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

Posts tagged ‘Mother’

Sleeping Beauty – An Enduring Tale/Cycle of Dreaming and Waking/the Breath of the Unmanifested and Creation

Introduction to a Well Known Author:

Fairytales are atmospheric, creepy and often cruel showing us temptation in the form of hope usually after great turmoil and sacrifice. They’re not often stories for children but more warnings as Pamela Travers herself claimed she didn’t write the Mary Poppins books for children. To some of us they can be seen as culmination of learning and with her tempestuous life perhaps a yearning – Ms Poppins being someone she wanted to be or wanted to guide her through the storm? Poppins being someone who glided through extremities like only few and a ‘nanny’ (granny, Dark Mother figure – remember the Dark Mother is an honourary title, she doesn’t have to be a Mother).

The remakes of well known fairytales in recent years have emphasized further that they are not really ‘family friendly’ and even modern authors from Roald Dahl to J. K. Rowling have shown us ‘dark’ children’s and young adult fiction, easily read by adults, and yet they hold a map for childhood. Dystopian themes have made it to the forefront of youth fiction – but then did they ever really leave? The scary has always been at home with musical folk tales and poems of old and are always present watching and coming closer to us from the periphery, they sometimes get watered by the likes of Disney but even Disney shows protagonists in danger. Is it a safe ‘threat’ we hanker for like that of a roller coaster where we feel the thrill but never the peril or is there something in us that really wants to fall? We never really face the unknown we just go round in circles, patterns and trends.

But Disney was right to excise from Mary Poppins the Zen mysticism and symbolism, about which academics had preposterously written lectures and learned papers. And although Disney’s songwriters the Sherman Brothers are on record as finding Travers “a hellcat” to work with (“like having two weeks of ulcers”), she comes across in the film as ultimately sympathetic, commanding respect for facing up with spirit to the Disney men. Travers was fond of saying that all women pass through three phases: nymph, mother, crone.

As Lawson writes, in the initial days of Disney’s charm offensive, P L Travers “fell into Walt’s embrace like a lovesick fool, but the fortune he gave her almost made up for the betrayal”. She got $100,000 upfront and 5 per cent of the gross, so she had to forgive “Supercalifragilisticexpialidocious” and dancing penguins. And after five years of “uneasy wedlock”, the film emerged – unsubtle, sugary, sentimental; “gorgeous, but all wrapped round mediocrity of thought” – and won five Oscars. Sam Goldwyn wrote an open letter saying everyone in the world should see it. Never mind that Disney’s editions of Mary Poppins books outsold hers; her own sales trebled. She would later say that she had written “a small unpretentious book, but as full of meat as a sausage is. The film made it grandiose, pretentious and took all the stuffing out of the story.” But she always praised Julie Andrews and even thought Dick Van Dyke’s cockney was “really not too bad”. She discussed a possible sequel without objection.

http://www.newstatesman.com/culture/2013/12/strange-life-creator-mary-poppins

Was he right to White wash (his own life and business White washed of course)? I love the Mary Poppins film (and I can understand why Emma Thompson was chosen to portray P. L. Travers due to her role as Nanny McPhee – the films of which I didn’t really like – and her bearing in general) but I’m aware there was more going on in her life and in the series. It seems as if Travers got caught up in great knowledge and mixed with great cultural icons who themselves did the same but like many were far too a bohemian, rich, elite set indulgent and immature for the wisdom they sought/practiced.

Too bad we can’t all be like the characters we create and adore; perhaps she wanted Mary Poppins but had some of that in her aunts and would have been better off with Granny/Mistress Weatherwax (another Dark Mother/Witch/Wise Woman/Crone figure) from Terry Pratchett’s ‘Discworld’, whom many of us love… At a distance and with great respect and perhaps some bitterness and begrudgement, and she was the ‘good one’ out of her and her sister 😉 !

What we want and need are sometimes two very different things.

Discerning the Nature of Free Will

In the chapter entitled, “John and Barbara’s Story,” a starling, a wise bird, visits the nursery at Cherry Tree Lane and communes with Mary Poppins and the babies, John and Barbara. Through their conversation, we become aware that the babies, the starling, and Mary Poppins understand the language of the wind, the stars, and the sunlight. However, the starling laments that the children will soon forget everything about where they came from. The children, of course, vehemently protest. Soon, however, they do forget.

This theme is explored further in the chapter entitled, “The New One” in Mary Poppins Comes Back. When the baby Annabel is born, the starling makes another visit, and he turns somersaults on the windowsill, clapping his wings wildly together each time his head comes up. “What a treat!” he pants, when at last he stands up straight. (Now he had someone to whom he could speak again.) The starling asks Annabel to tell the fledgling that accompanies him to tell where she came from:

“I am earth and air and fire and water,” she said softly. “ I come from the Dark where all things have their beginnings. I come from the sea and its tides, I come from the sky and its stars, I come from the sun and its brightness—and I come from the forest of earth. Slowly, I moved at first always sleeping and dreaming. I remembered all I had been and I thought of all I shall be. And when I had dreamed my dream I awoke and came swiftly. I heard the stars singing as I came and I felt warm wings about me. I passed the beasts of the jungle and came through the dark, deep waters.” “It was a long journey! A long journey indeed!” said the starling softly, lifting his head from his breast. “And ah, so soon forgotten!”

