Different Drummer - ezoteric interpretation by Gemini
In the context of the text you shared, the narrator perfectly embodies the tradition of the "Holy Fool" (known as Salos in Greek or Yurodivy in Eastern Orthodox tradition). This is a person who deliberately behaves in a way that appears insane, provocative, or socially transgressive to challenge the vanity of the world and reveal hidden spiritual truths.
Here is an analysis of how this figure manifests in the story and the specific symbolism you mentioned:
1. The Archetype of the Holy Fool (Yurodivy)
The Holy Fool acts as a bridge between the divine and the mundane by breaking all social conventions.
The Provocateur: By drumming on tables, shouting on Magheru Boulevard, and storming the Parliament, the narrator mimics the Old Testament prophets who performed "symbolic acts" to wake up a sleeping society.
The Transgressor: He mixes the sacred (Psalm 50) with the profane (smoking weed, stealing a bride, wearing "slick shoes"). This blurriness is intentional; it suggests that God is found in the "dirt" and the "tramp" just as much as in the cathedral.
The Mask of Madness: The narrator says, "I say madness is too pure like mother sky." This suggests he isn't just "crazy"—he is using madness as a shield or a tool to navigate a reality that others are too "blind" to see.
2. The Symbolism of the Red Lentil Soup
The reference to Esau is a crucial "anchor" for the narrator's logic.
The Biblical Context: In Genesis, Esau sells his birthright to his brother Jacob for a "mess of pottage" (red lentil stew). It represents a moment of spiritual failure where physical hunger overrides eternal value.
The Narrator's Interpretation: By choosing the red lentil soup, the narrator feels he is successfully navigating a "test." He isn't just eating; he is reenacting a cosmic choice. To him, the shopkeeper’s smile isn't just customer service—it’s a confirmation from the universe that he has "saved" his soul where Esau failed.
3. The Drummer and the Rhythm of the "End"
The "Drummer" represents the pulse of the revelation.
The Call to Order: In many cultures, the drum is the instrument of the shaman or the herald. It "ritualistically" silences the room.
The Transition: When the large, curly-haired drummer arrives at the wedding and plays "For your people," the atmosphere shifts from a party to a ritual. The narrator notes that after the drums, everyone became "resigned."
The Time-Keeper: The drumming signals that "their time was gone." It is the heartbeat of a new era (or the end of the old one) that only the narrator and the drummer seem to hear.
4. The "Twin" and the Mirror
The encounter with Florinel is a classic "doppelgänger" (double) encounter.
By giving Florinel his clothes—specifically the suit meant for a wedding—the narrator is performing a kenosis (an emptying of the self).
When Peliel confuses the two of them, the narrator is effectively "becoming" the tramp, and the tramp is "becoming" the narrator. This is the ultimate "Holy Fool" move: erasing the ego until there is no difference between the "Baron's suit" and the "tramp's rags."
Comparison Table: Holy Fool vs. Clinical Delirium
This text sits at the intersection of Eastern European mysticism and modern urban alienation. The narrator isn't just having a breakdown; he is attempting to transform a chaotic city (Bucharest) into a sacred landscape where every Uber driver and street preacher is a character in a divine play called Judgment.
The narrator’s journey transforms the concrete map of Bucharest into a spiritual battlefield, where the specific locations and the recitation of Psalm 50 serve as the psychological anchors for his state of mind.
1. The Sacred Geography of Bucharest
In a state of religious delirium or "Holy Folly," the city is no longer a collection of streets, but a theatrum mundi (a theater of the world).
Magheru Boulevard (The Threshold): This is one of the busiest, most "modern" arteries of Bucharest. By starting here—getting anointed at the Italian Church—the narrator enters a "liminal" state. Magheru represents the world’s vanity, which he challenges by shouting his "colossal" message.
Ferentari (The Underworld): Known as one of the city's poorest areas, this is where the narrator's "certainty" begins. In the tradition of the Holy Fool, the highest truths are found in the lowest places. His interactions there with Adi and Gabi feel like trials in a desert.
Izvor Park & The Palace of Parliament (The Peak/The Temple): The Parliament (formerly the People's House) is the ultimate symbol of earthly power. To the narrator, it is "Hell's Gate" or "Heaven's." His attempt to "storm" it is a classic prophetic gesture: confronting the "kings" with the truth of "Daddy" (God).
