Pursuing natural health & thinking beyond the superficial. Deconstructing Culture.

Posts tagged ‘Kali’


A Black feast for a Black Goddess – International Women’s Day

Mum made THE best dishes today in honour of International Women’s Day which uses the Black Goddess Venus symbol to mean ‘female/woman’.


Black Eyed Beans
Dried Turtle Beans (Black)
Fresh tomatoes
Black sesame oil
Poppyseed Oil
Blackseed oil
Mustard seed (Black) Oil
Coconut Oil
Black Venus Wild Rice
Coconut Milk (used with the rice)
Almond Milk (used with the Turtle beans)
Kala Jeera (Cumin seeds), dried and fresh (the fresh is the watercress looking herbs I grew in the photo)
Tumeric Powder
Himalayan salt
Black pepper
Lime [juice]
Kalamata [‘Black-Mother’] olives
Seaweed (as a side)
AND SHOCK HORROR – No spice at all! Everything tasted so wonderful none were necessary! :-O


Black grapes (or Raisins for dried fruit)

Mum was going to make date fritters but didn’t get round to it, no loss – my belly is so full right now I can barely move… *Groan (not in a bad way).*

Some of the ingredients

Dates and Grapes Dessert

LtR: Fried Black Eyed Beans, Black Eyed Bean 'Dahl'/Lentil Version, Fried Aubergine, Black Venus Wild Rice (Sticky version)

LtR: Fried Black Eyed Beans, Black Eyed Bean ‘Dahl’/Lentil Version, Fried Aubergine, Black Venus Wild Rice (Sticky version)

Roasted Aubergine Boats

Stuffed Aubergine Boats!

My absolute favourite was the:

Using some of the liquid/soup from the Black Eyed Bean stew to make the Turtle Bean Stew

Turtle Bean Stew and Black Rice



And look what else MUM made:


Saturn and Kali or Ka & L

I’ve written about Father Time/Grim Reaper going back to Mother Time and hence the Dark Mother, the world has seen her in many forms, a prehistoric goddess and the oldest living version is Kali (Black, Time – and carrier of many weapons but the sickle one of staples) from old Hinduism (modern Hinduism to me being Vedic Hinduism aka from approx 1500BC.) I’ve also written about the feminine triad predating the masculine triads we see from/following the cradles of civilization ancient Egypt, Mesopotamia and India. I tend to refer to the Indian side of things most because their customs/beliefs/knowledge is still living, twisted and morphed over time, but still there so for me it’s easier to see the changes.

The feminine triad came from Lalita who split into three major forms; Bala, Lalita and Kali. The Daughter, the Mother and the Dark [grand]Mother/Crone. Lalita is seen as the ultimate Mother Goddess/cosmic Mother who in texts that aren’t so popular even the current pantheon admit pre-dates and is more powerful than them. I found Valdimir Nabokov’s book ‘Lolita’ to be a poignant version of this (and not romantic at all as many think it, but probably wouldn’t if it was them/their daughter) and how they took over the Earth, but in a personalized/individual rather than cosmic form.

Shortened versions of Lalita is Lal or L and in later religions people have highlighted the ‘el’ (Mum has had people say ‘elle’ to her as well – her name being Lalita). ‘El’ is both significant and frequent in the later triad of dominant world religion – Judaism, Islam and Christianity but it is usually in plural form.

Going back to Kali/Kala/Kalika though, given the spread of Indo-European languages from the India side of the Indus (and pushing aside languages already in India such as Tamil) we can see the use of Kal in many places. For example Cailleach of the Gaelic Scottish Celts (pronounced Kall-yack) whose name means ‘old woman’ and commonly ‘hag’ or ‘crone’ both of those terms associated with magic/being a witch and being a ‘dark mother’. Cailleach was/is a Mother Goddess figure. (On a sidenote Ireland had a goddess called Brigid – a number of spellings – who was later incorporated as one of the Christian saints.)

California after the Spanish story of Calafia/Califia a warrior queen of Black women is another interesting one, though bear in mind being Spanish it is a later version and significantly that story includes the use of her in the war between Islam and Christianity. Also California’s flag has a dark/Black bear (remember the bear is one of the oldest symbols of Mother Goddess) and a pentagram. Later there was the establishment of the Golden Gate Bridge and Los Angeles with its Holy Holly Wood (remember witches don’t need/have wands, it’s a phallic symbol).

Where does Saturn fit into this?

Saturn is the planet represented by Kali which makes sense since she is Mother Time. In later religion it became Kronos/Chronos and was most widely known with Graeco-Roman religion(s) (pre-Roman Catholic & Christian period but remember that he was a titan so harking back to an older race, pre-dating the Greek gods who conquered them). If you’ve seen masonic artwork of the zodiac often found in divination books (and to some freemasonic symbolism is also called ‘alchemy’) you’ve probably seen pictures of the gods in front of their representative planet and with other symbols around them. For some reason none of those are coming up in image searches I’ve been doing but here’s an interesting yet simplistic one:

Chronos Kronos Capricorn Aquarius

Chronos was both the ruler of Capricorn and Aquarius but that changed later on with Uranus taking Aquaman. The water bearer Aquarius used to just be a vase pouring water (over to Pisces) in both old Greek and Hindu zodiacs (potentially confusing for the Hindus given their girls and women carry very heavy clay pots of water on their heads short and long distance, and could break their necks but like Chronos, Capricorn/Baphomet and the rest the water bearer became male even though the job is considered too low for them).

This one was more like the ones I originally saw:

Greek Zodiac Wheel

7 planets at their time including the sun and our moon

I saw similar when researching my star sign Capricorn, whose ruler is Saturn (and whose day is Saturday) and who is represented by the Devil (commonly signifying materialism and base desires) in the tarot cards, the Devil being the goat headed satyr Baphomet with the circled pentagram. (Baphomet, one of the names being ‘Black Goat’, has very interesting symbolism and history of worship too going back to the Knights Templar, Baphomet being a Dark Goddess. Remember going back further Kali is one of the Mahavidyas or Dasha Vidyas, the Mahavidyas being 9 forms and the Dahsa being 10 since it counts the bigger unsplit form. This was long before the ‘Satan’ and the ‘Nine Angels’ connection which people jump to immediately and remember ‘Satan’ is from the Muslim word ‘Shaytan’ meaning a class of jinn-smokeless fire beings.) Interestingly Capricorn isn’t a regular goat, it’s a sea-goat – part land/part water animal and the water part being magical/mythical. The significance of water beings on this water planet Earth is something I might go into in a later post.

Saturn (and the other planets/stars) have come a long way from their goddess associations, Saturn’s Mother Goddess being the fiercest, most protective, most aware/punisher of injustice Kali Maa who has sadly become the object of many people’s (and Shiv’s) desires for her near nudity, blood and raw power. ‘The blood is the life’ goes the well-known phrase particularly menstrual blood despite it’s taboo is modern religions making women dirty and even evil, untouchable, not allowed to pray, go in ‘houses of god’, touch men even shake hands etc yet modern Hindu statues that apparently bleed are revered in the utmost and the red/pink (or ash) marks on the head of people symbolize that though ironically the coloured powder for women is made of toxic substances and the men’s one not. And it’s not just the blood – it’s the electricity – including the spinal chakra electricity (later called ‘serpent’) of kundalini, something some people are scared of and so call evil, and the creative energy nowadays known as sexual energy. More specifically when it becomes reproductive in sexual intercourse. Remember that in Earth root cultures – pre-modern Hinduism (and incorporated/twisted into it) – there is a focus on feminine androgyny i.e. asexuality and being able to self-produce, and how those who came to this planet on sailboats (possibly space ships) raped the dark woman with dark curly hair of the Earth by controlling her sexuality and making her frenzied and thereby taking over and made the ‘original feminine’ into a vessel and all her children as part of their school (like fish). Again another subject for another day.

One of misconceptions that I really dislike about the Kali-Saturn connection is that is brings up the later Shiv connection, the later god whom now Kali is apparently an ‘aspect’ of and so sexually enamoured with that she wants his creative juices even after she kills him. Her killing of demons is something she apparently enjoys (rather than just being furious at and sickened by, especially after witnessing her children/creations hurt and a popular sin is to rape females in front of Mother Goddess statues/in their templates to show the Mother Goddess means nothing, is nothing and has no power) and then takes part in necrophilia with his penis being portrayed on a mighty scale. This ‘frenzy’ is something that comes with modern Hinduism. Shiv and his pantheon being the usurpers means that he then became the Creator Destroyer, the Lord of the Dance (and lover/participant of wrestling), the Black One instead of her (even the mass statues of his penis which is prayed to separately to whole statues of him is coloured Black and significant in Islam too as a cornerstone of their religion that they revere and housed in Mecca the Black cube). It’s ironic because when I first heard about CERN proposing to build the LHC in search of/to prove the existence of the Higgs Boson aka the ‘God Particle’ I read up on said particle and even from the basic descriptions/rudimentary maths of its spin/movement I thought to myself in horrified surprise “they’re trying to build a portal for him”. The door/portal bit made sense to me but the ‘him’ being Shiv was a strange thought because anyone who knows religion/culture knows he doesn’t need a portal, he and his ilk are already here and took up residence in the Himalayas (though bear in mind it’s also a/awaiting punishment to be trapped in and under mountains) (the reason why I thought of him is one I’ll unlikely go into). At the grand LHC unveiling though, what was standing there – a donated statue of Shiv from India. I’m not sure if it really has anything to do with the God particle or Shiv but the laser like spirals they’ve unleashed into the sky worry people.

Now the ‘Saturn Cult’ as many researchers religion, freemasonry, myth and history call it is something very cruel and sinister, the victimizer rather than the slayer of the victimizer. It’s taken the blackness and morphed it into Black/dark = fear and evil, taken the natural wild/natural nudity and made it into both erotica and shame which leads to the taking the reproductive/creative of ability of blood and electricity and made it into rampant, uncontrolled and forced sexuality i.e. rape/sex abuse/prostitution/sexual murder/ritualistic abuse and vampirism/blood drinking.

There are many ‘Black’ associations in Freemasonry (although there are many ‘White’ too for the light and dark, good vs evil theatre where they play all sides and even switch back and forth e.g. the checkerboard pattern) – but the one most important here being the Black Sun. Some see that as the occult in general – the hidden – and esoteric, but it sounds more specific than that and perhaps indicates Dark Star instead.

I’ve never really thought that the sky was ‘right’ – there’s something very unreal about it me. I’ve also never been able to ‘get’ the constellations – it should be like cloud watching with someone and saying ‘hey look there’s a _____’ and then the person with you goes ‘oh yeah I see it’, perhaps they squint a bit first but it’s not too hard to imagine. Constellations though don’t even look like what they’re ‘supposed’ even when you look at the join-the-dot diagrams and even less so when the detailed drawings of the characters are superimposed. In my last post I mentioned that I always imagined the sky as sunset/sunrise (dawn/dusk) rather than Blue and cloudy and then I found similar thoughts in other cultures leading upto the ‘twilight’ description in a recent (very well written) fiction fantasy book. Part of my annoyance with ‘landmarks’ in the sky/outer space might be because people generally see them as stagnant akin to the stationary models of the solar system we’re taught with which implies all the bodies are lined up and moving together in the same direction, not taking into account that the whole system is an orbit too.

Capricorn constellation

Seriously who sees that shape without needing someone to draw/map it and point it out to them?

My ‘issue’ is that I’m interested in both the physical and the mystical/mythological side of things but I haven’t been able to explain my uncertainty about the symbolism of Saturn with the physical. Mum sees it more metaphysically – she’s better able to personify and empathise with the objects in space – whereas I look at the sky and don’t really feel anything, not even awe. I used to be able to really focus on the sun for example, to the point of it being ‘living’ in a sense with ‘beings’ and geometry inside. Nowadays when I try to concentrate on sol images of water pop into my mind and push me off that train of thought. So far I’ve been unable to verbalise to Mum why there may be more to the planets than just mythology and regular science/astronomy. However this video, an interview with Troy McLachlan on Red Ice Radio helps. I don’t agree with all of it but it got both of us thinking (and I’m glad he talks about the sky being different now to how it was which is a major factor I find it hard to explain to people into the mythological side, although it’s easier when talking about megaliths which he does too):

His website about this is: http://saturndeathcult.com/

Sidenote – modern cultural examples of seemingly friendly iconic fusion of outer space ‘divine’ with Earth into ultra masculinity and the use of Mother Goddess terms is Superman or Kal-El with the use of Lalita’s Red (name means ‘Red’ and ‘joy’) with Earth Blue. Supergirl and Superwoman (and even Superdog) came later as a kind of afterthought or perhaps from a side of rib. A bit like She-Ra (Ra-ja Ra-jeshvari another name of Lalita, and means ‘king of kings’ feminine terms but nowadays thought of as masculine, also many of the male god names are taken/added from female names, She-Ra is the ‘princess of power’ whereas He-Man doesn’t have that equivalent title though both are called the strongest woman and man), He-Man’s supposed twin sister but she had far more powers, a god-name and in her non-super form wore Red whilst he wore Purple/Pink (the fusion of Red/Blue and the dilution of Red). The Dark Goddess in that cartoon could arguably be both sorceresses, one a birdwoman who lives in a skull, and one shadow who works for a Blue skinned techno-skeleton who lives in a bone castle and whose apprentice was another skeleton.


