Downloadable WORD document March 19, 2025
PROLOGUE
Aiofe
Before you begin, most splendid company and performers, we express our esteemed regard towards yourselves for arriving at Act II along this illuminated pathway and in the elegant backwards and forward arcs through your delicate attendance to our choreography.
Please cherish these words within your hearts.
We shall now retreat through the etheric intelligence of the Sun to arrive at our attendance inside the listening between the tones of your poetics.
Caithlin Ni Houlihan
We thank thee. We are inspired and honoured to be at thy bidding.
Aiofe
You are welcome
Caithlin Ni Houlihan
Let us begin, Thomas with a poem from the old journal as a precursor to our voyage. Mssr.
Andrei Tarkovsky
Thank you
This poem transports us to September 1963, our starting point.
Thomas Fenn
May I ask a question, sir, before we begin?
Andrei Tarkovsky
Please, Thomas.
Thomas Fenn
You have referred to the old journal whose nomenclature skips over my awareness into the assumption that these compositions come from my pen.
Andrei Tarkovsky
That is correct, Thomas. The old journal derives from the nomenclature Compendium, which was a volume bound by the Oracular Sistren and more recently sung through the astral intelligence of the German poet Novalis.
Antoine Artaud
The Compendium emerged in the Fifth Century A.D. as a tributary branch originating within the Zarathustrian stream. It is carried along undercurrent epic poetics whose foundation expresses the tonal relationship between the sun and the moon.
The Compendium houses Hermetic Formulae as well as Epic Narrative and emerges within the stream of Rosicucianism. Johann Goethe was an adherent who guided Novalis. Later, this poem would be transfigured into the script: Michael Robartes and the Dancer, composed by W.B. Teats, whilst Novalis would transmigrate to the role of Rainer Maria Rilke, about whom we will speak in detail.
However, at that time, the Compendium was carried to the astral realm of the Divine Feminine and is now emerging within the confines of the Hermetic and Bardic Theater. Your performance, for example, in 2462 California Street, is an example of Hermetic Theatre.
Andrei Tarkovsky
These poetics that we periodically recite arrive as etheric impulses with very little refinement as to form. They can only be composed and transmitted within the realm of memory sequence out of context, which is the realm of duration.
Thomas Fenn
Thank you
Andrei Tarkovsky
I shall continue.
They say the light before the dawn
It is the same as the dawn before the light,
And that in between
Rages a scurrying underflow
Of backwards-turning minutes
Like splashing rapids into a forward flow
Of forward-turning minutes all-about trilling
Into effervescent Drops
Dripping off the Aurora Borealis
Above the Bay of Naples
Mirroring the bubbly-boom
Lava
Of Mother Earth’s core
Beneath.
Thomas Fenn
Oh Yes.
I understand why you read this poem. These words assuredly carry me to September 1963 and the lessons on geopolitics. However, I visualize Hans Bierman’s wife, Herma Bierman.
Mrs Bierman taught biology, and during class, we would look through a microscope at various specimens, which we then drew in likeness to what we saw. In retrospect, the subject was very uninteresting.
However, I remember another class Mrs. Bierman taught the following year in 1964. We were assigned an essay to research the details of a major earthquake, to be selected from a list she provided. The mystery of this subject strikes me. Why would we receive such a request to report on a major earthquake?
I will add another component to this design.
At the end of the scholastic year 1964, it was decided that I should repeat the same grade, most probably because I was psychologically unprepared to enter the atmosphere of college preparation. As a result, I was always one year older than my classmates. I do not know how these two memories intersect; however, in being held back from joining the previous grade level, I was in the same grade as Neil, who, five years later, would introduce me to the System.
Caithlin Ni Houlihan
Excellent, Thomas. You speak of parallel memories in your recount which are two prongs on a tuning fork reverberating one to the other to create an initiating tone. In this case, the essay on the earthquake shines outwards to the epoch whilst your replay in junior high school shines upon the epic.
Let us begin, now, with a conceptual model that describes the transition of epochs.
Thomas Fenn
Thank you.
I deeply value this opportunity. I said it once before, and I will say it again. ‘I shall repose in your words.’
Caithlin Ni Houlihan
We shall continue then as we paint our fresco with a wide paintbrush.
In 869, the Roman Catholic Church held the eighth Ecumenical Council, at which point it was declared heretical to speak inclusively of body, soul, and spirit within the composite human being. The spirit or etheric body was thereby disengaged and reassigned to the sun.