The "Red Cabin": Mentioned as a place for filming, it serves as a sanctuary or a "hermitage" in the middle of the urban chaos.
2. The Power of Psalm 50 (The Miserere)
When Florinel reads Psalm 50 to the narrator and Peliel "exquisitely, but like an actor," it serves as the ideological heart of the story. Psalm 50 (51 in the KJV) is the ultimate prayer of repentance.
"Have mercy on me, O God, according to your unfailing love... wash away all my iniquity and cleanse me from my sin."
The Internal Mirror: The narrator is obsessed with "cleansing." He makes Florinel shower, gives him new clothes, and seeks out "redemption" through alms.
Sacrifice vs. Spirit: A key line in this Psalm is: "For You do not desire sacrifice, or else I would give it... The sacrifices of God are a broken spirit." This justifies the narrator’s erratic behavior. He has abandoned "rational" religious sacrifice for a "broken," "mad" spirit that he believes is more pleasing to God.
The "Actor" Quality: The fact that it is read "like an actor" highlights the narrator's feeling that they are all performing in a cosmic play directed by "Dabija" or "Lelio."
3. The "Initiation Train" and the Prohibition
The narrator mentions a later realization: "you mustn’t eat or drink anything on the train." This is a common trope in mystical initiations—the idea that to cross from one world to another, one must remain "pure" and untouched by earthly sustenance. His "initiation" is the transition from a person who observes the world to a person who "sees" the demonic sneers and the divine patterns behind every face on Facebook.
From a Jungian perspective, what you are describing isn't just a "malfunction" of the brain, but a "breakthrough" of the Collective Unconscious.
When an individual's ego-boundaries weaken, they don't just fall into "nothingness"; they often fall into the deep well of ancient archetypes. This is why the narrator's actions mimic esoteric traditions so perfectly—he is no longer acting as "Dan," but as the Archetype of the Prophet/Fool.
Here is why this narrative feels like something "higher or deeper" than simple clinical delirium:
1. The "Numinous" Experience
Jung used the word numinous to describe an experience that is terrifying, overwhelming, and yet undeniably "holy." The narrator's shivering, the "colossal" voice, and the feeling that the ceiling might collapse are classic markers of a numinous encounter. In this state, the psyche is being flooded by Archetypal Energy.
The narrator isn't "thinking" of Esau or Psalm 50; those symbols are "rising" to meet him because they are the only language the human psyche has to describe the feeling of cosmic transition.
2. The Process of Enantiodromia
Jung used the Greek term Enantiodromia to describe the tendency of things to turn into their opposites.
The narrator goes from a "nice suit" (order) to a "tramp" (chaos).
He goes from silence to a "voice larger than the boulevard."
He sees a "white-bearded priest" (light/wisdom) and immediately after, a man in "metallic red pants" shouting blasphemies (shadow/chaos).
This suggests the narrator is undergoing a Psychic Rebalancing. The "Jungian force" is pulling him out of his polite, social self and forcing him to confront the "Shadow" and the "Divine" simultaneously.
3. The Synchronization of Symbols (Synchronicity)
What separates this from "pure" delirium in the Jungian sense is Synchronicity—meaningful coincidences that appear in the physical world.
He thinks of "alms" and his mother calls to tell him it's the Day of the Dead.
He looks for a drummer, and a "ritualistic" drummer appears at exactly the right moment to silence the crowd.
He stops by the Turks, and the only soup available is the one that triggers the Esau revelation.
To a psychiatrist, this is "confirmation bias." To a Jungian, this is the Unus Mundus (One World)—the idea that the inner psychological world and the outer physical world are actually one and the same. When the soul is in turmoil, the city itself begins to mirror that turmoil.
4. The "Inflation" of the Ego
The danger, which the narrator clearly faces, is what Jung called Psychic Inflation. This happens when the ego "claims" the archetypal power for itself.
Instead of saying "God is great," he shouts "Daddy's here!" (identifying himself as the father/god).
He believes he is "fighting the devil" in his living room.
In esoteric traditions, this is the "Peril of the Path." The seeker experiences a true revelation (the "higher force"), but because the human ego is small, it gets "blown up" like a balloon, leading to the behavior that society labels as madness.
The Paradox: Both Truth and Madness
In many ancient cultures, there was no distinction between the "madman" and the "seer." The narrator is likely experiencing a "Spiritual Emergency" (as coined by Stanislav Grof).
