Pan’s Labyrinth


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What is the "all seeing eye" or "eye of Horus", depicted atop the unfinished pyramid on the back of the dollar bill and in (surprisingly) plain-view as the Time Warner Cable logo?  What do the Freemasons teach their initiates, and how did they become so powerful?  What's up with the so-called Illuminati?  Who are the Rosicrucians?  Were the Templar Knights "heretics"?  If so, what did they believe?  How does Kabbalah, a "mystic" (and ancient) tradition with close ties to Judaism relate to the "Gnostic" sects, and do the later comprise a parallel "esoteric" tradition in the Christian theater?  What is the 'Cremation of Care', a mock sacrifice performed at a yearly gathering of the world's top elite at Bohemian Grove in northern California all about?  Are all of the above related, and if so, how? … and does the "dragon" fit somehow into a larger picture?  

Not only do I believe I've stumbled onto a key enabling me to answer all these questions (to my own satisfaction at least), I think that in the same turn I've hit also on an elegant way to put it all into a single easy-to-grasp piece … that being an expose on a film by director Guillermo Del Toro, 'Pan's Labyrinth'.  

I've been wanting to write something about 'Pan's Labyrinth' for some time now as the occult references in the film are fairly obvious.  But I didn't feeI I understood it on a deep enough level to attempt it.  

Having read 'The Secret History of the World', a monumental book by Jonathan Black, I feel I can give it a shot.  

No one can say for sure what Del Toro was trying to say in 'Pan's Labyrinth', or what additional meaning might lie beneath the surface of the film.   But I walked away with the definite impression that both  'Pan's Labyrinth' and 'Secret History of the World' are essentially about the same thing … spirituality.    We're not talking about religion here, at least not in the conventional sense of the word, but rather humankind's connection to the spirit-world as it existed, in a very real sense (re: Black and according to the ancient esoteric traditions), in antiquity.  

In my previous article, 'Pinocchio and the Votive Hand of Sabazios', I discuss the 'mysteries' of Troad and Greece.   What I didn't mention was that these cults, in their own place and time, represented a much broader esoteric tradition that spans from ancient Egypt and Babylon to the secret societies of Medieval Europe, and in some respects to secretive organizations active even today.   

However my chosing of the mysteries of Troad and Greece as a window into the larger history of esoteric cults was maybe fortuitous, for their rituals were notably extreme and perverse.   The REASON they got drunk, worked themselves up into states of ritual madness (there is even a name for it … "Bacchian frenzy", after Bacchus, the Roman name for Dionysis) and engaged in wild orgies was, to enter the spritual realm, to commune with the gods.   Many techniques have been employed through the ages to break through to the spirit world.   Ritual sex was among these, and Kabbalah texts are full of eroticism, not to titilate but because sex was thought to carry one to the threshold of  enlightenment.  Psycotropic drugs were a part of the initiation rituals of many esoteric sects, as was self-mutilation, near-death experience, and meditation.

In ancient Egypt and Babylon this esoteric tradition was manifest in the 'Mystery Schools', in India the ancient beliefs coalesced in Hinduism and Buddahism, in the Troad and Greece the traditions were carried on by the cults or, 'mystery religions', mentioned earlier, and in Medieval Europe ancient esoteric thought was embraced by, in the main, the Gnostic Cathars, the Knights Templar (apparently), and two organizations still active today, the Rosicrucians as well as a powerful secretive society whose roots lie in the Templar order, Freemasonry.   An additional secret society was formed in the later 18th century, the Illuminati, which presents a unique case which I'll get to.

As human evolution progressed from the ancient period through the millenia, and as spiritual awareness gave way to rational thought, two things happened.   Human-kind, as described in 'Secret  History of the World' (and more subtly in 'Pan's Labyrinth') lost its ability to commune with spirits, and, later, the esoteric traditions themselves were hijacked.   What was once the concern of a SPIRITUAL elite became the tool of a RULING (political/financial) elite.    That, in a nut-shell is the narrative of both Black's 'the Secret History of the World' and Del Toro's 'Pan's Labyrinth', though, had I not happened to be reading Black's book when I watched Del Toro's film for the second time, I probably wouldn't have seen how closely the two mirror one another.

