"The mind is the book's significance. Do not permit others to think of the Actor as one playing a role, but rather one who performs acts." You are the lion, the potential new age leader, and the Actor uses you as a doormat. You don't know it because you sleep, under the heel of the Actor. You are the Doer, too young and innocent (in the lifetime of a people) to believe anyone could wish you ill, or lie to you. of all the books in the revelation of the Nameless One, this is the one met with the most disbelief, a response programmed by the Actor himself. This is a book about power, about who has it, and how it works. This is the new form of the Emperor card. The power of the Actor is no longer the crude power of violence; it is the power to brainwash, and we are all brainwashed. The Actor has ringed his position with land mines, planted deep in the psyche of each of us, by standard methods of association. They are triggered by certain key words, and we shall accuse ourselves, or accuse those who provide the trigger. Yet we are innocent. I am innocent and you are innocent, yet we shall be accused. We shall accuse ourselves. Perhaps it is a price we must pay, if we are to awaken to our true destiny. Awake, 0 lion, and enter the Royal Maze. Hold up the seven ways as a target for mankind and find the crown of world unity at the center. For if you do not, no one will. If you sleep, the Feeler welcomes us to a dark age. The Emperor in the old tarot carried his power to Act in his hands. It was essentially the power to bash in heads or lop them off. Power has become more subtle in 2000 years. Now power lies in the ability to control images and publicity. Power is fame. Fame is power. That is why the Actor struts on a stage, before footlights. The power to Act out ones own will and ambition on a public or historical scale depends on the power to gain attention and hold it. Real power lies in the hands of the relatively small numbers of people who control the machinery of fame, i.e., publishers, producers, editors, media moguls, and the inner circle around them. Not only are their numbers small, but they come from a single class, and from two peoples, and not the Doer. The purposes of the Actor are dark, though he puts a white face over them. That is perhaps the hardest thing for the naive young Doer to accept, that things are not what they seem, that we are being lied to, manipulated, and used. That what we see on TV and read in bestsellers and see on the news is highly selected and not for quality, and represents a point of view, that of a ruling class we did not even know existed. The power of this ruling class depends on illusion. That is why most of the objects in this book cast no shadows. The throne is real, but we have not enthroned the Actor. The Actor himself is certainly real. The stars are real. They cast shadows. These represent the talent the Actor uses, abuses and discards. It comes from us, the people, and is cruelly exploited in Hollywood and New York. But all else is illusion, and it will be difficult to break its spell. We are under the illusion that we are a kooky minority, an illusion carefully fostered by the Actor. Yet polls show we are the vast majority. But collectively new age people count for nothing, as we each individually think we are alone. We have been taught that politicians have the power, yet it is merely an obedient dog we have enthroned, obedient to the currents of public opinion and emotion. We believe that talent will be recognized and made a star. This is the Horatio Alger myth, and is the cruelest illusion of all. It is an illusion that keeps us silent, and isolated, with no image of our collective self. The Actor has even managed to convince us that we wanted to become a world power. We were tricked into all our wars. We were manipulated, as were the 'enemy'. The handmaidens to the illusionist tricks of the Actor are the bluebirds, those semi-tame, seeming independent writers, teachers, and journalists. The symbolism derives from the fact that bluebirds seem independent, but can only survive with bluebird trails and other help. Likewise, any professional writer or teacher only presents what the dominant elite will allow. The Actor is not a symbol of evil, as is the Thinker. In some ways, the Actor is a genuine advance over the Emperor. Isn't it better to be coerced mentally than physically? This way, anyone who can penetrate the illusion is free of it, which is why the discarded crown of the Actor only has 6 stars on it. Six victories, over six ways. But no victory over the seventh. We are free of it, since of necessity all who take the Solar path must awaken the lion within, and leave the sinister power of the Actor behind. The Actor does not wear the crown, because he assumes no responsibility for his power, and may not even know he has it. He does not sit on the throne, because we, the people, have not enthroned him. "The hands you are in are your very own. A further step is needed. It requires that which has never been done before by an Actor: reverse pattern. Willingness to continue game-not-game is a vital requirement of the players. There will be a winning team and no losers." These words are an open invitation to the dominant elite to join us and not oppose us. But even if they do oppose us, as I expect, there will be 'a winning team and no losers.' I do not teach hate. I teach opposition, a little friendly competition. It will be beneficial to the yellow-forked-beard-people. and to the twelve-stones-people as to us. We have so far given them no competition, no challenge, and thus no development. Who is the Actor? At present he wears the personal ornament of the twelve-stone people and of the yellow-forked-beard people. Our opposition would be exactly the same if it were some different peoples. European civilization was created about 1000 years ago by the yellow-forked-beard