This episode is reminiscent of the soul’s encounter with the river Lethe in Greek mythology. The souls of the dead bathe there before they are born, so they will not remember their previous history and choices made before birth (karma) until their life is over. If we knew what happened in past lives with the people we know in the present, we might avoid these people and many of life’s experiences. How can we operate with free will and choice if we know our sacred contracts, asks Caroline Myss, author of Sacred Contracts. In The Secrets of Dr. Traverner, Diane Fortune, the occult fiction writer of the early twentieth century, wrote about a character who refused to come completely into her body because she knew her fate and was afraid to face it. This presents the paradox that from ignorance we exercise free will; from knowledge we forfeit our right to choose.

https://www.theosophical.org/publications/1240

The above link explores symbolism in the Mary Poppins series and Travers was herself an ardent student of mythology and culture which brings us to one of her passions, a passion of intrigue with eternal beauty.

The Allure of Beauty in Death/Slumber, the Conflict of Choosing Between Immortal and Mortal Love:

I’m not going to explain the symbolism in ‘Sleeping Beauty’ such as a the Spinners/Fates/Wheels but simply quote some of Travers’ own words as found in the ‘Afterword‘ of her book ‘About The Sleeping Beauty’. Therein she outlines five versions of the story from different cultures following her own refashioning. Bear in mind that I do not agree with everything.

The idea of the sleeper, of somebody hidden from mortal eye, waiting until the time shall ripen has always been dear to folkly mind – Snow White asleep in her glass coffin, Brynhild behind her wall of fire, Charlemagne in the heart of France, King Arthur in the Isle of Avalon, Frederick Barbarossa under his mountain in Thuringia. Muchukunda, the Hindu King, slept through eons until he was awakened by the Lord Krishna; Oisin of Ireland dreamed of Tir N’an Og for over three hundred years. Psyche in her magic sleep is a type of Sleeping Beauty, Sumerian Ishtar in the underworld may be said to be another. Holga the Dane is sleeping and waiting, and so, they say, is Sir Francis Drake. Quetzalcoatl of Mexico and Virochoca of Peru are both sleepers. Morgan le Fay of France and England and Dame Holle of Germany are sleeping in raths and cairns.

The themes of the sleeper is as old as the memory of man. Where it first arose we do no know. One can never find where myth and fairy tale begin any more than one can find wild wheat growing. They are not invented, that is certain. They germinate from seeds sown by an unknown hand. ‘The Authors’, as the poet William Blake has said, ‘are in Eternity’, and we must be content to leave them there. The story is, after all, what matters.

The appearance of this lady at the Christening [in her version of ‘Sleeping Beauty’] is the great moment of the tale, the hook from which everything hangs. Properly to understand why this is so we must turn to Wise Women in general and their role in the world of men. To begin with they are not mortal women. They are sisters, rather, of the Sirens, kin to the Fates and the World Mothers. As such, as creatures of another dimension, myth and legend have been at pains to embody them in other than human shape – the winged female figures of Homer, the bird headed women of the Irish tales, the wild women of ancient Russia with square heads and hairy bodies and the wisplike Jinn of the Middle East who were not allowed grosser forms than those of fire and smoke. It was to do away with their pantomime image and give them their proper weight and authority that our version provided the Wise Women with their hairless heads of gold and silver and made their golden and silver feet hover a little above the earth as the gods do on the Greek vases. And in dressing them in colours of the spectrum that the Thirteen are parts of the single whole and the opposites complementary.

For it should be remembered that no Wise Woman or Fairy is in herself either good or bad; she takes on one aspect or the other according to the laws of the story and necessity of events. The powers of these ladies are equivocal. They change with changing circumstances; they are as swift to take umbrage as they are to bestow a boon; they curse and bless with equal gusto. Each Wise Woman is, in fact, an aspect of the Hindu goddess, Kali, who carries in her multiple hands the powers of good and evil.

It is clear, therefore, that the Thirteenth Wise Woman becomes the Wicked Fairy solely for the purpose of one particular story. It was by chance that she received no invitation; it might just as well have been one of her sisters. So, thrust by circumstance into her role, she acts according to law.

Up she rises, ostensibly to avenge an insult but in reality to thrust the story and keep the drama moving. She becomes the necessary antagonist, placed there to show that whatever is ‘other’, opposite and fearful, is indispensable an instrument of creation as any force for good. The pulling of the Devas an Asuras in opposite directions churn the ocean of life in the Hindu myth and the interaction of the good and the bad Fairies produces the fairy tale. The Thirteenth Wise Woman stands as the guardian of the threshold, the paradoxical adversary without whose presence no threshold may be passed.

This is the role played in so many stories by the Wicked Stepmother. The true mother, by her very nature, is bound to preserve, protect and comfort; this is why she is so often disposed of before the story begins. It is the stepmother, her cold heart unwittingly cooperating with the hero’s need, who thrusts the child from the warm hearth, out from the sheltering walls of home to find his own true way.

Powers such as these, at once demonic and divine, are not to be taken lightly. They give a name to evil, free it, and bring it to the light. For evil will out, they sharply warn us, no matter how deeply buried…

Without the Wicked Fairy there would have been no story. She not the heroine, is the goddess in the machine.

