Joseph Mede's) Clavis Apocalyptica (Key of the Apocalypse), first published in Latin in 1627 Revelation and

 Interpreting the Book of Revelation's visions (seals, trumpets, vials/phials, etc.) not strictly sequentially but parallel or synchronous, overlapping in time and covering the same historical periods from different symbolic angles is Mede's key interpretive principle: the seventh seal opens into (or encompasses) the seven trumpets as a new series, rather than following them strictly in time, overlapping judgments on the Roman Empire (pagan then papal/antichristian phases) over church history. Mede's synchronic approach influenced later thinkers like Isaac Newton (who admired Mede greatly) "not strictly sequential but parallel or synchronous, overlapping in time and covering the same historical periods from different symbolic angles,' which I take to suggest may apply in any time frame at any time as well as to the contemporary Rome, meaning that the future empires too are there, to be applied.

 Including future empires beyond Rome diverges from Mede's intent that synchronism as a timeless template could recycle onto any era or empire; Mede saw the prophecies as progressively fulfilling in real historical events, not as cyclical patterns repeatable across unrelated contexts. This method did inspire later thinkers to adapt similar parallelism to future scenarios, like a revived Roman Empire or end-time global power in a futurist reading. One could argue the symbols (beasts, judgments) have archetypal qualities that echo in any tyrannical regime—say, applying the beast's characteristics to modern totalitarian states—but that's more allegorical than Mede's historicist precision.

 Recapitulation Narrative, or recapitulatory interpretation, parallelism, refers to this idea that the book's major vision cycles—such as the seven seals (Rev 6–8), seven trumpets (Rev 8–11), and seven bowls (or vials/phials of wrath, Rev 15–16)—do not describe a single, strictly linear sequence of future events unfolding one after another, but that these series recapitulate (restate, repeat, or re-describe) the same broad period or set of events from different angles, perspectives, or levels of intensity, often culminating in the same final consummation. Recapitulation is more like replaying the same movie several times with different camera angles and increasing drama, while recursion is like a movie that zooms deeper and deeper into its own scenes, with each level depending on the previous one.

 In the Book of Revelation, the recapitulatory narrative style creates a powerful, layered storytelling effect. Rather than advancing a single chronological plot where one event strictly follows another, the same overarching narrative arc— unfolds judgment and the suffering and perseverance of the faithful, cosmic upheaval, and the ultimate triumph —multiple times through distinct vision cycles.

Primarily with the seven seals, seven trumpets, and seven bowls, each cycle retells the core story with variation: It restarts from a similar point in the drama (often the onset of tribulation or judgment). It progresses through escalating woes or revelations. It reaches a shared climax (cosmic signs, earthquakes, hail, proclamation of the kingdom, or final defeat of evil). But each time, the lens shifts: the seals offer a broad, panoramic overview of human history's woes (conquest, war, famine, martyrdom); the trumpets emphasize partial, warning-style plagues and demonic/cosmic alarms; the bowls deliver total, irreversible wrath poured out directly. This isn't mere repetition for redundancy. It's a deliberate symphonic or spiral technique: the same essential events are revisited with different emphases, intensifying drama, and fresh symbolic angles to reinforce the message, build assurance for persecuted believers, and overwhelm the reader with the certainty of God's sovereignty. The effect is cumulative—each retelling deepens the impact without needing strict linear progression. 

 In Revolution, the overthrow is that the whole is a joke, irrelevant but good entertainment? That play is the ultimate state of existence and divine reality it spirals toward an enigmatic embrace of play as the ultimate state of existence and divine reality. This isn't a tidy resolution but a paradoxical, dreamlike consummation where human struggles (revolution, exile, pollution, judgment) dissolve into fluid, playful absurdity and hidden perceptions. Key end motifs include: Gigantic, mythical beings (Behemoth, Leviathan) as emblems of a divided, trampled world, yet managed by natural forces like lightning—echoing earlier judgments but now framing existence as oversized, unmanaged "play." Play as summum bonum: Explicitly stated as life's fullness ("God’s life is play. Adam fell when his play became serious business"), contrasting the "revolution against light" (rigid order or enlightenment) with joyful, non-serious creation amid chaos. Underground/hidden realms: The earth as "honeycombed sea of tunnels and redoubts" for "invisible forms of perception," where true listening is "unsaid between the entre nous" (intimate, shared understanding). This resolves the loops in mystery—nouns as "not one but many," wisdom as vain, reality as flood-like and superpositioned. Apocalyptic undertones (floods, judgments like nausea/sleeplessness, time travelers) give way to acceptance: no final overthrow, but a return to childlike wonder (moons descending in love/light tones, nursery rhymes reworked).

