The Rainbow Bridge From The Center of the Universe Through The Antahkarana To the Alchemical Flame

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Living From The God Chakra – An Infinity Of Chakras Above The Head – The Central Spiritual Sun, The Antahkarana And Alchemical Vitriol

The Heart Sutra Of The Buddha Says, “All Sages And Saints Live From Prajna Paramita”

The Central Spiritual Sun, The Antahkarana And Alchemical Vitriol Comprise The Holy Trinity – The Father The Son And The Holy Spirit.

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With Energy Enhancement We Learn That The Supra Galactic Orbit Of Energy Enhancement Is The Guided Meditation Incorporating All These Elements Common To Every Religious And Meditational Tradition – The Energy Enhancement Synthesis Of Light – Sol

Here Below We Have The Energy Circulation, Taoist Orbit, Of Alchemical John Dee And The Sufi “Turning Of The Screw” – Taoist Orbit, Energy Circulation

The Guided Meditations Of Energy Enhancement Really Work Because The Map Is Correct, Because This Map Exists In Every Religion And Meditational Tradition, And “Because The Map Is Correct, Spiritual Experience Is Sure To Follow” – Satchidanand – Just See Our Students Reports!!

The Egg Is A Common Alchemical Symbol. The Retort, The Alchemists’ Bulb-shaped Vessel, Was Called The Philosopher’s Egg. It Was Used For Gentle Distillation And Cohobation And Could Be Hermetically Sealed, So That The Various Materials Inside Could Incubate. The Egg Was, More Importantly, Perceived As An Image Of The Universe, The Macrocosmos, The Soul.
The Antahkarana Of John Dee

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John Dee, A British Alchemist And Mathematician Who Wrote The Monas Hieroglyphica In 1564, Wrote About The Monad (Unity) Underlying The Universe As Expressed In A Hieroglyph Or Symbol. He Connected The Symbol Of The Monad To The Process Of Alchemical Transmutation And Found Elements Of Transformation Arranged Along Orbital Lines In The Egg, According To The Corresponding Placement Of Their Ruling Planets. He Delineated The Egg Into A Central “yolk” Made Up Of The Sun, Mars And Venus (The Metals Gold, Iron And Copper) And A “white” Made Up Of Jupiter, Saturn, Luna And Mercury (The Metals Tin, Lead, Silver And Quicksilver)…material Tranformation Took Place When The “yolk” Enveloped The “white” Through A Process Of “rotation.”

The John Dee Circulation Of The Energies Of The Energy Enhancement Supra Galactic Orbit

Above, All The Planets In A Line, Higher And Higher, Along The Antahkarana.

This Is Pythagoras´s Music Of The Spheres, Or Planets, Or Chakras Out Of The Body, To Which We Are Connected.

We Ascend, Out Of The Body To Access Higher And Higher Chakras To Which We Are Connected.

This Map Shows How We Human Beings Connect Into The Higher And Higher Energies Of The Universe.

Dee Further Symbolized This Process With A Spiral Derived From Sufi Arabic- Egyptian Alchemy, – Originally Taoist Alchemy – Where “turning The Screw” Was Used To Describe Transformation. The Spiral Described And Contained Circles, And The Circle Was Conceived As A Hermetically Sealed Space In Which Transformation Could Take Place.

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In Reality, This Is A Picture Of The Chakras Outside The Body Below The Base And Above The Head, Connecting Us With Our Soul And Energy Centers Even Higher Than That, The Monad, The Logos, Sirius And The Avatar Of Synthesis All The Way To The Energy In The Center Of The Universe.

As The Screw Is Turned, We Access Higher And Higher, One Chakra At A Time.

Above, See The Spiral “Screw” Circulating Energy Through The Chakras. Although Not Created By Dee, It Shows The Antiquity Of Of The Same Successful Technique Actually Pre-dating That Of Dee’s, As We Say Above, From The Taoist Supra-galactic Orbit And The Hindu Kundalini Kriyas.

Available Now, In Energy Enhancement!!

Initiation Four – The Supra Advanced Kundalini Kriya Of Kriya Yoga

Maximum Power Up!!

The Central Spiritual Sun Of Akhnaten

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The Energy Transmutation Of Energy Enhancement Produces Inner Peace, Clarity, Openness And Truth. The Energy Enhancement Student’s “No” To All The Past Negative Energy And Energy Blockages Held Inside Springs From An Unequivocal “Yes” To Themselves And To Their Life!

Zen The Antahkarana And Energy Enhancement

Learn How To Drop The Body

Learn How To Drop The Mind

Have An Oobe

(Oobe – Out Of Body Experience)

Dogen, One Of The Founders Of Zen Buddhism In Japan, Spent Three Years At Tien-túng In China, Entering Whole Heartedly Into Zazen Practice.

One Day During Meditation, Tendo Nyojo Shouted At A Sleeping Monk, “When You Study Under A Master, You Must Drop Body And Mind!”

For Dogen, Seated Right Beside This Monk The Shouted Words, ¨drop Body And Mind!” Precipitated A Profound Experience.

He Made His Way To The Abbots Quarters And Burned Incence In Awe And Gratitude, And, After A Brief Exchange, Tendo Nyojo Confirmed That His Young Japanese Disciple Had Indeed, “Dropped Body And Mind.”

The Only Way To Perceive That We Are Mainly Using The Body As Our Vehicle Is To Drop It.

To Get Out Of It. Higher, Along The Antahkarana.

We Can Always Choose To Come Back To It. We Can Choose When To Die, Dropping The Body Like A Suit Of Old Clothes.

Ancient Books Are Full Of This Leaving The Body And Entering Into The Body Of Another, Or Choosing When To Die.

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We Can Choose To Enter Into The Body Of Another As Lao Tsu Chose To Do When His First Body Wore Out And He Entered Into Another Body In Another Land And Became Another Enlightened Sage.

We Can Choose To Enter Into The Body Of Another As The Buddha Did In Order To Gain Experience, He Entered Into The Body Of A King Who Had Just Died For A Month, And Then Dropped That Body In Order To Enter Back Into His Own Body.

You Can Learn To Drop Body And Mind, And Then Go Back.

