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

Posts tagged ‘Symbolism’

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.

Gallery

Someday my Prince will come, Not. Breaking the Chain.

I don’t remember the years between 5 and 9/10 years old but afterwards I suffered major hairloss and wrote a song called ‘Amnesiac’. Other than the memories below the only other memories potentially between this time are of pain such as falling on glass, concussions, falling off a bike, swallowing paint, head getting stuck in a bannister, being locked outside, hiding for hours, burning hand, broken arm, being beaten in the back with a stiletto shoe, a steel ruler etc. Most of them I remember as accidents.

Then there was house I used to stay at every weekend, she was formerly a neighbour and had moved quite a distance but came to collect me anyway. The last time I stayed there she had friends over, it turned into a party and all I remember is hitting something behind me (probably furniture) as I slumped into unconsciousness and saw her friends laughing at me like hyenas. Shortly after at school every one in my year had to be ‘checked’, we each individually went into one of the assembly halls and our parent(s)/guardian(s) waited outside. In the hall were a group of adults seated at tables and we had to strip down to our underwear and present ourselves as well as pull our underwear down a little. Apparently they were looking for signs of abuse and that there had been a report of domestic violence but one of people from the party was on the panel.

My earliest memory was at 5 years old, and according to child psychology that’s pretty late for children; I remember being in a car and seeing lights go past (night time) and my dad being there or a father figure. Apparently it was a family outing but I don’t remember anyone else there except him and I. We were going to see Cinderella (1950 Disney version) at the local cinema but it wasn’t re-released that year… I’ve always wondered what it meant and that if it was a type of story/fantasy programming why wasn’t it the usual Oz stories, Alice in Wonderland (had elements of that in my life) or the Narnia Chronicles.

Cinderalla and the ash ‘cinders’ girls stories in general are obviously based on kindness (including kindness to animals), subservience with gratitude/grace built in to those who are greedy and ruthless, punishment (for what?) and reward, and rising again like a phoenix to royalty (as if royalty is any better) but through marriage. (Thankfully I’ve gotten rid of the ‘lost partner’ complex as I wrote about HERE in many fairytale programmings.) This was later reinforced by the book ‘Pamela: Or Virtue Rewarded’ (1740) by Samuel Richardson – the story basically shows her gaining status and respect by marrying into a higher class to the man who tried to/did rape her. However in that story Pamela is a resilient character who stands her ground whereas Cinderella is portrayed as unquestioning (though not in the Grimm’s version, explained later).

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Excerpt from: http://www.vox.com/2015/3/15/8214405/cinderella-fairy-tale-history

Disney didn’t invent Cinderella. Her story is at least 2,000 years old.

Updated by Kelsey McKinneykelsey@vox.com Mar 15, 2015, 12:00pm EDT

There are two faces to Cinderella: there’s the European folk tale that evolved into the modern-day story of a girl in a big blue ball gown, and there’s the centuries-old plot that has been passed between cultures for millennia.

The story of overcoming oppression and marrying into another social class to be saved from a family that doesn’t love or appreciate you is an incredibly powerful one, too powerful to be contained by the story we all know. At the center of most Cinderella stories (whether they use that name for their protagonist or not) is one thing: a persecuted heroine who rises above her social station through marriage.

The first recorded story featuring a Cinderella-like figure dates to Greece in the sixth century BCE. In that ancient story, a Greek courtesan named Rhodopis has one of her shoes stolen by an eagle, who flies it all the way across the Mediterranean and drops it in the lap of an Egyptian king.

Taking the shoe drop as a sign from the heavens (literally and metaphorically), the king goes on a quest to find the owner of the shoe. When he finds Rhodopis, he marries her, lifting her from her lowly status to the throne.

Another one of the earliest known Cinderella stories is the ninth-century Chinese fairy tale Ye Xian, in which a young girl named Ye Xian is granted one wish from some magical fishbones, which she uses to create a gown in the hopes of finding a husband.

Like Rhodopis’ tale, a monarch comes in possession of the shoe (this time, the shoes have a gold fish-scale pattern) and goes on a quest to find the woman whose tiny feet will fit the shoe. Ye Xian’s beauty convinces the king to marry her, and the mean stepmother is crushed by stones in her cave home.

The European version of the story originated in the 17th century

In total, more than 500 versions of the Cinderella story have been found just in Europe, and the Cinderella we know best comes from there (France, specifically).

The first version of Cinderella that bears a significant similarity to the most famous version emerged in the 17th century, when a story called Cenerentola was published in a collection of Italian short stories. Cenerentola has all the ingredients of the modern-day tale — the wicked stepmother and stepsisters, the magic, and the missing slipper — but it’s darker and just a bit more magical.

In the story, a woman named Zezolla escapes the king, who wants to marry her, at two separate celebrations — before he finally catches her at the third one and prevents her from leaving. Instead of a story of requited love, Cenerentola is a story of forced marriage and six very wicked stepsisters.

Sixty years later, the Italian tale got a French twist and became the story we know. In Cendrillon, Charles Perrault — a French writer credited with inventing the fairy tale — cast the form that Cinderella would take for the next 400 years. He introduced the glass slipper, the pumpkin, and the fairy godmother (minus the bibbidi bobbidi boo). This is the version Disney later adapted into its animated classic.

The Brothers Grimm had a, well, grimmer take on the tale

The Brothers Grimm also collected the tale in their famous fairy tale compendium. That story, called Aschenputtel (Cinderella in the English translations), appeared more than 100 years after Perrault’s version in the 19th century.

Aschenputtel is a much darker tale. Cinderella’s wishes come not from a fairy godmother but from a tree growing on her mother’s grave. Her father, instead of being absent as in Perrault’s tale, is willfully ignorant of his daughter’s suffering.

In the Grimm version, the heroine’s slippers are made of gold (not glass), and when the Prince comes to test the stepsisters’ feet for size, one of them cuts off her own toes to try and make the shoe fit [My comment: how very Chinese]. In the end, Cinderella marries the prince, her stepsisters serve as her bridesmaids, and doves peck their eyes out during the ceremony. It is, needless to say, a beautiful tale for children.

For more information on Asian versions of the story look here: https://en.wikipedia.org/wiki/Cinderella

Exerpt from: https://www.bustle.com/articles/61053-9-things-about-the-original-brothers-grimm-cinderella-story-that-are-nothing-like-the-disney-version

By JR Thorpe Jan 29 2015

9 Things About The Original Brothers Grimm Cinderella Story That Are Nothing Like The Disney Version

1. Cinderella is exactly the opposite of helpless.

Aschenputtel (remember, that’s Cinderella’s name in their version) doesn’t mope about. She sorts everything out herself, and considering that her pragmatism involves a magic tree, some enchanted birds, and the apparent ability to disappear, it seems that she isn’t actually an emotionally neglected kitchen maid, but a talented witch.

2. She is also seriously good at hiding.

The Grimm Brothers’ prince insists on accompanying his newfound love home, to see who the hell she is. (Twice, mind you, since there are actually three balls in the original story.) Aschenputtel has to hide in a pigeon coop and up a pear tree until he goes away. And she isn’t found. Good work.

3. The ‘fairy’ godmother is really just a tree growing on her dead mother’s grave.

The godmother’s not a fairy, or even a person. In Aschenputtel’s version, Cinderella’s father asks what he can get her on a business trip, and she asks for a simple twig (the stepsisters ask for gold and pearls, because they’re not maudlin hippies). She then plants it on her mother’s grave and waters it with her tears. Said tree grows up to give her whatever she wants: the dresses are just the latest incarnation. Aschenputtel is clearly powerful as hell, so why she wants to marry some dude who chases her into a pigeon coop is beyond me.

4. The stepmother has a peculiar obsession with lentils.

Aschenputtel’s stepmother throws first one, then two cups of lentils into the ash and tells Aschenputtel that if she can pull them all out, she can come to the ball. Aschenputtel manages it, which I will explain momentarily, but I still don’t know why she didn’t ask the tree to throw down a sword and just chase the lentil-hater around the garden. [My comment: reminds me of a Caribbean of African folktale about tricking a particular type of demoness by making her count rice and she has to finish before sunrise.]

5. “Fit into the shoe” actually means “cut off bits of your feet.”

