The Micro-aggressing “Evil Eye,” the Hamsa, the “mark” and the third eye

In the ancient world, the phallus, as a broader symbol, was believed to contain apotropaic magic capable of deflecting the harmful effects of the so-called “evil eye.” The “evil eye” was typically understood as the cursing or condemning stare of an adversarial sorcerer, woman or person. Here the cursory assessment imagines that since the phallus was a symbol of masculinity, the “evil eye” was a symbol of femininity, perhaps even a vaginal reference. As discussed, the Hebrew tends to suggest the eye as a metaphor for the vagina and the JEM more broadly, certainly does.

Here the word Ayin, עַ֫יִן for example, translates as “eye” or “pleases” from the Hebrew Bible. In the Modern Hebrew Ayin means “eye,” “sight,” “appearance,” “aperture,” “hole,” “spring” and “fountain.” Thus we might suspect between these two symbol, the phallus and this esoteric vaginal symbol, we see a sort of battle of the sexes with the phallus representing a “good” male force and the “evil eye,” representing the “evil goddesses,” gynarchy or matriarchy. This is a mistake, though. This contrast describes more than a battle of the sexes. Rather it describes a racial battle fought through sexual and cultural means.

Indeed, the “evil eye” as a symbol is doubtlessly a more specific and interesting one. It appears and is condemned several times in Rabbinic literature and, as a symbol, is known to many Mediterranean and Asian tribes and cultures. In general its most common physical representation is in an eye-like amulet known as the Nazar. In ancient Turkey, where this symbol has a long history, it was known as the mâvi boncuk or gökçe munçuk. Importantly both mean “blue bead.” It’s a fitting name as the amulet or eye is always a blue one.

In Judaism, it appears in the form of the Hamsa or Hand of Miriam. There the eye is inlaid on a five-figured hand and is blue or green. In ancient Mesopotamian similar artifacts appear as a symbol of Ishtar and Inanna. Derivative symbols include the Hand-of-Venus and the Hand-of-Mary. Mary and Miriam, both bearing forms of the same name, as well as the above mentioned Goddess should be understood as Symbolic Synonyms, as we will discuss.

The open hand is a universal sign of protection and peace. Doubtlessly this blue or green-eyed talisman of the evil eye indicates Aryan, after all these traits are unique to this race. Indeed, this Hand-of-Mary or the Hand-of-Venus we may also understand as the hand of Mary or Venus or “hand in marriage.” In other words, here is expressed a desire to possess the hand of the desired Aryan female. We find corroboration of this when we find the Hamsa designed with a Star of David enclosing the blue or green eye or appearing in lieu of the blue or green eye. The Star of David, as this study explicates, is also a symbol of the captured or possessed Aryan. Again, the eye set in the middle of the Hamsa may be understood as a vaginal symbol.

There may also be a meaningful reference to the hand in Genesis that also connects the Hamsa to the “eye” as symbol for vagina or anus. There, in Genesis, Jacob engages in his famous wrestling match with an Angel of Yahweh. As this study discusses elsewhere, sodomy or sexual domination is suggested in this conflict. Jacob gains a limp after he is touched in his “base socket,” “lions socket” or “hip socket.”

The word for “socket” here is kap, כַּ֣ף. It means “hollow or flat of the hand,” “palm,” “sole of the foot,” or “pan.” Hence, in JEM, it seems likely the palm or hand also becomes an esoteric symbol of the vagina or anus in certain contexts. This understanding may suggest something untoward about the ancient practice of palmistry that may have consciously developed, in its ancient origin, as a kind of degrading and demoralizing molestation. Here a mystic of some type, often of a non-native itinerant class, is fondling, caressing or “diddling” the native’s palm with a phallic finger.

We should consider it possible that “marks” appearing in the Biblical works also carry the same vaginal significance. Indeed in at least one instance they might even be linked to the symbol of the Hamsa or what would become the Hamsa. For example, in Revelation 13:16, we encounter this striking passage: “And the second beast required all people small and great, rich and poor, free and slave, to receive a mark on their right hand or on their forehead.”

The context of this passage, as is explicated in this study, is an Aryan “beast” represented by the number 666 serving a preceding seven headed beast. As explicated in this study, seven is a reference to the Saturnian Jewish God. Hence here, understanding the “mark on their right hand” and the eye on the Hamsa synonyms, we might find corroboration for the idea that the “blue eye” as an Aryan identifier on the Hamsa is very deliberate. After all, as this study explicates, the number 666 is a solar reference and Aryan identifier.

Here we might consider that “the third eye” emerging in Dharmic traditions is drawing on a common esoteric understanding of symbols and is emerging via Promethean Transmission. There the eye, while often depicted as dot in Religious Art is sometimes depicted as an eye tilted on its axis 90 degrees so as to perhaps emphasis or even clarify a vaginal symbolism. It seems possible, if not entirely reasonable, to wonder if this symbolism is suggesting a “feminization” of the mind.

