Dear Gang: Thank you for the kind responses to my remarks.
Here is something else. I came across it, completely by accident, while looking up something else, a couple of days ago. No doubt some of you will already have discussed it, perhaps dismissed the reference, but I found the information intriguing, and I think it fits into the turn our the discussion has taken.
Peter Farley has evidently published, online, a book on the connections of Mormonism with Masonic, ancient Mediterranean and pagan mythology: shared symbols, metaphors, architecture, building decorations, etc. I have no idea what his real purposes are, but I looked him up for references to pagan decorations on a tabernacle in Tempe, Arizona.
Farley writes, in Chapter 22:
In Egyptian Magic, at the moment of birth the “Ego” joins the body; the double forms of the Celestially and Terrestrially generated bodies are recognizable. This is to say the circling ‘Hammemit’ (or primal entity) throws off an emanation which is called the Ka or double of the new-born child, and this form is linked with the earthly body by means of another principle, the AB. Between the two a veil is drawn that blocks the new-born child from remembering his true self and the higher worlds. This is the veil which must be lifted to enter the ‘heavenly’ kingdoms.
It is this process which gave rise to the theory of cosmic twins – a theory which can be seen occurring again and again throughout our history. It is very apparent in the legend of the Dioscuri, or the ‘sons of Zeus’ who became the constellation Gemini, or The Twins. It is also the same idea brought down from the original brothers Cain and Abel, one rumored to be immortal through birth from a god-like parent, the other mortal.
The AB (will) referred to here is one of the highest interpretations of the Holy Grail itself for it was also known as the Red Vessel of the Heart (the ‘rosebud’ of Citizen Kane fame, that which the very wealthy, very powerful Mr. Kane had lost along the way, represented by the sled –seen also as being imprisoned in the glass ball). This association of the Grail with the Red Vessel of the Heart makes sense of the name Rosicrucian (or rosy-dew cup), and also of the Grail’s association with a cup (vessel). It is represented in the Book of the Dead as containing an egg, and a concave germ: when this concave germ is developed by cultivation the real life and full development of the Ego could begin (by use of the ancient mysteries and through the initiations of various secret societies): that is to say the KA (ego) could progress in its celestial evolution, just as the body could progress in its terrestrial evolution. This is where we get such words as Kabbalah, Kaaba, and many others related to ancient Egyptian philosophy.
Thinking of Orson Welles' early works, from his early plays, such as Bright Lucifer, on, we can see the presentation of brothers, fraternal, demonic or friendly, and of a form of mutual betrayal which often occurs. In the instance, Welles' disturbed brother, whom he alternately tried to hide, and to take care of, comes to mind; his bond with his mother, and her premature death, over which he was guilt stricken and remembered all his life; his repeated allusions to having caused his father's death. His lifelong interest in magic performance fits in here, as does his fascination with theater, radio and film itself. It was the wonderful and terrible magic of it all.
And then, there are the "twins" in his works and life: Black (and white) Macbeth and Banquo; Faust and the Devil; Brutus and Cassius (or Caesar); Danton and Robbiespierre; Kane and Leland (or his mother?); George and Eugene (or Fanny?); Welles and Jacare, the Nazi and his old kameraden, Arkadin and Zouk . . . .
I could go on -- and so may you -- but certainly the references and images in KANE, to the globe at the start, Kane looking at it, and being within it; Coleridge's Pleasure Dome "which Kubla Khan did decree"; the globe of memoirs and memory found in the Thatcher Library; little Charlie's mother closing the window, leaving her boy in the snow; the dome (skylight) in the roof of Susan's Jersey nightclub; the bridge over old Leland's hospital; the picture of "the best reporters in the World" behind the plate glass of the newspaper; the rain-streaming windows of Bernstein's skyscraper offices; Leland looking at the ceiling of the new Chicago Opera House as he listens to Susan sing; the whisky glass beside the drunken Leland, the (cut out) scene of the Kane Tomb, with its mordant inscription, etc, etc . . . .
It is certainly a provocative reference. If correct, "Rosebud" goes back a long way for Welles and his Art.