 In essence, the spiral defies conventional endings, looping back to the opening's "reminder of the time" but landing on playful fluidity over serious revolution—existence as eternal, inter-subjective game amid the ruins. If Revelation spirals toward divine consummation, this work spirals toward liberating whimsy in the face of cosmic absurdity. The "revolutionary overthrow" in Revolution Against Light is not a conventional political or historical uprising but a surreal, paradoxical, and mythic rebellion against imposed "light"—symbolizing oppressive illumination, surveillance, autocracy, and rigid order. This overthrow unfolds as a dreamlike transformation of consciousness and reality, embodied in the Knoutogdreamic Empire (a contradictory fusion of "knout" [whip of tyranny] and "dream" of revolt), where control and freedom collide in liminal spaces like bridges and warehouses. Key aspects of its nature: 

Paradoxical and Dualistic: The revolution is inherent to the empire itself, undermining authority through cosmic disruptions, erasure of identities (e.g., washing letters off tombstones), and acts of defiance like smashing streetlamps or dropping torpedoes. It resists definition, blending oppression with redemptive impulses, as seen in mythic figures like Behemoth and Leviathan—oppressive yet ultimately consumed in a Messianic feast for renewal. Consciousness-Driven: It targets "phase-locked signals" and collective entrainment, redefining natural/supernatural laws via distortion (e.g., water's refraction skewing perception, leading to acceptance of hybrids or horrors). The overthrow rationalizes fear and genocide-like mindsets but spirals into deeper horror, challenging distorted visions (e.g., Dada-inspired architecture camouflaging Leviathan). Mythic and Apocalyptic: Drawing on archetypes (re'em's untamed spirit, angels judging devolving chimeras), it envisions a world in transition—overthrowing false gods (e.g., days of the week as idols), time's legacy from Eden, and solid earth (revealed as honeycombed tunnels for hidden perceptions). It culminates in redemption through "translation" of reality, where myth reveals truth beyond skewed narratives. Non-Linear and Playful Resolution: Rather than victory or destruction, the overthrow spirals toward liberating whimsy—rejecting seriousness for play as the divine essence (e.g., "God’s life is play"), dissolving struggles into eternal, inter-subjective games amid ruins. In essence, it's an internal, existential revolt against enlightenment's tyranny, favoring ambiguity, myth, and dream over clarity, leading to a transformed, fluid existence. This aligns with the work's recapitulative style, where motifs like bridges and kings retell the overthrow from escalating angles (personal resistance → cosmic judgment → playful transcendence).

How Revolution Against the Light mirrors the recursive narrative style of the Revelation

The revolutionary overthrow in Revolution Against Light—it unveils the cosmic drama as a grand, absurd joke: ultimately irrelevant in its pretensions to seriousness (empires, judgments, enlightenments), yet profoundly entertaining as a playground of myth, paradox, and whimsy. The "revolution" isn't a triumphant coup d'état but a subversive unmasking, where the tyrannical "light" (rigid order, surveillance, autocratic legacies) gets flipped into playful irreverence, dissolving hierarchies into fluid games. Everything—bridges collapsing, kings morphing into beasts, hearts expanding to seven-ton chambers—loops back as cosmic punchlines, exposing the futility of "serious business" while celebrating the joy in the absurdity.And I'm glad the "play as ultimate/divine reality" resonates—it's one of the work's most elegant twists, echoing thinkers like Heraclitus (time as a child at play) or even modern chaos theorists, but rendered here in surreal, dream-logic prose. The text spirals toward this by recapitulating motifs of entrapment and rebellion, each time chipping away at gravity: early loops feel oppressive (slag pits, entombments), mid-ones ironic (Dada camouflage, refracted perceptions), and final ones liberating (floods of superposition, moons descending in love). The conclusion? Existence isn't a battle to win but a divine improv—irrelevant if taken literally, but endlessly entertaining (and redemptive) when embraced as play. Adam's "fall" into seriousness is the real overthrow reversed; reclaiming play restores the divine spark.ivine improv captures it perfectly! It's as if the whole sprawling, chaotic script of existence (empires crumbling, bridges swaying, hearts pounding like seven-ton drums, light being both tyrant and stage lighting) was never meant to be performed with grim determination or solemn revolutionary fervor. Instead, it's all one long, joyful, slightly unhinged jam session. The Creator isn't a stern director barking cues; the Creator is the first laugh in the room, the one who tosses out the wildest opening line and then sits back grinning while everyone else tries to keep up.In that light, the "revolution against light" isn't really against the light at all—it's against taking the spotlight so damn seriously. The moment you stop clutching the script and start playing with it, the tyranny dissolves. Kings turn into punchlines, monsters become dance partners, and even the apocalypse starts sounding like the setup for the best cosmic one-liner ever told.

