There is more to be explored about how the time related aspects of the celestial stargates are being signaled.
I've been looking forward to reviewing more of what we're being shown through the appearance and dialogue of the Wicked Witch of the West in the classic Wizard of Oz. I'm assuming you're familiar with what I've already written.
Returning to the scene described in Part 13 - Celestial Stargates - Run Toto, Run!, Dorothy and Toto are being held captive in a tower of the Wicked Witch of the West's castle. The basket is on the pillar next to an hourglass, but the lid is not secure. Toto jumps out and escapes, modeling for us a transit of the Silver Gate and then the Golden Gate. I've given the pillar, the hourglass and the river some attention already but let's keep putting it together.
We hear the Witch command the flying monkey who has Toto in a basket, “Throw that basket in the river and drown him!” There's some profound symbolism in that! I previously linked the river to the celestial Eridanus, the decan of Taurus, as a Silver Gate reference. On the related theme of the Duat, the Witch is also making reference to the terrestrial river Nile. The carefully scripted scene's dialogue is dense with time words, and the centrality of the theme of time in this dramatic celestial gateway sequence has been well established. Something important is implied by the green Witch about the river of time that must not be overlooked, but I'm going to begin by introducing the river as the Nile.
This film's fundamental theme of ancient Egypt has been well established, with sun symbols and pyramids in abundance. The name, “Oz,” becomes “On” with a quarter turn of the name. Oz is also “the land down under,” the underworld Duat. The Witch rules Winkie Country, where the wink is a hidden Eye of Horus. In that context, a reference to a drowning in the river evokes the story of Osiris. Some accounts indicate that he was drowned in the Nile, and with his phallus that was lost to the fish/crocodile contributing to the fertility of that flooding ecosystem, the production of life out of death is easily the most important theme at hand, which makes this layer of symbolism pretty important. The meaning of the name, “Nile,” is “river,” so when the Witch says, “Throw that basket in the river,” we can make the direct substitution to render it, “Throw that basket in the Nile.” As for Toto, the word “dog” spelled backward is “god,” and the dog-as-god swap plays well here.
Because Toto represents the Dog Star, we can make another Nile connection in how the dark soil of the Nile valley is considered to be the reason for the color of the god Anubis, who navigates the underworld river.
When the basket is taken into account, which is what the Witch actually orders to be thrown in the river, allusion is made to another legend of the ancient Nile that involves an adopted son of a Pharaoh named Moses.
22 Then Pharaoh commanded all his people, saying, “Every son who is born you are to cast into the Nile, and every daughter you are to keep alive.” 2:1 Now a man from the house of Levi went and married a daughter of Levi. 2 The woman conceived and bore a son; and when she saw that he was beautiful, she hid him for three months. 3 But when she could hide him no longer, she got him a wicker basket and covered it over with tar and pitch. Then she put the child into it and set it among the reeds by the bank of the Nile. 4 His sister stood at a distance to find out what would happen to him. 5 The daughter of Pharaoh came down to bathe at the Nile, with her maidens walking alongside the Nile; and she saw the basket among the reeds and sent her maid, and she brought it to her. 6 When she opened it, she saw the child, and behold, the boy was crying. And she had pity on him and said, “This is one of the Hebrews’ children.” 7 Then his sister said to Pharaoh’s daughter, “Shall I go and call a nurse for you from the Hebrew women that she may nurse the child for you?” 8 Pharaoh’s daughter said to her, “Go ahead.” So the girl went and called the child’s mother. 9 Then Pharaoh’s daughter said to her, “Take this child away and nurse him for me and I will give you your wages.” So the woman took the child and nursed him. 10 The child grew, and she brought him to Pharaoh’s daughter and he became her son. And she named him Moses, and said, “Because I drew him out of the water.” ~ Exodus 1:22-2:10
The very naming of this child makes reference to the event alluded to by the Witch. Students of the arcane who worship Horus like those who were responsible for the production of the Wizard of Oz, come to know well the significant role Moses had in the history of Egypt. It was in the Exodus under his leadership that the wealth of Egypt was plundered and strength destroyed, as the armies of the Pharaoh were drowned in the Sea of Reeds. There are those who take it personally and they do hold a grudge. If you've been following this blog you may recall how Moses and Horus are linked by those on the left hand path through the esoteric solution to the 47th Problem of Euclid. Later in his life Moses met with the Creator on Mount Sinai, who became known to him as “I AM.” The Hebrew gematria of “Moses” and “I AM” is 345 and 543, which are the numbers of the basic 3.4.5 Pythagorean triple. These signal numbers are taken to represent the production of Horus through the union of Osiris and Isis. The production of Horus, as we've seen in numerous examples, is eagerly anticipated as manifesting in a coming through the Silver Gate to incarnate in the antichrist beast.
