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The opening of the Third Seal of the Revelation of John, the rider on the black horse, symbolizes the emergence of the dualistic, self-created, ‘fallen’ consciousness of the ‘thinker’; which ‘thinks’ itself into existence by means of the thought of the ‘thinker’ (See Meditations On First Philosophy, by Descartes) for the purpose of preserving the ‘spatiality’ (i.e., maintaining the sanity; see the opening passages of the Second Meditation) of the consciousness of the “self” over time:

And, while the male perversion of Masculine Truth is violence and warfare, as represented in the following dance:

▶ Dark Lord Don Dorcha & Warlords;

the position of the main dancer’s arms at time segment 0:43-0:47—and of the group of dancers at precisely 1:22—represents hard-hearted arrogance (while other of his movements represent both the suppression of sorrow and a steely indifference to the sufferings of others.) That positioning is precisely the opposite of the woman in the white dress in Stolen Kiss, who crosses her arms across her chest in a demonstration of humility; the female perversion of Feminine Truth is the whorishness of the monotheistic theologies, as represented in the following dance:

▶ Lord of the Dance – Breakout HD

At time segment 1:49-1:51, the woman in the red dress twice projects the duality of the ‘fallen’ consciousness upon the woman in the white dress, representing the non-duality of the Revelations; after which, reminiscent of ‘the Fall’, the woman in the white dress descends into the whorishness of metaphysical philosophy/theology.

And, with regards to the Teaching of Jesus, if Paul is considered to be the ‘rider on the red horse’, Constantine is to be considered the ‘rider on the black horse’ by his ‘elevation’ and ‘weaponization’ of the idolatry of Paul into the state religion.

Michael

*Previously published on December 1, 2013