With Energy Enhancement Experience The Antahkarana….

The Energy Enhancement Antahkarana

“A Single Hair Can Pierce Many Emptinesses” – Zen Koan

The Single Hair Is The Antahkarana And The Emptinesses Are The Chakras

Paradiso From Dante’s Comedy Describing Ascension Through The Higher Chakras

The Commedia was written by Dante – Freedom Fighter against Totalitarian Dictatorship – and consists of Inferno · Purgatorio · Paradiso.
It is interesting that The Matrix movie is an allegory of the Commedia – People living near the Earths center – inferno, people living in the Matrix – Purgatorio – the Machine City – Paradiso.

Paradiso (Italian for “Paradise” or “Heaven”) is the third and final part of Dante’s Divine Comedy, following the Inferno and the Purgatorio. It is an allegory telling of Dante’s journey through Heaven the Chakras above the Head, guided by Beatrice, who symbolises theology. As Beatrice rises through the chakras her energy becomes more and more intense!!

Universally admired and remembered by Societies all over the World, Dante and his Commedia and all his works stand for freedom and justice for those who hate tyranny.
The canto—a major division of an epic or long narrative poem—is the basic structure of The Divine Comedy. Canto is an Italian term, derived from the Latin “cantus” meaning song. Dante’s epic poem consists of 100 cantos grouped into three sections called canticles: Inferno, Purgatorio and Paradiso. Each segment contains 33 cantos with an additional introductory canto at the beginning of Inferno.

In the poem, Paradise is depicted as a series of concentric Chakras above the Head surrounding the Earth representing some of the chakras above the head, consisting of the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile and finally, the Empyrean. It was written in the early 14th century.
Allegorically, the poem represents the passage of evolution of the soul’s ascent to God through an infinity of Chakras above the Head.

The Paradiso begins at the top of Mount Purgatory, at noon on the Wednesday after Easter. After ascending through the Chakra above the Head of fire believed to exist in the chakras above the head (Canto I), Beatrice guides Dante to ascend through the nine celestial Chakras above the Head of Heaven, at last to the Empyrean, to merge with God.
In the Commedia nine Chakras above the Head are concentric, as in the standard medieval geocentric model of cosmology,[1] which was derived from Ptolemy whose circles represented the chakras above the head in alignment with anyone on any part of the planet, not the real planets, chakras above the head!!
The Empyrean is non-material. As with his Purgatory, the structure of Dante’s Heaven is therefore of the form 9+1=10, with one of the ten regions different in nature from the other nine.

During the course of his journey, Dante meets and converses with several blessed souls. He is careful to say that these all actually live in bliss with God in the Empyrean:

“But all those souls grace the Empyrean;
and each of them has gentle life though some
sense the Eternal Spirit more, some less.”[2]
However, for Dante’s benefit (and the benefit of his readers), he is “as a sign”[3] shown various souls in planetary and stellar Chakras above the Head that have some appropriate connotation.
While the structures of the Inferno and Purgatorio were based around different classifications of sin, the structure of the Paradiso is based on the four cardinal virtues (Prudence, Justice, Temperance, and Fortitude) and the three theological virtues (Faith, Hope, and Love).

Dante’s Chakras above the Head of Heaven

On visiting the Moon, Beatrice explains to Dante the reasons for its markings, Canto 2.
Dante’s nine Chakras above the Head of Heaven are the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, and the Primum Mobile. These are associated by Dante with the nine levels of the angelic hierarchy. Dante also relies on traditional associations, such as the one between Venus and romantic love. The first three Chakras above the Head (which fall within the shadow of the Earth) are associated with deficient forms of Fortitude, Justice, and Temperance. The next four are associated with positive examples of Prudence, Fortitude, Justice, and Temperance; while Faith, Hope, and Love appear together in the eighth Chakra above the Head.

Deficiencies in the Chakras above the head are always caused by energy blockages of which we find many in every chakra. Only by using the seven step process of Energy Enhancement can we find the most efficient way to remove even the deepest and most recalcitrant blockages.
Dante’s First Chakra above the Head (The Moon: The Inconstant)

On visiting the Moon, Beatrice explains to Dante the reasons for the markings on its surface, describing a simple scientific experiment in optics. She also praises the experimental method in general (Canto II):
“Yet an experiment, were you to try it,
could free you from your cavil, and the source
of your arts’ course springs from experiment.”[4]
Dante and Beatrice speak to Piccarda and Constance (fresco by Philipp Veit), Canto 3.
The waxing and waning of the moon is associated with inconstancy.[5]
Consequently, the Chakra above the Head of the Moon is that of souls who abandoned their vows, and so were deficient in the virtue of fortitude (Canto II). Here Dante and Beatrice meet Piccarda, sister of Dante’s friend Forese Donati, who died shortly after being forcibly removed from her convent. They also meet Constance of Sicily, who (Dante believes) was forcibly removed from a convent to marry Henry VI (Canto III).[6] Beatrice discourses on the freedom of the will, the sacredness of vows, and the importance of not collaborating with force (Canto IV):

“for will, if it resists, is never spent,
but acts as nature acts when fire ascends,
though force a thousand times tries to compel.
So that, when will has yielded much or little,
it has abetted force as these souls did:
they could have fled back to their holy shelter.”[7]
Beatrice explains that a vow is a pact “drawn between a man / and God,”[8] in which a person freely offers up his free will because he is totally in alignment with God. Vows should therefore not be taken lightly, and should be kept once given – unless keeping the vow would be a greater evil, as with Jephthah’s and Agamemnon’s sacrifice of their daughters (Canto V).[9]

Dante’s Second Chakra above the Head (Mercury: The Ambitious)

Because of its proximity to the sun, the planet Mercury is often difficult to see. Allegorically, the planet represents those who did good out of a desire for fame, but who, being ambitious, were deficient in the virtue of justice. Their earthly glory pales into insignificance beside the glory of God, just as Mercury pales into insignificance beside the sun.[9] Here Dante meets the Emperor Justinian, who introduces himself with the words “Caesar I was and am Justinian,”[10] indicating that his personality remains, but that his earthly status no longer exists in Heaven[11] (Canto V).
This is the Heart Sutra of the Buddha which states, “All Sages and Saints for thousands of years have acted from Prajna Paramita – the highest Wisdom of the Chakras above the Head!!
Justinian recounts the history of the Roman Empire, mentioning, among others, the Totalitarian Dictators Julius Caesar and Cleopatra; and bemoans the present state of Italy, given the conflict between Guelphs and Ghibellines, and the involvement of the terrorist “yellow lilies” of France[11] (Canto VI):

