Alchemical Inception an Esoteric Interpretation of the Great Work

Under the guise of a seemingly, harmless piece of entertainment the film Inception leaves the watcher fascinated, amazed and an infinitely variety of adjectives. On first appearance and an incredibly ironic contradiction of films released in a sea of less consistent productions and praised as in such a way that suggest the praisers might be in a trance Stockholm Syndrome, but when its subversive aspect is refused, ignored or missed entirely, the audience misses the point. Of course there is a point to all of this.
The impression given by films that freeze audience in a bewildered state is due to the double science of the film, it’s esoteric and exoteric qualities. For it can be taken to heart: the more esoteric a film is the more seditious a message exists.

The alchemical theme of the Inception is apparent to anyone who is a little versed in the subject. In the very first scene we see it is early dawn, the chaos of the sea and Cobb being brought forth from the water on to the land. This signifies dawn of a Golden Age (currently defined as a one-world totalitarian socialist order) and Cobb leaving the mercurial waters (Prima Materia – the original stuff of creation where all things part of the universe are thought to be made of) and the process of coagulation which is part one of the oldest axioms in alchemy, solve et coagula. Coagulation consists of converting a fluid (a spirit – cold, wet & soft) into solid (body – hot, dry & hard) and Nolan’s use of the bookending technique as possibly suggesting the cyclic aspect of solve et coagula where Cobb is continually being sacrificed. The alchemist on his strive for consistent perfection of the illumined man must never cease in the process of dissolving the stone which has just been coagulated.

Cobb tilts his head up to the sound of a pair of children building a sandcastle. This is a reference to Matthew 7:24-27 and signifies that the children are in the state of limbo (lack of faith – “O ye of little faith”). The “foolish [children], which built [their] house upon the sand.” This relationship is also represented by the buildings corroded by the subconscious (water) that fall into the sea. Water also being a symbol for the mob because of its vast expanse or in Aesopian-communist lingo, masses.
During the dining room scene when Cobb is trying to extract the secret (elixir) from Saito (philosopher’s stone) and if you notice the only one eating is Satio. The food symbolically representing life-force. They fail in extracting the secret directly from Satio and the stone leaves. Next as the scene changes to the dirty bathroom outside the audience is presented with themselves, the rioting subconscious (the animal mob). In Cobb’s words later on: “the subconscious is motivated by emotion, right? Not reason.”

As we meet Mal and she looks at a picture by Francis Bacon, the surrealist painter. The surrealist movement was heavily influenced by the French alchemist Fulcanelli on his publication of Le Mystère des Cathédrales – Cobb later uses the keyword cathedrals in the Paris setting when talking to Michael Cain who has starred in other masonic films. There was also another English alchemist born in the sixteenth century by the same name and was the true author behind his pseudonym Shakespeare. In this scene Mal is also drinking a glass of champagne indicating who Nolan thinks Fulcanelli really is, Julien Champagne. Champagne also did the artwork (exoteric author) for Fulcanelli’s book (esoteric author) and of course alchemy is an art. There are various other bits of evidence to indicate a high probability that Julian Champagne was Fulcanelli and his rehashing of science doesn’t necessarily make him a scientist because that’s easy to fake.
Cobb pulls out a piece of rope and directs Mal to sit down and who we are told later on, “limbo became her reality,” is seen building a sandcastle with her children and seemingly represents a faithlessness concept for when Cobb ties the rope (a trial of initiation) on the chair moments later he drops because of his lack of faith. He then enters the kitchen (alchemical labatory), moves with the appearance of gliding and twists the silencer on to his pistol together signifying levitation.

After Arthur is shot and the dream collapses Satio is crushed by a bunch of stone (confirmation of him being the stone) and as he wakes up Satio gestures Harpocrates symbol of silence (this is only apparent in the script book) which were statues that stood outside the temples where the Eleusinian Mysteries were performed and in the scene there are two rooms. Statues are made of stone of course. But Cobb ultimately fails on this attempt of obtaining the stone because hasn’t been illumined yet. Dominic Cobb had been cleansed and reborn in the bath tub and has only just begun his passage of faith or illumination. “So do you want to take a leap of faith, or become an old man, filled with regret, waiting to die alone?” Dominic or dominicus is derived from dominus meaning “lord.” Later on after Nash betrays his fellow builders by trying to bargain for his life with Saito (the bestower of immortality) he gives Cobb a chance to perfect his soul (cover up and erase crimes – passive murder) if he can show his faith (become illumined) and complete the mission which is one of the aspects the stone in old alchemical texts is described as having such ability, the ability to perfect. Nolan has also stated that the train riddle is the same thing as “the leap of faith” concept.

