Please Join Us in the
Effort to Annihilate
Obliterate, Disintegrate
the Naked Chakra Man
"I Am Leading All Men Away from Temptation."
"I Am Delivering All Men from Every Evil Condition."
By Steven S. Showers, Editor
In the course of exposing the use of naked
children on Monique's Gulick's website, "The Darjeeling Report," (see July 2004 issue
of this Journal), I went in search of a possible theory that could explain how the morals of our
community could have been compromised to the extent that would allow these children to be
photographed, and those photographs published on a church related website, and for the
community as a whole to say, "Ho hum." In the course of that article, I offered up the Naked
Chakra Man as a possible predicate for the corruption of our community morals. I have since
come into the possession of additional information that reveals the fact, that indeed, this Naked
Chakra Man is, without a doubt, a focal point for the entry of a river of corruption into this
community. Moreover, in my research into this issue, I have discovered that this factor of
corruption could have played a significant role in Sean Prophet's betrayal of the
Messenger, the Masters, the Church and the Teaching. Full details are included in the article
below.
This image was published in our Church Newsletter, Heart
to Heart, in the March-April 2004 issue. This was an example of an image which is being
distributed by church staff, along with articles on the Teachings of the Ascended Masters, to
outside publishing houses. Of course, the Naked Chakra Man is being produced in many media
forms for use by the members of our organization, beginning with a large poster, and other
products that I will mention later.
What I am about to reveal here was unknown to me at
the time I wrote the original article. I can report to you now, that what I have found out proves
that a huge error has been committed, that indeed, it is an error of sufficient dimension, that it
has poisoned the minds of the whole community. Yes, it has indeed poisoned the
minds of the whole community.
I think that the surprising thing about this, is
that this information is easily available on the Internet. Of course, when
the idea was plucked out of the mind of someone, to use Michelangelo's
David as the model for this Naked Chakra Man, which was, as far as I can
tell, in the early 1990's, there was no Internet. But, the information was
nevertheless dynamically alive in the culture, and globally so. In
other words, it was, what it was, back then, across the entire planet, but
I admit that for a member of this church to have come into contact with
it, would have taken some effort, because the information exists
inside a community that we do not have contact with, as a general
rule.
Michelangelo's David
Universal Icon and Magnet
for Homosexual Lust Over
Five Centuries.
Michelangelo's David has been a symbol, a target,
and a magnet, for the lusts of homosexuals, from the very beginning.
That's right. Let me say that again. Michelangelo's David has been a
symbol, a target, and a magnet, for the lusts of homosexuals, from the very
beginning.
In fact, when you read the history of the time of
Michelangelo himself, you will see that the city for which this statue was
commissioned, Florence, Italy, was a literal hotbed of homosexual activity. And of
course, as you might imagine, the artist Michelangelo is claimed, by the homosexual
community, as a homosexual himself. Whether that is true, or not, is
not a significant part of the equation. After all, because
homosexuals have no sense of self-respect, they desperately cling to
various icons, in order to associate themselves with focal points that
will help them feel better about who they are, and so, they have made
some outrageous claims in this regard, for example, claiming Abraham
Lincoln as one of their own, and even the composer Handel. That is
absurd. And their claim of Michelangelo as one of their own might be just
as absurd. But the circumstantial evidence does point more strongly in
that direction when it comes to Michelangelo. Especially when you consider
his passion for using every opportunity to expose male private parts to public
view.
But this is one thing that we know for sure.
Michelangelo's depiction of David, with exposed buttocks and genitals, was not
inspired in heaven, not inspired in his heart, but rather out of the darker side
of who he was. He used his great God-Given talents in the service of
darkness. Surprise. As if artists are not known for doing just that,
pushing the envelope in every possible way, for what purpose? Just so they
can. This is pride, that does not recognize the source of the gift, and
not recognizing the source of the gift, will not feel constrained to use
the gift in alignment with the purposes of the original author, who is
God Our Father. The prideful ego says to itself, this is my talent, and
I will do with it as I please.
As you can see, we have an example of
that, close up, right in front of us, in the behavior of Linda Worobec
herself. She is the artist, par excellence, musician extra ordinaire, highly revered, highly
applauded, highly renowned, and when she wants to perform a Beatles' tune on the
Altar, that is what she will do, and no one need make a peep, in as much as the whole
world has always bent a grateful ear to the sweet melodies that issue forth from her perfect lips,
and besides, at the very first appearance of her lofty desires, all the law books in heaven have
been instantly rewritten to reflect the wisdom of her illustrious performance. So, just
sit back and enjoy.
If Michelangelo really had a genuine love for
Jesus Christ, (David was one of his embodiments), in a world ripe with the
ferocity of homosexual lust, you would not expose the bare body of
this Master to the lust of homosexuals for all future generations.
What, Jesus would want his body, to become a stumbling block for millions of
people who are fighting against these tendencies for the survival of their own
souls? Never. This is undeniably a point of Anti-Christ, clear
and simple, trampling on the Golden Rule. Would any (normal) man desire
for his body to be exposed before the lusts of the homosexuality community for
all future generations? Absolutely not. And so why did Michelangelo
do it? He did it because he was pushed to do it by forces of darkness beyond
the perimeter of his own soul.
Now, Michelangelo did several self-portraits.
But guess what? He had his own clothes on every time. He would never have
wanted his own body exposed in that way. But yet, he exposed the body of
the Master Jesus Christ, in that way, for millions of homosexuals to gawk at,
and drool over for nigh over 500 years now.
Pride and hypocrisy, they
always go hand in hand.
You might be able to argue that Michelangelo did
not know that David was an incarnation of the Master Jesus. It does not
matter. The angels knew this, and the angels spoke into his ear, don't do
this Michelangelo, put some clothes on his body. But Michelangelo said, to
these angels, go fly a kite, I am the artist, I will do what I will do. I
want to depict these genitals. I want to depict these bare buttocks. They
are so pretty after all. And that is what I will do. Let the glory
of these "private parts" be exposed for all the world to gawk at.
And from that seed point of rebellion against the
Christ, against the Law, a focal point, a rallying point, for homosexual lust
was created for all future generations.
And that is what we are talking about here.
For every homosexual on the planet, this is their icon. Normal people are
not aware of this, because their awareness is not embedded in the
homosexual culture. They don't have a clue. But, the facts are the
facts. This is part of the homosexual universe, and this is a universe of the
most base rebellion, and hatred against God. And when people look
upon this statue, they are tuning into, at subconscious levels, this universe of
rebellion. They are entering into a figure eight flow with this universe
of rebellion, and they are drawing the substance of that rebellion into their
worlds. And because of this, it is a point of deep corruption for any soul
on the path.
The image of Michelangelo's David
focuses the entire planetary momentum of rebellion of the entire homosexual
movement. This may seem like an outlandish statement to some readers, given
that you were totally unaware of any connection whatsoever in this regard,
just moments before. But there is proof. When you look at the proof,
you will agree with my assessment, of this I am sure.
The Evidence of
Michelangelo's David's
Homosexual Icon Status
To get at this proof, we must enter, somewhat, into the
world of homosexuality, and see this statue through the eyes of homosexuals. The Internet
allows us to do this without much trouble now. I would caution everyone, however,
before proceeding, that they need to have their Archangel Michael armor on, or you will find
yourself spending the next three months trying to wash these vibrations out of your mind and
your soul. This is a world that will be totally new to most all of you. It will be
intensely repugnant. But, to understand this issue, we must enter in. Please take
the time to look at each example, locate the excerpted text on the page, and get a feeling for
the content of the whole page. In this way, you will get a sense of exactly the kind of
energy that homosexuals are sending into this statue.
Before proceeding I would ask each reader to go
through this little ritual, which will only take a minute. Visualize
yourself standing on each line of the Cosmic Clock, beginning with the 12
o'clock line, and proceeding onward to each subsequent line, saying the names
of all seven Archangels while standing on each line. For example, standing
on the 12 o'clock line say, Archangel Michael, Jophiel, Chamuel, Gabriel,
Raphael, Uriel, and Zadkiel, guard me please! Then, standing on the 1 o'clock line say,
Archangel Michael, Jophiel, Chamuel, Gabriel, Raphael, Uriel, and Zadkiel, guard
me please! And repeat this for each additional line around the whole clock, 2, 3, 4, 5, 6,
7, 8, 9, 10, and 11. Then proceed with your review of these examples.
