Thursday, July 3, 2014

Wizard of Oz analysis - part 12: Wrapping up: The movie's underlying message


Above: Four Horsemen of the Apocalypse, - Conquest, War, Famine & Death, an 1887 painting by Victor Vasnetsov. The Lamb is visible at the top.[a] The Four Horsemen of the Apocalypse are described in the last book of the New Testament of the bible, called the Book of Revelation of Jesus Christ to Saint John the Evangelist, in chapter 6 verses 1-8 (i.e., 6:1-8). The chapter tells of a book or scroll in God's right hand that is sealed with seven seals. The Lamb of God, or Lion of Judah, opens the first four of the seven seals, which summons four beings that ride out on white, red, black, and pale horses. Although some interpretations differ, in most accounts, the four riders are seen as symbolizing Conquest, War, Famine, and Death, respectively. The Christian apocalyptic vision is that the four horsemen are to set a divine apocalypse upon the world as harbingers of the Last Judgment.

The fourth horseman is named Death. Known as "the pale rider", of all the riders, he is the only one to whom the text itself explicitly gives a name. Unlike the other three, he is not described carrying a weapon or other object, instead he is followed by Hades (the resting place of the dead). However, illustrations commonly depict him carrying a scythe (like the Grim Reaper), sword, or other implement. The color of Death's horse is written as khlōros (χλωρός) in the original Koine Greek, which can mean either green/greenish-yellow or pale/pallid. The color is often translated as "pale", though "ashen", "pale green", and "yellowish green" are other possible interpretations.[b]

Note that the colors of the four horses correspond to the four colors of alchemy, except that the 'pale horse', which in alchemical terms should be yellowish, would here correspond to a 'putrefied'/'corrupted' citrinitas, with its green representing putrefaction. As observed in part 7 of the analysis, the citrinitas is the alchemical stage in which the chemical wedding, between man and woman, takes place. Without the chemical wedding, the citrinitas will be incomplete, and thus, there can be no true rubedo (the last of the four alchemical stages, in which wholeness is attained).

Since the color yellow is associated with the citrinitas, the events that take place during Dorothy's journey along the yellow brick road symbolize, in part, the corruption of this stage of the alchemical process. This corruption is foretold in Munchkinland: recall that we observed that the 'Good' Witch of the North leads Dorothy to believe, that she can achieve the rubedo without going through the citrinitas stage.

Dorothy has begun her journey down the yellow brick road.

The basic connection between the four horsemen of the apocalypse and The Wizard of Oz, is that the movie is apocalyptic in the sense that, as discussed earlier, the movie-makers were predicting that there would come a time in America, when a general atmosphere of indifference, greed, and violence would make it possible for Dorothy, and thus the American populace, to be led to a scenario incorporating lust, heresy, and treachery, by evil hermaphroditic Jews and other parties (certain evil high-ranking Freemasons, etc.). As we observed, these parties are seeking to establish a 'utopia' in southern Indiana.

The underlying message of The Wizard of Oz is that part of achieving this paradise, consists of tricking one or more generations of young American women, into believing that their (i.e., each woman's) own personal state of bliss, i.e., rubedo, can be achieved without the chemical wedding/citrinitas; or in other words, without the involvement of individual men in the conception and rearing of psychologically healthy children. The evil parties have planted this false notion in each woman's unconscious, in part via manipulation of women's archetypes, for example by causing, deep within every woman's psyche, confusion between the Incarnation and the virgin birth of Jesus on the one hand, and the Immaculate Conception on the other. As discussed in part 10 of this analysis, Carl Jung tells us that while such archetypes correspond to certain religious concepts, they are at the same time universal. All of this operates at an unconscious level, i.e., the women being taken advantage of by the evil conspirators, don't consciously realize that their innate archetypes are being manipulated.


The evil parties have also worked together to cause the corruption of the Holy Spirit, as symbolized in our movie by the fact that Dorothy and the Lion have committed blasphemy against the Holy Spirit. Therefore, the evil parties have conspired to prevent the second coming of Christ, since it was by the Holy Spirit that Jesus was conceived in his mother Mary's womb.

It is only when a modern-day messiah arrives, and initiates the process whereby society's course is to be corrected, that an apocalypse will be prevented. As indicated in the analysis of The Shining on the Can Analyze Kubrick blog, director Stanley Kubrick predicted that this messiah will be a trailing edge baby boomer, i.e., he will be an American born between the years 1956 and 1964. Also indcated there was that filmmaker Quentin Tarantino was born in 1963. From Carl Jung's Answer to Job: "But God...wants to become man, and for that purpose he has chosen, through the Holy [Spirit], the creaturely man filled with darkness— the natural man who is tainted with original sin and who learnt the divine arts and sciences from the fallen angels. The guilty man is eminently suitable and is therefore chosen to become the vessel for the continuing incarnation, not the guiltless one who holds aloof from the world and refuses to pay his tribute to life, for in him the dark God would find no room."[c]

a. Image from the Wikipedia 'Four Horsemen of the Apocalypse' page, public domain, via Wikimedia Commons.
b. Wikipedia, 'Four Horsemen of the Apocalypse'. Web, n.d. URL =
c. Jung, C. G. "Answer to Job" in The Collected Works of C. G. Jung, Vol. 11. Princeton University Press, 1969. Kindle Edition. pp. 98-99.

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