None of this wimpy “my foot doesn’t fit” stuff for the Grimms. To fit her into the tiny golden slipper, one of her sisters cuts off her big toe, the other a bit of her heel. Their plans are foiled by the blood everywhere (which surely somebody must have thought about), but hey, points for trying.

6. Cinderella has some seriously badass birds as minions.

The birds are basically Aschenputtel’s soldiers: they pluck all of her lentils out of the ashes, eating the bad ones and putting all the good ones in the pot. But they’re not cheery little singing friends.

When her stepsisters cut off their body parts to fit into the slipper, the birds tell on them, by twice sitting in the Hazel Tree of Death and singing a peppy song to the prince about how the slipper of his stepsister-bride is filling with blood.

And then, once they’ve guaranteed their witchy mistress’s ascension to the throne via marriage, they find the stepsisters in the church and peck out their eyes. (More on that in a moment.)

7. The father has a strong destructive streak.

Aschenputtel’s dad’s not dead, as he was in the Disney film; instead he’s still around and being a nuisance. When the prince turns up at his door, not once but twice, with a story about a girl hiding in various bits of his property, he doesn’t call the police — he, wondering if the girl could be Aschenputtel, gets an axe and chops whatever it is down. Pigeon coop? Smashed. Beautiful pear tree filled with fruit? Kindling.

Let me remind you that he does this while thinking his daughter might be inside. She should have got her birds to make her a boat and floated the hell away from that madhouse.

8. The prince is a predator [my comment: and hunter] with a mysterious-princess-trap.

I have to give Aschenputtel’s prince credit for at least having a personality. Admittedly he does chase her into chicken coops, but he also, after the third ball, he lays a trap: he smears the palace steps with pitch so that she leaves her golden shoe behind. Smart man. (Though he then fails to notice said shoe filling with blood until some magic birds tell him.)

9. The stepsisters end up getting horribly blinded.

The Grimm stepsisters are truly awful, and get a truly awful comeuppance. You know how I said they were blinded? Here’s how that goes down: they want so badly to get the reflected glory of Aschenputtel’s royal wedding that they accompany her up the aisle, at which the birds peck one eye out. But they still want it so badly that they accompany her back down the aisle, and the birds promptly peck out the other eye. Respect.

I’ve just been refreshing my memory about jewel stones and colours in masonic training as well as the gems/colours for the tribes of Isreal (and astrology) when I found some interesting comparable parables in the bible:

http://timothyfish.blogspot.co.uk/2009/10/is-there-cinderella-story-in-bible.html

Wednesday, October 7, 2009

Is There a Cinderella Story in the Bible?

Someone came to this blog the other day looking for the answer to the question Is there a Cinderella story in the Bible? The answer to that is yes and no. It depends on exactly what aspects of the Cinderella story you are referring to. No, you won’t find a maiden with a fairy godmother who transforms her into a princess, but yes, there are some stories that have similarities to the Cinderella story.

Consider the life of Joseph. His father loved Joseph, but his step-brothers hated him. They hated him so much that they threw him in a pit and would have killed him had not he older brother suggested they sell him instead. He was taken to Egypt and sold as a slave and eventually ended up in prison. But he had the gift of prophesy and he foretold of a great famine. The king was so convinced by Joseph that he put him in charge of preparing the land for a long period with few crops, making him a rule of the land. Joseph’s brothers came when they needed food and bowed before him.

Or consider Ruth. After her husband died, she went with her mother-in-law to her mother-in-law’s home land. Being poor, she gathered grain the reapers left in the fields of a wealthy farmer. He fell for Ruth and told the reapers to leave more behind for her than they normally would have. There’s even a shoe involved in this story.

The story of Esther is that of a maiden who marries a king.

David has a Cinderella-like story. Of his brothers, he was considered the most unlikely person to become king, but upon the direction of God, Samuel anointed him to be the king who would replace Saul.

And what about every gentile who has ever been saved by the grace of God? We were no better than dogs, but we have been made kings and priests. So, is there a Cinderella story in the Bible? Absolutely.

http://www.preachology.com/cinderella-salvation.html

CINDERELLA SALVATION

by Charles Robey
(Trussville AL)

In Luke 15:1-7, we find Jesus telling the parable of the Lost Sheep. Jesus asks, “What man upon you would not leave ninety-nine sheep, in the open pasture, and go search for the one sheep that was lost?” Like the lost wearer of the Golden Slipper, Jesus emphasizes the lost state of man.

As the Kingdom Prince had faith that he would find eternal peace, by finding his new found love, through the perfect fit of the glass slipper, so also may mankind, by way of faith, have eternal peace through God’s redemptive power.

“For by grace you have been saved through faith; and that not of yourselves, it is the gift of God; not as a result of works, that no one should boast.” (Ephesians 2:8-9)

I found this one particularly interesting: Bear in mind that El e.g. Elle or Ella or Ellie/y goes back to the Mother Goddess Lalita in ‘Hinduism’ but has become masculanized in the later Abrahamic religions.

http://www.parowanprophet.com/Great_Seal/cinderella.htm

Cinderalla, The Story of Redemption.

Cinderella -Who are you? John Bull
Where are you? March 2001 East
The story is Centuries old. Tribes # 3

Hosea 1:10 “Yet the number of the children of Israel shall be as the sand of the sea, which cannot be measured nor numbered; and it shall come to pass, that in the place where it was said unto them, (USA & world) Ye are not my people, there it shall be said unto them, Ye are the sons of the living God.” The Jews are no longer his people.

Matthew 21; 43 “Therefore say I unto you, (Jews) The kingdom of God shall be taken from you, and given to a nation bringing forth the fruits thereof.” (USA)

This will be about Cinderella, and who the Prince will choose. If you want to learn, then you will have to un-learn all of your traditions.
You go to College to learn. And to do well you have to study.

“Study to shew thyself approved unto God, a workman that needeth not to be ashamed, rightly dividing the word of truth.” 2 Timothy 2:15

Some people are: “Ever learning, and never able to come to the knowledge of the truth.”
2 Timothy 3:7

The ‘Signs’ are here now, and it is Midnight for Cinderella! And tomorrow God is really going to clean house. CLICK HERE to see the “Signs.”

You have been asleep just like the 10 virgins waiting for the bridegroom in Matthew Chapter 25 When the Prince comes will your foot fit into the slipper. Like Cinderella’s did?

Because you’re wise, now we will talk about Cinderella. (Don’t laugh because I said you are wise.

You are smart enough to read here, when others just scoff at me like 2 Peter 3:3 said would happen.)

There really is a Prince coming, (Matthew 25) and there will be a wedding, with the Bride of Christ. Some people think that the bride is the church, but they are asleep. The Prince of Peace (Isaiah 9:6) is coming for Israel. (Not the Jews, or the church, but true Israel!) CLICK HERE to learn of Israel.

As the story goes, Ella’s mother had died and her father had remarried a woman with two daughters, and then had to go away on a long journey. While he was gone, bad things happened.

Jesus spoke of it in Matthew 25:14-15, 28-34

Ella was treated as a servant girl in her own house. You will remember that Israel was the servant to Pharaoh in Egypt. She had to clean the fireplace and carry out all the ashes from the fires. They gave her the name that fit her “Cinder-Ella.” Because of the cinders in her hair and clothes.

Remember that before her father had left on his trip he asked what each person wanted him to bring back, as a gift for each of them.

The two stepdaughters asked for dresses, pearls, jewels. Ella asked for a ‘branch’ that she could plant to remember, and so honor her mother.

(“Zion” God even calls a city after her honor, the city of Zion. Just as we do naming Susanville, Marysvale, Virginia City, and a thousand other cities with women’s names in honor of them.

Even in our time “trees” are planted in the remembrance of people who have died.)

Ezekiel 31 speaks of ‘trees’ as people, and nations. And the ‘trees’ in Eden, or Eden people.

Isaiah 10: 12-20 speaks of the ‘fruit’ of the king of Assyria. And the axe and the saw,
and ‘trees’ of his forest shall be few. Eve got some bad, ‘fruit’ from the ‘tree’ in Eden.

The story of Cinderella portrays her plainly as the bride of Christ.

No other people than Israel who was cast off, and migrated into the North countries, as your European ancestors did sit by the fireplace to warm themselves and cook. Today we all like to cuddle up in front of a good fire. There we watch cinders go up the chimney.