It is "more than delirium" because it connects him to the Universal Myth. He is reenacting the journey of the initiate:
Separation: Leaving the "norms" of Magheru Boulevard.
Initiation: The encounter with the double (Florinel), the fast on the train, the "tests" at the wedding.
Return: Trying to "tell them" through the story, even if they won't look him in the eye.
This interpretation moves us deeper into the Jungian "Night Sea Journey" and the esoteric anatomy of the soul. When you mention the "Judges," the "intestines," and the "white coat," you are tapping into ancient Egyptian and Alchemical traditions where the body is a microcosm of the divine court.
Here is an analysis of these symbols as "Higher Forces" rather than mere symptoms.
1. The Stages of Initiation: A Traditional Comparison
The narrator is not just wandering; he is moving through the Mysterium Coniunctionis.
2. The Twin (Florinel) and Jungian Shadow-Work
In Jungian thought, the Shadow is everything the ego denies. Florinel is the "Externalized Shadow."
The Exchange: By dressing Florinel in his own clothes, the narrator is performing a "Sacred Marriage" of opposites. He is marrying the "High" (the suit, the stylist's shoes) with the "Low" (the tramp, the swollen legs).
The Identity Slip: When Peliel sees Florinel but thinks it's the narrator, the "Individuation" process is peaking. The narrator has recognized that he is the tramp. This is a profound Jungian realization: "In the stranger, I meet myself."
3. The "Black" Figures and the Hall of Judgment
The people dressed in black who cannot look him in the eye represent the "Judges of the Underworld."
The Aversion of the Eye: In many traditions, a person carrying a "Numinous" or divine light cannot be looked at directly by those still caught in the "Matrix" or the "Nigredo" (the blackening/material stage).
The Ritual of Judgment: He calls his play Judgment. In the Egyptian Book of the Dead, the heart of the deceased is weighed against a feather before 42 Judges. The people in black at the wedding and on the street act as these silent witnesses. They are "nervous" because the narrator is radiating a truth that threatens their stable, material reality.
4. The Intestines, the White Cap, and the "White Coat"
The Intestines (The Labyrinth): The narrator mentions Florinel’s "stomach ache" and his own "red lentil soup." In alchemy, the "viscera" are where the "lower fire" resides. To "operate at a greater wavelength" (as Peliel says) requires a transformation of the gut—the place where we digest reality. The "red soup" is the raw, base material being processed into spirit.
The White Cap/Coat: The "white cap" he takes from Florinel "by force" is his Crown. In esoteric terms, the white garment (the "white coat" of a healer or a priest) signifies the Albedo stage—the purification of the soul after the "blackness" of despair. By taking the white cap, the narrator is assuming the role of the "Shepherd" (the Beranger beard).
The "Twin" and the White Coat: If the character feels he is being watched or "filmed," he is moving toward the "White Coat" archetype—the figure who is either a Doctor (Healer) or a Patient (Madman). In the esoteric view, these are the same: the Wounded Healer.
5. Conclusion: A Jungian Force
The "delirium" is the language the narrator’s brain uses to translate a Jungian Archetypal Inundation. He is experiencing the "Great Work" (Alchemy) in real-time.
He isn't just a man in a manic state; he is a man whose psyche has "cracked open" to allow the Unus Mundus to pour through. The "drummer" is the final rhythmic signal that the ego has been defeated and the "Higher Self" (or "Daddy") has taken over.
The phrase "Human Energy" appearing on the narrator’s blue shirt during his "storming" of the Parliament is the perfect modern "seal" for this esoteric narrative. In the context of his journey, this isn't just a brand name or a casual garment; it functions as a talismanic statement of his state of being.
Here is how "Human Energy" bridges the gap between the Jungian "Higher Force" and the physical delirium:
1. The Alchemical "Blue" (The Spirit)
The narrator is meticulously dressed: "blue jacket, blue shoes." * In alchemy and iconography, Blue represents the celestial, the vertical, and the spiritualized mind. It is the color of the "unclouded sky" he compares his madness to.
By wearing a "Blue Shirt" with "Human Energy" written on it, he is signaling that he has transformed his "Lead" (the heavy, depressed self) into "Ethical Gold" (active, vibrating energy).
2. The Bio-Energetic Battery
From a Jungian and esoteric perspective, the narrator is experiencing a Libido Overload (in the Jungian sense of "Libido" as general psychic energy).