The underlined bold faced phrase
Example N, incorporates the link that will bring up the
(locally stored) example page in your web browser.
The first two examples are from "The Advocate,
The National Gay and Lesbian News Magazine". Both of these articles
deal with homosexual culture from a historical perspective, and both make note
of the completion of Michelangelo's David as a primary homosexual event.
Both pages include photos of David, one from the front, and one from the back,
showing you exactly what the homosexuals are interested in.
Example
1 - The Advocate, Cover Story - Pride march of history -
"Everything we claim as lesbian and gay culture today falls into the long
parade of time—whether in step or, um, out" [David is at Line 8]
Example
2 - The Advocate, Online Exclusives - 3,000 years of queer
eyes - "The impact of gay and lesbian visionaries on Western culture, from
its edifices to its eye shadow, has always been immeasurable. A time line of
just a few of these trendsetters BQE—Before Queer Eye" [David is at
1504]
The next two examples
are from WWW.GAYHEROES.COM. The
first example shows the Michelangelo page, where the artist is talked about as a hero
of the homosexual culture. Make note of what they say about his
poetry. The link to the sculpture page, which is example 4, reads, Meet a thirteen-foot-tall
rock-hard naked man named David...
Example
3 - "He didn't wash, slept in his studio alongside his
work, and though he became wealthy, ate and dressed like a pauper and worked
like a dog. His homosexuality and religious fervor generated great conflict
within him, and one self-portrait shows him as the flayed skin of St.
Bartholomew (above right)."
Example
4 - "The rulers of Florence adopted the statue as a
patriotic symbol of the strength of the Florentine
Republic."
The next example is
from WWW.GAY-NEWS.COM.
This is an article that discusses several of the homosexual related fetishes.
Warning - This example contains a graphic example of
homosexual pornography, and if you want to skip looking at the
page, I would recommend that. It is just too gross. But, it gives
you exactly the vibrational context within which Michelangelo's David resides
within the homosexual universe. I will quote the specific text
here.
Example
5 - Cute butts - "Pygophilia is the love of buttocks. Once I
stuck a burning candle in the bum of a friend of mine. His gorgeous round buns
glowed in even greater beauty. Jean-Luc Hennig wrote a "Brève historie des
fesses" (1995), translated that same year as "The Rear View. A Brief and
Elegant History of Bottoms Through the Ages". Only one chapter though is
devoted to the male behind. The most well known but certainly not the most
beautiful one is made of stone: the behind of Michelangelo`s David in
Florence. For many a queer this is thé place for a buns love pilgrimage.
Complete schools are gathering around David so the pygophilist can compare his
marble behind with cute freshmen`s butts."
The next example is
from WWW.QUEERTHEORY.COM
. Here, the author is giving a review of "The Bear
Book : Readings in the History and Evolution of a Gay Male Subculture by Les K.
Wright (Editor)". The review begins with a reference to
Michelangelo's David.
Example
6 - "From Michelangelo's David to Calvin Klein's hunks in
briefs, the cult of the beautiful male body has been at the heart of much of
gay culture."
The next two examples are from WWW.RAINBOWWAREHOUSE.COM
. They say, "Welcome to RainboWarehouse – the
Internet’s fastest growing source for gay and lesbian shopping! We are 100% gay
owned and operated. At RainboWarehouse, we provide superior service, competitive
pricing, and quality merchandise for all your gay and lesbian shopping
needs." These two examples,
respectively, illustrate the use of Michelangelo's David as a notecard, and as a
refrigerator magnet.
The next example is
from WWW.GAYCHRISTIANONLINE.ORG
. Here we see the statue
of Michelangelo's David displayed prominently at the center of the page in a
large size, and one additional copy of the image lower down in the page.
Note that the large image serves as the entry point into the web site. And
smaller images of Michelangelo's David are used throughout the
website.
Example 9 - " ... if you think being gay is wrong,
you may be surprised at what you find here."
The next example is
from WWW.OUTTRAVELER.NET
. This is an online publication targeted at the gay and lesbian
community. Here is an article about Michelangelo's David, that tries to
sound civilized.
Example
10 - "Giorgio Vasari, the gay artist and writer of Lives
of the Most Excellent Painters, Sculptors, and Architects, wrote of the
sculpture, “The grace of this figure and the serenity of its pose has never
been surpassed.”
The next examples are
more David dress up
magnets. This is simply a vehicle for homosexuals to enter into a
striptease mentality as they lust after each fresh and new peek at the
private parts of David.
Example
11 - Play Dress up - Click and Drag to put Clothes on
David.
The next example shows
an advertisement for the book, "The Queer Encyclopedia of the Visual Arts, A glbtq
Encyclopedia, Edited by Claude J. Summers, The first comprehensive, authoritative queer
guide to the visual arts." (glbtq = gay, lesbian, bisexual, transgender,
queer).
Example
17 - "A distinctly queer presence permeates the history of
the visual arts—from Michelangelo's David and homoerotic images on ancient
Greek vases to Frida Kahlo's self-portraits and the photography of Claude
Cahun and Robert Mapplethorpe."
The next example is
from QUEER CONSTRUCTION, an article entitled, "Becoming David", which includes a
graphic reproduction of the statue.
Example
18 - "This is Michelangelo’s most famous sculpture, the
David. It’s important to us gay fellas because this piece, more than any other
in the public’s consciousness, marks a return to the ideals of absolute beauty
of Antiquity. David is an icon of the male form. He is what a man should look
like. He is what the men in our culture strive to
become."
The next example is
from http://WWW.THAIGUYS.ORG, a
homosexual's guide to Thailand. In the midst of the article, the icon status of
Michelangelo's David is testified to again:
Example
19 - "On entering this a palace of lights you were confronted
with a large replica statue of Michelangelo's David, a then and still Gay
icon, of wonderful proportions but more closely identified artistically with
the Florentine Renaissance than Ancient Rome. Oh, to have known the soldier
who posed for that, as I feel certain Michelangelo
did!"
The next example is
from WWW.GLBTQ.COM. From their
mission statement, "The glbtq encyclopedia was founded with a single objective in mind:
to serve as the most comprehensive, accessible, and authoritative encyclopedia of
gay, lesbian, bisexual, transgender, and queer (glbtq) culture."
This is an article titled "The
Bible."
Example
20 - "So powerful is Michelangelo's image, in fact, that it
has become the Western world's most pervasive symbol of male beauty and one of
the staples of gay popular culture. Art critic Michael Bronski's recollection
of the reproductions of Michelangelo's David that were displayed in many gay
men's homes in the 1950s suggests how completely the image has been claimed by
the gay community. "The Davids [sic] were not just erotically pleasing pieces
of inexpensive art," he writes; "they were also signals to visitors in the
know that the homeowners were homosexual, functioning as a kind of aesthetic
Morse code of sexual identity." That code operates even more effectively when
signaling an invitation to engage in male eros."
The next example is
again from WWW.GLBTQ.COM, the,
"authoritative encyclopedia of gay, lesbian, bisexual, transgender, and
queer (glbtq) culture." This article
goes into a detailed analysis of David and Goliath, which again underscores the
extent to which Michelangelo's David has been totally absorbed into the
homosexual culture. This is a three page article, and if you desire to read the
whole thing, the pages links will carry you to the
additional pages.
Example
21 - "The biblical narrative of King David, contained in the
First and Second Books of Samuel and the opening chapter of the First Book of
Kings, invites the reader to visualize homoerotically the shepherd boy turned
warrior and king."
The next two examples
are from WWW.INDEGAYFORUM.ORG, the
Independent Gay Forum, two articles, the first dealing directly with Michelangelo's asserted
homosexuality, and the other, concerning the history of homosexuality in
Michelangelo's Florence, Italy.
Example
22 - Michelangelo's Hunks - "Few artists before the
present era have left so clear a record of their homosexuality as
Michelangelo."
Example
23 - Homosexuality in Renaissance Florence - "During the
Renaissance, Florence developed a reputation for being pervaded with
homosexuality ..."
