By: Dr. Ron Shane
Assisted by: Nicki Kimura, Lauren Kupis,
Karan Pandher, and Alva Liang
Norman O. Brown cites the following as a
function of his separation from the invidious manacles of neurological ratiocination:
“And to be not conformed to this world…but be transformed [metamorphose
yourselves] by a renewing of your mind”1. Shane 2015 writes that
ecstatic liberation is engendered when the mind is extricated from the central
nervous system’s tyranny2. Hamlet remarks “with thoughts beyond the
reaches of the souls”3.
Patricia Easterling states that
Dionysian theater was a freedom from the immurement of self-consciousness or an
artistry of the mystical mystique4. Dionysian theater, tantric
ritualism, ecstatic shamanistic rites, and atavistic rapturous ceremonialism have
been executed in most pre-modern societies5. Norman O. Brown explicates
this ubiquitous meta-phenomena in his work entitled Love’s Body6.
Social evolution or the pathogenesis of the modern phenotype depicts the
desecration of the etheric body’s predilection towards ascendant apotheosis or
Dionysian ritualism7. Plato’s The Ion represents how the paramount
powers of diminutive ratiocination denigrates the numinous body’s puissance
towards Dionysian exhilaration8. The mind delimiting manacles of
peevish abstraction abnegates the numinous body’s proclivity for mystical
revelry. Aristotle’s poetics represents this fragrant dismissal and
annihilation of the body’s primordial exaltation9.
Theorists have been reluctant to
delineate the meta-physiological machinations involved with Dionysian revelry
even though this a ubiquitous furtive body meta-phenomena. Dr. Shane 2015
purports that the cryptic body’s mental sphere is thoroughly diminished by the
central nervous system’s neurological workings; and humans are not able to
evoke the body’s meta-sentience of unmitigated ecstatic revelry10.
The prodigiousness of the etheric body is inured in sepulcher of dearth. This
was earlier espoused by Nietzsche in his work entitled the Birth of Tragedy11.
The late Jim Morrison attempted to enact a kind of atavistic Dionysian theater in
his rock and roll performances12. This nascent Dionysian practitioner
was a disciple of Norman O. Brown. Modern theosophy and epistemology foiled
attempts of heuristic artists to experience the body’s metaphysical bucolic
powers.
Authentic art is not a mirrored
reflection of outward naturalistic musings. Resplendent ecstatic revelry is the
opulence of the mental eye where synesthesia vanquishes delimiting sensory
perception. The physical bodily raiment is a livery for the etheric sphere to become
rapturously ascendant13. Omnipotent exhilarating art is a
translocation of consciousness from the central nervous system’s pedestrian
antics to the numinous body’s mystical mirth where it coalesces with the
celestial realm. The genesis of art whether lyrical poetic performances,
metaphysical visual renditions or Dionysian theatricality occurs when the
etheric body blends with the ineffable celestial enthrallment14.
Occult shamans, tantric yoga
practitioners, cryptic provocative ritualism and atavistic maniacal
ceremonialism are all associated with the fiery activation of the etheric body
where its mercurial transcendent powers blithefully emerge with the celestial
clime. Thus, for millenniums, diverse societal groups evolved succinct practices
to evoke the forsaking of the body’s cortical enfetterment where the numinous
essence was splendiferously aroused; and was consciously, and mirthfully
liberated to celebrate mystical ecstatic revelry. This meta-phenomena was the
quintessence of the homo sapiens’ existence.15 Thus, ontological
genesis of the human entity inspired by the body’s praxis for ethereal
fecundity was of paramount importance to this species.
Nietzsche in his Birth of Tragedy
alludes to the impact of Dionysian reverent ecstasy on the deeper sentience of
the body; however, he does not comprehend the meta-physiological facets of the
metamorphosis of the numinous body. Dr.
