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Tuesday, December 3, 2013

What Jesus Said To Thomas*

To: Professor Rubén René Dupertuis, Ph.D.
      Associate Professor of Religion
      Trinity University
      San Antonio, Texas

Re: What Jesus Said to Thomas

From: Michael

Sir,

Perhaps, if that woman had not said “We get your point; can we move on?”, I would have offered to explain—after the “Jesus Seminar On the Road” conference was over (on September 29; interestingly enough, the Roman Catholic feast of “Michael the archangel”) and only to those who were really interested—what Jesus said to Thomas.

In any case, the opportunity did not present itself, so this is an edited version of a note that was previously sent to the Before It’s News website on March 18, 2012:

From The Nag Hammadi Library, Edited by James Robinson, pg. 127-128:

“Jesus said to his disciples, ‘Compare me to someone and tell me whom I am like.’

Simon Peter said to him ‘You are like a righteous angel.’

Matthew said to him, ‘You are like a wise philosopher.’

Thomas said to him, ‘Master, my mouth is wholly incapable of saying whom you are like.’

Jesus said, ‘I am not your master. Because you have drunk, you have become intoxicated from the bubbling spring which I have measured out.’

And he took him and withdrew and told him three things. When Thomas returned to his companions, they asked him, ‘What did Jesus say to you?’

Thomas said to them, ‘If I tell you one of the things he told me, you will pick up stones and throw them at me; a fire will come out of those stones and burn you up.’ (Saying #13 of the Gospel of Thomas)


In order to know—and, then, understand—what the three things are that Jesus said to Thomas, it is necessary to understand, first of all, the context in which that Teaching was conveyed.

To begin with, by asking the question, Jesus is testing his disciples to determine which of them, if any, is deserving of additional Teaching. And, of the three, Jesus determines that Thomas alone has ‘passed the test’; since, after all, Saying #13 is found in, specifically, the Gospel of Thomas, rather than any other Gospel.

And, in order to understand why Thomas ‘passed the test’, it is necessary to understand the differences between the consciousness of Jesus—that is, the consciousness Created ‘by and in the image of God’ (Genesis 1:27)—and the ‘fallen’ consciousness of his disciples.

The ‘fallen’ consciousness is comprised of the “beast of the sea” (Revelations 13:1) consciousness of the “self” and the “beast of the earth” (Revelations 13:11 and Sura 27:82 of the Quran) consciousness of the ‘thinker’; the principal function of the consciousness of the “self” being the creation of images [the first image created by the “self” being an image of the “self” itself as a 3-dimensional ‘curved spatiality’ of consciousness which has been created by the (“dragon”) ‘movement’ of self-reflection]; and the principal function of the consciousness of the ‘thinker’ being the extension and preservation of that ‘curved spatiality’ of consciousness in time through the creation of thought (the first thought being the thought of the ‘thinker’).

Thus, what Jesus is determining (by asking the question) is whether his disciples have any understanding at all of the quite serious limitations of the ‘fallen’ consciousness in apprehending, through image, or explaining, through thought, either the consciousness Created by God itself or the Knowledge of the Truth. And, from his reply, it is quite clear that Thomas does have at least a minimal understanding of such limitations.

Thus, Jesus tells Thomas three things:

1) The conflict between the consciousness Created by God and the ‘fallen’ consciousness of the “self” and the ‘thinker’ is a conflict between the Knowledge of Truth and both the images of Truth created by the “self” and the thoughts about Truth created by the ‘thinker’; those images and thoughts being symbolized as “stones” which are thrown at the Truth for the purpose of destroying it;

2) The images and thoughts created by the ‘fallen’ consciousness in order to destroy both the consciousness Created by God and the Knowledge of Truth originate in the “fire” of fear and desire [which is the origin of both the ‘movement’ of self-reflection (the “self”) and the postulation of the thought of the ‘thinker’]; and,

3) The confrontation between the Knowledge of Truth and the images and thoughts which are created by the ‘fallen’ consciousness of the “self” and the ‘thinker’ results in the time-reversal ‘resolution’ of those images and thoughts—into the “fire” from which they originated—to the very annihilation of both the “self” and the ‘thinker’ themselves; as must occur prior to the receiving of the Vision of the “Son of man”.

