from Dakota ayuxba "sleepy ones," or from an Algonquian language (Bright cites Miami/Illinois /

boggle

1590s, "to start with fright (as a startled horse does), shy, take alarm," from Middle English bugge "specter" (among other things, supposed to scare horses at night); see bug (n.); also compare bogey (n.1), boggart. The meaning " hesitate, stop as if afraid to proceed in fear of

giant

c. 1300, "fabulous man-like creature of enormous size," from Old French geant, earlier jaiant "giant, ogre" (12c.), from Vulgar Latin *gagantem (nominative gagas), from Latin gigas "a giant," from Greek Gigas (usually in plural, Gigantes), one of a race of divine but savage and m

Friday

sixth day of the week, Old English frigedæg "Friday, Frigga's day," from Frige, genitive of *Frigu (see Frigg), Germanic goddess of married love. The day name is a West Germanic translation of Latin dies Veneris "day of (the planet) Venus," which itself translated Greek Aphrodite

conceit

late 14c., "a thought, a notion, that which is mentally conceived," from conceiven (see conceive) based on analogy of deceit/deceive and receipt/receive. The sense evolved from "something formed in the mind" to "fanciful or witty notion, ingenious thought" (1510s), to "vanity, ex

palate

late 14c., "roof of the mouth of a human or animal; the parts which separate the oral from the nasal cavity," from Old French palat and directly from Latin palatum "roof of the mouth," also "a vault," which is perhaps of Etruscan origin [Klein], but de Vaan suggests an IE root me

lead

"to guide," Old English lædan (transitive) "cause to go with oneself; march at the head of, go before as a guide, accompany and show the way; carry on; sprout forth, bring forth; pass (one's life)," causative of liðan "to travel," from Proto-Germanic *laidjanan (source also of O

anatomy

late 14c., "study or knowledge of the structure and function of the human body" (learned by dissection); c. 1400, "anatomical structure," from Old French anatomie and directly from Late Latin anatomia, from late Greek anatomia for classical anatomē "dissection," literally "a cutt

emotion

1570s, "a (social) moving, stirring, agitation," from French émotion (16c.), from Old French emouvoir "stir up" (12c.), from Latin emovere "move out, remove, agitate," from assimilated form of ex "out" (see ex-) + movere "to move" (from PIE root *meue- "to push away"). The sense

stop

Middle English stoppen, "obstruct (a passage) with a physical barrier; close up by filling, stuffing, or plugging," from Old English -stoppian (in forstoppian "to stop up, stifle"), a general West Germanic word, cognate with Old Saxon stuppon, West Frisian stopje, Middle Low Germ

Share warlock

The Matrix Screen

Drathro's 'Castle'

(The Villagers weeding The Crops don't even 

look up as the L-1 Service Robot trundles past --

perhaps because they cannot SEE it?)

DRATHRO: 

HABITATIONS.

TANDRELL: 

Only Man makes habitations.

DRATHRO: 

ALL LIFE PERISHED IN THE FIRE.

IF MEN NOW LIVE ON THE SURFACE, 

THEY MUST HAVE COME 

FROM MY BIOSPHERE.

TANDRELL: 

How can that 

be possible?

HUMKER: 

It is forbidden.

TANDRELL: 

All Work-units 

obey Your Orders.

DRATHRO: 

SOME MUST HAVE ESCAPED. 

BEEN HELPED TO ESCAPE --

THAT IS WHAT HAS HAPPENED.

HUMKER: 

Is it important?

DRATHRO: 

THEY'RE OUT OF CONTROL,

OUTSIDE THE PLAN.

TANDRELL: 

They're outlaws.

DRATHRO: 

NOW MY EXISTENCE IS THREATENED.

THEY HAVE DESTROYED 

THE SOURCE OF MY ENERGY.

TAKE MEASURES, CREATE 

A DEFENSIVE SYSYEM, 

IDENTIFY AND DESTROY 

THE TRAITORS.

[Trial room]

Mister Six : 

All this is irrelevant 

and hypothetical.

Mister Black : 

Background Testimony.

Mister Six :

 What possible value does 

The Farmyard, here think 

there is in listening to some 

half-incapacitated robot, and 

a couple of diminutive nit-wits who 

might as well be robots?

INQUISITOR: 

You're allowing Your Disrespect 

to show again, Doctor.

Mister Six : 

I'm sorry, Ma'am..... but 

The Question still stands.

INQUISITOR: 

As prosecutor, The Valeyard has The Right 

to include any evidence he considers 

to be relevant, provided he can

justify its inclusion.

Mister Six : 

But any record relating to persons 

not in My Presence must 

be sheer conjecture.

Mister Black : 

The Accused is clearly ignorant 

of the latest methods of 

surveillance, My Lady.

INQUISITOR: 

This evidence is taken from The Matrix, 

a knowledge-bank fed constantly by 

the experiences of all Time Lords, 

wherever they may be.

Mister Six : 

Yes, yes, yes, yes, yes, Ma'am. I know that. 

My whole point is, that I'm not.

INQUISITOR: 

Not what?

Mister Six : 

Not part of the scenes being shown 

by The Scrapyard, here. 

.....I'm sorry, Valeyard. 

Force of habit, I apologise.

Mister Black : 

Doctor, the experience 

of Third Parties can also 

be monitored and 

accessed if needed, as

  long as they are within 

the collection range 

of a TARDIS.

Mister Six : 

Oh.... 

But My TARDIS is 

an old model --

....are You telling Me, it's 

been bugged without 

my knowledge?

INQUISITOR: 

"Bugged"?

Mister Black : 

It is a reference apparently 

to the new surveillance 

system, My Lady. 

The expression derives 

from an Earth term.

INQUISITOR: 

I see. I think we are wasting time 

on an unimportant issue. 