In this way, human beings would no longer have direct experience of the etheric christ except through the medium of the church, which declared itself to be the conduit of the spirit.
As a result, the human sentient body was relegated to the frozen confines of the material world, bound somehow to a substance called the soul whose sense of identity should be assigned to heaven or hell by immutable laws issued from church dogma.
A tremendous reverberatory undulation through the etheric realm resulted from this church action such that the etheric sun was disengaged from the galaxy like an unsevered branch once pointing on high now pointing to the ground. In this way, the christ became absorbed into the sun as a separate etheric entity. Lucifer absorbed the christ image through the medium of the jesuit fathers, the fathers of jesus, to whom we refer as the philistines whose sect emerged during the transition from the fourth to the fifth epoch.
Thomas Fenn
May I enquire, sir?
Caithlin Ni Houlihan
Please, Thomas.
Thomas Fenn
First, I wish to express my cherished gratitude in recognition of that which we have achieved to arrive at Act II.
Thank you.
Caithlin Ni Houlihan
You are welcome, Thomas.
Thomas Fenn
At this point, I experience a dark rumbling in my heart, which I am unprepared to assimilate. My sentient experience since birth unwinds into the narrative of my own story. The memories I look upon through the lens of your discourse are composed of denser substances than those memory types through which we have travelled until now; these memories belong to the physical world of the Shakespearean drama with nothing but crime, betrayal and death. I fear the re-appearance of the dragon through a volatile recapitulation.
Antoine Artaud
Excellent, Thomas. First, allow me to bring in this selection from the old journal that we have previously cited.
A single incantation inscribed by the oracular sistren and sung by the immemorial storytellers is held distinct and wondrous. And so it is that every incantation must be continually enacted and praised within the unravelling narrative of the epic.
As mentioned, we are constructing the scenography. In this regard, let us return to Aristotle’s discourse entitled The Poetics, specifically his relationship to scenography, which he advised to be simple and non-obtrusive to the living components of the drama: choreography, dialogue, character, and plot.
The Bardic Theatre presents the scenography in dynamic images that configure and reconfigure like a kaleidoscope. These images reflect the shift of the sun’s orientation towards the galaxy, which is then modulated into the architecture of the epic while it is being composed.
This process induces the suspension of human awareness into dreamless attention. In this dreamless attention, new memories reform into dateless memories.
In this way, and through time-sequence the Bardic Theatre enters through storytelling. Childhood is envisaged through the instance of recall rather than over the distance of remembrance.
We shall refer to this suspension of functional human awareness as pralaya which accompanies the transition of epochs.
Your first experience of pralaya occurred at the age of eight during the tonsillectomy. Your last memory image before entering the etheric realm was a vortex whose spinning electrical hum disappeared into the blackness and then you suddenly awoke and you were eight years old.
But you need not be concerned, Thomas, because Aristotle is correct in his statement regarding the Hermetic Theatre, which houses the Ballet of Ritualistic Transformation wherein the heart is shifted to the astral vision of the Divine Feminine. For this, we look inwards beyond the outer rather than outwards.
Thomas Fenn
Yes. My little boat is back on course or closer to shore, and I can envision the contours and nuances of 2462 California Street. I am now standing at the doorway of the apartment just before entering.
Andrei Tarkovsky
Let us continue a little more to understand the nature of scenography in terms of spiritual science attesting to the six dimensional geopolitics that manifests through this shift from the fifth epoch to the sixth epoch.
We are unveiling the storyboard that translates to the storyteller, who recites in silence unheard tonalities to images. These images are then placed as configured components within the mosaic poetics of the narrative. It is at this corner junction between the Hermetic Theatre and Bardic Theatre that we present ourselves.
Antoine Artaud
The Bardic Theatre houses a performance, whilst the Hermetic Theatre houses the performers. When the two theatres eclipse, the solar system shifts from the Copernican template to the Ptolemaic template. These two templates are non-physical images of the Sentient Body of the Solar System and are fluid; they flow through one another during these eclipses.
The Copernican Model was bestowed to humanity’s awareness during the Italian Renaissance and is the Work of the Ptolemaic Hermetic School, which emerged during the transition from the third to the fourth epoch. The Copernican Model, therefore, is the setting for the Bardic Theatre, while the Ptolemaic Model is the setting for the Hermetic Theatre.
