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.

Gallery

‘The Legend of Korra’ – The Girl who merges the Unseen with the Seen

Roar – “I got the eye of the tiger, the fire, dancing through the fire, coz I am the champion and you’re gonna hear me roar, louder, louder than a lion, coz I am a champion and you’re gonna hear me roar.”

‘The Legend of Korra’ (2012-14) was the sequel to ‘Avatar – Last Air Bender’. I’m not keen on the use of the term ‘avatar’ it’s a bit like ‘namaste’ to me where it’s over use has skewed its meaning and made something rare too common. I’ve explained the term ‘avatar’ before but anyway in this series the former Avatar was ‘Aang’ and as titled, was primarily an air bender.

What are we talking about here?

Elements, transformation, magic/mastery/alchemy and some people’s natural/unnatural bodily abilities. A bender in this cartoon is someone who can harness and ‘bend’ an element to their will (note it’s not described/portrayed as working with elements, rather its shown as controlling them). In this cartoon there are four basic elements and then variants of those four; earth, air, fire, water and then say a variant of earth would be the power over metals. The ‘avatar’ is the one person (only one at a time) who can control all the elements. Avatars can be female or male, reincarnations of each other, their powers are hereditary to an extent and predisposed unlike the Slayer (Buffy) who is one girl all the time, always herself and her abilities are not transferable (regardless of how they showed in the ending) because she is the chosen.

The premise of Avatar is similar to ‘Naruto’ a very popular, long term Japanese multi-media franchise where there are some countries and then villages/clans that protect them, serving as ninjas but super-enhanced-magical ninjas who have transformation/mutational powers over the elements. So they are both power wielders and physical combat fighters. They’re also exclusive. In the Avatar cartoons, people with bending abilities are somewhat rare. That said ‘Naruto’ is more complex and full of moral/ethical dilemmas.

Korra – the Maid/Daughter

Kore means the Maid/Daughter; Korra is a dark skinned ‘ethnic’/tribal, medium sized well built (I say that because so many protagonists are thin to skinny), triple tail/hair, outlands clan member, her clan are primarily water benders. The fact that she is the Avatar is visible very early, she’s highly adept at 3/4 elements and at fighting, air is her weakest element because she is so physical/grounded and air in this cartoon represents the spiritual/the ability to see. It might also have something to do with the last Avatar being an air specialist and so other elements came into play first this time.

Note – some people are of the ridiculous persuasion that some elements are ‘better’ or ‘more powerful’ than others, that they have a hierarchy. BS. It depends on the user and how strong they are. Simple. Water isn’t always going to cancel fire or earth trap air for example, and opposites attract hence Korra is usually depicted as both fire and water. Her personality/avatar lineage is fire and her ‘home’ genetic lineage is water, both also happen to be opposites. Also even if you are not made from all the elements doesn’t mean you can’t handle a different one to yourself. Life is a paradox.

The Legend of Korra Water Fire

She leaves her home village to live with one of the last air benders left (air being that rare now) so he and his family can teach her about the element. She also meets and joins with benders who work/compete in entertainment combat. Her new master/teacher isn’t fond of the tackiness of sports entertainment but she realizes she needs that experience to learn more on the spot/spur of the moment/situational techniques and whilst sparring is a dangerous type of training, it’s effective. As part of a team it also gets the blood flowing so to speak, even her Master gets into it and cheers her along when he finds out where she’s been going…

That’s the thing about Korra – she’s an Avatar with a difference i.e. she does her own thing. She’s not regimented like the past avatars were as weapons of war, she’s fiercely independent yet dedicated to what she does/her ‘calling’/role and what that means i.e. caring. She finds out that a lot of people like to use the avatars for their own personal agendas; family, friends, bosses, frenemies, enemies etc and it means like most people in this position there’s very few people they can trust and it often involves a lot of hurt. She’s determined things are not going to continue the way they have done. Her very existence challenges status quo’s and so she has to learn to know herself and everything from that which she comes. Once she learns how to use Air and relaxes/learns to meditate it just comes naturally to her as it should and she becomes consciously connected to all the past avatars whose collective experience she can access and learn from. She is the accumulation of their experience and her personality.