Continue The Evidence, Valeyard --

 

THE BURDEN OF ISIS

BEING THE LAMENTS OF ISIS AND NEPHTHYS

TRANSLATED FROM THE EGYPTIAN

WITH AN INTRODUCTION

BY JAMES TEACKLE DENNIS

LONDON

JOHN MURRAY, ALBEMARLE STREET, W.

FIRST EDITION March, 1910

REPRINTED July, 1918

Scanned at sacred-texts.com, May 2002, J.B. Hare, redactor. This text is in the public domain. These files may be used for any non-commercial purpose, provided this notice of attribution is left intact.

p. 6

TO MY WIFE, THE SHARER OF MANY HAPPY DAYS IN EGYPT, THIS VOLUME IS LOVINGLY DEDICATED

THE BURDEN OF ISIS 

INTRODUCTION 

OF all the Egyptian religious beliefs that existed from the Prehistoric period down into Roman times, the oldest and the one most held in veneration was that connected with the worship of Osiris, Isis and Horus. These three, though primarily only local gods, at an. early period became prominent deities of all Egypt; and the cult of Isis, more particularly, remained a favourite always, rivalling even that of Osiris in later times. 

During the many thousand years of Egyptian history, not only did many changes occur in the ceremonies connected with these cults, but also the legends and origin of the Osirian faith received many additions and interpolations; and thus the old faith lost much of its purity. The simplest form in which it is preserved to us states that Osiris was the son of Seb and Nut--i.e. Earth and Heaven; of whom were born also Isis, Nephthys and Set, or Sutekh, as he is also called, Osiris married his sister Isis, while Set chose Nephthys. 

It is probably due to this feature of the legend that The Pharaohs often married their sisters, and occasionally also their daughters. 

Osiris was the first divine ruler of Egypt : whence he came is not told; but when he came to that country, he found it sunk in barbarism and ignorance, with no law but that of strength, and poverty everywhere. He went through the land settling quarrels, organizing government, teaching polite manners and customs, dictating laws and civilising The People. 

Set, his brother, became jealous of the renown of Osiris, and hated him because of the good he had done; and resolved upon his destruction. Assisted by the evil spirits, or demons (the "enemies" or "foes" of the chants), Set constructed a large chest exactly the size and shape of the body of his brother Osiris; and at a feast given by the latter, he offered to present the chest, which was richly adorned, to the one whose body it best fitted. No one was successful until Osiris entered the chest, when Set closed it, and with the help of the evil spirits bore it from the banquet hall and cast it into the Nile. Thereupon Isis fled to the Delta, taking with her Horus, her son, whom she left to be cared for in Buto, according to some  legends; others say he was left with Tehuti, or Thoth, god of learning. Isis then took a boat and searched the Nile for the body of her husband, which she ultimately found in the Delta. Before it could be interred, however, it was stolen by Set, who then divided the body into fourteen portions, and scattered them over the whole of Egypt. Again the bereaved Isis commenced a search for the pieces of her husband's body, and found thirteen; the fourteenth piece, the phallus, she was unable to find, it having been eaten by fish. 

Wherever a fragment of the body of Osiris was found, a temple was there erected to his memory; and as the head (or according to some authorities, the heart) was found at Abydos, that city was considered as especially sacred, and was the centre of his worship. 

Horus, son of Osiris and Isis, avenged his father's death by ultimately slaying Set; while Osiris, miraculously resurrected by Horus in the regions of the dead, ruled over the underworld and its inhabitants. Such, briefly, is the legend of Osiris. But the cult could never have become national in character without changing in many ways. Every city and town of any prominence in Egypt had its own especial local deity, who received special worship, even while other deities were admitted to exist, though considered subordinate to him: and at an early date the priesthood of Osiris began systematically to identify the leading characteristics of these various local gods with those of Osiris. Hence in course of time we find Osiris-Sokar, an identification of the local god Sokar with the great deity of Abydos; Osiris-Apis, which in Greek times became Serapis, where the attributes of Osiris had become identified with those of a Memphite deity; and in later times, Osiris became a solar deity, and is addressed by epithets and titles which seem to show an identification with Ra, the sun god. By this means, Abydos became the great early religious centre of Egypt. But these identifications of various deities were not confined to Osiris. Horus became mutated, and gained new attributes--as Horus-Ra, he became the midday sun; and under the priesthood of Heliopolis, he became Tum, the setting sun, even losing his name. Isis, also, received new qualifications, being often identified with Hathor (whom the Greeks in turn identified with Aphrodite); but the chief places where Hathor was worshipped were at Dendereh and at Der- el-Bahri, in the western portion of Thebes; while the worship of Isis centred around Abydos and Busiris, the latter being frequently mentioned in the liturgies; and in later times also she was worshipped at Philae; and her worship was so popular, that long after Egypt had ceased to be a nation, and her gods had become a by- word, p. 13 there were no less than three great temples erected to her cult within the walls of Rome itself. 

It is this merging of the attributes of one god into those of another, and their unification into Osiris, to which the chants refer when speaking of the "attributes" of the deities. The eating of the fourteenth fragment of the body of Osiris by fish is paralleled by a similar legend in the story of "Anpu and Bata," often called the "Tale of the Two Brothers." 

The triad was not an unusual combination in the Egyptian belief; for besides that of Osiris, Isis and Horus, we find Amen, Mut and Khonsu at Thebes; and other lesser triads; so that when Christianity reached Egypt, the trinitarian idea found ready adherents; and this may partly account for the strides which Christianity made in Egypt almost before it had obtained a foothold elsewhere. The resurrection of Osiris and his ruling over the spirits of the deceased is nearly a parallel to the story of the Cretan King Minos, and possesses some points in common with the Christian belief; while the worship of Isis paved the way for the worship of the Virgin Mary many centuries later, though this latter was repudiated by the Egyptian Christians of the first four centuries, probably as being too reminiscent of "paganism." (Budge, "Paradise of the Fathers," I., II.) 

