The Sacredness of Sex

Reconsidering Don Giovanni

Letters from Vienna #87

“Sex is the most holy and sacred of all the privileges granted to us by our Divine Creator” according to Fraternitas Rosæ Crucis (the Rosicrucian Fraternity) which brings together Hermetists, Pythagoreans, Magi, Platonists, Gnostics, Alchemists, and Paracelsians. “Sex can bring us to the highest state of nobility and Spirituality or drag us down to the lowest depravity of the human condition. The nature of the sex act has within itself the ability to bless or curse. Sex, like fire, creates a reaction that can be constructive or destructive, depending on both the action and intent of the activity. It is either the sacred use or corrupted misuse of the sexual function that dictates the resultant direction taken.”

“The wise teachers of the past asserted that almost all of the ills of humanity (including but not limited to the plethora of sexually transmitted diseases) stem from the misuse of our sexual forces. Sexual desires can be so misdirected and misused that they have the power to eventually destroy the essence of God within us, the human soul. However, the opposite is equally true as the ills of society can not only be prevented, but also ultimately eliminated by the constructive use of the Sexual Center within us.”[1]

Whatever the exact role of the Rosicrucians within the Deep State may be (especially within the Freemasons and the Illuminati) one thing is abundantly clear: the Deep State places an inordinate amount of importance on sex[2]. This is what Stanley Kubrick seems to have been trying to tell us before he met his untimely end[3].

Deep State actors such as Dr. Richard Day (as quoted by Dr. Lawrence Dunegan[4]) spoke in the 1960s about how sex was to be divorced from reproduction, homosexuality and sexual perversion encouraged (Epstein is no accident) and “sexual freedom” made all-pervasive.  

The strategy of the Deep State, according to Dr. Day, was to increase sexual activity yet in such a manner that people didn’t actually have children. Contraception would be furthered, abortion normalised and babies generated in laboratories. The institution of marriage would endure, albeit in diminished form, but it would no longer be a prerequisite for sex.

Clothing styles would become increasingly provocative (e.g. the mini skirt), while thought was given to the cut of cloth, kind of fabric, and position of accessories. Blue jeans for example would be cut in such a way that they’d be tight-fitting around the crotch. They’d form wrinkles which were essentially arrows, lines, that would direct one’s vision to certain anatomic areas. In addition: bras would be thinner and softer allowing for more natural movement; a very thin bra, for example, was intended to be highly revealing.

Families wouldn’t be allowed more than two children while divorce would be easily facilitated. People were expected to marry more than once and it would no longer be taboo for unmarried couples to live together.

More women would work outside the home while men would be transferred to other cities, making it harder for families to stay together. This was intended to make the marriage relationship less stable and, therefore, diminish the birth rate.

From other sources we know that Rockefeller supported Feminism not only doubled the tax base but also damaged the family structure while MK-Ultra and Tavistock “counter-culture”, with its nihilistic philosophy of “sex, drugs and rock n’ roll” encouraged the disintegration of families. Even Alan Greenspan’s concept of keeping workers insecure, ostensibly to put pressure on wage demands and thus reducing inflation, had a dramatic effect on family life.

In short: the cumulative effect of all these Deep State measures had the desired effect: birth rates in the West have sunk (now, thanks to the Jab they are practically non-existent) while the rate of divorce has sky-rocketed (one of the main aims of the Illuminati has always been to destroy the family unit). This was all done by design which means that all of these measures can be reversed.

Reconsidering Don Giovanni

The starting point for this essay however was the opera “Don Giovanni” and, after the long and convoluted introduction above, I’ll finally turn to it.

An interesting question is whether there’s a direct link between Mozart joining the Freemasons in 1784 and his celebrated Da Ponte operas: “The Marriage of Figaro” (1786), “Don Giovanni” (1787), and “Cosi fan tutte” (1790). Were they an expression of a Rosicrucian vision of life and do they have to be understood under this aspect? Or did Catholicism dominate Mozart’s world view? Or perhaps it was a mixture, a blend of both?

In the “The Marriage of Figaro” Count Almaviva trys to exercise his droit du seigneur – his right to bed a servant girl on her wedding night – with Figaro’s bride-to-be, Susanna, and keeps finding excuses to delay the wedding day. At first it seems he’s won when he compels Figaro to marry a woman old enough to be his mother but it turns out at the very last minute that she really is his mother. In the end the Countess forgives the Count his infidelity and Figaro finally gets the girl.

In “Don Giovanni”, the anti-hero, Giovanni, succeeds in getting into the house of Donna Anna and kills her father, the Commendatore, who fights and dies to defend her (perhaps already lost?) honour.