Brave – Beauty and the Beast of Old Style

Brave Merida Archer Daughter

Released: 2012
Directed by: Brenda Chapman, Mark Andrews
Starring: Kelly Macdonald, Emma Thompson, Julie Walters, Billy Connolly
Rating: PG

This is not your average Disney fairytale (via Disney/Pixar design), it’s gone back to the days of epic verses, it’s not just a piece of a story, it’s the story, digging right to the roots of humanity’s cultural history. There’s no charming princes, theatre singing, show stealing sidekicks, they’ve tapped into the raw origins of myth and psychology.

I don’t usually delve like this into Hollywood for reviews, unlike filmmakers in other countries (except US-cross border projects) they tend to radiate symbolism all over the place but don’t explain it and act like it’s a coincidence but here it’s loud and proud.

It garnered overwhelming positive review and support from viewers but there were some it just rubbed the wrong way and who probably without understanding dismissed it as a dud. The emotive issues and relationships involved between parent-child and boundaries were too much for some people and hopefully this review will help to dispel the misperceptions and misconceptions.


In medieval Scotland a princess was born, her name was Merida, her mother Elinor and father Fergus lived seemingly contently until they were attacked by a huge black bear called Mor’du. Mother ran to protect the child and father lost his leg in fighting. We see them again later in a castle with Merida as a teenager and with 3 little brothers (triplets). Merida has come ‘of age’ and has to get married much to her surprise and dismay, Elinor is nonchalant about it and feels it a done deal it’s just a question of which suitor will be the one. This causes a tear in the fabric of their relationship and things will never be the same again as Merida fights for her right to her own body and Elinor battles with tradition/duty.

Action packed and emotive from the start the friction with the characters vs the audience start when Merida is given a cake by an old woman in the woods (Crafty Carver who won’t admit she’s a witch) to give to her mother, the cake turns Elinor into a bear and if the spell’s riddle isn’t solved in time she will remain one…

Arranged Marriage – How dare she control my entire life? How dare she defy me?

The standout theme of this film is arranged marriage, and for some people I’ve come across translated into ‘what a spoiled, selfish s*** that girl was’ and ‘I wouldn’t have tolerated her [Merida’s] behaviour’. Personally I’m totally, utterly against arranged marriage for myself, I don’t like or tolerate inferences from meddlers and people with too much spare time on their hands who then see a single person and think one/some/all of the following ‘a project to enjoy, something/profit to gain, a wedding to arrange and more children to play with that aren’t mine and since this one’s old and boring now’ let alone people who actually try to set me up… One of my aunts once told me that my mum was going to marry me off and thereafter I spent years in a campaign to show I was independent but still dutiful without being able to mention the incident. Then when I was asked what I thought about arranged marriage for 2 other members of the family (which I never told them because I didn’t want to sour their relationships) in no uncertain terms I disagreed and was having no part in it. Obviously that meant I was in the bad books for a while and the wannabe arrangers more friendly than usual with their previously intended marriage targets, typical, every time one of them had an argument they’d cozy up with one of the others even if they’d argued just before, playing off each other and since I don’t I end up looking like the trouble maker.

That said, I’m not against it for people in their 20s+ who decide they want to look for someone to get married to and go to an ‘elder’/marriage maker/family/agency etc to make it happen. As long as they’ve done so without any pressure, obligation or manipulation of any kind, are aware that they might not find the ‘right candidate’, and if they do get married it might not work out and divorce is ok. I’m not into the ‘new’ marriage brokering of blind dates because ‘children’ are still under the duress of duty to participate even if they ‘play the game’ in a way that suits them and even though their parents say they can say no if they want to (it’d be easier if they just got an actual doll set instead of playing barbie and ken with the kids and be happy with them as they are without pushing them to add more to the brood just because they’re ready to be a grandparent and/or want more property or to get someone abroad/into a certain family).

Not all arranged marriages go or end badly, some people learn to live together respectfully, even contentedly and/or actually fall in love like Elinor and Fergus but it’s a big risk to take with a life especially when children and emotions can’t be undone.

I didn’t like that Elinor was made out to be the bad parent in contrast to Fergus’ reticence and lax attitude but we were shown the political bonds that held the clans together – they formed an allegiance after disliking each other due to a common enemy and that alliance assured by property, title and basically knowing they’ve got a foot in the door in each other’s families and spreading their lineage. Interestingly the film highlighted the role of women in perpetuating and enforcing arranged marriage as well as being victims though for some reason the men were shown as none too bothered by it nor resistant to the idea of changing it later on and more interested in fighting & drinking. They were just going along with it for the sake of appearances and because it was the done thing whilst the mother was for it also out of a misplaced sense of love, duty and what she thought was right. Some people do that because they feel it’s the only or best security and even escape they can provide or have and if it comes down to risking happiness with security then they go with security (though many women find their personal safety has also been compromised). Elinor says ‘it’s only marriage, not the end of the world’ which was hypocritical given she has a happy marriage and is the basis of the most important things in her life i.e. her family and position. So it’s not ‘only’ marriage, it’s a huge thing and it can be a deciding factor in people’s personal world’s i.e. their life. Then there are those women who are like the men in the film just go along with it without thinking it through. Elinor didn’t have sympathetic circumstances other than ‘this is how royalty behaves’ and ‘its for the sake of the kingdom’ aka its the duty of the acknowledged offspring of royalty the representative of god to sacrifice oneself for the sake of the kingdom/people (more pervasive in a tribal setting like this than modern royal counterparts) and that restriction is well played through the attire given to Merida. Elinor cared deeply for Merida but couldn’t balance the child/sentient being vs property/object, and who along with Merida were ultimately taught a lesson by a higher mother figure.

This film shows how 2 close but very frustrated people have to rely on each other in uncertain conditions without community and convention to tell them what to do or provide examples. Merida learns the responsibility of having a dependent, Elinor is taken out of her comfort zone of protocol and has to re-learn how to communicate and ultimately they have to save each other from Mor’du and Fergus & blood thirsty clans, plus figure out the crone’s cryptic message to mend their broken bond without being able to contact her again, all within a time limit.

Brave Merida Daughter Elinor Dark Mother Bear Goddess

Parent-Child (similar to Teacher-Student or Guardian-Vulnerable)

The driving theme of this film is parent child relations and whereas we covered boundaries, this part is about communication. Let me just say that I’m only going to refer to the situation shown in the film rather than families in general, I’m well aware that there are very problematic, ungrateful children that parents/guardians just can’t cope with for example. However in regards to the film and similarly to the reactions provoked by the above, trying to talk to someone you love or spend a lot of time with such as family and dependents/co-dependents can be very difficult. If there’s a power imbalance aka the double yet understandable standard of a parent over child it can be very frustrating for a child to talk about their thoughts/feelings, frustration can lead to crying and/or lashing out when they just want to be angry and then embarrassment at the inability to express themselves clearly. A lot of parents react in just as juvenile a manner but instead of crying can be smug and rely on ‘see I told you so’ and ‘now you’ll see how hard it is yourself’. I can understand that in single parents or those without much if any support, but in the case of Merida’s mother she’s got a solid, respected position in the family and power/influence, she just reacted out of being questioned and her plans rejected. That doesn’t justify Merida giving her spiked food and then claiming it wasn’t her fault (it wasn’t fully her fault). However I think the main thing a lot of people I’ve come across miss is the symbolism of the bear and indeed turning her mother into one was not an insult at all despite being presented as a rash, immature move necessary to move the story along and for character development. (If it was ‘real life’ I’d be against that but film audiences need and crave drama otherwise they feel stagnated.

Beauty and the Beast

Apparently there is an event in one’s life, something that severs the psychological umbilical cord. It’s usually an argument or something big enough to make us differ from our parents/guardians in some way. It doesn’t have to be permanent, it can be a temporary thing but it’s a defining event that marks a transformation in the relationship.

My first thoughts when watching were ‘this is very well designed, beautiful reconstruction eh what the? They didn’t have bears in 10th century Scotland!’ and then ‘Oh’ Disney weren’t messing around (as much as usual) with this one.

Maid-Mother-Crone (the Witch and Bear)
Daughter-Mother-Dark Mother

Child to Woman and Mother to Dark Mother

That is the symbolic theme to hold the story up with in comparison/contrast.

There were a lot of goddesses in ancient Britain (and of course these Isles have been through many waves of European invasion), you can still see some relegated as modern day saints and others masculanized or removed over time. The significance of the triple goddess and the ‘other’ (nowadays superimposed by the father/son/holy spirit and possibly adversary) has remained in remnants, probably most known here would be the Morrigan, and has been weaved (an intentional term there) into the film. Culturally 4 became 3 with the dark mother sometimes also described as the ‘other’ and that is shown through the masculine in the film aka the story of the 4 brothers/princes inheriting equally and the oldest believing he was robbed – 4 brothers became 3. Then from the father (Fergus) comes the triplet brothers (1+3 which in itself is symbolic of the 3 become 1, and 1 become 3 and ultimately the 4, in one way the triplets could be seen as one being and interchangeable with the father) and then the 4 clans with 3 fighting over the right to Merida. Celts are no strangers to bear symbolism and the Gauls have the mother goddess Artio, to the Irish Celts ‘Art’ meant ‘God’ and divinity in translation to people’s social structure = royalty.

I titled this review ‘Beauty and the Beast’ as an indicator/short form of the above (hey it was a limited space title). Neither female protagonist or the witch is either Beauty or the Beast, all characters are both with the witch being the transformation agent and the ‘dark mother’. Hence the use of the will-o’-the-wisps, like the witch sometimes seen as tricksters and here are her messengers/guides apt since they’re known as foolish fire and the fool is not an idiot or clown but a symbol of hidden knowledge.

The Dark Mother is a figure usually given wicked stepmother/jealous wife/evil aunt status but originally she was the fierce protector, the wisdom, always tying back to blackness, time and eventually from the ones most still widely known, Kali of pre-Vedic Hinduism (i.e. she pre-dates modern Hinduism being an entity recognized worldwide but Hinduism is the living remnants of that and that’s where the root mother is ‘housed’).

The hard I mean dark mother is often seen as ‘tough love’ even cruel but when it comes down to the overbearing/unbearable vs the can’t bear it, she helps the latter. I’ve never been one for throwing your kids out of trees, off cliffs, off ice caps and watching them hit everything possible on the way down to see if they’re strong enough to survive but at the same time male lions kill other people’s cubs. The dark mother is usually the last resort, when things have gotten so bad, sh*t has hit the fan and covered everybody, when even the bad guys and not just their victims are calling ma/maat/mat/math(a)/mahi/mata/m-om (root words for mother) for help. It’s upto her to teach us some bloody manners or return the child (creation/manifestation) back to whence it came (inside herself to some). In ‘smaller’ form usually as the Daughter she’s shown in stories and scripture to help people on a lesser scale.

However just because one is a bear and the bear is a symbol doesn’t mean they’re all nice or good, not all women are goddesses not all men are gods not all children are innocent and not all bears (or any living example of a symbol) are loveable. If you’re a beast, even unintentionally, after a while you become one. It’s also easy to forget oneself in transformation (and be pushed into it) to lose consciousness/self-awareness.

Micro and macro storytelling – Bears, bears, bears!

The bad bear, brother bear or the bear who didn’t learn his lesson. In usual roundabout fashion (even grandmothers/witches/crones are busy and a lot beings need help) a circular nature is shown here. Breathe in, breathe out and repeat. It is said that the original Dark Mother/the source made the Mother/manifestation who was also of course the Daughter but she was too big and too multi-dimensional for the smaller parts of herself (stars, planets, carbon lifeforms etc) to comprehend/appreciate/be in contact with other than in a mundane ‘this is where we live and what it looks like’ sense so the Mother/Daughter made another Daughter to act as a link/representative. But there was a bad apple so to speak, he resented and rejected the mother (tough when you’re a part of a body) but succeeded in a takeover, like a deadly illness/injury that bit by bit takes consciousness and energy. To some He is described as a/the malformed part. In a historical, Earth sense (since the story is not just about Earth) it seems to coincide with patriarchy. As with conquerors in general (religious, political, business, schools of thought) if you can’t vanquish the conquered you copy and assimilate it/them and history tends to get repeated as empires rise and fall. Whilst the daughter/mother/dark mother is still heavily hidden/veiled in our current versions of older cultures, the fourth is even harder to find out about but is still mirrored in some. The ‘lost’ one, is it the traitor, the original sinner who defiled his/the mother? Anyway, 4 brothers, 1 turned into a bear (Mor’du) by the crone and didn’t make it through the transformation properly and guess what – he already attacked the mother&daughter in smaller form Elinor and Merida (who both represent the daughter of the dark mother/crone) when Merida was a baby, Fergus lost part of a leg fending him off (losing a part to/due to the lost part itself) and here he is again attacking them again in another transformation period. He is the embittered obstacle that couldn’t be dealt with before.