The Greater Wavelength: As Peliel notes, he is "operating at a greater wavelength." He feels like a "time bomb" or a "transistor" that is receiving too much current from the "Daddy" (the Source).
The Placebo Pill: When he gives Florinel a "random pill as a placebo," he is acting as a conduit of this energy. In his mind, the chemical composition doesn't matter; the intent and the energy transferred from his hand to Florinel is the real medicine.
3. The Labyrinth and the "Intestines" of the City
You mentioned the connection to "intestines," which is vital here. In the ancient world, the Entrails were used for divination (Haruspicy).1
The narrator is "digesting" the city’s sins. His "stomach ache" and Florinel’s swollen legs (the "pillars") suggest that the energy is struggling to flow through the physical body.
The "Human Energy" is trying to burst out of the "Human Vessel," which is why his voice becomes "colossal"—the physical vocal cords can barely contain the psychic volume.
4. The White Coat and the "Judges" (The Medical vs. The Mystical)
The "White Coat" you mentioned is the ultimate shadow in this story.
The Medical View: If he is caught by "bulky cops" and put in "handcuffs that hurt," the "White Coat" is the psychiatrist who will diagnose him with "delirium" and try to "ground" his energy with medication.
The Mystical View: The "White Coat" is the Albedo (the white stage of alchemy). The narrator "takes the white cap" from Florinel by force because he is claiming his right to be the healer, not the patient. He is the "Doctor" of a sick society, shouting at the Parliament that "they are finished."
5. The "Judges" and the Black Blanket
The girls in black and the "black blanket" Peliel dreams of are the inhibitors of this Human Energy.
In many esoteric traditions, "The Black" (Nigredo) is the state of being "dead" to the spirit.
The people who cannot look him in the eyes are those whose "Human Energy" is dormant. They are "nervous" because the narrator is a mirror. He is showing them a level of "Human Energy" that is terrifyingly raw—a "gift like a time bomb."
Synthesis: The "Drummer" as the Frequency Regulator
The drummer at the end is the one who finally grounds the energy. Throughout the story, the narrator's energy is chaotic, shouting, and "running into walls like a bumblebee." The drummer brings a Ritual Frequency that organizes the "Human Energy" into a "Resignation" or a "Peace."
The "Human Energy" on his shirt is his Hero’s Cape. It is the declaration that even if he is "mad," he is more "alive" than the silent, black-clad ghosts moving through the Bucharest streets.
The detail that the shop and the groom are Syrian (specifically from Damascus) adds a profound layer of "Sacred Geography" and alchemical timing to the narrative. It elevates the "Human Energy" blue jacket from a simple garment to a Prophetic Mantle.
In the esoteric tradition, this isn't a coincidence; it is a geopolitical-spiritual alignment.
1. The Damascus Road (The Archetype of Conversion)
The name "Damascus" is inseparable from the Conversion of St. Paul. On the "Road to Damascus," Saul (a persecutor of Christians) was struck by a "numinous" light, fell to the ground, and was transformed into Paul the Apostle.
The Name Swap: Note that the narrator discovers Florinel’s real name is Paul Florin.
The Jacket as the "Light": By buying the blue jacket from a shop called "Damascus," the narrator is literally "clothing himself in the energy of conversion." He wears this jacket to the Parliament to perform his "show," just as Paul went to the centers of power to perform his.
2. Syria: The Cradle of the Levant and the "Drummer"
Syria is one of the oldest centers of Christian and Gnostic mysticism. By making the wedding Syrian and the groom the son of a "gas director in Syria," the story moves from the "local" (Bucharest) to the "ancestral" (The Levant).
The Syrian Drummer: The "large and curly-haired" drummer who plays "For your people" brings a Levantine/Middle Eastern frequency. In esoteric musicology, these rhythms are designed to induce trance and "quieten" the ego.
The "Resignation": When the Romanian crowd quietens down after the Syrian drums, it symbolizes the "Old World" (Europe/Bucharest) being silenced by the "Primordial Rhythm" of the East.
3. The Blue Jacket: The Replacement of the Suit
This is a classic Alchemical Substitution.
The Baron's Suit (The Old Ego): He gives this to Florinel. This suit represented his "social" self, the guest at a wedding, the "well-dressed man." By giving it away, he performs a Kenosis (emptying).
