In Even Jove G’nows, we discussed the allegorical meaning of the movie Jupiter Ascending as revealing the true and dark nature of our hidden, or occulted, human leadership. However, considering the astronomical aspects of the film, my attention was brought back to the fate of the Twin Towers of the World Trade Center on Tuesday, September 11, 2001. Of course, that day has been a transforming historical event for not only America, but much of the world. This topic is also highly germane here because, after all, the tagline for Postflaviana.org is “Beyond the New World Order”. Perhaps it was one of those kismet moments where several things I had known separately were suddenly brought together, a fusion of sorts.
The events that happened that fateful day marked the end of the old order trumpeted in by Virgil’s 4th Eclogue, formalized textually by the Flavian gospel graft (sardonically revealed in Romans 11), and cemented by the serial murderer Constantine I. In this seminal event I have discovered certain rather impressive occult astronomical signs, or rather signatures of human authorship, if you will.
The astrological symbology I have discovered, is to some degree reflected in the plot details of the Wachowski film, as we shall see below. How did this happen? By coincidence, or design? I am not embarking on a statistical study here, but merely revealing what I have seen by star-gazing into a readily available computer simulation of the sky on the day the towers fell. One can find discussions some of the astronomic and astrological alignments on the day of September 11, 2001, and about the twin towers relationship to Castor and Pollux, but I’ve yet to find any mention of these latter relationships, at least, to the previous initiation of the previous New World Order.
Central to Greek mythology and Classical Greco-Roman culture are the two sons of Zeus (aka Jupiter, Jove or Yahweh), that is Castor and Pollux, who die and take their place in the heavens as the Gemini Twins that we more commonly know today from the still ubiquitous practice of Zodiacal Astrology. The twins, also known as the Dioscuri or Castores, were especially revered by the Spartans of whom they were the brothers of the famous Helen, who’s face it is claimed ‘launched a thousand ships’ in the course of setting off the epic Trojan War following her abduction.
Female abduction and rape, it seems, was a central ‘heroic’ theme in those times as even our deified Gemini twins were lusty participants in such activities, acting against the marital love interests of even their own twin cousins, in fact. It is our opinion that this ‘heroic’ theme is carried through to the Roman story of The Rape of the Sabine Women, as a modus vivendi and perhaps reflective of ‘traditional’ Western attitudes towards women.
There are several variants of the Castor and Pollux story, and as pertains to our focus, the twins and their cousins were once fellow shipmates on Jason’s Argo, where they went in pursuit of the Golden Fleece and engaged in other ‘heroic’ (manly) pursuits such as cattle rustling. At some point after their Argonaut days, Castor and Pollux come across the penned cattle previously stolen by their cousins and make plans for a Five Fingered Discount. But before they can actualize their plans, their twins while returning to their stolen cattle come across Castor and Pollux and realize what is up. In their first skirmish, Castor is mortally wounded and thus Pollux, who has a divine mother unlike Castor’s, cries out to Father Zeus and asks Zeus to let him die along with Castor. Zeus consents, and thus after their cousins finish them off they ascend to heaven and assume their immortal role as the constellation Gemini.
Henceforth the divine twins become the favored gods of the Greeks and then the later Romans. The Spartans carried a dual upright cross, the dokana, before them as a battle standard just as later Christians would with the Cross of Christ Caesar. The twins became the patron protective gods of sailors, and found their way onto the later Roman Mithraic cosmological central iconography of the Tauroctony.
The Exodus emerges as a covert operation, and an act of synthetic culture creation. The voice of God (through Moses) is saying that he wants the Israelites, the slaves of Pharaoh, to go into a new land and conquer it. But really, it is Pharaoh who is directing the Israelites, as his front line troops, to go and conquer the land of the Canaanites.