The Gold And Treachery Of Nursery Chrymes
The Gold And Treachery Of Nursery Chrymes
In Childhood`s End Arthur C. Clarke depicts humanity leaving Earth. In Revelation, humanity is defined as the `hidden` woman protected by the `New Redeemer` until she leaves to `sow` her own `seed` amongst the stars, where she fights and wins a war against the evil serpent`s `seed` from Earth, before receiving a new heaven and Earth from God, while the evil receive perdition. Because she has her own `seed` to `sow` the woman who leaves for the stars has her own penis, which means she`s futanarian, and her leaving is an escape from `childhood`.
Childhood is depicted as innocence, while a `hood` is an evil member of a gang. Greek history is that of homosexual pederasty`s enslavement of women`s wombs in order to spread their `plague aim` of war, while the `Greek horse`, taken in to Troy by the Trojans, who believed it to be a `gift`, is prototypical of war as `plague`, and men who `plague, games` of deception in order to betray innocence. Similarly, the `civil` aircraft hijacked by the ticket-buying terrorists from Boston, Massachussets, were `Greek horses` crashing into the Twin Towers of New York and spreading the `plague, game`.
Because the `plague` is poison, the `boy sons` of the ancient Greek homosexual pederast`s were `poisons`: `In the beginning was the word and the word was God,` Genesis begins, and the `childhood` of God`s `hidden` woman, with a penis of her own, and so a species in her own right, ends in Revelation when the poison (boy, son) `hood` is left behind because woman as a species with her own penis doesn`t need a man.
Personal computer `PC`, and `politically correct` (PC) `geeks` would have us believe that Trojans are a virus, whereas a `Trojan` is a condom and `work like a Trojan` is a eulogy. `PC` has inaccurately determined that a `Trojan` is a virus whereas a `Greek horse` is a virus, which means that `PC` is an example of what the Greeks termed enantiodromia, where devotion to an extreme position results in the opposite.
In English, 999 is the `PC` number, that is, the `police constable` will respond to a 999 call. In Revelation, `the number of the beast is the number of a man and his number is six hundred three score and six`, which is 666 or `PC` reversed. The analogy could be extended. In English, `bullies` would be the `police` reversed, which is 999 to 666. The number of the NYPD is 911 and 911 is the number of `PC` in the USA. 911 was the date of the terrorist attack on New York because it`s 911 reversed. The Bible would have to have been construed, in English, at its inception in Genesis, which means 911`s God`s omniscience.
Insofar as `Providence` explains the devouring `red dragon` of Revelation, which waits in vain to devour the `New Redeemer`, that is, the `blood plague` of homosexual pederasty`s enslavement of women and devourment of her as the `Big Apple`, is the `plague, game` plan. Revelation is the fact that the Bible translates into English `Word` (MS). Either that, or it`s a `joke` written by (or about) an English `police constable`.
The conclusion to be drawn from woman`s escape from Earth is that she`s leaving behind an alien virus that didn`t want her to live as a species with her own penis and `sow` her `seed` amongst the stars but follows her and makes war against her.
All aliens in science fiction represent women, or an aspect of men`s relations with them. Often it`s a matter of juxtaposition. In the movie, Swamp Thing, the `monster` carries an unconscious Heather Locklear into the everglades. If `Swamp Thing` was a woman with a penis, Heather`d be carried over the `threshold` in the traditional `after wedding` accompaniment to the bride`s arriving at her new home. Rescuing her from the burning house, `Swamp Thing` is a `hero` but, like King Kong, with Fay Wray in the palm of his hand, foreshadowing 9/11 as he clambers to the top of the Empire State building to be shot down by aircraft, or Mary Wollstonecraft Godwin`s `monster` in Frankenstein, who`s attacked by villagers for murdering a young woman, he wants a woman, and so is alien to homosexual pederasty because he doesn`t seek violence.
Swamp Thing is a boy sons (poisons) movie, because it first `fathers`, and then `fosters` the delusion the monster is a `hero`, whereas the `monster` is a `stunt double` for a homosexual who wants to replace the man, or the woman, with a `Greek whore`, that is, a woman who`ll produce more boy sons (poisons) for (and from) women`s wombs. Any woman is a target for the `Greek whores`, which appear in Revelation, along with the four whores` men of the apocalypse; war, pestilence, famine, and plague:
`And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.` (Rev: 17.5)
Greek homosexual pederasty`s enslavement of women`s wombs for the purposes of promulgating the devourer war, shifted its emphasis to `blood, plague` in the 20th century. It became HIV/AIDS, and `live` on Hollywood`s `baby` Babylon, that is, television`s `small screen`, 9/11`s `Greek horse` abomination was the terrorist hijackers` crashing of `civil` aircraft into the Twin Towers with the `plague aim` of spreading `biological warfare` against women as a species with her own penis; to `plague, game` and prevent her from being born. Either by means of war, plague and famine, which is `sex starvation` through terror of sex and the nurturing of homosexual pederasty`s boy sons (poisons), that is, the devouring `red dragon` of hate for women, and death to her.