people, who lived in the north of Europe. You can still see them in the manuscript illuminations and the Romanesque stone carvings from about 1000 years ago. And they did have long blond beards, divided and swept back in two streams. They had earlier been called Vikings. In Eastern Europe, they were called Rus, and they founded Russia. Sometimes they were called Danes, and the Danelaw once stretched over England and Scandinavia. First Normandy and then all of France, England and parts of Italy became Vikingized. They not only formed Europe's new ruling class, but also its first middle class, since Vikings were just as apt to be traders as warriors. They recast Christianity in their own image, taking the Christian concept of the realm of the imperishable within, and making it Hel and Valhalla. They were a restless people for whom the Viking ship is a fitting symbol. It still is, for Western civilization. It was their restless energy that built the vaulting cathedrals, that launched the crusades, that began to reach out beyond the peninsula of Europe to the entire globe, destroying all in its path like some berserker. In America, emigrants, refugees, natives and slaves came together, melted down their ancient cultures, and became the new American people, the Doer. But some did not. The richer colonists from the upper middle classes of England were mostly Puritans, and they did not have to become backwoodsmen. The Puritans are a 17th century form of the yellow-forked-beard people, devoted to hard work and profit, and were obsessed with 'sin'. They were able to buy their way out of the civil war, and they never went west, not in the pioneer days. Their modern day version has been called "the Episcopacy" by Newsweek in its discussion of the Overclass. The twelve-stone people call them WASP's, a term that originally had a much narrower application than it does now. Most of my WASP classmates at Oberlln were 5th and 6th generation Oberlinians, and their children are now returning to Oberlin. Their families had always lived in Summit, Scarsdale, Grosse Pointe, Santa Barbara and similar places, had always been in the professions or in the upper executive ranks of the corporations and bureaucracies. They really do not believe in the possibility of ESP or reincarnation. They combine the same kind of scientific naturalism and old testament supernaturalism that you find in Isaac Newton. Winning is everything to them. They are tremendously self-disciplined, and thoroughly embued with the Puritan ethic that pain and suffering and self-denial is good and pleasure is bad. Essentially, they are Europeans who remained Europeans, unaffected by the American experience. Many of my classmates went to live in Europe after graduation. The twelve-stones are the 12 tribes of "isra-el", an ancient word in the middle east. "El" means "god," thus "isra-el" is the god "isra," "Micha-el" is the god "Micha" and so forth. It has been found in the excavations at Ebla, 6000 years old. The twelve-stone people invaded all of the middle east, becoming Babylonians, Assyrians, Bedouin, and Phoenicians. As Hyksos, they ruled Egypt until Ah-Moses threw them out, after which as Habiru they re-took the land of the Philistines during the reign of Akhnaten (the monotheistic pharoah), and preserved Egyptian monotheism after it had been destroyed at home. Two thousand years later, the twelve-stone people again conquered the middle east, in the name of the religion of submission ("Islam" means submission). Today, one branch of the twelve-stone peoples control the oil, and another branch dominates New York and Hollywood. If this is a myth, it is one the 12-stones promulgate, for they are my only sources of information on this dominance. You don't suppose it just happened that a three percent minority comprises half the Oberlin student body, a third of college professors and all Hollywood producers? Perhaps you think this could result from free competition? No, it is the law of the wolf, "like" helping "like" to fleece us. No one can complain about this, for they are then accused of racism, of being anti the 12-stone people. That is nonsense, but it is the conditioned stimulus for a conditioned response which prevents any discussion of 12-stone dominance. Still, it is well to remember that we are only opposed to being lulled to sleep and used as a doormat. Neither the Actor nor the peoples whose ornaments he wears are intrinsically enemies. The present effects of the Actor is that we are slaves in our own country. Things are out of our control. Nothing that is fed to us through the schools or media reflects our beliefs or values or creativity. There is a 'Roman' decadence about popular culture because it is the product of old minds, as the decadent Romans were old minds. Mass emotions are manipulated not by lies or propaganda, but by selective presentation of images, of which countless examples could be given. This kind of power is new to us and baffling, since it involves no physical force. Thus, we sleep, and our destiny is decided for us. |
The Actor is dark in color, with a yellow forked heard. He stands on a stage, with a footlight directly before him, holding a white mask over his face, with his right hand. In his left hand is a globe or orb. On his chest is a pendant of four rows of three stones, all different colors. His left foot rests on a sleeping lion. Behind him to his left is his throne, occupied by a well-bred upright dog. A six-pointed crown is on the left arm of the throne. Each point has a cross with a red stone in the center. One bluebird with spread wings carries a royal cloth with gold borders. Another bluebird with folded wings carries the Actor's staff. Instead of scenery or ground, there are small five-pointed stars from side to side. Shadows are cast back into endlessness by the Actor, the stars, and the throne, but not by the birds or carried objects.