Shane does define to a certain degree the succinct apocalyptic transformation
of the etheric body as it is consumed by intriguing mystical exhilaration 16,
17, 18, 19. Neither Norman O. Brown
nor Joseph Campbell discerned the ascendant proclivities of the etheric body.
These theorists as with Carl Jung regarded Dionysian intoxication to be the
universal status of the incensed etheric body. Most indigenous cultures utilized some kind of
movement art to activate the lower chakras or Dantian. Shane depicts this kind
of activation in his work entitled The Art of Energy20.
Advanced black belts achieve a mastery
of the body’s libidinous powers as well as its navel cauldron. Dionysian
ecstasy whether through ecstatic tribal ritualism, tantric ceremonies, mystical
dance or theatricality requires the authentic prodigiousness to descend toxic
chi from the navel meridian where it is diffused to the lower torso of the feet
which are the conduit between the earth’s vibrancy and the etheric body. Tribal
trance dance, advanced martial art patterns, classical dance are movement
strategies which enable an adroit energy artist to blend with the earth’s
vibrancy as well as the body’s primordial energy which induces the activation
of the torpid etheric body 21, 22. The authentic Dionysian
experience is not possible in certain cultural traditions which have evolved
constructs to explicate the meta-phenomena of alchemy.
Indigenous humans possessed the
proclivity to transubstantiate bodily physical energy into etheric prowess
which then arouses the enigmatic structural facets of the numinous body. Carl
Jung as well as Norman O. Brown made allusions to this abstruse concept in
their writings; however, they both did not explicate the ethereal experience or
the nature of this qualitative metamorphosis in body energy. Robert Graves
understood that the interior body like the moon derives luminous sustenance
from proton-related physical energy. Thus, the Dionysian is not the revelry of
the body’s primordial exaltation, but rather is a fiery incensement of the
etheric essence.
Modern nascent practitioners of the
pseudo-tempered Dionysian experience connotes that it is principally contingent
on the body’s province of ATP energy expression. Rhythmic body movement expression
is not correlated with Dionysian revelry; and in many instances, it only
engenders stultification of the numinous body. It takes year of assiduous
training of the naval cauldron where a practitioner can readily descend primal
energy into the earth to be blithefully inundated by its edifying chi. Thus,
the structural dynamics of the etheric body cannot be incensed unless the practitioner
is resplendent with the earth’s vibrancy, and the body’s libidinous primeval
energy.
The ritualistic expression of particular
movement sequences are executed with the intent to activate the navel meridian
as well as the lower chakras in order to acquire proton-based energy to be then
alchemically converted into a furtiveness to arouse the entire etheric body.
Martial artists and classical dancers must ardently train for at least two
decades to educate these dimensions of the numinous body; and most likely,
Dionysian high priestesses likewise devoted years to magnificently cultivate
the lower chakras where they then were able to transubstantiate physical energy
to alchemical chi engendering the activation of the mercurial ascendant
numinous body. Contemporary, puerile practitioners of the Dionysian have not
developed the requisite inner bodily dynamics to alchemically arouse the
etheric body to Dionysian intoxicated exhilaration.
Human conceptual meanderings are only
contingent upon external events. The body’s visual physiology is impacted by
photons which are a limited aspect of electromagnetic spectrum from 400-800
nanometers. Moreover, the homo sapiens’ visual cortex consecrates a
representation of the external milieu which is not necessarily concordant with
its actual reality. Perception of energy configurations not within the 400 to 800
nanometers are not necessarily perceived by the human entity; and subatomic
elements like neutrinos and even dark energy cannot be apprehended by the
body’s outward sensory systems. The Dionysian is associated with the activated
numinous body which perceives energy dynamics not within the province of
prosaic conscious perception. Many divergent cultural traditions have utilized
constructs like synesthesia to explicate how the numinous body apprehends
stimuli which is not associated with the limitations of the visual cortex.