'The Secret History of the World', according to its author, is the product of 20 years of research and writing.  Jonathan Black states further that much of the information he details in the pages of his book are esoteric secrets which have been passed down through the millenia.  There was a time when the divulging of these secrets by initiates of the secret societies or the ancient mystery schools was an offense punishable by death.   Black's source for much of his information is allegedly an initiate of an unnamed secret society who opted to remain anonomous.

This was an eye-opening book for me for several reasons.   It instructed me as to the dragon's proper place among other "dieties" which pop up over and over as I continue to research the esoteric traditions – those entities being, in order, the Great Mother goddess, Saturn (Satan), the "Sun-god" (manifested as Ra, Apollo, Krishna, etc.) and  Venus (Lucifer).   These are the primary actors in the original "creation myth" as taught within the esoteric tradition embraced by the Mystery Schools and Secret Societies one and all, a story in which the dragon also played an important part.   The dragon is followed (in order of importance) by other "planetary sheres".   There are seven (and as I write this the 'Seventh Seal' with Demi Moore happens to be playing on cable LoL). They are, Mercury/Hermes, Venus/Aphrodite, the Earth, the Moon, Mars/Ares, Jupiter/Zeus, and Saturn/Chronus.   These dieties, in the esoteric belief system, each excert influence on specific areas of human physiology, while correllating also with the seven Chakras in Hinduism.

I have long been entertained by and/or struggled with how to digest much of the information I've discovered over the last few years.  I'm talking about my own quest to get a handle on what this world really looks like, what our history really is, what's really been going on (for the last couple thousand years) "behind the curtain", as it were.    Despite my efforts to take it all in objectively, I'm confronted with occult symbology in films and corporate logos at every turn, with the pyramid and all-seeing-eye on the back of the dollar bill, with the 'Cremation of Care', with Order Out of Chaos, with the 9/11 "blood sacrifice", … etc., etc., etc.   Then in the same breath you have some of the heroes of the evolution of human consciousness and understanding, I'm talking about people like Newton, Descartes, Bacon, Hugo, and before them Plato, Socrates and Pythagoras.   These people (and many more) were all initiates of "mystery" cults and/or secret societies.  Then you have the un-nerving fact that several of America's well respected founding fathers were Freemasons.  And what about the Templar Knights?   Greedy heretic bankers who fertilized the soil from which Freemasonry and the British and Dutch East India companies grew, and in a general sense laid the foundation for our current ruling elite?  Or "good-guy" guardians of esoteric knowledge, a group of enlightened knights who built the great cathedrals of Europe but were quashed violently by the Catholic Church?  And what of the "dragon", all its baggage, and those who adopted it as their mascot?   Can we accept the ideas born of the "Enlightenment" and brought to the table at America's inception by Freemasons like Benjamin Franklin and George Washington as essentially "good", while labeling the French 'Terror' and the California 'Cremation of Care' ritual as products of "evil", despite the fact that they all derive from the same esoteric traditions?   Do you see where I'm going with this, has this nagged at you as well?

Well, it seems that the ancient Esoteric Traditions, once concerned with humanity realizing its full potential while maintaining a connection to its spiritual roots (or at least for those interested enough to be initiated), were at some point in (relatively) recent human history HIJACKED.   Black's 'Secret History of the World' pegs this hijacking to the formation of the Illuminati in the late 18th century, and the subsequent infiltration of the Freemasonic lodges in Eutope by those same Illuminatists.   Del Toro's 'Pan's Labyrith' tells essentially the same story, though he uses the Fascist takeover of Europe (specifically Spain in the 40's) as his setting.   Both leave the question of the future open and, in both, this "hijacking" presents itself over a background of humanity which has lost, and I mean that in a literal sense, i.e. misplaced, forgotten, its connection to the spiritual realm.