The position of Set is curious. While he was considered an evil deity, yet he had many temples and worshippers; in early times, strangely enough, in addition to the "Horus" name, some Pharaohs had a "Set" name; and the name of Set was used by several later Pharaohs, such as Sety I., Sety Merenptah, Set-aa-pehti, Set-Nekht and others. 

Nephthys plays a somewhat unimportant rôle in the liturgies, as well as in the Egyptian pantheon, being usually associated with Isis. She seems to have repudiated Set after the murder of Osiris, and to have aided Isis in seeking for the body. The continuity of the chants is much broken it appears as if two, or even three, deities are addressed at the same moment. This, however is due to two causes : first, the identification of attributes originally belonging to divers deities in the person of the one god Osiris; and second, to the fact that these chants were accompanied by spectacular performances -- a forerunner of the "miracle-plays" of the Elizabethan period. Various temple officials impersonated the gods on certain occasions, and these were implored, invoked or praised as the living representative of the deity. But more frequently the animal sacred to the god was brought out and worshipped--not for himself, but for the deity he represented. The Hawk of Horus at Edfu, the Crocodile of Sebek at Crocodilopolis, the Cow Hathor, the Bull Apis -- all were praised as the living counterpart chosen by the god to represent himself. And just as in Roman Catholic churches, at certain times, a bell was formerly rung to frighten away the Devil, so in the Egyptian time the sistrum-bearer was prominent at sacred festivals; for it was his duty, by shaking the sistrum, not to frighten the evil one, but to call the attention of the deity specially to his worshippers. This accounts for the frequent appeal in the liturgies -- "Behold the excellent sistrum-bearer!" 

What will most impress one in these liturgies, however, is the deep, sincere religious feeling that permeates them -- the grief for the lost one, the hope of again beholding him, the cry from the heart for help, the reliance upon the divine all-ruling destiny that shall bring the trial to a happy ending, and the triumph of a desire realised and a hope fulfilled: these sentiments, as much a part of human nature now as then, bring the far-off dwellers of the land of Kem near at heart and feeling to the twentieth-century reader of our own era. For above all nations of old, the future life entered especially into the Egyptian daily life and thought; their religion was one where the present was considered only the threshold; and it was their belief in the absolute endlessness of matter and the immortality of the spirit that causes the frequent formula after many of their names -- "Ankh zetta heh" -- Living for ever, eternal. 

The two papyri in which these chants are found were both discovered in Luxor, Egypt; and that relating particularly to Osiris is written in a hand representing an intermediate stage between hieratic and demotic. The chants of Isis were found inside a statue of Osiris, by M. Passalaqua. 

The period when these chants were first written is unknown. Probably in the earliest times, they were committed to memory, and handed down verbally from generation to generation, as were so many traditions of olden time. 

We may believe, however, that they had already been reduced to writing by the time of the fourth dynasty, though at that time they probably consisted chiefly of the invocatory portions, the subsidiary matter being added later, and at different periods. 

The date of the texts from which the present translations are made approximates 300 B.C., while the texts themselves are written in a purer and more classic style than are most of the writings of that time; so that it is probable that in their present form they certainly are; not later than the twenty-sixth dynasty, and may probably be as early as the eighteenth or nineteenth. 

The Osiris chant, together with one of the Isis and Nephthys liturgies, exists in the hieratic form in what is known as the "Rhind papyrus," B.M. 10188, while the other Isis liturgy is in the Berlin papyrus 14225. Extracts have been published by Pleyte, in "Recueil des Travaux," Vol. III., and by Dr. E. A. Wallis Budge in Vol. LII. of "Archaeologia," many years ago. De Horrack published the second Isis liturgy in French, a translation of which into English appeared in "Records of the Past," Vol. II. The three chants, however, have not heretofore been published in one volume. From the frequent mention of the sistrum-bearer in the chants, we know that this musical instrument was chiefly employed, but the music in which they were written is unknown. The Egyptians rated music highly, and Plato considered their music superior to the Greek, both for melody and energy. But harmony and rhythm were always subordinated to the words, and the subject-matter was paramount. There were two sorts of harmonies known to the old Egyptians, which the Greeks designated as "Dorian" and "Phrygian" -- the former grave, slow and tranquil, the latter a dithyrambic form, probably employed in these chants, which was forceful, appealing and energetic. 

The Egyptians based their music on seven diatonics, which Demetrius of Phalerus attributes to "the seven vowels"; others say the seven senses, or the seven planets. Dion Cassius corroborates him, while Dionysos of Halicarnassus says, "Melody embraced an interval of five-it never rose more than three and one-half tones toward high, and fell less toward bass." This probably was a result of the use of the three-stringed lyre.

To find a probable origin for the legend of Osiris and Isis, it may seem strange to have to turn to the shores of Mexico and Central America; yet there, among the ruined cities of the ancient Mayan civilisation, according to Le Plongeon, are two temples bearing historical inscriptions which in many details correspond with the Egyptian legend. The King, ruling well and wisely, is slain and dismembered by his brother, and the sister- wife, after finding the body, erected over it a pyramid and sphinx, the latter with a human head on a leopard's body, after which she travelled eastward, to the colonies of her race that had settled there centuries before; where she lived until her death. Her son ultimately killed his usurping uncle, and ruled the Mayans in his stead. The points of resemblance between the two legends are too numerous to name here; but as the period when the Mayan events took place is about ten thousand years before Christ, if the legends arose from one common source it would give ample time for history to become merged into myth.

Whatever be the origin of the Osiris belief, however, it is certain that in the beginning he did not typify any of the forces of nature, as some would have us believe : this is a theory of much later date than the belief upon which it is grafted, and belongs to a period of decline; and Osiris is rather to be regarded as one of the great rulers of old time, far-seeing, advanced in his ideas, who fell a martyr to his duty, his conscience and his people. Had the Pharaohs tried rather to emulate the living Osiris, instead of simply being merged into Him after death, Egypt might have survived for many centuries the cataclysms which eventually overwhelmed her, and put an end to her existence as a nation.