She thinks for herself, is outspoken, not afraid to listen and listen hard, she’s passionate and will show it. This attracts a close knit of other strong people from various walks of life, benders and non-benders, from working class to ruling class. One of which is the ideal modern feminine (whom Korra’s initial love interest falls for/literally bowled over by); tall, thin, light skinned, gorgeous, successful, able and in conjunction to that it’s interesting and poignant for a non-adult and US cartoon that the romantic partner Korra ends up with (not explicit) challenged ‘normal’ social perceptions. There are also hints to the deeper symbolism/culture/history here and not just in her name (though that is very important). For example her best friend and travelling companion/transport is a giant ‘polar dog’ (polar bear but described as a dog, this ties in to the companion of the divine character as being loving, faithful, protective and supportive. For Goddess/Goddess based characters it’s usually a cat or a bird or something winged but in modern tellings with masculinity the character is often a dog/doglike – a bit like in The Never Ending Story where the dragon is shown like a dog.) However her polar dog is actually a bear – so right there you know she’s a Goddess character (not just an avatar, the bear being one of the oldest forms of Mother Goddess worship) and her name tells us she’s the Daughter, along with her personality. Her ‘dog’ is also called Naga lol her bear/dog is also a snake, so secret/wisdom Goddess companion. Naga is strong/fast/agile.

Legend Avatar Korra and Naga

Korra and Naga, a bit like Princess Jasmine and Rajah.

Add to that this friend:

korra dragon bird phoenix

And she has almost the complete set (from the obvious lot).

Korra can sense the unseen, she is partially of the unseen, but she’s also come at a significant time at the crux of the ongoing fight between good and evil (shown as feminine and masculine – not to be confused with how we normally think of them in day to day life), that makes her life much more draining because she’s sensitive to the flow of energy between those forces in conflict. To deal with this she has to access another self, a greater self, a self that also needs her as she is uniquely placed/compatible to be it. The cosmic self. Since she is already from multiple lines of ‘interesting’ people (avatars who are mixed-dimension/world/parameter beings, and her clan) pushing herself to this even further distance is something she can and must do. The seen and unseen have been at war and in pain with each other and themselves for too long. The barriers and divisions, the smoke and mirrors have created boxes and the walls have closed in to the point where we can’t see anything else, we feel trapped/unable to move and can’t even see everyone in the room and we’ve missed out, we’ve missed each other all this time. An inexplicable sense of loneliness and needing somewhere to belong for most people when that’s just not the way it is, it shouldn’t have been that way.

Korra Ultimate Manifestation

Korra Ultimate Manifestation

Korra Ultimate Manifestation Kills Evil

It’s obviously not easy/going to be easy, even people who supported her before she does what she does turn and don’t like the results expecting instant healing/harmony but this is a collision of worlds, not a picnic. She’s a warrior of warriors, a lover, thinker, protector from the Divine Feminine not a faux nanny state governess or au pair.

To finish, an acknowledgement to another amazing Daughter character in this cartoon; and what an awesome, fearsome, courageous, hard, loving woman she is; when this woman has your back, you know it. Even those who’ve lost her think of her as their hero.

Lin-Beifong

Lin Beifong – as mentioned in a previous post: No More Sacrifice

Lin Beifong has a very difficult relationship with her Mother (Toph) and half-Sister (Suyin), which is healed later on. Toph (one of the best Earth benders) is described as:

Toph is fiercely independent, direct, belligerent, and practiced in taunting and insulting her opponents and on occasion her friends, particularly Sokka. On several occasions Toph appears picking her nose, spitting, and belching loudly.

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

Yeah… No comment (it’s so true).

Beifong Family Crest Goddess Emblem

Beifong Family Crest – Goddess emblem

Mama Said Knock You Out:

There’s no going back, it can ever be the same, there’s only forwards and it’s not what you think/fear it is.