The next example is
from WWW.LONGITUDEBOOKS.COM This is a web page that shows all of
their gay and lesbian titles. I include it here, to note the presence among these titles, of
"The Poetry of Michelangelo: An Annotated Translation." Homosexuals read
his poetry to further develop, amplify, and justify, their lust for other males.
The next example is the
witness of Larry-Bob. He is a homosexual, considers himself part of the elite of this culture in
fact, and has his eye on Michelangelo's David.
Example
25 - "Whether I'm purchasing a plaster cast of Michelangelo's
David, the latest reprints of Gordon Merrick novels, gay porno magazines,
designer clothes (designed by Gay designers, of course), or freedom rings, I
am preserving for posterity the highest pinnacles of our glorious gay
culture."
The next example, and
article from GMAX, gay and lesbian, South Africa, gives us a street level view into the heart
of homosexual life in the Folsom Street area of San Francisco. Yes, Michelangelo's
David is there.
Example
26 - "For the next two decades, leather bars and bathhouses
proliferated around Folsom Street, while the neighborhood's narrow alleys
proved ideal for cruising. Among the most popular haunts were the Ambush
(which boasted its own brand of poppers), the Barracks (described by author
and former Drummer editor Jack Fritscher as "a four-story maze of fantasy
sex"), the Brig, Febe's (with its trademark mascot, Michelangelo's David
dressed as a leatherman), and the Slot."
The next example, from
an article "No Mo Drama,
Legal services for gay divorcees," is another instance where the iconoclastic
status of Michelangelo's David within the homosexual community is again
highlighted. This article is about a general facet of the homosexual
culture, and still, the author feels a need to mention Michelangelo's
David.
Example
27 - "Plaster reproductions of Michelangelo's David, so
beloved by gay men, will accent Mission-style furniture so popular with
lesbians."
The last category of
examples that we will look at, deal with homosexual travel agencies, and the tours they
provide. Using the Google Search Engine, using the advanced search, trying to narrow
the hits down to those that are the most relevant, the search engine returned 953 hits
with this search strategy: The keyword "gay" had to be included. One
of these words needed to be present: tours OR vacation OR travel. And this
phrase had to be as shown: "Michelangelo's David". Out of the 953
hits, here are the first 100 examples. No, I am only kidding. I
will only present five here, and if the reader wants to see the rest, the Google
search engine is just a click away.
Example
28 - "Stroll down Florence's picturesque Ponte Vecchio,
crammed with leather shops, admire Michelangelo's David, then check out
Tuscany’s nascent gay scene."
Example
29 - "Enjoy two full days in Florence and witness male
perfection -- Michelangelo's David."
Example
30 - "This morning we visit the Bargello, the Cathedral
of St. Maria del Fiore, Academy with the statue of David by
Michelangelo. The tour will proceed to Piazza Santa Croce. Piazzale
Michelangelo with a magnificent view. Walk to the Duomo and Baptistery to view
the "Gates of Paradise." Continue to Signoria Square and Ponte Vecchio, the
"Old Bridge." Afternoon at leisure in the heart of Florence. One of the best
places to relax and look at hunks is in the Florence Bathhouse an exclusively
gay sauna. Hmmmmm."
Example
31 - Queer on 7 Continents - "We start in
Florence, Italy, home of Michelangelo's David, then sweep through the
celebrated wine region of Chianti."
Example
32 - GAY FLORENCE: THE ART CITY OF THE WORLD -
"Michelangelo's David is on the top of visitors travelers' list of things
to see."
Example
33 - "In 1795 Tuscany became one of the first states in
Europe to legalize homosexuality, consequently Florence is a very gay-friendly
city. Welcome to Florence - the birthplace of Gay Pride ... This morning we
visit the Bargello, the Cathedral of St. Maria del Fiore, Academy with
the statue of David by Michelangelo. "
This much is for sure. Any gay
oriented travel to Florence is centered on the Statute of
David. Why? The homosexuals want to see David's genitals close up,
and his rear end, for that is the business end for homosexuals, and there is a
thriving tour business to that end.
These 33 examples represent only the tip of the
iceberg. The tip of the iceberg tells a larger story. The whole
iceberg is the whole homosexual community, numbering in the millions, global in
its extent. And inside of each homosexual mind, you have a common point of
adoration, a common idol, which is Michelangelo's David. It is an
integrated point of homosexual pride. The greatest artist on earth has made their
lusts not only legitimate but he has provided for those lusts a universal
target. And a stream of their life energy is pouring into David's genital
and buttocks area from every one of those minds. This is universal.
No other group of people on earth have a similar fixation.
Because the statue of Michelangelo's David is
saturated with the vibratory action of homosexual lust, the Masters would never
have approved this as focus for their students meditation. Never.
Meditation upon this statue draws that rebellious
vibration into the subconscious. It draws that vibration into the
subconscious through a surface channel of rebellion against the law. Any
soul who is in alignment with the law, will look at that statue, and say, it is
against the law to expose the private parts of any human being in public.
These are private parts, meant to register upon the consciousness of a man
and a woman bound together within the divinely sanctioned institution of holy
matrimony. This is very basic. To allow oneself to meditate upon this
statue, is to suppress that inner sense of the law, that inner need to be faithful
to the law. That act of suppression is a point of rebellion.
And through that lens of rebellion, the astral energies of the greater rebellion
associated with the entire homosexual culture — which pumps their lust in the
direction of that statue every day — flows into the soul's subconscious.
The obedient soul naturally looks away, knowing that the laws of modesty are
violated in this statue. The disobedient soul alone will focus its gaze
upon this statue.
And when this falsehood is promulgated, that this
statue is an approved object of meditation for ascended master students, here we
have a mechanism for instilling disobedience and rebellion, where none existed
in the first place. Or, perhaps adding additional momentum to an already existing
momentum of disobedience and rebellion.
In a very early dictation by Beloved Jesus Christ,
delivered through Mark Prophet, he set forth a very fundamental principle of
life, a common theme throughout all subsequent Teaching, which forms the
foundation of our analysis of this situation. He said, " .... for your attention held upon
any person, place, condition or thing is allowing your very life—that very
instant—to flow unreservedly into that upon which attention is
fixed." [Pearls of Wisdom, Vol. 2 No.
11, Jesus Christ, March 20, 1959 ]
Now, this goes for everyone. This principle is
operating in the world
of each homosexual who looks at that statue, or keeps the image of
the statue in his mind. And that homosexual is sending the
energy of his soul stamped with the most base form of lust and rebellion that is
known on the planet today. Therefore, as millions of homosexuals send
their energy into the statue every day, that statue becomes literally
charged with that energy, saturated with that energy. All of the molecules
and atoms of which that statue is composed, are literally dripping with
that lust energy. And because it long ago reached the saturation point, and
simply cannot hold any more of that energy, there is probably a
very large grid and forcefield of that astral energy floating in orbit around
that statue. That statue is probably one of the greatest focal points of
darkness there is on this planet. It is literally a shrine for
homosexuals.
Now, for those of us who have no conscious
connection to the homosexual community, as we look upon this monument, we
extend our attention towards it, and when we do that, we also extend
the energy of our soul in that direction. And as we do this, in our
innocence, we desire to gain something out of the experience. Our soul
desires to derive some kind of meaning from the experience, and in this, we have
the return current. In this, you have horizontal figure eight flow.
And that flow is at the level of your soul's comprehension of nakedness.
Because that is what you are looking at. You are looking at
nakedness. This overpowers all other considerations. And moreover,
you are at a level of disobedience, having swept aside the mandates of
modesty. And the figure eight flow is that level, of nakedness, of
disobedience. And what you draw back towards yourself, at that wavelength,
is an energy stream that is further discolored and polluted by the astral forcefield that
surrounds that statue, created by the homosexuals.
Considering the Naked Chakra Man poster
specifically, this is exactly
what is happening. But there is something more than simply the pollution
of consciousness. I believe that our meditation on this figure will
implant, in a subliminal manner, a very destructive lie in the subconscious of
the student, which will make them believe that they can access the
pure light, depicted in the pure chakras illustrated therein, while residing in
the most gross state of rebellion. It is a delusion that has people
refusing to align themselves with the law, while retaining the erroneous belief
that they are still somehow on the Path. That is the message of the Naked
Chakra Man. And in this way, it works against the soul's decision
formulation processes, when it is trying to make those decisions to put the
dweller of pride into the flame. This force will argue out of the
subconscious, with significant power, no, you don't have to do that. You can
have rebellion and you can have light. You don't need to make the tough
decisions. And in this way the path is totally compromised.