For more than 33 years, however, the “dragon”-media and the “false prophet” Jewish and Christian religious ‘authorities’ (Revelations 16:13)—including, since 1986, the Jesus Seminar—have censored and suppressed what Jesus said to Thomas; choosing to publish, instead, numerous commentaries (“their name is legion”) on the Gospel of Thomas written by people who, incredibly, were not even involved in the conversation between Jesus and Thomas in the first place…

Michael (Chapter 12:1 of the Book of Daniel, Sura 2:98 of the Quran)

And


Sarah-->Elijah-->Daniel-->John the Baptist-->Mohammed-->Elizabeth


For

Hagar-->the apostle Mary-->Danielle (1982)

And

Isaac-->the apostle John-->Robin (1986)

Ishmael-->the apostle Peter-->Cindy (1992)

Jacob-->the apostle Thomas-->Linda (1987)

Esau-->the apostle, Judas-->Susan (1970)

Isaiah’s wife-->the apostle James-->Kimberly (2000)

*First sent to this blog on September 30, 2012

Sunday, December 1, 2013

Revelations, Seals & Consciousness:
The First Seal

The opening of the First Seal of the Revelation of John symbolizes the Revelation of Knowledge (by means of the non-dualistic, 2-dimensional ‘flat’ space “observing consciousness” Created ‘by and in the image of God’—Genesis 1:27) through both the Vision of the “Son of man” (the Third Phase of the War of the Sons of Light) and the Revelation of “the resurrection” (the Second Phase of the War of the Sons of Light).

The Vision of the “Son of man” ‘awakens’ and is experienced by all Seven Churches—which loosely correspond to the seven principal ganglia of the sympathetic nervous system; each of which has an associated emotion; most (?) of which have corresponding endocrine glands; as signified by time segment 3:58-4:51 of:

Lord of the Dance - Cry of the Celts HD ;

(the movements of the dancers at 4:46-4:49, 5:08-5:10, and 5:24-5:28 representing the Vision of the “Son of man” itself)—and terminates at the Seventh Church (the phonetic tone of which is Long I) or the ‘forehead chakra’ (symbolized by Jesus being crucified ‘between two thieves’ ‘at the Place of the Skull’; which is also echoed by the symbol of the two serpents winding around the central staff of the caduceus; which corresponds, also but loosely, to the sushumna, flanked by the ida and pingala of kundalini); while the Revelation of “the resurrection” is experienced by the Fourth Church or the ‘heart chakra’; the phonetic tone of which is Long A.

The Revelation of “the resurrection” includes the Revelation of the Memory of being Created with a non-dualistic (explained by Jesus in Saying #11 of the Gospel of [Israel]-->Thomas-->[Linda] with the words: “On the day when you were one, you became two” ) consciousness (cryptically referred to in the Thanksgiving Hymns of the Dead Sea Scrolls by the term “angels of the Face”, and echoed in the Gospel of Truth (from the Nag Hammadi Codices) by the phrase “…as though to say that they have participated in [H]is [F]ace by means of kisses”), the Revelation of the Memory of ‘the Fall’ into the self-created, dualistic consciousness of the “self” and the ‘thinker’; and the revelation of the memories of previous lives, represented musically in this video with the repetition of the Long A phonetic tone:


(the opening 1 minute and 9 seconds of which convey the emotions associated with the Second, Fifth and Sixth Churches, which provide the emotional context for the Revelation of “the resurrection”; followed by the emergence of phonetic tones, followed by a “death rattle”, which leads to the Long A phonetic tone of the actual memories of previous lives, represented by the different dancers, etc.); whereas the Long A phonetic tone repeated throughout this video:


focuses more on the love which is experienced and expressed by and through the Fourth Church/‘heart chakra’.

