Somethin’ for Aries, birth of the lamb.
In Nolan’s film Inception, Ariadne’s character, played by Ellen Page, has the role within Cobb’s group as the “architect,” or designer of the shared dream-sims. Her name comes from a Greek myth, where she is known for her red thread.
And it’s always a red thread that is used to solve a puzzle, expose a conspiracy. And in this case the conspiracy is the soul being cast down into matter itself, and the puzzle-box of man’s fleshly body.
In the greek myth Ariadne shows up when the cruel King Minos takes over and sets up a Hunger Games-type of society. There was an annual ritual where fourteen young men and women were to be cast into the labyrinth, and become victims of the Minotaur who lurked inside. They were to become Maze Runners.
But one year, a girl named Ariadne fell in love with one of the contestants, Theseus, and gave him a red thread to leave behind him as he entered the maze, which would, like breadcrumbs, lead him back out, after having conquered the beast inside. This he does, and Ariadne’s thread thus proves paramount to the young hero’s survival and victory.
Let’s look at this myth from the lense of esoteric allegory. The maze or labyrinth in mythology, according to scholar Alvin Boyd Kuhn, is another symbol of the incarnation. This is really the key to all sacred scripture: that the soul from the empyrean or Heaven or the spirit realm, is literally buried and dies here, the material realm. But like the seed into the ground, this death is only temporary, illusory. It is the labyrinth because that is where you get lost. the incarnation is also typed as the flood in scripture because this is the inundation with sense impressions, and flesh needs.
So we come down here and are lost in the maze of life. Cast adrift. Drowning. And worse, there is always a monster in the maze. The monster is a beast – typing the lower self, the lower ego that worships the material world and the animal drives, ignoring the higher self.
Ariadne’s thread allowed Theseus, having slain the Minotaur, having conquered the lower animal self, to find his way back out of the maze. By providing the solar hero with her red thread, she was giving him a reminder, like intuition, a way out of the labyrinth. To “escape” is really to achieve what Jesus called “the second birth,” having perfected one’s spiritual nature and transcended the cycles of necessity, the routine incarnations of your spirit into matter, the birth-death-rebirth cycle. The resurrection was something apart from that:
Jesus answered him, “Truly, truly, I say to you, unless one is born again he cannot see the kingdom of God.”John 3:3 ESV
“Blessed and holy is the one who shares in the first resurrection! Over such the second death has no power, but they will be priests of God and of Christ, and they will reign with him for a thousand years.”Revelation 20:6 ESV
When you achieve the second birth, the second death has no power, you have power over your incarnations. You will no longer be cast adrift, stuck in a dream with a bad case of amnesia:
Ariadne’s character in Inception is responsible for holding the keys and codes to the dream-world sim that Cobb’s team goes into. The shared dream state. If Cobb has those codes and acts as architect than his own subconscious nightmares and repressed shit (Minotaur) comes out and attacks. Thus Ariadne must be the architect, the designer. Only she can know the lay-out ahead of time.
Maze symbolism comes up alot in the deeply esoterically layered show Westworld:
Minos the king of Crete forces fourteen sacrificial victims to the minotaur and the maze each year. In the arcane meaning of this myth it is the casting out of the gods or angels from heaven and onto earth, in other words, forced incarnation into matter. The cycle of necessity. And part of it is this unwillingness, or reluctance on the part of souls to have to fall. Thus God is typed as the evil king Minos forcing sacrificial victims to the maze. The maze of course being code for Earth. Just like Hell. Hell, Sheol, Amenta, The Underworld, the Duad, are all just symbols of our Earth, as distinct from the Heavenly Realms or the Spirit Realm. There is no shadowy underworld, in myth and scripture they are being poetic about Earth. And compared to Heaven, it IS indeed shadowy, dark and somewhat dismal, being in this heavy fleshsuit.