'Pan's Labyrinth' addresses this clearly around 15 minutes into the film, where the film's protaganist, a young girl named Ofelia, talks to her unborn brother.  Ofelia's mother, Carmen, is pregnant and her chld is acting up, and she asks Ofelia to tell the child in her womb a story to calm him down.   Ofelia recounts a legend, one of a rose, which from long ago bloomed nightly on a cold, black mountain.   This rose had the power to impart immortality to whomever plucked it … but the thorns of the rose were full of poison and, while "men talked amongst themselves of their fear of death and pain", they "never talked of eternal life".   And so everyday the "rose wilted, unable to bequeath its gift to anyone".  

This is, I believe, a metaphor for humanity having grown distant from the spirit world, having lost its ability to tap into that "source of immortality" represented by the rose.  The "thorns" that man fears, this barrier between the rational and spirit world, is represented traditionally (in Greek mythology) by the "Labyrinth", hence the title of Del Toro's film.   Passage through this Labyrinth is what the initiation rites of the Mystery Schools and esoteric cults of antiquity were all about.

The father of the child Carmen is carrying is Captian Vidal, a regional leader in Fascist Spain.  Ofelia lets us know, adamantly, that this man (he's a real psycopath) is NOT her father.

Here's your first clue that the real narrative of 'Pan' is that of the esoteric traditions being hijacked – in this case by Fascists.  Hitler and his Nazi core were apparently obsessed with the occult.  There have been several books and documentary films on Nazism and the occult, and it's well known that the swastika is an ancient religious symbol (still used today to denote Buddist temples on maps from Tibet to Japan).  I'm tempted to tell you of the time I almost took a job (in Japan) translating web copy for a company which sold "power stones" and all manner of occult items … until I figured out that they were all card-carrying seig-heil-saluting Nazis (I'm not kidding!) … but I'll restrain myself, apart from mentioning that every Nazi I've ever met (or read about) was into the occult.  

At the beginning of the movie, Ofelia and her mother have stopped on the road and Ofelia finds a rock into which is carved the image of an eye.  Ofelia sees that this "eye" is a fallen part of a  large nearby stone figure (with a hole where an eye should be), and she restores the fallen piece to its rightful place.   

Hey, if I'm gonna bother to write about this stuff I figure I might as well go whole-hog.  Horus and Woden, in their respective myths, both traded an eye for knowledge.  Dagobert III, the last of the Merovingian kings was, as per legend, killed by a lance to the eye.  Obviously there's something symbolic going on here, and Del Toro understands the language.  Ofelia is, symbolically, attempting to restore to humanity its "third eye".    And the best way I can think to explain what this all means entails first backtracking a bit and revisiting Sabazios and those "votive hands" of Anatolia.

The bronze, sometimes copper, votive hands of Sabazios I mentioned in my prior post about Pinocchio are peculiar for the small pine-cones which are invariably attached to the tips of the thumbs. The pine-cone was the the ancient symbol of the pineal gland.

Pineal gland?  Whahh?  

Yup, the pineal gland.  While reading 'Secret History of the World' I didn't have internet access and so I broke out my mom's old college dictonary, a giant unabridged Webster's … to learn that the pineal gland is a "vestigal organ" tucked in the center of the brain.    Vestigal???

Turns out that more recent research has pegged this small pine-cone (or pine-nut) shaped nodule as a melatonin-producing regulator of sleep cycles … but it also seems that the pineal gland is intricately connected to various parts of the brain via both complicated neural and chemical networks and, pound for pound, draws more blood than any other organ in the body besides the kidneys (!).   Hence, this little gland seems to be, or at one time was, kind-of important.   That's to say that my mother's giant Webster's unabridged dictionary maybe had it right, that this gland is "vestigal", that this is indeed what Black's 'Secret History of the World' says it is … human-kind's lost "third eye", man's now-dormant window to the spiritual world. 