The theme of life proceeding through, or, out of death is evident in the account of Moses in the basket on the Nile, comparing somewhat to how it is in the Osiris story. This is where the stargate theme is involved, as spiritual life comes to a physical body. Baptism is a symbol of death and resurrection. Being dipped in the water identifies one with death. Coming up out of the water identifies one with the new life that follows after the death of this temporal flesh. In the historical action modeling this activity, Moses escaped death by exiting the basket, as did Toto, but it should be understood how the symbol involves passing through death to life. If you've become a student of “Beyond the Veil,” you probably recognized the phrase, “she hid him for three months,” as code, signaling us about a resurrection scenario in the context.
When we consider the context of ancient Egypt and identify the river as the Nile we can connect the dots to Osiris and Moses and discover the essential Horus plot. When we recognize how the river of time is being implicated and connect some more dots, the Witch's command to, “Throw that basket in the river and drown him” leads us to discover the end game, the very defeat of the Creator Himself. At this point, let's reassess the symbolism of the scene to identify the grander scenario.
Below, I'm going to repeat the scene as from Part 13. Words with meanings that involve time are upper-case again to call them to our attention. What I want you to see is how Dorothy's only concern is for her dog. She's not pleading for her own life or freedom. She only wants Toto back so that they are together. When Toto escapes, her only concern is that the dog gets away to safety. She's not expecting Toto to lead a rescue mission, even though that's how it ends up. The reason for this isn't just so we can see what an unselfish and caring girl she is. It plays on a symbolic level.
See Dorothy as a nice Christian girl in this allegory, innocent and unselfish and naive, prim and proper, looking like she is on her way to Sunday school. Her beloved d o g is her beloved G o d. This is the attachment the Witch threatens, Dorothy's connection with her God, and even that God Himself. This is where the symbol of the river of time factors in because the Adversary's plot intends to exploit time to win the ultimate victory. “Throw the basket in the river and drown him,” in the river of time.
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.”
When you know the plot, with confidence, you see it modeled in so many ways and in so many contexts. When the Witch says, “what a nice little dog,” she's mocking Dorothy's God and exalting herself over Him.
The flying monkey sets the basket containing Toto on the pillar right behind the hourglass. The hourglass is a symbol of time itself, and the sands of time are as the river of time, flowing evenly from the future through the present and into the past. The basket is behind the hourglass, which is to say that the hourglass is superimposed over the basket. They are linked, one with the other. We don't see the dog, we see the basket. “Throw that basket in the river,” the river of time. The basket represents some kind of containment. As set upon the pillar, the stargate mechanism is in view.
In ritual magick, which this “entertainment” vehicle surely is, it only works if it's done as directed by the dark and fallen agencies, and we are assured of a high degree of correctness in this exalted Illuminati programming classic. Most would insist that I'm always reading into things what's not really there. If that works for you, fine, but those with eyes that see discover what really is there, thrust into the light of day as the spirit of holiness bears witness to the Lord's generous provision of insight into our Enemy's ways and means, and the greater presence and working of our Sovereign Lord, in Whom victory is.