There are ubiquitous societal traditions, which have explained in a
metaphorical manner that the etheric body is privy to energies that are
enigmatic to the conceptual or mathematical computational capacity of current theoretical
physics.
Dionysian art whether it is evoked
through exotic ritualism, ontological theatricality, exhilarating tantric
ritualism, or music as well as dance ceremonialism principally is involved with
the evocation of the numinous body or the emergence of its ascent
prodigiousness beyond the fleshy gyves. Dionysian rapture for thousands of
millenniums was the primordial sentient intent of the homo sapiens when the
corporal body’s physiological mandates were temporarily quiescent. The alchemical
transubstantiation of physical energy to arcane furtiveness enables the
structural facets of the numinous body to be mirthfully activated, and auspiciously
invigorated. Thus, lower chakras or the
primordial sphere of the etheric body is the mercurial physic to auspiciously
stimulate or intoxicate its ontological machinations.
The occult revelry of Dionysian
intoxication is contingent on the thorough activation of the numinous essence’s
transcendent puissance. Joseph Campbell’s Mythic Image magnificently documents
how a diverse array of cultural traditions experienced the plumed vertical
marvelment of the ecstatic ascendant Kundalini complex 23. This
omnipotent meta-phenomena has likewise been explicated in distinctive works by
Dr. Ron Shane 24, 25, 26, 27. The ascendance of the Kundalini complex
requires that there is a propitious symmetry and salubriousness of the chakra
system; and more importantly, the optimal energy flow amongst the plethora of
micro chi channels.
The etheric body’s chi channels or
micro-chakras system circulates alchemical fervor throughout all its facets.
This system for ethereal energy transmission must not be blighted with chi
obstructions. Bodily tension or non-homeostatic tonicity of the muscular-skeletal
system impedes energy flow within the channels of the arcane essence. The
Kundalini complex located near the navel cauldron is not activated when the
carnal body is inundated with muscular-skeletal hyper tonicity or
non-salubrious mental tension as well as cursive anxiety. Thus, the spiritual
movement arts like classical dance, Kung Fu, Tae Kwon Do, or ritualistic
indigenous ceremonialism not only is the impetus for the conversion of
primordial energy to alchemical chi, but more importantly, it incenses the
activation of the ascendant Kundalini where its plume marvelment ecstatically
is aroused beyond its fleshy complex.
The body’s physical parameters must be blitheful,
and the central nervous system’s conceptual powers likewise are amelioratively
torpid where consciousness is liberated to translocate into the numinous
essence. Divergent societal traditions have developed unique strategies to
evoke the mercurial prodigious empowerment of the transcendent Kundalini
complex beyond the sphere of the body’s fleshy realm.
The exhilarated unsheathed Kundalini
complex merges with the apparatus of the crown chakra where it is then able to
coalesce with the sumptuous powers of the celestial realm. It has been
articulated throughout this review that Dionysian ritualism represents a
thorough resplendent cultivation of the numinous body where it is not stymied
or stultified by its physical raiment. All atavistic societies evolved divergent
protocols to evoke the mystical enchantment of the Kundalini complex as well as
the other structural dynamics of the esoteric body such as its spiritual
essence and mental puissance, which are essential to the apotheosis of the
ecstatic transcendent Kundalini matrix.
Shane 2015 in an article concerned with
the bifurcation of the brain and body explicates how the numinous mental sphere
when provocatively incensed induces a maniacal ecstatic revelry, which is then
translated to the physiological machinations of the central nervous system 28.
Plato writes the following concerning
how artists must overthrow the manacles of cortical ratiocination, and coalesce
with the frenzied intoxication of the celestial sphere. This kind of mystical
sentience requires that the portals of perception are lucid and the kundalini
network has its plume marvelment participating in exhilarating revelry with the
celestial realm. Plato stated the following: “And korybantian revelers when
they are not in their right mind, when they are composing their beautiful
strains… … they are inspired and possessed; like Bacchic maidens who draw milk
and honey from the rivers when they are under the influence of Dionysus and not
when are in right mind” 29. Plato
does not comprehend the machinations associated with Dionysian ecstasy, but he
had sufficient sagaciousness to realize that this meta-phenomenon is associated
not with the central nervous system’s pedestrian cortical workings. Dionysian
revelry was the euphoric artistry or the fiery mercurial ascendance of the
etheric body not beguiled by the perdition of neurological processes of the
modern psyche 30.
