The theatre in Level 10 where George and Mavis' play is to be performed has automatically expanded to a size surpassing anything anyone can remember. When word gets out that the filmmakers Sparse and Scarce have permission from the management to film the play, the theatre expands even more to accommodate more seats. No one has ever filmed a theatre Passion Play. They have never gotten permission before. With Sparse and Scarce onboard, the play is becoming the talk of the Creation. Sparse spends his time setting up the equipment while Scarce is busy trying to find out from George whether there is a lot of dialogue or a lot of action. George is promising a lot of both, so the brothers are both thrilled and creatively content.
All of the other plays in production in the Artists Round cancel their performances in order to attend the one-performance-only production of "Virtual Reality, Death, and Remembrance." They might as well. The only reservations being made are for the seats in the expanding theatre in Level 10. Once the Astral Plane theatre expands to the size of St. John's County, it goes on implosion mode, something no theatre has ever done before.
Implosion mode, a function originally built into the expansion mode software by Daedalus, is another feature based on the Creator's design of the Creation. Implosion mode allows the theatre to become bigger on the inside than it is on the outside. This prevents it from becoming larger and larger based on an outdated paradigm in the Physical Plane. If the inside is bigger than the outside, the theatre is not expanding according to non-eternal specifications but according to universals. Like the universe and personal reality, the inside is surrounded by the outside is surrounded by the inside.
"It's a doughnut," comments a member of management who, along with the other members of management, takes time off to watch the implosion mode function.
"No, it's a pretzel," debates one of the doorkeepers who, along with the other doorkeepers, comes to see it function.
"It's neither and it's both," comments a watcher who, along with the other watchers, comes to see it function. Watchers can always be depended on to complicate any debate. That's part of their job.
Whatever it is, it makes perfect sense, and the management, the doorkeepers, and the watchers all stop long enough to watch a theatre do something they have never seen a theatre do before. From any point of view, it is simply magnificent.
On the night the play is performed, management decides to open the theatre much earlier than usual to allow all the audience to find their seats. When the ghosts begin to arrive, management quickly makes the decision to make a special section for them. This is unusual on their part because they prefer never to give preferential treatment to any member of the audience. But in this case, so many ghosts are arriving that management does not want them to have to go through the hassle of being sat on time and again by those who are mistaking them for empty seats.
The debate continues a little too long about making a special section for the ghosts because this has never been done before. But the section is created because Argo Navis, one of the members of management, argues most convincingly, and perhaps a little heatedly, "I am not going to have Saint Teresa sat on by somebody so busy talking with their friends that they don't even notice the Saint is sitting there!"
What astonishes everyone is that once the special section is created, it too goes on automatic expansion mode. Again, a special management meeting is held in which it is discussed that management will not, under any circumstances, give out the information about the size of the expansion of the special section except of course to let George know.
The special section immediately becomes the topic of conversation as the audience waits for the play to begin. The audience is whispering that there are no less than four hundred Saints in the section, not to mention the Magi and Ascended Masters from the Heaven Plane. It was not necessary to create a special seating section for the ascended Hindu Yogis and Gurus from the Serene Plane; they are floating serenely over the audience like colorful Bodhisattvas meditating in lotus position. Sprinkled throughout the Yogis and Gurus are the ascended Buddhist monks from the Serene Plane, also in lotus position, and many Asian Masters from the Serene Plane. The ascended AmerIndian Shamans from the Beautiful Plane are perched on beautiful manifested mountain tops near the ceiling, where the ascended Islamic Sufis from the Beautiful Plane are happily spinning.
A part of the ceiling has gone into automatic expansion mode to accommodate the ascended extraterrestrials from the Honorable Plane in their UFOs that are beaming on and off. Far below the ceiling and seated on the floor of the aisles are colorful Mayan Time Lords from the Creator Plane, who can be seen only because of all their beautiful Quetzal feathers. Hovering near the stage is a fluffy pink cloud, and sitting on the cloud is a mysterious little boy wearing a gold jacket.
