The Prophecies of the War Scroll (1QM)

The Scroll of the War of the Sons of Light (1QM), one of the first of the Dead Sea Scrolls discovered in 1947, not only describes the Three Phases of the War of the Sons of Light; but, also, contains specific Prophecies of the Victory of the Sons of Light over the company of the Sons of Darkness in the space-time reality.

[And, for a representation of the “Victory” of the Sons of Light in dance, I suggest you watch the following video by Michael (synchronicity) Flatley (synchronicity):

www.youtube.com... ;

The annihilation of the Light of Truth by the Sons of Darkness being represented at time segment: 0:00—0:22;

The Vision of the “Son of man” being represented at time segment:0:23—0:24;

The time–reversal to the revelation of the memories of previous lives being represented at time segment: 0:29—0:30; and the time-reversal to the Revelation of the Memory of Creation being represented at time segment: 0:30—0:33 (the Revelation of the “resurrection” is a Feminine Revelation which occurs at the Fourth Church of the Revelation of John, or the fourth chakra of kundalini; thus, the four women joining hands and spinning in a counter-clockwise circle; and the four lines of dancers turning simultaneously in a clock-wise and counter-clockwise direction).

The formation of the dancers then assumes the form of the ascending triangle of the Star of David, signifying the search for Truth, at time segment: 0:37—1:12.

And, with the arrival of Michael Flatley, signifying the messenger of Truth, the formation of dancers then assumes the form of the descending triangle of the Star of David, signifying the Revelation of Truth at time segment: 1:22—1:59; the final position of the dancers being the position of people who have been crucified.]

And, while probably as much as 90-95% of the War Scroll gives every indication of having been composed by a simple-minded, Sadduceean, racist, and xenophobic faction of the Dead Sea Scrolls community—R. Ovadiah Yosef of the Shas political party in the Israel would be a close parallel today—Columns I and XVII of the War Scroll, in particular, convey both a phonetic tone and a content which is utterly inimical to the Sadduceean perspective altogether.

More specifically, the Sadduceean members of the Dead Sea Scrolls community would have had no Knowledge (or appreciation) at all of the Three Phases of the War of the Sons of Light—consisting of, respectively, the Revelation of the Law, the Revelation of the “resurrection”, and the Vision of the “Son of man’—nor would they have had any serious appreciation for what are, obviously, echoes of the Revelations from Chapter 12 of the Book of Daniel (later echoed, as well, in Sura 2:98 of the Quran).

In other words, the current copy of the War Scroll appears to be a composite document; consisting of an original Sadduceean document, to which Columns I and XVII—and other minor additions with regards to, especially, numbers and trumpets (for reasons of the Revelations themselves)—have subsequently been added by someone who had received both the Revelation of the “resurrection” and the Vision of the “Son of man”.

And, while there is a quite significant danger that the xenophobic interpretation of the War Scroll—in other words, the perspective which defines Jews (or Israelis?) as the “Sons of Light” and Gentiles as the “Sons of Darkness”; or, perhaps, “donkeys”, as R. Ovadiah Yosef would have it—would, likely, be the most widely accepted among the ‘Messianic’-Orthodox Jewish settlers of the Israel; the Truth of the matter is that the War of the Sons of Light against the company of the Sons of Darkness occurs first at the level of consciousness itself—that is, between the consciousness Created ‘by and in the image of God’ (Genesis 1:27) and the ‘fallen’ consciousness of the “self” and thinker’—and by means of a conflict at the level of phonetic tones; phonetic tones which exist prior to the thoughts of either the “self” or the ‘thinker’; remnants of the characteristics of that conflict being manifested in the conflict between phonetic tones and meanings in the English language. (Take, for example, the conflict between the Long U phonetic tone and the short u phonetic tone expressed by the words “Truth” and “lust”; and the conflict between the Long O phonetic tone and the short o phonetic tone expressed by the words “cold” and “hot”—see Chapter 3:15 of the Revelation of John.)