Ultimately Elinor and Merida change and become even closer and Merida is the figurehead of this story, she is Brave. The daughter of the bear and in Celtic mythology bears were also symbolic of bravery, although people were scared of them in many European/Eurasian areas they were still respected. In other cultures such as to Native Americans bears symbolize power, strength, nurturing/protection and introspection (particularly in dreams in Shamanism).

From the Gauls we have Artio (also known as Dea Artio – see Deanism and Filianism which again is the focus on the Daughter/Mother/Dark Mother as the Supreme Creator/Creatrix/Matrix) the bear mother goddess and with the spread of Celts in general we can’t ignore their link to the Romans (and hence Greeks). Goddess Fortuna favours the brave, and Artemis (also known as Artemis Kalliste) and Diana (thought to have been the cultural morph/absorber of Artio) have goddess-bear symbolism. As aforementioned the word ‘Art’ to Irish Celts meant God, and that’s shortened from Bear Mother/Goddess. In Greece we have ‘arktoi’ for ‘bears’ more specifically ‘she-bears’ with ’arkt’ being Indo-European for ‘bears’. Also remember the link between Artemis and C/Kallisto (many k-words get changed or added to with ‘c’) going on to the constellation Ursa Major and Ursa Minor ‘the little she-bear’ the bear or the north, the Pole Star seen best at the ‘arc’tic. Kallisto was raped by Zeus/Jupiter much to the embittered Hera/Juno, who is generally shown as the angry wife/evil stepmother morph/version of the older ‘dark mother’, turned Kallisto into a bear after she gave birth. Her son as a teenager met his mother bear again without knowing her and tried to kill her – mirrored by Fergus trying to kill Elinor in the film and Merida stopping him. (In the Sophianic Myth, Deanism and Filianism the malformed/wrongly made later becoming the lost and twisted one represents the ‘son’ who is also in later religions a/the father figure as like the daughter/mother connection they/he is ultimately a son – easier for the modern mindset to think of in terms of the Graceo-Roman scenes of fathers/sons marrying or just sleeping with their mothers/sisters). Merida speaks back to root stories so instead of Mother-Son being sent to the stars in heavenly union and rekindling of the relationship this one strips back the false/bad father/son (Zeus/Jupiter parallel) connection and makes Merida the daughter saviour (again). Then all live ‘happily ever after as a happy family with children (not just the youngsters because all the characters are ultimately children to the crone) making their own choices’ – in actuality we don’t know the ending of the Daughter/Mother/Dark Mother root culture creation/manifestation story and the Sophianic Myth but Disney can’t say that – bit anti-climatic for the audience.

In Europe there has been a linguistic taboo over the words for bear so many opted for phrases particularly including their colour and the ability to destroy/get angry. The Indo-European words ‘Bher’ (bright, brown) and ‘Rkso’ with the Sanskrit word being ‘rkshas’ meaning ‘bear’. The problem and confusion is in morphed/twisted language e.g. any Hindu should know that rakshas refer to demons or enemies of God rather than thinking of bears (though most don’t know that pretty much all the ancient religions say the gods/God/demons we know of as the ruling pantheons and singular today came from various places in space and got stuck here) but remember Kali ‘The [Great] Destroyer [of Worlds]’ (Kali means Black and Time) is older, tribal pre-organized religion found through and all over the world from the streamlined Hinduism aka Buddhism to the beautiful dreadlocked versions in Africa to the triple goddesses throughout Europe and the Black Madonna. The words with Rkso and its variants indicate or mean destruction, not demon by default – demon is the association because usually destruction is seen as bad (whereas raskshas are evil hence demonic in action). For example both Hindus and Muslims would recognize the use of ‘shaytan’ and ‘satan’ as definite demons (yes plural) both by behaviour and species sub-type (though daemons/jinn are not defined as bad or good as individuals, they’re another species group) and the word ‘devil’ is anti-devi, definitely anti-God. In the case of bears another example is Japan’s use of the words ‘yokai’ for spirits, ghosts/phantoms and ‘kami’ for deities, gods, demons denote various groups in general rather than saying they are good/bad).

Even though I don’t agree with the notion of ‘the end justifying the means’ in ‘real life’, the story in Brave isn’t a blame game to take offense at and pick sides – Merida and Elinor needed each other to grow, closer to each other and as individuals. Hey if you ever get the chance to turn someone into a bear, generally the answer would be no way jose (I hope), but bears are at least stilled beloved in today’s culture. Many of us have moved on from the terrible rituals associated with bear worship with adults giving toy versions to children and pets all the time who have them for comfort and companionship. Although many of us still continue to sacrifice and torture others for enjoyment/business/entertainment and even in religious worship in the act of will hurt creations and disciples whilst praising/appeasing the very beings who supposedly made them. Yeah because hurting someone’s beloved/one of their beloved will endear them to you.

Brave Merida Daughter Elinor Dark Mother Bear Goddess Tapestry

Brave Merida Daughter Bear Mother Elinor

My Mum’s the same, prefers straight hair (usually has hers plaited) and makes fun of my bushy locks :-p

The Archer

Whilst the bear symbolism is rampant the archer is less obvious (anyone wanna lookup famous archer princes and divine beings – numerous to say the least with notable characters from India, China and Western Asia/Middle East). The bow and arrow in general symbolism tends to alternate between phallic imagery, fighting instincts to warlike tendencies but also truth and clarity and fiery Merida the Archer on her horse has an ode to Sagittarius. In conjunction with the bear the characteristic of introspection during hibernation, self-evaluation is one of the Jewish attributes to the bow and arrow. The placement of arrows is also code for Native Americans, left and right but also a broken arrow meant peace, two arrows in opposite directions meant war and crossed arrows meant friendship. We don’t see that in Brave however and her use of them mostly showed her indomitable spirit, warrior nature, independent mind and ability to reach her goals. Possibly worth noting that akin to Merida breaking Elinor’s shackles of royal pageantry, Elinor threw Merida’s regal looking bow into the fire forcing her to have to use another, plain one. They broke their boundaries and went back to the wild/nature in more ways than one.

Brave Merida Daughter Archer

What’s in a name

Whilst Elinor, Fergus, Hamish, Hubert and Harris (the triplets) can be easily identified with Scottish peoples Merida (mare-uh-duh) is an interesting name. In the above I’ve explained that the Daughter-Mother-Dark Mother story has been inverted over time to male characters and in what we think of as traditional we would associate her character with a prince. At first glance ‘Merida’ is similar to ‘Meridel’ and ‘Meredith’ (and it is) though to people of the Latin Americas they’d probably think it Spanish. In common in the UK usage it’s a male name in Scotland and as part of Brave sort of reclaiming its heritage we have the princess with the prince’s name and being the saviour with the royal/divine connection.

Names and words that have context e.g. describe personality (like when I described above the taboo around using their direct words for ‘bear’ in Europe) can be tough to understand so it’s easier to work backwards from their common meanings to find their roots.

Meridel and Meredith are in the ‘Mary’ family (like with Spanish Marita, Marie and all of which have a water connection to root term ‘Mori’), Meridel means ’merry/joy’ most probably from ‘mear’ in Gaelic and Meredith means ‘great ruler’ and interestingly in Hebrew means ‘rebellion/defiant’.
Root terms:
Mer- to rub away/harm but there’s also (s)mer which is to deserve/share
Duh – Germanic form meaning strong

As for Mor’du
In Gaelic: mòrdha is great/noble and it seems the ‘du’ can be taken from the ‘dubh’ for black.
Root term ‘Medhu’ means honey/mead – that taboo in Europe meant that in Slavic areas bears were called honey-eaters and the root term in current Hindustani/Bengali it’s still madhu for sweet/mead (but depending on dialect/place can be modhu).
As an exact word in current language the French mordu is to bite/be bitten.

Brave Merida Poster

Brave Merida Poster


The animation is sumptuous from the start and somewhat contrasted by the less realistic human characters but that is characteristic of Disney/Pixar. The textures in the environments shone through from lush, dense greenery, to the flowing water and suitably murky atmosphere at night especially at the ruins.

I’m not an expert, I haven’t been to Scotland but reading early articles (Brave was announced in 2008) it seems the research team took the time to explore places for scenes they’d like and of which people recognized in the movie. Mythically I liked the setting of the witch in the woods/grove and the stone circle as a gateway/barrier and according to Wikipedia they actually made and registered 3 original tartans for the clans which apparently caused a little political kafuffle.

Interestingly enough though even I can see that for the level of attention given to the setting and story Brave seems to be set in multiple time periods, the physical appearance/mannerisms at times… I don’t know if that was intentional as if to say this is a story that spans generations/traverses time or they just liked what they saw/had in mind and wanted to put it all in! Either way at least it works.

It was a bit shocking to see Merida as a teenager, it was like looking at myself but a pale skin version. Her hair was exactly like mine (mine was even auburn/copper with gold hints at age 14/15) and I know there are other ‘Cousin It’s out there but the few I’ve seen have straight-ish hair. I’d never met anyone else with the big bird’s nest! Apparently it took Pixar the best part of the 4 years since the film was announced in 2008 to draw her hair leaving them only 6 months for the rest.

Brave Merida Daughter


Given that Brave isn’t the norm for Disney I was glad that characters didn’t burst into song let alone repeatedly. That’s not to say that Disney doesn’t have a catalogue of great, catchy, sing-a-longs but seriously, no. For some people singing is a deeply personal thing so I’m glad that Merida has snippets of song at the beginning sung in her mind. Even the comic relief (her brothers) don’t sing and aren’t really in your face like in other movies, if anything they’re abit creepy rather than funny.

I appreciated the use of Scottish instruments and vocals in the score though given it is an action packed film I didn’t notice it so much during those scenes, I noticed it more in a scenes like when Merida is teaching Elinor to be a bear. I also enjoyed hearing the different accents and Doric (dialect) which I just about understood though that may have partially been due to the tone and circumstance. As a language overall the pronunciation of vowels and composition is obviously different but l also liked hearing the emphasis on each syllable. The enunciation didn’t sound lazy though it did sound conversational and comfortable.

“There’s no point marrying a girl who doesn’t want to be married.”


At this point I would usually give comparisons, and there was a book I thought was called Brave that I borrowed from a library approx 7 years ago, Young Adult genre but for some reason I’ve never been able to find it since and can’t remember the author… It was a about a girls orphanage where they don’t have names or personal items and wear a grey plain uniform because they aren’t allowed to have personal identity. One of the girls rebels and breaks out to tell people that the institution isn’t benevolent like it purports and to find another girl’s family. She’s found out, kept in isolation and discovers a terrible secret, offered a bribe but maintains her courage of conviction. After a while everybody forgets about her except one girl who uses her memory to change things. If anyone knows the author and perhaps new/different title please let me know.


Kali/Mahavidyas – Clarification

I was just saying to Mum yesterday something that’s been bothering me – that we hadn’t gotten round to explaining the use of the Mahavidyas (forms of Lalita Maha Kali) though we have mentioned them before and spoken about Kali. I thought it might be confusing due to their general representation. Note – the Mahavidyas can also simply be called Kalis (plural), though their number is disputed, the most famous number being the Dasha (9 + 1, they being the 9 and Lalita being the 1). But any number comes after Lalita or in that sense Lalita Maha Kali (Great Lalita who becomes Kali or Lalita and Her Kalis) and the Kalis are not her only forms, and those forms have forms of forms – a great many needed to be space/creation.

Then today it came to my attention that Nag Hammadi and early Gnostic researcher John Lamb Lash is using the name Kalika (another form of Kala or Kali etc basically meaning ‘Black’/dark/time) for action based upon what he’s probably most well known for and what he calls the Sophianic Myth – his interpretation of the Nag Hammadi (and it seems channeling or inner voice) on the divine feminine. I’m not massively au fait with his work only having seen/heard a few of his interviews though and having tried to read his book Not In His Image. That said there is probably quite a bit of crossover in information I have presented on this blog but I feel it best to put this note here. I don’t have any affiliation with his work, party, belief or manifesto and I do not agree with/approve of the use of the patriarchal version of Kali and hence also her Mahavidya sub/extra-parts/forms of being.

Interestingly enough he’s also using the name Kalki which is a completely masculanized version of Kali implying a male avatar and that it’s ‘coming’, perhaps he thinks its already here or is trying to make/bring it, or sees himself as the name since he’s acting as figurehead. I never agreed with his eager acceptance of the ideal man or person being that which laughs scornfully at nature (Sophia) making the most of what she has to offer, nor the privileged ancient Greek lifestyle. Kali is a completely feminine (original feminine not feminine of what we’d consider feminine nowadays) concept or character – masculanizing it in Hinduism was always completely twisted. It should also not be associated with anti-LGBT since, and as he infers but doesn’t go into in one of his interviews, our current awareness of creation and reproduction is not in line with what was considered as ‘real’ in the time where she was in ‘original’ or at least older form to the point where we remember her earliest. Our current sexes and genders would not apply and feminine was an all inclusive term – hard to explain or recognize to today’s standards, the terms ‘man’ and ‘god’ did not relate to ‘masculine’. Lalita Rajarajeshvari for example means ‘King of Kings’ but is entirely feminine and refers only to Lalita (Red, She Who Plays, Love and made creation/manifestation/existence from the void/source through ‘pure joy’ and not the type of joy associated with sexual intercourse which is actually pain relief so confused with joy. It was not viewed as through a plug style penetration/harnessing of source energy, it’s the stolen/vampiric energy that is associated with the Fall of creation, the Demi-Urge, the separating from Mother to Mother-Daughter and the Fall of the Daughter into fallen creation to help it – later referred to as Krishna and even later referred to via the Jesus the Christ/kryst/crystalline story), though nowadays you’d have to say ‘Queen of Queens’ to be commonly understood.

