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How Karol Wojtyla Lost the Catholic Faith in His Youth (From World Youth Day: From Catholicism to Counterchurch)

Like Focolare, other syncretic sects have received, or are in the process of receiving, canonical status, allowing them to masquerade as Catholic religious orders, complete with Statutes, community life, vows and even seminaries. The Neocatechumenate alone, founded by a lay man and ex-nun, has produced 196 priests from its Redemptoris Mater diocesan seminar in Rome and more than 1,000 from its 50 seminaries across the world. Besides the priests being developed by this and other sects, many other clergy live their spirituality. Bishops have already come from their heretical ranks, ordained by John Paul II and favoured with privileged positions, some within the Roman Curia and on Pontifical Councils. It is only logical to assume that they could produce a pope, loyal only to his particular "church" or movement. The ecclesial movements comprises priests, religious, single and married laity--each movement a parallel or an anti-Church within the bosom of the Catholic Church

But we don't have to look to the future for a pope produced by a lay movement. Pope John Paul himself was the "product" and progenitor of dynamic lay groups." In 1940, Karol Wojtyla, aged 19, fell under the sway of a Polish rationalist and self-taught psychologist, Jan Tyranowski, who had "developed his own spirituality" and had the reputation of a "mystic." Quite in line with Deweyite and Jungian adult church principles, Tyranowski preached a gnostic experiential religion; "inner liberation from the faith," i.e., from Catholicism; and "transformation of personality from within," i.e., spiritual growth, through the "friendship" of a community. He also preached a life of service, especially to those of one's community, as the fruit of the "practice and the presence of God." "To bring young people into this same faith"--not Catholicism--he led weekly discussion meetings for young men he recruited, "in which theological questions were argued." (Questioning the Faith is called "critical thinking" today.)

Tyranowski formed the Living Rosary, which shared many of the characteristics of modern lay movements. Its weekly meetings were run by lay people in homes, not by priests in parish halls. By 1943, there were 60 "animates" who reported to Tyranowski. One of these group leaders was Karol Wojtyla.

It is strange that Chiara Lubich also termed her group "the living Rosary." Did she get the idea from Bishop Wojtyla, whom Focolare got to know in Poland? "The Living Rosary as created by Jan Tyranowski consisted of groups of fifteen young men, each of which was led by a more mature youngster who received personal spiritual direction ... from the mystically gifted tailor." The difference between the two "living" Rosaries is that Tyranowoski's groups represented the decades of the Rosary, whilst Lubitch's members were Hail Marys.

The inner transformation taught by Tyranowski is what New Agers today call a change in consciousness or paradigm shift, in which one synthesizes two opposing ideas, such as believing one is a good Catholic even if holding superstitious or occult beliefs. It is similar to Dewey's merger of nature and grace or Jung's "wholeness." It is an occult, gnostic, kabbalistic method of producing a personal shift in values that engenders social transformation. Inner transformation led to religious orders abandoning the supernatural focus of Catholicism for naturalistic and social activism after Vatican II.

Pope John Paul II's acceptance of the gnostic philosophy of the sects is also the product of the theatrical experiences of his youth. Theatre for Karol was "an experience of community"; but more than that, it was a serious training in gnostic transformation by Mieczyslaw Kotlarczyk, director of the Rhapsodic Theatre, which he co-founded with Karol. This Theatre, with its "theme of consciousness," provided Wojtyla's "initiation to phenomenology." Kotlarczyk, who lived for some time in the Wojtyla home, tutored Karol in his method from the time Karol was sixteen until he joined the seminary six years later. He created a "theater of the inner world" to present "universal truths and universal moral values, which . . . offered the world the possibility of authentic transformation." Plot, costumes and props were not important. Instead, speech--the "word"--was his focus, the goal being to use it to transform the consciousness of the audience (and actor). Hence Kotlarczyk, insisted on every word being pronounced just so.

That this was a training in the kabbalistic, occult use of words became clear when Kotlarczyk's book, The Art of the Living Word: Diction, Expression, Magic, was published in 1975 by the Papal Gregorian University in Rome. Cardinal Wojtyla penned the preface to this book in which Kotlarczyk listed the sources of his ideas. The included the writings of several occultists and theosophists, amongst them some of the foremost kabbalists and occultists of modern times: Russian Mason Helena Blavatsky, founder of the Theosophical Society and the New Age Movement; French occultist Eliphas Levi (who influenced Blavatsky, Albert Pike, Grand Commander of Scottish Rite Masonry, and sorcerer Aleister Crowley, long-time head of the high Masonic Ordo Templi Orientis or OTO); and Rudolph Steiner. Illuminatus, Rosicrucian, theosophist, OTO member, Communist and founder of the Anthroposophical Society and Waldorf Schools. Theosophy had been condemned by the Church in 1919, the Holy Office stating one could not "read [theosophists'] books, daily papers, journals and writings.