“For some oppose the universal emblem
with yellow lilies; others claim that emblem
for party: it is hard to see who is worse.
Let Ghibellines pursue their undertakings
beneath another sign, for those who sever
this sign and justice are bad followers.”[12]
The spirit, addressing Dante here in the Sphere of Mercury, is Justinian, a sixth-century Byzantine emperor. Best known for codifying Roman law, Justinian dives into a canto-long discussion of the Old Republic of the Roman Empire–its history and the symbolism of the eagle. In his account, Justinian talks about a number of historical figures such as Hannibal, Augustus, Tiberius, Titus, and Charlemagne. Justinian concludes by remarking on the evil of those Totalitarian Dictators (the Guelphs) who wish to replace the eagle (the symbol of the Old Roman Repblic) with the lilies of France while the other Dictators the Ghibellines hope to claim the eagle as a symbol for their faction alone.

By association, Beatrice discourses on the Incarnation and the Crucifixion of Christ, which occurred during Roman times (Canto VII).
Dante’s Third Chakra above the Head (Venus: The Lovers)

The planet Venus (the Morning and Evening Star) is traditionally associated with the Goddess of Love, and so Dante makes this the planet of the lovers, who were deficient in the virtue of temperance through having been implanted, like all human beings, with the Sexual Addiction Blockage. That intemperance takes all your energy and makes it impossible to follow your Soul Path. The really intemperant follow the downward path of drugs, pain and sado-masochism, homosexuality (behind her) and paedophilia (Canto VIII):

“The world, when still in peril, thought that, wheeling,
in the third epicycle, Cyprian
the fair sent down her rays of frenzied love,
.. and gave the name of her
with whom I have begun this canto, to
the planet that is courted by the sun,
at times behind her and at times in front.”[13]
The florin, the “damned flower,” Canto 9.
Folquet de Marseilles bemoans the corruption of the Church, with the clergy receiving money from Satan (miniature by Giovanni di Paolo), Canto 9.
Dante meets Charles Martel of Anjou, who was known to him,[14] and who points out that a properly functioning society requires people of many different kinds.
Such differences are illustrated by Cunizza da Romano (lover of Sordello), who is here in Heaven, while her brother Ezzelino III da Romano is in Hell, among the violent of the seventh circle of the Chakras below the Base, or Muladhara Chakra.[15]
The troubadour Folquet de Marseilles speaks of the temptations of love, and points out that (as was believed at the time) the cone of the Earth’s shadow just touches the Chakra above the Head of Venus. He condemns the city of Florence (planted, he says, by Satan) for producing that “damned flower” (the florin) which is responsible for the corruption of the Church, and he criticises the clergy for their focus on money, rather than on Scripture and the writings of the Church Fathers.


In these days corruption has infiltrates every once great institution whereby even Presidents are the workers of the truly rich. What once was a millionaire has been inflated away – now to be rich you need a Trillion Dollars. Yet even they, like you, need to become Enlightened!!
9 (Canto IX):

“Your city, which was planted by that one
who was the first to turn against his Maker,
the one whose envy cost us many tears
produces and distributes the damned flower
that turns both sheep and lambs from the true course,
for of the shepherd it has made a wolf.
For this the Gospel and the great Church Fathers
are set aside and only the Decretals
are studied as their margins clearly show.
On these the pope and cardinals are intent.
Their thoughts are never bent on Nazareth,
where Gabriel’s open wings were reverent.”[16]

Beyond the shadow of the Earth, Dante deals with positive examples of Prudence, Justice, Temperance, and Fortitude. Within the Sun, which is the Earth’s source of illumination, Dante meets the greatest examples of prudence: the souls of the wise, who help to illuminate the world intellectually[17] (Canto X). Initially, a circle of twelve bright lights dance around Dante and Beatrice. These are the souls of:[17]
As the poet and his guide enter the Sphere of the Sun, Dante’s consuming love for God surpasses his love for Beatrice. Suddenly, they find themselves encircled by a crown of dancing, glorious lights that sing a beautiful melody. A voice, that of St. Thomas Aquinas, calls out from the crown and identifies the spirits that surround the poet: Albert of Cologne, Gratian, Peter of Lombard, Isadore of Seville, Bede, and others.

Thomas Aquinas
Albertus Magnus
Gratian
Peter Lombard
King Solomon
Dionysius the Areopagite, confused here with Pseudo-Dionysius
Orosius
Boethius
Isidore of Seville
Bede
Richard of Saint Victor
Sigier of Brabant

Dante opens this Canto by musing on the senseless acts of mortals who pursue wealth and power. St. Thomas addresses Dante and declares that to ensure the union between the Church and Christ, Providence appointed two pious leaders. The first leader, St. Francis of Assisi, gave up his wealth to devote himself to poverty and attracted disciples who also accepted poverty in their hearts and in their behavior. St. Francis preached Christianity in Egypt and received the stigmata before he died. The second leader was St. Dominic who instructed his followers in humility and service to God. Many of Dominic’s followers, however, became greedy and now few people in the Dominican order remain faithful to St. Dominic’s guidance.
This list includes philosophers, theologians and a king, and has representatives from across Europe. Thomas Aquinas recounts the life of St. Francis of Assisi, and his love for “Lady Poverty” (Canto XI):

