As said below, Lost in the last week's episode has made a transition between Platonic Months; the Age of Pisces is left behind and the Age of Aquarius has awakened. Each age has its External Three - Abraham's Three Visitors, the Three Magi, Taoism's Three Celestial Ones which accompany the new age. Hurley, Ben and John Locke - the Three who intuit the voice of Jacob, are the Three Ones in this transition - one more enters perhaps (Sawyer, possibly) and John Locke takes the initiative in a bodhisattva function - that is, one of these "awakened" with the inner truths brings them to the outside world. And incidently, by linking Old Testament figures with Christian and Aquarian, the Lost telling links at least three zodiac months and possibly more - 6,000 years. The Three Celestial Ones appear in one of the most prinary myths of transition from last to next; they are the three men in a boat who accompany Tamino on his journey to Sarastro in the Magic Flute. In keeping with the Lost themes, The Magic Flute is the journey from the Earth Mother and its church to the Enlightenment and the Age of Reason. Here are two essays from Entering Aquarius on this theme; the first on Mozart's The Magic Flute as the primary myth and text of Entering Aquarius.
The Aquarian Paradigm, from Entering Aquarius
There is in
There follows a series of three films called the Silence of God trilogy, filled with a spiritual angst that was characteristic of the age, which could be interpreted as coming from anxieties that arise from sexual awareness in youth, the political uncertainties of the time, the destabilizing side affects of creating great art or other causes. They are masterful films, perhaps the greatest dramatic presentations of that time. But Bergman’s last major public presentation, a film adaptation of Mozart’s The Magic Flute, is perhaps his most important. It is the only moment in all of his work where the character experiences triumph in the end, and looking at the full body of work it becomes clear that the angst of the middle films were part of the spiritual and psychological struggle to find the character’s achievement in the last, and that those anxieties were allayed by the character’s spiritual victory in the last film. Other work would come, but much o fit seeking box-office cash and finding a generic audience.
Bergman’s rendition of The Magic Flute is a harbinger of the age here and pending. Taking his films out of their historical periods and viewing them as an expression of the artist’s own development and sensibility, his full body of work is a shaman’s journey which traverses ages, starting with The Seventh Seal at the very end of the Christian age and ending with The Magic Flute at the beginning of a new age.
Perhaps none surpasses Mozart’s The Magic Flute (1791) in knowledge of the masculine principle and the feminine, yang and yin, first performed at the high end of the Renaissance as the masculine principle and the Renaissance came to dominate the Earth Mother. In Mozart’s story three warriors guard the Lord of the
Tamino, the hero of the story, follows on a sacred love quest and in the process moves his allegiance from the Earth Mother to the Lords of the
Mozart’s opera marks history’s turning point. It was the time of revolution throughout the world. It marks the end of the ancient regimes and the monarchies of
The Aquarian Mandala from Entering Aquarius
It is worthwhile to look at symmetries as they occur in history and not ignorIt e them or consider them random. The patterns of early Christianity bear looking into as they press westward from Christian Constantinople to empower Christian Rome and subsequently the secular and Protestant movement of northern
Historian Edwin O. Reischauer points out that
Today, we see a reversal of Kipling’s maxim: East is East and West is West and never the twain shall meet. Now, East and West, like the recently-photographed galaxy known as IC2163, swinging counterclockwise past its celestial partner NGC2207, appear to be about to form into one unified solar system. Now they cannot be kept apart, and regional cultures like those in Calgary and Vancouver where populations are in the area of 50% Chinese and 50% Canadian Caucasian are in the avant garde of North American life. These cities bring together in harmony Asian and Victorian business and cultural ethics and eastern directions of Taoism and Buddhism. So too, Hindu thought finds its way gracefully into Canadian culture in Toronto and the middle Canadian cities, which have recently received a large number of Indian immigrants. One young filmmaker recently made a film about Lord Khrisna returning to earth as a hockey player. (But doesn’t The Great One already carry that spark which dances amongst the suns?)
It almost appears as if history was waiting for this moment to bring these two forces together in unity. An ancient spiritual force from the East and a new-to-history technical force in the West, as the Dalai Lama generally expressed it recently.
These two forces could not have come together at any other time in history. Nor could they have flowed together into a unique new culture at any place other than the North American continent. The “old souls” of the old world inhibit clear action and when change does occur, so often it merely consists of breakage of the old, as the new tradition of nihilism since the 1830s in Russia, simply breaks the past. Into pieces. But alienation also opens the West to a new future, and that unique but trecherous condition that deprives the American of ancestral lineage and psychological fullness of old world Asian, African and European, welcomes and rapidly adapts to new growth.
The westward movement of the last century is matched now by an Eastern movement from Asia to the
Vancouver, with its Hong Kong cash, is developing as a Paris on the Pacific, but the life force also shows it’s power in the plain people. Jackie Chan, master of the karate opera, is to North America today what Jimmy Cagney was 80 years ago, and if Cagney represented the collective promise and optimism for the millions of immigrants who swarmed to Ellis Island from Europe and Ireland, Chan does the same for the large immigration from the East, who settle primarily as a new American influence to the west and the north of the Mississippi.
This is the Aquarian mandala, which will find creative energy in centuries ahead. This means the development and enrichment of regional cultures on the North American continent, forging one another, helping one another and hating one another; forming new dynamic relationships and creating a new world.
North Americans have more in common with other North Americans than they do with Europeans. This transcends caste and religion, which, in the
Outside of academia, almost none default to Europeanism in
These all three together,
We come together in a federalist state. With federalism, everyone is equal, but no one is connected. This is the Hamiltonian model of federalism and it is singularly responsible for how we develop.
As Revelation closes the gate for one epoch which began its historical march in
And here is Black Elk as the perennial guide – from Cooper to Kevin Cosner -- for the new arrival on this continent who has lost his orientation and is wandering with a sick soul in the desert of the new world: “And the Voice said: Give them now the flowering stick that they may flourish, and the sacred pipe that they may know the power that is peace, and the wing of the white giant that they may have endurance and face all winds with courage.”The recent novel Cold Mountain with its Indian guide is representative of the journey to the Self as it unfolds here on what still is a new continent and in what is surely a new age. As Bunyan’s Christian pilgrim seeks a life of the highest integrity and moral perseverance in a world torn asunder in the 1600s, so Frazier speaks to us today. There are two