Early Greek Dionysian theater was an
essential facet of this cultural milieu; and performers possessed the acumen to
translocate their consciousness to be incensed; and thereby inducing a highly
actualized inner body. Socrates and
Plato were privy to this meta-phenomenon; however, they did not comprehend that
it was a ubiquitous facet of human meta-sentience. Most atavistic societies
focus their arcane ritualism on evocative occult ceremonialism with the intent
of engendering Dionysian exhilaration where the numinous body’s plume
marvelment maniacally penetrates into the celestial realm’s splendiferous
mystique. Carl Jung postulated that the collective unconscious or the ineffable
numinous body is compelled to ontological genesis 31.
Art, theosophy, theater, music, dance,
and atavistic epistemological traditions are in actuality the same metaphysical
phenomenon; and only the blasphemous tyranny of aberrant remodeled cortical
circuits have erroneously delineated them to be contentious unrelated pursuits.
There is very limited archeological evidence that mystical euphoria or the paradisiacal
thrall of Dionysian ritualism was the paramount intentionality of most
indigenous societal traditions. Many
visionary artists, since Plato have pined for the primeval intoxication of
Dionysian ecstasy; however, these mystical Bacchic practitioners did not
experientially comprehend how to be liberated from the central nervous system’s
conscious machinations, and to be incensed by the ascendant prodigiousness of
the activated numinous body32.
Plato further stated, “The soul of
lyric poet does the same as they themselves say; for they tell us that they
bring songs from the honeyed fountains, culling them out of the gardens and
dells of the muses”33. What
is Plato referring to by the gardens of the muses? There is a mystical science
to Dionysian rapture; however, the Greeks did not understand the structural
facets of the etheric body nor that there is a celestial sphere where its
ecstatic, ascendant nature can coalesce and blend to induce overall euphoric
metamorphosis. It is likely what the poet Ion was depicting has been
experienced by humans for millenniums in a diverse array of cultural milieus with
distinctive occult ritualistic pageants 34.
Contemporary theorists like Aristotle
have ruefully dismissed the import of arcane Dionysian ritualism; and instead
are fascinated by the virulent desecration of the numinous body as depicted by
T.S. Elliot in the poem Wasteland 35.
Aristotle is the progenitor of the cathartic or anti-Dionysian philosophy where
the subjugation of the etheric body is contemporary humans’ moribund dismay 36.
The transcendent metaphysical praxis of
artists is espoused by Shelley in his tribute to Keats in the poem entitled
Adonis which voices the mortification of those with Dionysian zeal or ascendant
with the winged puissance of the apocalyptic numinous body37. Norman O. Brown and Jim Morrison intuitively
comprehended the luminous sentience of the manically inspired etheric body’s
kundalini network as it ecstatically blends with the realm of the muses or the
celestial sphere 38.
Shakespeare writes the following
regarding human perception, and the mystique of celestial prodigiousness:
“There are more things in heaven and earth, Horatio that are dreamt of in your
philosophy 39. Dionysian
ecstasy is the mystical sentient euphoria not related to the pedantry of
ratiocination. Plato was privy to the limitations of conceptual philosophy, and
propitiously purported in the Ion that poetic sublime exhilaration possessed a
higher veracity to the sophistry of philosophy bewitched by the central nervous
system’s power of ratiocination40.