Just like Ella did. And wait for Jesus Christ,

The Prince, The King, to come save us.

The expression comes from “Cinderella’s lost glass slipper.” Remember when she fled the grand ball, (dance) the Prince chased her and she lost her glass slipper. So why was it “glass”, instead of pretty red shoes that most women want.

The Prince searched the realm for the maiden whose foot fit into the “glass” slipper. The only foot that did fit was Cinderella. When she put it on, and the fit was perfect, she pulled the other “glass” slipper out of her pocket and put it on to have the matched pair on her feet.

Revelation tell us why they were “glass” slippers. Now can you get revelation about it?
I will quote it for you: “Revelation 4: 6 And before the throne there was a sea of “glass” like unto crystal: and in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. [My comment: the so-called ultimate ‘gods’ of post-Vedic Hinduism have been described and depicted as part of the throne of Lalita as they are nothing but workers (traitors) beneath her in hierarchy. The image is also used in Freemasonry:

Which is exactly how this writer describes the Wicked Stepmother and step-sisters; remember the Scarlet woman in never a good thing in the bible but it has been twisted from older cultures where they were priestesses (and not prostitutes).]

Cinderella’s all over the world wait for the Prince. Everyone will wear soot and ashes before the wedding.    You can read all about it on my other pages.    Nuclear War Comes.

Cinderella’s all over the world wait for the Prince. Everyone will wear soot and ashes before the wedding. You can read all about it on my other pages… There is a lot more to tell you about Cinderella in the future. If you can live to see, the morning come. Don’t be late, or be sorry. If the blind are leading you, then your headed for the ditch.

What about when the Prince is a masculanized version of the Princess/Daughter? Just as most of the male avatars have been.

Her glass slippers remind me of Dorothy’s original Silver slippers (also representing diamond, crystal, glass) turned Ruby Red (lesser class) for the film and obviously since I’ve learned that Cinderella’s were also Gold (Grimm’s version).

And why does Cinderella (like the book ‘Pamela: Or Virtue Rewarded’ (1740) by Samuel Richardson) always have to be accepted by a ‘prince’/’saviour’ figure. Reminds me of Julia Roberts and Richard Gere in ‘Pretty Woman’ (1990) where they show prostitutes are people too, are raped and need to be saved; and then together again they starred in ‘Runaway Bride’ (1999) about a woman who just can’t bring herself to get married until she meets a man determined enough to save/marry her.

I prefer the versions of Cinderella where she does the saving like in ‘Ever After: A Cinderella Story’ (1998) starring Drew Barrymore.
——————————————————————————————————————–

NOT NO CINDERELLA ANYMORE

Since 2013 when we broke away from a masonic situation (e.g. a recruitment agent who would call me as soon as I got back from holiday leave abroad even though I wouldn’t tell her my flight times, but schedule going back to work a day or two after yet she’d still call me as soon as I got back to a UK airport) we were followed and re-conctact and reinforcement programming/gang stalking continued (e.g. the day after we moved into a new place there were footsteps all around the property in the snow, especially around the windows and up and down the garden alongside what looked like a the prints of a machine and a message on the window. No one else had any footprints around there properties and from the looks of the road the person(s) came straight to ours. There’s tons of incidents like that).

The book described below is 17 years old but many if the techniques are still the same, the information people are lacking is about Virtual Reality which is where this book ends. Everything else I knew in the book already, the author writes about these things happening to children but it can happen to adults too though it usually starts and can continue into adulthood. Most recently I’ve been particularly reminded of being made close to someone and them deliberately betraying you, expect you to forgive them, cause confusion and then want you to act as if nothing happened/even be dependent on them and taking credit if you manage to get through the experience.

https://www.bibliotecapleyades.net/sociopolitica/breakingthechain/contents.htm

The author is spot on when they say it takes years of programming (and indeed times in a persons life where at the end of a cycle it needs to be renewed) and hence can take years of therapy with someone used to such situations to try to heal.

Next Post:
Feast of the Beast – Bride/Sacrifice of the beast, rescued.

Gallery

International Women’s Day

Venus Female Symbol Sky

Picture Credit: iStockphoto

The symbol for ‘female/woman’ stands for ‘Venus’.

Most people don’t realize that Venus is actually represented by a Black woman (even wild rice or Black rice is called Venus).

Reminds me of:

BlackSheba-Conrad Kyeser c. 1405 Prague

BlackSheba-Conrad Kyeser c. 1405 Prague

I have more to say on the subject but I’m too tired, maybe I’ll fill this in at a future date.

Bananarama – Venus (Lyrics)

Goddess on the mountain top
Burning like a silver flame
The summit of beauty and love
And Venus was her name

She’s got it
Yeah, baby, she’s got it
I’m your Venus, I’m your fire
At your desire
Well, I’m your Venus, I’m your fire
At your desire

Her weapons were her crystal eyes
Making every man mad
BLACK AS THE DARK NIGHT SHE WAS
Got what no one else had
Wah!

She’s got it
Yeah, baby, she’s got it
I’m your Venus, I’m your fire
At your desire
Well, I’m your Venus, I’m your fire
At your desire

Venus

She’s got it
Yeah, baby, she’s got it
I’m your Venus, I’m your fire
At your desire
Well, I’m your Venus, I’m your fire
At your desire

Goddess on the mountain top
Burning like a silver flame
The summit of beauty and love
And Venus was her name
Wah!

She’s got it
Yeah, baby, she’s got it
I’m your Venus, I’m your fire
At your desire
Well, I’m your Venus, I’m your fire
At your desire

Venus was her name

Yeah baby she’s got it
Yeah baby she’s got it
Yeah baby she’s got it
Yeah baby she’s got it

Black is beautiful, terrifying and mystifying. The oldest still living (in culture) ‘dark/Black’ Goddess the Earth has: Kali (meaning ‘Black’ and ‘Time’) notice over time she has become Blue and light skinned as part of the incorporation into the later patriarchal post-Vedic Hinduism and the dominance of the male triad (who become the male singular in monotheistic religion).

Kali Maa Black Goddess

The Goddess en:Kali, 1770 Print by Richard B. Godfrey, Indian Art Special Purpose Fund – Wikipedia.

Gallery

Making the Unreal Real – Playing Games with Lives – Thieves Who Make Confusion Are Really The Monsters

What if you could engineer a situation where you take a ‘regular Joe/Jane’ or someone slightly ‘different’ and even better ‘alienated’ and turn them into whatever you wanted?

I watched this film when it came out with a friend of mine, it was the last movie we went to see before going our separate ways and I think it was me who chose to watch this one because it had the longest running time but by the end of it we realized we should have chosen a comedy.

Anyway I’m not going to review it but here’s some info from Wiki:

https://en.wikipedia.org/wiki/The_Cell

The Cell is a 2000 American science fiction psychological thriller film and the directorial debut of Tarsem Singh, starring Jennifer Lopez, Vince Vaughn and Vincent D’Onofrio. It received mixed reviews upon its release, with critics praising the visuals, direction, make-up, costumes and D’Onofrio’s performance, but commenting on the Silence of the Lambs-inspired plot, the emphasis on style rather than substance and the somewhat masochistic images.

Plot

Child psychologist Catherine Deane (Jennifer Lopez) is an expert in an experimental treatment for coma patients: a virtual reality device that allows her to enter into the minds of her patients and attempt to coax them into consciousness. When serial killer Carl Rudolph Stargher (Vincent D’Onofrio) falls into a coma before the FBI can locate his final victim, Agent Peter Novak (Vince Vaughn) persuades Deane to enter Stargher’s mind and discover the victim’s location.[1] Stargher’s victim is imprisoned in a cell in the form of a glass enclosure that is slowly filling with water by means of an automatic timer.

Deane enters Stargher’s twisted mind, where she is confronted by both the violent and the innocent parts of the killer’s psyche. The innocent half shows her the abuse he suffered at his father’s hands and the birth of his pathology when he drowned an injured bird as a mercy killing. Deane attempts to nurture the innocent side of Stargher’s mind, but his murderous half thwarts her at every turn.