“Between Topino’s stream and that which flows
down from the hill the blessed Ubaldo chose,
from a high peak there hangs a fertile slope;
from there Perugia (Home of St Francis) feels both heat and cold
at Porta Sole, while behind it sorrow
Nocera and Gualdo under their hard yoke.
From this hillside, where it abates its rise,
a sun was born into the world, much like
this sun when it is climbing from the Ganges.
Therefore let him who names this site not say
Ascesi, which would be to say too little,
but Orient, if he would name it rightly.”[18]
Twelve new bright lights appear, one of which is St. Bonaventure, a Franciscan, who recounts the life of St. Dominic, founder of the order to which Aquinas belonged. The two orders were not always friendly on earth, and having members of one order praising the founder of the other shows the love present in Heaven[19] (Canto XII). The twenty-four bright lights revolve around Dante and Beatrice, singing of the Trinity, and Aquinas explains the surprising presence of King Solomon, who is placed here for kingly, rather than philosophical or mathematical wisdom (Cantos XIII and XIV):
“My words did not prevent your seeing clearly
that it was as a king that he had asked
for wisdom that would serve his royal task
and not to know the number of the angels
on high or, if combined with a problem,
necessity ever can produce what is necessary,”[20]

The Assembly of the Bogatyrs (Yuri Arsenyuk, 1989)
“Just WHAT is a Bogatyr?” you ask. Thank you for asking. A Bogatyr was a Russian epic hero, much like the medieval knight errant. Each bogatyr tended to be known for a certain character trait, Alyosha Popovich for his wits, Dobrynya Nikitich for his courage, and Ilya Muromets for his physical and spiritual power and integrity, and for his dedication to the protection of his homeland and people. Svyatagor passed his strength on to Ilya Muromets and Schemamonk Aleksandr Peresvyet died bravely on the Kulikovo Field in 1380 fighting the Tatar Horde. Many legends grew up around these famous warriors, but, they were not literary constructs, they were real men, of real heroic stature.
They stood for Russia, and their spirit is not dead today.

The planet Mars is traditionally associated with the God of War, and so Dante makes this planet the home of the warriors of the Faith, who gave their lives for God, thereby displaying the virtue of fortitude.[21] The millions of sparks of light that are the souls of these warriors form a Greek cross on the planet Mars, and Dante compares this cross to the Milky Way as an infinite number of heroes (Canto XIV):

“As, graced with lesser and with larger lights
between the poles of the world, the Galaxy
gleams so that even sages are perplexed;
so, constellated in the depth of Mars,
those rays described the venerable sign
a circle’s quadrants form where they are joined.”[22]
Dante is a hero who never stopped fighting against Satan. Dante meets his ancestor Cacciaguida, who served in the Second Crusade.[24] Cacciaguida praises the twelfth-century Republic of Florence, and bemoans the way in which the city has declined since those days (Cantos XV and XVI). The setting of the Divine Comedy in the year 1300, before Dante’s exile, has allowed characters in the poem to “foretell” bad things for Dante.[25] In response to a question from Dante, Cacciaguida speaks the truth bluntly. Dante will be exiled (Canto XVII):
“You shall leave everything you love most dearly:
this is the arrow that the bow of exile
shoots first. You are to know the bitter taste
of others’ bread, how salt it is, and know
how hard a path it is for one who goes
descending and ascending others’ stairs.”[26]
However, Cacciaguida also charges Dante to write and tell the world all that he has seen of Hell, Purgatory, and Heaven in the World.[25] Finally, Dante sees some other warriors of the Faith, such as Joshua, Judas Maccabeus, Charlemagne, Roland, and Godfrey of Bouillon (Canto XVIII).

An imperial eagle. The souls forming the final “M” of “TERRAM” transform themselves into this shape, Canto 18.
The planet Jupiter is traditionally associated with the king of the gods, so Dante makes this planet the home of the rulers who displayed justice – courts which act fairly are essential to stopping fascism and totalitarianism.[27] The souls here spell out the Latin for “Love justice, ye that judge the earth”, after which the final “M” of that sentence is transformed into the shape of a giant imperial eagle[27] (Canto XVIII):

“DILIGITE IUSTITIAM were the verb
and noun that first appeared in that depiction;
QUI IUDICATIS TERRAM followed after.
Then, having formed the M of the fifth word,
those spirits kept their order; Jupiter’s
silver, at that point, seemed embossed with gold.”[28]
Present in this Chakra above the Head are David, Hezekiah, Trajan (converted to Christianity according to a medieval legend), Constantine, William II of Sicily, and (to Dante’s amazement) Ripheus the Trojan, a pagan saved by the mercy of God.[29] The souls forming the imperial eagle speak with one voice, and tell of God’s justice[30] (Cantos XIX and XX).

Here, Dante sees the Virgin Mary and other saints (Canto XXIII). St. Peter tests Dante on faith, asking what it is, and whether Dante has it. In response to Dante’s reply, St. Peter asks Dante how he knows that the Bible is true, and (in an argument attributed to Augustine[36]) Dante cites the miracle of the Church’s growth from such humble beginnings – “By their fruits ye shall know them” –

Jesus (Canto XXIV):

“Say, who assures you that those works were real?
came the reply. The very thing that needs
proof no thing else attests these works to you.
I said: If without miracles the world
was turned to Christianity, that is
so great a miracle that, all the rest
are not its hundredth part: for you were poor
and hungry when you found the field and sowed
the good plant once a vine and now a thorn.”[37]
St. James, who questions Dante on hope, Canto 25.
“There is no child of the Church Militant
who has more hope than he has, as is written
within the Sun whose rays reach all our ranks:

thus it is granted him to come from Egypt
into Jerusalem that he have vision
of it, before his term of warring ends.”[39]
Finally, St. John questions Dante on love. In his reply, Dante refers back to the concept of “twisted love” discussed in the Purgatorio[40] (Canto XXVI):
“Thus I began again: My charity
results from all those things whose bite can bring
the heart to turn to God; the world’s existence
and mine, the death that He sustained that I
might live, and that which is the hope of all
believers, as it is my hope, together
with living knowledge I have spoken of
these drew me from the sea of twisted love
and set me on the shore of the right love.
The leaves enleaving all the garden of
the Everlasting Gardener, I love
according to the good He gave to them.”[41]
St. James asks, “What is hope?”
In response, Dante states, “Hope is a sure expectation of future glory, which divine grace produces, and preceding merit.
From many stars of the chakras above the head this light comes to me, but he first instilled it into my heart who was the supreme singer of the Supreme Leader” (the psalms of David).

