'Hail Satan?' Documentary Shows Rise of Satanic Temple

Youm are Mistaken kind Sir, but {The Book of 1984} was not about life in the Future too come here in 2021 C.E., but the REALITY of Fake Space TV SHOWS And continual “Surveillance” of we nonmason Citizen POPULATIONS: since the end of the MUD FLOOD WARS in 1948 A.D.

When World War Two Became World War Three from 1954 to 2019,

https://ugetube.com/watch/039-....hail-satan-039-docum

and now (COVID19) is just a continuation of WORLD WAR FOUR called JADE HELM 15 as Things that have happened [over and over] in our Never ending {De-Ja-Vu} TIME LOOP know as the FREE MASON “Internationalist” Global Citizens:

Oraborus CURSE where these 2D FLAT EARTH (3D C.G.I.) VR Screens are used as a Weapon against WE THE PEOPLE known as The {NEWS} World Order of THE RAPTURE….

#HopScotch

The Rag Tag Rebellion “of and for” OUR WORLD REPUBLIC CONSTITUTION Coalition known as The Society of nonmason on BOTH Sides of our {Shared} Celestial Sphere PURGATORIAL Reality…

That is why the [Black and White] +=+ USA “Flag” has the Blue Lodge Police Stripe, and the Red Lodge U.N. Troops Peacekeeper “Stripes” on all your FEMA HOME LAND Security (21st Century) FEDERALIST POLICE’ / * \ for there are no more “Independent” States, or Flags, or CONSTITUTIONS when the U.S. FLAG is the {NEWS WORLD ORDER} Military Media Militant

{Hunger Games} Shows for all other “U.N. FLAGS” too do what [The World Police] these PEACEKEEPER U.N. Troops of [G4S] and other such FREE MASON Corporate INTERNATIONALIST {C.O.P.S.} tell we the U.N. Citizens TAX PAYING Populations “what to do” with all their LIES AGREED UPON…

The Coalition~ † ///|||\\\ Ω

NEVER FORGET…. There is only {One Purpose} too being here in PURGATORY, and that is for Purgatory too break you, and keep you, so you “never” go home whence you die…

The Oracle for the end of An Age connected to The Source of All Creation, and The Source of All Destruction has so spoken…

From Balzac to Aleister Crowley
Balzac's Séraphita is undoubtedly the most attractive of his fantastic novels. Not because of the Swedenborgian theories with which it is imbued but because Balzac here succeeded in presenting with unparalleled force a fundamental theme of archaic anthropology: the androgyne considered as the exemplary image of the perfect man. Let us recall the novel's subject and setting. In a castle on the edge of the village of Jarvis, near the Stromfjord, lived a strange being of moving and melancholy beauty. Like certain other Balzac characters, he seemed to hide a terrible secret, an impenetrable mystery. But here it is not a secret to be compared with that of Vautrin, the master criminal who figures in several other Balzac novels. The character in Séraphita is not a man eaten up by his own destiny and in conflict with society. He is a being different in quality from the rest of mankind, and his mystery depends not on certain dark episodes in his past but on the nature of his own being. This mysterious personage loves and is loved by Minna, who sees him as a man, Séraphitus, and is also loved by Wilfred, in whose eyes he seems to be a woman, Séraphita.

This perfect androgyne was born of parents who had been disciples of Swedenborg. Although he has never left his own fjord, never opened a book, never spoken to any learned person or practiced any art, Séraphitus-Séraphita displays considerable erudition; his mental faculties surpass those of mortal men. Balzac describes with moving simplicity the nature of this androgyne, his solitary life and ecstasies in contemplation. All this is patently based on Swedenborg's doctrine, for the novel was primarily written to illustrate and comment on the Swedenborgian theories of the perfect man. But Balzac's androgyne hardly belongs to the earth. His spiritual life is entirely directed toward heaven. Séraphitus-Séraphita lives only to purify himself—and to love. Although Balzac does not expressly say so, one realizes that Séraphitus-Séraphita cannot leave the earth before he has known love. This is perhaps the last and most precious virtue: for two people of opposite sex to love really and jointly. Seraphic love no doubt, but not an abstract or generalized love all the same. Balzac's androgyne loves two well-individualized beings; he remains therefore in the concrete world of life. He is not an angel come down to earth; he is a perfect man, a complete being.

Séraphita (1834–1835) is the last great work of nineteenth-century European literature that has the myth of the androgyne as its central theme. Toward the end of the century, other writers—notably the so-called décadents —returned to the subject, but their works are mediocre if not frankly bad. One may mention as a curiosity Péladan's L'androgyne (1891), the eighth volume in a series of twenty novels entitled La décadence latine. In 1910 Péladan treated the subject again in his brochure De l'androgyne (in the series "Les idées et les formes"), which is not entirely without interest, despite its confusion of facts and its aberrations. The entire work of Péladan—whom no one has the courage to read today—seems to be dominated by the androgyne motif. Anatole France wrote that Péladan was "haunted by the idea of the hermaphrodite, which inspires all his books." But Péladan's whole production—like that of his contemporaries and models, Swinburne, Baudelaire, Huysmans—belongs to quite a different category from Séraphita. Péladan's heroes are perfect only in sensuality; the metaphysical significance of the perfect man had been degraded and finally lost in the second half of the nineteenth century.

French and English décadents have occasionally returned to the theme of the androgyne (cf. Mario Praz, 1951), but always in the form of a morbid or even satanic hermaphroditism (as did Aleister Crowley, for example). As in all the great spiritual crises of Europe, here once again we meet the degradation of the symbol. When the mind is no longer capable of perceiving the metaphysical significance of a symbol, it is understood at levels that become increasingly coarse. The androgyne has been understood by décadent writers simply as a hermaphrodite in whom both sexes exist anatomically and physiologically. They have been concerned not with a wholeness resulting from the fusion of the sexes but with a superabundance of erotic possibilities. Their subject has not been the appearance of a new type of humanity, in which the fusion of the sexes produces a new, unpolarized consciousness, but a self-styled sensual perfection, resulting from the active presence of both sexes in one.

This idea of the hermaphrodite has probably been encouraged by the study of certain ancient sculptures. But décadent writers have been unaware that the hermaphrodite represented in antiquity an ideal condition that men endeavored to achieve spiritually by means of rites; they have not known that if a child showed at birth any signs of hermaphroditism, it was killed by its own parents. In other words, the ancients considered an actual, anatomical hermaphrodite an aberration of nature or a sign of the gods' anger, and they consequently destroyed it out of hand. Only the ritual androgyne provided a model, because it implied not an augmentation of anatomical organs but, symbolically, the union of the magico-religious powers belonging to both sexes.