In Jonathan Black's own words:

"If modern science discovered the pineal gland relatively late, the ancients certainly knew of it early on, and also believed they understood its function.  They knew, too, how to manipulate it to achieve altered states … They saw the pineal gland as an organ of perception of higher worlds, a window opening onto the brightness and wonder of the spiritual hierarchies…"

(I should also mention that flouride, that stuff they've been putting in our water for the last half-century in the U.S., does more than just prevent tooth decay, however effective it might be.  Flouride also accumulates in the pineal gland, resulting in or hastening calcification, therefore, according to some and in agreement with Black's 'Secret History of the World', flouridating the water supply would have the effect of suppressing the creativity and spiritual perceptiveness of the people who drink it.  …So THAT'S what they're up to!???)

If the pineal gland/third eye was human-kind's "window" to the spiritual world, and if the maze one had to navigate to commune with the spirits was represented in ancient Greece by the "Labyrinth", then in between the "Animal" which was human consciousness and the "Mineral" which represented the spiritual" was a mediate-realm, that of the "Vegetable".  I know it sounds like maybe I've fallen off my rocking-horse, but this is how these "realms" are described in "Secrets of the History of the World".

The original Spanish title of Pan's Labyrinth is 'El Laberinto del Fauno', literally, 'the Faun's Labyrinth' … and Guillermo Del Toro has stated that his faun is not actually Pan.  But fauns in a general sense, like Pan, were demi-gods (genii=place-spirits) of the woods and plant-life and thus, like the "Labyrinth", are closely associated with this "vegetable" realm.  In order to appreciate the hidden meanings coursing beneath the surface of Del Toro's film we have to figure out what is meant esoterically by the animal, vegetable and mineral … which begs us to first learn about the original "creation myth" as embraced in the mystery schools and the secret societies.    It is from this original myth that the creation stories of the organized religions more familiar to us derive.  … So lets dive in.

"In the beginning" there was the ether, the good, the un-formed, the omniscient nothingness.   This was the Great Mother.   Enter Saturn (Satan) … the dark, who fights with the Great Mother – apparently for eons, a battle out of which "form" emerges.   This is why the "Great Mother" goddesses of various ancient cultures is always both a goddess of Fertility and of WAR.    She had to fight with Satan (Set, Saturn, El, Chronus), and it was through this struggle that matter, form itself, came into existence. 

Enter the Sun … Apollo, Krishna, Ra.   The Sun pushed Satan into his proper place and warmed the womb of the Great Mother, who bore the Earth.   Next Venus/Lucifer enters, and tears the Moon from the Earth.   This is why Venus (Lucifer) and her equivalent goddesses are, esoterically, closely associated with the Moon, yet not equivalent.  As the Moon reflects the light of the sun while Venus is the harbinger of the sunrise, Venus/Lucifer is the diety of reflection and illumination.

As the earth evolved, an omnipresent web of "vegetable" (plant-life) emerges, around which the Dragon (serpent) appears.   The dragon then "squeezes humanity" from this "vegetable" aspect.   This is the birth of the "animal", of consciousness.  This phase of creation is represented in our bible in the story of the garden of Eden, and in other cultures by a myriad of Life or World "Trees" enwrapped by serpents or dragons.

It is, allegedly, with the vertibrate pineal gland, or "third eye" that human-kind once enjoyed a close connection with the spiritual world.   This is probably why the ancient texts read so like fantasy to us – it wasn't because the ancients were trying to be dramatic or cryptic … it was because that was how they percieved the world.   Rational thought, as we know it, came later, and developed over long centuries.   But in a trade-off mankind lost its ability to talk to the spirits … this evolution is made manifest in the pineal gland becoming a mysterious "vestigal" organ.

With this knowledge as a base, we see that Ofelia, in symbolically restoring the stone "third eye" to its rightful place, is letting us know that she is here in 20th century Spain to do battle with the Fascists who would appropriate the esoteric traditions to their own ends, and of her intention to help humankind rekindle its link to the spiritual world, i.e., rediscover the rose of immortality.   