But if the Prince is a mysterious figure, how much more so is she who is the crux of the story, the maiden of surpassing beauty asleep behind her wall of thorns, she whom men from the beginning of time have pondered on and treasured. I say the beginning of time with intent, for when a woman is the chief character in a story it is a sign of its antiquity. It takes us back to those cloudy eras when the world was rule not, as it was in later years, by a god but by the Great Goddess. Here, as with the Prince, is a heroine who has ostensibly nothing to do, nothing to suffer. She is endowed with every blessing and grace and happy fortune, no slights or indignities are put upon her as is the case with her sister heroines, Show White, Cinderella, Little Two-Eyes, or the Goose Girl. She simply has to follow her fate, prick her finger, and fall asleep. But perhaps – is this what the story is telling us? – perhaps it is not a simple thing to do to faithfully follow one’s fate…

Who is she, this peerless beauty, this hidden sleeping figure that has kindled the imaginations of so many generations and for whom children go about on tiptoe lest she be too soon wakened?

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[My comment: The Princess is the representative on Earth, the Earth as the creation, she is the illuminated light illuminated from the light of the Mother like the moon to the sun; part divine, part mortal – the link between the Mother and potential creation, and the created. She is the Daughter and in a story involving a love interest she is like Persephone, abducted or tricked into staying in manifestation, separated from the Creator like a tool/weapon/treasure. She is the Fallen, fallen with creation which in itself is fallen because it is no longer with/an immediate part of the Creator. In this story and many she is Fallen by the actions of a Father figure and she is then through transformation of some kind, here it is sleep, rescued by the Dark Mother.]

There are those who see the tale exclusively as a nature myth, as the earth in spring, personified as a maiden, awaking from the long dark sleep of winter; or as a hidden deep in the earth until the kiss of the sun makes it send forth leaves. This is undoubtedly as aspect of the story. But a symbol, by the very fact of being a symbol, has not one sole and absolute meaning. It throws out light in every direction. Meaning comes pouring from it.

As well as being a nature myth, it is also possible that there are elements of a secret and forgotten ritual in the theme, reminders of initiation ceremonies where the neophyte dies – or sleeps – on one level and wakes on another, as a chrysalis wakes into butterfly. Or again it may be that since all fairy tales hark back to myth we are present here at the death and resurrection of a goddess, of Persephone down in the underworld biding her time until she returns to earth.

So, face to face with the Sleeping Beauty – who has long been the dream of every man and the hope of every woman – we find ourselves compelled to ask what is it in us that at a certain moment suddenly falls asleep? Who lies hidden deep within us? And who will come to wake us, what aspect of ourselves?

[My comment: And hopefully they shall not waken us with a kiss.]

Are we dealing here with the sleeping soul and all the external affairs of life that hem it in and hide it’ something that falls asleep after childhood; something that not to waken would make life meaningless? To give an answer, supposing we had it, would be breaking the law of the fairy tale. And perhaps no answer is necessary. It is enough that we ponder upon and love the story and ask ourselves the question.


I think she may have had a more conclusive answer being so well educated and thoughtful in her work and only seemed to naval gaze (as we all do at times) in wistful, poetic moments to make the prose (including her ‘afterword’) richer. Perhaps she thought the keys to the tale/threshold/door were not for us to know.

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Grab your guns in the Virtual/Dreamland, we’re in for the ‘Wilde Ride’ Valkyrie – chooser of the slain, serving our inner Eye, flying warrior – style. Hunt those who hunt the Goddess.

El Cazador De La Bruja True Meaning Nadie Ellis

El Cazador De La Bruja (The Hunter of the Witch) is the third in studio Bee Train (not hive) ‘Girls with Guns‘ series (from the ‘Champion Red‘ Manga released as anime originally in 2007), now I’m not normally a fan of firearms and ‘my’ characters rarely use them, openly stating they don’t like them or just don’t use them (doesn’t take anywhere near the amount of skill as traditional weapons) but I can make an exception, especially for this anime.

This is an exceptional anime in that it weaves in the ‘Lost’/Fallen Goddess story really well and in a slightly different setting to most anime but the components are all there.

ELLIS – (the El- Mother figure character names in media tend to be like Elle, Ellie, Ely, this one is Ell-is as in She Exists, She Is) – the ‘Goddess’, or ‘Witch’, test tube baby in this version so apparently not a child of ‘god’ (though She has the God-soul/spirit) or natural (as if humans are). Part of a group of embryos made to test the ‘Maxwell’s Demon’ theory (yep because people just love to think up and test everything on everything without giving a sh*t). The theory is basically about having the ability to harness and transform the elements, so for example the first one Ellis has is thermodynamic – she sets things on fire or melts them when she gets stressed, but she can already jump/leap (levels) with shocking dexterity and is quick with her hands & numbers. She’s also ‘simple’ in that she’s straightforward, no hidden motives or cruelty, totally ‘sweet’ and ‘innocent’. She’s ‘given’ to a ‘doctor’ to experiment on her but she finally manages to get him to stop and develop a care for her, she’s not a thing and he shouldn’t treat her that way – Stockholm Syndrome though since she doesn’t know/has no one else. He is assassinated (serves him right) but she gets blamed for it (set-up) and a bounty put on her dead or alive.