The management, doorkeepers, and watchers put their posts on automatic so they can witness the brilliance of the theatre software that is designed to accommodate several planes of reality in one single structure. Until this time no one really believed it would do it, but to everyone's astonishment the software is functioning without a hiccup. The marquee inside the theatre is scrolling a special thanks to Daedalus, the programmer. Scattered applause acknowledges his amazing accomplishments but he humbly and telepathically gives the credit to his mentor, the Creator, and to his friend, Dagon-Jah from the Co-Creator Plane, whose small model of the universe so enlightened him in his lifetime.
On hearing the name Dagon-Jah, the vast audience applauds and telepathically asks the inventor to appear. As Dagon-Jah rises from his seat in the special section, he is invisible except for the gold halo encircling his head.
All eyes in the audience turn to the special section or to the floating beings as everyone waits for the play to begin. Some people claim to see Saint Augustine in the special section but they can't be sure. Identifying the ghosts is not easy. They are not all that visible to begin with, although everyone perceives them to be there.
As the lights began to dim in the theatre the excited buzz of whispers is heard. DontBugMe and MaliciousCode, because of their lighting experience with the local Shadow Breakers, prove to be capable projection technicians and are given the responsibility of working one of the holograph projectors. They do not take this responsibility lightly, either. Towards the end of the performance, their job is to turn their holograph projector onto StumbleBlock who, incredibly, has been given the opportunity to present a soliloquy of his choice.
StumbleBlock gave the script a cursory read through. After all, he told George, with all his experience with the Bored Players, he only needs to read the script once. His mind is not focused on the script anyway but on how envious Ralph Dragon and MetaphorMan must be right about now. When StumbleBlock peers from behind the curtain and sees the size of the theatre, he knows he is finally going to get the recognition he deserves.
He is practicing his soliloquy, something to do with being an important leader of the Bored Players and how he turned the group around and made them the great players they are. He modifies this occasionally to include something about sacrifices he has made so the group can grow and develop, blah blah blah. As he is practicing his soliloquy, he also is primping and preening his appearance even as the curtain lifts. He is not needed in the first few scenes, so he has plenty of time to improve upon his appearance, which he is completely involved in doing.
The lights dim in the theatre to wild applause as Scene One opens in the living room of a home on St. George Street. Outside the house, the faithful watchdog, played by Roll-Over-Play-Dead, is alert. Inside is a comfortable room with a hardwood floor, a fireplace, several bookshelves filled with books, and a cat played by SmartyCat curled up in the lap of a man, played by George Truax. He is sitting in an easy chair and reading a book. As the scene opens, the man stands up and walks to the fireplace and picks up the ax to chop up a piece of wood for the fire. Just as he does so, a beautiful woman, obviously his wife and played by Mavis Davis, enters the room.
"John, dear," she says. "Are you ready for dinner now?"
"Yes, Isabel," he replies. "Now is wonderful." They put their arms around each other and kiss lovingly, causing the audience to collectively sigh in happiness, for John and Isabel are an interracial couple who have fallen in love and gotten married and are living happily in St. Augustine. The back story is being telepathically transmitted to the audience that John is the son of a freed slave. He is self-educated and has written a well-known book about the local Timacuan Indians. He is also making strides locally as an artist in oils and watercolors. The year is 1704.
Isabel is a budding poet and the daughter of one of the first Abolitionist ministers in America. She met John at a Freedom Meeting, where the two fell in love. They have the distinction of being the first openly interracial married couple in America and they choose to live in St. Augustine, Florida, which grudgingly accepts them.
John wants to live there because of the opportunity to make strides in human rights. The old fort was built using impressed Indian labor, convict labor, and slave labor, and now this tradition is to continue in the new construction of the Cubo Defense Line. John is hoping to be instrumental in preventing this terrible exploitation of humanity. Isabel is happy to live anywhere John chooses. Wherever they live it won't be easy, but at least St. Augustine is old enough to be used to accepting into its midst unusual outsiders. Considering that John and Isabel are also English speaking Protestants when most of the population is Spanish speaking Catholics, their life in St. Augustine is bound to be both a blessing and a struggle. But they love each other and they are up for it.
Their social life is naturally restricted, due to the prejudices of the people but they are happily married and enjoying their life together, and not all of the citizens are against them. They have some good, close friends. Unhappily, slave auctions are being held in the Slave Market every week. Part of their crusade together is in trying to bring people to the knowledge that slavery is wrong and that all people need to be respected. In the Passion Play, George and Mavis are reenacting the life they lived together during the Spanish Colonial period in St. Augustine as John and Isabel Calhoun.