Caithlin Ni Houlihan
We may continue and thereby add that the Copernican Model is a six-dimensional Waterford Globe enlivened through circular tonalities streaming around the given globe like the rings of Saturn and whose inner transformative process mirrors the inner circulation of the sun’s etheric intelligence between the heavenly bodies based on the marriage between tonality and octave.
This Waterford Globe is melted into an upturned sheath; similarly, the other half of the Waterford Glove is melted into a downward-turned sheath. To be succinct, they are sealed into the resultant twelve-dimensional Waterford Globe, which now inter-reflects the penultimate sub-epoch beginning in 1841, at the inception of the battle between Mikiel and the Dragon, and 1947.
In 1947, the final transition began.
Thomas Fenn
Sir, in the hopes of not interrupting, however, I feel an urgency to place another jewel in our scenographic tapestry. May I return, therefore, to 1971 to resume a significant sequential-time memory?
Caithlin Ni Houlihan
Of course Thomas. The composer must be composed into the composition. Please.
Thomas Fenn
I speak of a young man I met while attending the small college mentioned. The first week upon arrival was a period of orientation during which one meets the various incoming students.
On the first day, a young man named Geoffery approached me. I was pleased to meet him, and our friendship quickly became a point of reference.
Albeit, having arrived with Steffen Von Rosenvinge, I was quite uncomfortable finding myself within this social milieu. George and I bonded in friendship during this period; however, in the very beginning, I do not remember our interactions. I do remember that Steffen Von Rosenvinge and I were roommates, and beneath that memory, I witness George. Perhaps the three of us shared the room.
Notwithstanding, I welcomed Geoffery’s companionship.
During one very significant conversation, Geoffery asked me about my voyage across the country. It behoved me to tell him a story through intuition about meeting a woman who was hitchhiking and that we had travelled together for the entire voyage, and that indeed, her name was YouMe. I do not remember anything else I told him, but he was very open, and although the story was fantastical, he just listened.
In November, Geoffery asked me if I wanted to experiment with mescaline. I was not apprehensive, although I had never experimented with psychotropic substances before.
I recall that Neil was experimenting with psychotropic substances, although I assume it was not LSD, and I do remember a few young women around him who were also experimenting, but there were no other men in their group.
So Geoffery procured two capsules of mescaline, one for himself and one for me. The powder was intriguing—light purple, almost like dust.
I took the capsule, lay on the bed, put on the Beatles Abbey Road and moved the needle to the song, She’s So Heavy. It was the most heavenly experience as the music began to release my sentient body from the physical.
After a few hours, we took a walk. At a certain moment, I looked up at the sky. The thin clouds were parting, revealing the silver moon. And there were a few stars. Although I had no attraction to the bible, I recall the impression to be biblical, almost like a generic painting portraying the revelation of an old testament figure looking to the heavens, when suddenly I heard my grandfather’s voice.
The voice did not belong to my paternal grandfather but rather my maternal grandfather, whose archetype was very luciferin. His first name was Isadore.
I mentioned previously that I would visit him during my visits from Europe, and although it was interesting to speak Italian with him, I did not like him or trust him. Later, we will see why.
I shall add that my paternal grandfather’s name was Barney, and by that name, I always inferred he was a messenger from Bernard of Clairvaux.
Geoffery became a part of the underground resistance during the nixon regime. I recall a small group of us going to Chicago to participate in a demonstration. Everyone knew it would be violent. Some of us went as medics. We would wear a backpack with a red cross on it, in which we carried basic supplies, especially damp cloths for the tear gas.
There was quite a fearful moment when, whilst crossing a bridge, we heard the voice of a vigilante who uttered with a scratchy voice, ‘You’ll never get over the bridge alive.’
Geoffery later enlisted in the Weather Resistance and went to New York, where he was arrested. Afterwards, he was released on bail and came to Boston. He was staying near Roxbury, where he felt safe as it was an Afro neighbourhood similar to Harlem.
One day, Geoffery called me and asked if I could request my father for some money as he decided to avoid trial and go underground. My father was sympathetic and gave me fifty dollars for a bus ticket and a roast beef sandwich.
As I was driving to meet Geoffery, I ate half the sandwich. I always felt a tinge of remorse for having eaten half the sandwich, as though I had betrayed him.
Later I read the Inferno from Divine Comedy and realized why I felt that remorse.