Saturday, September 19, 2015

The Re-genesis of Dionysian Revelry: Where Art is the Ecstatic Effulgence of the Body’s Mystical Quintessence

 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.

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,
6.    Norman O. Brown, Love’s Body, Random House, New York, 1971
7.    Ron Shane, Mystique of Energy, Elysium Arts, San Diego, 2012,
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,
14. Ron Shane, Jaguar Queen, Elysian Arts. San Diego, 2015,
15.  Joseph Campbell, The Mythic Image, Princeton University, 1974
16.  Ron Shane, Manifesto of Ontological Genesis, Elysium Arts, 2009 San Diego,
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,
21.  Ron Shane, The Internal Art of Tantra. Elysian Arts, 2002
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.