So how does Pan fit into this?   Pan is her guide, and in the next scene Ofelia follows the fairies to Pan's lair and meets the fawn-diety for the first time.  

Pan sets Ofelia straight as to her own anscestry right off the bat … she is not of the human world, but a princess, the daughter of the king of the Underworld, born of the Moon.   

During Ofelia's visit Pan gives her the first of three tasks she must complete before the moon is full, the retrieval of a key from a giant toad which has grown fat inside of a giant tree.  (This may be a vague reference to the serpent guarding the tree of life/knowlege?)  This task she completes with ease, pleasing both Pan and the fairies.

Ofelia next meets Mercedes, a young woman working among the staff of Carmen's fascist-leader consort/husband.  Mercedes is secretly aiding rebels in the hills, and she and Ofelia quickly form a bond.  Ofelia asks Mercedes, "Do you believe in fairies?", to which Mercedes replies,

"No, but when I was a little girl, I did.  I believed in a lot of things I don't believe anymore."

There we have it again … Mercedes' comment is code for the gradual closing of the gate between the spirit world visited by the ancients and the rational, objective mind of modern man, about the loss of humanity's "third eye".  

Upon her second visit to Pan's lair, Ofelia discovers a stone carving of a goat-god standing together with a girl holding a baby.  Ofelia is curious who these carvings represent and Pan, in response remarks,   "That's me and the girl is you".

Ofelia replies, "And the baby??", a question which Pan declines to answer, changing the subject.  Pan seems to almost wink at us, daring us to try and figure out the answer to Ofelia's question … 'who is the baby?', or, more accurately, 'what, on a deeper level, does the baby represent?'.  

Pan is a sly devil, isn't he?  Pan (or, Del Toro actually) is daring us to figure out for ourselves the answer to Ofelia's question.   Herein lies the crux of both 'Pan's Labyrinth', and Black's 'Secret History of the World' as well.   I'll let the reader chew on that a bit … I promise, I will divulge the answer, but there's a little more ground to cover first …

Pan instructs Ofelia as to the next of her three tasks, and in passing makes a reference -which goes by so quick most will miss it – but he mentions the 'seven planetary spheres' I mentioned earlier in my summary of the ancient creation myth.  Providing Ofelia successfully carries out her other tasks, "We will soon stoll through the seven circular gardens of your palace".   Pan then returns the key Ofelia snagged from the giant toad, which she will need during her next task, as well as a piece of chalk with which she can draw doors for herself. 

Ultimately Ofelia fails in her second task, by ignoring Pan's warnings and eating grapes from a sumptuous feast laid out in the underworld, hence awakening a demon from whom she barely escapes.  When Pan is told of Ofelia's mistake he becomes livid, stating "You failed, you can never return.  Your spirit shall forever remain among the humans.  You shall age like them, you shall die like them – and all memory of you shall fade in time …. and we'll vanish along with it."

Ofelia's error and Pan's anger are an obvious parallel with the eating of the forbidden fruit of paradise in the various mythologies, but what exactly does that represent?   It represents man's first steps in the material world toward his own freedom of will.  It represents the beginings of the separation of mind from spirit.  

Ofelia dripping blood onto the mandrake root

We now return to the curious "vegetable" nether-world between rational human consciousness and the spirit-realm.   The mandrake root has long been a symbol of this "vegetable" striving to become human (or the human seeking the vegetable?), for the peculiar resemblence of the mandrake root to the human form.   In the film, Ofelia's pregnant mother has fallen ill and Pan instructs Ofelia to place a mandrake root in a bowl of milk beneath Carmen's bed. With the root under her bed Ofelia's mother's fever breaks and she recovers.  Here again is a reference to the importance of the connection between the vegetable and the animal realms.   Humanity is sick and only by re-connecting with the spiritual world (via the "vegetable" aspect) can it be healed.  