The next day Giovanni hears Donna Elvira singing of how she has been abandoned by her lover, on whom she is seeking revenge (“Ah, chi mi dice mai” – “Ah, who could ever tell me”). Don Giovanni starts to flirt with her, but it turns out he is the former lover she is seeking. The two recognise one another and she reproaches him bitterly. He shoves Leporello forward, ordering him to tell Donna Elvira the truth about him before disappearing.

A marriage procession with Masetto and Zerlina enters. Don Giovanni is immediately attracted to Zerlina and attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realising that Don Giovanni means to remain behind with Zerlina, Masetto becomes angry (“Ho capito! Signor, sì” – “I understand! Yes, my lord!”) but is forced to leave. Don Giovanni and Zerlina are left alone and he immediately tries to seduce her.

Donna Elvira arrives, thwarts the seduction (“Ah, fuggi il traditor” – “Flee from the traitor!”) and leaves with Zerlina. Donna Anna and (her fiancée) Don Ottavio enter, plotting vengeance on the still unknown murderer of Donna Anna’s father. Donna Anna, unaware that she is speaking to her attacker, pleads for Don Giovanni’s help. Don Giovanni, relieved that he is as yet unrecognised, readily promises it, and asks who has disturbed her peace. Before she can answer, Donna Elvira returns and tells Donna Anna and Don Ottavio that Don Giovanni is a false-hearted seducer. Don Giovanni tries to convince Don Ottavio and Donna Anna that Donna Elvira is mad (“Non ti fidar, o misera” – “Don’t trust him, oh sad one”). As Don Giovanni leaves, Donna Anna recognizes him as her father’s murderer and tells Don Ottavio the story of his intrusion, claiming that she was deceived at first because she was expecting a night visit from Don Ottavio himself, but managed to fight Don Giovanni off after discovering the impostor. She repeats her demand that he avenge her and points out that he will be avenging himself as well (“Or sai chi l'onore Rapire a me volse” – “Now you know who wanted to rob me of my honour”).

Leporello informs Don Giovanni that all the guests of the peasant wedding are in Don Giovanni’s house but that Zerlina, returning with Donna Elvira, made a scene and spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organize a party and invite every girl he can find. (“Fin ch’han dal vino calda la testa” – “Till they are tipsy”).

Zerlina tries to hide from Don Giovanni but he finds her and attempts to continue his seduction, until he stumbles upon Masetto. Confused but quickly recovering, Don Giovanni reproaches Masetto for leaving Zerlina alone, and returns her temporarily to him.

Three masked guests – the disguised Don Ottavio, Donna Anna, and Donna Elvira – enter the garden. From a balcony, Leporello invites them to his master’s party and they accept. Don Ottavio and Donna Anna pray for protection while Donna Elvira prays for vengeance (“Protegga il giusto cielo” – “May the just heavens protect us”).

Leporello distracts Masetto by dancing with him while Don Giovanni leads Zerlina offstage to a private room and tries to assault her. When Zerlina screams for help, Don Giovanni drags Leporello onstage from the room, accuses him of assaulting Zerlina, and threatens to kill him. The others aren’t fooled. Don Ottavio produces a pistol and points it at Don Giovanni, and the three guests unmask and declare that they know all. Yet, despite being denounced and menaced from all sides, Don Giovanni escapes.

Wanting to seduce Donna Elvira’s maid, and believing that she’ll trust him better if he appears in lower-class clothes, Don Giovanni orders Leporello to exchange cloak and hat with him. Donna Elvira comes to her window (“Ah taci, ingiusto core” – “Ah, be quiet unjust heart”). Seeing an opportunity for a game, Don Giovanni hides and sends Leporello out in the open wearing Don Giovanni’s cloak and hat. From his hiding place Don Giovanni sings a promise of repentance, expressing a desire to return to her and threatening to kill himself if she does not take him back, while Leporello poses as Don Giovanni and tries to keep from laughing. Donna Elvira, convinced, descends to the street. Leporello, continuing to pose as Don Giovanni, leads her away to keep her occupied while Don Giovanni serenades her maid with his mandolin. (“Deh, vieni alla finestra” – “Ah, come to the window”).

Before Don Giovanni can complete his seduction of the maid, Masetto and his friends arrive, looking for Don Giovanni in order to kill him. Don Giovanni poses as Leporello (whose clothes he is still wearing) and joins the posse, pretending that he also hates Don Giovanni. After cunningly dispersing Masetto’s friends (“Metà di voi qua vadano” – “Half of you go this way, the others, go that way”), Don Giovanni takes Masetto’s weapons away, beats him up, and runs off, laughing. Zerlina arrives and consoles the bruised and battered Masetto (“Vedrai carino” – “You’ll see, dear one”).