As the applause from the audience swells, the scene shifts, and performers playing the props and sets morph into the image of old St. George Street, where John and Isabel stroll happily down the street arm and arm. The horse played by CharleyHorse trots alongside them pulling a carriage. John and Isabel are not welcome in all of the shops, but this is something they have learned to endure, and plenty of shops welcome them.
As the performers playing the props and sets continue to morph into the buildings and street scenes familiar to old St. Augustine, "oohs and ahhs" are heard coming from the audience. No one has ever seen props and sets performed so gracefully before. Mavis keeps mentally alternating her gowns to produce the entire wardrobe she owned as Isabel Calhoun. John portrays how he is admired and respected by many of the citizens as a writer and an advocate for the Timacuan Indians, who have suffered so much at the hands of the Spanish. Suddenly, at the end of St. George Street, a deer played by Sterling the Deer, is run over by CharleyHorse but is not badly injured. The audience applauds in relief.
The squirrel played by Footsy runs across the old dirt street, followed by the raccoon played by Rocky the Raccoon. The sounds of the swamp reenactment are heard in the background. Because the audience so enjoys the antiquity and scenes of old St. Augustine in 1704, the performers decide to walk all the way down St. George Street, pleasantly lit with candles and lanterns and wonderfully atmospheric. Even in those days a ghost tour is available, and as they walk past the ghost tour, they can hear the tour guide telling about the Indian ghosts. At that point Osceola makes a cameo appearance as an Indian ghost, to thunderous applause and a standing ovation. Word has already gotten around that Osceola is preparing to go forward to the Beautiful Plane.
By playing the St. George Street scene longer, the prop and set performers get the rare chance to morph into the entire street and the buildings and shops. The supporting cast playing the citizens strolls along the street in resplendent period costumes, talking and laughing just like old times. As the stage automatically expands to include the larger set, waves of applause begin welling up from the vast audience, and this encourages the cast, the props, and the sets to continue the scene for the enjoyment of all.
The holograph technicians are bringing the scene to all the audience members so everyone has a view from all possible angles. An audience member can also request a personal view of a special angle, delivered via the capabilities of one of the many spotter technicians, who spots the audience member any angle they want. Earlier, they handed out special glasses, like 3D glasses, to each member of the audience as they came into the theater, excluding the ghosts and other ascended beings that have transcended the need of such devices. When an audience member wants to view a scene in close-up from a certain angle, all they need to do is activate the glasses then telepathically request the angle from the spotter, who projects the scene at the requested angle onto their glasses. This new invention is by Daedalus, who never fails to come up with things no one else has ever thought of, except for the Creator.
After the audience have plenty of time to enjoy to the fullest the scenes, sights, and smells of old St. Augustine in 1704, the scene shifts to the old fort. The bird named Corinthian flies by, playing the part of the pigeon, and several of the other animal actors get a chance to enter and exit the scene, playing their parts nobly. A sudden burst of applause comes from the audience when the prop and set performers morph into the Castillo de San Marcos. When the supporting cast playing the Spanish soldiers materialize onto the top of the fort, everyone holds their breath in hopes the soldiers fire the cannon. Sure enough, they do, causing such a loud ka-boom that the audience stands and applauds. The performer who plays the part of the cannon is given a round of applause, as is the performer who morphs into the cannon ball and is shot out into the theatre above the audience. It just misses the pink cloud and the little boy in the gold jacket by an inch. The little boy claps his hands in delight.
As the prop performers recede the old fort into the background, the scene shifts to the construction of the Cubo Line that extends from the fort and runs west. This is StumbleBlock's first scene and he is on stage in costume and ready to enact his part. Dramatically and with much flair he takes his place on the stage, obviously proud of being the main character in this scene.
The Cubo Line is a defensive line consisting of a moat and dirt embankments planted with Spanish Bayonets, a type of Yucca plant with sharp-pointed leaves that end in needles. The construction of the Cubo Line is carried out almost entirely by impressed Indian labor and slave labor. How sad to see the degradation of human beings. The scene causes some of the audience to turn away their eyes because they don't want to remember this part of life in the Physical Plane.