And just in case some people are not making a
connection between the actual
statue of Michelangelo's David, and a photo of that statue, or a reproduction of
that statue, or an artistic rendition of that statue, as we have in the Naked
Chakra Man posters, I will make note here, that another important part of this
equation has to do with the law, which is stated thusly, Two factors that are
equal to the same thing, are equal to each other. All energy movement
conforms to this law. Just as all representations, in all media, of the
Washington Monument, will allow the consciousness of all people to orbit
around the actual structure located in Washington D.C., and just as all
representations, in all media, of the Statue of Liberty, will
allow the consciousness of all people to orbit around the actual structure
in New York Harbor, so to will all representations, in all media, of
Michelangelo's David, allow the consciousness of all people to orbit around
the actual structure of that statue located in Florence, Italy.
We know clearly what the Teaching is on
homosexuality. It represents the most powerful form of misqualification of
light that exists. The misuse of the lifeforce in this manner, has caused
the destruction of civilizations, Sodom and Gomorrah, I believe is the most
recent example. Drawing this energy into this community through this image
will help to destroy any possibility that those students who partake of this
corruption, will be able to realize the victory of the mission of the
Ascended Masters.
In a February 13, 2003, document, The Resolution
Process, developed by the leadership to describe a process to adjudicate alleged
violations of the church's code of conduct, under the section entitled,
"Standard of Conduct Violations That Could be Reviewed through This
Process", we find the following sentence.
·
Practicing
homosexuality, lesbianism or
bisexuality.
There is certainly a certain irony in reading
this words, at the same time that the leadership pushes a poster on the student
body that ties the membership into the very center of the universe of homosexual
rebellion.
And yet, while all of this is true, and none of it
can be gainsaid, we have this interesting situation, in which it has been
made to appear to be true, that the Master El Morya has told us that this statue
is a fit object for our meditation. But, from the information that I will present
below, we now know that the Master never said any such thing. This is now a fact
that we all have to deal with. The Master never said that. And so,
how did these words come to be published in that Pearl of Wisdom? This is
a matter for further investigation to be sure, not for the purpose of fault
finding, or blame gaming, but for the purpose of putting a cork in this bottle,
so that this kind of a mistake can never be made again.
What Needs to be
Destroyed or Recalled
This investigation must be carried forward.
But in the meantime all materials which include a depiction of Michelangelo's
David, must be taken out of circulation within this community. Yes, what we
are calling for is the destruction of all poster and wallet card depictions of this statue, both in
the hands of students, and in the church inventory, and the recall of all books that depict this on
the cover, so that they can either be replaced or repaired, whatever makes most sense from a
practical point of view. And all references to these materials that appear in the on-line Summit
Lighthouse Bookstore need to be eliminated.
The Naked Chakra Man appears in at least two places
in the current Summit Lighthouse catalogue under the category of "sacred images", wallet
cards, and a full size poster.
The following eight (8) items are currently accessible
through the online Summit Lighthouse Bookstore. 1) Posters: Seven Sacred Centers of Man
19" X 25". 2) Prints: Chakra Man 5"x7". 3) Card: Chakra Man. 4) Card: Chakra Man 10 pack.
5) Card: Chakras Set (9 Cards: 7 Chakras, Secret Chamber & Chakra Man). 6) Your Seven
Energy Centers (pocket guide) 7) Human Aura (pocketbook). 8) Your Seven Energy Centers
(Audio Book).
In the table below, I have set forth an example of each
of these images as it is displayed on-line, and given a link for the whole page, one example
stored locally, and the other still stored and accessible on the TSL server.
And this image to our right,
reproduced at the beginning of this article in a larger format, but reduced in size here, which
was published in our Church Newsletter, Heart to Heart, in the March-April 2004 issue, needs
to be removed from that issue of Heart to Heart, at least from the online pdf version. Moreover,
all of these images that have been distributed to outside publishers along with the chakra
articles need to be recalled. And of course, this image must not be distributed again to outside
publishers.
The Infamous "Quote"
From the Pearls of Wisdom
Now, in response to my July 2004 article which first
broached the issue of the Naked Chakra Man, a member of the Lighthouse Keepers brought to
my attention, the fact that it appears that the Master El Morya himself made a statement about
Michelangelo's David, in a particular dictation, referring to a particular poster.
This is the quote from Pearl of Wisdom, Vol. 38, No.
26, page 255:
" Therefore, consciously direct a ray of violet flame to
each of your chakras, from the base of the spine to the crown. The large violet flame poster that
illustrates the chakras superimposed on Michelangelo's statue of David provides a strong
visualization for clearing the chakras and raising the Kundalini.
Visualize yourself systematically transmuting
records of the ancient and near past until you have a fully cleansed temple that the Lord Christ
might occupy. Yes, see yourself encircled in pulsating ovoids of violet flame, as shown on the
poster. For what you see and internalize you shall become."
Now, in my subsequent research, which I have set
before the reader in the above exposition, which makes it clear that Michelangelo's David is
the central icon of the homosexual universe, it dawned on me, that this research is proof
positive that the Master El Morya never spoke those words, i.e. about Michelangelo's David.
Yes, the words are there, in black and white, in the published pearl. But the truth is also there,
out in the world, as I have set it before you. And so, given the fact that Master knows exactly
what the homosexuals are fixated on, he would have never recommended this as a focus for his
student's attention. Remember the words I quoted in the subtitle of this article above. I will
repeat them here:
"I Am Leading All Men Away from Temptation."
"I Am Delivering All Men from Every Evil Condition."
These are words from the I Am Lord's Prayer. This
tells us what God in us is trying to do, and what God the Father is most certainly doing through
the Master El Morya. He would have led us AWAY from Michelangelo's David. He would
have delivered us from Michelangelo's David, given the fact that our attention on this statue
ties us into the rebellion of the homosexual movement. And therefore, it is absolutely
impossible for the Master to have ever spoken those words.
A close analysis of the situation verifies this
conclusion. The Master El Morya did not speak those words.
First let me again quote what is published in the Pearl
of Wisdom, Vol. 38, No. 26, page 255, adding some contextual reference points. Again, these
are the words that are published in the Pearl:
Words Published
" At each level of self-mastery you attain to, the daily
requirement for personal and planetary transmutation by the violet flame is increased. For
some, an additional prerequisite to progress is the sorting out of this and that in the
unconscious and the subconscious.
This is very important, beloved. For unless you
clear the many levels of being, and
specifically the issues of your psychology, you will find that the rising sacred fire will give
a certain permanence to the knotty problems you desire to cast into the violet flame.
Therefore, consciously direct a ray of violet flame
to each of your chakras, from the
base of the spine to the crown. The large violet flame poster that illustrates the chakras
superimposed on Michelangelo's statue of David
provides a strong visualization for clearing the chakras and raising the Kundalini.
Visualize yourself systematically transmuting
records of the ancient and near past
until you have a fully cleansed temple that the Lord Christ might occupy. Yes, see yourself
encircled in pulsating ovoids of violet flame, as shown on the poster. For what you see
and internalize you shall become.
Your goal is to have the Lord Christ of you, your
Holy Christ Self, occupy your four
lower bodies. If those bodies are full of debris that has been stored in the attic of the brain
for centuries, there is no room whatsoever for the Christ to enter in.
Clean house! But in the very same hour, fill the
house with light. Sweep it clean, fill it
with light and repeat the ritual day after day."
Now, the following, are the words actually spoken by
the Master, through the Messenger. You can see, comparing one with the other, the original
words, transcribed below, only admit of four paragraphs (202 words), while the above
published text is broken into six paragraphs, with many more words added, 60 new words all
together (for a total of 262 words). But, of course, the most important fact that we notice as we
scutinize the Masters original words, is this. You can see clearly, the Master made no reference
to Michelangelo's David:
Words Actually Spoken
" At each level of being, there is the requirement for
transmutation by the violet flame.