Plato in the following passage
substantiated that the visionary artist’s experience of heuristic knowledge is
not initiated, but perceived by the central nervous system’s conceptual
prowess: “For the poet is a light, winged and holy thing, and there is
invention in him until he has been inspired and is out of his senses, and
reason is no longer in him41. Dionysian revelry is a meta-phenomenon that is
distinctive from the brain’s neurological processes. Humans who possess this
auspicious proclivity for mystical exaltation were considered to be sagacious
hierophants able to coalesce with the celestial euphoria. Plato’s Republic
represents the mental myopia of those encumbered by their neurological
enfetterment42. The Dionysian ecstasy as purported by Nietzsche is a
disenfranchisement from the central nervous system’s Apollonian gyves43.
Social evolution can be correlated with a stultification of the etheric body’s
predilection for nirvanic blending with the celestial sphere.
Nietzsche in his Birth of Tragedy
discussed how art in modern Judeo-Christian civilizations represent a diminution
of the body’s instinctual imperative for Dionysian revelry; and Apollonian
cathartic art is now an iconic representation of the arcane body’s putrid desecration.
According to Nietzsche, humans have forsaken the etheric body’s mystical powers
of Dionysian ecstasy in art and theater as well as many other forms of sacred
occult ritualism44. Monolithic
mystical despotism or the central nervous system’s neurological treachery is
the impetus for the derogation of the etheric body45.
Peevish attempts of contemporary artists
have not been auspicious, since these individuals have not thoroughly
cultivated the numinous essence’s ascendant mystical proclivities or their
paramount desire must then be translated into the heuristic activation of the
body’s plumed kundalini marvelment46, 47. Dionysus is an exacting metaphor for the
incensed exhilaration of the ascendant etheric body penetrating into the
Elysium rapture of the celestial realm.
Plato further stated, “And reason is no
longer in him; no man, while he returns that faculty, has the oracular gift of
poetry… they are simply inspired to utter that to which muse impels him, and
that only; when inspired one of them will make dithyramb [or Dionysiac chorus
hymns]” 48. Neither Plato nor
Nietzsche actually defined in metaphysical terms the meta-sentient machinations
associated with the ascendant etheric essence blending with the realm of the
muses. Coleridge, Shelley, Jung, and
D.H. Lawrence all asserted that this meta-phenomenon is not related to the
physiological dynamics of the central nervous system49, 50, 51.
Recently, Shane 2015 demonstrated that
metaphysical knowledge is a consequence of the transcendent kundalini mystique
of the numinous body coalescing with a succinct mystical tier of the celestial
realm52. There has not been
any propitious explication of the multi-faceted climes of the celestial
quintessence; and Dionysian maniacal ecstasy represents succinct levels of
bucolic penetration by exotic artists in that ineffable realm53. The universality and ubiquitousness of
Dionysian revelry is related to distinctive tiers of paradisiacal enthrallment;
and it has been evoked by a bevy of theatrical and ritualistic ceremonial rites
for countless millenniums by distinctive societal traditions.
There is a lurid madness of pervasive
psychopathology which overtakes the human entity when this species is
perniciously alienated from the numinous body’s imperative for Dionysian
revelry. The poet Ion recoils from the lurid raiment of conceptual rumination;
and instead lauds inspiration or the ecstatic blending with the rapturous muse
realm or Elysium clime. Ion states, “There is a great difference, Socrates,
between the two alternatives and inspiration is by far the nobler. Socrates
then, Ion, I shall assume the nobler alternative; and attribute it to you in
your praises of Homer’s inspiration, and not art” 54.
Plato and Socrates comprehended that
Dionysian intoxication or the coalescing with the celestial realm is a mystical
prerogative, which should not be restricted by the body’s physiological
limitations. Dionysian Theater was actually a mollified manifestation of the
numinous essence’s predilections for ecstatic mystical ritualism or where a
Shamanistic practitioner activated by ascendant mercurial revelry merges with a
high tier of the celestial realm. Plato was privy to a metaphysical epistemology,
which is of a paramount veracity compared to empirical knowledge, which now
predominates the mundane pervasive consciousness modulated by the tyrannical
dialectics of Apollonian ratiocination.