Perhaps it seems a natural progression for him to go from Sophia/Lalita/Dea to Kali as the more practical/hands on route for Sophia’s Correction as he puts it but Kali as most know her today is a morphed version of her former self. Her and the Mahavidyas are seen as fringe and the remnants of a root culture, they pre-date modern Hinduism. She and the forms of are currently associated to many with tantra, sex, death, vampirism, necrophilia, ‘Black magic’, ritualistic hedonism and sacrifice; her age has also been commonly ignored as she is now seen as a feminine form of Shiv(a) and apparently even Durga. All of the those characteristics are later additions and the latter characters are younger, separate and conveniently the current heads of the prevailing ruling ‘divine’ triads in modern-post Vedic Hinduism (with the male one – Shiv(a)/Brahm(a)/Vishnu and Indra – being higher than the female – Durga/Laxmi/Sarasvati – and the female mainly being referred to as consorts.) Shiv(a) and Durga are thought of as the almighty and the creators of the universe though they, like everyone/thing else was made by Lalita who is the first/greatest/Maha Kali from which Kali and her Mahavidyas came before Shiv(a)/Durga et al. Typical re-categorizing and distracting behaviour with regime change (e.g. building a temple over an older temple and mixing things up a bit, omitting some, changing some, adding some… Until you forget which is which and who is who, where the entrance and exit was, which way is the loo? Oh heck when did they add a gift shop, I totally need to get me one of those t-shirts – eh why do I need money again and why does it look so weird?) Yeah…

The association with the Thunderbird is also ‘hmm’ since in South Asian terms it’s referring to Garuda and hence Jatayu so Vishnu forms/seats not Kali related proper unless… I’ll get to that. They, along with much of Hinduism, can be found in early or now fringe Buddhism (not the watered down Western ideas we have of Buddism) and obviously the phoenix – other forms of – and can be linked to the Benu bird, and perhaps most well known in Native American beliefs (where it can take on the reptile form of Quetzalcoatl) as well as a straight up animal aka eagle. But remember in Asia thrones were traditionally viewed as animals and represented transport or even gates/portals or access to those. To Kali – or actually, her mother Lalita, her chariot/throne or flying seat can be seen as a whole dark star system and some think of it as Nibiru et al. So that links in with the use of ‘Kalki’/’coming male’ and perhaps ‘Lord Nibiru’ – kind of like putting reins on the ‘divine feminine’ energy/power and fitting it into a patriarchal view/use. Like using the term Maha Kali for humans or males since they are not mothers, even Hindus who love naming their children after divinities don’t do that. Then there’s ‘”5, 4, 3, 2, 1 – Thunderbirds are go!” *explosive projectile blasts*’ puppets.

The point of this ‘disclaimer’ of sorts is to reiterate that I’m not religious, I don’t have political affiliations, I’m not a member of groups. However since there’s some similarity in our presentation it’s probably best to say this now as I’ve learned about it – that just because out of all the research I’ve done I’ve been kindest to Lalita (Mother) and Kali (Dark Mother) doesn’t mean I agree with other people’s interpretations/use of them. I don’t think the Dark Mother is represented correctly as a counterpart or form of Shiv(a) (could be called the Demi-Urge) and Durga (the usurper of Lalita in current culture) and I believe her connection to death is hampered by cultural norms e.g. the differences of social attitudes towards types of death or fear of the unknown between the West and East such as moral derision to suicide common in the US but a very different view from traditional Japan. As for the other controversial connotations she and her forms of have – poppycock is pretty much how I view them (not as valuable manure but more just waste/garbage) and that means whist I don’t disbelieve in people partaking in those things and there being consequences I’m not personally a believer/partaker.

I see Kali as a representation of or the Dark Mother but not cruel or spiteful as compared to  a number of old Eur-Asian belief systems where harsh to downright awful mother/daughter figures or even triple goddesses can be found nor is she the ‘evil stepmother’ as per could be later/currently thought of as a Disney syndrome. I’d never noticed a preference from Lash to Asian (or South Asian at least) names though of course since Kali is a root Goddess and she is/can be linked to many other goddesses worldwide (as the Daughter is/can be linked to characters feminine or masculine defined by virgin births, sacrifice, cave analogy and resurrection) hence as aforementioned I can see why he’s picked her name but I disagree with his use/interpretation of it and the Mahavidyah names for his Thunderbird structure. I see her name in it’s wide-sweeping cosmic/space form – meaning the darkness of space and distance (the measurement of being time) and from that which everything comes, and ends. She is a protector of the Divine Mother and hence destroyer, ‘Dark Mother’ is generally an honour/acknowledgment title for her status being a major part of the Mother when she separates into the Ma-tri(x)/Creatrix (triple Mother): Mother-Dark Mother-Daughter. She is not a or the Creator, more a maintainer (the Daughter represents creation – but also has the respectful Mother association title as she is still directly from/a part of/the Mother but is also separate from her and is generally the one referred to in religions when we hear about a divine child being sacrificed/falling away to look after those who are not seen as direct creations/divisions of the Mother i.e. parts that are diluted enough to exist at all and be separately sentient – in effect questioning/confused – from the Mother and her high forms such as Kali/Mahavidyas, otherwise they wouldn’t be separately sentient and would automatically disin/reintegrate.) Kali/Mahavidyas don’t talk much, conversational communication appears in scripture when the later ‘gods’ become prominent, her character is altered and the Mahavidyas become even lesser known.

Lalita, Kali or Bala are not Earth/Gaia though ultimately she is part of them like all the other cosmic bodies. This duality – all from one, one dividing into all – is what leads to the Divine/Cosmic Mother or Divine Feminine terms being used interchangeably with Mother/Earth/Solar/Galactic Goddess, and the triple/tri/trix importance where one is three and three is one. (In later systems/modifications that can be seen as 3 + 1.)

On a sidenote – I’m also not a New Ager and don’t agree with/approve of unconditional love and don’t see anger as a negative or bad emotion and do think you have to be tough as nails to survive on/in/around (whatever) Earth. I don’t confuse revenge with retribution and I’m not scared of judging and thinking that not all opinions or beings are equal but as someone on Earth I strive for equality of opportunity/fairness. I’m not scared of being strong and ‘warrior’ like but would prefer things to be peaceful so I could just lay under a tree in the sunshine or something that to many might sound lazy or sadly even ‘boring’ but to me that’s pure harmony, I don’t want bad things to happen to prove myself or drama to pique my interest. I don’t think there needs/should be struggle or suffering to be ethical/aware/learn/appreciate. I’m not interested in forgiving and forgetting especially not for the sake of personal evolution/ascension – I’ve too much social conscience for that type of spirituality. I’ve never thought that good beings need leaders, perhaps assistance from time to time or temporary guidance but as long as creatures aren’t going beyond their default nature of parasite (which we all are as long as we need something else to survive let alone thrive) to invasive, ruling, harmful, using/abusing, making a business out of life etc then leadership shouldn’t be necessary. That’s unrealistic in life as we know it though and whilst I don’t like it survival of the fittest or those with the strongest will/resources who shout the loudest longest tend to get their way and later ‘die’ in relative comfort surrounded by people they at least prefer over others/’outsiders’. We’ll see who’s strongest, who’s left standing – or better yet Lalita MahaKali will ensure we’re all re-absorbed/unmanifested into source again ;-). In the meantime… 🙂


Festival of Fire – MidSummer

Ah We’ve Reached The Middle of Summer

And no MidSummer Night’s Dream(s) 😉

Sun Tarot Woman Sunflowers


Sun Tarot Woman Luminous Stars


Here we are basking (or grumbling and/or sweltering) in the blazing sunshine and heat. Motion is stilled, conservation of energy and prevention of skin moistening in buckets near the forefront of the mind. Featheries like being fanned, the furry dislikes it but conversely likes the feel of a breeze – no one likes being blown on and will tell you off at length or fluff up, sniff/turn their head and move away if you do so deeming it an insult. The delicate mist of water vapour (handheld spray) or a damp cloth are things that can just about be mutually consented.

Sun Goddesses

Pure Raw Sunstone


Australian Aborigines
  • Gnowee, solar goddess who searches daily for her lost son; the light of her torch is the sun
  • Wala, solar goddess
  • Wuriupranili, solar goddess whose torch is the sun
  • Yhi, Karraur goddess of the sun, light and creation
  • Saulė, goddess of the sun and fertility
Basque (RH- Negative bloodtype/group)
  • Ekhi, goddess of the sun and protector of humanity
  • Marici, goddess of the heavens, sun and light
  • Áine, Irish goddess of love, summer, wealth and sovereignty, associated with the sun and midsummer
  • Étaín, Irish sun goddess
  • Sulis, British deity (also found in Graeco-Roman religion) whose name is related to the common Proto-Indo-European word for “sun” (and thus cognate with Helios, Sól, Sol, Usil and Surya) and who retains solar imagery, as well as a domain over healing and thermal springs (Aqua-Sulis).
  • Xihe, sun goddess and mother of the ten suns

Deanism and Filianism

Japanese (Shinto)
Sami mythology (Shamanism/animism)
  • Beiwe, goddess of the sun, spring, fertility and sanity

Gayatri Mantra

An ancient prayer regarding the sun made to the Mother Goddess, you can find all kinds of translations for this and because it’s well known they can’t take out the word ‘dheemavi’/’deemavi’/’dhemayvi’/’dhimavi’/’dimavi’ (spelling depends for dialect) you’ll barely ever find that the inclusion of the meaning of that word: Divine Mother. So many translations, no mention of Mother, and Savitri has become ‘Savitur’/’Savitr’ from feminine to masculine. Temples/priests/gurus/translators will go on about the divine consciousness/source etc which is all included in the words but so is the definite word for Mother.

In Devanagari:

ॐ भूर्भुवः॒ स्वः ।
तत्स॑वितुर्वरे॑णियं(तत्सवितुर्वरेण्यं) ।
भ॒र्गो॑ दे॒वस्य॑ धीमहि। ।
धियो॒ यो नः॑ प्रचो॒दया॑त्॥ ।

Standardized Transliteration:

Om bhūr bhuvah namaha
tát savitúr váreniyam
bhárgo devásya dhīmahi
dhíyo yó nah prachodáyāt

General translation:

Om (also known as Aum) – Supreme Consciousness
bhur – spiritual energy = protect it
bhuvah – suffering = eliminate it
namaha – in the name of = [in this case] Gayatri

tat – it is/that/so be it
Savitri – illumination, brilliance, divine light, creative energy (a form of to our eyes being the sun)
vareniyam – virtue, great virtue
bhargo – imperfections = purification of,
devasya – combination of divine virtues, divinity, strength etc
DhimMahi – Divine Mother

dhiyo – intellect = knowledge of ‘who’ (last word) = knowledge of DhimMahi
yo – pray = to pray/to pray to,
nah – our = may our
prachodayat – propel = enable us to

The order of the words is a bit hard to form in English, so the last sentence for example would form/mean: ‘May our intellect/knowledge enable us to pray to (Divine Mother as in the above verse)’ and then in context of the rest of the prayer would generally mean to pray to Divine mother for and be: righteous, spiritual, enlightenment/ed through the sun/light that we receive. Many translations include a lot of adjectives for virtues and things to gain but if I go into those the translation would be a lot longer than the prayer and would include people’s interpretations of virtues and happiness e.g. prosperity and wealth.

Divine Light

Sri Shri Yantra

Sri/Shree/Shri Yantra – geometrical chakra representation (part of the subject known as ‘sacred geometry’/’numerology’) of the chariot of Divine Mother Lalita. Each part i.e. the inside of every ‘piece’ aka triangle, lotus flower petal, box (the box is the origin of the swastika and the cross) is a devi/goddess and they represent creation with particular reference (in texts, depictions) to light – everything that gives off/contains/reflects e.g. stars, moons, planets.

Shri Sri 3d Yantra Mandala Maha Meru

When raised in 3d madala it looks like this, called the Maha Meru ‘Great Mountain’, in pyramid complex structure, a communication/teleportation system supposed to be for devis.

Sri Shri Shree Yantra 3d mandala tortoise turtle

When the full representation is made it’s usually seated upon a turtle/tortoise.

Mahavidyas Yantras Goddesses Devis Lalita

These 10 are the Maha Vidyas /Das Vidyas (Maha means ‘Great’, Das means ’10’) . They are the 9 highest forms of Lalita, portrayed with Lalita to make 10. They include Kali and Bala from the Mother/Daughter/Dark Mother triad (Lalita-Bala-Kali) I’m always referring to, though Bala is usually referred to or within other names/name groupings. The 9 Maha Vidyas are 9 pieces of the above Sri Yantra/chariot.