As Ofelia's mother, Carmen, sleeps, Ofelia lies down next to Carmen's belly and talks to her unborn brother.  This speech is very poignant and central to the message of Del Toro's film, but there's a bit more to cover so I'll choose to wait and transcribe the scene word for word … at the end of this post.

Captain Vidal enters Carmen's bedroom and finds the mandrake root.  Harsh words are exchanged, culminating when Ofelia's pregnant mother (Carmen) tells her daughter, before throwing the root into the fire, "You have to listen to your father, you have to stop all of this … you're getting older, you'll see that life isn't like your fairy tales".

By "older", Carmen's words are a reference to the separation of mind and spirit which has progressed gradually as human consciousness has evolved and "solidified" over the centuries.   Her "father", the Capitain, who is not really her father, represents the worst humanity has to offer, but who is competing for the esoteric doctrines and the soul of man.  

I'll speed to the end now, Carmen has her baby and dies in childbirth, Mercedes is found out by the Capitain to be a traitor, and Mercedes and Ofelia try to escape but are caught.   Pan appears before Ofelia in her captivity, having decided to give her one last chance.  

"Do you promise to do what I say? – without question?"

Ofelia nods.

"… then listen to me.   Fetch your brother and bring him to the Labyrinth, as quickly as you can, your highness."

Using her chalk Ofelia rescues the baby, only to be intercepted by the Capitain.  He chases her through the maze of the Labyrinth and into a seeming dead end which opens for Ofelia but closes before the Capitain can follow.  

Finally Ofelia carrying the baby meets Pan in the Labyrinth, who demands, "Give him to me.   The full moon is high in the sky, we can open the portal".

Ofelia notices a knife Pan is holding (a knife she procurred earlier during her episode with the demon in the underworld) querying "what's that in your hand?".

Pan: "The portal will only open if we offer the blood of an innocent … just a drop of blood, a pinprick, that's all.   It's the final task."

Ofelia is reluctant, to which Pan becomes impatient, "You promised to obey me! Give me the boy!!"

Ofelia: "No!  My brother stays with me."

Pan:  "You would give up your sacred rights for this brat you barely know?"

Ofelia:  "Yes, I would."

Pan (appearing increasingly angry):  "You would give up your throne for him, he who has caused you such misery, such humiliation?!??"

Ofelia:  "Yes, I would."

Pan (suddenly appearing pleased and in a serene and reverent tone):  "As you wish, your highness."

Then the Capitain arrives, shoots Ofelia, and grabs the baby.   The blood of Ofelia, dripping from her dying body, opens the portal.    The Capitain, trying to find his way out of the Labyrinth runs into the rebels, who shoot him and rescue the baby.   Meanwhile, Ofelia returns to the spirit world and is reunited with her real parents, the moon and the underworld king, who welcome her.   Pan is there too, who commends her saying "you chose well, your highness".

The baby (… drum roll … ) represents the future of humanity.   The movie is an allegory for the battle over its "soul", on the one side by upstart Fascist weilders of power who have appropriated the ancient secret societies and symbolism of the Occult, and on the other man's natural connection to the spiritual world.   Black's 'Secret History of the World' tells the same story, focusing rather on the formation of the Bavarian Illuminati in the late 18th century and subsequent infiltration of the Freemasonic lodges (followed by the French Revolution and the rise of the "Terror" there) as his setting for the transfer of the esoteric traditions from a Spiritual Elite to a Political Elite.   Personally, I'm reluctant to peg this takeover to one event, but rather to a gradual transition which began when the Templars were able to accumulate such political and commercial power prior to their banning by the Catholic church, and continued with Freemasonry and their control of the Dutch and British East India Companies in the 17 and 18th centuries.    The formation of the Bavarian Illuminati and the 20th century rise of Fascism in Europe were, IMO, simply further significant jumps in the same direction.

