The Eliminator; or, Skeleton Keys to Sacerdotal SecretsWestbrook, Richard B. (Richard Brodhead)
Religion
The Eliminator; or, Skeleton Keys to Sacerdotal Secrets
Westbrook, Richard B. (Richard Brodhead)
Free thought
It has already been suggested that the gospel of Paul was at the bottom
Essenean and Mithraic; and in accordance with that hypothesis the
crucifixion, death, burial, resurrection, and ascension would _be solar
and astrologic events_. The Essenes, as well as the other
Mithras-worshippers, adored the sun and greeted his rising with
invocations and sacred chants. The death and resurrection were
“according to the Scriptures.” In other words, they were duly set forth
after the manner of literal occurrences in the sacred books of the
Essenes long before Paul was born. The adepts of that fraternity
understood the matter, and the hostility which they and the other
disciples always exhibited toward the great apostle was because he
divulged too much. His writings contained many _dysnoetic_ matters,
Peter declared—many matters of higher knowledge improperly expressed,
which they that are unlearned and unstable might wrest to their own
hurt. According to the scriptures of the brotherhood, the drama of the
Gospel had its dénouement in the passion and tragedy of Jesus. Paul,
like a genuine adept, has accepted this narrative as the basis of his
gospel; nevertheless, as though aware that it is a figurative rather
than a literal occurrence, he nowhere speaks of the crucifixion as a
crime.
We use the term _drama_ in this connection from a deliberate purpose,
because we believe it correct. It was the designation of the matters
represented in the Eleusinian, Dionysiac, and other arcane rites. The
theatre of the Greeks consisted of such tragic and other
representations, which were performed at the temples of Bacchus and
Æsculapius. Our modern theatre originated in like manner from the
mysteries and mir-acle-plays of the Middle Ages, in which monks and
priests acted the parts of the different persons of the Gospel drama.
The “Passion Play,” which excites so much interest in these modern
times, is very suggestive, but little understood by sacerdotalists.
The Christian worship in the earlier centuries was not so unlike or
incongruous with the pagan customs as may have been supposed. The
emperor Hadrian, when in Egypt, was forcibly impressed with the apparent
identity of the worshippers of Serapis with those of Christ. “Those who
worship Serapis are Christians,” he declared, “and those who call
themselves Christian bishops are devotees of Serapis. The very patriarch
himself when he came into Egypt was said by some to worship Serapis and
by others to worship Christ.”
Public-domain text, read in full here on John Shaqi.
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