Mahavidyas Goddesses Yantras Mandalas Chakras Lalita Kali

These 9 yantras are the geometrical representations of the Maha Vidyas, like the Sri Yantra is a geometrical representation of the chariot (all creation). The text in the above picture says ‘the cluster of 10 MahaVidyas’ referring to the Sri Yantra but I couldn’t fit it in the picture and I’ve already pictured that above. Picture credit (partial screenshot – couldn’t fit it all on my screen) goes to crystallotus.com/Yantra/07MahaVidya.htm

Kali MahaKali Yantra Mandala Chakra

Kali is seen as both light and darkness. This is her ‘usual’ yantra that most people familiar with yantras use/see hence is included in the above diagram. The upside ‘V’ triangle represents the sacred vagina.

Kali MahaKali Yantra Mandala Chakra

This is also Kali’s yantra, but one that for some reason is rarely seen.

Kali MahaKali Yantra Mandala Chakra

Kali’s number is 13, an extremely lucky number.

Photos and Artwork

Since this is the Festival of Fire I’m wearing Red, Gold and Black – and in the last picture we’ve paid tribute to light in general and its rainbow properties (which allows me to include gas fire colours since we didn’t have time to make photos in different colours for say sulphur fire in Blue). My jewellery is in Red/Gold/Clear colours and designed like sun wheels.

As usual all the awesome ideas are mums, I just made them happen.

Mum and I started off with normal photos:

Sun Light Sunshine Enlightenment Red Gold Divinity Wheel Chakra Goddess

Sun Light Sunshine Enlightenment Red Gold Divinity Wheel Chakra Goddess

and then:

Sun Light Sunshine Enlightenment Red Gold Divinity Wheel Chakra Goddess

We both love armour… Though Mum is more old school (obviously) and considers body jewellery (and hair) as clothing, I prefer them over clothing.

Sun Light Sunshine Enlightenment Red Gold Divinity Wheel Chakra Goddess

Sun Light Sunshine Enlightenment Red Gold Divinity Wheel Chakra Goddess


Momo – The Mysterious Dark Skinned Girl From No/Everywhere

Momo Dark Divine Mother Daughter Goddess Kali

Rating: ‘West Germany 6’ I can’t find the pre-Fall of the Berlin Wall rating system but it relates to the current German ‘Green 12’ or ‘12’ corresponding to the UK’s ‘ PG’ or perhaps ‘U’.
Runtime: 101 min.

Momo (1986) is a film adaptation of the German novel by Michael Ende (author of The Never Ending Story), a book which had a few names including The Grey Gentlemen or The Men in Grey. The original film is in German but there is an English dubbed/audio version, and also an Italian cartoon and English language opera amongst other adaptations. Mum and I watched this on Friday (‘Honey’ Moon, Full Moon, on Fri 13th first time in 95 years) and were surprised at what we found. I’d passed over it a couple of times recently, interested but ‘not the right time’, then just decided to watch it on Friday, I didn’t know what it was about other than the girl going up against the ‘Greys’ which is interesting in and of itself.

Momo Dark Mother Daughter Goddess Divine

It’s currently available on Amazon.co.uk as an import (all regions) with English sub-titles for £19.89. The dubbed version can be watched on Youtube here:

It’s going to be hard to write this in cohesive form as there’s simply so much going on (yeah I know, an oxymoron) – the surface layer is one of friendship, devotion, community; the middle layer is about corruption of those, of ever-increasing change to modernity, losing what is valuable; and the huge, hidden (or not so hidden, hidden in plain sight) layer is all the symbolic power and meaning in the names, faces, characters, scenes and props. If you thought the Never Ending Story trilogy was packed with ancient metaphors and allegories then Momo is bursting at the seams yet unlike the aforementioned it’s not filmed in a glamorous, glossy, colourful, high-tech (for the time) way. It makes more sense because Momo is set in reality as we know it on Earth, but also because the author Michael Ende was unhappy with the portrayal of The Never Ending Story and lack of spirit from his book. Momo was written before TNES but made into a film afterwards and Ende had more of a say in the filming. That said, Momo switches back and forth between ‘reality’ and ‘other worldliness’ due to the nature of the non-human characters involved plus the use of colour and tempo of movement makes it somewhat strange and surreal.


It starts as a figurative journey, on a train, in a cabin with two passengers (reminds me of ‘Night on the Galactic Railroad’ in more ways than one, novel published in 1934). One passenger is the author Michael Ende in a cameo role and the other is the storyteller of the film and one of the main characters, Master Secundus Minutus Hora (Second, Minute, Hour) who appears in the cabin out of ‘Nowhere’. This is a point that isn’t noticeable or referred to in the film, but relates to a pivotal point in the later plot, emphasized as both men wear glasses and exchange them for a moment. What the passenger played by Ende sees shows the audience (in hindsight) where in the narrative the film begins and that Hora is asleep/dreaming/traveling out of body which is somewhat confirmed by his dialogue about time. ‘Master’ Hora goes on to tell the reluctant co-passenger the story of Momo.

In an unnamed Italian town on the outskirts of a city a street sweeper called Beppo Streetcleaner is doing his daily rounds when he ‘chances’ upon a girl sitting in a hole in a wall, the audience does not see her but hears her as she answers his questions, her name being Momo and her answer to why she is there “Home”. He leaves her to get her something to eat and whilst doing so describes to his friend a cafe owner that he’s found a Momo, a child, an “it”; the ‘it’ reference is continued until we see Momo come out of the hole (a practical reference to an unborn even if the sex is known because it is still a dependent on the Mother’s body and not viable or its own person or able yet – more on that later).

It turns out she is living in an amphitheatre, though the hole Beppo originally saw her in is different to one we and the local community are introduced to her in. It’s not one of the colossal amphitheatres we’re used to seeing in epic films; it’s a small town, a relatively poor one, in which the people don’t earn much having “an occupation that doesn’t bring in much money, but still manages to supply him (the women work too) with the free time for fun and fighting”. It seems that the people are generally happy or “a little mad perhaps, but likable”. To today’s standards the town would seem ‘merry’, ‘jovial’ and ‘welcoming’. After some cajoling Momo enters the light from the darkness and we see her for the first time. She is a young girl, homeless as we would see it, describes herself as much older than she is “100” and in the homogenously White community is dark skinned – a fact that is never mentioned. The people assume that she’s run away from an orphanage and cannot count, but akin to baby Annabel in the Mary Poppins books who says to the star-ling bird that she is everything, everywhere and comes from “darkness where all things have their beginning” Momo says the hole/cave is her home and “As far as I can remember… I’ve always been around.”

Momo Dark Mother Daughter Goddess Divine Cave

No one takes her in but they make her cave/inner room more habitable with furnishings and random items, she can now cook and is deemed a member of the townspeople, one that the people soon realize is a very valuable member indeed. Momo listens, really listens, to spoken, the unspoken, voices we perceive and the whispers of the wind, the rain, the air and her sincere listening calms, soothes and heals the troubles in others. People and animals feel better for having been around her.

So all seems ‘content’ in the town but not all is as it seems. Working against the healing tide of Momo are the ‘Men in Grey’ (not the Men in Black but probably a close association of 😉 ). A race of beings that look like human males, all bald, pale skinned, bald, clad in Grey suits with bowler hats, have numbers instead of names and addicted to cigars – they puff like there’s no tomorrow. They move around unseen unless they want to be, are not remembered afterward (except by Momo) and they are very, very organized.

“They made their presence felt in all part of the cities and seemed indefatigably occupied. They had plans for people’s time, wide scope and meticulously laid plans.”

They represent an institution/entity called the Timesavings Bank and can complete extensive calculations in a blink of an eye, in this confusing/mind boggling way of breaking down a person’s life into numbers they illustrate to people the flaws in their day to day lives, how much time they spend doing this and that with little time to themselves. They take advantage of that by getting people to save time doing things more efficiently or doing less and that ‘time is money not to be wasted‘. The people/’clients’ then start saving time seemingly under the allusion that they’ll get that time back perhaps like a retirement fund but instead it’s needed/used by the Greys as lifeforce and so the time saved is lost instead.

The Greys

The people don’t know that their efforts are in vain and drastically change, they become increasingly worried and agitated about saving time, cutting costs, thinking in terms of deadlines and overheads, having less time for each other and obsessing about how they spend time, surviving but not living.

(The above episode is from a show called ‘Tales of Tomorrow’ 1951-53 featuring the bank of time and what it does to people.)

Momo and her two friends Beppo and Gigi (Guido in the book, a ‘jack of all trades’) are very worried at this “epidemic” but as Momo has the ability to heal she does her best to overturn the damage.

“And so Momo got one friend after another back where they belonged. In the process she was thwarting the Grey gentlemen turn by turn and that was not something they were prepared to put up with for very long.”

They try to bribe her but she rejects them and tries to warn the town, so the Greys try to kidnap her. But there are others watching and so Momo meets Master Hora via a tortoise called Cassiopeia. They want to defeat the Greys and the Greys want to perform a coup d’état on him. This takes the film into scenes of further supernatural nature as well as institutional corruption and social degradation.

Having met Hora makes things more complicated for the Greys but also presents an opportunity, then plot her downfall by isolating her from those she cares about, distracting them, making life even more difficult and complex. Can they use her knowledge as stepping stone or can she stop them and regain stolen time or will time come to a dead end?


The film is and would probably seem dated to first time viewers, and the pace is a little slow to begin with. There aren’t any extra special or obvious CGI effects akin to modern movies but there are visual effects to separate the world of Hora, humans and the Greys. Effects to slow and speed up time in Hora’s domain and lot’s of smoke and Grey for well, the Greys. Light and dark contrasting is also used throughout the film to focus and hide at the same time e.g. a scene in a police station is characterized by appearing to be shaded in thick stripes, with the light coming through in hazy, horizontal lines alternating with the dark. The policeman is elevated and you can’t really see him whereas the civilian is highlighted. Dark is also used as a background to emphasize light such as when Momo leaves her cave or when the Greys drive in the dark and we can only really see their headlights whilst they walk in the shadows.

Speaking of which, the colour in the film is clear but not vivid or glossy – it’s not exactly drab/gritty like UK filming was known for but the atmosphere is always medium. For example the weather is clear and warm but the sky tends to be lacklustre and the architecture and ruins in the town tend to blend in with it.

The sound is clear and though it’s a dub the voiceovers are not that obvious, the voice actors were well cast and convincing in their parts. I’ve seen a dubs with voices I’d never have thought belonged to a character, or obviously and consistently out of step with the mouths but here all the voices are rich and soulful in their own way – except the Greys, who aren’t supposed to be soulful anyway. There are a few songs but they are short and I would not call this a musical.

The setting is very authentic looking, they picked interesting locations – everything stone or complimentary brick, well placed ruins interspersed with ‘modern’ dwellings. The only ‘strange’ part would be the widening of the roads motorway style in the latter part of the film, where the town is still small scale in comparison to a city but probably illustrates the modernization of the town trying to be city-like as well as Momo’s increasingly busy/difficult journey.



I would write about Momo first but it’s easier to explain Momo’s position/heritage this way.

The name ‘Hora’ refers to the Greek goddesses of the seasons and time, we’d translate it as ‘hour’. Hence, Hora would be one of the hours of time. These goddesses were based off the earlier Fibonacci goddesses morphed from the Mahavidyas, worker forms of the Daughter/Mother/Dark Mother (One being split into three mostly referred directly to in the old Gnosticism and pre-Vedic/diluvian/Dravidian Hinduism though found through the Mother of all Gods in every old world religion and whose roots can be found by going back through the etymology in modern religions e.g. the three Abrahamic ones). The Horae (plural) are made up of triads, following the again age old triad formation of the Daughter/Mother/Dark Mother, Bala/Lalita/Kali, Maid/Mother/Crone going through many, many incarnations gradually being brought down, made into consorts and then absorbed or switched altogether by male versions e.g. the Spinners/Werdes later to become the Fates/Norns/Wyrds (based on the Mahavidyas and so Horae are connected to), Al-Lat/Al-Uzza/Manat, Qudshu/Astarte/Anat, Isis, Hecate, Brigid, Morrigan all the way to modern day Son/Father/Holy Ghost whose ancient counterpart still in common knowledge is the Hindu Shiv/Brahma/Vishnu (Vishnu more commonly known as Ram or Krishna) and their consort, wannabe Mother Goddess triad Laksmi/Pavarti/Saraswati. So why Hora is written as a man is just… uh? A way to fit in the third male ‘close’ influence in Momo’s life (more on that later) as well as the usual patriarchal supplanting.