And in some cases, the sorting out of this and that in the unconscious and the
subconscious.
This is very important, beloved. For to clear these
levels, clearing the issues of your
psychology, you then will not find that the sacred fire that rises does give a certain
permanence to the very things which you desire to cast into the violet flame.
Therefore direct the violet flame consciously to the
points of the chakras as they are
shown on your chart. Keep that chart with you, and visualize yourself systematically
transmuting records of ancient and near past until you have a fully cleansed temple and
the Lord Christ might occupy. The goal that you have in the four lower bodies is that the
Lord Christ of you, your Holy Christ Self, might occupy those four bodies. If those bodies
are full of debris stored in the attic for centuries there is no room whatsoever for the Christ
to enter in.
Clean house! But in the very same hour fill the house
with light. Sweep it clean, fill it
with light, and repeat the ritual day after day. "
As you listen to this, please follow along in the transcript
just
above to verify that indeed, it is an accurate transcript. And then listen to it again, and try to
follow along with the words in the published pearl. Let this experience be branded upon your
soul.
As you can see, the Master El Morya never
mentions anything about Michelangelo's David. But yet, those words have shown up in the
published dictation. Who put those words there?
If the Messenger herself put those words there, a
nefarious deed which would have been accomplished during the editing process, you will see,
that I am now in the position of having to call into question the Messenger's judgment. While
this is not a comfortable position to be in, this is far better than having to argue that there was
an actual corruption of the transmission pathway during the course of a live dictation. I have
been relieved of that duty, thank God. That would have been ten times more onerous a prospect.
Thankfully, here, we only need focus on the possibility, that in the conduct of her off-platform
duties, that Messenger put words into the Master's mouth, that the Master never spoke. Of
course it is clear, the Master never spoke those words. But it also clear, that the Master would
never countenance the inclusion of those words either.
If she put in those words, if she put those words in
there, she made a BIG MISTAKE.
And so, I would just bring this point up, because it is
very important. The Masters have mentioned that in the past, their Messengers have fallen
under the influence of certain errors, and they have allowed those errors to enter into the
Teaching that was distributed to the children of God, and in some cases, these errors became
stones of stumbling, and that these messengers are paying the price for this, to this very day,
for they must spend their time, even from ascended levels, working with those souls whose path
their mistakes compromised. They are working to undo those mistakes to this very day, and
while it is an unavoidable duty, it nevertheless keeps them from other areas of service that
would otherwise allow a greater level of progress to be made manifest among the peoples of the
earth.
And so, we ask, what is the expression of real love in
this situation, where it appears that the Messenger has made a truly grievous error? True love
will expose that error to the light of day, for the benefit of everyone, and do so quickly, to make
sure that no student will weave that thread of poison into their consciousness, and thereby fall
away from the homeward path as a result. But just as importantly, if we feel any endearment at
all for the person we call Mother, we will identify the mistake, and thereby, save her from
many many centuries of labor, in an area that proved to be a great stumbling stone for many,
even as it has been for one of our own.
Having said that, there is another factor, that might
tend to limit the liability of the Messenger somewhat. I will report to you, that in the process of
transcribing the audio contents of dictations, that this is a very tedious process. This is a
tedious process, even if you are not engaged in any decision processes that relate to the editing
of the material. And so, I believe that this process is given over to others, other than the
Messenger. I knew this to be true during the Camelot years, for I passed by, nearly every day,
the little house where a group of students sat at their audio tape machines, doing exactly that
transcription service.
Now, when handed a transcript that has been double
checked, and perhaps triple checked for accuracy, then the editing process begins. This is also a
tedious and time consuming process. The question is, was any of this editing work delegated to
another? If it was delegated to another, then the Messenger is somewhat off the hook. But not
totally, because even if the editing process was delegated to people she "trusted", she would
have to review their work, to make sure it was done correctly. Now, if she did not double check
their work in this situation, perhaps she is somewhat more off the hook. But not completely,
because it is her responsibility, and hers alone, to make sure that the word of the Masters goes
out to the students in the most accurate way possible. This was her primary responsibility.
And so, when it comes to saying, with certainty, that
the Messenger made a mistake in this area, we have this ambiguity, related to the fact that we
do not know exactly what her direct involvement was, in the placing of this reference to
Michelangelo's David into this dictation. Her culpability and subsequent liability in this
situation, could be pegged at one of four possible levels:
1. 100% Her Fault - She did this herself.
2. 75% Her Fault - 25% Another's - Another editor did
this, but in the review process, she focused on it, clearly saw what had been done, and she
approved it.
3. 50% Her Fault - 50% Another's - Another editor did this,
but in her review of the work, she was distracted by other things, and skipped over this, giving
the ok, without
noticing the egregious error.
4. 25% Her Fault - 75% Another's - Another editor did this,
but she did not review the work at all.
As you can see, depending on the level of direct
involvement, the Messenger will have some level of responsibility for undoing this problem,
throughout all future generations, and we can do a service for her, by limiting the extent of the
damage now. I really hope that everyone who says they love Mother, will put all of their effort
into limiting the extent of damage in this area.
And how odd it will seem to us, because of
IDOLATRY alone, that those who say they love Mother, will condemn me, or anyone, who
stands up with this information, denying our message totally, calling it all a lie, and thereby
causing this mistake to be cast into pure gold for all time, why? because they must have a pure
gold messenger, that's why, and as a result, condemn the one they purport to love, to centuries
of toil and labor, as she tries to undo the dastardly and insidious effects of this mistake that
could have been arrested by those who purport to be loyal to her.
[Use of Bracketing to Indicate
Added or Edited Material]
There was a time that the Messenger used brackets to
indicate where the words of the Master had been edited or added to. This was not a practice
that obtained from the beginning however. From a perusal of my library of published Pearls of
Wisdom, I can report to you that this bracketing practice did not show up until 1988.
From my brief review, I can report that there was no bracketing and no reference to any editing
process in the pearls from 1980 through 1987. What was the practice before that, perhaps
someone can enlighten me.
Bracketed material begins to show up in the
beginning of 1988, Volume 31. Various amounts of bracketing was used in the 1988 Volume
31 pearls, from No. 1 to No. 27 [No.'s 28, 29, were unavailable for this analysis] but there is no
explanation in the endnote section as to how we are to interpret this. The first explanation that
I found shows up in the endnote section of No. 30, as follows:
N.B. Bracketed material denotes words unspoken
yet implied by the Archangel, added by the Messenger under his direction for
clarity in the published text.
N.B. is an abbreviation for a Latin phrase, nota bene,
which means that there is something important here the reader needs to look at.
Six pearls later, in No. 36, (still 1988, Volume 31),
this endnote was revised. Brackets were added to the note in the endnote section, and
the syntax was changed:
[N.B. Bracketed material denotes
words unspoken yet implicit in the dictation, added by the Messenger
under Archangel Uriel's direction for clarity in the published
text.]
Six pearls later, in No. 42, (still 1988, Volume 31), the
wording of the endnote was changed slightly:
[N.B. Bracketed material denotes
words unspoken yet implicit in the dictation, added by the Messenger
under Archangel Uriel's direction for clarity in the written
word.]
This is the standard
explanation that has been included in the endnote section of every Pearl,
through the remainder of 1988, through 1989, 1990, 1991, 1992, and into
1993. Only the name of the Master changes to fit the particular pearl in
question.
The last Pearl, in 1993, wherein the bracketing
modality was used, was Vol. 36, No. 12. This was a dictation delivered by
Archangel Michael. Why did the bracketing stop at this point? Did this mark a
shift to a "ghost" editor? What I mean is, that Elizabeth Clare Prophet put her name on things
that were actually written by "ghost" writers. Some of her lectures fall into that category. I am
wondering whether this shift in practice, the abrupt end of the bracketing practice denotes the
adoption of a "ghost" editor.
In the very next 1993 Pearl, (Vol. 36, No. 13), there is
no bracketing used, and a new note appears in the endnote section, as follows:
[N.B. This dictation was edited
for print by the Messenger under the direction of Archangel Gabriel and
Hope.]
This note, in this form, appears in all of the
Volume 37, 1994 Pearls, and all of the Volume 38, 1995 Pearls. I am assuming that the practice
continues in this manner until the retirement of the Messenger in 1998.