Standing in the center of the scene, StumbleBlock plays the character Bury Tripod, a slave who doesn't even have a name but is called by the name of the job he performs. He buries the surveyor's tripod into the ground and he also digs holes for the Yucca plants. Sometimes he digs the moat. His entire life is spent in poor human conditions, with no personal freedom at all and he is a case in point for John Calhoun, who campaigns tirelessly at the city council against the use of Indian and slave labor to build the Cubo Line.
Clearly, the audience cannot endure this scene for long, in which the soldiers and the surveyors enjoy making fun of Bury Tripod, giving him other names like Digger and Moat Goat. Bury Tripod, only in his early twenties, has grown so used to this treatment that he assumes it is just the way life is meant to be. He might have gone on with this life, enduring it however he can, but that he sees John Calhoun strolling freely on St. George Street with the beautiful white woman Isabel. Not until that moment in time does he realize another kind of life is possible for a black man.
Underneath Bury Tripod's calm demeanor suddenly seethes an angry, jealous, and resentful man. All the injuries done him over his lifetime well up like a flood of repressed hatred and flow out of him in the direction of John Calhoun. All he can think about is breaking free of his chains and killing John and Isabel. And so he begins to hatch out a scheme to do just that. As the soldiers make fun of Bury Tripod, he quietly plans the murder of John and Isabel Calhoun.
The scene shifts back to the sitting room of the house where John and Isabel live. John is reading a book while Isabel leaves to take a carriage ride. John hears Roll-Over-Play-Dead make a sound as though in pain, then he hears a loud noise in the bedroom. He rises from his chair to see what it is. The door of the bedroom is suddenly kicked open as Bury Tripod comes into the room and attacks John, attempting to strangle him. When John goes down he strikes his head on the edge of the fireplace mantle and, mortally wounded, loses consciousness. Isabel, who forgot to wear her snood to keep her hair from getting mussed, comes back into the room to get it and sees her husband being murdered by a black man. Bury Tripod grabs Isabel by the throat and strangles her as John momentarily regains consciousness.
John opens his eyes to see Bury Tripod killing the love of his life. With his last ounce of strength, he reaches for the wood ax, picks it up, and flings it as the Timacuan Indians taught him to do, but never did he think he would throw that ax at another human being. The ax strikes Bury Tripod in the lower back, severing his spine and killing him, but not in time to save Isabel. John falls back and dies.
As the action in this scene ends, the moment comes for StumbleBlock's soliloquy but he completely forgets whatever it was he intended to say.
"Quick!" says DontBugMe. "Focus the green light onto his face." MaliciousCode rotates the holographic projector so that the cool green light falls directly onto StumbleBlock's face. The audience collectively holds their breath, for this is the moment that everyone knows about because in each person's life comes a realization of the hurt they cause others. While we may not be murderers, everything in the universe exists to a lessor and to a greater degree.
We all have memories we would prefer to block. Sometimes, we can block the memory of the hurt we cause others, but it doesn't help us to block the memory of the actions we take that are, at worst, deadly or, at least, thoughtless. Everyone in the audience, including the Saints and the Ascended Beings, can relate to the kind of experience StumbleBlock is having, for now he suddenly remembers why he stumbles and why he blocks the memory of it.
StumbleBlock rises and walks to the center of the stage without stumbling. MaliciousCode fades the green light to blue and focuses it on his face. The moment has come that StumbleBlock dreamed of. Every person in an incomprehensibly vast audience is keyed onto every movement he makes. Every person in the audience waits in anticipation of his words. But StumbleBlock says nothing. MaliciousCode fades the blue light to white, and the moment comes when StumbleBlock speaks his soliloquy.
"I give of my life to everyone here. I love you. I have been brought to see that the nightmares I have are memories of something that really happened. I did not want to accept the possibility that I murdered the two people who have been my best friends for the last three hundred years. When I think of the way I have treated them, it is more than any one person can bear. But I can bear it now because I understand it. I do not forgive myself for doing what I did; I leave that to George and Mavis, who have forgiven me.