Sutekh, The Hyksos and Isomorphism

Plato's Pharmacy -- 

"Pharmakos"

"Offscourings" ---  Pharmakos (n.), 

a human scapegoat.

During the Thargelia, but 

also during adverse periods 

such as plague and famine,

 Athenians and Ionians 

expelled scapegoat(s), who

 were called 'offscourings', 

in order 'to purify' the cities.

The Cat sat on The Ma'at.

The Witchcraft of Salem Village

"Now, Derrida -- Foucault was the teacher of Derrida at the E.N.S. --Foucault took Derrida with him to visit the inmates at the mental hospital of St. Annes.

Derrida has been somewhat less publicly flamboyant than Foucault but he is no less of an irrationalist he's probably a more effective one; 

He is the child of a Serpharic Jewish Family living in Algeria -- he was very young, when he had the experience of being buried alive --

He was locked in a coffin-shaped Cedar Chest by his sister; he later managed to escape alive, but he was traumatised by the belief that he had died and been brought back from The Dead....

From this grew his identification with The Isis-Osiris Myth in which Isis of course brings Osiris back from The Dead; but this also implied fora an obsession with castration, which he told his students had suggested to him the the title for one of his early books, "Disseminations".

Derrida's irrationalism was later fuelled by the mystical writings of the Kabbalah -- very important -- and by his devotion to the satanic degenerate Antonin Artaud, of The Theatre of Cruelty, some people may remember this, too.

He was somebody who had spent about a decade of his own life in a mental institution. Derrida was jailed in 1981 by the Czechoslovakian Communist Regime on on charges of drug trafficking, but these these charges were never proven --

Some of the best one-liners about Derrida come from Foucault, during the period when these two were quarreling -- During the 1970s Foucault said that Derrida was a terrorist and an obscurantist who deliberately wrote in such a way as to be impossible to understand, so he could then lash-out at his critics, as cretins who were incapable of understanding the profoundness of his Thought;

The best summary from Foucault : -- "Derrida is the kind of philosopher, who gives bullshit a bad name." 

Now we can we can turn the lights on we don't need this at the moment we have one more deid DA's opaque doctrines are a philosophy of anglo-american destabilization from the word go his big publishing breakthroughs came in 1967 and ke lectures were delivered at the height of the May 1968 riots that led to the overthrow of General Charles deal the best government that France had seen in many Ages 

Derrida was a Leading Light of the click around the magazine Tel Kel which was one of the theoretical mouthpieces of this Rebellion now deconstruction deconstruction is an attack on the judeo-christian Western European civilization it is an attack that is powered Above All by rage DEA hates and resents reason and creativity in these he identifies with the Epic of Christian creationism and infinitism when these appropriate the resources of Greek conceptuality that is from his book on grammatology in other words derida hates Plato he hates Apostolic Christianity as exemplified by St John St Paul St Augustine and other patristic writers he hates the entire edifice of Western Civilization based on Christian platonism and in this he follows mentors like n who claim to be Socrates in Reverse or diogenes who defined himself as Socrates gone mad 

Most of all Derrida hates The Logos -- this in the Greek means word or discussion, perhaps ordering, lawfulness but finally reason -- The Logos is reason. 

In Plato's Dialogues, The Spoken Word is The Path to refining and improving The Logos or Reason — later, Christ came into The World as The Word of God; and in another moment of The Christian Trinity, The Holy spirit is the logos which proceeds from The Son of God and which abides with human beings  — Derrida wishes to reject all of this, and all of the implications -- 

Derrida says that Western European culture is guilty of Logocentrism -- The Western cultural Paradigm has contained within it, the aspiration to be based on reason : this has to be rejected. 

The Western cultural-Paradigm also gives priority to speech and to The Spoken Word -- you can compare this to to other cultures around The World, but this is not the case; 

Most literature was originally designed to be read aloud or or even sung, from Plato's dialogues to Dante to Petrarch to Shakespeare to Schiller --- and this is the hated Phonocentrism, which Derrida also wants to get rid of ---

Derrida delves into Plato in an attempt to show that the overtones of The Platonic Logos are exclusively paternal and male-dominated -- this gives rise to the further charge of phalogocentrism, and of course soon enough that turns into phalocentrism in the writings of the Menads of Feminist literary Theory today --

Derrida follows his Nazi Guru Heidegger in concluding that the real problem in The West is that our culture is permeated by what he calls 'metaphysics' -- Heidegger had railed against the metaphysics of presence and against metaphysics in general.

For Derrida, 'metaphysics' evidently means anything that cannot be boiled-down to Sense-Certainty. 

Derrida seems sees 'metaphysics' as The Enemy that must be destroyed and under this heading he lumps God, The Self, The Soul, The Human Individual, Causality, Substance Essence, Idea, Action and virtually any concept of any importance turns out to be 'metaphysical' -- these have to go, of course for reasons that are never really uh explained --

And of course for Derrida,  Language is this self-contained formal system of signs with no connection to any reality, concept or thing -- 

Back during the Weimar Republic in the 20s and 30s in Germany the pro-Nazi Heidegger and others referred to their battle against 'metaphysics' with the name destrution or destruction -- and destruction was the first name that Derrida ever gave to his own method.... 

Parallels have been drawn from Deconstructionism to Zen and above all to The Sufism of Al-Gazali whose destruction is in effect a deconstruction of Al-Farrabi and Ibn Sinna attempting to play on their supposed self-contradictions and writers on postmodernism have called attention to this --

a dozen years ago larouche authored a new standard American English curriculum for Effective US public schools in which he outlined the requirements for illiterate language setting out to express the geometric complexity of reality according to larouche this would include seven grammatical cases nine tenses five moods an active and passive voice non-reflexive and self-reflexive features and a vocabulary of 50,000 to 100,000 words including a very well-developed verb system this would therefore mean the ability to express at least 1,260 degrees of geometric freedom 

But of course, for the radical nominalist, paranoid-schizophrenic Derrida, 

Language has nothing 

to DO with reality — 

Derrida sides above all with the Linguistics of Ferdinand of Geneva, which accomplished a massive deterioration in these Language Studies by abandoning all idea of Historical analysis —

For Derrida, The Word as A Sign does not lead to A Concept or An Object, but it only leads you to other signs  — take for example, the word “cat”. 