[And, to hear a representation of what those phonetic tones sound like—as Revealed through both the Vision of the “Son of man”, Revealed by the Revelation of the “resurrection”, and by means of the 2-dimensional ‘flat’ space consciousness—I suggest that you listen (and also watch) very carefully to, especially, time segment 0:00—1:28 (sometimes referred to in the mystical literature as the ‘singing of the angels’) of:

www.youtube.com... ]

Now, in Chapter 7:7 of the Book of Daniel, these 10 principal phonetic tones—in random sequence, the Long and short phonetic tones of the letters a, e, i, o and u—are symbolized by the “ten horns” (the ‘three horns that were pulled out’ of vs. 8 signifying the retaliation of the Sons of Darkness during the Three Phases of the War of the Sons of Light); the geometry of the Ten Sephirot of the “Tree of Life”; a very serious misrepresentation of which can be found at:

www.bota.org...

signifying the temporal progression and distribution of those phonetic tones across the Seven Churches of the Revelation of John or the 7 chakras of kundalini (rather than 4, as in the above image).

In other words, there is a specific difference in the phonetic tones of both the consciousness Created ‘by and in the image of God’ and the ‘fallen’ consciousness; and, for that reason, also very sharp differences in phonetic tones between the Knowledge Revealed through the “Vision of Knowledge” (see the Thanksgiving Hymns) and the Revelation of the “resurrection”, and the thoughts expressed by the consciousness of the “self” and the ‘thinker’.

And it requires many, many years of practice to train one ear on the conceptual meanings conveyed by the consciousness of the ‘thinker’; while, at the same time, training the other ear on the phonetic tones which are being employed; those phonetic tones typically consisting of expropriated Long phonetic tones, and/or words which, when written, consist of the visual masking of phonetic tones (for example, the word “love”; which is pronounced with a short u phonetic tone rather than the Long O phonetic tone; which, visually, is much more attractive: “love” rather than “luv”).

And, for an utterly non-specific retaliation of the Sons of Darkness against the publication of this information, read the Jerusalem Post; or, for that matter, any other organ of the “ten horned” (Revelations 12:4) “dragon”-media.

Mi cha el

Additional commentary on the dance Victory by Michael Flatley:

1) The position of the dancers' hands when they are moving into the different formations is straight down at their sides. While in the formation of the ascending triangle of the Star of David (signifying Ishmael and the search for Truth), they are either on their hips, signifying waiting for an understanding of all that they observe; or they are extended straight outwards while they turn in a circle, signifying the looking for Truth in all directions (science, philosophy, the Eastern religions, etc. etc.).

With the arrival of the 'messenger of Truth' (and with the downward pointing triangle of the Star of David signifying Isaac and the Revelation of Truth), their hands are either on their hips--waiting both for people to believe the Truth, and for the manifestation of the Victory of the Sons of Light in the space time reality (see the Opening of the Fifth Seal in the Revelation of John 6:9, the emotion of which is sorrow, the color of which is the blue lights at the opening of the dance); or they are extended over their heads in a position reminiscent of the, probably, thousands of Jews who were crucified because of their resistance to the Romans. But this is also symbolic of the response of the "self" and the 'thinker' to the Revelation of Truth.

2) It appears as though the two women closest to Michael Flatley are the woman in the white dress and the woman in the red dress of Michael Flatley's dance Stolen Kiss; the woman dressed in the white dress representing Revealed Truth and the woman in the red dress representing scientific truth.

3) The tempo of the music during this dance is the continual repetition of: 1,2,3...1,2,3.... 1,2,3,4,5,6,7.

And, in Column I of the War Scroll is the statement:

"In three lots shall the Sons of Light brace themselves in battle to strike down iniquity (1,2,3); and in three lots (1,2,3) shall Satan's host gird itself to thrust back the company of God...."

"And, with the seventh lot (1,2,3,4,5,6,7), the mighty hand of God shall bring down [the army of Satan, and all] the angels of his kingdom, and all the members [of his company in everlasting destruction]..."--all of which signifies a Prophecy of the Victory of the Sons of Light in the space-time reality.

4) None of the statements that I have made in either this or my previous note can be proven. That is, they are nothing more than bald assertions; something which is particulary irritating if not infuriating to those who rely exclusively upon the consciousness of the 'thinker'.

But, then again, if Rudyard Kipling were to recite for them his poem entitled If, their response would probably be "Prove to me that this is good poetry."

And, if Beethoven were to conduct for them a production of his Fifth Symphony, their response would probably be:

"Oh, so you have no evidence that this is beautiful music."

(Sigh)

Mi cha el