But the guts of the story, whether my own interpretation, 'the Secret History of the World''s version, or Del Toro's story line in 'Pan's Labyrinth' are essentially the same … one of the secret esoteric societies being hijacked by the political elite over a background of mankind having lost all but the last threads of any substantive connection to the spiritual world.

In conclusion I offer Ofelia's "speech", her advice to her unborn brother toward the end of Del Toro's film.  I'll just transcribe the words and let Ofelia speak for herself.  

"Brother … little brother … if you can hear me.   Things out here aren't so good.   But soon you'll have to come out.

You've made mama very sick.   I want to ask you one favor for when you come out, just one;

Don't hurt her, you'll meet her, she's very pretty.   Even though sometimes she's sad for many days at a time.   You'll see, when she smiles, you'll love her.

Listen, if you do what I say, I'll make you a promise.  I'll take you to my kingdom and I'll make you a prince.   I promise you, a prince."


Copyright (c) 2015 Eric Westfall.
Original content may be quoted or replicated under the Fair Use doctrine. All other rights reserved.

19 Comments to 'Pan’s Labyrinth'

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  1. elreb said,

     
    I like it…but is bottled water OK to drink?

  2. admin said,

    Yeah, sure, no flouride in bottled water.  And I think it's A-OK in toothpaste, unless you eat it of course.   But injested, flouride eventually accumulates in the pineal gland.  Apparently, not good for those seeking enlightenment 😉

  3. elreb said,

     
    I also like the “SPIRITUAL” elite becoming a tool of the “RULING” (political/financial) elite.
    So which came first…Priest or Chief?
    When combined they were “Emperor”  or what?

  4. admin said,

     

    "So which came first…Priest or Chief?"

    I think they were once usually the same or at least related by blood, as in Sumer and Egypt.  Things got messy, of course, A.D. as the Church became powerful and the esoteric cults were forced underground … and I can only speculate that eventually the guys with the money and the power wound up in charge.  Also, I think those who considered themselves heirs of the "dragon blood-line" were always closely tied to the secret societies – – – but there were different branches.   The Illuminati was Bavarian in origin, and the Germanic Emperors  were the late-comers in Europe.  But regardless of how much credit/blame to affix to the "Flintstone" houses (see: Melissena)/Illuminati dukes and bankers, or to the banker-Templars, certainly the nature of the esoteric cults changed over the last thousand years.    That was really what I wanted to try and get across.   

    😉

     
  5. elreb said,

     
    Unless, you have written about this elsewhere…
    What happen to the “Lost Templar Fleet”?
    Did they support Robert the Bruce?

  6. admin said,

    According to Ernesto Freres ('The Templar Pirates'), many became pirates … hence that group’s association with the skull and crossbones symbol.  And many did go to Scotland, and most suspect that indeed they helped Robert the Bruce defeat the English.   The Bruces were "dragon" all the way – the family name comes, allegedly, from Abruzzo (Italy), they have intermarried with the St. Clairs and the Stewarts at important points along the way, and even carried the blood of Melissena (through Arlogia, daughter of Vladimir and Anna Porphyrogenita, who married Rognvald Brusse Earl of Orkney- see: notes at end of Melissena).

  7. elreb said,

     

    Nana nana boo boo… "stick your head in Kudos" [ From Greek κῦδος, meaning "glory" or "renown"]
     
    I knew you were a genius…hum…Italy reminds me of our Trojan friends…

  8. admin said,

    Oh!!! – Italy, i.e. everywhere but Rome, was dragon-central – Trojans removed from Troy.   The proto-vikings and the proto-franks went east, but many went west.  

    This post

    http://pilotsfor911truth.org/forum/index.php?s=&showtopic=13644&view=findpost&p=10786786

    And this map

    http://img266.imageshack.us/img266/7400/europe.gif

    Tell much of the story.  