Just before the Witch tells the flying monkey to throw the basket in the river she layers in some more symbolism, telling Dorothy, “Very well.” The witches who script the scene and decorate the set know their craft. A well has water, like the river has water. There's a contextual connection we make automatically, almost instantly, without the search for relevance to establish a context of meaning ever coming to our conscious minds. There's a huge crystal ball that is central to the set, and we are provided with demonstrations of a kind of remote viewing, a scrying function. We see and correlate these things subliminally, unconsciously or subconsciously. The still surface of the water in a well reflects like a mirror. Wells have long been used for scrying, for wishing, for divining. If you've ever seen Disney's Snow White and the Seven Dwarfs, you've seen a demonstration of divination by scrying in the magick mirror used by the wicked witch. She asks it, “Mirror, mirror, on the wall, who's the fairest of them all?” A demon appears in the mirror to give the answer she demanded. A “Very well” is such a device as that. “Veri” is Latin for “truth,” and witches do seem to like Latin. The witch consults the “Very well” to divine the truth, or at least whatever the lying demons are constrained to reveal. So, what does this have to do with stargates? The “veri-well” is just such a device. In another classic of mind-control literature, the well Alice fell down to get to Wonderland functioned like the looking glass she climbed through in another version.
Now, this is one of the key scenes that reveals why the ruby slippers are so important to the Witch. Following the last line of dialogue above, the Witch picks up the hourglass and turns it over to reset it. “Do you see that?, she screeches at Dorothy. “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.” She can't wait forever to get those shoes. There is a time limit set, you see, an age appointed, and this is related to the life span of Dorothy, which is to say, the Christian in this allegory where perhaps the most profound testimony is evident.
You see, the time for what is being ritualized in this drama is at hand. So, what are these ruby slippers to the Enemy of Christians and the God of Abraham, Isaac and Jacob? They are OLD slippers, which is to say, ancient artifacts. These are not desired by the Witch for sentimental reasons or to make a fashion statement, they represent essential objects sought for their ability to facilitate control over time for the managing of the stargates, toward the goal of containing God as a dog in a basket, to subsequently drown him in the river of time, clearing the Throne of the Most High for the usurper.
13 “You were in Eden, the garden of God; every precious stone was your covering: the ruby, the topaz and the diamond; the beryl, the onyx and the jasper; the lapis lazuli, the turquoise and the emerald; and the gold, the workmanship of your settings and sockets, was in you. On the day that you were created they were prepared. 14 “You were the anointed cherub who covers, and I placed you there. You were on the holy mountain of God; you walked in the midst of the stones of fire. ~ Ezekiel 28:13-14
The ruby or sardius is the first listed precious stone that was his covering, of the cherub who covers. I believe the ruby slippers represent the gems and abilities of his former condition. Once, that anointed cherub who covers walked in the midst of the stones of fire. “These boots are made for walkin',” as Nancy Sinatra observed in the old song, or slippers, as in this case.
15 “You were blameless in your ways from the day you were created until unrighteousness was found in you. 16 “By the abundance of your trade you were internally filled with violence, and you sinned; Therefore I have cast you as profane from the mountain of God. and I have destroyed you, O covering cherub, from the midst of the stones of fire. ~ Ezekiel 28:15-16
Do you see why the Witch wants the ruby slippers? The anointed cherub who covers wants to walk in the midst of the stones of fire, which represents a return to his former multidimensional existance. If you put this together with Isaiah 14, connecting the “king of Tyre” and “king of Babylon” with the agent behind them, you get a picture of what's behind the Wicked Witch of the West and her ruby slippers. They witness to ancient artifacts that are valuable for the wielding of control over time and the ascension to a throne and the assembling of the forces of Revelation 19:19.
If you're not seeing the stargate connection, give consideration to how the ruby or sardius is the first of 12 gemstones in the breastplate of the Hight Priest of Israel, who was required to wear it when entering the holy place.