I want to say this in my own defense that I never knew life as a free man. I never knew what it was to love a woman, to hold her in my arms. I was always the man who buried the tripod, who dug the ditch, who slept on the ground. I never knew what it was to be human but I did know what it was to be a dog. Less than a dog because the dog ate first and I ate last.
But now, I want to go back and rewrite the script of my life. I will become a Go Back to that life as Bury Tripod. I will try to live it with all dignity and honor, though it hurts me to think about it. But I will do it and I only ask the Saints for the opportunity to go back and relive that life, this time with a different attitude. For it is not life that kills us. Life makes us who we are and no matter who we are, we can make life a little better for ourselves and for someone else. I want to become a Go Back. I want to give Bury Tripod another chance."
Many of the people in the audience are having sudden memories of things they blocked, and their attention drifts away from StumbleBlock and into themselves, but this is the power of performance art. Then, all eyes begin to turn in the direction of the Saints, and everyone notices the Yogis and Gurus changing rapidly into all the colors of the rainbow. The Buddhist monks are chanting their homage to Creation, the Islamic Sufis are spinning faster, the AmerIndian Shamans on the mountaintops are chanting in their native languages, and the extraterrestrial beamships are blinking at higher frequencies.
As the eyes of the audience focus on the Saints, their eyes focus on StumbleBlock in admiration of a man who recognizes his faults and who offers to redeem himself by asking their permission to relive a life that all people find unbearable.
The audience erupts into thunderous applause for StumbleBlock's performance and by instant unanimous agreement, he is awarded the Artist Most Admired award, in which he will be transported for a moment to the Beautiful Plane. But before it can happen he relinquishes the award to the audience, so that they can go in his place. This one single act of giving up the most cherished award of the Artists Round moves many of the Saints to tears, and feelings of deep love and gratitude for StumbleBlock well up in the theatre. On the stage behind StumbleBlock, George and Mavis hold each other in their arms.
While StumbleBlock awaits their decision, the Saints begin to congratulate Saint George on the play. Saint Augustine, who many thought they saw in the audience, stands up and approaches Saint George, saying, "Well done, well done. This will surely set a precedent." The audience points to the Saints as they became more visible and whispers their names as they became recognizable.
The Saint Teresas congratulate Saint George on bringing a man to redemption with the help of the two people he destroyed. Saint George defers right away to George Truax, who he insists is responsible for most of the success of the Passion Play because of his great compassion for human suffering and because of his desire to repay his debt to StumbleBlock. Several of the women Saints have already formed a focus group to discuss different ways of promoting the new redemption plan, and Catherine of Siena vows to include it in her dialogues. Clare of Assisi suggests organizing some seminars around the new plan, and Saint Teresa wants to include it in her new book about the interior journey.
Saint Vincent, Saint Francis, Saint Paul, and more of the Apostles offer Saint George their congratulations on a job well done, but Saint George defers to StumbleBlock and his great performance of a sinner redeemed. Everyone agrees StumbleBlock deserves to see the Beautiful Plane and they all admire his great act of generosity in giving away the privilege.
The Bored Players, on hearing they won the Performance Most Admired award, give that award to the audience so that everyone can stay in the Beautiful Plane for a few moments more. GoryGuy is given a special recognition plaque for playing so beautifully his part as the horse the dragon rode in on, and Ralph Dragon is widely acknowledged as the comedian of the year for his comical portrayal of Saint George.
This is a great moment of achievement for the St. Augustine Astral Plane, and on the Physical Plane, the tourists and townspeople are out in force to see all the ghost lights, orbs, and apparitions appearing all over town. The only downside is that one of the carriage horses on a ghost tour on St. Francis Street saw the upper half of a Spanish soldier ghost and panicked, running the carriage with its occupants into the sea wall on San Marco. Fortunately, no one was hurt. The carriage driver said that the horse then absolutely refused to go back down St. Francis Street again.
The audience watches with delight the Saints in the special section and notes the gaiety of the Magis, Yogis, Gurus, and Ascended Others. Everyone in the audience is preparing for a visit to the Beautiful Plane, when it will seem to them they have been transported to the plane. In actuality, the plane will come to them.
Suddenly, the Saints stop talking, their eyes riveted to a dark spot rotating about twenty feet above the stage, just above the little boy on the pink cloud. George and Mavis, and all of the audience, look up to see what the Saints are looking at.