Nietzsche writes, “I have borrowed my
objectives from the Greeks, who developed their mystical doctrines of art
through plausible embodiment not through purely conceptual means” 55.
This philosopher never postulated a
plausible paradigm for Dionysian ecstasy in either art or ritual, but does
allude to how through arcane sentience there is a unification with exhilarating
celestial energies. Nietzsche writes, “We might picture to ourselves how the
last of these, in a state of Dionysian intoxication mystical self-abrogation,
wandering apart from the revelring throng… … how then revealed to him his own
condition-complete oneness with the essence of the universe in a dream
similitude” 56.
Nietzsche was not a visionary artist,
rapturous Shaman, nor a practitioner of occult ritualism; however, he did
ascertain that hedonic mystical rites involved the body’s etheric plume
marvelment ecstatically blending with cryptic energies of the celestial realm.
Theoretical physicists have confirmed that the universe is comprised mostly of
dark energy, which has behavioral dynamics quite distinctive from energy evoked
or expressed by the diverse aspects of the electromagnetic spectrum57.
Photons which interface with the nucleus of atoms associated with traditional
matter have only to a limited degree been explained by quantum mechanics. They
are still enigmatic, and are not necessarily related to dark energy. The
Dionysian involves a coalescing with ineffable energies, which have not yet
been interpreted or even explicated by theoretical physicists or
metaphysicians.
Plato and the other Neo-Platonists were
privy to the fact that the activated etheric essence inspired by ontological
genesis with metaphoric revelry could merge with the furtive celestial energies
that amelioratively edify the numinous body. Atavistic humans for thousands of
millenniums pursued maniacal Dionysian rites where they released the manacles
of Apollonian consciousness to then blend with the celestial euphoria in order
to achieve a nirvanic mystical metamorphosis of the entire numinous body.
Dionysian Theater and Arts, and even exhilarating tantric ritualism can be
regarded as a mollification of the exotic intoxication associated with
atavistic occult primordial ritualism. Dr. Shane depicts this meta-phenomenon
in the Jaguar Queen58.
Shakespeare writes that “The poet’s eye
in a fine frenzied rolling/doth glance from heaven to earth, from earth to
heaven/ and imagination bodies forth/ forms of things unknown” 59. The muse driven apprehension of artists, and
the Dionysian intoxication of the numinous body’s ascendant plume marvelment
coalescing with cryptic celestial energies where the practitioner experiences
maniacal mystical exhilaration is a primordial principle facet of the human
entity not enfettered by the pejorative manacles of ratiocination.
Blake depicts the contemporary
consciousness: “to be shut in a narrow doleful form… … the eye of man a little
narrow orb closed up and dark…”60. Dionysian occult ritualism or art is antipodal
to the numinous body’s nefarious enslavement, but represents the primeval
ontological genesis of the etheric essence blending with the mystical
exhilaration of cryptic celestial energies.