15 “You shall make a breastpiece of judgment, the work of a skillful workman; like the work of the ephod you shall make it: of gold, of blue and purple and scarlet material and fine twisted linen you shall make it. 16 It shall be square and folded double, a span in length and a span in width. 17 You shall mount on it four rows of stones; the first row shall be a row of ruby, topaz and emerald; 18 and the second row a turquoise, a sapphire and a diamond; 19 and the third row a jacinth, an agate and an amethyst; 20 and the fourth row a beryl and an onyx and a jasper; they shall be set in gold filigree. 21 The stones shall be according to the names of the sons of Israel: twelve, according to their names; they shall be like the engravings of a seal, each according to his name for the twelve tribes. ... 29 Aaron shall carry the names of the sons of Israel in the breastpiece of judgment over his heart when he enters the holy place, for a memorial before the Lord continually. ~ Exodus 28:15-21, 29
See also, Exodus 39:10, Revelation 4:3 and 21:20 (the sixth, ruby). I've written at length about the bells on the hem of his garment (verses 33-35). They facilitate the meeting with the Most High himself in the Most Holy Place. The breastplate with the grid of gems was likewise a necessary part of the garment, his covering, and one might take a reference to the first of them as a reference to all. Time was another essential element in that event that can be described as a stargate opening because the scheduled appointment had to be kept at the right time of day on one day of the year, Yom Kippur.
On the subject of ruby slippers, why is it that Pope Benedict was always seen wearing bright red loafers? Hmmmmmm. Are they tokens of something else, perhaps stashed away in the Vatican archives? Have we seen the last of his official duties as a high priest of the sun cult? A Pope is soon going to baptize the beast, fulfilling the role as the counterpart to John the Baptist, who acted in that ministration as the legitimate High Priest of Israel. Will the Pope wear Aaron's breastplate and garments, or perhaps something worn by John, or both? That event will represent the opening of a stargate, and, it seems, the Silver Gate through which Horus will manifest, incarnate.
There is another scene in the Wizard of Oz that validates this identification of the ruby slippers as objects like the keys to the kingdom for the unlocking of stargates, one that really makes the link rather obvious. Ever since Dorothy discovered she wasn't in Kansas anymore, all she wanted was to return home. That's the point of her entire quest. At the end of the movie, she finally does return home, and the ruby slippers are the key. Her return is by way of the same Silver Gate whirlwind that brought her to the underworld of Oz. Her transit requires the use of the magickal ruby slippers and some magic words in a ritual where Dorothy is assisted by Glinda the Good Witch of the North. It's operative black magic that opens the stargate, with an ancient artifact.
Glinda engages Dorothy. “Are you ready now. Then close your eyes and tap your heels together three times. And think to yourself, “There's no place like home.”” Glinda gestures with her magic wand, circling it around behind Dorothy's head, and as Dorothy begins to follow Glinda's direction, a swirling vortex opens up as if the star on the wand was stirring the aether of space-time. The film makers enhance the scene with some special effects, superimposing her head and the shoes in what seems to suggest a pineal gland activation.
Here's a brief clip from the film showing the ritual returning Dorothy and Toto to Kansas. The Wizard of Oz - "There's No Place Like Home" Magic Spell
See Dorothy now in the role of the anointed cherub who covers, having acquired what the coveted ruby slippers represent.
Just before this clip begins, we see Dorothy miss her ride home with the Wizard, who ascended in the hot air balloon. That was another stargate transit scene, as just prior to that when Toto leaped out of the basket, followed by Dorothy climbing out after him. Familiar, yes? The Wizard was doing some sodomite gateway signaling in the midst of the scene with his top hat and cane, and because it represents another gateway transit I'm going to decode that here.