Despite Deane’s best efforts, she becomes trapped in Stargher’s dark dreamscape. Novak volunteers to enter Stargher’s mind and attempts to rescue Deane. He frees her from Stargher’s hold and discovers clues to the whereabouts of his victim. Novak relates his revelations to his team and they are able to track down the location of Stargher’s victim (Stargher had been entrusted by a company to take care of an advanced water pump, which he used to fill the cell with water). Novak discovers Stargher’s secret underground room and saves Stargher’s victim just in time. Meanwhile, Deane decides to reverse the process and pull Stargher’s mind into her own. She presents Stargher’s innocent side with a paradise, but his murderous side is always present and manifests as a serpent. This time, however, Deane has all the power; she attacks the serpent/Stargher only to discover that she cannot destroy one half without killing the other. Stargher’s innocent side reminds her of the bird he drowned, and she kills him to put him out of his misery. She adopts Stargher’s dog and successfully uses her new technique on her other coma patient (Colton James).

Artistic influences

Some of the scenes in The Cell are inspired by works of art. A scene in which a horse is split into sections by falling glass panels was inspired by the works of British artist Damien Hirst. The film also includes scenes based on the work of other late 20th century artists, including Odd Nerdrum, H. R. Giger and the Brothers Quay. Tarsem—who began his career directing music videos such as En Vogue’s “Hold On” and R.E.M.’s “Losing My Religion”—drew upon such imagery for Stargher’s dream sequences. In particular, he was influenced by videos directed by Mark Romanek, such as “Closer” and “The Perfect Drug” by Nine Inch Nails, “Bedtime Story” by Madonna, and the many videos that Floria Sigismondi directed for Marilyn Manson. During a scene, Jennifer Lopez falls asleep watching a film; the film is Fantastic Planet.

This is not to justify anybody with such behaviours on either side i.e. the mind control/mind raping/soul destroying side of the ‘security surveillance’ nor the violent, inhumane psychopath they just happen to be following in the film – but just how far would ‘people’ would go to make someone into one ‘side’ or the other, why and how they’d get away with it. A bit like the film ‘Inception’ (2010).

Oh and btw looking up ‘cybernetic’, ‘psychotronic whore’, ‘mollusc’, ‘hybrid’, ‘drone’ and a whole load of other crap doesn’t apply to me, especially the ‘Myra Hindley’.

Note – I mentioned Fantastic Planet HERE titled ‘Who/What are the Blue Beings, why are we inspired by them? Although being a US film it could also conveniently be a dig at the former USSR, like the English and the French the ‘feud’ never ends.)

The Cell Jennifer Lopez Movie Film Symbolism

Hell in a cell i.e. invisible yet visible prison.

The Cell Jennifer Lopez Film Movie Symbolism

Her work clothes – one ‘body suit’ which…

The Cell Jennifer Lopez Film Movie Symbolism

… She conveniently changes for another and with a mask whilst in his mind – notice the placement of the lights (sun/star and pillars).

The Cell Jennifer Lopez Film Movie Symbolism

How very similar to the enemy. Looks is one thing, acting like these people (‘good’ or ‘bad’, or the fake ‘light’ or ‘dark’) is another – some people make great game/targets for ‘change’ to players.

The Cell Jennifer Lopez Film Movie Symbolism

He’s a bad bird now that needs killing (apparently mercifully) – and to do so the ‘good’ side go into the mind or as some could call it ‘the astral plane’ to do the job.

The Cell Jennifer Lopez Film Movie Symbolism

So it’s ok for her to play Mother Mary now (as well as the Red ‘whore’/’prostitute’ double meaning but with White for the ‘good’ ‘purity’ side.)

The Cell Jennifer Lopez Film Movie Symbolism

And then the Dark Mother (wannabe) with the Red and Black. (Note that Mary was never a Mother Goddess or even a Goddess.)

The Cell Jennifer Lopez Film Movie Symbolism

Black and White – both extremes, two sides of the same coin, both beautiful; unfortunately here she’s portrayed as a Goddess, even a Warrior Goddess as a rider. Both the violator (the security/watchers) and the violated (here the child was violated and became a violator) are metamorphosed.

The Cell Jennifer Lopez Film Movie Symbolism

Hmm, decide for yourselves.

There is a heck of a lot of symbolism (including religious) in this film which you can see from the pictures and it makes for a very gruesome metaphor, the film is practically a vehicle and anybody wanting to explain or interpret it could have a field day. Again I’m not going to bother right now (maybe later) but basically it shows in a subtle yet obvious way (subtle i.e. artistically and easy to dismiss for those not really looking and hidden in plain sight for those who ‘know’ or think they/we do) both ‘sides’ are one and the same ultimately (so you have to be careful if you’re in the middle and not affiliated lol). Just to point out the use of the serpent and the mercy killing of the bird were streamlined, initially in the film they seemed like ‘good’ and ‘bad’ but ultimately they can and were used together as one thing such as winged serpent beings or Caduceus, or in this case for transformation. An innocent is turned into a villain and taken out by super villains acting as good folk. It’s ironic, Mum and I once shared the same dream on the same night and we both had the same reaction, both involved the killing of an innocent bird and right afterwards three ‘interesting’ networks came along. It’d be more interesting however to look into the ‘history’ of the symbolic so-called cat people [or at least group of] being conquered by a group of serpentine people, I hesitate to call them reptile/reptilian since it’s getting more complicated nowadays with the ‘groupings’.

Gallery

The Adolescence of Utena – A Rosicrucian Telling of the Daughter & Mother

On a sidenote – today is the memorial day for Hiroshima, the atomic bombing of Nagasaki.

I was going to try and explain at least some of the symbolism of the rose but there’s so much of it and whilst similar it varies from Order to Order, age to age. Ultimately though it’s like the opposite of the lotus – whereas the Iris/Lily/Lotus signifies knowledge an enlightenment the rose represents (also in its multitude of layers) silence and secrecy regarding knowledge.

It’s easier to use a visual aid and ‘The Adolescence of Utena’ (1999 film) is a very apt one. It’s a summarized version of the anime series (1997) ‘Revolutionary Girl Utena’ (of course based on the manga (1996-7) and it’s one big metaphor. The whole thing, there isn’t anything in it that isn’t symbolism and yet at the same time hidden in plain sight truth. Whereas the longer manga and anime can be seen as ‘coming of age’ stories (and they are exactly for some of us) the film tells it like/as it is. (Bear in mind that adolescence is the activation stage for Goddess grooming, girl becoming physical woman with the sacred blood – Red rose from White rose, Mother from Daughter – at puberty, and puberty is artificially getting younger and younger with pharma-drug-faux-food culture but especially age 15/16, the height of teenage/feminine ‘beauty’. Evil, nasty, psychotic politco-religious bastards.)

There was once an Indian girl called Anthy (Anthony – look up the meaning and origins) and she was conquered by her false brother/the masculine. Her brother was known as ‘the prince’ or the Headmaster’s son (right away you’ve got the school and indeed mystery school symbolism), he wasn’t her real brother but pretended to be – took the title, to have the association. He put her to sleep (made her into a ‘living corpse’) and raped her in that state. The thing is, she wasn’t totally asleep, we don’t even know if she was ever asleep in the way we think it – but more like in a different state of consciousness and that state took her to a different place (like how the ‘traditional’ story of Kali – a root Indian goddess, one if not the oldest still known/living in the world – being pushed into a sexual frenzy and losing herself). With the capture of Anthy things changed.

From thence a Castle of Eternity arose, a mind boggling, twisting, tardis of a school/building/place/’dimension’, before that I’d guess the question of mortality/immortality wasn’t as important. It’s with the wars of the gods and others, the bargaining, the game playing and mixed breeding where it became sought – maybe because the innocence was lost?

The Gate and in this case trap/prison

The [arch] Gate and in this case trap/prison, its shown before the first duel so representative of the outer layer/courtyard, the gate to the other two major sections of the masonic temple/kingdom.

Anyway, the cartoon shows Anthy as already captured and in ‘custody’ of her ‘brother’ (we never see the Head Master), Anthy is now what is called the Rose Bride i.e. a prize in an elite tournament of ‘duelists’ (mostly male competitors but some female) where she has to do the bidding/grant the wishes of any one that ‘wins’, they win her, they think of her as their possession rather than a living being with thoughts and feelings, and they treat her as a sex toy. Which is why when her exhibitionist, popular and well loved/admired/respected ‘brother’ rapes her she doesn’t realize she’s been raped because that’s what she’s used to and is overawed by him when actually he’s the one in awe of her power (and hence desirability) so seeking to possess it even in the most insidious ways.