"What is it, George?" asks Mavis
"I'm not sure," says George.
"Can you ask the Saint?" suggests Mavis.
George can telepathically communicate with Saint George at any time. Because of this special connection, his name is George, and now everyone knows why his last name is Truax. He communicates his question to the Saint.
Mavis waits impatiently. "What is it? What does the Saint say?"
"It can't be," says George, in disbelief. "It just can't be."
As all eyes focus on the small rotating black spot above the stage, it becomes apparent they are looking at a black hole that is becoming a portal. The portal opens and emerging from it is a being of such pure consciousness that the Saints are discussing whether they can project a form for the being to take. As the Saints begin to focus and meditate, so do the Magi, Yogis, Gurus, and all the Ascended Beings. All of the audience is instructed to focus their attention on the black orb to try to bring it into form. But because no one understands what it is, giving it form is difficult to do.
DontBugMe tells MaliciousCode, "Quick, make the background completely white." But even as MaliciousCode turns the holographic projector onto the object and gives it a stark white background, it still doesn't help bring it into view. Instead the black orb hovers in front of the small, spinning black hole.
"The Saints say they can't bring it in. They are trying desperately to hold it but it won't take any of the forms they're projecting."
"What is it?" asks Mavis. "What in the world can it be?"
Just then, the smell of roses wafts throughout the theatre and everyone thinks, "Oh, it's the Virgin Mary." But the Saints telepathically deny that the black orb is the Virgin. Then, as they all stare in astonishment, the audience hears the Saints inform the theatre that the Virgin Mary is going to offer herself as the form for the black orb to take. While they watch, the black orb embodies the Virgin and becomes the replica of her except that her skin is coal black.
Gasps are heard throughout the audience as they realize they are seeing for the first time the most elusive being in the universe and they begin to whisper her name, "The Black Madonna."
"George, is it really the Black Madonna?" asks Mavis.
"I believe it is," says George. "The Saint says it is."
The apparition appearing before them is a being so elusive that some of them never heard of her, others heard of her but don't believe she exists, and others believe she exists but never thought to see her. Most people don't understand the nature of her existence or the purpose of it and they don't understand why she is here now. The Saints are communicating to them that the love they are all feeling for StumbleBlock, and his gift of love to the audience in the form of his cherished award, invoked her into the theatre. She is a being who responds only if she feels a profound outpouring of love in some part of the universe, because whatever part of her that can be invoked into existence in a plane of creation is composed completely of love.
The Black Madonna, called Matawil by the Mayas and Binah by the Hebrew mystics, is the Great Mother. She exists in the Realm of Primal Silence, which is a darkness beyond all conception. She existed when no-thing existed, when nothing had been drawn together, when the Creation was unformed. She existed before there was the motionless sea, before the empty sky, before there were people, birds, fish, trees, stones. She existed when there was no-thing that could tremble or cry. Flatness and emptiness were not even born yet. She existed in the time of eternal night, when silence stood in the dark. And in this darkness she conceived and brought forth a child from nothingness.
As the Virgin Mary embodies her, the Black Madonna sees the individual faces of everyone there. This in itself blesses them. They are forever in her memory for she never forgets anything. They are forever her children, and she loves them, each individual one. The Saints pray to her to appear to them again, and they hear her answer. Whenever there is a great outpouring of love, they know she will return.
For a long moment, the Black Madonna smiles at the little boy floating on the pink cloud, and he smiles at her. Then, as suddenly as she appeared she disappears back into the spinning black hole that disappears with her.
A quiet falls over the theatre that lasts for hours. No one wants to leave. All through the Physical Plane of the town, people quietly go into the churches and the cathedrals to pray, without knowing why. The Black Madonna came to see the man whom everyone loved for realizing what a miserable life he had led, through no fault of his own, and who asked permission to go back and live it again, to try to give it dignity and meaning.
"Well," comments Mavis much later. "It will be talked of for eons."
As for Sparse and Scarce, they achieved the filmmaker's dream. They can hardly believe they captured an event on film that will be viewed throughout all eternity.