Leporello abandons Donna Elvira, (“Sola, sola in buio loco” – “All alone in this dark place”) tries to escape and bumps into Don Ottavio and Donna Anna; Zerlina and Masetto also enter. Everyone mistakes Leporello for Don Giovanni, whose clothes he’s still wearing. They surround Leporello and threaten to kill him. Donna Elvira tries to protect the man she thinks is Don Giovanni, claiming him as her husband and begging the others to spare him. Leporello takes off Don Giovanni’s cloak and reveals his true identity. He begs for mercy and, seeing an opportunity, runs off (“Ah pietà signori miei” – “Ah, have mercy, my lords”). Don Ottavio is now convinced that Don Giovanni murdered Donna Anna’s father and swears vengeance (“Il mio tesoro” – “My treasure”).

Don Giovanni wanders into a graveyard, meets Leporello and laughingly taunts him, saying he took advantage of his disguise as Leporello by trying to seduce one of his girlfriends. The voice of a statue interrupts and warns Don Giovanni that his laughter won’t last beyond sunrise. At the command of his master, Leporello reads the inscription upon the statue’s base: “Here am I waiting for revenge against the scoundrel who killed me” (“Dell’empio che mi trasse al passo estremo qui attendo la vendetta”). Don Giovanni invites the statue to dinner and much to his surprise, the statue nods its head and responds affirmatively.

Don Ottavio pressures Donna Anna to marry him, accuses her of being cruel. She assures him that she loves him and is faithful (“Non mi dir” – “Tell me not”).

While Don Giovanni revels in the luxury of a great meal Donna Elvira enters, saying that she no longer feels resentment but rather pity for him. (“L’ultima prova dell’amor mio” – “The final proof of my love”). She begs him to change but he taunts her, praising wine and women as the “support and glory of humankind” (“sostegno e gloria d’umanità”).

Offstage, she screams in sudden terror. Leporello also screams before running back into the room, stammering that the statue has appeared as promised. An ominous knocking sounds at the door. Don Giovanni opens it himself, revealing the statue of the Commendatore (“Don Giovanni! A cenar teco m’invitasti” – “Don Giovanni! You invited me to dine with you”). The statue asks if Don Giovanni will now accept his invitation to dinner. Don Giovanni accepts and shakes the statue’s proffered hand, only to collapse as he’s overcome by sudden chills. The statue offers him a final chance to repent but Don Giovanni adamantly refuses. The statue disappears and Don Giovanni cries out in pain as a chorus of demons carry him down to Hell.

In “Così fan tutte, ossia La scuola degli amanti” (All Women Do It, or The School for Lovers) Ferrando and Guglielmo (two officers) express certainty that their fiancées (Dorabella and Fiordiligi) will be eternally faithful. Don Alfonso expresses skepticism and claims that there is no such thing as a faithful woman. He lays a wager with the two officers, claiming he can prove in a day’s time that those two, like all women, are fickle. The wager is accepted and Don Alfonso eventually wins it. All is forgiven and the everyone praises the ability to accept life’s unavoidable good times and bad times.

At the heart of all three operas are three main themes: love, sex (which suggests a Rosicrucian origin) and forgiveness (which suggests a Catholic influence). There’s another element, which I haven’t as yet mentioned: the socially critical, pre-revolutionary element, an element of no small importance in an age of revolution (such as the ones orchestrated and inspired by the Deep State in both America and France).

An equally interesting question is whether there is a link between Mozart’s “Magic Flute” (which was premiered on 30th September 1791), which exposed the secrets of the Freemasons, and his premature death (he believed he was being poisoned) in December of that year. He died after a two week “sudden illness” at the tender age of 37.

Stravinsky was firmly convinced that the Freemasons were guilty of this crime and a plausible case can be made. After all: they had both the means and the motive to kill Mozart.

Perhaps most telling of all is the fact that Graf Franz von Walsegg, who is thought to have commissioned the Requiem, was a Freemason.[5] As was Pushkin who helped create the myth that Salieri was to blame, a myth taken up in modern times by Peter Schaffer.

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[1] https://www.soul.org/teachings/tenent-sex

[2]

[3]

[4] https://archive.org/details/new-order-of-barbarians-dr-richard-day-1969

[5] https://wikigerman.edu.vn/wiki2/franz-von-walsegg-wikipedia/