But the goal is to get to the heart of the maze to grow your heart in matter. We MUST come here, we MUST become lost at sea in an ark, we MUST be swallowed by a whale, we MUST be chained to the cross, the cross of Earth, with its four poles, or four elements, earth, air, water and fire.
We MUST be mummified, all this death symbolism in scripture started with the mummy ritualism in Egypt. It was not about preserving the remains, it was symbolic of the soul being wrapped in flesh (mummy) and yet not perishing. The mummy, being preserved and protected in its sarcophagus, bears safe passage through the Underworld (Earth) and achieves immortality.
So we have this arcane truth behind the myths of the Hunger Games, Maze Runner, the story of Ariadne’s Thread, but we also see again and again the perversion of these mysteries through actual human sacrifice – culturally this took on the role of the Lord of Misrule, king-for-a-day who was sacrificed to nature. This is the Jack, the Joker Jester Fool, the yearly “willing sacrifice” in pagan festival/ritual (covered in more depth HERE).
The yearly sacrifice was just supposed to be a drama showing the yearly dying of the sun during the six winter months, which is of course also the death and burial of the spiritual fire or soul of man (summer) into the material Earth (winter, death and burial). The soul is a willing sacrifice to flesh when it comes here to evolve and differentiate, through trials and tribulations in the maze, in the night, in the dead of winter.
The phoenix rising from the ashes to be born again is another symbol of this and we see it plastered all over Hunger Games, with their MockingJay, mocking us, the goyim:
One could make the argument that this misinterpretation and perversion of the mysteries is still carrying on. These splinter cults must have popped up in the ancient past that took this stuff literally and started actually sacrificing people. One of these cults, whom we call the Illuminati, took over and are still running the show today. We have modern sacrifice victims or possibly the media fictions of such, in the likes of Dark Knight Jokers: James Holmes, Heath Ledger, Robin Williams, (Philip Seymour Hoffman’s last film was MockingJay), all the murdered famous rappers and singers, the list goes on. They are telling us their story, a perverted version of the mysteries, through these Hollywood productions and then ritualistically murdering the actors of said films to show you that the symbolism extends beyond the page, the stage, the film set. Beyond the surface of the film and into how you think and process the world, it’s an enormous wing of mass mind control.
We have all the evidence coming out of children being used and abused by the industry and political moguls and gollums behind the scenes. This is all given out in the form of conspiracy, which must be pieced together by stringing together data with red thread and corkboard.
We have It, the demon in Stephen King’s novel who shape shifts into a clown (Joker) to scare children as a way to sequester the most potent form of loosh before he kills them. We have children being used in the Maze Runner to extract the antidote to the zombie virus. Their minds are plugged into a nightmare dream-sim in order to get their adrenal glands to secrete this antidote.
It eats children, the maze monster eats innocence, and it seems evil but what’s left after innocence? Adulthood – and the soul achieves growth.
God is cruel, and this is the refiner’s fire.
Don’t take any of this too seriously. This can all be read on two levels – both are real, but one is fear, and one is love.
I’m not condoning the abusers, I’m saying that it’s often those who are abused the most who evolve their soul to the greatest heights.
Ariadne wears read, the red thread. Because red is fire, spirit, as opposed to matter, water, blue. Because her thread leads man out of the maze, back to spirit. They stand between the crossings, see all the x’s on either side of their heads? xxx xxx they stand between the crossings of spirit and matter.
Even though Cobb is the leader of the group, he cannot be architect. It has to be her. Man cannot know his own future, his destiny, we have not evolved enough to see the face of God directly, it’s like staring into the sun, too bright.
But in sequential stages, like following a thin thread, mother nature (blue: see Cobb’s jacket) prepares him for that awakening. For that eventual destiny.
Mother Mary always dressed in red AND blue, because she, like Isis, is the Female Half of God, typing the Higher Self which transcends the dualism of spirit and matter, red and blue, but she also BIRTHS the son, the Christ child (soul), through matter.