I must admit that several scenes of the classic Wizard of Oz film traumatized me when I was young, as so many others have reported over the 74+ years since it was unleashed upon the world. One scene that was indelibly imprinted into my life pictured Anubis, transiting the Silver and Golden Gates. Until very recently, I only perceived it as it appears on the surface, as Dorothy's little dog Toto escaping from the castle of the Wicked Witch of the West. The surrounding context of that scene matches the pillar leaping dramatizations from “I, Pet Goat II” and A-Jax's music video for “Insane” I've been featuring in this series of posts. These are exhibits of the Adversary's exploitation of the stargates. They are redundant prophecies, which the Lord Y'shua is shedding light on to provide a validating witness to the parallel biblical prophecies, which are now beginning to be fulfilled.
The setting is pictured in the screenshot below. The low pillar at left has a large iron ring. On it sits a large hourglass. Time is the key to the stargate's operation. The creepy flying monkey has set the basket containing Toto next to the hourglass.
Here's some dialog with a little commentary about the action of the scene. The words where time is a factor are upper-case to call attention to the crafty NLP.
Dorothy has been captured and is being held by the witch in the ritual room of her castle.
WWW: “What a nice little dog.” (She snarls and stuffs Toto in the basket.) “And you my dear, what an UNEXPECTED pleasure. It's so kind of you to visit me in my LONELINESS.”
Dorothy: “What are you going to do with my dog? Give him back to me.”
WWW: “All in good TIME, my little pretty. All in good TIME.”
Dorothy: “Oh please give me back my dog.”
WWW: “Certainly, Certainly. WHEN you give me those slippers.”
Dorothy: “But the Good Witch of the North told me not to.”
WWW: “Very well.” (to the Flying Monkey) “Throw that basket in the river and drown him!”
Dorothy: “No - no - no! Here. You can have your OLD slippers, but give me back Toto.”
WWW: “That's a good little girl. I KNEW you'd see reason.”
The witch reaches for the ruby slippers but some kind of magical energetic discharge thwarts her effort.
Dorothy: “I'm sorry. I didn't do it. Can I still have my dog?”
WWW: “No! Fool that I am. I should have REMEMBERED. Those slippers will NEVER come off, as LONG as you're alive. But that's not what's worrying me. It's how to do it. These things must be done delicately or you hurt the spell.”
Toto jumps out of the basket, off the pillar and escapes through the open door.”
Dorothy: Run, Toto, Run!
WWW to the flying monkey: “Catch him you fool!”
Toto descends the stairs and runs to the edge of the raising drawbridge. He leaps down, across the moat, escaping down the path while the guards throw their spears behind.”
Dorothy: “He got away. He got away!”
WWW: “Oh, which is more than you will. Drat you and your dog. You've been more trouble to me than you're worth, one way or another. But it'll SOON be over NOW.”
She picks up the hourglass and turns it over to reset it.
WWW:“Do you see that? That's how much LONGER you've got to be alive. And it isn't LONG, my pretty. It isn't LONG. I can't WAIT FOREVER to get those shoes.”
Time itself and the timing of things are critical elements that must be given due attention in ritual magick that pertains to stargate transit. This is the witness of this film's performance, as with the comparable vehicles of “Insane” and “I, Pet Goat II.”
This film's performance of the stargate ritual compares to the twister and picket fence gate sequence and the spiraling yellow brick road sequence addressed earlier. First we see the Silver Gate transit modeled, then immediately following it, the transiting of the Golden Gate. We see Toto as the Dog Star, Anubis, transiting the Silver Gate as he leaps off the concrete pillar. As he descends the stairs we see Toto and his shadow on the wall in an expression of the synchronized activity in two parallel realms, one that appears as a shadow of the other. When Toto arrives at the edge of the drawbridge, he pauses and we see the set as the Golden Gate, with a bonus featuring of the iron gate. Leaping off the raised bridge down over the moat to the other side, “Anubis” transits the Golden Gate.