L.A – (yeah just look at that and what that stands for) but I’ll spell it as El-A for now – (you get the masculanized versions of Goddesses in culture who commonly put an ‘A’ or ‘U’ at the end of the same name) He and Ellis were the only successful creations, because breeding/lab making ‘super-people’ yields more fails and normals than successes. Being male he doesn’t have the magic/transformational/creative energy Ellis does but he is super strong, fast and agile. He is also completely in love (morelike obsession) with Ellis (who is offput by him) – he was groomed to love (or morelike lust) Ellis and repeatedly berated for it at the same time, expected to watch but not interact with her and that pressure makes him lose control at times. He’s tortured by Rosenberg and conflicted (whereas Ellis is tortured yet still has strong identity, El-A’s is purely based off his ‘attachment’ to Ellis), told his feelings aren’t real, they were orchestrated, given to him and can be turned off just the same but he manages to hold onto them and believes in them completely. The problem is he alternates between hiding and coming on so strong that he worries and threatens Ellis.

……………Here comes the bodyguard, the Slayer, the ‘Bounty Hunter’ here, the Warrioress who teaches the ‘lost’ Goddess to value Herself, to stand up for Herself whilst protecting and loving/supporting Her. Remember great teachers are also fighters. You have to make a stand for those you love, and they have to be worth loving.

NADIE – (means ‘Hope’, so similar to Eve and -Dor/Dol[ly] names) – She’s been sent by ‘descendant clans’ of the older witches, the secret women, the ancient ones, the original feminine, the original ‘creators’/Gods. She’s quick witted, smart mouthed and savvy; everything Ellis needs. She’s not there for Ellis’ ‘bounty’ – she’s a tracker, she’s there to find Ellis and look after her until the time is right. She’s a twin-tailed/haired (with additional warrior braid and appropriate jewellery – this ‘girl’ is top of Her Class) Redhead (Ellis is Blonde – some will realize that duo-character combination and why its so prevalent and why Ellis’ hair has been chopped/short as she was powerless) and she wears a Red tipped White poncho that covers everything so makes her look cloaked in White (but warrior style underneath) – others will understand that whereas Ellis wears mainly Blue and Gold/Yellow because in this story Nadie is the cosmic sun/star avenger saving the Earth based Mother Goddess. All throughout Nadie is described as physically unattractive and becomes sensitive to it despite being lovely to look at to anyone with a brain. Also whilst Ellis is ‘lost’ and was hidden away, Nadie is not, she’s tracked from the start i.e. she’s a tracker whose ‘base’/the representatives of the Mothers/Mother Race had logged all along and she checked back with them regularly. Like all other cosmic incarnations/representatives who travel she wasn’t allowed/able to know/remember the whole story but she clocked on quickly and knew enough to know how important Ellis is and how she should be defended not used/abused (just like no one else should be).

El Cazador De La Bruja True Meaning Nadie Ellis
El Cazador De La Bruja True Meaning Nadie Ellis

BLUE EYES (self-explanatory) – the descendent of the witches, most ‘descendants’ are normal and whilst she has a little latent ability like many ‘natural’ ‘descendants’ *rolls eyes* she’s jealous of Ellis, wants and resents her power. She’s the one who contracts Nadie on behalf of other useless ‘descendent’ witches. All throughout she describes Ellis and El-A as things, both from a clinical/scientific ‘subject’ point of view but also as inferior to humans because ironically they’re human-made, now that’s a backhanded compliment. ‘Artificial’ in comparison to human e.g. test tube, transgenic, AI etc are barely given any ‘rights’, barely thought of as people, like people, barely credited with feelings, intelligence, even the ones with human organs (including skin which yes I know is an organ but still worth stating) – they’re just ‘computers’ that ‘run programs’… Yeah until they use their ‘brains’ better than you use your awesome gifted ones. The lack of respect for other lifeforms allows people and ‘others’ to treat each other like property. Eventually she comes around, but takes her damned ‘blue eyed’/glasses wearing [implying disguise – very simple Superman style] blind time whilst undercover.

……………Speaking of completely self-involved blinded characters cue the Manipulator:

ROSE-N-BERG (Rosen-Berg, the wannabe Rose/Risen/Ascend) – Nazi German style working for the CIA/Americans (yeah we’ve seen that before), with his personally favoured rose-tinted perspective accompanied by a pair of specs and who hypocritically tells Blue Eyes she shouldn’t wear glasses. He hurts everybody for his goals, it doesn’t have to be personal, it’s all about his destination. The ‘best’ results no matter the price, all business (with personal benefit in mind), schmoozes people who can help his career, thinks he owns everybody else like pawns, typical psychopath but a successful one since he’s in power. Basically he goes to any and every length to activate Ellis’ powers i.e. the usual Masonic way involving as much pain, trauma and loss as possible – developing bonds/connections with specially placed people in her life only to take them away and push her to the brink… All so he can be a hanger-on and pretend that he ‘loves’ her, pedophile style. (Interesting to note: the Blonde Slayer and Red Witch in ‘Buffy’, Willow is also a Rosenberg – remember characters change sides and/or undercover in any battle/war but in ‘Buffy’ they also have ‘Doppelgangland’.)

……………The other bodyguard and a very young girl who travels with him, whom he won’t explain and isn’t his daughter – i.e. the man who protects the female bodyguard and in this story the third female for the ‘triplicate’. All three females are young (Ellis and El-A were subjected to accelerated growth though their torture would also age them mentally if designed to teach them obedience, fight/flight, escape/evade which it was rather than degenerate them into permanent infant mindsets).