The white horse of the First Seal represents Isaac [-->the apostle John-->Robin] and the Revelation of Truth (the downward pointing triangle of the Star of David); while the rider on the white horse is Ishmael (Genesis 21:20) [-->the apostle Peter-->Cindy]:

Dead Can Dance - Toward the Within - "I Can See Now - American Dreaming" ,

representing scientific truth and the search for Truth (the upward pointing triangle of the Star of David); while the music (properly explained in an oral Teaching) and English lyrics of the following song (preceded and accompanied by the woman singing phonetic tones, from time segment 4:22-6:05) echo and expand upon the Revelations (properly explained in an oral Teaching) and the Revelational history recorded in Genesis:

Dead Can Dance - Toward the Within - "Rakim"

The Knowledge Revealed through the Vision of the “Son of man” is also represented in the choreography of:


(the crown worn by the woman in the white dress signifying the “queen of the South”—Chapter 11, verse 31 of the Gospel of Luke—as a Feminine characterization of the Vision of the “Son of man”); with time segment 0:57-0:59 representing the Vision of the “Son of man” itself; time segment 1:07-1:09 signifying the writing of the Revelations; time segment 1:47-1:48 signifying the reading of the Revelations; and time segments 2:22-2:23 and 2:26-2:27 representing both the ‘two thieves’ (or “ida” and “pingala”) ‘at the “Place of the Skull” and the “two witnesses” of Chapter 11, verses 11-12 of the Revelation of John.

The ‘Messages to the Seven Churches’, then, consist of cryptic fragments of an oral Teaching which address both the emotions experienced at each of the ‘chakras’, as well as the characteristics of the progressive deterioration from the consciousness Created by God to the self-created consciousness of the “self” and the ‘thinker’ (many aspects of which Teaching are briefly referred to at:

http://unsealing-the-seven-seals.blogspot.com/2014/11/for-isaiah-s-wife-apostle-james.html ),

explained in some detail by [Hagar-->] the apostle Mary [-->Danielle] in:

The Gospel of Mary


Michael
Revelations, Seals & Consciousness:
The Second Seal


The opening of the Second Seal of the Revelation of John symbolizes, in a negative sense, ‘the Fall’ into the self-created  (by the ‘movement’ of self-reflection; which is the origin of all dependent dualities)—i.e., the “first born”—dualistic, 3-dimensional ‘curved’ space, “beast of the sea” consciousness of the “self”; the swordsman on the red (Chapter 25, verse 30 of Genesis) horse being Esau [-->the apostle Judas-->Susan] (Chapter 27, verse 39 of Genesis).

In addition, the origin of the ‘spatiality’ of the “self” is graphically demonstrated
in the final conflict between Agent Smith and Neo in Matrix Revolutions; Agent Smith  representing the origin of the duality (the “dragon”), and Neo representing non-duality (Mi cha el) at time segment 2:13-2:18, followed by ‘the Fall’ from time segment 2:30-2:46 of:


Neo vs Smith--origin of the "self"
;

whereas the following video:

Matrix Ending ("beast of the sea"/"beast of the earth")


graphically demonstrates Agent Smith (the “dragon”) as having ‘morphed’ into, first, the “beast of the sea” (at time segment 0:10-0:14—see Chapter 13, verse 1 of the Revelation of John); and, then, the “beast of the earth” (at time segment 0:55—see Chapter 13, verse 11 of the Revelation of John).

Nor is it a mere coincidence that, through a time-reversal (time segment 1:25-1:28 of:

Sleeping Beauty--Maleficent Morphs Into the Dragon ),
the ‘two-horned’ Maleficent (representing the consciousness of the ‘thinker’) morphs into the “dragon” (representing the origin of the duality, which is the foundation of the “tree of the knowledge of good and evil” consciousness of the “self”)…

But only after the rider on the white horse has cut through the thorns around the castle; which represent the metaphysical nonsense concocted by the dog-in-a-manger Jewish, Christian and Muslim religious ‘authorities’ for the purpose of preventing people from understanding the Truth of the Revelations.

In a positive sense, however, the woman in the red dress in the following dance represents not merely the ‘fallen’ consciousness of the “self”:

but, also, the 3-dimensional ‘curved’ space reality within which we all must live—the five ‘swimming’ movements of her left (the Feminine Phonetic Tones) and right arm (the Masculine Phonetic Tones) at time segment 0:20-0:25, for example, representing the Ten Principal Phonetic Tones of Creation.