Okay,  “cat” is A Word that leads you to the furry feline, right?

Right, but no — according to Derrida, this word by itself means nothing,  it only means something because it's different from other words, like “bat” or “rat” or “hat”.

It’s therefore a Negative and Relational Axiom of Duesur;  

For Derrida The Word seems to promise Meaning, but its definition always sends us through an endless chain of other words when we look for the definitions, so the promise of Meaning is indefinitely postponed, delayed, deferred according to this nonsense — each word in a text points to a NeverEnding series of other, older texts — The Chamber of Texts of Derrida.

This is Derrida’s jargon word of “differance”;with a big “a” in the last syllable, which packs ‘difference’ and ‘delay’ into the same baggage —

Now, for Derrida, 

The Author is Dead, 

by definition, he never existed —

The Human Self and The Human Ego have collapsed into an ‘X’ marking the spot where they once were; 

This is the so-called “Subject Position” :

There is no perception, 

all that Derrida is willing 

to talk about, is A Text —

A written text of black on white, 

with punctuation, typefaces, paragraphs, margins, codons, copyrights, logoes — logoes, but No Logos — and so forth.

This is what he calls ‘writing’ or ‘L’ecriture’ and this writing is primary over Speech — primary with respect to The Spoken Word, which is another purely arbitrary and absolutely absurd assertion;

Everything is a written text, in the sense that every thought, utterance or discourse — watch out when you hear ‘discourse’, because That’s THEM — uh 

Anything, 

any Discourse 

is simply 

"A Story that 

We Tell each other 

about something that exists"

(uh well, something that that 

may or, may not exist)

— and best way for 

A Discourse to be there 

is, as a written text.

So as Derrida says, 

“There is NOTHING 

outside of The Text”;

everything is A Text — 

there are no more Works of Art;

ALL black writing on white paper is A Text, be it Shakespeare, the telephone book, Mickey Mouse, the racing form, The US Constitution, the Jupiter Symphony all of those are Texts, and every one of of them is exactly equivalent to any other —

As you can see, what Derrida tries to do, is to draw you into A Labyrinth of Jargon — he's always shifting The Jargon, allegedly to keep from falling back into the hated ways of 'Metaphysics' —

He uses words like “trace”, “sediment” and “iteration” to show that words evolve and change their meanings, as they are used again and again — it's like barnacles on a ship's Hull or the way a coin might be worn when it goes through circulation;

For example, if we hear the word “crook” — Who do we think of think of?”

So, the idea is that each one of these words becomes freighted with a trace, a sediment of something, because of the way that they've been used, and this is always there and may not be under control…

These are overtones, connotations, associations, you can think of them as etymologies if you want to -- 

They become the key to Derrida practice of what he calls 'dissemination' : -- the scattering of Meanings through Free Play; 

The Point is always to show that writing is the product of some kind of a compulsion, some kind of a determinism, it is not free -- one example is Derrida's deconstruction of his favourite target, Plato.

This is the deconstruction of the Phaedrus dialogue in the book "Disseminations", by Derrida --

Derrida attempts to show through a textual analysis of the of The Dialogue, words that Plato uses, one is Pharmaca;

This is a Proper Name; it is a Nymph who was present when one of her companions was blown off a cliff and died on the Rocks below; 

Then we have the word Pharmakon; this can mean either a Medicine which gives Life or a Poison which gives Death;

Then we have Pharmakos; Plato refers to Socrates as Pharmakos -- it has the overtone of A Sorcerer or A Medicine-Man, used ironically -- "Socrates, I do apprehend you to be A Wizard! --"

Derrida points out, that although Plato goes through this series Pharmacea, Pharmakon, Pharmakos --  he does not use a closely-related word which is a synonym of the last one, which is Pharmakos and Pharmakos is the sacrificial victim or scapegoat -- 

This is the person, for example who would be ceremonially killed in Athens, in the event of a plague or some other natural disaster, or some disaster of another type -- so, scapegoat is of course what Socrates later became; 

So Derrida goes through this, with the idea of showing you that Plato was also not free; he was compelled, he was controlled by some kinds of subconscious psychological factors, 

and THEREFORE :

The Text says, what 

Plato could not have meant; 

....and this is the obvious 

Deconstructionist conclusion :

All reading is misreading; 

the Phaedrus dialogue and 

any other piece of writing 

is hopelessly contradictory 

and completely indecipherable --"

"They had rocked The Boat; 

they had upset The State; 

they had failed to maintain Ma'at.

"The Temple walls 

[of The New Kingdom] 

will depict The King as 

going on military campaigns 

to increase Ma'at, Divine Order --

and the notion here is, 

Foreign Peoples and Places 

are a source of CHAOS : so, 

The King must bring 

ORDER to these people, 

and it's for their own Good.

So The King is functioning as 

an insurer of Ma'at and 

the temples themselves should 

be regarded as FACTORIES, 

if you will, of this Divine Order.

At the same time, another 

of the old gods of the 

Egyptian pantheon, Sutekh, 

the embodiment of confusion 

and disorder, had become 

incredibly connected with 

the gods of foreign lands.

Any remaining religions practices 

of The Hyksos had also been 

incorporated into this deity and 

would have remained A Problem 

for any King trying to maintain Ma'at.

Despite King Ahmoses' termination 

of The Hyksos' political rule 

around 1550 BCE, the deities 

of The Semites remained. 