Totally Rosicrucian

Totally Rosicrucian

When he sees that she wasn’t actually asleep like he’d intended he gets hysterical because he’s been caught out and doesn’t want everybody to find out, he’s already lost his keys (get to that later) and so is subject to mortality/damage/going rusty and now he’s lost his marbles *ahem*. He [nowhere near really] gets what he deserves…

Note: Anthy wears a bindi which traditionally is a sign of marriage but it’s also an unacknowledged sign of the the third eye (hence women’s sindoor is made of toxic chemicals/colours and not the men’s).

Fast forward in time and cue a rose haired (colour – Pink in the day, Rosé at night) girl who has come to the school looking for her long lost prince (by this time duellists who are participating for the title/place of the illusory/dead prince are called princes and some princesses). She’s different though, in this modern age a real Princess is called a Prince (the ‘son’, the male messianic figures etc based on the Daughter) and she’s come to the school dressed as a Prince whilst not claiming to be male. (Like in Wonder Woman.) It takes this secret Princess/Prince to rescue the old India Earth Goddess (Anthy and notice that Anthy & her ‘brother’ are the only Brown skinned characters in the film but he is lighter in bother skin and hair signifying that he is younger) i.e. the Daughter rescuing the Mother. It’s shown as a sensual relationship and most would consider it lesbian/sexual but remember the old Goddesses are sensual, they feel/experience acutely because they are one with nature (can also be thought of as a ‘revelation’/exposing/stripping the false layers) – what it’s showing is that the Daughter & Mother become one again. The Divine Feminine. They even do the ‘dance’ as well, the dance representing time, space, cosmos and which the bastard Shiva has become known for.

Utena Anthy Rose

Interestingly when Utena (the rose princess/Daughter, not the rose bride/Mother) duels she transforms, unlike the other contestants; she gets her hair back and looks more feminine/beautiful. She also has access to the a secret sword/weapon directly from the Mother. Not even the other female contestants do that because they’re not real/original women, they’re a product of the usurper society and playing the game for their own ends. Utena is the only one fighting for Anthy’s sake, wanting to be by her side because of how she is treated and to stop others from hurting her. Initially she also fights with a broom, i.e. the sweeper/cleaner goddess symbolism which has later become associated with monks in a monastery (priest schools, secret, snobby, schools where knowledge is passed on to the ‘worthy’ master-servant style – in that sense the ‘little old man/cleaner’ is always the wisest, and sometimes underestimated with his secret, smug smile – hey I’m not knocking smugness, sometimes it’s necessary…)

Showing that this is linked back to ancient India is the use of vehicles (which I tried to talk about in Momo); it’s kind of awkward to explain but modern vehicles aren’t so modern. If you lookup Vimanas for example you’ll see where the modern/streamlined version of gods/demons flying around on animals comes from. A vimana was a high-tech vehicle to travel in, they weren’t limited to sky travel, they could also be used on land and water; there’s schematics for such vehicles in old scripture (as well as a ton of ‘alien’ – not really alien though, just other beings on this planet – imagey carved in stone and drawn in artwork throughout world culture). They could be called spaceships simply because they traverse space (and water is used in the cartoon to symbolize the barrier/difference between life/death, awake/asleep worlds too) but that doesn’t make them alien as in from another planet necessarily. Basically the duellists change into cars so that they can reach the ‘outside world’, a ‘modern’ version of a horse but unlike a horse or other animal, a car is an exo-skeleton (remember the use of bones in She-Ra), a vessel. A vessel for what? Some say the spirit, others the soul, others the mind, consciousness (remember the spirit and the soul aren’t necessarily the same ‘thing’ either).

Horned and serpentine

Horned and serpentine

When Utena wins the tournament instead of owning Anthy she tries to free her, tries to take her out of the closed/false/crazy world to the ‘outside’ and so she transforms into a car (a super car – note to self: funny how a certain astrologer used a Formula One racing metaphor for me to see recently) and of course the closed world/security/surveillance tries their darnedest to stop them. Interestingly it starts off with a race track where other duellists have transformed and chase them, but they are driverless – they don’t have Anthy – they don’t have the innate power, the spirit nor the soul.

Anthy/Utena face many more obstacles and Utena is worn down badly. We can finally see the whole castle (‘castle in the sky’ which you get in a lot of these hinting stories e.g Laputa) is just a glowing ‘illuminated’ construct, a block between worlds, a distraction and the dead/illusory prince/’brother’/ghost beckons Anthy back “come back and be a living corpse, a living corpse” because that is the only way he can survive even if its only a memory, a ‘title’ that princes dreaming to fulfill his role/place fight over.

Remember the palace/castle from The NeverEnding - Story - the SAME GUY who wrote Momo.

Remember the palace/castle from The NeverEnding – Story – the SAME GUY who wrote Momo.

Needless to say there are false friends a long the way, hidden friends, fairweather friends and unlikely friends. You can never trust anybody because at one moment they’re treating you like sh*t, the next they’re apparently supporting you, you just never know, it depends on the circumstances and what they want to get out of it. The castle however is a towering inferno (Utena has been the accelerant for the Fool, the Hanged Man, the Blasted Tower and The Magician saving the High Priestess, Empress and World – adding my own tarot metaphor there) and people want out or at least change so its in their best interest to help the duo.

Utena gives Anthy ‘Hope’ (in typical Daughter style) and Anthy gives her the ‘Wisdom’/Knowledge/Experience (in typical Mother style) and together they are/have the ‘Power’.

The crosses (originally a Goddess symbol) are sneakily added amongst the roses in typical Rosicrucian fashion (the ‘hidden in plain sight’ sneaky yet totally flourishing signature ‘WE’RE HERE, WE DID THIS, LOOK AT US AND BASK IN OUR GLORY – which we took/live through vicariously’ style and remember that Anthy is the sacrifice/loss of innocence), making it appear as if they’re the backbone/structure/support for roses in a garden. (Remember some wild roses are edible – e.g. dog roses (rosa canina) which both feed/nourish you and provide/are protected in that the bulbs contain itching powder typifying Mother Nature but modernized/masculanized with the ‘dog’ which has also become an insult, using the ‘feminine’ of something as an insult and ‘dog’ being ‘man’s best friend. I’ve noted the use of cats and dogs in symbolism before but also dogs are purported to be used in bestial ways for ritual programming. The garden variety are cultivated which says it all really, the orchestrators of society, man vs Nature, Man over Nature – very Italian and Eurocentric mindset in general in its gardening ethos – ‘Europa’ meaning trapped goddess.)

All duellists are given a ‘ring’ which seals the deal (like in marriage, and those who ‘win’ the tournament are ‘engaged’ to Anthy).

The cartoon also hints at systematic abuse of the contestants/students/players or at least some of them who are groomed, bought and sold; and it’s decided when they are children by adults, including their so-called parents/guardians. The whole thing is ritual abuse.

Here’s an interesting review:

http://intersections.anu.edu.au/issue5/charlton_review.html

Intersections: Gender, History and Culture in the Asian Context

Issue 5, May 2001
Dir. Kunihiko Ikuhara
Utena: Adolescence Mokushiroku
(The Adolescence of Utena)
Colour animation, 74mins, Japanese, Japan 1998. – Reviewed by Sabdha Charlton

Anthy and the rose seal the world

Anthy and the rose seal the world

If it cannot hatch from its shell, the chick will die without ever truly being born. We are the chick; the world is our egg. If we don’t break the world’s shell, we will die without truly being born. Smash the world’s shell, for the Revolution of the World.

1. As its name suggests, revolution (kakumei) is a key theme in the suite of productions that go by the name Revolutionary Girl Utena (Shoujo Kakumei Utena). Like many other Japanese manga, it is a story that has appeared in three formats – as a printed comic (manga), a television series, and a film (known in English as Adolescence of Utena). Each of these formats tells more or less the same story, with more or less the same characters, and though there are also significant differences between the three versions, they all have in common a narrative trajectory that climaxes in a revolution that destroys the world of the story and releases the main characters into a new world. This review will concentrate on the film, with some reference to the series.