UR NAMMU, THE CREATED GOD
Dagon-Jah waits for Daedalus to return and tell him when the King will see him. Daedalus wonders how he will tell Dagon-Jah about the King's refusal.
"I will see no one by the name of Jah," answered the King to Daedalus's request. The King worships Ur Nammu and Ur Troda. To allow Dagon-Jah into his presence is to insult these gods.
Daedalus makes a suggestion to Dagon-Jah, as he watches the terrible disappointment come over the brilliant man's face. "Were you to take the name Ur-Ra as your new name, the King will likely see you and view your masterpiece." He did not expect Dagon-Jah to adopt a new name but he had to at least make the suggestion.
Dagon-Jah will not do it. "How can I disavow Jah in this way who has never disavowed me. My masterpiece will go unnoticed for now but not for all time. Jah's voice will talk to another, and somewhere in time someone will see the disk and know it is Jah's story. I will return home to Phaistos."
Daedalus must accept Dagon-Jah's decision. As Dagon-Jah leaves the palace, Daedalus remarks to him again how much he admires his work. But Daedalus cannot accept the complete loss of Dagon-Jah's masterpiece.
As the preparations begin for the festival dance in the central court of the palace, Daedalus draws the pattern of the dance in red paint in the sand. The dance of the labyrinth follows the exact pattern of Dagon-Jah's masterpiece. Daedalus draws the large figure 8 with four spirals in each loop. Then, he shows the dancers how to proceed. They lock their arms around each other's shoulders and start at the center of the spiral in the top loop and dance around and around until they cross over to the spirals of the second loop. Then, they turn and dance their way back, making the shape of a figure 8. The pattern is so large that eight hundred dancers can participate. The King is impressed with this new invention of Daedalus and compliments him, but Daedalus tells the King it is the masterpiece of Dagon-Jah.
The King is furious but he cannot discharge his inventor. Instead, he uses the pattern to make sacrifices to Ur Nammu. The King orders the release of a bull into central court. He sends in bull leapers to enrage the bull, then he orders his warriors to send in captives one by one to battle the bull, and one by one the captives are slain and mutilated on the pattern of Dagon-Jah's masterpiece.
Then, the King tires of endless bloodshed and invents a game. He sends Ariadne into the central court to leap the bull and lead it through the spirals with the captive between them. If she is successful the captive will live, but if not the captive will die. After several failed attempts, the sailor Theseus offers to enter the central court and challenge the bull. Now, Ariadne must save Theseus and lead him and the bull through all the spirals of the maze. If she takes them to the center of the other loop of the figure 8 before the bull can destroy Theseus, they will be released and rewarded.
Minoan Bull Leaping
But before she can do this, Theseus grabs the bull by the horns and pulls a long knife hidden under his clothes and slays the bull. This bull sport becomes so popular that any bull leaper who can prevent the death of a captive is called Ariadne, and any captive who can kill the bull is called Theseus. The bull that dies is given the name Minotaur – the King's Bull.
The spirals of the labyrinth become known as the thread of Ariadne and, in honor of the man who painted the maze puzzle onto the ground of central court, the pattern of the masterpiece of Dagon-Jah becomes known throughout time as the Maze of Daedalus.
A tragedy occurred later when Icarus, without his father's permission, put on the big white wings his father invented and jumped off a fourth story building in the palace in an attempt to fly over the central court where the pattern of Dagon-Jah's masterpiece was permanently painted on the ground. He died when the wings failed to hold him aloft. A legend developed from this incident in which, as the story goes, Icarus tried to fly out of the inescapable maze by attaching wings to himself with wax that melted, causing him to crash.
When Dagon-Jah returns to Phaistos he places the disk in a compartment inside the Phaistos Palace and puts with it a tablet explaining its meaning. When someone finds it they will see it is the story of Jah, thinks Dagon-Jah. For the next 3,600 years the disk remains in the compartment, preserved from crumbling by Dagon-Jah's kiln invention.
In 1905 C.E. a French archeologist finds it and the Linear A tablet that tells about the disk. But the language on the tablet has long since been forgotten, and the people, in following Ur Nammu and the other created gods, have long since forgotten about Jah. They know nothing of his story.