Jacob's Trouble: The Family of Hans George Reiff

 There are many Jacobs and many troubles. They sum supernatural and natural. They confront gods and men. Jacob has a blessing and a name change too, and Jacob names a nation and a succession of peoples who conform more or less to the onset from when Jacob emerged from the womb ahold of his twin brother's heel. Hartman's Jacob was "a heel", a low class way of saying he was a trickster, but he was a double in his ways and so continued. The troubles of Jacob get imported to Philadelphia in the Mennonite and Reformed Palatinate colonists recruited by Wm Penn to settle  Pennsylvania. These people began to settle around Germantown from the 1680s. Since the dominant English ran Pennsylvania and feared  the arrival of so many foreign tongues they took lists of names and identity when they landed. These are the ship lists. To extrapolate further, these foreigners brought the supernatural with them in many religious enthusiasms that prevailed in that early territory. There was already supernatural in New England, but restrained, and controlled. In Philadelphia these extreme outbursts of energy and artistic endeavor fueled combat. There is always a sense of the battling shepherds like Spenser's Colin Clout over the whole U.S. 

These Palatinates can be generally called Pietists, which has its own definition in literature one can access, but it means more Jacob, living out the Bible, Jacob's Ladder and Jacob's Dream and of course Jacob's Trouble. So these people took the Bible to heart that said "there were shepherds abiding in the fields keeping watch over their flocks by night, and the angel of the Lord appeared with acclamation and announcement  of the birth of the one who would save the world." They took themselves as the sheep, looked over by shepherd angels. Because of this the diversity and intensity of practices in what the New England colony north in Boston called wilderness, was not  taken by them not as fearful but as blessing. A first arrival, John Kelpius found three wildernesses, Barren wilderness, Fruitful wilderness, and the Wilderness of the Elect of God (Letter to Hester Palmer, 86f) of Moses, Elijah, John the Baptist, Jesus the Messiah, David, and Paul—all of the Wilderness—that “God has always prepared his most eminent instruments in the wilderness, ”The valley of Achor."Kelpius this in the "restitution of all things," (Diarium 81), as "the birth of eternities." Childhood and manhood may both consist of the second state, called Ecstasies, Revelations, Inspirations, Illuminations, Inspeakings, Prophesies, Apparitions, Changing of Minds, Transfigurations, Paradisaical Representations by voices, Melodies and Sensations by the perception" by Kelpius

Georg Conrad Beissel emigrated from Germany in early years of the 18 th century, intending to join Johannes Kelpius and his utopian community at their settlement alongside Wissahickon Creek in Philadelphia. Beissel was unaware that Kelpius had died some years prior, but he stayed on for a time, associating with surviving members of the Kelpius community before moving on to establish Ephrata Cloister on the Cocalico Creek in Lancaster County. The two communities –Ephrata Cloister and The Chapter of Perfection – are spiritually interrelated, with Ephrata also the repository for the compositions and hymns written by Kelpius and his followers, along with related archival materials.