When Satio realizes he’s been deceived he says “I’ve always hated this carpet. It’s stained and frayed in such distinctive ways. But very definitely made of wool” a reference to the profane outside the temple (checkered, masonic floor room). This maniacal symbolism is continued throughout the film and specifically when Ariadne asks Cobb as he snipes them off one by one a sort of sinister enjoyment “Are you destroying parts of his mind?” In reply he says “No. They’re just projections.” This, however, appears to teach the audience to despise the sheeple for the one hand they propagate these ideas yet they are ones dumbing them down via the education system sort of hypocritical. The obvious reason for that is the group mind will more susceptible to the ritual (psychological warfare).

“The seed that we plant in this man’s mind will grow in to an idea. This idea will define him”~Cobb

On the words of Mae Brussell or William Cooper you undoubtedly know that brainwashing is centre of everything. I like how Ellen Gilchrist phrases it: “All you have to do to educate a child is leave him alone and teach him to read. The rest is brainwashing.”
Cobb says, “An idea resilient highly contagious. Once an idea is taken hold of in the brain it is almost impossible to eradicate.” This is resounding theme of Inception, the premise of planting ideas, brainwashing, indoctrination and planting of memes (contagious ideas). These memes can also masquerade as counterculture alternatives (probably CIA programs) that emanate from the establishment itself e.g. Free your mind from the Matrix, anti-socialism Joker posters, agent provocateurs using V-Vendetta masks, the occupy movement, imbibing the sense of apathy and etc.

It helps to think of the secret at the core of alchemy as a very special and sophisticated variety of meme. Like a spore or a seed, the meme has a protective shell that is also attractive to appropriate hosts. In the case of the alchemy meme, that shell is seductive allure of transmutation the transformation of base metal into gold. However, even if one absorbs the outer shell of the alchemy meme, there is no guarantee that the inner will blossom and the meme to become active. For that to happen, a series of shocks or initiations are required. ~ A Monument to the end of Time

Nolan acknowledges that Mal is Cobb in an interview and that it is Cobb speaking to himself. The alchemists say that this substance (invisible fire or something mystic like it) already exists within and amid of the conversation at the coffee shop Cobb is explaining this divine spark (creative force). The coffee shop is likely a reference to Les Deux Magots the famous café in the Saint-Germain-des-Prés area of Paris and patronage of the surrealist artists (alchemists).

After being chased by Cobol Engineering (puffers?) and just escapes by going through the tight walls. A reference to Matthew 7:14 –“Because strait is the gate, and narrow is the way, which leadeth unto life, and few there be that find it.”Soon after they meet Yusuf (Arabic for Joseph and father of Jesus) a chemist (the alchemist) who drugs the patients with his powerful compound. Cobb (soul, sulphur, body) or Christ child is as yet a helpless infant during the main mission depending upon the father (it’s awakener/the illumined) for the successful accomplishment of the job (safety). “I’ll use the music to let you know when it’s coming, but the rest is up to you.” This is also probably an allusion to the multi-billion CIA-Mafia drug ring to fund the Great Work or what Nolan calls in the book script that was cut from the film, “the international control council.” Yusuf later on drinks a glass of champagne.

As with every freemasonic movie the pattern of three symbolic murderers (Church, State & Mob) of Hiram Abiff (Jacques de Molay) should undoubtedly be found. The aspect about the esoteric language is that it can forever change, but these are the current definitions.

“It is a prime tenet of Masonry that its assassins come in threes. Masonic assassins are known in the code of the lodge as the “unworthy craftsmen”. Because Masonry is obsessed with the earth-as-gameboard (tessellation) and the ancillary alignments necessary to facilitate the “game” it is inordinately concerned with railroads and railroad personnel to the extent that outside of lawyers and circus performers, no other vocation has a higher percentage of Masons than railroad workers.” ~ Kill King 33

At the group therapy session (psyops) on the group mind (audience) they scheme on how to break up the Fischer Morrow energy conglomerate (the State/the Constitution) with a different will (U.N. Charter) they are conspiring about what Fischer should do “I will split up my father’s empire” which likely means the Forefather’s Republic. Eames (the forger who infiltrates Fischer Morrow) says “We need to shift his animosity from his father to his godfather.” Where Peter Browning, the godfather (God), is exposed and positive relationship is shifted to the father (intellect). Peter is a reference to Matthew 16:18, “You are Peter, and on this rock I will build my Church, and the gates of Hades will not prevail against it.”And is the dogma for having a Roman Catholic Church, but in the freemason’s eyes as representative of Christianity as whole.
Here with this emotional concept Nolan is proselytizing the audience and is attacking the source for man is “endowed by their Creator with certain unalienable Rights.” For the only document that set man free cannot exist under such definitions for the belief of no God is a sufficient condition that the government becomes god because the people compose the government and they believe themselves to be god whether they acknowledge it or not. A regular form of alchemy employed in Hollywood is to turn Jesus into a swear word which is system inversion or in Orwell’s term Newspeak.