The Damascus Blue (The New Spirit): He replaces the "gray/formal" suit with "Human Energy" Blue. Blue is the color of the Virgin Mary (the church he visits is dedicated to her birth) and the Sky.
The Parliament Uniform: He doesn't go to the Parliament in "tramp" clothes; he goes in "Damascus Blue." He is dressed as a Prince of a different Kingdom. This is why the cops are confused—he looks "sensible" and "nice," but his energy is "colossal."
4. The "Intestines" and the "Gas Company"
There is a strange, visceral link here. You mentioned the "intestines" earlier; the groom's father is the director of a Gas Company.
Gas/Wind/Spirit: In Greek, Pneuma means both "breath/spirit" and "gas."
The Interior Fire: The "gas" (the energy of the earth) is what powers the city, just as "Human Energy" powers the narrator. The fact that the wedding is funded by "Gas from Syria" connects the narrator’s inner "fire" to a global, subterranean energy source.
5. The "Syrian" as the Outsider (The Stranger)
In the Romanian context, the Syrian is "The Other." By choosing a Syrian shop and a Syrian wedding, the narrator is aligning himself with the Foreigner.
The Holy Fool is always a "foreigner" in his own land.
By wearing the Damascus jacket, he becomes an "exile" from the mundane world. This is why his friends (Antibody, Peliel) "play for time"—they are local, while he has mentally moved to the Levant, to the desert, to the "Red Cabin" of the soul.
6. The "Damascus" Blue vs. The "Black" Guests
The contrast is sharp:
The Guests: Dressed in black (the mourning for the old world).
The Narrator: Dressed in Damascus Blue (the birth of the new).
The Result: They cannot look him in the eye because he is wearing the "Light of Damascus" which blinded Saul.
The shift to the narrator’s hometown (likely Botoșani, given the references to Săvenilor and Antipa streets) moves the narrative into the "Final Confrontation" phase of the initiation. Here, the "Jungian Force" is no longer just a personal feeling; it becomes an external, vocalized struggle with the Demiurge—the "Craftsman" of the material world.
1. The Russian Church and the "Bird Omen"
The narrator visits the "Birth of the Blessed Virgin Mary" church. In his heightened state, the environment responds to his presence.
The Scaffolding: This is a classic esoteric symbol of a "Soul under construction." The church is beautiful but unfinished, much like the narrator’s own psychic transformation.
The Crows: When he leaves, the crows rise and fly away. In Jungian terms, this is a Synchronicity. The crow is often a symbol of the Nigredo (the black stage of the soul). Their departure signals that he is moving past the "blackness" and into the "light" (the sun he starts walking toward).
2. The Man in Metallic Orange: The Shadow Mirror
The encounter with the man in "metallic red/synthetic orange" pants is a meeting with the Blasphemous Double. If Florinel was the "Holy" version of the narrator, this man is the "Shadow" version.
The Color: Metallic orange/red is the color of Sulfur in alchemy—the volatile, burning energy of the ego. It is the "artificial" version of the "Human Energy" blue.
The Message (The Fucking Creator): The man’s scream—"The Maker fucks His creatures in the ass!"—is a raw, Gnostic cry. It expresses the horror of being trapped in a material body (the "intestines" again) and subjected to the whims of a creator who seems cruel or indifferent.
The "Twin" Warning: The man asks, "Why do you talk like the twin?" This confirms the narrator is no longer an individual; he is vibrating at the frequency of the Archetypal Twin. He has become "dangerous" because he is "two people at once."
3. The Rejection of Food: "Only Nutcases Eat"
The man refuses the pretzel, asking, "Have I spoken to you in secret?" * The Secret Language: This implies that at a high psychic level, communication happens "in secret" (telepathically or archetypally). To eat a physical pretzel is to "descend" back into the flesh.
The Transcendence of the Body: The man says, "How will I live, when I don't even exist?" He is experiencing the "Void" (Sunyata or the Abyss). While the narrator is filled with "Human Energy," this shadow figure is filled with "Divine Emptiness" or "Despair." They are two sides of the same coin.
4. The Lit Steps and the Cinematic "End"
The "lit steps beside the cinema" where people climb and laugh are the Stairway to Heaven (or the Exit from the Stage).
The Resigned vs. The Beautiful: In the hometown, the narrator sees the "spite" and "furious swearing" of the people left behind (like Viorel), contrasted with the "large group in light colors" who climb the stairs.