RICARDO – ‘Powerful leader’ (yet great enough to look after/love, take a backseat to that which is even greater than himself like the Daughter does the Mother) – He is older than the rest, which isn’t necessary but older males are often the ones who change their minds after its too late/a life of suffering/causing suffering and decide they want to help. Younger ones are too gung-ho and aren’t as protective unless in love/bonded. His age allows for the characteristic of being more cautious, hidden than devil-may-care/free-spirited-but-very-able Nadie. Whilst Nadie is watching Ellis, he is watching El-A but the relationships are very different, Nadie is big sisterly/motherly and wears her heart on her sleeve, Ricardo is distant and not as communicative but quietly sincere, he cares deeply for Nadie and Ellis despite being hired by Rosenberg.

……………So many political divisions and factions, as usual. Ellis’ and Nadie’s freedom becomes a unifying factor.

LIRIO – (‘Iris/Lily’ so ‘Eye’, and interestingly there is a character actually called Iris in this anime who helps them too whilst searching for something else). Lirio is very quiet but instantly likes Ellis and Nadie, and she’s the one who sees the Old Mothers/Ancient Witches.

……………The Dark Mother characters don’t figure much in this story – too damned scary probably – and if they were around none of this sh*t would have happened or gone this far, so no story, boohoo for all those who love ‘entertainment’ that doesn’t involve or obviously inflict them/those they care about/love. You do see Her guidance in various characters in the early episodes and then finally in the end, nice symbolic overlap – but they’re taken out, forced to resign (one by a ‘fake’ Daughter ‘Maria’ figure) and others devoted to the false/later/masculanized Mother/Daughter (Mary/Jesus). So ‘taken care of’ story/historically wise and makes way for the abuse of the Mother and Daughter. (Like in the anime ‘Read or Die’ mentioned in the last post the ‘dark one’ Maggie is the most physically strong and quiet/hidden, she’s taken out first in the coup/betrayal so she isn’t a threat/can’t protect the others, the Mother figure is more the boss of the three yet traditional, and the Daughter/youngest is the most feisty/rebellious. The Dark Mother fights the strongest characters and even stays behind to let the Mother/Daughter move ahead, as is always the responsibility of the stronger.) I’ve seen ‘Dark Mother’ figures in other Mother/Daughter stories treated in a similar manner – lip service, taken out in some way, removed before the story starts even, heck even bashed into by a ‘lotus’ car in an ‘irrelevant’ scene in one film where she’s shown as a random stranger who then leaves the story as quickly as necessarily/’unnecessarily’ inserted (so that the supposed male triad can ‘protect’ the Mother/Daughter instead).

The ‘rose’, Inca Rose, Red stone plays a power source role in this story and is in a cave/mountain – as it ‘should’ symbolically do/be, since it signifies the Mother and the Mother (whilst being all colours) is known as Red, the innocent/joyful creator, Lalita from whom all the El ‘god’/superbeing names came from. And as usual the Warrioress always sacrifices for the power source, for the Mother, but she always comes back 😉 just like ‘Buffy the Vampire [all demons] Slayer’ and Max the ‘transgenic’ from ‘Dark Angel’, the only one whose Mother fought for her and didn’t want to give her up to the Manticore/type of lion/the dreammaker-realizer/actualizer Sandeman ‘Family’. There’s no destroying the Mother/Daughter/Dark Mother bond, why do you want to? I’m not going to go further into the ‘rose’ here, that takes more time but it’s worth mentioning that whilst they come in many colours, the Red (or White) rose are most commonly used in symbolism.

Throughout their journey, and it is very much a physical journey, Ellis and Nadie are followed by Hunters. Even though Nadie is traditionally a seeker/destroyer-if-necessary character herself, she’s still a Target. Ellis and Nadie are real/alive, flesh and blood, not portrayed as obvious ‘Gods’ let alone ancient Goddesses, they have feelings like everybody else, as does El-A though his are warped, stalker-ish/desperate/predatorial/out of control which adds to his physical strengths.

Interestingly enough the other bounty hunters who target them the most are cross-dressers, men as women lol the massive symbolism. Another apt similie is in one episode where Nadie and Ellis try to catch/hunt a bird whilst they’re also being hunted (ironically by Blue Eyes in sniper mode before her eyes are opened and she has a change of heart) – the same example is used in an episode of ‘Dark Angel’ where Max kills and eats a chicken but is reminded of the farm system she lives in.

Ellis and Nadie are both wildcards, it’s because of them that Mountain comes down and interestingly/poignantly Nadie won’t let Ellis touch the gun. The gun is a weapon, a tool of pain, injury, suffering, impurity – it’s an efficient killing machine that makes destruction without conscience easy for anybody. It’s not a toy yet known as a ‘boy’s toy’, it’s a tool for [traditionally] tools unlike traditional weapons that were used for agriculture and other things that didn’t involve maiming for fun and games. Such a thing is not a thing the Mother should have to desecrate Herself with, she is pure, the Creator. It’s upto the Daughter – the partially contaminated, the less attractive, the less stellar, the lesser divine light, the connection between Creator and Creation, between worlds, levels, the communicator, preserver to sully her hands because she understands/can hear/see/feel how the fallen behave. Her very existence is a compromise and so she takes the edge/pain/burden off all sides. A kind of ‘naturally’/’destined to be’ tortured/unhealing wound ‘damaged’ soul. Neither here nor there, doesn’t really belong yet can be anywhere, sweet/innocent/pure and yet not… Thankfully she’s not fragile lol.