Here literally the head has become a vagina by which a knowledgeable esotericist may “impregnate” the Aryan Goddess Psyche. After all it is clear that JEM, for instance, is developed in this manner. The example used commonly in this study is the idea of the Aryan church or “assembly,” being understood as the “wife” of the Jewish Christ. The entire goal of JEM or “Eastern symbolism” is to achieve submission, adherence and therefore, naturally, a kind of feminization or “beta-status” before gurus or priestly types.

The Mark of Cain, assigned to Cain, an Aryan figure that this study explicates as being cuckolded by the proto-Jewish line of Seth, may also become a vaginal or feminizing symbol in light of Revelation 13 for example.

On the other hand, we shouldn’t discount an important primary meaning to this parable. The Mark of Cain also contains the idea that his feminization or domination occurs by a control of language and symbol where Cain passively receives a sign, symbol, name, identity or prophesy by an active male Jewish God. The word for mark here is oth, אוֹת which means most commonly “sign” in the Biblical Hebrew and “mark,” “sign,” “letter,” “note,” “cue.” “omen,” “emblem,” and “beckon.”[1]

Further suggestion that the Dharmic “third eye” may have “Promethean Origins” are the Tefillin or Phylactery appearing in Judaism. These are black boxes containing pieces of Torah scrolls that are worn above the forehead by orthodox Jews during prayer. We should remember here, as this study makes clear, the head may represent the phallus in JEM as we see with the rituals of anointing and baptism.

The “arm-Tefillin” that is worn with the “head-Tefillin” is a strap wound seven times around the left arm and hand, whilst three times around the middle finger. The number seven, as will be well known to readers, is a reference to Saturn and the castration or emasculation of a competing Aryan Sky God. The number three, has sexual connotations, often suggesting insemination and Semitization.

Here we perceive a correspondence with Revelation 13:16 where the mark of “the beast” appears both on hand and forehead. Though in Revelation there is perhaps a vaginal suggestion among the “marked” or “indented” followers of the dominated-Aryan beast, while a phallic suggestion with the wearers of the protruding “head-Tefillin” and figure wrapped “arm-Tefillin.” It is perhaps of note that a Hebrew letter often traditionally set on the Tefillin is shin or sin, ש, understood as a name of the Jewish God.

This study connects shin or sin to the notion of sin as it appears in English translations of the Biblical works and the ancient Mesopotamian moon God bearing the name Sin. Here, it is argued, words and concepts arrive via Promethean Transmission. Here, as this study argues, sin, whether the God or the concept, becomes an embodiment of miscegenation.

The origin of the Tefillin is found in passages like Deuteronomy 6 where the Israelite is bid in sermon to hold to the Jewish God’s commandments and judgements so they may prosper in a “land flowing with milk and honey”[2] or flowing with Aryans as sexual resource, as this study makes clear. There the Israelites are bid to “Tie them as reminders on your hands and bind them on your foreheads.”[3] These are things that the Jewish God bids them to do in the “land [they] are about to enter and possess.”[4] We should it find it interesting that the English word for Tefillin, Phylactery, derives from the Greek phylacterion meaning “safe guard, amulet.” This approximates at least the exoteric understanding of the Hamsa as a symbol.

The 2013 film Now You See Me[5] is unequivocally a case of JEM and references the Hamsa throughout. It strongly corroborates the ideas suggested here. In the film, five magician bank robbers, part of a secret order called “the Eye,” betray, rob and ruin their financier, the wealthy Aryan figure of Arthur Tressler (Michael Caine). The five magicians, each bearing names with meanings that align with the five Chinese elements[6], represent the five fingers.

The eye or vaginal symbol is represented by a blonde, blue-eyed, Aryan love interest, Detective Alma Dray (Mélanie Laurent).[7] She is obtained at the end of the film by the head magician, Dylan Rhodes (Mark Ruffalo), a clear Jewish figure. It’s clear, in fact, that she becomes the goal or prize of the magicians’ activity, much of which is ostensibly charitable. To wit, they rob from the rich and give to the poor. Hence, venal Jewish socialism as a mating song. This naturally appeals to the emotionalized female love interest. Regardless, it is confirmed that the Hamsa is a reference to the Semitic Bride Gathering aspect of Judaism.

The talisman of the Hamsa is ostensibly designed to ward off the possessors of the actual blue or green evil eye, yet, oddly, it is worn by the person seeking protection. The thinking is that it might deflect the evil magic back onto its caster. Theoretically we might understand this symbol, with an eye set in the middle of a palm, as a Semitic or non-White grasping hand, taking or possessing the spirit/blood/DNA or even the outward appearance of the blue/green-eyed Aryan through intermixture.

Though again the hand or palm may itself be intended as an Aryan vaginal symbol. Indeed, we see clear examples in Myth and contemporary JEM, where a loss of power among rivals and sexual demotion is indicated by the loss of a hand. This “Tyr motif” we see repeated by Jewish writers in the contemporary context with Luke Skywalker, Jamie Lannister, Spider man’s adversary the Lizard and the Black Panther’s adversary Klaw. All are Aryan figures. The Hebrew suggests this is a conscious understanding among Jewish esotericists. Indeed, in Modern Hebrew Hamsa means to possess or “rob,” “usurp,” “maraud” and “destroy.”