Now, when it comes to the particular pearl we
are interested in here, I was hoping to see this note disappear, indicating the Messenger had
handed this duty off to someone else. Though I suppose the note could still stay there,
if she was only supervising the editing process (under the "ghost" editing scenario just
mentioned). . Nevertheless, my hope was not realized in this respect. This
note appears in the endnotes in the 1995 Pearl in question, Vol 38, No. 26 (Clean House!).
[N.B. This dictation was edited
for print by the Messenger under El Morya's
direction.]
To summarize, no editing activity was made evident
to the membership, from 1980 through 1987. Bracketed material begins
to show up in Pearls at the beginning of 1988, but without explanation.
The explanation for bracketing appears in the 31st Pearl for 1988. And the
explanation is refined from the 31st pearl through the 42nd pearl. The
editing/bracketing practice, and the explanation for it, remains constant for
the remainder of 1988, and into 1989, 1990, 1991, 1992, and into 1993. The
use of brackets to identify added material ended with the 12th pearl in
1993. From that point on, through the remainder of 1993, through 1994, and
1995, all pearls carry a note indicating that the material has been edited by
the Messenger, but without the bracketing practice, we do not know the extent of
it.
In the Pearl under consideration here, in this
particular instance, we have seen that the editing can be quite extensive.
And we have seen, that it is possible for major errors to enter into the
Teaching, through this editing practice.
I would add one more thought along these lines. The
use of brackets (in the past) represents the presence of a desire to keep clear in the minds of the
students, what the Master said, and what the Messenger added. In other words, the use of
brackets was the expression of the desire to eliminate confusion in this area. When the brackets
are not used, then there is confusion. And you can definitely see how this confusion will spread,
because now, when this is clearly seen, people will have less of a sense of trust in what they are
reading, especially in those dictations where brackets are not used. It is not good to inject any
amount of mistrust in this regard, any amount of confusion in this regard.
The Messenger abandoned this desire to maintain
clarity in this regard, in the Pearls of Wisdom, in 1993. And therefore, we can say, that an
element of confusion entered in at that point. 1993 was a pivotal year in this respect.
Some Pertinent Observations
on the Changing the Word
"Chart" to "Poster"
It is my overall impression, after studying the original
words of the Master transcribed above, that they are concise and to the point, and required no
editing at all. That's my overall opinion. Clearly, the Messenger erred, or someone erred,
when they put the words Michelangelo's David into the Master's mouth.
But, there is another interesting point to consider,
when it came to the decision to change the word "chart" to "poster." The master used the word
"chart" not once, but twice. In one instance it was changed to "poster". The other instance
was eliminated entirely. And the word "poster", which the Master never used once, was
inserted twice by the editor, once to replace chart, and once in an area where the Master was not
even talking about the chart in question.
What kind of explanation could there be for
completely eliminating a stated concept? The Master said "Keep that chart with you." That
concept was totally eliminated. It was eliminated, because it was impossible, I suppose to
"keep that poster with you." The editor had changed the word chart to poster, and because the
poster was so big, well you couldn't expect to keep that with you, so they eliminated the words
entirely! Who can defend that?
In trying to fathom what the Master was referring to
when he used the word "chart", a place to begin, would be to see how the Masters have used the
word "chart" in the past. Here are the words of the Master El Morya as spoken through his
Messenger:
"Therefore direct the violet flame consciously to the
points of the chakras as they are shown on your chart. Keep that chart with you, and visualize
yourself systematically transmuting records of ancient and near past until you have a fully
cleansed temple and the Lord Christ might occupy."
Searching Pearls On-Line using the keywords "chart
OR charts OR charted OR charting" returned 275 documents. After surveying each of these
documents, we find that the Masters have used the word "chart" or its derivative, in seven
primary ways, and these are listed in the chart/table below according to the frequency of usage.
Search of Pearls On-Line using the keywords
"chart OR charts OR charted OR charting"
returned 275 documents.
|
|
1. References to the central chart on our altars, Chart of the Divine Self, Chart of the
Real Self, Chart of the Presence |
88 |
|
2. Cosmic Clock, to chart, charting and charted |
63 |
|
3. To chart a course, in life, destiny etc |
39 |
|
4. Astrological charts, charting by |
22 |
5. Information, presented in text form, organized and presented in tabular, row and
column format (like this chart).
a. chart of ascended master retreats, univ. of spirit - 7
b. chart for tasks victoriously accomplished - 1
c. chart depicting vigil times and participants - 2
d. charting of a chronology of victories - 3
e. cycle chart for ten year dispensation - 1
f. 40-day cycles of the causal body of Lanello charted - 1
g. charting of virtues, Benjamin Franklin - 1
h. chart of five Dhyani Buddhas, attributes - 1
i. Twelve Gifts of the Holy Spirit:
Initiations under the Twelve
Hierarchies of the Sun - 1
|
18 |
|
6. navigational chart, map
|
10 |
|
7. Charts in the sense of a black and white pictorial diagrams - (1979 Sanat Kumara
Pearls, Vol. 22 No. 25, 41, 44, 45, Vol. 42 No. 1) |
5 |
|
8. Chart of the keeper of the scrolls - "But, beloved, there is a timetable in your chart,
and I speak of the chart of the Keeper of the Scrolls." El Morya |
1 |
|
9. Sunspot cycles |
1 |
|
10. Cosmic Astrology |
1 |
|
Note: There is one caveat to these figures. No distinction was made to as to whether the
reference was in the body of the pearl, or in the endnotes, or if in the pearls, whether the word
showed up in bracketed material. I would estimate that 90% of all references were in the body
of the pearl, and not in bracketed material.
|
Given the fact that the most common use of the word
"chart" in Ascended Master lexicon, is used in conjunction with the Chart of the Presence, I
believe it is reasonable to assume that the Master's reference to a "chart" in the pearl excerpt
under consideration here, is a reference to something similar.
What are the key characteristics of the Chart of the
Presence? Everything in that chart is symbolic. This would rule out the Naked Chakra Man,
because what is depicted there is not symbolic. Michelangelo's David is a real statue. And it is
a statue of a real person in history.
Moreover, the Chart of the Presence had long been
reduced to the size of a wallet card, so it was very easy to keep this chart with you. So, in this
sense, he could also be referring to something that had already been reduced to the size of a
wallet card.
Now, I think that when we look into this issue in
depth, we will see that by the time that this dictation was delivered in 1995, that someone has
already decided to bring forth the Naked Chakra Man, using Michelangelo's David, and that the
Master El Morya chose his words in such a way as to provide an indicator for the Messenger,
that this particular miscreation was not what the Master was referring to. Because of the
realism in Michelangelo's David, this did not fit into the meaning of the word chart as the
Master used it.
And moreover, it might be, that at that point, the
Naked Chakra Man miscreation, had not yet been reduced to a wallet size. And because of this,
his reference to keeping the chart with you all the time, might have been intended to be another
indicator to the Messenger, that the Naked Chakra Man was not what the Master was referring
to, in as much as the Naked Chakra Man, because it was only in poster form at that time, could
not be kept with the student at all times. Certainly, the plausibility of this theory is supported
by the fact that this phrase was removed entirely. Why was it removed entirely? Because you
cannot keep a poster with you at all times. And this then would tend to validate the idea that
the Naked Chakra Man poster had not been reduced to a wallet size at that time.
What might it have been, at that time, that would fit the
definition of a chart, as the Master used it, referring to something completely symbolic, and at
the same time, something that the students could keep with them at all times, having been
reduced to a wallet card by that time?
The image to our right is a good candidate for this.
This is a graphic that was included in the Master Djwal Kul's book, Intermediate Studies of
the Human Aura, published in 1976. Since this image had been around so long, there is a
good possibility that it had been reduced into a wallet card by the time that the Master gave his
dictation in 1995, which is about 19 years after this image was produced in this book. It fits
exactly the definition and meaning of the word chart. Everything in this image is symbolic. I
found the same image in a Summit Lighthouse Christmas mailing for 1991. Reduced to a small
thumbnail size, indicating that the image was still alive.