The Silver Gate is pictured as the light colored concrete pillar with the hourglass. It's high up in the castle tower, where we earlier were shown the flying monkey army being dispatched to fetch Dorothy. Silver Gate: Taurus-Earth / Gemini-Air. The Golden Gate is pictured at the drawbridge. Scorpio-Water / Sagittarius-Fire - the moat and the flaming torches flanking the bridge. Sagittarius is the archer, and although I see none of those, I think the spear throwing guards provide adequate support to the symbol.
There's no lack of complementary celestial imagery here.
The WWW's ritual room has many signs that astrology is being practiced there. The armillary sphere is used by diviners and astrologers for representing the positions of the stars and planets.
“An armillary sphere (variations are known as spherical astrolabe, armilla, or armil) is a model of objects in the sky (in the celestial sphere), consisting of a spherical framework of rings, centered on Earth, that represent lines of celestial longitude and latitude and other astronomically important features such as the ecliptic. As such, it differs from a celestial globe, which is a smooth sphere whose principal purpose is to map the constellations.” (Wikipedia)
The wavy golden band on the chest below it represents the tracing of the locations where the sun may be seen directly overhead at Noon, a position that oscillates back and forth across the equator like a giant pendulum that has a period of one solar year.
Did you happen to notice the designs on the floor encircling the circular stepped platform? It's the circle of the Zodiac!
The crystal ball appears on the raised platform at the center of the Zodiac, in the place of the observer, Earth itself. The base of the ball contains images of demonic beasts, populating the “under” world. (It's the Duat) The Sun, Moon and planets would appear to revolve in the space between the crystal ball and the outer ring.
The hourglass might be used for recording transits of planets across the sun or moon, timing eclipses, or when creating potions for spells. A mortar and pestle, which appears on the pillar next to the hourglass, is used for grinding such things a witch might use for such potions and alchemical workings.
This is the context in which we find the pillar, positioned between the door and the Zodiacal representation. The pillar is the gateway to the celestial heavens.
Do you see the panel on the zodiacal ring with concentric rectangles? That seems to represent stacked dimensions.
Here's a screenshot from “Insane,” a very brief sequence at the 27 second mark. Mirrors used for spells and scrying are associated with the moon, which would be the Silver Gate. By the way, the familiar story book style wishing well could be used for scrying, which reflects celestial lights like the moon in the still surface of the water.
Here's a sequence of concentric rectangles from I, Pet Goat II, where Anubis and Osiris-Horus appear as out of the Milky Way Duat.
Whoah! Full Stop.
What's going on in this last image?
The messiah figure is being constrained to the actual bounding frame of the video! It's an acknowledgment of our dimensional plane of reference as the viewers. Remember what I wrote about Bullwinkle's employment of a theatrical device called breaking the fourth wall?
“The fourth wall is the imaginary "wall" at the front of the stage in a traditional three-walled box set in a proscenium theatre, through which the audience sees the action in the world of the play. The idea of the fourth wall was made explicit by philosopher and critic Denis Diderot and spread in 19th-century theatre with the advent of theatrical realism, which extended the idea to the imaginary boundary between any fictional work and its audience. Speaking directly to or otherwise acknowledging the audience through the camera in a film or television program, or through this imaginary wall in a play, is referred to as "breaking the fourth wall" and is considered a technique of metafiction, as it penetrates the boundaries normally set up by works of fiction.” (Wikipedia)
So, Anubis bears the messianic figure along in the Milky Way Duat directly towards us, until he comes to the fourth wall, the barrier separating us. And, then, he breaks through!
He's larger, which means closer, and no longer constrained by the barrier. He's broken through, transiting the stargate! He opens his mouth and flames are emitted. This may suggest the Golden Gate, as Sagittarius is associated with fire. Or, it may just be picturing the truth of the symbolic level I only hinted at in the previous post in series. Dragons breathe fire. Revelation 13:11 - But I don't want to get too far ahead of myself.
For me, having become familiar with a stargate being represented as a viaduct, the first clue in the larger context of the scene that the castle might have something to do with stargates began with this image. Remember my writing about the mecillah? The viaduct or raised arched highway that provides access to the castle suggests that it actually exists in another dimension.
More to follow, Lord willing.