Ferdinand the Bull in the Underworld

Act 1, Scene 1:
The Narrator is seen masturbating in front of a TV set, which hides his lap from the view of the audience.

Narrator: Now I ask you, if masturbation, as perfectly enlightened people say, is natural and everybody does it, why is it the subject of so much moralizing and frustration and guilt for so many? Why, if jacking off is only a part of an initiatory process into actual sex and adulthood, did adult video sales reach 4.2 billion dollars in 2000? The God who prohibits eating the fruit of the Tree of Knowledge does so to prevent Adam and Eve from knowing the secrets of carnal knowledge which are allied with the secrets of generativity and creativity. This knowledge would make them like gods: powerful and independent. Sounds like a jealous god to me, and jealousy is the enemy, a roadblock to personal evolution. Sex is the evolutionary mechanism in humans that generates the unlimited power to transform ourselves. Through sex, we deal directly with the microcosmic form of the Universal energy, the coiled fire snake at the base of the spine, the embodiment of bliss, whose true nature is pure consciousness. Awakening this cosmic force demands discipline as well as active play, creative imagination and the desire to transcend the world of polarity. With masturbation, we are the lover and the beloved combined, giving and receiving, active and passive. The key to the kingdom is in your own hands, so to speak. The Egyptian creation story proceeds from an act of masturbation and so does mine. (He closes his eyes.)

I see the image of a woman and a feather
kneeling under the star
reaching down through the worlds for starlight,
stirring the waters of the lake,
filtering down between the lines
of the pages of our secret books.
Her face, the zodical Wheel, the procession of Aeons
the months of the year, they are One in twelve.
The whole of Her creation do I see as One.
Her love is a fishhook,
to angle in the genetic pool, the blackhole, the darkstar,
to catch the winged fish inside us
through Adjustment.
She speaks!

The Voice of MA'AT is heard from above and below:

The Word of the Goddess is the Seed of man.
Who understandeth the Seed may eat thereof.
But who thinketh the Seed is an Ox is a fool.
For the Seed is under the Moon in the house of birth.

Narrator: Ah yes. I see now a lovely Arcadian bull under a cork tree. Life to him seems a beautiful braid of eternal nowness. Pure existience. Fresh warm spring air . Smell those flowers. The inner feeling of wholeness that needs nothing external to feel better. Ferdinand, as this fine bull is known, loves to sit under the cork tree and smell the flowers. Bucolic Serenity. hhmmmmm.... This gives me an idea.

King Minos has been rather stingy with his offerings in the last few years. Since he is descended from the line of Cherubic Assyrian Bullmen from the North, lets see if there is any of that nobile selflessness left after these many generations living in Assiah. Time for a costume change...

Act 1, Scene 2:
The Court of King Minos

Narrator: (in disguise) King Minos, I have brought you this, the finest Bull from my pasture because well, it is well known that you are descended from that noble line of Cherubic Assyrian Bullmen from the North, and since the time is near for the annual sacrifice it would honor me to know one of my bulls was offered up by King Minos himself. Is he not the most beautiful bull you've ever seen?

Queen Parsifae: (admiring Ferdinand with a glazed look in her eye) Check out the unit on the beast!

King Minos: Thank you kind farmer. You are right, this is the finest bull I have ever seen and would be an appropriate offering, especially from me. (Aside, to his architect) I 've already picked my sacrifice for this year. Take this beauty to the royal pasture. He'll make a fine stud.

As the Architect leads Ferdinand off, the Queen stops him.

Queen Parsifae: Oh architect, you're a clever man... I want you to build something for me. (She whispers something into his ear and a shocked look of disbelief comes over his face.)

Act 1, Scene 3:
The Halls beneath the Castle. The King and a servant are seen walking by torchlight.

Narrator: And so Queen Parsifae falls to lust with the heavenly bull and has the royal architect build her some furniture to, how should we say... to get it right on. King Minos, also with an eye for beauty and its value, replaces the offering of Ferdinand with a bull less desirable -- one he can afford to give up -- and in the months that follow, things go from bad to worse.

Servant: Good night at the poker table sire?

King Minos:I lost my royal shirt, my kingdom is in chaos, my back is killing me, and my wife pays no attention to me... I wonder what it is she does in this part of the palace at this hour of the night. Unlock this door immediately!

Servant: Yes, sire. (He unlocks the door.)

King Minos: (looking in the open door) Oy Vey!!! And with my precious bull -- arrrgggh -- Stabbing pain in my chest -- loss of sensitivity in the extremities -- can't go on describing symptoms much longer -- (falls to the floor) -- is that going where I think it is -- I didn't think that was possible -- Boy, come closer -- you must tell the royal Architect to do something to hide my shame. Build an edifice to my people to mask my greed -- oh, and lose the bull! (He dies.)

Servant: (unable to divert his eyes from the scene in the room) Yes sire, I will tell the architect to mask your people and build a edifice to your greed to lose the bull -- or was that a hiding place to mask -- is that going where I think it is --

Act 2, Scenes 1=3 and 2=0

Narrator: Act 2, in where Innana, the sister of Parsifae, goes to an underground nightclub with her servant, Frog, to attend the funeral of her sister's husband. Club Labyrinth has been constructed ironically as a memorial to Minos. And this, the opening night after-party, is where the shadow shines. At each of seven doors she is stripped of her robes, her garments, her jewelry. What comes after the last door is a suprise, a boundless expanse full of unprecedented uncertainty, with apparently no inside and no outside, no above and no below, no here and no there, no mine and thine, no good and no bad.