Kotlarczyk believed he was an "archpriest of drama," his living word method being a religion and "vocation," with the actor as priest. As with theosophists who use the title "Master" for highly evolved humans who guide humanist, he called himself "Master of the Word." He saw theater "as ritual" and "understood the liturgical character of theatrical action, . .. offering the possibility of entering into a new dimension. . . ." Theater could be "a way of perfection" if "the word" had absolute priority" over "externals and spectacles."

Compare Kotlarczyk's ideas with Anthroposophy or "Christian Illuminism," which is a Luciferian initiation" that forms the enlightened or "deified" man with occult abilities. Anthroposophy teaches that occult knowledge, or the "inner meaning" of realities can be obtained through a "disciplined use of the arts, words, colour, music and eurhythmic ("universal harmony"), a way of dance that Steiner (1861-1925) created to express the inner meanings of sound. The explosion in the Church today of theatrics, "creative liturgy," and eurhthmic-style"liturgical dance" (even at Papal Masses) as an experiential means of teaching the Faith, denotes both a Jungian and Steinerian influence. (Steiner's techniques are actually a "subversive" form of hypnosis applied to religious, political and educational groups to make them tools for effecting the Masonic Universal Republic. Destroying rational thought, they produce the "false idealist" and "soft peacemonger" who lives by feelings, finds goodness and beauty in ugliness and evil, does not criticized error, gives up his personality, and blends with another. He is then easily controlled and even obsessed.)

Karol and his friends committed themselves to "the dramatic exploration of the interior life" under Kotlarczyk. Amongst his man roles, Karol was the "Seer John" in Steiner's arrangement of the Apocalypse. Other esoteric works in which he acted or which had "significance in his spiritual formation" included productions by Juliusz Slowacki (1809-49) and Adam Mickiewicz (1789-1855). Slowacki was an evolutionist and reincarnationalist who believed Poland's political sufferings were "karma." Mickiewicz was a kabbalist and Martinist (a form of occultism). Both men subscribed to Polish Messianism, which was intertwined with Jєωιѕн Messianism and occultism. Their ideas were incorporated into other plays. To "rebuke" Pius IX, who did not support Polish nationalism and the Masonic revolution in Italy, Slowacki also composed a poem about a future "Slavic Pope" who would head a "reformed papacy," and would be tough, but "a brother of the people." As Pope John Paul II, Karol would later apply this poem to himself.

The following comment by Father Wojtyla (under a pseudonym) in 1958 shows how the Rhapsodic Theatre solidified his rejection of individualism in favour of the one mind enforced in the new ecclesial sects:

    This theater ... defends the young actors against developing a destructive individualism, because it will not let them impose on the text anything of their own; it gives them inner discipline. A group of people, collectively, somehow unanimously, subordinated to the great poetic word, evoke ethical associations; this solidarity of people in the word reveals particularly strongly and accentuates the reverence that is the point of departure of the rhapsodists' word and the secret of their style.

After his ordination, Father Wojtyla created his own youth group, "Little Family," whose members called him "Uncle." Little Family became the core of a larger community known as Srodowisko or "milieu," which he led until elected Pope. The seeds for World Youth Day lay in the co-ed hiking across Poland, sleeping in barns, discussing anything, singing, praying, and attending his outdoor Masses. His good friend, Fr. Mieczyslaw Malinski, another Tyranowski graduate, admiringly referred to him as "Wojtyla the revolutionary," who shocked "the entire Cracow diocese." He was also the type of priest Focolare likes, "wholly devoid of clericalism." Tyranowski's training taught him to highly value the laity, and he tested his philosophical ideas on Srodowisko friends and his Lublin University doctoral students, encouraging a "mutual exchange" of ideas, happy to learn from them.

Having gone from lay leader to Pope, it is no surprise that John Paul became the greatest promoter and protector of the lay movements, starting with gaining them official recognition at Vatican II. Furthermore, Focolare, Neocatechumenal Way, Communion and Liberation and Light-Life (for Oasis) were well-established in Communist Poland, where Karol Wojtyla got to know them; and he championed them since his days as Archbishop of Cracow. He saw the movements as crucial "for achieving his vision": they are "privileged channels for the formation and promotion of an active laity ..." The following statement he made to Communion and Liberation in 1979 encapsulates the continuity of thought between his Tyranowski days and the modern sects: "the true liberation of man comes about, therefore, in the experience of ecclesial  communion. . . ."

Pope John Paul's Apostolic Letter for the Year of the Eucharist (October 2004-October 2005) shows that Vatican II was a bridge for this continuity. Citing Vatican II's Lumen Gentium, Pope John Paul says the Eucharist is a sign and instrument of "the unity of the whole human race"--i.e., it is meant to bring about the pantheistic Masonic one-world community! It should inspire Christians to "become promoters [sic] of dialogue and communion," and communities to "building a more just and fraternal society." (Cornelia Ferreira and John Vennari, World Youth Day: From Catholicism to Counterchurch, Toronto, Ontario, Canada, Canisius Books, 2005, pp. 126-133.)