Sources
1. Norman, O. Brown, Apocalypse And Or
Metamorphosis, University of California, Berkeley, 1991. Page 1
2. Ron Shane, The Body’s Confluence
With the Numinous Essence, Publication Pending
3. William Shakespeare, Hamlet,
Methuen, London, 1982, Page 213
4. P.E. Eastering, Cambridge Companion
to Greek Tragedy, A Show for Dionysus, Cambridge University Press. London,
1997, Page 36-53
5. Ron Shane, Light on Shamanism,
Elysium Arts, San Diego 2014, Amazon.com
6. Norman O. Brown, Love’s Body, Random
House, New York, 1971
7. Ron Shane, Mystique of Energy, Elysium
Arts, San Diego, 2012, Amazon.com
8. Harzard, Adams, Critical Theory
Since Plato, Plato’s the Ion, HBJ, 1971, New York, Page 12-19
9. Ibid. Aristotle’s Poetics, Page 48 –
67
10. OP. Cit. Shane, The Body’s Confluence
With the Numinous Essence
11. Friederich, Nietzsche, The Basic Writings
of Friederich Nietzche, The Birth of Tragedy, Modern Library, New York, 1968
12. Jerry Hopkins and Danny Sugarman, No One Here
Gets Out Alive, Warner Press, New York, 1980
13. Ron Shane, The Etheric Power of the Mental
Eye, Elysian Arts, San Diego, 2012, Amazon.com
14. Ron Shane, Jaguar Queen, Elysian
Arts. San Diego, 2015, Amazon.com
15. Joseph Campbell, The Mythic Image, Princeton
University, 1974
16. Ron Shane, Manifesto of Ontological Genesis,
Elysium Arts, 2009 San Diego, Amazon.com
17. Ibid, Manifesto of Ontological Genesis
18. OP. Cit. Mystique of Energy
19. OP. Cit. Light on Shamanism
20. Ron Shane, The Art of Energy, Elysium Arts,
San Diego, 2007, Amazon.com
21. Ron Shane, The Internal Art of Tantra. Elysian
Arts, 2002 Amazon.com
22. OP. Cit. Mystique of Energy
23. OP. Cit. Campbell, The Mythic Image
24. OP. Cit. Mystique of Energy
25. OP. Cit. Light on Shamanism
26. OP. Cit. Manifesto of Ontological Genesis
27. OP. Cit. Jaguar Queen
28. OP. Cit. The Body’s Confluence with the
Numinous Essence
29. OP. Cit. Plato’s The Ion, Page 14
30. OP. Cit. Brown’s Love’s Body
31. Carl Jung, The Collective Unconscious
32. OP. Cit. Brown’s Love’s Body
33. OP. Cit. Plato’s the Ion, Page 14
34. OP. Cit. Mythic Image
35. T.S. Eliot. T.S. Eliot: Collected Poems,
1902-1962, Harcourt, 1963
36. OP. Cit. Aristotle The Poetics
37. P.B. Shelly, The Complete Poems of Percy Bysse
Shelley, Random House Inc. 1994
38. OP. Cit. Love’s Body
39. OP. Cit. Hamlet, Page 226
40. OP. Cit. The Ion
41. The Ibid. Page 13-14
42. OP. Cit. Plato’s the Republic
43. OP. Cit. Birth of Tragedy
44. The Ibid. Birth of Tragedy
45. William Blake, The Book of Urizen, The Poetry
and Prose of William Blake, Double Day and Company, New York, 1965
46. OP. Cit. Mystique of Energy
47. OP. Cit. Light on Shamanism
48. OP. Cit. Plato’s the Ion, Page 15
49. Samuel Coleridge, Biographia Literia , Selected Poetry and Prose San Francisco,
Rinehart Press, 1971, Pages 283-284
50. OP. Cit. Shelly’s Defense of Poetry
51. D.H. Lawrence, Psychoanalysis in the
Unconscious, New York, Viking Press, 1966
52. OP. Cit. The Body’s Confluence with the
Numinous Essence
53. OP. Cit. Mystique of Energy
54. OP. Cit. Plato’s the Ion, Page 19
55. OP. Cit. Birth of Tragedy, Page 636
56. Ibid. Page 638
57. Ron Shane, Refutation of the Big Bang Theory,
Publication Pending. 2015
58. OP. Cit. Jaguar Queen
59. William Shakespeare, A Midsummer Night’s Dream,
Complete Works, Harcourt, Brace, World Inc. 1952, Page 536
60. OP. Cit. Blake Milton, Page 98
Ron Shane ND PhD OMD MFA
Dr. Shane is a world-leading
authority in body mind consciousness studies. See Bio section for more information about Dr. Shane.