Innana:

I think we should turn round 'bout now
those first six doors passed through
a sense of dread surrounds me and I've got a headache too.

Frog: But here is the last door my lady...

Inaana: (reading a sign hanging on nothing) Visita Interiora Terrae Rectificando Invemies Occultum Lapidem. What does that mean?

Frog: Visit the Interior of the Earth and by Rectification thou shalt find the hidden Stone.

Narrator: (dressed as a Doorman, startling them from out of nowhere)

We been waiting for you, so hurry on up
cause the folks in here are on auto destruct
and so can you be too!
the fact of the matter it's made for you!

We got the freaky freaks baby
in various forms of partially indeterminate biochemical degradation,
they seek the path to the pearlescent nozzle of their foaming nocturnal parametric digital whole wheat interdenominational geothermal metaversal magnetick terpsichordion ejacumenta...

The niece of Minos and her frog
we been waiting for you, so hurry on up
'cause the folks in here are on auto destruct
and so can you be too!
the fact of the matter it's made for you!

They enter the club and are astonished by the depravity they encounter.

Innana:

If I should say, "this is so cool,
it truly blows my mind
I can't go on, I'll stay and drool,"
then heaven's peace I'll never find.

Narrator/Doorman:

This is the labyrinth of flesh
below the jeweled city,
where people dance on broken glass
to rhythms of their pity.
Young boys would be angels
hanging naked from the sky
time delays reaction
captured falling
do or die

Queen Parsifae:

Baby sister, so good to see you
don't think about leaving
now no one can free you

Innana:

Sister is that you? what's happened? what's wrong?
the death of your husband has you singing this song.
Your perverted and nasty and your nightclub is full
of sodomites, pretty boys and a hella nice Bull.

Queen Parsifae:

Fuck you little brat
you have always been sweet
and now that you are in my place
you'll admit your defeat!
Little sister come to know my pain
and with it some insight to gain.

Innana:

If sweetness is my sin sublime
let the punishment fit the crime

A series of interactive psycho-sexual Cabaret Acts unfold (of unspecified duration). When it is time, the play resumes.

Frog: (to Ferdinand)

What can I do to secure her release?
If the wrathful Aunt could take me instead
and give Innana leave from this land of the dead...

Ferdinand:

Commiserate! Become her pain
and grieve with her and she will come to see.

Queen Parsifae: (in agony) Oh woe is me!

Frog: I see, I see !

Queen Parsifae:

What do you see, you little turd?
My guess is you can see the end
and frightened like a baby bird
you see a worm you called your friend
on fleshy hooks you watch her squirm.

Frog:

I know dark queen your pain is deep
and suffered have you without sleep
your life once full was torn away
by greed and lust and your hearts decay
oh woe is you
your pain so deep
the misery that you must keep
inside you while the outside burns
and slowy while the earth in turns
is hot and cold
and dark and light
your trapped in side
Queen of the night

Queen Parsifae:

what sayeth you?
you speak sincerly
you resonate my life in here
not casting doubt nor placing blame
but greiving with me without shame

Innana: (to Ferdinand) What is he doing?

Ferdinand: The purpose of mirroring the critical factors is to increase the rate of feedback, helping us all to become more "self-aware" of success in our work to heal a network of critical shadow areas. In so doing, we will establish a precedent for friends willing to take action to help friends succeed in energetically ringing the spin information they need from their environment. Mirror loops are like a ringing grid antenna specifically entrained when the glandular electricities of human emotion become harmonically fractal or recursive (the frequency signature makes a pretty cascade-like fourier series, all lined up and dancing in phase). The more ordered ringing begins with what is called the Schumann resonance, which then sets up a harmonic series in the very same range of ELF harmonics we are finding in the heart power spectra accompanying human compassion.

Innana: Oh.

Frog:

I know dark queen your pain is deep
and suffered have you without sleep
your life once full was torn away
by greed and lust and your hearts decay
oh woe is you

Parsifae: (crying)

Here with out warning, the end of my tether
I pass through a doorway, the Mouth of Forever.
The colours cut and flash and flare and come into collision.
Your words provide
a great divide
a cure for hypnotism...
you all are free to leave or stay
embrace the night or light of day

Innana: But how do we get out of here?

Ferdinand: Focus on the rhythm of the breath to accomplish this: The depth of each succeeding breath moves toward stillness in a perfect damped sine wave, as the thoughts approach the stillness of pure principle by the same path. When you feel the connection, you find your breath at zero, till you have folded as much spin into yourself as you can hold. Then repeat: There's no place like home, There's no place like home, There's no place like home...

Epilogue in Arcadia

Narrator: As the dawn sun breaks over sleepy green pastures...

An excited young bull: Ferdinand, did you see, did you see, there is at least a hundred females in the valley this morning. Let's run down there and fuck one of them.

Ferdinand: No, we'll walk down there and fuck'em all.

Narrator: (to audience)

Keep an open heart and mind and in everyone you will find
a friend to help you climb the walls built up by time...

<  |  >