so i'm sure a lot of you are familiar with at least some of the ancient greek tragedies, such as the more famous ones by sophocles, euripides and aeschylus. if not, basically the theatric art of tragedic production in ancient greece was all about staging a play whose theme was dire and, well, tragic. such as a mother killing her own children (medea), a man unknowingly killing his own father and then marrying his own mother (oedipus rex), a husband returning home victorious from troy only to be killed by his own wife (orestia). so why would they actually *enjoy* staging and watching such dire productions? well, there was very significant mystical purpose behing the ancient greeks' tragedic productions, which though lost to recorded history, i now re-introduce to you all. first off in this context let's take at Aristotle's "Poetics" in which he discusses the nature and purpose of tragedic productions:

the above quote is more easily understood if Aristotle's exposition of "katharsis" is borne in mind whilst reading it. he explains katharsis in some detail in his book "Politics" in the following passage:

of especial importance in understanding Aristotle's deeper meaning here (for the Ancient Greeks, be they philosophers, playwrites or myth cycle writers always disguised their deeper, more mystical meanings through, for example, allegory and redirection) is the phrase: " as having magnitude". This would more literally translate as: "as being of great import (under the heavens)". you see, predetermination works by means of the astrological alignments which occur in the sky and through which various sets of different energies are activated here on earth, both as a whole and also individually within each person's soul. more can be found on this mechanism in my thread “Astrology and The Chakras” located here:
http://www.occultforums.com/viewtopic.php?t=8562

now, that energy has to be expressed somewhere and ordinarily it is expressed in people's lives and actions and in the course and destiny of states and nations. the ancient greeks however, being a very mystically evolved and knowledgeable people, found a way by means of which to force the majority of the more powerfully negative alignments to be expressed through the dramatic arts of tragedy. thereby preventing, or at least massively reducing, the expression of such energies in the external "real" life of people and, more importantly, of city-states and greece as a whole.

the main keys in this process being three:

1. the dramatic production must be such as to accurately reflect and embody the nature of the astrological alignments it is to be used to capture and express. you can't, for example, use a play talking of the killing of children by their own mother to express and capture astrological alignments which represent (and produce) "mass death at sea through defeat in naval battle". astrological alignments, you see, are *very* specific in their meanings, despite the lack of specificity displayed by the majority of (highly incompetent) astrologers practicing nowadays. more on this side of the process can be found in the thread located here:
http://www.occultforums.com/viewtopic.php?t=4896

2. the production must be staged in an appropriate "place of power" ie at a nexus nodal point upon the earth's energy grid (and such were the sites upon which the ancient greek theaters were built). thereby can the appropriate energetic flows be directed so as to capture the power of the occuring astrological alignments, force them to be expressed through the play, and funnel the energy of that expression into the earth's grid so that the alignments are forced to express all (or at least most of) their influence through the dramatic production rather than in the external life circumstnces of the people, polises and state.

3. 12+1 mytics / priests / sorcerers need to direct the energies of the astrological alignements into the play and, through the play, into the earth's grid.

so you see, it is possible to cheat god, provided you know how to go about it.

all the best,
Oazaki.