2. Adolescence of Utena is a richly detailed and visually stunning film, with a storyline so complex that it is impossible to do it justice here. It occurs in what is commonly known as an alternate universe; that is, the story and characterisations differ significantly from the series, rather than being contiguous with Figure 1. Utena, Anthy and the Rose Seal the world set up in the series. Briefly, the film revolves around a pink-haired, boyish girl called Utena Tenjou, an eighth grader at the Ohtori Academy. When she arrives at the school, she receives a ring with a rose pattern on it from the centre of a white rose. Her old boyfriend, her ‘prince’, Touga Kiryuu (who we later learn is actually dead, and thus a figment of her imagination) also possesses a ‘rose seal’ (bara no kokuin). Utena soon meets other members of the school who wear the rose seal, and she learns that the wearers of the seal must duel each other – the winner of the duel is then engaged to Anthy Himemiya, the Rose Bride (bara no hanayome).

The possessor of the Rose Bride receives her services (sexual and otherwise), but, more importantly, also possesses the ‘power to revolutionise the world’ (sekai o kakumei suru chikara). Disappointed by the failures of her own prince, Utena has decided that she wants to become a prince herself, and so duels for Anthy not because she wants the revolutionary power, but because she is angry about the way the other duellists treat Anthy when they are engaged to her. Like Utena, Anthy also has her (dead) prince – her abusive brother Akio, the chairman of Ohtori Academy and the mastermind of the Ohtori world. Anthy is drawn to Utena because of her nobility and sincerity, and Utena eventually returns this feeling. Their bond is cemented by their mutual guilt over the deaths of their princes, and together they escape both Ohtori and their princes in a climactic scene where Utena turns into a car that Anthy drives through many obstacles to eventually reach the outside world. In doing so, together they revolutionise the world of Ohtori through this act of escape.

3. This revolution involves the complete collapse of the Ohtori Academy and the castle suspended above it. This castle is significant because it promises eternity and miracles to Utena as the possessor of the Rose Bride, at the price of both their freedoms, and its destruction means simultaneously the gaining of freedom but the loss of eternal life. Although the series also involves these kinds of excessive cataclysms of disaster and emotion, the Utena movie is a site of excess even beyond the series. The film is highly intertextual – at its most basic level, this is evidenced in the way that the narrative is very difficult to understand without prior knowledge of the storylines and characterisations of the series [my comment – or without knowledge of masonic symbolism and ancient culture/history]. This means that comparisons between the two are inevitable, and thus the movie is always more than the series more obscure, more symbolic, more artistically impressive. Similarly, in the characterisations of the main characters Utena is more masculine, Anthy is sexier, and Touga and Akio more princely. This excess extends to the settings and technical codes of the movie. For example, there are masses of roses as far as the eye can see where in the series there is a simple glasshouse within which the roses are contained, and all the characters have masses more hair (except Utena who, in keeping with her more sober, masculine characterisation has her hair cropped). The architecture of Ohtori academy is angular, distorted and often shown in long shots which emphasise space and distance – indeed there are huge echoing spaces everywhere, inside the buildings and out. This excess is particularly clear in the depiction of sexuality, most notably in the ending, where the same-sex love of Utena and Anthy is graphically illustrated, unlike the series where the same-sex eroticism is limited to a subtext fed by a visual vocabulary of looks and poses. Revolution is in itself a kind of excess or uprising, and thus these excesses of characterisation, mise-en-scene and sexuality in the movie are key in producing Utena as a revolutionary girl.

4. However, revolution is figured in Utena in more subtle ways than through setting and narrative. Both the series and the movie are known for their extensive use of symbols and myths from a variety of sources. One of the major sources from which these are drawn is the work of famous manga artist Riyoko Ikeda, in particular her path breaking work The Rose of Versailles, and indeed Chiho Saito and Kunihiko Ikuhara, the creative team that authored, drew and directed both the movie and the series, cite Ikeda as a major influence on their work.[1]

The Rose of Versailles is a re-telling of the French Revolution through a fictional character called Oscar, who was born a girl but raised as a boy by her father (who was frustrated by his lack of sons). Oscar goes on to become the commander of the Royal Guard, and protects Marie Antoinette and the French court. Ikeda’s influence can be seen across many aspects of Utena, most immediately obviously in the use of roses as the primary symbolic sign, and the figure of revolution as the narrative engine of both series. Furthermore, all of the Utena series, manga and movie are subtitled in French (La Fillette Revolutionnaire). Revolution as it is invoked in Utena is thus inflected through this association with an allegorical link to a romanticised version of European history, specifically the French Revolution (which in Utena’s subtitling becomes a French revolution). Furthermore, Saito’s characters, like Ikeda’s, have angular, lean bodies, long flowing brightly coloured hair, wear close-fitting, romanticised, old-fashioned military uniforms complete with tassels on their shoulders, and regularly take part in spectacular sword fights. Their genders are similarly romanticised and fluid, and the main character in both The Rose of Versailles and Utena is a girl who wears boy’s clothes, uses the masculine self-referential pronoun boku and has a distinctly boyish way of speaking (especially in comparison to the hyper-femininity of characters such as Marie Antoinette and Anthy). Indeed, these characteristics of the two works are located within the broader tradition of shoujo manga (girls’ comics), which abounds in floral imagery, ambiguously gendered characters, and romanticised references to vaguely historical European culture.

5. The genre of shoujo manga is generally acknowledged to have been started by the ‘god’ of Japanese manga, Osamu Tezuka (best known in Australia for his Astro Boy series), and early shoujo manga was indeed mostly drawn by men. However in the 1970s a group of women known as the 49ers (because they were born in and around 1949 [my comment – notice how the re-introduction of the Divine Feminine started ‘finding’ its way into popular culture after WWII, before that it was purely secret society secret knowledge even amongst themselves]) came to prominence, and the genre of shoujo manga has been dominated by women authors and artists ever since.[2] Ikeda was one of these 49ers, and is probably the most well-known of these outside of Japan thanks to Frederik Schodt’s translation of a few pages of The Rose of Versailles in his book Manga! Manga! The World of Japanese Comics.[3] Shoujo manga is known for its fascination with human relationships, and notorious for its treatment of gender and sexuality through the sub-genre of bishounen manga (comics about beautiful boys, often with romantic, homosexual storylines). Ikeda’s work, and by extension Utena, is a twist on the beautiful boy story, in that the beautiful boy (Oscar, Utena) is actually a girl, yet stylistically and thematically both works are clearly influenced by this sub-genre. In drawing on Ikeda’s work, Utena harks back to a period in the history of manga when women artists were revolutionising the genre, carving out a space for themes not treated in mainstream boys’ and adult manga.

6. This relatively new genre of manga has received much attention in the academy. Many authors have been concerned with trying to understand why Japanese girls favour stories about subjects completely removed from their own experience – stories of love between boys, manga set in the West, and fantasy and magical storylines are those most often analysed.[4] According to these scholars, Japanese girls are so subordinated and repressed in Japanese society that they turn to shoujo manga for an escape from the limited versions of sexuality, gender and desire that are proscribed for them. The director of Utena, Kunihiko Ikuhara, echoes this when he states that the reason that the female characters turn to each other, rejecting their failed princes, reflects Japanese girls’ dissatisfaction with their position in contemporary society – ‘women no longer wish to be subordinate. Women are asserting their position in society.'[5] Utena is thus self-consciously produced from within a discourse that is concerned with women’s desires and resistances to their social positionings, and Utena’s revolution is as much about the feminist uprisings of the 1970s as it is about the French Revolution.[6] In this sense, Utena and Anthy’s escape from Ohtori is also an escape from dependence on men, and by association, on the society that privileges men. Their escape is not a simple running away, however. By refusing the world of Ohtori where they can only ‘be alive while dead’ (like their princes, Akio and Touga), they revolutionise that world – without them to prop up the fantasy of eternity and miracles that Ohtori promises, it collapses behind them (almost destroying them in the process).