The notation of initiation is emphasized when Satio steps in and utters “six” after the mentioning of three layers. For the 666 or three scenes (layers) in six acts (actors) is the number of the initiated man, the man of corrupted reason, the man who would believe himself to be god, but who in fact can be construed as Satan since it’s likely a metaphor that lies in the minds of man that causes despotism for without man there would just be the laws of nature. And referencing what Nolan has to say in his wired interview, “it’s raining in level one, it’s a night-interior in level two, and it’s an exterior with snow in level three” and “it’s definitely a film about itself.” Hence the environments are changing and the audience is being initiated (immersion, death, rebirth).

Cut to when the architects are ambushed they refer to how the subconscious (common man) is militarized. Nolan has stated that Fischer represents the audience (State) then these represent the Militia or the last line of defence against most abject and degrading serfdom. This is taught to millions of movie-goers a character assassination (grunts and idiots), chiselled onto their minds and a cheering for the priests their worst betrayers.

Fischer’s had an extractor teach his subconscious to defend itself, so his subconscious is militarized.~Arthur
Great. So now we’re stuck in Fischer’s mind battling it out with his private army, and if we get hit we’re stuck in Limbo ’til our brains dissolve into scrambled egg? ~ Eames

Though of course the Militia is not a private army but that’s also part of the psyops to destroy this last balance of power. The other extractors are those freemasons who built America.

Cobb when he’s interrogating Fischer (audience) he’s telling to instinctly remember certain shocks that further the Great Work (new world order). When 528, 491 are added vertically this gives 9119. The alchemists have a thing for mirrored numbers. Arthur has explosives in the room below. Though of course it wasn’t conventional explosives that took down the towers, but mini-nuclear bombs (Fight Club book).

At the end of the film you notice the as the temple (Solomon’s labyrinth) is being blow up and Eliade has mentioned the symbology of such an act when in the cases of prolonged death agony, one or more boards are removed from the roof, or the roof is broke. The meaning of this custom is patent: The soul will more easily quit its body if the other image of the body-cosmos, the house, is broken open above and by transposition of the symbolism this is also the passing beyond the human condition figurally expressed in the destruction of the house, the temple, the church, the hospital.And thus Cobb reconciled with Mal, in the Chemical Marriage. Both substances, Green Lion and the Eagle, the fixed with the volatile principles in alchemy, have to be killed (solve et coagula) to wake up (illuminated). It’s quite fitting to for Leonardo DiCaprio to play Rod Green.
Ariane (Ariadne), according to Fulcanelli, is a form of airagne (araignee, the spider) by metathesis of the i. In Spanish ñ is pronounced gn; αράχνη (the spider) can thus be read arahne, arahni, arahagne. Is not our soul the spider, which weaves our own body? Hence Nolan’s choice for Cobb because of the term cobweb which is derived from old English to also mean a spider web. She, Ariadne, is symbolic of transitional black, the spider in the middle of its web—the empty shell, “the beginning of the funeral Rites,” says Frédéric Portal, “represents that state of soul which is passing from night to day, from death into life.”
In all Cobb brings back Saito (Philosopher’s Stone) and perfected the soul, gained redemption by sacrificing himself and showing his faith which contrasted by his poor appearance compared to Satio’s. He defeats time, transposed to mythical time and achieved immortality because it is the belief of the alchemist that every initiation (the resurection is symbolized by the kicks) was a victory over death; i.e. temporality; the initiate proclaimed himself “immortal”; he had forged for himself a post-mortem existence which he claimed to be indestructible. Thus Cobb attains godhood after he wakes up on the plane (upper plane which is symbolic of the heavens), lands in Los Angeles airport where he is judged, makes it to the Garden (of Eden) and ignores the totem (Cobb’s previous belief system) for illumination.

Sources:
The Mystery of the Cathedrals, Fulcanelli
The Dwellings of the Philosophers, Fulcanelli
Dictionary of Alchemical Imagery, Lyndy Abraham
Secret societies and the alchemical meme, William Cooper
The Hierarchy, William Cooper
The Forge and the Crucible, Eliade
The Sacred and the Profane, Eliade
The Myth of the Eternal Return, Eliade
Patterns in Comparative Religion, Eliade
A Monument to the End of Time, Jay Weidner, Vincent Bridges
Lectures on Ancient Philosophy, Hall
Francis Bacon, Francis Bacon: Anatomy of an Enigma, Peppiatt
Letter to a Christian Nation, Sam Harris (Roger Penrose mentioned)
No Regrets: The life of Edif Piaf, Carolyn Burke
The interpretation of Matthew Vol 1-2, R. Swinburne Clymer
Inception: The Shooting Script, Christopher Nolan

If you notice Nolan makes a lot of references to alchemists/atheists throughout the film.

~Draft (May.2012) 

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