And hey did I mention she can wield a gun like a pro because in this story she is a pro and I guess we have to modernize sometime 🙂 Even Buffy handles a rocket launcher with amazing awesomeness at Angel, ‘The Judge’ (who funnily enough is on the ‘demon’, not human side despite supposing to be what he is, no wonder Buffy kills him) and Drusilla/the ‘treacherous’ old-lineage feminine (she’s a psychic gypsy and through no fault of her own – it’s Angel-is’ fault – a betrayal of the original feminine that is sometimes shown as voluntary, sometimes forced/involuntary). One of Max’s forms/clones handles two guns at the same time and Sydney Fox (Relic Hunter, another Brown-skinned but this time Asian linked rebellious, learned & armed Daughter figure who seeks out the hidden) has a mean aim like Lara Croft. It’s about time the Daughter and Her supporters got up-to-date methinks, get the party started so to speak. We’re a bit too outdated with our drums, bonfires and dancing – gotta mix it up a bit. And hell everybody else is into ‘toys’; fast/sleek cars & weapons? Why shouldn’t we have some fun? We’d be better at it. Just think of all those weapons these humans keep coming up with to hurt, control and kill each other and everything else whilst calling it ‘peace’, ‘defense’, ‘counter-terrorism’ etc – they’ve been at the gun powder and moved on ages ago whereas we use ‘gun powder’ for spice lol! Imagine the hottest, sexiest, sleekest guns out there – bring them into ‘being’ in the virtual reality, point and shoot. It’s ‘fiction’, not ‘real’, ‘other reality’, ‘dream’, the ‘VIP social club’, ‘virtual’, ‘video’ ‘terminal’, ‘game’ afterall, it has no effects/affects apparently, hurts no one, no harm no foul we’re told yet so many eat it up and want to be a part of the story, and usually as Hunters not Targets. It’s time the worm turned, this anime is just so cool and Nadie knows the meaning of family beyond blood, of connections beyond titles and status, she loves Ellis because Ellis is worth loving. I’ll reiterate that guns aren’t actually cool, aren’t toys, aren’t fun, aren’t something I support but in ‘storyland’, ‘fake’ places, dreamland, Imagi-Nation apparently anything goes and Hunters get away with everything. No wonder role player games are so popular and virtual reality headsets have made a comeback (yes comeback). Bee Train certainly did a polished job on their ‘Girls with Guns’ series trying to ‘balance the playing field’ sex wise. I prefer regular beat’em’up animes and games, nothing quite as satisfying as good ol’ hand-to-hand combat, but I guess I should give shoot-em-ups a go finally. And it does remind me of Vash the Stampede from the anime ‘Tri-Gun’, Blonde kitted out in his long Red coat, Black under clothing, Black & White/Silver guns, a plant-based ‘alien’ but human looking lifeform, a traveller/wanderer who is the ultimate pacifist yet best gunslinger. I’ve always liked Vash; poor guy, blamed for destruction and wannabes follow him around everywhere even though he’s trying to protect everybody, even his enemies, and you should see his body, there’s barely any skin for scars. A humungous bounty on his head. Some interesting characters in that anime too and the desert setting is comparable to this anime, though the planet is post-devastation.

All the ‘joking/fooling’ aside this is a very emotional anime that questions people’s motives, their relationships, mindsets and feelings – how do you manage in a setting where everything is orchestrated? How do you love and protect each other whilst not hurting yourself/getting hurt, how can you trust each other, yourself? Who is pulling your strings, affecting your emotions? Boxing you in, forcing you to feel like you have to escape? Who wants your power, to make you feel powerless? To feel unloved, unvalued, your ‘value’ placed as property and/or in monetary terms? As if no one is looking out for you and you’re all alone in the world that is full of others? These characters try to be lighthearted, to make the best of things but what they go through is deadly serious, even if it’s fictional entertainment. Artists tell the truth through lies. Others tell lies as the truth. And some of us alter those fear-based, parasitic realities; we wade through the sh*t and take the beatings to find you and pull you out and/or help you help yourselves, kicking and screaming maybe (either/both you and us) but we do it just as the immortal Warrioress sacrifices Herself for the Mother Goddess and indeed Creation, but still lives 😉 . I think it’s about time She thrived rather than struggled to survive as indeed the anime makers uniquely did on this one. Usually the Daughter stays with Creation, even the false ‘kin’/Fathers/false family etc and the Mother Goddess leaves or the Mother/Daughter / Mother and/or Daughter sacrifice Themselves for Creation to have yet another same old, same old chance but in this anime everyone touched by their genuine earnestness is better off, and Mother/Daughter figures stay together and leave together, as They should.

Greatest Battle Music of All Times – Siren’s Call [Epic Score]

Rachel Platten – Stand By You (from ‘Wildfire’ album)

Rachel Platten – Fight Song (from ‘Wildfire’ album)

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And for my own personal ‘Superman’ (from the ‘Wildfire’ album) like the above bodyguard of the bodyguard,

Nadie El Cazador De La Bruja

From the other side I am a terror/wonder to behold. A master of war and peace. Don’t worry, I’ve got you.

Gallery

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.

PLOT

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

VISUALS

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

SOUND

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.”

Recommendation

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.

Gallery

Mother’s Day or Mothering Sunday has arrived!