Even Queen Hatshepsut, nearly 

a century later, commented that 

The Hyksos ruled without Ra -- 

Her claim to have restored Order 

might hint at the very reason for her 

non-attendance on The King's List. 

That, or the unorthodox 

nature of Her Rule....."

I am The Princess of Wales.

I shall tell you 

of William Wallace. 

Historians from 

England will say 

I am a Liar, 

but History is written by those 

who have butchered Their Moon Goddesses —

The King of Scotland had died 

without a son, and The King of England, a cruel pagan known as Edward The Longshanks, 

claimed The Throne of Scotland for himself. 

Scotland's nobles fought him, and fought each other over The Crown. 

So Longshanks invited them to 

talks of truce, no weapons, 

one page only. 

Among the farmers of that shire was Malcolm Wallace, 

a commoner with his own lands. 

He had Two Sons : 

John and William.

They Do not Deserve Your Protection, Diana.

‘I liked the idea of going out as I’d come into the business; doing outlandish space fiction stories set on distant worlds of satire and metaphor.’

And so The Green Lantern

concluded its run on planet allegory - hero Hal Jordan must choose to walk away from a vivid fantasy planet he’s cultivated as what amounts to a personal vacation paradise, thereby giving it room to develop on its own without his influence.

When space cop Jordan leaves the future to others of his kind

and jets off into the unknown, 

subtext becomes but

text in its underwear.

Wonder Woman Earth One, with artist Yanick Paquette on the other hand, set out to be a stately swan-elegant, meticulously constructed Gloriana ‘art d’amour’ – a heartfelt hypersigil with magical intent and an eye on the future, as mediated through the metaphorical filter of an imagined oncoming Aeon of Ma’at and the energies of the Qabalistic Sphere of Binah.

In each case, the message, I hoped, was plain as the nose on your sister – 

I was saying goodbye to this fictional universe where I’d 

spent so many happy hours, 

leaving it in the capable sweaty hands 

of younger, more dedicated, 

enthusiastic and 

energetic open cast 

mind workers.

I had no appetite for another project in the DC universe – which attitude naturally made me a sucker for the old ‘just one last job’ trope, the downfall of many a grizzled warhorse…

In the last installment in this series, we have discussed chochmah or "inspired wisdom." We now come to the second of the Ten Sefirot, which is binah or "processed wisdom," also known as deductive reasoning.

We have a definition of binah in our non-mystical Midrashic literature which defines binah in the same way that Kabbalah defines it, and that is davar mitoch davar -- understanding one idea from another idea.

A person has an idea -- generated by chochmah -- and left the way it is, the idea is not really useful; it is raw. But then one begins to analyze it. What exactly are the parameters of the idea? What axioms is it based on? What are all the ramifications of this idea, and are they internally consistent? What are its applications?

In Kabbalistic literature the metaphor of a "father" and a "mother" is used to describe this relationship of raw idea to processed idea.

Just like a father sows a seed, so chochmah is a mere seed, an undeveloped code for potential.

Just like a father sows a seed, so chochmah is a mere seed. The father's seed is infinitesimally small, containing an undeveloped code that is mere potential.

It is in the mother's womb that it begins to develop. Every line of DNA code begins to become a human cell, a budding tissue, or a specific organ. Here is the ability to develop the germ of a human.

This relationship is also expressed in Talmudic literature:

The man brings home wheat and wool from the fields. Can a man eat wheat? Can he wear wool? The woman then takes this wheat and makes flour, then dough, and then bread. She takes the wool, spins it, weaves it, and sews it.

Thus we see that the woman develops the potential in every item. (Without stereotyping perhaps this explains the special talent in education that mothers possess, for they are capable of seeing potential in children, 

long after their father has given up on them.)

One more point about the metaphor of a father and mother. The original man -- Adam -- was created from "nothing." He started out as lump of clay into which was instilled the Divine breath. Thus the essence of the man is that he comes from "nowhere" much the same as chochmah does.

Eve, however, was taken from Adam. 

Her very existence demonstrated that she 

was a davar mitoch davar, an entity 

coming from something.

Adam seemed to be but one person, but it was then revealed that out of this person, another person could be carved out. Or put more correctly -- within this Adam there was latent an entire person, waiting to emerge.

The Bible then explains that this is the reason that a woman is called ishah for she was taken from man, ish.

WISDOM AND STUDY OF TORAH

Let us find the contrast between chochmah and binah 

in a very different area: the study of Torah.

The Talmud states that Torah 

was given to Moses 

to give to Israel. 

At that time Moses also received the art of pilpul, 

which translates roughly as the process of logically extrapolating new Torah laws from the existing body of law. Moses was not required to hand this skill to Israel, but out of his "good heartedness" he did so. Indeed, the skill became very useful because when Moses died, Israel forgot many laws, and these were restored through the pilpul process.

This teaching of the Talmud is actually a description 

of the role of both chochmah and binah 

in the study of Torah.

Torah is certainly an example of chochmah. It is an outside injection of God's wisdom into the world. 

Its validity is not because we understand it, 

but rather because G-d said it is so.

Torah simultaneously has an internal binah, which 

translates as logical extrapolation.

Yet Torah simultaneously has an internal binah. Given the basics one can use logical extrapolation and rebuild the rest of it. Even the mode with which pilpul was given to us reminds us so much of binah. Torah per se was given from God, but binah (i.e. pilpul) was passed onto us from the person who already had it! Much the same as the woman was created from the man who already was there!

Indeed for an outsider visiting a yeshiva, the method of study seems strange. On the one hand the students display a tremendous reverence for the Torah as being God's word. On the other hand, every point is meticulously debated with the keenest logical analysis possible. This is because Torah does indeed contain both components : 

Chochmah bestowed from God 

and human binah developing it.

Let us sum up. Chochmah is intellect that does not emanate from the rational process. It is either inspired or taught. Binah is the rational process that is innate in the person, and works to develop an idea fully.