7. The outside world to which Anthy and Utena escape is a utopic world where ‘there are no paths, where we can make our own paths.’ In this line the ambivalence of Utena’s revolution becomes clear, for even though it suggests that the potential to revolutionise the world lies in a rejection of dominant discourses of gender and sexuality, it does not champion the taking up of other discourses, for example that of lesbianism, despite the fact that it seems to be so clearly figured in the barely subtextual grammar of looks and shots that suggest a same-sex desire between Utena and Anthy.[7] Utena is perhaps the most popular ‘lesbian’ themed anime amongst fans of shoujo-ai and yuri (literally ‘girls’ love’ and ‘lily’, both terms used by fans to denote anime and manga that either contain female same-sex references or in which they can be read subtextually).[8] However, the application of the word ‘lesbian’ by fans, and as a descriptor of Utena reflects a specifically Western desire to interpellate the text into pre-existing notions of lesbianism and same-sex desire. Utena does not invest in discourses of lesbianism or same-sex desire – in fact it paradoxically simultaneously invokes and disavows them. Rather, Utena invests in the romantic notion of revolution as being capable of fundamentally changing the world by erasing categories of gender and sexuality, even as it invests in these very categories.

8. Utena is a brilliant fantasy, richly textured through its invocation of the symbol of revolution. It pays homage to both the history of manga, and the desires of Japanese women, and its complex, highly allegorical narrative and imagery allow for a wide range of identifications and viewing positions. While Utena’s revolution of her world with all its gender and sexuality-bound restrictions may not be available to us in the ‘real world’, this utopic fantasy is pleasure enough in itself.

Endnotes
[1] Mona, ‘Re: Utena and Ikeda Riyoko,’ in Yuri: The Yuri Mailing List, 27 February 2001, (27 February 2001).
[2] An informative site that covers the history of shoujo manga as well as information on the genre in general and some anthropological analyses, see Matt Thorn, Matt Thorn’s Shoujo Manga Home Page, 9 March 2001, (21 March 2001).
[3] Frederik Schodt, Manga! Manga!: The World of Japanese Comics (Tokyo: Kodansha International, 1983).
[4] See, for example, Tomoko Aoyama, ‘Male Homosexuality as Treated by Japanese Women Writers,’ in The Japanese Trajectory: Modernization and Beyond, ed. Gavin McCormack and Yoshio Sugimoto, Cambridge: Cambridge University Press, 1988, pp. 186-204; Midori Matsui, ‘Little Girls Were Little Boys: Displaced Femininity in the Representation of Homosexuality in Japanese Girls’ Comics,’ in Feminism and the Politics of Difference, ed. Sneja Gunew and Anna Yeatman, Boulder: Westview Press, 1993, pp. 177-96; Matt Thorn, ‘What Japanese Girls Do with Manga’, in Matt Thorn’s Shoujo Manga Home Page, 23 September 1997 (9 May 2000); Maia Tsurumi, ‘Gender and Girls Comics in Japan,’ in Bulletin of Concerned Asian Scholars 29, 2 (1997):46-55; Sandra Buckley, ‘”Penguin in Bondage”: A Graphic Tale of Japanese Comic Books,’ in Technoculture, ed. Andrew Ross and Constance Penley, Minneapolis: University of Minnesota Press, 1991; andYukari Fujimoto, ‘A Life-Size Mirror: Women’s Self-Representation in Girls’ Comics,’ in Review of Japanese Culture and Society 4, (December 1991):53-57.
[5] Cited in Shoujo Kakumei Utena Home Page, 5 September 2000, (22 March 2001).
[6] For more on feminist movements in Japan see Vera C. Mackie and Japanese Studies Centre (Melbourne Vic.), Feminism and the State in Modern Japan, Papers of the Japanese Studies Centre 22, Melbourne: Japanese Studies Centre, 1995; and Sandra Buckley, Broken Silence: Voices of Japanese Feminism, Berkeley: University of California Press, 1997.
[7] Indeed in the film the subtext becomes canon in the final scene, where ‘Utena and Anshi [do] the naked street luge while sucking face’ to quote one fan – that is, they exit the world of Ohtori Academy and the duelling arena on the remains of the car that was Utena, stark naked, kissing.
[8] It is worth noting that the other series that Ikuhara is famous for, Sailor Moon, also has a canonical female same-sex couple that is hugely popular among yuri fans.

Seal – Kiss From A Rose

Superchick – One Girl Revolution

Gallery

Do Not Disturb – Don’t Come A knockin’ – You Ain’t Welcome

So July 21/22 is the ‘real’ Summer Equinox (in the upper hemisphere), I’m not going to explain it to you, look it up and see to which people(s) it’s poignant, why and what they do, are scared of. I’m tired and have got better things to do, like I dunno, pretending to imagine watching paint dry.

Basically, during the Winter Solstice (My/The Daughter time) masons and masonic wannabes like to come up with scenarios where I or ‘we’ (my representatives/other people who live with/surround me) open the door for them; they’ll do anything, cause public arguments right outside, a domestic where the husband is locked out or ‘you owe me money’ beatdown type thing all so we’ll go and help them and/or let them in. Pathetic. Obviously I am both the door/communicator and the door keeper, the link.

However it means even more when they do it in Summer because that is the time of The Mother (Traditionally when Mother Goddesses actually have a Daughter – later Son – and not just those generically called Mother figures – the Daughter is abducted/married/somehow made dark/impure via masculinity/husbandry/sex etc and is associated with Winter but symbolically means she spends her time in multiple consciousness/more than one world. Otherwise the Mother is all the seasons. Summer and Winter both encapsulate Spring and Autumn, as we’ve been physically seeing for quite some time too). The 21st-22nd of any month have been favourite days for stupidity by local and imported/visiting masons wherever we’ve been in the last few years but prior to 2012 it was Winter. But finally they got to the Summer Equinox and on both days, just in case. On the 21st they metaphysically implied that I let in a ‘lawyer’ and not just any ‘lawyer’ to see Mum, he listened to everything that had happened/is being done to Her and decided he was going to do the same. Oh Hell no. He got shown the door in another way. Yesterday the physical door was knocked on and in reply we closed all the windows.

If you are someone special don’t let the f*ckers in (ever) but especially on those days, k?

“Rapunzel, Rapunzel let down your hair [so that I may climb the Golden [ratio] stair]” – the latest mind game phrase to refer to me.

No way jose!

P.S I prefer The Tower card not the ivory phallic tower/obelisk, plus the Witch makes far better company than you. And btw cabbages don’t symbolize kings (why you love planting them in your gardens as soon as you become our ‘neighbours’) and Rapunzel is not a shortened word form, it’s a longer form, why? The kings and false royalty in general have/are/were never any anything let alone a comparison to the real Queen [of Queens].

Gallery

Fatal Attraction – Not something to aspire to but can be worth striving for

Gustav Klimt - The Kiss

Gustav Klimt – The Kiss

Klimt - The Embrace

Klimt – The Embrace – the Gold version of ‘Fulfillment’

Note – this is a post only for people of a discerning, mature nature (that excludes ‘sophisticates’ who are just children playing dress up, thinking themselves special and ‘privileged’ for being part of a ‘secret’/club and then enacting their warped fantasies on everyone everywhere they can).

I keep telling people not to fall in love with gods unless they are gods, you see the human/vampire love for example in the media and unless you’re truly exceptional a mixed species relationship is not for you (and being exceptional or ‘extreme’ is not all it’s made out to be, neither is ‘normal’ but still).

We are incredibly attractive, not least to each other. Our love can last more than a lifetime for one being and we can find each other. True love for us is not the same as love for humans who’d see it (and for whom it would be) obsession, infatuation, an overwhelming need. Pain, love, need, desire, fixation, devotion – it’s all there and yes it seems/sounds just so sexy. Though for some of us sensual (different to sexual and doesn’t have to be sexual, doesn’t even have to be erotic, just powerful) is a better word. We can just look at each other and smoulder.

But its not for people, they can’t handle it, the body and even the mind is not suited for so much feeling. It’s taboo for numerous reasons and there are those who like to take advantage of/sabotage such relationships.