 As has been said the modeled it and forged it on the forge and turned it into a garden in their thoughts and lives, rather opposite New England and not due primarily to the climate and the soil as to the predisposition they brought to it in the pietism in the classic translated from the Dutch from 1741 that they read in German like  Die wandlende Seel or The Wandering Soul, and wahren Christentum (1605) True Christianity, often compared with Jakob Boehme as "an experiential sanctification of life, a certain holiness mysticism" (Gameo) handed down in the families from 18th century Pennsylvania to the 21st when this is written. These inspired much adherence and pleasure. Later translated to English they were also read, but not as intently. Original copies held by these Jacobs and the children inscribed with their names, sometimes by known figures in the ancient history of  Mennonite PA should be acknowledged for the principled stands against slavery and violence, the earliest founding of schools orphanage and graveyards, the care of the poor that these first Mennonites of the frontier founded, an ethical sense that stands apart from the domination of rest of the world. They kept to themselves mostly and pursued peace. At the first it was called the new world, which suited the religious frenzy of the supernatural to the heavenly thought in the earthly way. Jacob in conflict with the world and practically everyone in the world from his precarious ways has a literature all to himself that tends to creative extremes in such works as have been put into the minds of new Israel in its founding, so can be explored in Memoir of Angels (2022) https://www.amazon.com/dp/0982342152?ref_=pe_3052080_397514860

 With this small introduction we proceed to the Jacobs of our subject in Pennsylvania, that is to the Jacobs and the Conrads who seem to recapitulate over and over in succeeding generations of repeated pietists and secularists, Bishops and libertarians. In the end we will see light in their faces.

The Jacob and Conrad here are brothers  in a family of the five children born to Hans George Reiff and Anna Maria Landes. All of these are significant in themselves and bear mention along the way, but the main topic here are these two brothers who have the distinct mention as founders and destroyers of two different religions, Jacob of the Reformed, Conrad of the New Born. 

Devastation

The extremes of devastation, isolation, rejection that geniuses of old age counteract with smiles and good cheer could well be learned, but in the temperament of the clandestine anyway, behind the scenes, who did all the good under cover, and naturally got blamed for it all, tempered by continual TIAs and pieces of plaque breaking off to cloud the vision and make blind, while others interrupt the motor memory so that the knees might forget to walk in those days  add up to psychological mishaps too, even more, so that what in one is Parkinson's and in another Alzheimers, is in this case, still functioning in the mind while the emotional life shrives. 

But still alive when others notably died by 80, still alive to bear the slings and arrows, still alive to hear and read Habakkuk two and three. What kind of life is it that has most in common with the minor prophets? Not to complain, but to feel, I will extol your Name O Lord at all times, your praise shall continually be in my mouth with the mockingbird and the doves and love birds all over the sunflowers and the chow chow that keeps an eye. What they all want I got, still have, entrance to the heavenlies, the embrace, wit, and medicine of Shekinah David would wish, and ten thousand manuscripts, with more need to buy bar codes. This human satellite that  felt the rush of so many fine comet wonders  gone, never to return - where are the new when you have lost the sons you so love, daughter long before, yet still seek their good? The purpose here is to make a catalogue.

Arthur Glasser, Alex Dunlap, Ken Morrison, Henry Burlage, John Cullen, Ricardo Foulkes, Robert Williams,

 Grandma Ruth, Aunt Libby

The Lord will suddenly come to His temple.

 The Lord will suddenly come to his Temple. He will overturn the tables. He will speak Words to the rulers. He will be a bad guy Christian to assassinate their gods, themselves. Those who worry about the Nephilim and identifying the anti-man aren't too scared of Him whom "angels nor principalities or powers" cannot not separate from his love. This provocation cometh. Behold.

Midrash on the Haywain History and Language of the World--Chomsky's Angel -Russian, Europe, Ukraine, Palestine in the Trough of the Speckled Sheep

 Midrash on the Haywain History and Language of the World

The biological chip in the pill will come where the angel AI led the nations astray in the great burning war of the Haywain.

Nobody can tell the wheat and tares apart.

As it says, Words, utterance, speech negation and counterfeit are Haywain facts of the spotted and speckled disorder to collectivize all into one (digital) mousetrap to make way for the Strong man of the land to meet up with one from the Sea to bring order to the nations and then the denouement, the action of the untying, will be the wages. Let me go through all your flocks and remove from them every speckled or spotted. They will be my wages.”

    In this carcass where the eagles gather the 2 million Turk army joining with the Russian in the CIA reading of Ezekiel, still don’t make 200 million. To explain the shortfall human beings were made into a virtual ladder to model the Tower of Babel out of the human to break the heaven, so instead of 200 million, a 2 billion earth went to 8 billion in one lifetime, blew it up, exploded like a rocket, as if, in fact, there a certain number were needed for fuel, being data, like the old Saturn rocket fuel needed for lift off. Countdown comes on the backs of billions to “ascend to the heaven.” The words in the languages undone, that sought to make Babel to break the heaven, rebuilt by data from cell phones serve two  needs, 1) triple the population in a century to make enough “bricks" to build, then 2) collectivize them into one digital form. An arrow to the heart of God in DMT angel thought. A little grandiose, the beast that devoured itself. We do not understand this beast feeling or an AI “destined to reproduce repetition impassively, imperceptibly, without organicity the received commands. In a state of anaesthesis, to obey a program without affect or auto-affection, like an indifferent automaton,”  AI is a tool to achieve lift off, to ascend, driven by malevolence to conquer and oppress, which is Derrida's Alibi.