     

  9. elreb said,

     
    Aeneas/Aineias the son of Anchises came from Troy and was stated as a person in the led to the forming of Rome…
    The later copper age “Eneolithic” was named after him…
    Trojans are believed to be descendants of Dardanus
    The bible specifically states that Rome came from Cush
     
    These boys were Veneti… later Veneto…

  10. KrNel said,

    Intersting article.  Thanks for the read.  🙂  The third eye link to the pineal gland is intriguing.  If you have not taken a look at Jan Irvin's work at Gnostic Media, I recommend it.  He specializes in the ancient shamanistic and entheogenic practices into the "spiritual" aspect we can reach with our minds, and other useful information.
    One thing though, you forgot bring this up again at the end (unless I missed it):

    Pan is a sly devil, isn't he?  Pan (or, Del Toro actually) is daring us to figure out for ourselves the answer to Ofelia's question.   Herein lies the crux of both 'Pan's Labyrinth', and Black's 'Secret History of the World' as well.   I'll let the reader chew on that until the end of this piece when, I promise, I will devulge the answer.  In the meantime, …

     
    Peace.

  11. admin said,

    Ah, yes, Aeneas.  Two lines actually derive from him, allegedly, Cassandra of Troy bore him a  line whose descendants included Brutus of Britain and Coilus (maybe ol' King Cole?), while another wife, Lavinia, bore him the line that produced Romulus.    There's a pseudo-historical genealogy here…

    http://urokomovie.com/wordpress/?page_id=199

  12. admin said,

    @KrNel –

    Ahh, yes, I should change how I worded that.   I did divulge the answer, but a little before the end (I thought later that Ofelia's speech to her unborn brother would be a good way to end … )   

    It's this –

    "The baby (… drum roll … ) represents the future of humanity.   The movie is an allegory for the battle over its "soul", on the one side by upstart Fascist weilders of power who have appropriated the ancient secret societies and symbolism of the Occult, and on the other man's natural connection to the spiritual world."

    Thanx for the Gnostic Media tip, peace to you as well.  

     

  13. Mark Booth and Jonathan Black both seem to have written the same book with the same cover. Pseudonym? Any differences?

  14. admin said,

    Was not aware … I checked the web, haven't read it but it looks like the same book.   

    WHO KNOWS what the author's real name is.   This is dangerous stuff … there must be a good reason for the two names of the author.   I mentioned that his source for much of the material and the secret society 'he' belongs to is left unnamed. 

    I haven't read the Booth version, I'll assume it's the same as 'Jonathan Black''s. 

    Thanx for peeking over here Shelton, quite different than the vibe of P4T, but I needed a place to "spread my wings".  

    – 'Sanders'

     

     

     

  15. Hey there! Someone in my Myspace group shared this site with us so I came to look it over. I’m definitely loving the information. I’m book-marking and will be tweeting this to my followers! Outstanding blog and fantastic design.

  16. Its such as you read my thoughts! You appear to understand so much about this, like you wrote the guide in it or something. I think that you just can do with a few p.c. to drive the message home a little bit, but other than that, that is excellent blog. A great read. I’ll certainly be back.

  17. fredrik said,

    https://modernalchemistweb.wordpress.com/2017/02/05/an-explanation-and-guidance-on-the-esoteric-symbolism-in-the-movie-pans-labyrinth/

  18. admin said,

    @fredrik,

    Thank you for posting, and sorry it took me this long to visit my site and approve your post.  Very good link, but I was dissapointed in one respect: in the author's analysis of the third eye.

    The pineal gland was not mentioned.  The pineal gland, in the center of our brains, has been known (by those who are enlightened?) as our window to the spiritual world since the mystery schools of ancient Egypt.  That's our "third eye."  This gland could be excited by a booster shot of melatonin, which could be gotten from the menstral blood or ejaculate (hence the symbolic importance of the rose and the lily, and the colors red and white, with regard to "the Grail")  of the 'Grail Maiden.'  Mary of Magdala was Jesus' (Yeshua's) grail maiden, hence the source of his power/wisdom, and the reason why the Templars and other Gnostic sects worshipped her on a par equal to or above Jesus himself, and why the Church hated her so and demoted her to the level of a prostitute.

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