The usual sun symbols and pyramids appear, as throughout the entire film in the funnel (pyramid) on the head of the Tin Man and the row of Xs on the panels of the basket of the hot air balloon. The Wizard is seen here officially transferring his authority to the Tin Man, by virtue of his heart. We see the heart on the Tin Man's chest, and the heart is a symbol of ritual sodomy. The Wizard is holding his top hat in front of his body, which is another sodomy signal. He's gesturing with his cane (Two-ball cane - Tubal Cain) as his phallus, toward the Tin Man. The transfer of authority is flipped, from one perspective, because the sodomizing Wizard is stealing the victimized Tin Man's life and authority in the act. Yet, the ritual sodomy is opening the Tin Man's Horus Eye, granting him gnosis and illumination and giving him spiritual authority through the demonic installation as making entrance through the opened stargate. See the plus sign on the Wizard's basket? It is the symbol of the binding of the two in ritual sodomy and the sign of the Knights Templar and cross of the cult of the sun god. When his contraption is loosed from the mooring and he begins to ascend, as you see in this screenshot, he declares loudly, “This is a highly irregular procedure!” NLP. Irregularity alludes to the function of the bowels.
After that, the transdimensional rainbow bubble descends out of the sky and Glinda appears before Dorothy and her companions. That's at least the fourth stargate opening signaled in the sequence, if you're keeping count. Glinda spins up a special blend of truth and lies in a story about how Dorothy has always been able to return home, and goodbyes are warmly exchanged. It's Dorothy's turn to do the sodomite gateway signaling in the “moral of the story” scene, with her bow on her head (tie that binds), gingham dress (knowledge of good and evil) and the NLP in her declaration of lessons learned: “If I ever go looking for my heart's desire again I won't look any further than my own back yard.”
When the ritual is performed and Dorothy and Toto have traversed the Silver Gate, the allegory of the anointed cherub that covers finds him returned home to walking in the midst of the stones of fire.
An assessment of what it took for that to happen reveals how the unidentified Good Witch of the South had first subsumed the authority and power of the Wicked Witch of the East, by killing her and acquiring her prized ruby slippers. The ritual sacrifice transfers life from victim to victor. The quest then led her to subsume the authority and power of the Wicked Witch of the West by killing her and acquiring her broomstick. These objects are both powerful magickal stargate artifacts. The witch has been seen flying on the broom, right? Together with the Good Witch of the North and her magick wand, which is used to swirl open the vortex of the stargate, Dorothy and Toto are able to traverse the Silver Gate and ascend up out of Oz, the underworld, returning to our natural realm. This is the magick of the four Guardians of the magick circle and the black magick of ritual stargate opening.
With all that, there's still more dot connecting to be done in the lessons about time and stargates from this film.
I see the iron ring on the pillar in the Witch's tower as another time symbol. It resembles the Ouroboros. The imagery of entwined serpent dragons is already present in the spindles of the hourglass frame. The alchemical diagram of the Philosopher's Stone illustrates the dimensional containment of time itself as a circle. Such a feature as the iron ring on a pillar is obviously intended to function as a secure point of attachment. Since it's a holding cell for Dorothy with the look of a dungeon, let's connect the dots.
We are bound within time while we remain in these flesh bodies. The Bible indicates that we are bound as by two chains, by the law of sin and death. These bindings apply to this flesh life but yet that identifies the limit. We are bound in these flesh bodies to this temporal realm, as to the circle of time represented by the Ouroboros and that iron ring on the pillar. (If this language seems somewhat familiar, you've probably come to understand the awesome revelation of the esoteric Acts 12, where Peter was in prison, bound with two chains. (Beyond the Veil)) The ring is fixed to the pillar. It goes neither up nor down. Dorothy is not chained to the ring, having an out of body experience, which matches the symbols of being in the Castle that is accessed by way of a viaduct, and over the rainbow in Oz, the underworld.
Aaron Hermann noted how the film's theme of time suggests a connection between the green Witch and Greenwich, England, where the Prime Meridian establishes the world's standard of time. I believe that's valid, and I believe that observation is supported by the river and the castle pictured in this screenshot.
The river below looks like the Thames in London where it bends around the Isle of Dogs. Opposite that is Greenwich and the Royal Observatory, about where the Green-Witch's castle appears. That river is where the flying monkey would have thrown the basket, in the river of time. Thames ~ Times. It is the River Isis-Thames, the magickal river of time. The Witch's castle is as a counterfeit temple at the center of time, a counterfeit Zion.
Are we done yet? For now, but there's more to come, Lord willing!