Parts of the story of Jah were preserved in Greek mythology, in the story of Rhea and her son Zeus, who was born in a cave on Crete. Jah's name was preserved by the Hebrews of long ago in their stories of Jahweh, the vengeful god of the people's creation. But the story is lost of the sweet and loving Jahoveh who returns every twenty star years to his mother and who speaks in the minds of people. Because Jah and Re-Ah were long forgotten by the people, Jah would have to find a way to remind the people of their creator.
So Jah came onto the Earth as Ja-sus, just as he told Dagon-Jah he would. Ja-sus taught the people of the compassionate, forgiving, loving Creator, but many of the people were infuriated like the King and would not hear of it. Ja-sus was despised by the followers of Jahweh and was murdered by the followers of Ur Nammu and the other created gods. But the masterpiece of Dagon-Jah preserves to this day the story of Jah while the jealous followers of Ur Nammu and the other created gods fight among themselves in their attempt to destroy the Masterpiece of Jah.
Page 1 - A Ghost Tour | Light of Recognition
Page 2 - Deus Madre | Authentic Metaphor | Bury the Evidence
Dagon-Jah the Potter
Page 3 - Reality Bytes | The Cut Ups
Page 4 - The Time is Coming | Non Deus Non Madre
Gary Gravestone | Dagon-Jah's Creation
Page 5 - The Roommate | LoverGirl | The Two-Way Door
Grace Courage | Gladys Kurtz | Jimmy Dobbs
The Al Capone Syndrome
Page 6 - Outside Forces | Good and Evil - God 'N Devil
The FoundDeads | The Stalker
Page 7 - The Dinner Date | Concealed Personas | Some New Girls
Ghost Real Estate | Dagon-Jah at Knossos
Page 8 - The Bucket | Stage Call | A Trip to St. Aug
Elevated Consciousness | The Black Madonna
Page 9 - Planes of Reality
Page 10 - The Masterpiece of Dagon-Jah
Page 11 - The Praetorian Guards | MetaphorMan
The Lurid Appeal | The Indian in the old Fort
Deus Madre Redux | Something About Her
Something About Him | The Bored Players
Page 12 - The Arc in the Covenant | The Man
Page 13 - The Artists Round | The Good, the Bad, and the Curious
Part 14 - Death and Remembrance | Ur Nammu, the Created God
Part 15 - Worlds Apart | You Don't Know What It's Like
Spinning the Sword | A Destiny Foretold
Invoking the Archangel
Part 16 - Some Go Forward and Some Go Back | Going Home
Back Travel | The Miracle of Birth
The Fire that does not Consume
DISK OF THE WORLD
A Spiritual Revelation about the Enlightenment and its Social Oppression
This is a Shield Guide portal. We are a vast organization of beings from all parts of the universe and an interdimensional organization of life systems that represent a winged body of planetary systems. We assist in developing light-network domains and appear when requested to shield and guide civilizations on ascension paths. We form portals bridging this evolutionary domain to others in the universe on similar ascension paths.
BOOKS, ARTICLES, ART, AND WEB DESIGN BY CLAIRE GRACE WATSON
THIS IS A PHAISTOS DISK INSPIRED ALLOGENEOUS AUTOBIOGRAPHY
Copyright Notice - Disk of the World - Text and images copyrighted March 21, 1993-2018, Claire Grace Watson, B.A., M.S.T., U.S. Copyright and under the Digital Millennium Copyright Act of 1998, All rights reserved. No part of this web page may be reproduced or transmitted in any form or by any means without written permission from the author, except for the inclusion of brief quotations in a review.
Copyright Notice - "The Shadow Breakers" Text and images copyrighted March 21, 1993-2018, Claire Grace Watson, B.A., M.S.T., U.S. Copyright and under the Digital Millennium Copyright Act of 1998, All rights reserved. Additional to these copyrights is TXu 692-656, Isis and Osiris, The Phaistos Disk Deciphered, June 26, 1995, above images included, and The Shadow Breakers, including twenty-two of these images, copyright 2005. All solution images, pictograph tracings, disk tracings, photos of Phaistos and Heraklion harbor, Crete by Claire Grace Watson. No part of this web page may be reproduced or transmitted in any form or by any means without written permission from the author, except for the inclusion of brief quotations in a review.