Hora can also be seen as ‘Father Time’ – where does the image of Father Time from? Well this actually ties into the character Momo herself. One of the oldest Goddesses we know is Kala the Black, aka Kali the Destroyer/Protector, the Dark Mother whose name means ‘Black’ and ‘Time’ and one the items she holds is a sickle. Kali is part of a triple Goddess who is really One split into three, Bala/Lalita/Kali as aforementioned the primordial Daughter/Mother/Dark Mother. In many accounts when the Goddess appeared to humans in a non aggressive form it was as a child, usually at two age ranges 9-10 and 15-16 (the 15-16 one is often referenced in Japanese manga/anime for girl characters with god-like power). The term ‘Mother Time’ and indeed ‘Grim/Black Reaper’ though can be connected to a later version, Rhea Kronia aka the later revised male Chronos/Kronus. She was the Dark Mother in that she destroyed/took back her offspring/deities who’d failed to look after their charges/rest of creation hence covered in blood and carried a sickle. Such images were switched and replaced down the line with the ‘bearded guy in the sky’ image hence Master Hora has a modern god look, aged old man with White beard in a White home (except his inner, private apartments), yet in a Black robe (reaper style and Momo asks him if he’s Death). He cannot beat the time thieves/Greys and they cannot overcome Momo, both need Momo to try and defeat each other.

Hora has special ‘all-seeing glasses’ (spectacles) that images focused by surrounding blurriness. When the audience is shown what is seen through the glasses the presented image is kind of hard to see without pausing the film. The perimeter/outer/rim of the lenses are not clear, sometimes they have patterns and what you need/can look at is the centre image – so basically the lenses are curved and the clarity is lacking unless you’re adept at looking through a crystal ball. Thankfully I used to be good at picking out the image in those 3D images on the back of magazines. One time the outer rim is spinning and as the lenses show you ‘real/live-time’ perhaps it’s an ode to time as we know it being made by spinning/turning/rotation, when you stop spinning time stops or effectively stops due to heaviness. That is linked to the way time works in Hora’s domain.

Momo 1986 All Seeing Glasses

His place of residence, ‘Nowhere House’ in ‘Never Alley’, is pure White and architecture curved like in a lens (remember his all-seeing-glasses), a great wind pushes visitors/intruders back – everything is reversed (like Father Time’s imagery itself) and writing upside down – so you have to walk backwards and slowly to go forwards at walking pace. (Stereotypically his place is reached by going upwards and the Grey’s by going downwards.) In keeping with reverse time and that time is heavier/slower the ‘lower down’/more physical a place/being is, 1 day in Hora’s place is 1 year and 1 day in ‘our’ reality.

To reach Hora you must follow a tortoise called Cassiopeia – who can see 30min into the future and communicates via writing that appears on her shell. (More about her later.)


Momo doesn’t look like the rest of the town, the book cover shows a South Asian looking girl by way of features and skin and the actress chosen was noticeable darker skinned than the others, she’s poor, homeless, and wearing old clothes/rags. Interestingly enough she wears an oversized men’s blazer, obviously for warmth/coverage but also perhaps symbolizing the she is wrapped in a form we as humans can see in our way of perception. She cannot read or write yet expresses a kind of universal language in her aura – when people are around her they feel at ease, comforted, and that they’re really being listened to and the effect the Greys have on them is undone. All the items she’s given are hand-me-downs and things that have been thrown away/found in the rubbish. It’s assumed she ran away from an orphanage but she doesn’t claim to have parents, or to have been in any human place beforehand nor thinks she has amnesia. Good and/or vulnerable divinity is usually poor or impoverished.

Momo Mother Daughter Dark Divine Goddess Poor

She’s found in a hole in the wall, this is representative of the cave analogy where the Daughter was sacrificed by/for creation that had fallen and resurrected from the cave much like the later stories of Ishtar/Inanna, later Persephone, other male versions and then the obvious predominant male version of this time period Jesus. The cave is symbolic of the vagina and birth.

An amphitheatre – a theatre of blood and war, rich and poor, beast and person, slaves for the entertainment of tyrants and watchers who’re glad it’s not them so visibly take part in the audience as raucously as they can. As if in reply to the cries for help there it becomes the home of the ‘saviour’ and ironically a playground for children. In one scene they symbolically play out a story from the imaginations pretending to be on a ship in a storm, they call out to Momo who appears to them from on high through an arch and then sings as a tribal goddess. The arch and pillars are representative too as an ancient vaginal symbol which is why many ancient temple designs incorporate pillars and arches at entrances/exits and the further back you go they are usually at the end of dark and/or narrow passages. Also bear in mind that the meaning of the name ‘Lalita’ – the Mother Goddess from which the Daughter (Bala) and Dark Mother (Kali) come from is ‘She Who Plays’ and ‘Red’.

Momo Daughter Mother Dark Divine Goddess

She has three main friends in the film, including Beppo and Gigi who both claim bonds with her that surpass what they obviously know about her in this reality/life. Beppo says to Momo that they knew each other in a past life and helped made the amphitheatre in the past. He said he knew that because of 5 stones that he found. I have heard of the usage of 5 stones before but it’s not that widespread/often – there are the Sankara magic stones in later Hinduism (twisted in the massively misconstrued Indiana Jones and the Temple of Doom), the five stones David used against Goliath and Graham Hancock’s only work of fiction ‘Entangled’ (2010) though based on his extensive research in ancient history and archaeology – in which one of the two female protagonists Ria is given 5 magic stones for protection (Ria is closely associated with the other female lead Leoni – both Goddess connections). Beppo is overheard in his claim and is implied to be crazy (further yet falsely implied via police corruption as he’s forced into a stretch at a mental ward) – in many of the Indian god films I’ve seen where the Mother Goddess is invoked and comes to live amongst the people who called to help them, it’s usually an outcast and/or ‘crazy’/mentally young or slow person who sees her for what she is.

Gigi’s claim is made in the book and not the film (but interestingly relates hence I’m referring to it) when he tells Momo a story of ‘fictional’ characters Prince Girolamo (his alter ego) and Princess Momo – a story in which her and he get married to ultimately become immortal. Therefore the three main ‘friends’/al-lies of Momo are three men who are all ‘older’ (would be wiser/more cunning since older in this reality) than her; one who acts like a father, one like an uncle/friend and one like a lover – this is a complete mirror of the Fall of the Daughter story, where She is tricked by creations/demi-urges and trapped in the mundane/profane ‘our’ world. They are not really her friends and She needs to be rescued.

Men in Grey

Part of what they represent is the breaking down of the old for the new, one paradigm/time era after another which is shown in the films by the ‘ancient’ ruins, the current/present that people live in which is old fashioned to our standards or part-rural/suburban/small town and the future i.e. cityscapes, full industrialization/capitalism and consumerism (with ‘kinder storage’ aka holding children like prisoners and brain washing them). The Greys are the breakdown of life from living/breathing/being to components. They know everything about the people they take time from. Interestingly enough they also have their own version of CCTV before CCTV was publicly implemented.

They bring physical coldness to the area around them as if sucking the heat out of the place – they are sucking the time out of the people and making them worry, stress, dis-eased making them lose track of themselves becoming more automaton than human. Hence taking away their warmth and the time people save is taken/used by the Greys so that they can exist. Their behaviour, structure and purpose well fits the stereotypical aliens people know as the Greys.

They Men in Grey wouldn’t be complete without their cigars. What are cigars? In the story each person’s individual’s time is represented by a flower from their heard so the cigars are an easy to consume, suitably distasteful (a perversion of beauty) container. Symbolically the heart’s flower is the heart chakra. Flowers when looked upon from a bird’s eye view show the Fibonacci sequence and are the basis of all yantras/mandalas/chakras – symbols (including swastikas) of the Goddess and building blocks of life/creation, all geometric/sacred geometric hence many yantras have what looks like flowers on them. Cigars are apt not only as a phallic symbol but as the smoke, the Greys live in the smoke/veil/shadows – and the smoke is Grey. Also has the mundane meaning that cigars/smoking is unhealthy – as the Grey men breathe in other people’s time, people become ill, the cigars poison the flower.

Momo: “Why are they all so grey in the face?”
Hora: “Because they feed on dead matter. They live in people’s time, as you know, but time dies – literally dies – once it has been wrested away from its rightful owners. All human beings have their own share of time, but it survives only for as long as it really belongs to them.”


The story signifies a travel, journeys and the ways in which transport are used. The film starts with a train, Gigi lives in a minivan/bus, cars are used to pursue, surround and harass – transport to weapons, another old world parallel where vehicles were used frequently by deities and aliens for the same purposes be it traversing the stars or fighting battles here on Earth. In Hinduism the ‘gods’ are depicted to travel on animals but are actually hi-tech ships called Vimanas. In contrast to the transport used by Hora and Men in Grey, the transport characters use to find Momo are always damaged, imaginary or metaphysical e.g. a ship and bicycle. The ship used by children fighting their way through a storm calling for Momo and a Beppo on a bike trying to find Momo but the bike is broken by the cars of the Greys.

Momo hunted by the Greys Divine Daughter Dark Mother Goddess

Momo tends to travel on foot though ultimately elevates to something different. In a metaphysical sense though her travels with Cassiopeia are interesting in their significance and the way they are shown to the audience. Cassiopeia is a tortoise and Momo has to follow her to get to Nowhere House at the end of Never Alley where Hora is. That implies that Momo follows the constellation Cassiopeia to get to the destination, and that would mean travelling through space and space is known as a ‘sea’ but Cassiopeia is a tortoise not a turtle. Yamuna/Kalindi from the Hindu pantheon, a later/changed version of Kali is known as a River goddess (a tributary of the Ganges/Ganga) and a death goddess (but in the patriarchal change was given a husband and made a consort), rides a tortoise not a turtle on the water and has Black/dark skin. This further intimates that Momo, Master Hora and Cassiopeia are actually based on Kali, direct part of the Mother of All Gods, Divine Mother. In the filming sense when Momo follows Cassiopeia she’s always walking on slopes, upwards or downwards it’s always on an incline.

Cassiopeia Tortoise Momo 1986 Daughter Mother Dark Divine Goddess


The Men in Grey try to bribe Momo with dolls, not old fashioned ‘homely’ or intricate collectors dolls or even false baby images given to girls to promote/encourage breeding and being ‘prepared’ for adulthood whilst children, but bigger versions of ‘Barbie’ like dolls. The stereotypical Hollywood ‘illuminati’ style puppets or birds in gilded cages we are shown as idols to aspire to be/look like. A look which is an inverted take on beauty, that which is beautiful and attractive but hated/sneered at/envied/underestimated at the same time because of being beautiful and attractive. It is used as a tool for insecurity as well as an ‘object’ of desire, many wanting to control/own it thus taking away its freedom and/or desecrating it e.g. lepidoptery, often decreasing its beauty as a result – something the owner can then mock the previously beautiful with, despise and relish at the same time because that which was beautiful/higher than the controller is now visibly lower and can even cause disgust and be blamed for a loss that is not necessarily or majorly its own fault. That fits into the name of the initial doll ‘Lola’ given to Momo which is a twist on the Mother Goddess’ name Lalita, a twist aptly described in Vladimir Nabokov’s book ‘Lolita’. A book that’s been romanticized, seen as not that bad and been overshadowed by the gothic sub-genre of fashion. Like many authors of what we consider ‘classic’ and ‘iconic’ literature he was well educated (knowledge of the mystery schools), and knew about the true meaning and ‘story’ of the name Lolita (also known as Sophia in later, streamlined systems) and depicted the desecration aka Fall of the Daughter in his book which many find touching and intellectual. (Much like how many cite the Kama Sutra as if they didn’t know it explained how to ‘legally’ rape.) In the book he re-names her aka formally claims possession and ownership. That book goes into how the Fall happens or is desired to happen in the mundane/profane/physical ‘this reality’ way but a less famous book ‘Pamela: Or Virtue Rewarded’ by Samuel Richardson (interestingly enough the name of demi-urge responsible for the Fall is later related to the name ‘Samuel’) published in 1740 touches upon the same theme but without the metaphysical aspect. That said back then it was more permissive to call overcoming the horrors that happen to the girl ‘virtue’ and ‘reward’.

Momo 1986 surrounded by dolls

Interestingly enough when Gigi is distracted from Momo’s disappearance he is controlled by handlers, his name changed from Gigi to Girolamo signifying his transformation. They own him, an action that is more than just a stage name, it’s a character change, a name change like a passing of a deed of ownership like a fiscal marriage.

“You’ve belonged to us for quite a while, body and soul, don’t say you didn’t know that. You’re a rubber doll, we blow you up and if you give us trouble we’ll just let your air out. Forget about it! We mean well hahahaha hehehehe… Do you believe that you owe your present position to your insignificant talent?… You are and you remain a dreamer, before you were Prince Girolamo wearing the mask of poor Gigi and what are you now? Gigi the poor wretch behind the mask of the TV star Girolamo… Don’t worry your pretty little head over her (Momo), you can’t help her and certainly not by telling funny stories about us! But we won’t stop you playing the hero if you want to destroy yourself go ahead… Gigi isn’t it much more pleasant to be rich and famous?”

His handlers (working for the Men in Grey) look very much like the dolls offered to Momo but come to life demonstrating a line of controllers and puppets within the same school of thought yet hierarchical. So the dolls are controlled but control those lower down the chain (think Donatella’s ‘Versace for H&M’ advert a while ago and her comments about the conveyor belt and clone models handled like puppets.) The dolls say “I’m baby girl, the perfect doll, everybody will be jealous of you because of me. I’d like more things.” To play with it, more and more friends/items/accessories are needed until a society based on buying and keeping up with the ‘Jones’’ is in place. Momo confronts the Grey trying to bribe her and reduces him to revealing himself in the face of her truth/real love/sincerity. This scares the shit out of him and he demands she forget everything he’s said.