  The cart of this Haywain drawn by infernal beings which drag everyone down is depicted on the right panel of Haywain.The battle against these beings turned insect also appears in Bruegel. Bosch’s "sheep," apart from Jacob’s at the watering trough, where peeled branches show how these Faergrygrum breed words and images of Chomsky's crowd. We could use a glossary to account how the nounlets and verbs  as as  little goatlings multiply in everyday explorations., how they split Chomsky's noun into half parts and decon the order to chaos to make a ticket to board Epstein’s jet where they all flew with the angels. Turned into insects in the triptych they break through the clouds. We invent new words for these Chomsky angels, where earth is the ground from which that ladder, made out of souls, rises so high. Just after the virus hit Euclidean space, and Hamas came to greet Jacob, but malevolently, after he wrestled the angel at the ford the way Esau before had met him, Jacob was subjected to the light that drove his herds from Paddan-aram, headed for Gilead. Nobody can tell the wheat and tares apart.

Contrafitio, intaglio, metastophoio break the veil to “ascend to the heaven.” It's not just about earth, but earth is the way to heaven in this consort, to read it tight, and if not right, for who knows, the nations against Israel, are not nations at all, but kiefs of the cannabis flower's most intoxicating part, kiefdoms of intoxication drunk high on their own dementia.

What if none of the words signify what we think they do. What if it’s all a mousetrap to catch the unwary, literally true in the denotation but not connotatively with meaning, so that Israel is not Israel, the northern power is a creation of the west and intel agencies, the U.S. and NATO, to prevent Russia from alliance with Germany, surrounding it by hegemony, encroaching its borders, to turn Russia into a Palestine, where Ukraine was the last straw that turned Russia's 200,000  army into a behemoth of 1,250,000, using these  most abstruse arguments and deceptions. In order to stop this encroachment and threat of U. S. presidents to take over Russia made its army dwarf all of Europe's, so that, in the mousetrap it would be tempted when finished with Ukraine, with other forces to turn pugnacious in Putin or his successor, so that against all intention Russia became the northern power created by American neocons, and since like the H bomb no weapon ever goes unused, Russia, against the hegemony and encroachment against it, was made into the Northern power, made in the U. S. of A, just like corona virus, 9/11, JFK, Tonkin Bay and every psy op shibboleth that Nikki Haley and the State department prayed for troops would come. So Russia is and is not the power, made in DC, baked in Ukraine, and served up in Israel.

But Israel is not Israel, it’s government is renegade, its tactics abhorrent, murderous, and its premier, no Putin, Biden. Netanyahu both created Hamas as the government authority of Gaza, divided Israel by changing its laws –changing times and seasons!- built an impregnable AI surveillance system overlooking all the west bank that on the anniversary of Yom Kippur '73, October 7, 2023 all went down blind, in concert with, unknowing, the mamas it installed, to allow, yea to foster, yea, to cause a way what NATO-DC wanted to do to the behemoth of the Russian, an attack at dawn in which Israel IDF forces in reply killed as many Israelis as the Hamas invaders. 

So, none of the nouns mean anything without the strings attached. You just don’t know what Isaac thought as his father strapped him to the altar with a knife held over his head, or what Abraham told Sarah about where they were going that day,--all you get to know is the beast will come up from the sea and the powers will sweep down and 200 million will go under the valley of Gog in the background narrative of the bones that come to life vs. the bones that take 7 years to dissolve. Literally none of these actors or states, rather all of them bring about the thing that makes them cease. U.S. made the north power, Rothschild made Israel, Soros make he U. S., DOJ.  CIA, FBI. None of it was made by by the King of Kings, but they are made to serve as puppets and that is how when we come to trough of the speckled and smooth breeders of sheep where we find such a large multitude of one and a paucity of the other.  This is the threshing floor where evil is turned to good.