In the 9/11 `movie` it was Saddam that wanted the `Big Apple` of New York`s Eve, according to the `baby` Hollywood `Dream Factory` of TV. But the terrorist hijackers flew from Boston, Massachussetts. In any event, noone got the girl because she wasn`t wanted. As in recent Hollywood movies like Nightmare On Elm Street, Fire Walk With Me, Saw, Scream, etc., noone wants the girl, and in fact she`s murdered to underline the `message` of 9/11. The woman and her penis aren`t to be seen on TV or anywhere. The psychopath and the `monster` are interchangeable. Heather Locklear, in the arms of Swamp Thing, is where the woman doesn`t believe she wants to be, so the `monster` is a `stunt double` for woman with a penis of her own, and the psychopath (boy son, poison) doesn`t want the woman to be, and so is a `real monster` but looks like where the woman has been told she wants to be. In Alien, and its subsequent avatars, Sigourney Weaver is attacked by monsters, who are `stunt doubles ` for men, because they don`t want her to be. The `Greek whore` is the woman, who`s been taught she doesn`t want the `other` woman to be, because she isn`t for producing boy sons (poisons) with the `Greek corps`, and so the `evil` woman is the genuine `alien`, because she`s more difficult to analyze. Demi Moore in Charlie`s Angels, or Deborah Unger in Payback:
`Porter is shot by his wife and best friend and is left to die. When he survives he plots revenge.`
Lynn Porter, and Val Resnick, are the Greek whore`s spreading of the plague, but it`s a Hollywood delusion. Mel Gibson has the role of `Porter` and he`s confusing as a hero, because he`s a criminal, but not if you`re interested in having sexual intercourse. Payback is the awareness that homosexuals are behind you, and they`re hard when they don`t want you to be.
In English theatre `Pantomime` has the catchphrase, `Behind you!` It features a principal male character played by a female, and so the allusion is to the `hidden` woman of the Earth with her own penis as a species. The catchphrase aimed at warning her of the presence of the villain means the homosexual wants to be, `Behind you!` Because the `blood plague` of homosexual pederasty`s `red dragon` doesn`t want the woman to escape, so that it can continue to use the Earth as its `snuff mill`.
In the Bible the `hidden` woman is depicted as `crushing the head of the serpent with her heel` as she leaves, and so the timeliness of the warning `Behind you!` If you allow a man into your anus, he`ll live it up like HIV/AIDS while you die of him. In The Legend Of Sleepy Hollow Ichabod is scared to death by the `headless horseman` as a common instance of terrorism `disguised` as Romance. `Bod` had a rival for a woman, `Bones`. Most literary critics perceive `Bones` as the `headless horseman`, who is `plague and famine` because `Bones` wants to frighten and turn `Bod` off from desiring the woman, and so the `headless horseman` represents sex terror. `Bod` is the `hollow` man in The Legend Of Sleepy Hollow, that is, men are the parasitical alien life form that preys on the wombs of women, and so are the `Greek horse`, the `Greek whore`s`, the plague, `game` and the transmission of death`s `seed` by `Bod` so women`s future progeny will be `hollow` too.
In the 90s Star Trek the notion of the `holo deck` aboard the Starship Enterprise reflected upon the 60s Star Trek TV series` successful `camp` atmosphere, a term denoting homosexual humour. The idea of being hollowed out from behind while laughing at the `camp` humour is homosexual. Batman and Robin is similarly `camp`. Robin, the junior partner in the crimefighting duo, remonstrates with Batman, because of his seeming infatuation with the criminal Catwoman:
`You were taken in by her, but I'm too young for that sort of thing.`
In the `Greek` camp before Troy, the Greeks plot to take the city by constructing their huge wooden horse; inside which they hide men before leaving. The Trojans take the horse into Troy, and the Greeks emerged in the night to capture the city for homosexual pederasty, and the enslaving of women`s wombs, so promulgating war as their `plague, games` media:
`Beware Greeks bearing gifts.`
In ancient Greek civilization and culture the Kore was the mother-daughter relationship, which is central to the concept of the futanarian woman, who is woman as a species with her own penis. A `Greek horse` is any man who`d want the woman`s daughter, because it`s how homosexual pederasty spreads. The mother-daughter relationship is the `Greek Kore` of Demeter, the golden corn goddess, and Persephone is the goddess of spring, or green corn, which effectively means Woman`s exclusivity as a species with her own penis.
Often pornography is defined as `soft core` or `hard core`, which derives from the Greek Kore, because if pornography is sex within a species, as defined on planet Earth, women are the only humans, and pornography can`t be made because men aren`t pornography but women and the Earth`s `disease`. The role of the alien in science fiction is their extrapolation of themselves. In movies such as War Of The Worlds, Independence Day, and Mars Attacks; for example, the Earth is invaded by aliens who destroy the planet in the same way that men do. Because it`s how men behave towards the Earth and the women who are the species upon it.
Pornography, as made by men, is Prelude. The function of the woman in the movies is an excuse to ostensibly portray rape, murder, and ruin as `evil` impinging upon the person of the `good` woman, who is rescued by men in some convoluted way, so justifying homosexual pederasty`s brutal devouring alien life form. Pornography made by women would be more like science fiction. Effectively, there`d be a mother-daughter `hard Kore` - and they would decide.