Italian city – remember that Italy, in particular Sicily, and Catholicism have the modern carryover of the Dark Mother, the Black Madonna though she is rarely seen nowadays and usually placed outside the doors of the churches who still acknowledge her. The Black Madonna is a morph of many of the dark Goddesses of the Mediterranean and Africa traced back past the Sumerians/Phoenicians, Egyptians through to the Canaanites and of course to tribal African goddesses (e.g. the morph and demonizing from old culture into Graeco-Roman Medusa) and others from all ancients peoples, distinct likenesses to the older Time, Death, Protector Goddess Kali Maa the Dark Mother.


Along with all the religious, supernatural and physical/mundane (the way society works/lives) representations in the film, philosophical questions are fitted in such as ‘Where does time come from?’ We are not told but shown the answer, or the symbols for it i.e. a ball/oval that opens to a lotus flower petal shapes, within which is a lily and turning hourglass, in addition to Momo seeing herself in a ‘reflection’ in water but not as she currently/physically looks, a self that is surrounded by flowers. Her time comes from within her heart, the lotus has always been representative of the Goddess upon which she sits whilst it floats and she holds a lily (amongst other things), flowers in general are symbols of life and creation.

Momo Heart Time Flower Chakra Yantra Mandala Sacred Geometry Goddess Universe Creation

I don’t really know what other films to compare this seemingly simple yet massively complex film to. I vaguely remember having seen one or two similar in filming style and perhaps in plot but don’t recall them enough to lookup the names. In nature something about it reminds me of Metropolis (1927) but mostly the closest cultural reference I can think of is Terry Pratchett’s Discworld series. Those are books but include a race of beings called the Auditors with distinct similarities to the Men in Grey. They work as a consensus, a collective mind with many bodies that analyse situations like a committee but without the endless arguing and getting little done. They calculate possibilities or know them just as ‘instantly’ as the Men in Grey and meticulously orchestrate events to suit their agenda. Interestingly enough Terry Pratchett, like Michael Ende also played a cameo role in the BBC adaptations of his own books ‘The Colour of Magic’ and ‘The Light Fantastic’ and ‘Earth’/Discworld in his series features a turtle swimming in the sea of space.

On a superficial level this film would probably appeal to those who like somewhat nostalgic films with a sense of working together and generally friendly community in a supernatural/sci-fi genre. The social commentary is light but poignant, the plot compelling and acting convincing. Probably for older children and above in order to understand the plot/dialogue.

On another level there’s a lot to see here but remember “The most dangerous thing in life is to have your dreams come true.” Especially when they’re nightmares or tricks disguised as desires. Or as Momo replies to Gigi when he tells her not to worry about the town not listening to their warning and that they’ll find a new game: “This was no game”.

Momo Daughter Mother Dark Goddess Divine Lalita Bala Kali Mahakali

(Above film screenshots credit to: http://screenshotworld.blogspot.co.uk/2007/07/momo-1986.html)


Ready or Not Friday the 13th – Invocation

Lalita MahaKali Rajarajeshvari Goddess

Mum – Rajarajeshvari

I was writing a review on Monday when I suddenly stopped and started to write a poem (in which I stopped to do some designing) but later on I heard that Friday is World Invocation Day. Invocations are a calling, they can be likened to prayers, spells, mantras – they often don’t sound like much to the casual reader but it’s the intention/feeling of those who need to read/hear it.

I was going to post this on Friday – heck how could I pass up Friday the 13th on a Full Moon? But I’ve decided to post two days in advance. A Full Moon is the point (usually summarized as a day/night) where the Moon is fullest from where those who are looking at it are. However the full range of a Full Moon is three days so I’m posting this in advance of the Full Moon totally. So there 😛

I’ll note that World Invocation Day is known to many as a day for Christ invocation. Many confuse Christ/Christ consciousness with the character Jesus A/The Christ. Christ is not a singular term for one person/creature, names and titles have gotten shortened or changed. He is a character known and changed through time from the Daughter all the way to the masculanized Krishna (though still noted for his feminine qualities aka a ganymede) and Horus e.g. note the distinct likeness in depictions of Isis (who herself was taken down from the top to a consort) and Horus to Mary and Jesus. Anyway, Christ simply refers to Crystal or Crystalline energy which anyone could of attained or started off with but with all the literature it’s something that decreased and become rare like with many abilities/attributes ascribed to beings on Earth previously. Crystalline energy is the Crown Chakra working, known as the seventh chakra above the head (though there’s more than seven chakras/major energy flow points). It’s known as Purple (or Violent according to rainbow understanding) but the shade does vary and it can also found along with or blended with Fuschia/Hot Pink. When people experience Crystal energy their front eyes can be open or closed but they generally experience what seems like warmth at the top of the head and White light coming down/taking the upper part of vision. It doesn’t tend to last long but those who exercise their pineal gland can see the Purple/Pink. It is that energy which is depicted as a/the halo in pictures of ‘divine’ beings and has been done so long before Jesus A/The Christ. So he is now known as Jesus Christ like how his other title Son of Man was changed to Son of God. Regime changes = belief system changes.


Special mention to http://www.crystalrivers.com/prayers/kali.html for this chant:

Hymn to Kali
Goddess of Life and Death

(strongly rhythmic – monotone chant
accompanied by a sudden sound
such as slashing or drumbeat)

Mother! Of all creation    Kali
Listen, and hear my call    Maha Kali

We call , upon your mercy    Kali
For the, great sins of all    Maha Kali

I name, your secret words    Kali
I intone, your name divine    Maha Kali

You are, the deepest cavern    Kali
From whence, the great light shines    Maha Kali

You are, the forest carpet    Kali
Dark yet, the source of life    Maha Kali

You are, heaven’s wrath    Kali
With great torch, and sacred knife    Maha Kali

You are, the depths of matter    Kali
Home of, the spiritual fire    Maha Kali

I am, encased in matter    Kali
I pray, to travel higher    Maha Kali

Save us, from the veiled snares    Kali
Give us, the truth you know    Maha Kali

Dance for us, with flute and drum    Kali
Make the land throb, with your feet    Maha Kali

Come down, o gentle mother    Kali
That we, may be complete    Maha Kali

Chase away, all fearful demons    Kali
With your fierce, and wrathful forms    Maha Kali

Give us love, and sweet protection    Kali
Shelter us, within your storms    Maha Kali

Raise your fists, and give us power    Kali
Show your heart, that we may rise    Maha Kali

Stand tall, upon a mountain    Kali
Spread your banners, through the skies    Maha Kali

We lay, our heads before you    Kali
Prostrate, o terrible one    Maha Kali

Shatter, destroy our bodies    Kali
Bring us, o bring us home
Maha Kali
Mother Kali
Maha Kali


Kali Maa Creator Destroyer Protector Mother Goddess Divine Lalita

Kali is part of the Daughter/Mother/Dark Mother (Bala/Lalita/Kali) triad, she is an ancient remnant which survived even the post-diluvian/Vedic Arayan wave (long before the most well known takeover in Afrika i.e. Graeco-Roman) which changed the early tribal gnosticism to the foundations of Hinduism leading to modern Hinduism and Gnosticism. Branches of those modern systems used for later monotheistic religions e.g. the Indian prince otherwise known as Buddha spreading a diluted and more friendly version of modern Hinduism i.e. no untouchables/low caste to widen the net of believers and for which many disillusioned/outcast could ‘safely’ be transfered to. It then conveniently became monotheistic and masculine but by then the Zoroastrian method was rampant and in no chronological order along came Judaism, Christianity; prophets and gurus were allowed divinity with Islam and Sikhism and of course worshiping oneself or focusing on the self with Jainism (not to be confused with the hedonistic and nihilistic ‘self’ promoted with the version of free will where the individual is ‘god/divine self’ – for the masses rather than religious/political/cultural founders that ideology is more 19th/20th century).

As with hi-story in general her path has been skewered over time and her position, ‘stories’/actions, abilities/role(s) have changed e.g. originally the Dark Mother from the Mother from the Void, she was later described as from Pavarti/Durga who is the wannabe Mother Goddess substitution when ancient Hinduism became ‘modern’ Hinduism and the male triad made up of created beings not original beings from source was substituted over the female source triad (Daughter/Mother/Dark Mother). The consorts or their queens were then used as replacements to keep the status quo of a female triad for the sake of the populace who couldn’t let go or fully forget (like Christian missionaries adorning statues of Mary in traditional Indian ceremonial garb and parading Hindu style or the Black Madonnas – usually left purposely outside of churches). This juxtaposed female triad was then placed under the male one and the male one was streamlined over time aka the father, son, holy spirit.

The following quote has summarized various cultural likenesses/versions of Kali, as aforementioned bear in mind the differences between the newer cultures to the older ones.


Some of the more striking similarities between Kali and Goddesses of other parts of the world are as follows:

We find Kali in Mexico as an ancient Aztec Goddess of enormous stature. Her name is Coatlicue, and her resemblance to the Hindu Kali is striking. The colossal Aztec statue of Coatlicue fuses in one image the dual functions of the earth, which both creates and destroys. In different aspects she represents Coatlicue, “Lady Of the Skirt of Serpents” or Goddess of the Serpent Petticoat”; Cihuacoatl, “the Serpent Woman”; Tlazolteotl, “Goddess of Filth”; and Tonantzin, “Our Mother,” who was later sanctified by the Catholic Church as the Virgin of Guadalupe, the dark-faced Madonna, La Virgen Morena, la Virgen Guadalupana, the patroness and protectress of New Spain; and who is still the patroness of all Indian Mexico. In the statue her head is severed from her body, and from the neck flow two streams of blood in the shape of two serpents. She wears a skirt of serpents girdled by another serpent as a belt. On her breast hangs a necklace of human hearts and hands bearing a human skull as a pendant. Her hands and feet are shaped like claws. From the bicephalous mass which takes the place of the head and which represents Omeyocan, the topmost heaven, to the world of the Dead extending below the feet, the statue embraces both life and death. Squat and massive, the monumental twelve-ton sculpture embodies pyramidal, cruciform, and human forms. As the art critic Justino Fernandez writes in his often-quoted description, it represents not a being but an idea, “the embodiment of the cosmic-dynamic power which bestows life and which thrives on death in the struggle of opposites.”

We find Kali in ancient Crete as Rhea, the Aegean Universal Mother or Great Goddess, who was worshipped in a vast area by many peoples. Rhea was not restricted to the Aegean area. Among ancient tribes of southern Russia she was Rha, the Red One, another version of Kali as Mother Time clothed in her garment of blood when she devoured all the gods, her offspring. The same Mother Time became the Celtic Goddess Rhiannon, who also devoured her own children one by one. This image of the cannibal mother was typical everywhere of the Goddess of Time, who consumes what she brings forth; or as Earth, who does the same. When Rhea was given a consort in Hellenic myth, he was called Kronus or Chronos, “Father Time,” who devoured his own children in imitation of Rhea’s earlier activity. He also castrated and killed his own father, the Heaven-God Uranus; and he in turn was threatened by his own son, Zeus. These myths reflect the primitive succession of sacred kings castrated and killed by their supplanters. It was originally Rhea Kronia, Mother Time, who wielded the castrating moon-sickle or scythe, a Scythian weapon, the instrument with which the Heavenly Father was “reaped.” Rhea herself was the Grim Reaper.

We find Kali in historic Europe. In Ireland, Kali appeared as Caillech or Cailleach, an old Celtic name for the Great Goddess in her Destroyer aspect. Like Kali, the Caillech was a black Mother who founded many races of people and outlived many husbands. She was also a Creatress. She made the world, building mountain ranges of stones that dropped from her apron.

Scotland was once called Caledonia: the land give by Kali, or Cale, or the Cailleach. “Scotland” came from Scotia, the same goddess, known to Romans as a “dark Aphrodite”; to Celts as Scatha or Scyth; and to Scandinavians as Skadi. Like the Hindus’ destroying Kalika, the Caillech was known as a spirit of disease. One manifestation of her was a famous idol of carved and painted wood, kept by an old family in Country Cork, and described as the Goddess of Smallpox. As diseased persons in India sacrificed to the appropriate incarnation of the Kalika, so in Ireland those afflicted by smallpox sacrificed sheep to this image. It can hardly be doubted that Kalika and Caillech were the same word. According to various interpretations, “caillech” meant either an old woman, or a hag, or a nun, or a “veiled one.” This last apparently referred to the Goddess’s most mysterious manifestation as the future, Fate, and Death–ever veiled from the sight of men, since no man could know the manner of his own death. In medieval legend the Caillech became the Black Queen who ruled a western paradise in the Indies, where men were used in Amazonian fashion for breeding purposes only, then slain.

Spaniards called her Califia, whose territory was rich in gold, silver, and gems. Spanish explorers later gave her name to the newly discovered paradise on the Pacific shore of North America, which is how the state of California came to be named after Kali. In the present century, Irish and Scottish descendants of the Celtic “creatress” still use the word “caillech” as a synonym for “old woman.”