St. Peter then denounces Pope Boniface VIII in very strong terms, and says that, in his eyes, the Papal See stands empty (Canto XXVII).
Dante’s Ninth Chakra above the Head (The Primum Mobile: The Angels)

The Primum Mobile (“first moved” Chakra above the Head) is the last Chakra above the Head of the physical universe. It is moved directly by God, and its motion causes all the Chakras above the Head it encloses to move[42] (Canto XXVII):
“This heaven has no other where than this:
the mind of God, in which are kindled both
the love that turns it and the force it rains.
As in a circle, light and love enclose it,
as it surrounds the rest and that enclosing,
only He who encloses understands.
No other heaven measures this Chakra above the Head’s motion,
but it serves as the measure for the rest,
even as half and fifth determine ten;”[43]
Obviously the hierarchical levels of the astral plane are represented by the evolutionary levels of angel who exist on each level represented by images arising in the unconscious mind during meditation. Each type of angel represents the hierarchical evolution of Energy Blockages which have had all their Negative Karmic Mass transmuted by the Seven Step Process which distribute the energies of God through the laser of the Brow Chakra and connects vertically with the highest level of God.

 

Dante Commedia – Gustav Dore – Looking into the bottom of the column of the Antahkarana
Dante and Beatrice see God as a point of light at the top of the antahkarana surrounded by angels (illustration by Gustave Doré), Canto 28.
The Primum Mobile is the abode of angels, and here Dante sees God as an intensely bright point of light at the top of the antahkarana surrounded by nine rings of angels (Canto XXVIII). Beatrice explains the creation of the universe, and the role of the angels, ending with a forceful criticism of the people of the day who lie and talk about that which is unimportant (Canto XXIX):

Beatrice criticises people of the day, suggesting that a sinister “bird” (a winged demon) nests in the preacher’s cowl
“Christ did not say to his first company:
‘Go, and preach idle stories to the world;
but he gave them the teaching that is truth,
and truth alone was sounded when they spoke;
and thus, to battle to enkindle faith,
the Gospels served them as both shield and lance.
But now men go to preach with jests and jeers,
and just as long as they can raise a laugh,
the cowl puffs up, and nothing more is asked.
But such a bird nests in that cowl, that if
the people saw it, they would recognize
as lies the pardons in which they confide.”[44]

DANTE – DORE CHAKRAS ABOVE THE HEAD
Dante’s “The Empyrean”
As Beatrice’s beauty increases, she and Dante ascend to the next level of Heaven, the Empyrean. Beatrice tells Dante that he will see angels and saints in their human form, as they will appear at Resurrection. Momentarily blinded, Dante regains his sight to see a river of light flowing past him. Beatrice prompts Dante to drink from the river. As he touches the light, the river turns into a sea and the sparks of the river transform into the shape of a giant rose. A thousand tiers form the petals of the rose and a great light shines from the center. Beatrice points to the few empty seats in the rose petals, one of which has been reserved for Emperor Henry VII. Beatrice explains that Henry will attempt to free Italy. The pope, Clement V, will stop Henry but find his punishment in Hell alongside Boniface VIII.
From the Primum Mobile, Dante ascends to a region beyond physical existence, the Empyrean, which is the abode of God. Beatrice, representing theology,[45] as she rises through the exponetially increasing energies of the chakras above the head is here transformed to be more beautiful than ever before – beauty is energy!!, and Dante becomes enveloped in light, rendering him fit to see God[45] (Canto XXX):

“Like sudden lightning scattering the spirits
of sight so that the eye is then too weak
to act on other things it would perceive,
such was the living light encircling me,
leaving me so enveloped by its veil
of radiance that I could see no thing.
The Love that calms this heaven always welcomes
into Itself with such a salutation,
to make the candle ready for its flame.”[46]
Dante sees an enormous rose, symbolising divine love,[45] the petals of which are the enthroned souls of the faithful (both those of the Old Testament and those of the New). All the souls he has met in Heaven, including Beatrice, have their home in this rose.[45] Angels fly around the rose like bees, distributing peace and love. Beatrice now returns to her place in the rose, signifying that Dante has passed beyond intellectual theology in directly contemplating God,[47] and St. Bernard, as a mystical contemplative, now guides Dante further (Canto XXXI).

DANTE PARADISO ROSE – THE CHAKRA OF THE HIGHEST HEART IN THE CHAKRAS ABOVE THE HEAD

St. Bernard further explains predestination, and prays to the Virgin Mary on Dante’s behalf. Finally, Dante comes face-to-face with God Himself (Cantos XXXII and XXXIII). God appears as three equally large circles occupying the same space, representing the Father, the Son, and the Holy Spirit[48]:

“but through my sight, which as I gazed grew stronger,
that sole appearance, even as I altered,
seemed to be changing. In the deep and bright
essence of that exalted Light, three circles
appeared to me; they had three different colors,
but all of them were of the same dimension;
one circle seemed reflected by the second,
as rainbow is by rainbow, and the third
seemed fire breathed equally by those two circles.”[49]
Within these circles Dante can discern the human form of Christ. The Divine Comedy ends with Dante trying to understand how the circles fit together, and how the humanity of Christ relates to the divinity of the Son but, as Dante puts it, “that was not a flight for my wings.”[50] In a flash of understanding, which he cannot express, Dante does finally see this, and his soul becomes aligned with God’s love:[48]
“But already my desire and my will
were being turned like a wheel, all at one speed,
by the Love which moves the sun and the other stars.”[51]
The real drama of the Dante’s Paradiso is literally cosmic: It develops out of the tension between a perfect heaven above and a very imperfect world here below. After more than 10 years in exile, Dante was an expert on human imperfection. And even though he’d seen one after another of his political hopes crushed under the totalitarian steel toe of history, he never gave up on the ideal of earthly justice even though eventually he was assassinated by his enemies; the Slave Trading and Bankster Venetians in the marshes around Venice.
In the Monarchia, written around the same time as the Paradiso, he argued that “the world is ordered in the best possible way when justice is at its most potent.”
This is why, despite all their professed camaraderie and contentment, the souls of the blessed can’t stop talking about what’s happening on earth. The folly of the living brings them repeatedly to rage, as when St. Peter says of Pope Boniface VIII: “He … has made my – Saint Peters Cathedral – tomb a sewer of blood and filth.” Dante himself is not shy about joining in the general indignation. Looking down from the eighth Chakra above the Head of heaven, he sees only “the little patch of earth that makes us so fierce.”
The most famous example of the drama forged from the contrast between heaven and earth occurs in the heaven of the sun. There Dante meets St. Thomas Aquinas and St. Bonaventure, the two great medieval theologians, both of whom belonged to mendicant religious orders. The friars take turns narrating the hagiographies of the orders’ founders, but with a twist: Thomas (a Dominican) tells the story of St. Francis, and Bonaventure (a Franciscan) tells the story of St. Dominic.
After praising St. Francis, Thomas goes on to denounce his own order, complaining that the number of living Dominicans who have stayed true to their founder “are so few/ that a tiny piece of cloth can furnish all their cowls.” (Bonaventure delivers a similar denunciation of the Franciscans.) Thomas and Bonaventure are each liberal in their praise, but to understand just how extraordinary their double gesture is, we have to consider it against the backdrop of life on earth, where the two orders were often in competition.