Now we all know the entertainment media is the ‘illuminati’ playground and despite my use of visual and music media as explanation aides I don’t actually keep up to date with celebrity so while for illustration I’ve heard the hysteria over ‘Katy Perry music videos’ (and various awards shows) I hadn’t actually paid any attention to them. Why should I? It’s all about us and I know that already, it’d be the equivalent of listening to your own records all the time and seriously, I’ve never needed or wanted an entourage/trumpeters to blow my own horn – I can do that myself 😉 . I included one of her songs ‘Roar’ or my ‘The Legend of Korra’ – the Girl who merges the Unseen with the Seen post without realizing it was her song, and then saw a picture of her ‘Dark Horse’ video and colour me intrigued…

I was never particularly interested or impressed by her music nor videos early on except her debut hit which obviously shattered a lot of social perceptions. (I remember a church sign proclaiming ‘I KISSED A GIRL AND I WENT TO HELL’.) But as somewhat associated with horse ‘mythology’ I just had to watch it and… Well, spot on. Her videos are very theatrical in a pantomime way but she has become very much the ‘illuminati puppet’ in terms of a vehicle for symbolism. I think it’s a great video but it’s a bit like setting an age range on a film; you can appreciate and laugh at messages like this when you know what they’re about, who they’re about, even know the individuals, were the characters etc. For many people spotting/learning about this kind of thing there’s automatic fear, rejection, disgust (rightfully so for many parts of it and its true her videos also make great parodies and parody material) but there’s a difference between reacting and responsibility; it’s like when I write online and then sites put up articles, pictures, quotes etc ‘accord’-ingly in ‘reply’/commentary/for/against (as if I’m even talking to them or anyone in particular).

There’s a lot to dislike and be worried about in terms of practices in Dark Horse, but for me and others at least, there’s a lot to smile at, if you think it inherently evil you really need to sit in front of a mirror for a long time. There’s parts in it that are controversial based on preference alone as well such as the pole dancing but after seeing some of her videos I actually think the composition works (not that I condone those professions, lifestyles etc I’m talking about a tiny minority where it’s sometimes ok between a couple for example) and I appreciate that she can do the gymnastics I can/could (it feels good to be fit and flexible). I don’t appreciate the pushing of this stuff on the mass mindset though, the making of celebrities to think/believe/act like they are these beings and all the debauched things many of them participate in for ritual, the glamorization (though it is glamorous/lush/scintillating/appealing what have you) and normalization of what really is the height of excess/exaggeration in its portrayal. Making the exotic common, and debased. Not everybody acts like that/partakes in what is shown, many do but I’m not talking about them *dismissive hand* they can go jump. And it’s not like an addiction for everybody, it’s not looking at others as a some kind of delicacy and being hungry all the time (and certainly not like a ‘piece of meat’). There’s a ton of psychopaths and sickos in this world, some of us come up against more than anybody’s ‘share’ of them and when you deal with them frequently you have to put in the effort to separate yourself and keep yourself calm, centered, whole. If you want to call a whole group depraved and contaminated it’s just as easy to say the same about humans, but I don’t, I’m more humane than most people. Even if it’s just the tiny minorities in these various species (humans included) that are trying their best not to succumb to degrading ways whilst expressing their thoughts and feelings.

Dark Horse – Been there, done/am that, the ‘siren’ vibe that is, not the monotomic consumption, gimme gimme gimme attitude, rich/poor class system and so much more – but when I’m in love (and its only ever one at a [long] time, if not really just one throughout) if he wants to adore me he most certainly can.

Is it wrong to feel insatiable over the one you love? If you’re desiring things that are damaging, hurtful, things they don’t want, are fundamentally repulsive, against their nature etc then yes it is. But having a love so powerful it doesn’t die and is easily fanned again no matter what the circumstance is really quite rare – when not psychopathic – there’s plenty of instances where people spend most of their life relatively ‘happy’ in one relationship. However when it’s fairytale-esque in actuality rather than imagery it can be daunting, the usual ‘I will do and go through anything for you’ scenario in many fairytales is what draws/enchants/entertains people, but that’s life for some of us. We feel like that/that depth of passion consistently and don’t deny that many, many people are stirred by the idea of someone being so dedicated to them, so protective, so admiring, so wanting. The problem is limits, personal boundaries, ethical choices and ignoring/not caring about them… Some people take passion and act like it’s an excuse for treating someone they supposedly love in ways they shouldn’t even think about treating an enemy.

E.T – the colours are perfect in this and of course they’ve taken a lot of care with the props/costuming, whilst still theatrical it’s ‘smoother’ than Dark Horse and in practice the whole ET (or any) abduction (as opposed to rescue) scenario is a no-no. Notice how he has to change bodily to become more compatible with her too but the intensity of the feeling, that reaching for each other is something many of us can relate to without being invasive (and which could be said without making greys/alien/any kind of abduction look like something people/beings actually want except those doing the abducting.)

I do like that ‘she’ (not sure how much ‘creative control’ she really has, how much she knows, is influenced etc) has a sense of humour. You can’t be/remember a long existence without being able to see the funny things, or act a little silly (note that doesn’t mean recklessly stupid and foolish) ok you can and those people are just *roll eyes* too serious for me (and that says something, I’m a grouch but I’m morelike Oscar the Grouch, he’s kind and witty really) – this is one of her funnier videos. That supernatural tiger (or any animal) imagery btw is significant, some people will know that, unfortunately much from a ‘spirit guide’ or projection point of view or sadly a having it done unto them situation.

Unconditionally – I’ve said plenty of times my love isn’t unconditional (nor available actually – facets/mirrors even from an ancient Egyptian scenario) but who wouldn’t want their beau to take them to a ball, lift and twirl them or be the one doing the chivalry, benevolent charm? I’ve not seen many complaints against the idea of a lover (and not an abductor/traitor/enemy) flying away with you in their arms. The problem again is people take things too far and indeed on a regular basis; it becomes a decadent, indulgent immorality for many. People can’t control their passions and it becomes dangerous in a bad way, predatory, and they build up systems to feed it.

Love me – I like this one, go girl (although I’d use the throne to batter them instead of kicking it over).

I’ve embraced my ‘dark’ side. I’m a richly deep, magnetic, provocative yet also sweet, lighthearted, funny person. I’m complete, replete. I’m your poison and your cure. Did you want me to be a tool; or a crawling, crumbling, crippled creature? Do this scare you? It should, because I’m in no way evil or intoxicated, neither am I submissive or tolerant of those of you who are.

Poe – Control Lyrics
http://www.lyricsfreak.com/p/poe/control_20109683.html

Don’t you mess with a little girl’s dream
‘Cause she’s liable to grow up mean

Surprised you to find that I’m laughing?
You thought that you’d find me in tears
You thought I’d be crawling the walls
Like a tiny mosquito and trembling in fear

Well you may be king for the moment
But I am a queen understand
And I’ve got your pawns and your bishops
And castles
All inside the palm of my hand

While you were looking the other way
While you had your eyes closed
While you were licking your lips
‘Cause I was miserable
While you were selling your soul
While you were tearing a hole in me

I was taking control

Now I have taken control
Now I have taken control…

This is beginning to feel good
Watching you squirm in your shoes
A small bead of sweat on your brow
And a growl in your belly your scared to let through

You thought you could keep me from loving
You thought you could feed on my soul
But while you were busy destroying my life
What was half in me has become whole

While you were looking the other way
While you had your eyes closed
While you were licking your lips
‘Cause I was miserable
While you were selling your soul
While you were tearing a hole in me

I was taking control

Now I have taken control
Now I have taken control…

So this is how it feels
To breath in the summer air
The feel the sand between my toes
And love inside my ear
All those things that you taught me to fear
I’ve got them in my garden now
And your not welcome here

Come a little bit closer
Let me look at you
I gave you the benefit
Of the doubt it’s true
But keep in mind my darling
Not every saint is a fool

While you were looking the other way
While you had your eyes closed
While you were licking your lips
‘Cause I was miserable
While you were selling your soul
While you were tearing a hole in me

I was taking control

Now I have taken control
Now I have taken control…

Don’t you mess with me.

[Poe’s Father film director Tad Danielewski:]
There has to be more to life than this, because in our confrontation with a cold cold universe, there is something comical to the idea that we can really impose our will on humanity– power corrupts!

[Poe as a child – her name is Anne :]
This is scaring me.

Second dialogue:

[Anne :]
…I live at the end of a 5 and 1/2 minute hallway

[Father:]
And at the end of it all lies of course the final phenomenon of deterioration entropy, which is a predictable disintegrations which the creative life ceases: everything has to fall apart.

[Child:]
Why are you always so serious?!

 

Note: I don’t like the films ‘Fatal Attraction’ and ‘Basic Instinct’ nor the use of the iconic scene for Rihanna’s post-domestic-violence interview nor the use of it in the latest Wonder Woman film.

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