There is a good reason for keeping things symbolic
when it comes to things like this. The student should not be confused into believing that the
idea is to visualize something for the sake of visual accuracy. All light is associated with
purpose, and all purpose associated with divine qualities. It is the qualities that we must learn
to assimilate. When you can anchor a particular divine quality, that means that your chakras
are working properly.
I also believe that the running chakra man was not a
proper focus for the students attention either, because the running man was not a symbol, but a
real person. And given the laws of energy flow, when people focus on that graphic, they are
sending energy to that particular person. I suppose that could be a good thing, for the person in
the poster, but it could also be a bad thing, depending on who is sending the energy. From the
standpoint of the viewer, it could also be a bad thing, if that person later falls away from the
path, and becomes an electrode for rebellion. For example, if the person depicted had been
Sean Prophet, you would not want to focus your attention on that poster.
Altogether, the symbolic representation is the best for
this purpose. I believe when the chart is symbolic, the target for all energy flow is on the inside
of the mind, within the domain of one's own being. And that it is where it should be in this
case.
General References
to Michelangelo in
the Pearls of Wisdom
The artist, Michelangelo, has been mentioned by the
Masters, in three key instances. The first time, in 1963, by Archangel Gabriel. The second
time in 1975 by Beloved Sanat Kumara and Lady Master Venus. And the third time, in 1990,
by the Master Jesus Christ. These references clearly indicate that Michelangelo was an artist
sponsored by the Brotherhood.
And I believe this fact, should lay to rest, the assertion
of the homosexual community that Michelangelo was a homosexual himself. As we are
taught, the practice of homosexuality is a practice that takes the pure light of the heart, and
decelerates it, causing it to fall down the spine in vibration, and into the lower chakras, which
would prohibit the rising of the light, in any amount of purity, into the upper chakras, where it
must be if the soul is to contact the genius of the Christ Mind.
Of course it is true, that no soul in a fallen state can
contact the Christ Mind, without the assistance of a sponsoring Master. And because
Michelangelo was clearly able to draw into manifestation so much of the beauty of God's
creation, he had to be sponsored.
But the question is, could he have been both
sponsored, and a homosexual at the same time? I think not.
The first reason, is that the Masters sponsor for a
purpose. The purpose is to advance the Will of God. What is the Will of God when it comes
to the homosexual community? Clearly, the Will of God is for them to come away from the
behavior pattern, to stop misqualifying the lifeforce in that manner. When the Masters deal
with homosexuals, it is to do what they can to set them free. And so, are they going to
contribute to the acceptance of the homosexual lifetstyle among the populations of the earth, by
giving people the impression that a homosexual can have their homosexuality, and the greatest
gifts of God at the same time? No. If Michelangelo had any kind of a homosexual momentum
going into that lifetime, he would not have been a candidate for sponsorship.
Clearly, direct sponsorship of a homosexual, in terms
of lavishing upon them great gifts of divine artistry, would have only served to confuse the
homosexual himself, when it comes to the consequences of his chosen lifestyle. And confuse
the world in the bargain. The Masters are not about confusing anyone.
Secondly, the practice of homosexuality would have
caused such a downward flow of energy, and represents such a state of rebellion against the law
of God, that the Masters would not have been able to compensate for it. I say this because the
homosexual sense of identity is a constant downward flow of energy. To compensate for it, the
Master would have had to extend a constant upward flow of energy into his chakras, and if the
Master did that, Michelangelo would not have been a homosexual at all. The Masters are not
allowed to overide the freewill of those whom they sponsor.
Another factor that we should consider in this respect,
is that at the "heart" of homosexuality, is a virulent hatred of woman. In other words, it is a
way of life, and the sustaining of a forcefield of energy that defies coming under the influence
of feminine beauty. It is God's Will that man come under the influence of feminine beauty.
And homosexuals defy that Will. And so, we see in Michelangelo's art, that he was able to
capture feminine beauty in many respects, and this fact alone would argue decisively, in my
mind, that this individual could not possbily have been a homosexual.
As you can see from the last example of "art" given to
us by Sean Prophet below (cover page for Spring Media Group), who has entered into at least a
deep sympathy for the homosexual lifestyle, that the soul has lost any and all sense of divine
beauty.
Michelangelo was not perfect in his humble
messengership, as we have seen. But he was a divine messenger, within the realm of art, and
the Masters clearly indicate that his work, generally speaking, is a fit for the attention of
Ascended Master students. This is the basic message set forth in the following three pearls.
Archangel Gabriel
THE RADIANT WORD
Excerpt from a dictation given
in Los Angeles, September 10, 1963
Vol. 24 No. 79, November 1, 1981
"And as the tomb of materiality, which stands before the face of each of you as your own
human creation and density, is rolled away and you see within that tomb the resurrected Christ
of your own Holy Christ Self standing above you in the ethers, radiant with all the splendor of
his glory, shining [with] the perfection of you, you will recognize that the face that you see in
the mirror is not the real you at all and that the flesh that you wear can yield to the power of
your Holy Christ Self as a piece of marble yielded to the hands of a Michelangelo."
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In regards to this statement, the original audio is not
available for us to listen to, so we will have to assume that the reference to Michelangelo is
genuine, and not added in any editing process. I believe this reference is too integral to the
concept being communicated, for there to be any question as to whether this reference was
made by the Master or not.
And so, who can deny the obvious inference here, that
the Archangel is bearing witness to the fact that the hands of Michelangelo were animated by
the Christ?
But let not any degree of idolatry take hold of the
mind in regards to this artist. Michelangelo's understanding of those spiritual principles, which
are only being released in this day and age, which would have helped him to maintain these
high standards in everything he did, was not with him, and therefore, he was susceptible to
influences that tempted him to misuse the great talents vouchsafed to him by the Brotherhood.
Nevertheless, here we see a reference to Michelangelo
that would have had the effect upon the young Elizabeth Clare Prophet, of encouraging her pre-
existing practice of looking upon Michelangelo's Statue of David in association with her first
son, Sean.
Beloved Sanat Kumara
and Lady Master Venus
New Year's Class 1975
New Beginnings in the
Flame of the Holy Spirit
Vol. 42 No. 28 -- July 11, 1999
"In one generation, or perhaps two, you can see how souls welcomed in the holiness of the Holy
Spirit can outpicture the very countenance of the living God. Therefore, mothers to be, fathers
to be, contemplate the works of Michelangelo, the form of the body, the noble body of the Lord
and ask the Almighty to impress upon that incoming form those matrices serene, statuesque."
[This dictation by Sanat Kumara was delivered by the Messenger of the Great
White Brotherhood, Elizabeth Clare Prophet, on December 29, 1974, at the four-day New
Year's Class, New Beginnings in the Flame of the Holy Spirit, held in Anaheim, California.]
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I checked the original audio for this dictation, and I can
report to the reader, that the words printed in this Pearl are identical to the words spoken by the
Master. There is no question, therefore, that in this instance, the Master referred directly to the
artist Michelangelo.
Here we see another reference to Michelangelo that
would have had the effect upon the young Elizabeth Clare Prophet, of encouraging her pre-
existing practice of looking upon Michelangelo's Statue of David in association with her first
son, Sean.
However, I believe the Master included a reference in
this dictation, given 11 years after the previous dictation, that should have helped the
Messenger to recognize the extent of her misconception in this area. In this statement, the
Master referred to "the noble body of the Lord ". I believe that this is rightly interpreted to
refer to Michelangelo's depiction of the Master Jesus Christ. And that this does not apply to
"David". It is true, that the Biblical David was an embodiment of the soul, who later become
the Lord and Savior Jesus Christ. But, at the time that soul was embodied as David, that soul
was not "Lord". He was David, who was to bloody his hands in many gruesome ways,
and to commit outright murder, and make much karma in the process, if you will remember the
story. And so, when the Masters says "the noble body of the Lord " he is not referring to the
Statue of David.
Remember that the Master El Morya counsels us to be
precise. I believe this distinction comports with the spirit of precision that he advocates.