And because these Phonetic Tones pertain to the Creation of the space-time reality, the woman in the red dress also represents the observations (and experiments) of the scientific method (which constitute a ‘special case’ of the “observing consciousness” directed toward the space-time reality) which establish the foundations of scientific truth.

Many of her other movements, however, signify characteristics of the consciousness of the “self” which can be accurately explained in detail only in an oral Teaching.

And, to the extent that there are emotions associated with both ‘the Fall’ into the dualistic consciousness and the (violent and bloody) consequences of that ‘Fall’, there is a significant correspondence between the emotions associated with the Second Seal, the Fifth Seal, and the Sixth Seal; the Fifth Seal signifying sorrow, but the Second and the Sixth Seals signifying not merely sorrow, but an infinite abyss of unresolved anguish, hopelessness, desolation, despair, and the unrelenting stoppage of time itself: emotions experienced by those who have suffered extremes of violence, torture, mass-murder or warfare, as conveyed by:


And, with regards to the Teaching of Jesus, it can be said that Paul was the ‘rider on a red horse’; the ultimate consequences of his perversion of that Teaching—through, in particular, the doctrine of ‘vicarious atonement’ and its ‘dependent idolatry’: the deification of Jesus as ‘God’—being expressed in these two songs.

Michael
Revelations, Seals & Consciousness:
The Third Seal

The opening of the Third Seal of the Revelation of John, the rider on the black horse, symbolizes the emergence of the dualistic, self-created, ‘fallen’ consciousness of the ‘thinker’; which ‘thinks’ itself into existence by means of the thought of the ‘thinker’ (See Meditations On First Philosophy, by Descartes) for the purpose of preserving the ‘spatiality’ (i.e., maintaining the sanity; see the opening passages of the Second Meditation) of the consciousness of the “self” over time:

And, while the male perversion of Masculine Truth is violence and warfare, as represented in the following dance:

Dark Lord Don Dorcha & Warlords;


the position of the main dancer’s arms at time segment 0:43-0:47—and of the group of dancers at precisely 1:22—represents hard-hearted arrogance (while other of his movements represent both the suppression of sorrow and a steely indifference to the sufferings of others.) That positioning is precisely the opposite of the woman in the white dress in Stolen Kiss, who crosses her arms across her chest in a demonstration of humility; the female perversion of Feminine Truth is the whorishness of the monotheistic theologies, as represented in the following dance:

Lord of the Dance - Breakout HD

At time segment 1:49-1:51, the woman in the red dress twice projects the duality of the ‘fallen’ consciousness upon the woman in the white dress, representing the non-duality of the Revelations; after which, reminiscent of ‘the Fall’, the woman in the white dress descends into the whorishness of metaphysical philosophy/theology.

And, with regards to the Teaching of Jesus, if Paul is considered to be the ‘rider on the red horse’, Constantine is to be considered the ‘rider on the black horse’ by his ‘elevation’ and ‘weaponization’ of the idolatry of Paul into the state religion.


Michael
Revelations, Seals & Consciousness:
The Fourth Seal


Whereas the Second and the Third Seals of the Revelation of John symbolize the emergence and characteristics of the dualistic, ‘fallen’ consciousness of the “self” and the ‘thinker’ in their unrelenting and vicious opposition to both the non-dualistic consciousness Created by God and the Knowledge Revealed through that consciousness (as represented by the opening of the First Seal); the opening of the Fourth Seal symbolizes the manifestation of the characteristics of that ‘fallen’, dualistic consciousness in the space-time reality; that is, the effects of duality, conflict, violence and warfare (originating in the images of the ‘fallen’ consciousness of the “self”, and the thoughts of the ‘fallen’ consciousness of the ‘thinker’) upon human civilization; for example, the effects of ambition, sexual lust, the lust for power, greed, cynicism, paranoia, and self-righteousness vindictiveness.