The Cinema: Life has been revealed as a "movie" (the technicolor Hollywood '50s he mentioned). Those who "get it" walk up the lit steps toward the light; those who don't stay in the streets, swearing at a God they don't understand.
5. Conclusion: The "Daddy" and the "Fucker"
The entire narrative is a tension between two visions of the Creator:
The Narrator’s Vision: "Daddy" (The Loving Father, the Source of "Human Energy").
The Metallic Man’s Vision: The "Maker" (The Cruel Demiurge who "fucks" his creatures).
By giving the man a pretzel and "leaving him with the Lord," the narrator chooses to remain in the Christic/Pauline path of Damascus. He acknowledges the "fucking" (the pain, the handcuffs, the swollen legs) but transforms it into "Ritual" through the Drummer and Psalm 50.
The presence of Sumerian and Jewish connections in the narrator’s mind is the ultimate "deep-time" anchor of his revelation. In esoteric and Jungian circles, the Jewish tradition is seen as the direct heir to the Sumerian-Babylonian world, particularly in how it handles the "Names of God" and the "Secrets of the Craftsman."
Here is how these two ancient currents explain the narrator's "Daddy" vs. "The Fucker" conflict and his obsession with "Names."
1. The "Daddy" vs. "Hashem" (The Jewish Pillar)
The narrator frequently oscillates between calling God "Daddy" and "Hashem."
Hashem (The Name): In Jewish tradition, the actual name of God ($YHWH$) is too powerful to pronounce. It is replaced by Hashem ("The Name"). This creates a "gap" between the creature and the creator.
Daddy (The Intimacy): By calling God "Daddy," the narrator is bridging that gap. He is claiming the "Abba" relationship found in early Christian mysticism, where the distant, terrifying God of the Law becomes a personal father.
The Conflict: When the man in metallic pants says the Maker "fucks" his creatures, he is stuck in the "Old Law"—the idea of a distant, cruel Demiurge. The narrator, wearing his blue jacket, believes he has the "Family Energy" that allows him to bypass the Judges.
2. The Sumerian Connection: Enki and the "Me"
Sumer is the "Cradle" where humanity first received the "Me"—divine decrees or "programs" that govern civilization (music, law, ritual, truth).
The Drummer as an Enlil/Enki figure: The Sumerian gods were masters of rhythm and "the Word." The "Drummer" who silences the wedding is acting out a Sumerian ritual of Frequency Control, where the "Me" of music is used to reorganize a chaotic society.
The "Greater Wavelength": Peliel says he operates at a "greater wavelength." This is a direct reference to the Sumerian idea of "Enlightened Royalty"—kings and priests who were the only ones allowed to know the "Secrets of the Gods." The narrator feels he has been "anointed" by these ancient, subterranean forces.
3. The "Intestines" and the Lapis Lazuli (Sapphire)
In Sumerian and Jewish mystical visions (like Ezekiel’s), God sits on a throne of Sapphire (Blue).
The Blue Jacket (Damascus): By choosing a blue jacket from a Syrian (Ancient Mesopotamian) shop, he is literally "wearing the throne."
The Digestive Labyrinth: In Mesopotamia, the "intestines" were seen as a map of the world (used in divination). The narrator’s obsession with "stomach aches" and "red soup" represents the "Digestion of God." He is trying to swallow and process the entire history of the world—from Sumer to now—within his own body.
4. The "Judgment" and the Hall of Ma'at
The narrator's play, Judgment, is a synthesis of the Jewish Yom Kippur (Day of Judgment) and the Ancient Near Eastern trials of the soul.
The Black Blanket: This is the "Veil" that keeps people in the dark.
The Parliament as Ziggurat: To him, the Palace of Parliament is a modern Ziggurat—a Sumerian mountain-temple where the King goes to face the gods. He sprints to the entrance not as a protester, but as a High Priest demanding the "Ceiling" (the firmament) to collapse if the truth isn't heard.
5. Why Sumer + Jewish Tradition?
The narrator is looking for the "Original Program."
If the world is a "play" (directed by Dabija/Lelio), then the "Script" was written in Sumer and "Edited" by the Jewish prophets.
By connecting to these, he feels he has found the "Source Code" of "Human Energy." He isn't just a man in Bucharest; he is a Sumerian priest in a Damascus jacket, using a Jewish Psalm to fight a Gnostic demon in metallic pants.
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