In Codex Magica, Texe Marrs explores the idea that symbols seen in everyday life—on dollar bills, in pop culture, and in politics—are part of the Illuminati’s hidden language. He claims that this secret society uses symbols and gestures as psychological tools to control and manipulate the masses.
Symbols as Psychological Weapons
Marrs argues that the Illuminati wield symbols like the All-Seeing Eye and the "Hidden Hand" gesture to communicate their control over global events, subtly embedding their influence in culture. For instance, Marrs believes the All-Seeing Eye, found on the U.S. dollar, represents Lucifer and signifies the Illuminati's control over finance and politics.
The Concept of Duality
In Codex Magica, Marrs explains how the Illuminati manipulates opposites—good and evil, light and darkness—to control both the spiritual and material worlds. He interprets the phrase “As Above, So Below” as a reflection of their goal to align Earth with the satanic forces they worship.
Sexual Symbolism and Freemasonry
Marrs frequently ties sex and power to Illuminati symbolism, suggesting that phallic symbols like obelisks and Freemasonic rituals are central to their belief system. He controversially interprets the letter "G" in Freemasonry not as God, but as a reference to sexual union, indicating the Illuminati’s obsession with using sexual energy for occult purposes.
Illuminati Influence in Pop Culture
Marrs argues that the Illuminati’s reach extends into modern entertainment, with symbols like the letter "X" in The X-Files and X-Men allegedly referencing the ancient god Osiris, linked to Lucifer. He claims that these symbols are intentionally embedded in media to subtly indoctrinate the public.
What’s Behind the Symbols?
While Marrs’ theories can seem speculative, his exploration of symbolism taps into our fascination with secret societies and the hidden power structures behind modern life. Whether you believe in his claims or not, Marrs raises interesting questions about how symbols shape human thought and culture.
