Monday, June 23, 2014

The Shining analysis - part 22: The room 237 scene





In the room 237 scene, Jack relives his own molestation as a child by his mother. Top left and right: Jack's mother initially appeared enticing to him when he was a child, just before she actually started to molest him. Above left: Once Jack's mother started molesting him, he started experiencing her as if she was a rotted old hag, as represented by the old woman in the bathroom that Jack is hugging, being rotted. Above right: The old woman in the tub represents Jack's actual mother, in that she has the same physical appearance as did his mother when she was alive; except that she is here partially rotted. She is rising from the water, with the water symbolizing the prima materia (the starting material that is required for the alchemical process), which is associated with the alchemical nigredo, indicating that this entire scene depicts Jack's nigredo. The green coloring of both of the old women's skins indicates putrefaction, and as observed in part 16 of the analysis, putrefaction itself is associated with the nigredo.









Since Danny is witnessing all of the above 'telepathically', the entire scenario also represents the molestation he himself is suffering from his mom. That he is choking or gagging not only indicates that he feels sickened by these encounters with his mother, but, as we've observed earlier, it is also tied in with death of the Holy Spirit.


The events that take place in room 237 are, in part, a representation of the continuing cycle of sexual abuse by the mothers in Susan Robertson's husband's lineage, down through the generations. This is why Dick Hallorann himself also experiences the vision (in addition to Danny), for recall that Hallorann is the mediator between Susan's unconscious and her conscious mind. The cycle of abuse by the women in Susan's husband's lineage has been made conscious to Susan.


   

Monday, June 9, 2014

The Shining analysis - part 21: The Chymical Marriage of Christian Rosencreutz


Recall that we have previously said that in 1977, the year in which The Shining is set, that Susan Robertson, who is 24 years old, is seven years younger than Wendy (31 years old); Susan's son (6) is seven years younger than the son of the woman who was in the red VW (13); and Jack (wearing Charles Grady's face) looks seven years younger in the ending photo (39) than he does as we see him throughout the movie (46). Kubrick's consistent usage of a 7-year age gap in The Shining, is meant to suggest the 7 days of the tale of the Chymical Marriage of Christian Rosencreutz,[a] with Jack representing the Paschal (i.e., sacrificial) lamb from the seventh day of the wedding. Susan Robertson was 17 years old when Charles Grady killed his family (and himself), so Charles represents the Paschal lamb from the first day of the wedding. In fact, this is one of the main reasons Susan placed Charles' face over that of Jack (i.e., that of Jack as we know him throughout the movie) - both men depict Paschal lambs from the Chymical marriage of Christian Rosencreutz. Also, as we said in part 16 of the analysis, Wendy, representing Susan, wants to alchemically unite with her son via a 'chemical marriage' - this is the same thing as 'chymical marriage'. Below is the opening sentence of The Chymical Marriage of Christian Rosencreutz:

"On an evening before Easter-day, I sate at a table, and having in my humble prayer conversed with my Creator and considered many great mysteries (whereof the Father of Lights had shewn me not a few), and being now ready to prepare in my heart, together with my dear Paschal Lamb, a small, unleavened, undefiled cake, all on a sudden ariseth so horrible a tempest, that I imagined no other but that, through its mighty force, the bill whereon my little house was founded would fly all in pieces."[b]


a. The chymical marriage is sometimes called the chymical wedding.
b. The Chymical Marriage of Christian Rosencreutz in The Real History of the Rosicrucians, Arthur Edward Waite, 1887, at sacred-texts.com.


   

Saturday, June 7, 2014

The Shining analysis - part 20: Who Danny represents; Star of David symbolism





Above: As Danny propels himself through the Overlook's corridors. The red, white, and blue of his clothing (the white is in his sneakers) represent the colors of the flag of the United States, and thus, as stated earlier in the analysis, Danny represents a subset of American males. However, the red rear axle, blue seat-back, and white hand grips of his tricycle represent the red, white, and blue of Freemasonry. The shape and color of the tricycle seat-back taken together, symbolize Kubrick's evil elite Jews and 'feminine evil'. This symbolism is described below.




Above left: To see how it is that the shape of Danny's tricycle seat-back represents evil elite Jews and feminine evil, we begin with the Jewish Star of David, with the border of the center region of the Star shown in thick lines. Above right: The center region of the Star of David isolated (and enlarged for clarity). This figure is a regular hexagon (a six-sided figure). (Continued below).




Above left and right: The isolated center region of the Star of David, extended in the vertical direction along with a decrease in its width (left-hand screencap), and with the upper half and a small portion of the lower half filled in with blue (right-hand screencap). Note that the blue part of the right-hand figure has essentially the same shape as the tricycle seat-back. Carl Jung links vertical height with the unconscious,[a] which in a woman, normally has male characteristics.[b] However, Jung also says that the color blue symbolizes the feminine.[c] The implication is that the unconscious of the dreamer, i.e., that of Susan Robertson, has a greater than is usual (for a woman) abundance of feminine characteristics within it, which is compensated for by an overly-masculine (again, for a woman) conscious. The latter observation is in line with the fact that Susan had gone hunting with her husband, for hunting is an activity that is generally considered to be masculine.

Within a societal context, the shape of the tricycle seat-back, since it is derived from the Star of David (as described above), represents Kubrick's evil elite Jews, and its disproportionate extension in the vertical direction, taken together with its blue coloring, represent male/female 'combined' (i.e., hermaphroditic) evil, with an emphasis on the feminine principle. The idea is that the conspiratorial parties consist, in part, of evil elite hermaphroditic Jews and evil elite feminists.


Recall from earlier in the analysis that Danny is, in part, a representation of the thirteen year old boy who was with his parents while they were driving, in their red VW, to the Overlook hotel. If we take Danny to be thirteen years old instead of six, then since The Shining is set in 1977, Danny would have been born in 1963 or 1964, and thus, he would be a trailing-edge baby boomer, i.e., he would have been born between 1956 and 1964. The outcome of this is that it is actually to be a man who is a trailing-edge boomer, instead of someone from Generation X, who is to initiate the process whereby America's course will be corrected. (In the Pulp Fiction analysis on the Can Analyze blog, it was observed that filmmaker Quentin Tarantino was born in 1963.) It is still largely the men of Generation X themselves (and the women working with them) who are to implement the correction process.

None of the foregoing is meant to imply that people from other generations, such as Generation Y and later, the leading edge baby boom (birth years 1946-1955), and generations whose members were born earlier than 1946, are not going to be part of the correction process. But as a group, members of Gen X are more 'disconnected' from feminism than those born later, and are therefore less likely to be looking at things through feminism-tinted glasses, while at the same time they are young enough to still be energetic; and trailing edge boomers have the optimal combination of wisdom gained from experience, and drive. Note that in the foregoing, groups of people are being referred to; obviously, there are going to be differences between persons as individuals, both within and across groups.

Note that we're not equating the real-life man who is to initiate the bringing about of beneficial change, with Danny to the extent that this man (the above-mentioned trailing edge baby boomer) suffers from psychosis, that he was sexually abused as a child, that either of his parents were violent or were alcoholics, or that he (or his family) has any other specific negative traits that Danny (and his parents) have, or has undergone any particular negative experiences that Danny himself is depicted as having gone through, in The Shining.


a. Jung, C.G. The Collected Works of C.G. Jung, Vol. 12. Princeton University Press, 1968. paras. 287, 291. Google Books. URL = https://books.google.com.
b. Corresponding to characteristics of the animus, the masculine inner personality within a woman.
c. Jung, C.G., The Collected Works of C.G. Jung, Vol. 12, paras. 320-321.


   






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