Party

In conjunction with a Black moon no less, a Black moon being a rare occasion when there’s two new moons in one month – and we’ve had two this year, wow! (That first Black moon including two Super moons was written about HERE) (And I’ve just realized it’s daylight savings day/’British Summer time’ when the first day of Spring/equinox was a week and a half ago, skip three months much? Grrr)

Lalita is my mother’s name and the name of Divine Mother (Dea to others), it’s the secret/hidden name in Hinduism (think about why many ‘modern’ freemasons, a major driving force behind world religions, twisting and morphing, got offended and uppity when they realized what their G really stands for – Khod = God/Female genitalia/Yoni = Goddess – and then went on to deny or ignore and go on as business as usual desecrating the feminine). A name hidden by usurpers and ingrates, except when they need something and they really fine tune their acting and projection skills. Few people remember it, and most don’t realize it’s meaning and significance. Lalita is NOT pavarti, durga, laksmi or sarasvati who seem to have taken over and every deity seem to be attributed as parts of them now along with the male triad and they love to be depicted near/next to the Mother as if they’re her best friends in triplicate form instead of backstabbers or even as the Mother, and She is NOT a consort.

In the Devi Gita (part of a massive book/series the Srimad Devî Bhagavatam) the Divine Mother’s body aka everything in existence, is explicitly outlined. This method has been copied over time and some of the most publicly common examples are when male ‘all mighty’ characters divide themselves up into pieces for safe keeping or later re-animation/generation e.g. Voldemort and his 7 horcrux’s in the Harry Potter series, or the 7 heads of Orochi in Destiny of the Shrine Maiden (he planned on making a Shrine Maiden into his 8th head but it didn’t work.) Or ‘The Gentleman’ and his 7 books named after body parts in Read or Die TV (as I said in my Demolition Dolly post the words ‘gentleman’ and ‘chivalrous’ and indeed the word ‘knight’ are anything but, they refer to orders/groups that influenced world events. They are not the romanticised notions/rose tinted euphemisms attributed to the words).

Excerpt from the Devi Gita:

CHAPTER XXXIII.
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.

http://sacred-texts.com/hin/dg/dg03.htm

Lalita – ‘She Who Plays’ and ‘Red’ (Maha Lalita Kali Tripurasundari Rajarajeshvari – ‘rajarjeshvari’ originally meaning King of Kings and the real King applies to the Mother – not the later, fake kings like I ‘got rid’ of in one of my recent posts. The real Mother King or King the Mother is given a nod to in manga/anime Slayers where Lina explains the greatest Lord or the Golden Lord (mainly known as the Lord of Nightmares/Darkness – yeah to whom, those who’ve twisted the truth most probably and everyone else whose respect/fear/devotion/energy they want – remember darkness and destruction don’t mean evil by default – think Kali Maa) is a She. (Don’t think Beyoncé came up with the King B name or did it randomly like she claims nor all the ‘I Am’ business these ‘idol’ ‘star’ tools are obsessed with.)

Lalita Tripurasundari, the Red Goddess
Dear One, Tripura is the ultimate, primordial Shakti, the light of manifestation. She, the pile of letters of the alphabet, gave birth to the three worlds. At dissolution, She is the abode of all tattvas, still remaining Herself

– Vamakeshvaratantra

Lalita to me personally = She Who Must Be Named (or Mumba Head). 😀

The name Lalita is more commonly known as Lolita due to Vladimir Nabokov who wrote about the twist of truth, but as usual it’s been romanticized, seen as not that bad and been overshadowed by 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) in the origins of Hinduism and Gnosticism and depicted the desecration 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. On a sidenote ‘Dolores’ can be connected to the name Dolly which is just creepy. Hence there are too many horrible truths, connotations and symbolism in the book.

Mother’s Day History

Origin of Mother’s Day goes back to the era of ancient Greek and Romans. But the roots of Mother’s Day history can also be traced in UK where a Mothering Sunday was celebrated much before the festival saw the light of the day in US. However, the celebration of the festival as it is seen today is a recent phenomenon and not even a hundred years old. Thanks to the hard work of the pioneering women of their times, Julia Ward Howe and Anna Jarvis that the day came into existence. Today the festival of Mothers day is celebrated across 46 countries (though on different dates) and is a hugely popular affair. Millions of people across the globe take the day as an opportunity to honor their mothers, thank them for their efforts in giving them life, raising them and being their constant support and well wisher.

Earliest History of Mothers Day
The earliest history of Mothers Day dates back to the ancient annual spring festival the Greeks dedicated to maternal goddesses. The Greeks used the occasion to honor Rhea, wife of Cronus and the mother of many deities of Greek mythology.

Ancient Romans, too, celebrated a spring festival, called Hilaria dedicated to Cybele, a mother goddess. It may be noted that ceremonies in honour of Cybele began some 250 years before Christ was born. The celebration made on the Ides of March by making offerings in the temple of Cybele lasted for three days and included parades, games and masquerades. The celebrations were notorious enough that followers of Cybele were banished from Rome.

Early Christians celebrated a Mother’s Day of sorts during the festival on the fourth Sunday of Lent in honor of the Virgin Mary, the Mother of Christ. In England the holiday was expanded to include all mothers. It was then called Mothering Sunday.

History of Mother’s Day: Mothering Sunday
The more recent history of Mothers Day dates back to 1600s in England. Here a Mothering Sunday was celebrated annually on the fourth Sunday of Lent (the 40 day period leading up to Easter) to honor mothers. After a prayer service in church to honor Virgin Mary, children brought gifts and flowers to pay tribute to their own mothers.