One striking occurrence of the Tyr motif in the film Raiders of the Lost Ark appears to render the connection to the Hamsa clearly.  The sought after brass “head piece” in the film, originally guarded by the vied for breeding stock Marion Ravenwood, is a clear vaginal symbol.  After being heated in a fire, very likely intended to represent the Jewish God, it is imprinted on the palm of Major Toht’s hand. Later when he raises the disfigured hand to perform a Roman salute, he presents a clear Hamsa, with the impression of the gem at the center of the head piece representing the vaginal eye of the symbol.

Arguably, the Aryan “evil eye,” at least by itself, might as well represent Jewish financial or cultural subversion of the Aryan, whereby the Aryan is turned to his ends and thereby becomes the Jew or proto-Jew’s outward face. This might, for instance, be part of its significance as it appears as the Eye of Providence in Freemasonry. Indeed, the Eye of Providence, the Eye of Horus or Ra (solar symbols and thus symbols of Aryan energy however directed) should be understood as Symbolic Synonyms of “the evil eye” as it appears in the Hamsa and generally. That the Eye of Providence is set in an upward pointing triangle may emphasize it as a possessed celestial element as is suggested in Hermetic symbolism.

Perhaps we might understand the wearer of the Nazar or Hamsa as “blinding” the caster as well through the possession of this eye or vagina. In a manner he is the Semitic Set or Seth having taken the eye from Horus who is a solar and Aryan figure. Seth is certainly a Proto-Jewish synonym of the Jewish God as this study reveals. With the Hamsa, the hand might be understood as either a holding and possessing hand or, ostensibly, a blinding or blocking one. Indeed, the blinding of Non-Jews as a motif will emerge in the JEM as we will discover.

This is doubtlessly connected to the theme of “invisibility” or disguise, also a recurrent theme in JEM. In other words, the Jewish God blinds by virtue of being invisible, operating in secret, through wealth, ethnic networking, but also through actively confusing and deceiving. The five figures of the Hamsa are also typically associated with the five senses in Jewish mysticism. Hence we get a sense here not merely of “blinding” but of robbing one of his senses all together. That the five figures also refer to the five Chinese elements suggests an earthly or cosmic dominance.

Noticeably and meaningfully absent from the Chinese elements is the Aryan element of Sky or Air. At least on a Jungian level, this suggests the loss of a ruling Aryan element among the Asian races whom become naga, serpent and dragon-honoring. Metaphorically it suggests this race as something of a Chthonic, underworld race. The Hamsa is related as well to the pentagram and the five-pointed evening star, which may suggest Ishtar or Venus in her nocturnal, Semitized and absconded form. Regardless, it tends to corroborate the Hamsa as a Semitic Bride Gathering symbol.

Nevertheless, the phallus, particularly in the form of the Fascinus, as it appeared in Rome, is the most interesting part of our discussion. Why is the phallus understood as a counter to the Aryan evil eye? Let’s not kid ourselves. This is race war through “apotropaic magic” or REM, racial cuckoldry and sexual and demographic competition.

The “solution” or ward against the Aryan’s “evil eye” has always been to outbreed and to intermix with him. The evil eye is understood in the mythology as envious. Yet this dynamic is very familiar to us. Here with the “evil eye” we perceive “micro-aggressions” in the ancient world. Indeed, the Aryan is truly hated only to the extent he excludes and not to the extent he is “envious.”

Indeed, we know of examples where former slaves of his will remain about him for centuries after their release, berating him preemptively, forever fearful that he will eventually exclude them. One charming Bas relief in Leptis Magna shows a legged phallus ejaculating into or blinding an “evil eye.” Here the eye might be understood not merely as the eye of Venus but, as well, the vagina. The relief succinctly clarifies these symbols and the manner in which respect would develop for the blue-eyed Aryan.

The Fascinus, though, as a symbol of “magic,” is of course a symbolic synonym of the Serpent in the Garden of Eden. As discussed in this study, there he is called, nakhash, נחש, which means “magic,” “spell,” “enchantment,” or “augury.” As also discussed in this study, we understand, meaningfully, the English word “spell” to mean story in its origin. Hence a subtext of one’s races sexual success in story and parable becomes the “magic” of parable and art. Once again we see, Art and Religion are one. Both are mating songs. There are profound lessons here for us.

[1] The noun form of beckon.

[2] Deuteronomy 6:3

[3] Deuteronomy 6:8

[4] Deuteronomy 6:1

[5] The film is directed by Louis Leterrier, produced by Bobby Cohen, Alex Kurtzman, Roberto Orci and written by Ed Solomon, Boaz Yakin and Edward Ricourt.

[6] The magician Jack Wilder (Dave Franco) is an exception here… Yet his name is obviously a play on the Jack or Joker as a wildcard, presumably indicating he could be any element… This would be metal here… Here are the others correspondences based on name meanings… The magician named Atlas refers to earth, Mckinney refers to fire, Reeves refers to wood and Dylan Rhodes refers to water.

[7] Laurent is Jewish but plays an Aryan… This is a common form of misdirection in cinema and theatrical arts… Similarly, Mark Ruffalo is a non-Jew playing a crypto-Jewish figure.