Sex & The Origins of Death - Scorpio (Eagle / Scorpion)

Gen 2:21 And the LORD God caused a deep sleep to fall upon Adam, and he slept: and he took one of his ribs, and closed up the flesh instead thereof;

"Leonardo shows us that crucified man (in the square) bears the burden the Bible describes after the Fall: he is poised around an axis whose pivot is the sex organ. He is pinned to the cross of his generational atavism by this choice of sexual reproduction, with all that is implied in this choice. Leonardo expressed his questions about this reproductive method when he wrote that if it wasn’t for a beautiful face the human species would have ceased to exist! Molecular biology has discovered the same truth about our origins as a species: sexual reproduction was a ‘choice’ made at a certain stage in the evolutionary process; and not the best one according to the experts. It is a wasteful way to get the job done. For, along with this ‘choice’ death became an inevitable part of the process. Thus sex and death are inextricably linked, says the contemporary scientist (William R. Clarke, Sex and the Origins of Death, Oxford University Press, 1996).
(Thea) , Patrizia Norelli-Bachelet. Explorations into the Leonardo Mystery (p. 10).

We can assume from this argument, that when we become immortal, sex or lack of it, has new meaning. Immortality itself is preprogrammed.

"The human race is immortal so far as the germ-cell is concerned. We could continue reproducing basically forever if no accident, say the destruction of the planet, causes the accidental death of the race.

Furthermore, Professor Clark points out something noted in the essay on the omnipotent stem cell,1 i.e., that during the first few iterations of cell-division, the developing organism is still basically immortal. It's not until the chromosomes begin the earliest differentiation associated with the sexual gender of the organism that programmed-death is activated in the cells.

The very first life forms, as we have seen, were not animals in the ordinary sense of the word, but free-living individual cells we now call bacteria. The entire being in this case consists of just a single cell. Yet by any biological criterion that would define us as alive, so were they. The earliest of these organisms represented then, as now, the simplest possible structure for carrying out the cardinal functions of all living things: the reproduction of their own kind through replication of their DNA, and the transmission of that DNA to offspring.

But it is less obvious that the earliest forms of these single-cell organisms shared then, or share now, the second cardinal feature of life as we know it----obligatory, programmed death. We, like virtually all other multicellular animals, must die, and there are many mechanisms built into us to be sure that we do. . . Many single-celled organisms may die, as the result of accident or starvation; in fact the vast majority do. But there is nothing programmed into them that says they must die. Death did not appear simultaneously with life. This is one of the most important and profound statements in all of biology. At the very least it deserves repetitions: Death is not inextricably intertwined with the definition of life.
Sex & The Origins of Death, p. 54

With only a handful of exceptions, single-celled organisms reproducing exclusively by simple fission lack one feature that ultimately brings death to all single-cells that have sex, and all multicellular organisms, including human beings: senescence, the gradual, programmed aging of cells and organisms they make up, independently of events in the environment. Accidental cell death was around from the very first appearance of anything we would call life. Death of the organism through senescence ---programmed death----- makes its appearance in evolution at about the same time that sexual reproduction appears.
Ibid. p. 62-63.

By the very words of the Sages, Satan, the serpent, and the flesh created in his image (male flesh), were created simultaneous to the cloning of Eve; in the very same verse, Genesis 2:21:

The earliest single-cell monerans reproduced asexually in a simple process called fission. In this mode of reproduction, a given cell autonomously replicates its own DNA and then divides into two perfectly coequal clones of itself . . . These cells are in effect immortal. . . [If they] could be protected from predators [serpents and such] and supplied with adequate food and space to grow, it [they] would continue clonal expansion through its [their] progeny indefinitely.
Sex & The Origins of Death, p. 62

Although all living creatures were created male and female, Scripture mentions this only at the creation of man. The Torah thus teaches us that both sexes were created directly by God, and equally [clonally], in his image.
The Hirsch Chumash, Gen. 1:27.

Gen 1:27 So God created man in his own image, in the image of God created he him; male and female created he them."

The Bible tells us, thousands of years before modern science figures it out, that death comes along at the same time sex and gender does (Genesis 2:21). Immortality means you're not programmed or preordained to die by your very nature. But you can still die, if a car hits you, or a lion eats you, or a meteor takes out the planet. . . Everlasting life, not so much.

Not only does Professor William R. Clark, an atheist, and a PhD biologist, make us aware that the scripture is correct about "programmed-death" originating in the original sin of sexual congress, but, without knowing it, he uses his scientific expertise to show that not only can immortality be returned to the biology of the human body, but, beyond that, the very evolution that brought about programmed-death, for a purpose, has found that
purpose, in the evolution of everlasting life."
https://www.academia.edu/41458517/Sex_and_the_Origins_of_Death

"Interestingly, zodiacal wisdom says the very same thing – and it all hinges on the 8th sign Scorpio that Leonardo made the central theme of his Last Supper: The ‘crucified son’ is the same sex-centred man that is ‘crucified’ in the square of his famous drawing. But lest we despair, in the drawing the Master shows us the other possibility as a reality of our own bodies. Man in the circle, whose pivot has been raised to the navel, can escape this mechanical compulsion, right here, right now. Succinctly, the message is this: instinctual recurring behaviour patterns, along with physical mortality, can be overcome. All one has to do is to learn the secrets of the Eagle: to become free from the clutches of deadly Inertia, the ‘sting’ that plunges us further into our sleep and atavism, and finally to our death. By its dual symbolism, the zodiac, like Leonardo’s man in a circle and square, offers two choices within the same physical embodiment: lesser and higher, crucifixion and hell, or freedom from Inertia and the ability to soar to the heavens and explore those dimensions yet to be made a permanent feature of our existence on this planet. In The Last Supper this choice is displayed with breathtaking artistry. And we must also note that Scorpio is the only sign of the twelve to offer a choice: lower or higher.

...We are no longer satisfied with promises of Heaven after death. The Resurrection, if it did take place, is not a dogma that can continue to appease a suffering humanity. No, we want the answers Leonardo found in the final years of his quest. We want the glorified body right here and now. The ‘Way’ of The Last Supper To reach that condition the Master displays the path and the obstacle: it is the lowly scorpion transmuted to the soaring eagle. In The Last Supper, as described earlier, the ‘M’ discovered by insightful seekers has been unveiled – but again only partially. The viewer has to continue drawing the ‘M’ to its ‘logical’ conclusion. We have to include in the figure a significant element of the painting that has perhaps been its most contentious aspect: the knife appearing behind the 8th disciple, Judas.

We clearly see that its inclusion, precisely as and where it has been incorporated, is simply the ‘stinger’ tail of the Scorpio hieroglyph; and to make the point more emphatically, it has been executed in the mirror-image fashion Leonardo consistently employed.

Was he just, as most believe, foretelling things to come like aviation; or was this a means of experiencing release from Inertia that the 8th sign held before him, the ‘knot’ that had to be undone in order to fly, to soar as a bird, as an eagle liberated from the gravitational pull of the Earth, that square of the crucified man?
(Thea) , Patrizia Norelli-Bachelet. Explorations into the Leonardo Mystery (p. 12).

Could this help to explain the confusion that abounds regarding Leonardo’s sexual preferences? Was he truly homosexual, or was he, as his own words confirm, exasperated by this rigid sex-driven pattern that pins the human being to his eternal cross? Again, interestingly, the 8th zodiacal sign gives us the key: it is not only the sign of death but also of sex. The two go hand in hand for the Square Man. Saint or Sinner?

(Thea) , Patrizia Norelli-Bachelet. Explorations into the Leonardo Mystery (p. 13). White Falcon Publishing. Kindle Edition.