On the occasion, servants, apprentices and other employees staying away from their homes were encouraged by their employers to visit their mothers and honor them. Traditionally children brought with them gifts and a special fruit cake or fruit-filled pastry called a simnel. Yugoslavs and people in other nations have observed similar days.

Custom of celebrating Mothering Sunday died out almost completely by the 19th century. However, the day came to be celebrated again after World War II, when American servicemen brought the custom and commercial enterprises used it as an occasion for sales.

History of Mother’s Day: Julia Ward Howe
The idea of official celebration of Mothers day in US was first suggested by Julia Ward Howe in 1872. An activist, writer and poet Julia shot to fame with her famous Civil War song, “Battle Hymn of the Republic”. Julia Ward Howe suggested that June 2 be annually celebrated as Mothers Day and should be dedicated to peace. She wrote a passionate appeal to women and urged them to rise against war in her famous Mothers Day Proclamation, written in Boston in 1870. She also initiated a Mothers’ Peace Day observance on the second Sunday in June in Boston and held the meeting for a number of years. Julia tirelessly championed the cause of official celebration of Mothers Day and declaration of official holiday on the day. Her idea spread but was later replaced by the Mothers’ Day holiday now celebrated in May.

History of Mother’s Day: Anna Jarvis
Anna Jarvis is recognised as the Founder of Mothers Day in US. Though Anna Jarvis never married and never had kids, she is also known as the Mother of Mothers Day, an apt title for the lady who worked hard to bestow honor on all mothers.

Anna Jarvis got the inspiration of celebrating Mothers Day from her own mother Mrs Anna Marie Reeves Jarvis in her childhood. An activist and social worker, Mrs Jarvis used to express her desire that someday someone must honor all mothers, living and dead, and pay tribute to the contributions made by them.

A loving daughter, Anna never forgot her mothers word and when her mother died in 1905, she resolved to fulfill her mothers desire of having a mothers day. Growing negligent attitude of adult Americans towards their mothers and a desire to honor her mothers soared her ambitions.

To begin with Anna, send Carnations in the church service in Grafton, West Virginia to honor her mother. Carnations were her mothers favorite flower and Anna felt that they symbolised a mothers pure love. Later Anna along with her supporters wrote letters to people in positions of power lobbying for the official declaration of Mothers Day holiday. The hard work paid off. By 1911, Mother’s Day was celebrated in almost every state in the Union and on May 8, 1914 President Woodrow Wilson signed a Joint Resolution designating the second Sunday in May as Mother’s Day.

History of Mother’s Day: Present Day Celebrations
Today Mothers Day is celebrated in several countries including US, UK, India, Denmark, Finland, Italy, Turkey, Australia, Mexico, Canada, China, Japan and Belgium. People take the day as an opportunity to pay tribute to their mothers and thank them for all their love and support. The day has become hugely popular and in several countries phone lines witness maximum traffic. There is also a tradition of gifting flowers, cards and others gift to mothers on the Mothers Day. The festival has become commercialised to a great extent. Florists, card manufacturers and gift sellers see huge business potential in the day and make good money through a rigorous advertising campaign.

It is unfortunate to note that Ms Anna Jarvis, who devoted her life for the declaration of Mothers Day holiday was deeply hurt to note the huge commercialisation of the day.

http://www.mothersdaycelebration.com/mothers-day-history.html

Hinduism is a strange beast that has been contorted over time, like most religions – they know, they ‘know’ yet they spin and ignore in their everyday lives. But after all the ‘god’ histories/tales the basis is:

There is no mode of life that is superior to serving one’s mother.

– From the sickening Mahabharata, even they admit it.

Well they do in all ‘god histories’, claiming they’re the be all and end all and then go crying for mummy when they f*ck up.

“From the point of view of reverence due, a teacher is ten fold superior to a mere lecturer, a father a hundredfold to a teacher, and a mother a thousandfold to a father.”

By Swami Ranganathananda

People in that part of the world tend to forget that every woman in supposed to be seen as and behave in accordance with (not copy or pretend to be, like people who love the word ‘namaste’) the Divine Mother. But an elephant never forgets:

Elephants are matriarchal, have various forms of communication including low frequency which produces long range (miles) ‘rumbles’ which they can identify and can be likened to extra-sensory perception since people don’t/can’t acknowledge/appreciate it as well with such limited audio-visual processing of the masses of data we actually take in. They also obviously – to humans – observe ritual for major points in their lives such as death and inheritance.

From the Big Mother/Divine Mother to the Little Mothers everywhere, like Mother Earth/Bhumi/Gaia and from our tiny human perspective the other brightest in our solar system, Mother Sun/Sol/Amaterasu and Mother Moon/Luna. (Elephants, humans etc on Little Mothers e.g.can be called Tiny Mothers I guess 🙂 .)

Depending on who is looking perhaps you look like this? 🙂

I wrote a poem for Mother and entered it into a song contest once and came second place, but I can’t bloody find it now *fumes*. But anyway, Mother is the Mother and me a Daughter and I wouldn’t have it any other way! I’m not Hindu but Mother is God, supposed to be, to children in Hinduism and it’s something I ascribe to on all levels.

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Mother Sun Sol Lalita MahaKali Goddess