The Black Goddess was known in Finland as Kalma (Kali Ma), a haunter of tombs and an eater of the dead. The Black Goddess worshipped by the gypsies was named Sara-Kali, “Queen Kali,” and to this present day, Sara is worshipped in the South of France at Ste-Marie-de-la-Mer during a yearly festival.

Some gypsies appeared in 10th-century Persia as tribes of itinerant dervishes calling themselves Kalenderees, “People of the Goddess Kali.” A common gypsy clan name is still Kaldera or Calderash, descended from past Kali-worshippers, like the Kele-De of Ireland. European gypsies relocated their Goddess in the ancient “Druid Grotto” underneath Chartres Cathedral, once the interior of a sacred mount known as the Womb of Gaul, when the area was occupied by the Carnutes, “Children of the Goddess Car.” Carnac, Kermario, Kerlescan, Kercado, Carmona in Spain, and Chartres itself were named after this Goddess, probably a Celtic version of Kore or Q’re traceable through eastern nations to Kauri, another name for Kali. The Druid Grotto used to be occupied by the image of a black Goddess giving birth, similar to certain images of Kali. Christians adopted this ancient idol and called her Virgo Paritura, “Virgin Giving Birth.” Gypsies called her Sara-Kali, “the mother, the woman, the sister, the queen, the Phuri Dai, the source of all Romany blood.” They said the black Virgin wore the dress of a gypsy dancer, and every gypsy should make a pilgrimage to her grotto at least once in his life. The grotto was described as “your mother’s womb.” A gypsy pilgrim was told: “Shut your eyes in front of Sara the Kali, and you will know the source of the spring of life which flows over the gypsy race. We find variations of Kali’s name throughout the ancient world.

The Greeks had a word Kalli, meaning “beautiful,” but applied to things that were not particularly beautiful such as the demonic centaurs called “kallikantzari,” relatives of Kali’s Asvins. Their city of Kallipolis, the modern Gallipoli, was lefted in Amazon country formerly ruled by Artemis Kalliste. The annual birth festival at Eleusis was Kalligeneia, translatable as “coming forth from the Beautiful One,” or “coming forth from Kali.”

Lunar priests of Sinai, formerly priestesses of the Moon-Goddess, called themselves “kalu.” Similar priestesses of prehistoric Ireland were “kelles,” origin of the name Kelly, which meant a hierophantic clan devoted to “the Goddess Kele.” This was cognate with the Saxon Kale, or Cale, whose lunar calendar or kalends included the spring month of Sproutkale, when Mother Earth (Kale) put forth new shoots. In antiquity the Phoenicians referred to the strait of Gibraltar as Calpe, because it was considered the passage to the western paradise of the Mother.

The Black Goddess was even carried into Christianity as a mother figure, and one can find all over the world images of Mother Mary, the mother of Jesus Christ, depicted as a black Madonna.

Grim Reaper


As times, usually when they are desperate or sucking up/worshiping so fixedly for a wish, the commonly known top level hierarchy aka the false male triad and their nearest and dearest will admit to the existence of  Mother Goddess. The following excerpt from the Devi Gita, one of their early works describing ancient times, shows Her importance in the detailed fervour and pretend admiration/respect they use to beg. More than unfortunately it also shows just how giving and humble She can be to lower Herself to talk to them in such a friendly tone on ‘their’ level, to see Her in a form that wouldn’t kill them by the sheer radiance and then – as all the cultures show – to separate a part of Herself to live amongst them. All beings are creations but to separate Herself is a distinction between creation/realities and her own separate/private sphere which is higher/purer. There is the created/children and those who look after them and design their homes. So to have a part of Herself amongst the children is a higher level being but not so high as to be unable to live there. Such a being is usually called a Daughter, or a Daughter of the Daughter aka a part of the original Daughter from the Daughter/Mother/Dark Mother triad who is all One Lalita anyway. Confusing but creation is a branch.

The Cosmic Form quote from the Devi Gita:


The Goddess displays her Cosmic Form

1-19. The Devî said:–“O Girirâja! This whole universe, moving and unmoving, is created by My Mâyâ S’aktî. This Mâyâ is conceived in Me. It is not, in reality, different or separate from Me. So I am the only Chit, Intelligence. There is no other intelligence than Me. Viewed practically, it is known variously as Mâyâ, Vidyâ; but viewed really from the point of Brahman, there is no such thing as Mâyâ; only one Brahman exists, I am that Brahma, of the nature of Intelligence

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I create this whole world on this Unchangeable Eternal (Mountain-like) Brahma, (composed of Avidyâ, Karma, and various Samskâras) and enter first as Prâna (vital breath) within it in the form of Chidâbhâsa. O Mountain! Unless I enter as Breath, how can this birth and death and leaving and retaking bodies after bodies be accounted for! As one great Âkâs’â is denominated variously Ghatâkâs’a (Âkâs’â in the air), Patâkâs’a (Âkâs’â in cloth or picture), so I too appear variously by acknowledging this Prâna in various places due to Avidyâ and various Antahkaranas. As the Sun’s rays are never defiled when they illumine various objects on earth, so I, too, am not defiled in entering thus into various high and low Antahkaranas (hearts). The ignorant people attach Buddhi and other things of activity on Me and say that Âtman is the Doer; the intelligent people do not say that. I remain as the Witness in the hearts of all men, not as the Doer. O Achalendra! There are many Jîvas and many Îs’varas due to the varieties in Avidyâ and Vidyâ. Really it is Mâyâ that differentiates into men, beasts and various other Jîvas; and it is Mâyâ that differentiates into Brahma, Visnu and other Îs’varas. As the one pervading sky (Âkâs’a) is called Mahâkâs’a Ghatâkas’a (being enclosed by jars), so the One All pervading Paramâtmâ is called Paramâtmâ, Jîvâtmâ (being enclosed within Jîvas). As the Jîvas are conceived many by Mâyâ, not in reality; so Îs’varas also are conceived many by Mâyâ; not in essence. O Mountain! This Avidyâ and nothing else, is the cause of the difference in Jîvas, by creating differences in their bodies, indriyas (organs) and minds. Again, due to the varieties in the three Gunas and their wants (due to the differences between Sâttvik, Râjasik and Tâmasik desires), Mâyâ also appears various. And their differences are the causes of different Îs’varas, Brahma, Visnu and others. O Mountain! This whole world is interwoven in Me; It is I that am the Îs’vara that resides in causal bodies; I am the “Sutrâtman, Hiranyagarbha that resides in subtle bodies and it is I that am the Virât, residing in the gross bodies. I am Brahmâ, Visnu, and Mahes’vara; I am the Brâhmâ, Vaisnavi and Raudrî S’aktis. I am the Sun, I am the Moon, I am the Stars; I am beast, birds, Chandâlas and I am the Thief, I am the cruel hunter; I am the virtuous high-souled persons and I am the female, male, and hermaphrodite. There is no doubt in this. O Mountain! Wherever there is anything, seen or heard, I alway exist there, within and without, There is nothing moving or unmoving, that can exist without Me. If there be such, that is like the son of a barren woman. Just as one rope is mistaken for a snake or a garland, so I am the One Brahma and appears as Îs’vara, etc. There, is no doubt in this. This world cannot appear without a substratum.

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And That Substratum is My Existence. There can be nothing else.

20. The Himâlayâs said:–“O Devî! If Thou art merciful on me, I desire, then, to see Thy Virât form in the Fourth Dimensional Space.

This sight is developed when the mind resides in the heart centre or in the cenlre of the eye-brows. A proper teacher is necessary.

21-41. Vyâsa said:–“O King! Hearing the words of Girirâja, Visnu and all the other Devas gladly seconded him. Then the Devî, the Goddess of the Universe, knowing the desires of the Devas, showed Her Own Form that fulfils the desires of the Bhaktas, that is auspicious and that is like the Kalpa Vriksa towards the Bhaktas. They saw Her Highest Virât Form. The Satyaloka is situated on the topmost part and is Her head; the Sun and Moon are Her eyes; the quarters, Her ears; the Vedas are Her words; the Universe is Her heart; the earth is Her loins; the Bhuvarloka is Her navel; the asterisms are Her Thighs; the Maharloka is Her neck; the Janarloka is Her Face; the Taparloka is Her head, situated below the S’atyaloka; Indra and the Devas and the Svarloka is Her arms; the sound is the organ of Her ears; the As’vin twins, Her nose; the smell is the organ of smell; the fire is within Her face; day and night are like Her two wings. The four-faced Brahmâ is Her eyebrows; water is Her palate; the juice thereof is Her organ of taste; Yama, the God of Death, is Her large teeth; the affection is Her small teeth; Mâyâ is Her smile; the creation of Universe is Her sidelooks; modesty is Her upper lip; covetousness is Her lower lip; unrighteousness is Her back. The Prajâpati is Her organ of generation; the oceans are Her bowels; the mountains are Her bones; the rivers are Her veins; and the trees are the hairs of Her body. O King! Youth, virginity, and old age are Her best gaits, positions or ways (courses) paths, the clouds are Her handsome hairs; the two twilights are Her clothings; the Moon is the mind of the Mother of the Universe; Hari is Her Vijnâna S’âkti (the knowledge power); and Rudra is Her all-destroying power. The horses and other animals are Her loins; the lower regions Atala, etc., are Her lower regions from Her hip to Her feet. The Devas began to behold Her this Cosmic (Virâta) appearance with eyes, wide awake, with wonder. Thousands of fiery rays emitted from Her form; She began to lick the whole universe with Her lips; the two rows of teeth began to make horrible sounds; fires came out from Her eyes; various weapons were seen in Her hands; and the Brâhmanas and Ksattriyas are become the food cf that Awful Deity. Thousands of heads, eyes and feet were seen in that form. Crores of Suns, crores of lightnings flashes, mingled there. Horrible, Awful, That appearance looked terrific to the eyes, heart and mind. The Devas thus beheld and began to utter cries of horror and consternation; their hearts trembled and they were

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caught with immoveable senselessness. “Here is the Devî, our Mother and Preserver.” this ides vanished away at once from their minds.

At this moment the Vedas that were on the four sides of the Devî, removed the swoon of the Devas and made them conscious. The Immortals got, then, the excellant Vedas; and, having patience, began to praise and chant hymns in words choked with feelings and with tears flowing flowing from their eyes.

42-53. The Devas said:–“O Mother! Forgive our faults. Protect us, the miserable, that are born of Thee. O Protectress of the Devas! Withhold Thy anger we are very much terrified at the sight of Thy this form. “O Devî! We are inferior immortals; what prayers can we offer to Thee! Thou Thyself canst not measure Thy powers; how then can we, who are born later, know of Thy greatness! Obeisance to Thee, the Lady of the Universe! Obeisance to Thee of the nature of the Pranava Om; Thou art the One that is proved in all the Vedântas. Obeisance to Thee, of the form of Hrîm! Obeisance to Thee, the Self of all, whence has originated the Fire, the Sun, and the Moon and whence have sprung all the medicinal plants. Obeisance to the Devî, the Cosmic Deity, the Self in all whence have sprung all the Devas, Sâdhyas, the beasts, birds, and men! We bow down again and again to the Great Form, Mâhâ Mâyâ, the Self of all, whence have-sprung the vital breath Prana, Apâna, grains and wheats, and Who is the source of asceticism, faith, truth, continence and the rules what to do and what not to do under the present circumstances. The seven Prânas, the seven Lokas, the seven Flames, the seven Samidhs, the seven Oblations to Fire, have sprung from Thee! Obeisance to Thee, the Great Self in all! Obeisance to the Universal form of the Deity of the Universe whence have sprung all the oceans, all the mountains, all the rivers, all the medicinal plants and all the Rasas (the tastes of all things). We bow down to that Virât Form, the Great Self, the Mahâ Mâyâ, whence have originated the sacrifices, the sacrifical post (to which the victim about to be immolated is bound) and Daksinâs (the sacrificial fees) and the Rik, the Yajus, and the Sâma Vedas. O Mother! O Mahâ Mâyâ! We bow down to Thy front, to Thy back, to Thy both the sides, to Thy top, to Thy bottom and on all sides of Thee. O Devî! Be kind enough to withhold this Extraordinary Terrific Form of Thine, and sbew us Thy Beautiful Lovely Form.

54-56. Vyâsa said:–“O King! The World Mother, the Ocean of mercy, seeing the Devas terrified, withheld Her Fearful Cosmic Form and showed Her very beautiful appearance, pleasing to the whole world. Her body became soft and gentle. In one hand She held the noose, and in another She held the goad. The two other hands made signs to dispel all their fears

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and ready to grant the boons. Her eyes emitted rays of kindness; Her face was adorned with beautiful smiles. The Devas became glad at this and bowed down to Her in a peaceful mind and then spoke with great joy.

Here ends the Thirhy-third Chapter of the Seventh Book on the Devî’s Virât Rûpa in the Mahâ Parânam, Sri Mad Devî Bhâgavatam, of 18,000 verses, by Maharsi Veda Vyâsa.

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