(In a passage of Longshanks' castle, The Prince, Phillip and other young courtiers are walking. Two are carrying a full-length mirror, in which the Prince and Phillip are admiring themselves. The Prince stops them to adjust the belt of Phillip's gaily colored tunic.)

Prince: 

Wait. Wait. Look. 

This is out and this is left. 

(to the people holding the mirror) 

Carry on. Carry on.

(Isabella and Nicolette follow, strolling, not in any hurry to keep up with the men, who turn a corner and disappear. Their following conversation is spoken in French.)

Nicolette: 

When The King returns, 

he will bury them 

in those new clothes. 

Scotland is in chaos. 

Your Husband is secretly 

sending an army North.

Isabella: 

How do you know this?

Nicolette: 

Last night I slept with a member 

of the War Council.

Isabella: 

He shouldn't be telling 

secrets in bed.

Nicolette: 

Englishmen don't know 

what a tongue is for.

Isabella: 

(pauses for a moment, shocked) 

Ah. (She then hurries around the corner to catch up to Nicolette.) 

This Scottish rebel, Wallace. 

He fights to avenge 

a woman?

Nicolette: 

(taking Isabella's hand.) I nearly forgot. 

A magistrate wished to capture 

him, and found he 

had a secret lover.

(Some soldiers appear and Isabella motions to Nicolette to be quiet until they turn the corner. Nicolette continues in a more conspiratorial voice. Isabella listens attentively.)

Nicolette: 

So he cut the girl's throat 

to tempt Wallace to fight, 

and fight he did. Knowing his 

passion for his lost love, 

they next plotted to take him 

by desecrating the graves 

of his father and brother, 

and setting an ambush 

at the grave of his love. 

He fought his way through the 

trap and carried her body 

to a secret place.

(Isabella leans back against the wall, closing her eyes, wrapped in emotion.)

Nicolette: 

Now that's love, no?

Isabella: 

(opens her eyes) Love? 

I wouldn't know.

(Nicolette comforts her.)

Daytime. Wallace's men approach York. The peasants, seeing them, scream and run. By nightfall, William's men have created a battering ram of logs ties together and set on a cart. They wheel it across a bridge to the city wall. The Governor of York is watching the Scots from a tower overlooking the gate.

York Captain: (approaching his lord, who is preoccupied with Wallace) Sir, we can get you out if you leave now.

Governor of York: I am not about to tell my uncle I've lost him the greatest city in Northern England.

(The Scots continue battering the gate. From the fortress battlements the English drop heavy rocks and pour vats of oil on them. Archers shoot flaming arrows, igniting oil and burning the men pushing the ram.)

William: Come on!

(The Scots scream as Wallace leads more men to drive the ram into the gate. This time the now burning gate caves in and the Scots cheer.)

 

(Back in London, Longshanks and his men ride into the castle.)

Soldier: Make way for the king.

(Prince Edward, standing at a tower window overlooking the courtyard, watches his father's arrival. Then he nervously ducks back into the room. Phillip is there and goes to the window to have a look.)

Phillip: (turning back into the room) It's not your fault. Stand up to him.

Prince: I will stand up to him and more. (He practically falls into a chair. His fear is causing him to sweat. Longshank's footsteps are heard climbing the tower stairway. He enters the room, handing his crown to his escort, who leaves, closing the door behind him.)

Longshanks: (to the Prince) What news of the North?

Prince: (standing) Nothing new, Your Majesty. We've sent riders to speed any word.

Longshanks: I heard the word in France, where I was fighting to expand your future kingdom. The word, my son, is that our entire Northern Army has been annihilated. And you have done nothing.

Prince: I have ordered conscriptions. They are assembled and ready to depart.

(Chamberlain and a soldier enter.)

Chamberlain: Excuse me, sire, but there is a very urgent message from York.

Longshanks: Come. (The soldier hands over a covered basket and a note.) Leave us.

Soldier: Thank you, sire. (He is happy to leave the room)

Prince: (reading the note) Wallace has sacked York.

Longshanks: What?

Prince: Wallace has sacked York.

(Longshanks grabs the note out of the Prince's hands and reads it to himself while Prince Edward lifts the cover of the basket and, shocked by what he sees, falls back into his chair. Longshanks looks into the basket and pulls its contents out--the Governor of York's head.)

Phillip: Sire, thy own nephew. What beast could do such a thing?

Longshanks: (putting the head back in the basket, thinking out loud) If he can sack York, he can invade lower England.

Phillip: (advancing) We would stop him!

Longshanks: Who is this person who speaks to me as though I needed his advice?

Prince: (standing, stating with some self-assertion) I have declared Phillip my High Counselor.

Longshanks: Is he qualified?

(The Prince starts to answer but is interrupted.)

Phillip: (confidently) I am skilled in the arts of war and military tactics, sire.

Longshanks: Are you?

(Longshanks assumes a kindly manner, laying an arm across Phillip's shoulder. They walk slowly toward the window.)

Longshanks: Then tell me, what advice would you offer on the present situation?

(As Phillip begins his reply, Longshanks throws him out the window to his death. Phillip screams on his way down. The Prince runs to the window and looks down at Phillip, dead on the pavement, his head surrounded by a pool of blood. In anger, Prince Edward draws his dagger and tries to attack his father, but is easily disarmed and beaten to the floor, whimpering and coughing.)

Longshanks: (sits, again talking to himself) I shall offer a truce and buy him off. But who will go to him? Not I, huh, if I fell under the sword of that murderer that might be my head in a basket. And not my gentle son. The mere sight of him would only encourage an enemy to take over the whole country. So whom do I send? Whom do I send?

END OF SECTION 16

 

(Night. In the woods. Wallace is sleeping on the open ground near the campfire. A twig snaps, startling him awake. He sees a hooded figure walking furtively among the trees. He closes in on it. The figure pulls back the hood and walks toward him from out of the mist. It's Murron. William kneels.)