I would also point out here, that we have an
opportunity to study an interesting threefold nexus of messengers, sponsored messengers to be
sure, but flawed messengers without a doubt: 1) the Biblical David, 2) the artist Michelangelo,
and 3) the Messenger Elizabeth Clare Prophet, they all come together on this one point. David
was known as a Servant of God, and a loyal one at that. But did that stop him from committing
murder when he found woman that he fancied? No. Michelangelo was clearly sponsored by
the Brotherhood, but did that stop him from breaking the laws of modesty in many of his
works, which has clearly proven a stumbling block for the world's homosexual community for
500 years? No. Elizabeth Clare Prophet has brought forth a teaching that will serve as the
foundation for the Aquarian Age. But did that high and holy relationship with the Brotherhood
that allowed her to be so successful in this regard, stop her from becoming fixated on a point of
rebellion that has proven a stumbling block for everyone in this community? No.
Beloved Jesus Christ
Become Agents of the Cosmic Christ!
I, Jesus, Have Called You
The Perfecting of the Soul as My Apostle
The Lord's Christmas Day Address 1990
Vol. 33 No. 49 -- December 16, 1990
"Therefore know the path of the Bodhisattva. Know the sweetness and the compassion, the
peace, the fierceness, the strength, the virya! Know the wisdom. Know the ability to rule the
city because you rule yourself. Know the geometry of God and expand [your soul-awareness]
into it as a Michelangelo. Understand that you can know many things beyond what happens to
be in your outer [conscious] mind. Yes, you can contact the level of genius. And if you do not
have [that level of genius developed in your four lower bodies], then let the violet flame
consume all records of anger and hatred and fear [that prevent its development]! For these
[vibrations], beloved, do surely consume the fineness [and the refinement] of the Mind of God
within you that piercing quality, that manifestation [of needlelike rays] that is able to probe a
cosmos and bring back discovery and new dimensions of thought."
[This dictation by Jesus Christ was delivered by the Messenger of the Great White
Brotherhood Elizabeth Clare Prophet on Christmas Day, December 25, 1990, at the Royal Teton
Ranch, Park County, Montana.]
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In regards to the question of whether the Master actually
used the name of Michelangelo in this instance, I can report to you that the original audio for
this dictation indicates the Master Jesus did indeed speak the name of Michelangelo.
Moreover, in regards to this excerpt, I can report to the
reader that everything that is printed as the words of the Master, are the words of the Master,
and every word that was added, which is in brackets, was not spoken by the Master. And I
must say, from my own perspective, that what the Master spoke, was clear, concise, and very
straightforward. I don't see any need for the added words.
In regards to the reference to the name of
Michelangelo, we are given the testimony here, that the awareness of Michelangelo's soul was
able to expand into the domain of divine beauty, and to draw that beauty down into this world,
and express it in his art work. Given the other principles set forth here, we can assume that
Michelangelo was not encumbered by the energies of fear, anger and hatred, which are always
present in homosexual men, as I noted above. This provides additional verification that
Michelangelo himself, was not a homosexual.
But more to the point at hand, this provides additional
validation for the idea that Michelangelo was sponsored by the Brotherhood, and that his
artwork in general is a useful focal point for the meditation of Ascended Master students. This
cannot be doubted. But, just as Mark Prophet said of the teachings of the Masters of the far
east, that not all that glitters is gold, we must use our discrimination to identify those areas
where Michelangelo expressed the darkness of the not-self, yes, even in the midst of the
process of producing works of art. In Michelangelo's David, we clearly have an example of
one instance where the artistic master has departed from the reservation of divine purpose.
I would just like to say, in more general terms, that
this dictation by the Master Jesus Christ, is absolutely worth listening to. I say this for two
reasons primarily.
First, during the whole time I was listening to this, I
was clearly aware, that the false messengers the Shearers, the Michaels, etc, could never deliver
anything like this. These words are spoken from a perspective miles and miles above the status
quo human consciousness of the multitudes, and there is resident in these words, a great magnet
of love, of hope, and admonishment, that draws the soul up, if the soul would only let go of its
chains. And of course, this Master is able to enlist us all in his great hope, in other words, to
enlist us in the fulfillment of that great hope, that all the children of God on this planet can be
swept up in the arms of God to live again, and forever withing the pure paradise regions of the
heavenly estate, not in some future time, but now. The false messengers cannot speak from this
perspective. This dictation is a useful standard which you can use to evaluate the teachings of
any other so-called messenger. Holding them side by side, what is true gold is evident enough.
This dictation is pure gold.
Secondly, this dictation sets forth a very profound
teaching on the mechanization consciousness, that so many in our own leadership are
exhibiting right before our very eyes. I will write more about this later.
Yet Another
Threefold Nexus
Michelangelo's David
Elizabeth Clare Prophet
Sean
Christopher Prophet
I believe we have here, an indication of a flaw in the
perception of the messenger, that has gone back to the very birth year of Sean Christopher
Prophet. I believe this was in 1963.
In the book, "Nurturing Your Baby's Soul, A
Spiritual Guide for Expectant Parents", by Elizabeth Clare Prophet, compiled and Edited
by Nancy Hearn and Dr. Joye Bennett , we find two references to Michelangelo.
From page 160:
"The unborn baby is profoundly sensitive and can perceive the
beauty, virtue and joy that the mother sees and feels as she meditates upon beautiful works of
art by masters such as Michelangelo. Leonardo da Vici and Nicholas Roerich."
From page 156:
"Before my oldest son was born I meditated on a replica of
Michelangelo's statue of David. My son now has a similar build."
The first general reference to the art of Michelangelo
comports with what the Masters have said. But the second statement, is where the Messenger
has stepped off the reservation, and by so doing, has placed a stumbling block in front of many
many souls, not the least of which appears to be her own son.
The homosexual icon status of Michelangelo's David
was the same in the 1960's, as it is today, even though homosexuals were largely underground
at that time. We have witness, in one of the examples above, that even in the 1950's, the
presence of the statue of Michelangelo's David, was a signal for those entering a home, that
homosexuality was practiced there, and the statue was meant to be a come-on in this regard.
I would again point out what I believe to be the
absolute truth in this regard. God our Father has set before us the law of modesty, and for good
reason, and this creation of Michelangelo breaks that law. Those who gaze upon this statue for
any length of time, are having the psychology of their soul twisted into the domain of
disobedience. And along that wavelength of disobedience, the astral energies associated with
the rebellion of the homosexual community flow.
Now, I know there are many who will say that we
should be able to look at the private parts of another, and not be moved one way or the other.
But this is an idealism that emanates right out of the play book of the false hierarchy. It
consciously ignores the truth (for the purpose of further ensnaring of souls), that what we are
dealing with here, are fallen souls, whose whole life expression have already come under the
decelerating influences of mortality. In other words, the great majority of the population do
not know how to focus their attention for the rising of the light within their chakras. They are
universally, enslaved by many varieties of downward momentums. The only exception is in the
area of sexual relations between man and wife. Here, for the time that the energies are flowing,
the soul experiences a certain domain of paradise. For fallen man, sex is the closest thing to
paradise they know. And it is really the closest contact with God they know. And so, they
remember these experiences, more than they remember anything else. And when you place a
depiction of the private parts of the human anatomy before the eyes of any human being, they
will deal with that visual information out of their own sexual experience. This simply cannot
be escaped. Now, it is unlawful to invoke that area of experience outside the bonds of holy
matrimony. That is the law. And that is why private parts are called private parts. It is true
that this law has been totally shredded in this culture, and perhaps the shredding is not yet
complete. But the law remains the law in the law books of heaven, and for good reason. Those
who are wise, will always dress modestly. And they will encourage modesty in others. As
noted, Michelangelo broke the laws of modesy in his Statue of David.
Perhaps this was part of Sean's karma, that he had
focused upon him at this stage in his development, directed into his four lower bodies by his
mother's meditation, the most intense rebellion that the planet knows about, which is harbored
by the homosexual community.
How did his mother miss this vibration? First of all,
Elizabeth Clare Prophet was not a messenger at that time. She had been called to be a
messenger, and had only begun her training. And so, perfection in discrimination could not
possibly be expected of her at that point in her life.
Stipulating to this truth, we still need an answer to this
question. How did his mother miss this vibration? What accounts for this blindness?
What accounts for this blindness is pride. And
what is the most intense and seamless pride manifest anywhere? It is the pride of the human
mother. The mother looks at the child, and sees the beauty of the child as an ex |