Michael

Revelations, Seals & Consciousness:
The Fifth Seal


The opening of the Fifth Seal of the Revelation of John symbolizes the sorrow and suffering experienced in relation to people, and to events in the space-time reality; chiefly as a consequence of the conflict and violence that is unleashed upon the world with the opening of the Fourth Seal; in particular, the sorrow and suffering experienced by the Sons of Light as a result of the First Phase retaliation of the Sons of Darkness against the Moral Law; the sorrow and suffering experienced by the Sons of Light as a result of the Second Phase retaliation of the Sons of Darkness against the Revelation of “the resurrection” as a Doctrine of ‘Rebirth’; and the sorrow and suffering experienced by the Sons of Light as a result of the Third Phase retaliation of the Sons of Darkness against the Knowledge Revealed through the Vision of the “Son of man”; a sorrow and a suffering which, however, is merely a precursor to the experience of the utter annihilation of the ‘fallen’ consciousness itself, as is symbolized by the opening of the Sixth Seal.
 

Michael
Revelations, Seals & Consciousness:
The Sixth Seal


The opening of the Sixth Seal of the Revelation of John symbolizes what the Jewish mystics refer to as the “shattering of the vessels”; that is, the instantaneous and traumatic annihilation of its extension in time (of the consciousness of the ‘thinker’) and the very ‘spatiality’ of the consciousness of the “self”; which is a necessary precursor to the receiving of both the Vision of the “Son of man” and the Revelation of “the resurrection”.

Michael
Revelations, Seals & Consciousness:
The Seventh Seal

The opening of the Seventh Seal of the Revelation of John symbolizes the receiving of the Vision of the “Son of man” over “the space of half an hour” (which is the same as the “Night Journey” of [Sarah-->] [Elijah-->] [Daniel-->][John the Baptist-->] Mohammed [-->Elizabeth]); a Vision which is cryptically described in the Thanksgiving Hymns of the Dead Sea Scrolls with the words: “the fortress shall open on to Endless Space”; and, in the Gospel of Mary, with the words: “…where are you going, conqueror of space?” [Note the Long A phonetic tone of “the resurrection” (the word “space”), signifying that the Knowledge Revealed through the Vision of the “Son of man” is subsequently Revealed through the Revelation of “the resurrection”].

Thus, there is a direct connection between the opening of the Seventh Seal and the opening of the First Seal, like two adjacent points on a circle.

In addition, this Vision is also represented both visually and acoustically in:

2001- A Space Odyssey Star Gate sequence ;

with the lights emerging out of a 2-dimensional ‘flat’ space for the first 2 minutes and 40 seconds; accompanied by many of the Ten Phonetic Tones of Creation for the first minute and 27 seconds; a Vision which is also cryptically described in:

In terms of emotions, there is a very sharp transition between the suffering and sorrow experienced with the opening of the Sixth Seal, as expressed in the first version of Cantara (above), and the resolution of that suffering and sorrow, as expressed in:


the tempo of the song (1, 2, 3; 1, 2, 3; 1, 2, 3, 4, 5, 6, 7) signifying the Three Phases of the War of the Sons of Light; the three retaliations of the Sons of Darkness; and the Victory of the Sons of Light ‘with the Seventh Lot’.

And, while the psychological condition of the person who receives the Vision is graphically represented by a trembling David Bowman (a “synchronicity” with Genesis 21:20) at:

2001: A Space Odyssey (after the Vision) ;

the last image on the screen, the baby in the amniotic sac, is symbolic of the Revelation of “the resurrection”; the specific Revelation through which the “observing consciousness” becomes more firmly grounded in the space-time reality (see Chapter 12, verse 16 of the Revelation of John).

In other words, the sequence of the “Stargate sequence” and the last image on the screen in 2001—A Space Odyssey is also the sequence in which the Vision of the “Son of man” and the Revelation of “the resurrection” are received.

Now, will this Unsealing of the Seven Seals of the Revelation of John, by someone whose arrival has been specifically Prophesied by Daniel and mentioned in the Quran, have any effect whatsoever upon the Christian religious ‘authorities’ or their followers?

Unlikely.

(Although a much more accurate answer would probably be:

Of course not.)

The only interest that the Christian religious ‘authorities’ have in the Revelation of John is how many books they can sell and much money they can make by their witless ‘interpretations’.

It appears that they, as well as their hundreds of millions of followers, are fully prepared to wait an eternity for the return of not only Jesus, but every prophet and apostle, ‘riding a white horse out of the sky’.

Michael