William: I'm dreaming.

Murron: Yes you are, and you must wake.

William: (looking around a moment, then back to her with pleading eyes) I don't want to wake. I want to stay here with you.

Murron: And I with you. But you must wake now. Wake up, William. Wake up. William, wake up.

(It's morning. The vision of Murron is gone; her words now an echo. William wakes.)

Campbell: 

(from the battlement of York's fortress) 

William, a royal entourage comes, flying banners of Truce, with the 

standards of Longshanks himself.

 

(William and his captains step off a ferry and are at once surrounded by English soldiers. His men stay behind while he is led to a large, ornate tent. Princess Isabella watches his approach with curiosity. Then she walks out to meet him.)

Isabella: 

I am The Princess of Wales. 

I come as The King's Servant 

and with His Authority.

William: 

To do what?

Isabella: 

To discuss the king's proposals. Will you speak with a woman?

(She turns and leads the way into the tent. Lord Hamilton and the princess's maid, Nicolette, are there. As Isabella sits, her eyes catch the suggestive look on Nicolette's face, but the princess hurriedly looks away as William looks around suspiciously.)

Isabella: I understand you have recently been given the rank of knight.

William: I have been given nothing. God makes men what they are.

Isabella: (with indignation) Did God make you the sacker of peaceful cities, the executioner of the king's nephew, my husband's own cousin?

William: York was the staging point for every invasion of my country. And that royal cousin hanged innocent Scots, even women and children, from the city walls. (noticing the exchange of glances between the princess and Hamilton) Well, Longshanks did far worse the last time he took a Scottish city.

Hamilton: (snidely to the Princess in Latin) He is a bloody murdering savage. And he's telling lies.

William: (to Hamilton in Latin, startling both the English Lord and the Princess) I never lie. But I am a savage. (in French for the princess's benefit) Or in French if you prefer.

(Isabella is pleased, but then remembers herself and once again she becomes serious and dignified.)

William: (in English, looking only at Isabella) You ask your king to his face, ask him, and see if his eyes can convince you of the truth.

Isabella: (after a pause) Hamilton, leave us.

Hamilton: My lady?

Isabella: Leave us. Now.

(All leave except Nicolette, who hides behind a curtain to eavesdrop.)

Isabella: Let us talk plainly. You invade England, but you cannot complete the conquest so far from your shelter and supply. The king desires peace.

William: Longshanks desires peace?

Isabella: (in innocent sincerity) He declares it to me, I swear it. He proposes that you withdraw your attack. In return he grants you title, estates, and this chest of gold which I am to pay to you personally.

William: A lordship and titles. Gold. That I should become Judas?

Isabella: Peace is made in such ways.

William: Slaves are made in such ways. The last time Longshanks spoke of peace I was a boy. And many Scottish nobles, who would not be slaves, were lured by him under a flag of truce to a barn where he had them hanged. I was very young, but I remember Longshank's notion of peace.

Isabella: I understand you have suffered. I know about your woman.

William: She was my wife. We married in secret because I would not share her with an English Lord. They killed her to get to me. I have never spoken of it. I don't know why I tell you now except I see her strength in you. One day you'll be a queen, and you must open your eyes. You tell your king that William Wallace will not be ruled, and nor will any Scot while I live.

(Isabella's wagon departs. The Princess looks out at William as he stands watching with Hamish.)

END OF SECTION 17

 

(Longshanks in his castle, conferring with his war counsel.)

Longshanks: (noticing Isabella enter) Ah, my son's loyal wife returns unkilled by the heathen. So he accepted our bribe?

Isabella: No, he did not.

Longshanks: Then why does he stay? My scouts tell me that he has not advanced.

Isabella: He waits for you at York. He says he will attack no more towns or cities, if you are man enough to come and face him.

Longshanks: Did he?

(He returns to the map on the table, where Prince Edward in sitting. The king moves the pieces as he speaks.)

Longshanks: The Welsh bowmen will not be detected arriving so far around his flank. The main force of our armies from France will land here to the north of Edinburgh. Conscripts from Ireland will approach from the southwest to here.

Prince: Welsh bowmen, troops from France, Irish conscripts. Even if you dispatch them today they will take weeks to assemble.

Longshanks: (to his son) I dispatched them before I sent your wife. (to Isabella) So our little ruse succeeded. Thank you. And while this upstart awaits my arrival in York, my forces will have arrived in Edinburgh behind him. You spoke with this Wallace in private? Tell me, what kind of man is he?

Isabella: (coming out of her shock of realizing how the king used her, says with dignity, lying) A mindless barbarian, not a king like you, my lord.

Longshanks: You may return to your embroidery.

Isabella: (with subtle indignation) Humbly, my lord.

Prince: You brought back the money, of course.

Isabella: (turns around to face the Prince) No, I gave it to ease the suffering of the children of this war.

Longshanks: (to his son) Ha! That's what happens when you send a woman.

Isabella: Forgive me, sire. I thought that generosity might demonstrate your greatness to those you mean to rule.

Longshanks: (coughing) My greatness will be better demonstrated when Wallace returns to Scotland and finds his country in ashes.

 

(In the yard of the fortress of York. Day.)

Stewart: (from the battlement) William, there's riders approaching.

(William sets down his bucket and walks to the gate. Hamish follows. They see Nicolette arriving on horseback with a mounted escort.)

Hamish: Personal escort of the princess. You must have made an impression.

William: Aye.

Hamish: I didn't think you were in the tent that long.

William: Aye.

(William and Hamish walk out to meet Nicolette.)

William: (in French) Miss.

Nicolette: (in French) A message from my mistress.

(She gives him a paper.)

William: (in French) Thank you.

(He takes the note and reads it. In disbelief, he looks quickly at Nicolette then at Hamish, then hurries back to the fortress, leaving Hamish and Nicolette staring and smiling at each other. Hamish, remembering, hurriedly follows William.)