In a sense, the cosmic drama of the Paradiso inverts the dramatic irony that’s so attractive in the Inferno. Dante’s hell flatters us: It allows us to stand in judgment, to delight in the friction between what we know and what the damned don’t—to see things, in other words, from the perspective of God. Paradiso, however, puts us back in our place. Though the poet labors mightily to “show the merest shadow/ of the blessèd kingdom stamped within my mind,” he never lets us forget that it is only a shadow. Once we follow him to heaven, it’s we who lack the inside information, we who stand on the wrong end of the irony.
Previously we judged the bastards in hell; now heaven judges us.

The idea of a heaven that stands in such uneasy tension with earth is what gives the Paradiso its dramatic power, but it is also what makes Paradiso so alien to our sensibilities. As Adam Kirsch argued several years ago, contemporary writers like Alice Sebold and Mitch Albom treat heaven as essentially therapeutic, “a chance to get our inner lives right at last.” The way these writers see heaven echoes the way they think about literature: Sebold says that “part of my work is motivated by wanting to give us all permission to feel what we feel and not judge ourselves so harshly for it.” For the same reasons that he looked to heaven for justice rather than therapy, Dante rejected this comforting view of literature.

Dante wanted his poem to save your soul, not to salve it. He wanted you not to be satisfied with where you are. He wanted you to continue to improve, evolve, gain all the good qualities.

He wanted you to become Platos Golden Soul, to ascend through the chakras above the head and remove all energy blockages because anything less is not good enough.
To be able to merge with God in the Infinity of Chakras above the head called The Empyrian.
He says it is necessary for you not to stop!!
To continue to want become Enlightened!!

If you are not enlightened, you are sick!!

Footnotes
1.^ C. S. Lewis, The Discarded Image: An Introduction to Medieval and Renaissance Literature, Chapter V, Cambridge University Press, 1964.
2.^ Paradiso, Canto IV, lines 34–36, Mandelbaum translation.
3.^ Paradiso, Canto IV, line 38, Mandelbaum translation.
4.^ Paradiso, Canto II, lines 94–96, Mandelbaum translation.
5.^ Dorothy L. Sayers, Paradise, notes on Canto II.
6.^ Dorothy L. Sayers, Paradise, notes on Canto III.
7.^ Paradiso, Canto IV, lines 76–81, Mandelbaum translation.
8.^ Paradiso, Canto V, lines 28–29, Mandelbaum translation.
9.^ a b Dorothy L. Sayers, Paradise, notes on Canto V.
10.^ Paradiso, Canto VI, line 10, Mandelbaum translation.
11.^ a b Dorothy L. Sayers, Paradise, notes on Canto VI.
12.^ Paradiso, Canto VI, lines 76–81, Mandelbaum translation.
13.^ Paradiso, Canto VIII, lines 1–3, 9–12, Mandelbaum translation.
14.^ Dorothy L. Sayers, Paradise, notes on Canto VIII.
15.^ Inferno, Canto XII, line 109, Mandelbaum translation: “That brow with hair so black is Ezzelino.”
16.^ Paradiso, Canto IX, lines 127–138, Mandelbaum translation.
17.^ a b Dorothy L. Sayers, Paradise, notes on Canto X.
18.^ Paradiso, Canto XI, lines 43–54, Mandelbaum translation.
19.^ Dorothy L. Sayers, Paradise, notes on Canto XI.
20.^ Paradiso, Canto XIII, lines 94–102, Mandelbaum translation.
21.^ Dorothy L. Sayers, Paradise, notes on Canto XIV.
22.^ Paradiso, Canto XIV, lines 97–102, Mandelbaum translation.
23.^ Dante Alighieri, Convivio, Book II, Chapter 14, Richard Lansing translation.
24.^ Dorothy L. Sayers, Paradise, notes on Canto XV.
25.^ a b Dorothy L. Sayers, Paradise, notes on Canto XVII.
26.^ Paradiso, Canto XVII, lines 55–60, Mandelbaum translation.
27.^ a b Dorothy L. Sayers, Paradise, notes on Canto XVIII.
28.^ Paradiso, Canto XVIII, lines 91–96, Mandelbaum translation.
29.^ Dorothy L. Sayers, Paradise, notes on Canto XX.
30.^ Dorothy L. Sayers, Paradise, notes on Canto XIX.
31.^ Dorothy L. Sayers, Paradise, notes on Canto XXI.
32.^ Dorothy L. Sayers, Paradise, notes on Canto XXII.
33.^ Paradiso, Canto XXI, lines 4–12, Mandelbaum translation.
34.^ Dorothy L. Sayers, Paradise, notes on Canto XXIII.
35.^ Paradiso, Canto XXII, lines 133–138, Mandelbaum translation.
36.^ Dorothy L. Sayers, Paradise, notes on Canto XXIV.
37.^ Paradiso, Canto XXIV, lines 103–111, Mandelbaum translation.
38.^ Dorothy L. Sayers, Paradise, notes on Canto XXV.
39.^ Paradiso, Canto XXV, lines 52–57, Mandelbaum translation.
40.^ Dorothy L. Sayers, Paradise, notes on Canto XXVI.
41.^ Paradiso, Canto XXVI, lines 55–56, Mandelbaum translation.
42.^ Dorothy L. Sayers, Paradise, notes on Canto XXVII.
43.^ Paradiso, Canto XXVII, lines 109–117, Mandelbaum translation.
44.^ Paradiso, Canto XXIX, lines 109–120, Mandelbaum translation.
45.^ a b c d Dorothy L. Sayers, Paradise, notes on Canto XXX.
46.^ Paradiso, Canto XXX, lines 46–54, Mandelbaum translation.
47.^ Dorothy L. Sayers, Paradise, notes on Canto XXXI.
48.^ a b Dorothy L. Sayers, Paradise, notes on Canto XXXIII.
49.^ Paradiso, Canto XXXIII, lines 112–120, Mandelbaum translation.
50.^ Paradiso, Canto XXXIII, line 139, C. H. Sisson translation.
51.^ Paradiso, Canto XXXIII, lines 142-145, C. H. Sisson translation.

