In Re Magi

Thousands of visitors to this blog have shown special interest in matters pertaining to the biblical Magi. Several of our posts refer or allude to Magi. In “Invisible Colors” (November, 2012), we discussed ancient teachings that assert the ability of Moses and certain other “wise men” to, for example, see a higher order of color than that available to the ordinary eye—the ability to perceive and receive information directly from a higher Reality. Instruments such as the Ark of the Covenant, the Urim and Thummim, and other physical technological and meta-technological devices were used by prophets and priests to augment and bolster that connection while allowing for demonstrations that the tribes of Israel could witness to foster faith in their leaders.  

“Analysis: Botticelli’s ‘Adoration of the Magi’” (September, 2010) introduced a key piece of evidence for the Florentine Medici having been—or having been deemed—descendants of the biblical Magi whose origin was oriental, and for a growing body of evidence that a plan to establish a New World was formulated covertly and pursued by certain Magi families long before mainstream history would have us believe. In “Analysis: Botticelli’s ‘La Primavera’” (December, 2011) our view on evidence for this agenda is made plain. In an earlier post, “Analysis: Hoagland’s ‘Dark Mission’” (September, 2011) we had alluded to the fact that just as the masses of people in Renaissance Europe were kept in the dark about the New World agenda, the masses of people today are kept ignorant of plans to similarly establish new worlds on the Moon, Mars, and beyond. 

We note that there have always been two spiritual—and apparently bloodline—lineages of Magi, all of whom were members of the priestly-political class. In Babylon, for example, the Magi were among the highest-ranking state officials. Many historians say that at least some Magi were descendants of Noah’s son, Shem, and that they were: monotheistic; trained in occult arts such as astrology and dream interpretation; operated at the heart of the conflict between good and evil; and identified themselves more with fire than any other alchemical element. Some Magi were considered White Magicians and others Black Magicians—both types being identifiable by the effects of their actions. We hasten to note that these lineages play no lesser roles today. 

As part of our larger and ongoing revelation of Dürer as an artist who embedded occult secrets in his works, in “Analysis: Dürer’s ‘Holy Family with Three Hares’” (March, 2013) we expressed our opinion that the three hares in that woodcut represent the three Magi of the Nativity story. Similarly, in analyzing T. S. Eliot’s poem, “Journey of the Magi,” we used our analysis to share, in “T. S. Eliot and the Illuminati” (November, 2012), our assessment that Eliot was not, in effect, the poet equivalent of Dürer. In “Analysis: Dürer’s ‘Holy Family with Three Hares’” we pointed out that the symbolism appears to have been intended to indicate that the Magi who brought gifts for infant Jesus did not vanish from the scene after a brief visit.  

It is our belief that the priest-king Magi who visited Herod and then Jesus saw Jesus as the latest incarnation-via-virgin-birth of the Sumerian shepherd God and King: Dumuzi. We further believe that they eventually brought Jesus to the orient to receive certain teachings—“gifts”—in their mystery school. Those secret-school teachings were later reflected in Jesus’ actions and sermons to the people. This well-reasoned speculation augments the insight we shared in “Analysis: Botticelli’s ‘Adoration of the Magi’.” Those who seek to denigrate Jesus by calling him a magician only understand that word as pertaining to slight-of-hand tricks. True Magi were never parlor magicians.

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