The Infinity Of Chakras The Stairway To Heaven

Transpersonal chakras are a line of several chakras (various authors describe either three, five, or six) that many yogis and meditation practitioners say are located sequentially above the crown chakra (itself located on the top of the head) to a distance above the head of as far as about 18 inches (about 0.5 meters).[1] In this they are right but also limited

We say that there are an infinity of chakras above the head up into the Center of the Universe and above, high above the head, ending in God, just as there are an infinity of chakras below the base – “As above, So Below” – Hermes Trismegistus from the Emerald Tablet.

We saysthat each chakra is a computer processor with higher and higher frequency, speed and capacity as you go higher. So, like a parallel processing supercomputer, the more chakras you can get working the more chakras you can access, the more chakras you can disblock, the more chakras you can augment, the more intelligent you will be.

Energy Enhancement says that just by fusing with the soul chakra one can see all your past lives and remove all blockages from all your past lives in one sweep, fast!!

Energy Enhancement says that it also contains the secret of Initiations Higher that Illumination – “Enlightenment is not Enough!!” – Satchidanand

Transpersonal chakras in Asian philosophy

Transpersonal chakras are seen in Hinduism, in Vajrayana Buddhism, in Daoism and in qigong, and in New Age thought as several chakras above the head, as noted above. The transpersonal chakras in Hinduism have Sanskrit names, in Varjayana Buddhism they have Sanskrit and Tibetan names, and in Daoism and in qigong they have Chinese names. There are five transpersonal chakras above the head beyond the usual seven that are mentioned and named in the esoteric texts of Vajrayana Buddhism.[2]

Alice Bailey is known as the start of the New Age and in her Cosmology there are many Chakras above the head but now these have been cut back into the New New Age..

 

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Truth is, “The Truth, The Whole Truth, and Nothing But the Truth” – in this way you can judge what is a lie..

New Age three transpersonal chakra system

Using the New Age names, the lowest transpersonal chakra (the soul star chakra) is said to be located about 4-5 fingers above the head, the middle transpersonal chakra (the God portal chakra) is said to be located about 12 inches above the head and the highest transpersonal chakra (the grand portal chakra) (sometimes called the stellar portal chakra} is said to be located about 18 inches above the head.[3] [4]

The soul star chakra

The soul star chakra is a chakra that many meditation practitioners say is located above the crown chakra. The soul star chakra is said to be located about 4-5 fingers above the head. This chakra is associated with spiritual connection between individuals, as well as connection to one’s Higher Self.[3] [4]
Function of the transpersonal chakras

The highest transpersonal chakra is called the “grand portal” because it is believed by some mystics, magicians and yogis to provide access for soul travel into other parts of this universe, into alternate universes, to higher planes of existence, to the past or future history of our own timeline or alternate timelines via time travel forward or backward in time, or to other cosmoses.[3][4][5][6][7][8]

 

Spiritual Reflection On Jack, The Beanstalk And The Giant (Higher Chakras and Energy Vampires)

“Fee-fi-fo-fum, I smell the blood of an Englishman.”
“Jack and the Beanstalk” is an English folktale. The tale has been associated with the tale of “[Jack the Giant Killer]”, where Jack works for the son of King Arthur and the Giants are obviously the Black Oligarchs opposed to the good King Arthur, living in their castles. Jack, destroys all these “Giants” and their Castles and is given a seat at the Round table with King Arthur himself.
Jack is a young lad living with his widowed mother. They live in a valley and every night the giant comes out of his castle above the clouds and steals everything.

THE GIANT’S CASTLE AT THE END OF THE ANTAHKARANA, COLUMN OF ENERGY BRIDGE TO HEAVEN AND EARTH, BEANSTALK

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The giant stole the goose that lays the golden eggs – these eggs are the gift that keeps on giving – The factories and the farms, the irrigation, the power generation, the transport – the economy is destroyed as the golden goose is stolen. This is the Oligarchic principle of Poverty or Austerity which for thousands of years has kept humanity under control.
Because of this everyone is poor.

The Giant stole the magic harp that plays music and gives joy – culture is perverted into music to suicide by – gangsta rap amongst others and movies that pervert deaden the spirit.

Because of this everyone is poor, sad, complaining, fighting – suiciding!!
Their only means of income is a cow. When this cow stops giving milk one morning, Jack is sent to the market to sell it. On the way to the market he meets an old man who offers to give him “magic” beans in exchange for the cow.
Jack takes the beans but when he arrives home without money, his mother becomes furious and throws the beans out the window and sends Jack to bed without supper.

As Jack sleeps, the beans grow into a gigantic beanstalk representing the Antahkarana of the chakras above the head. This vine Antahkarana should stretch through an infinity of chakras to God.


However it is cut off and only reaches as far as one private universe where the Black Oligarch Giant lives, cut off from God by Energy Blockages which other people placed above his head in ritual.

In this it is similar to the Enochian Watchtower of Dr Dee of Elizabethan England created by the use of the Enochian Keys.

Jack climbs the beanstalk and arrives in a land high up in the sky where he follows a road to a house, which is the home of a giant. He enters the house and asks the giant’s wife for food. She gives him food, but the giant returns and senses that a human is nearby:

Fee-fi-fo-fum!
I smell the blood of an Englishman,
Be he alive, or be he dead,
I’ll grind his bones to make my bread.[3]

Rather than using calcium chalk and trace elements and vitamins to stay healthy, the Giant prefers the perversity and satanic cannibalism of bones!!
However, Jack is hidden by the giant’s wife and overhears the giant counting his money. Jack steals a bag of gold coins as he makes his escape down the beanstalk.
Jack repeats his journey up the beanstalk two more times, each time he is helped by the increasingly suspicious wife of the giant and narrowly escapes with one of the giant’s treasures.

The second time, he steals a hen that laid golden eggs.
The third time a magical harp that played by itself.
This time, he is almost caught by the giant who follows him down the beanstalk.
Jack calls his mother for an axe and chops the beanstalk down, killing the giant.

The end of the story has Jack and his mother and all society living happily ever after with their new riches which have re-vivified society as do all the solutions of economists Hamilton and Liszt and music by real musicians.
The origin of Jack and the Beanstalk is unclear. However, Sir Francis Palgrave once wrote that it was most likely that the tale arrived with the Viking boats. The beanstalk is reminiscent of the ancient Northern European belief in a world tree connecting Earth to heaven. The World tree Antahkarana of Yggdrasil of the chakras above the head and of Odin and Thor.

The earliest printed edition which has survived is the 1807 book The History of Jack and the Bean Stalk, printed by Benjamin Tabart.
The giant’s “Fee! Fie! Foe! Fum!” was included in William Shakespeare’s King Lear.[5]

The tale is that the hero, although grown, does not marry at the end of it but returns to his mother; this is found in few other tales, although some, such as some variants of Vasilisa the Beautiful, do feature it.[9] Obviously here we refer to Jack as being Holy, celibate. He and his mother represent the male and female sides of God as one, celebrating their exchange of energy without need for anyone else.

A late addition to the medieval catalog of Aesop’s Fables of putative Persian origins – The Gourd and the Palm-tree (The Palm is a Sufi Symbol of the Antahkarana) – uses the emblamatic trope of a fast-growing gourd vine sprouted from seed that outgrows an older mature tree yet because the fast growing vine does not make its Base stronger, it perishes in the frost to instruct on the folly of intemperance. Don’t sacrifice strength for speed. Re-enforce your base.

The biblical tale of Jonah closes rather abruptly with the hero resting under a fast growing gourd, representing the evolution of the psychic body. As we dissolve blockages and Ground their negative Karmic mass into Kundalini Chakra in the center of the earth, so the imprisoned angel at the center of the blockage is released and goes to join your psychic body, increasing its size and functionality. In this way, when Energy Enhanced or Illuminated, slow evolution over several lifetimes is not necessary, it occurs due to grounding blockages and receiving energy presents from the Illuminated.

During the Renaissance, the humanist artist Albrecht Dürer memorialized Jerome’s courage to dissent in his famous woodcut Saint Jerome in His Study featuring a dried gourd hanging from the rafters.

Christ said, “I am the Vine you are the branches”

Many modern stories have said the giant is a villain, terrorizing smaller folk and often stealing items of value. For example, the 1952 film starring Abbott and Costello blames the giant for Jack’s ill fortunes and impoverishment, as he has been stealing food and wealth from the smaller folk of the lands below his home, including the hen that lays golden eggs, which in this version originally belonged to Jack’s family. Through expanding taxes and a corrupt legal system all has been taken away..

The story is the basis of the similarly titled traditional British pantomime, wherein the Giant is certainly a villain, Jack’s mother the Dame, and Jack the Principal Boy.

 

References
1.^ Tabart, The History of Jack and the Bean-Stalk. in 1807 introduces a new character, a fairy who explains the moral of the tale to Jack (Matthew Orville Grenby, “Tame fairies make good teachers: the popularity of early British fairy tales”, The Lion and the Unicorn 30.1 (January 2006:1-24).
2.^ In 1842 and 1844 Elizabeth Rigby, Lady Eastlake, reviewed children’s books for the Quarterly Review (volumes 71 and 74), recommending a list of children’s books, headed by “The House [sic] Treasury, by Felix Summerly, including The Traditional Nursery Songs of England, Beauty and the Beast, Jack and the Beanstalk, and other old friends, all charmingly done and beautifully illustrated.” (noted by Geoffrey Summerfield, “The Making of The Home Treasury”, Children’s Literature 8 (1980:35-52).
3.^ a b Joseph Jacobs (1890). English Fairy Tales. London: David Nutt. pp. 59–67, 233.
4.^ Maria Tatar, p. 132, The Annotated Classic Fairy Tales, ISBN 0-393-05163-3
5.^ Maria Tatar, p. 136, The Annotated Classic Fairy Tales, ISBN 0-393-05163-3
6.^ Goldberg, Christine. “The composition of Jack and the beanstalk”. The composition of Jack and the Beanstalk. Marvels and Tales. Retrieved 2011-05-28.
7.^ D. L. Ashliman, Jack and the Beanstalk: eight versions of an English fairy tale (Aarne-Thompson-Uther type 328)
8.^ Jacob and Wilhelm Grimm, Grimm’s Fairy Tales, “The Devil With the Three Golden Hairs”
9.^ Maria Tatar, Off with Their Heads! p. 199. ISBN 0-691-06943-3
10.^ Maria Tatar, Off with Their Heads! p. 198. ISBN 0-691-06943-3
11.^ Joseph Jacobs, English Fairy Tales, Notes to “Jack and the Beanstalk”
12.^ Joe Nazzaro, “Back to the Beanstalk”, Starlog Fantasy Worlds, February 2002, pp. 56-59.
13.^ http://www.imdb.com/title/tt0000399/
14.^ Barbera, Joseph (1994). My Life in “Toons”: From Flatbush to Bedrock in Under a Century. Atlanta, GA: Turner Publishing. pp. 162–165. ISBN 1-57036-042-1.
15.^ Live-Action Beanstalk in the Works – Comingsoon.net
16.^ http://www.imdb.com/title/tt1351685/
17.^ [1]