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Video Games Day

What is a video game. Think about it, what if we lived in ‘Tron’ (1982), ‘The Game’ (1997), ‘Sucker Punch’ (2011), any of the ‘.Hack//’ animes or any of the plethora of ‘person in a strange world’ media, tons of them. People are obsessed with them, with feeling out of place, with feeling disconnected, ignorant, played, not sure of who they are etc. Hey, we live in an electromagnetic and apparently holographic universe and we’ve already proven (though we knew it already) that the air, sky and outer layers can be used like a cinema.

Video games have a set of options, possible paths and outcomes, factor effects etc – some of us can and/or are conditioned/trained to be able to assess them better than others, some of us see bits of the ‘scripts’ more than those who look on a different scale. But we all want the outcome we want. Obviously. The question is what is it do you want. How many goals do you have? Do you have a grand scheme/allegiance and personal aims/plans, do they conflict, would you sacrifice one for the other? What are your limits? How well do you know yourself/your personality and/or your history? How well do others know it? We on this planet are constantly questioning this and express it, ultimately the concerns are very similar, we face the same questions and answers so it’s easy (well not very, but easy to predict at least) to control those here.

I can’t be dealin’ with prophecies

I’ve said before in a post that I don’t make prophecies or give dates, heck they’re beyond my abilities and that says something given how I am ‘naturally’ a part of/see/experience levels.

There’s something inherently repulsive about them to me anyway because my experience of them sets me on edge and I prefer to be calm when looking at patterns/codes, symbolism etc. However because I know they put me on alert that means I push myself to be consciously fairer and more open minded when researching them.

The ‘issue’ is that people have always been telling me “you’re the one”, or about me “she’s the one” and mostly they fail to explain, all hush hush (without the wink wink) and at the same time “you are nothing”, “you know nothing”, “you’ve done nothing”. Hey I don’t mind being the all and nothing, I love the void :p it’s you who don’t 😉 . Since I was a little kid, the grand patriarchal side had already foresaw things, and the matriarchal side had put things into place and it’s like wtf? It’s not uncommon of course but whilst some of us are apparently ‘destined’ for great things they still treat us all like crap, some favoured, others not, builds up or breaks down the ‘bonds’ they want. I’ve found most of these people untrustworthy, like they’ll put you through hell and then say you turned out exactly how they wanted and they love/are proud of you. They put things/others in your life just to take them away/use/hurt them at another point. Destiny is a well formulated and strictly enforced plan, every step of the way rather than say planting a seed, letting it do its thing with it own organic growth and periodically check up on it to make sure it’s safe, healthy, thriving, content and beautiful.

I’ve always dislike favouritism, possibly because I’ve seen the cruel, selfish, spoiled, greedy, shallow be favoured and those of us who do the donkey work, who help those who need us get through each day, who take responsibility (when we don’t need to) get the short end of the stick for relatively minor things whilst the ‘prodigal’ ones can do anything and everything to anybody even their elders, even those they’re bonded with etc and are wistfully looked at, aspirational. Living by example doesn’t pay and there’s no gratitude, and that’s ok, not expected, to an extent… But oh well, we just keep at it. It’s not like you can just walk away and be left alone, and could you live with yourself if you did?

I do things personally, on the ‘god’ levels whilst treating the followers, hangars-on, graspers, wannabes and those caught/trapped in the lesser levels with a lot more tolerance/patience (even if they don’t deserve it). Ironically they’d make you as weak and malleable as possible just like the upper levels and yet taking things out on something ‘smaller’/lesser/weaker than you is just distasteful, to me anyway. I know a lot of people take things out on inanimate objects too, but I find that ridiculous. Just do some flippin’ yoga or non-contact, not-too-aggressive-sport/hobby to calm, read/watch a silly comedy, take a bath/steam/sauna whatever; the contact/combat, intense stuff is a different matter and also necessary but not to be confused.

I don’t like skirmishes, thuggery, gang mentality etc, I’m pretty much a solo yet have friends/loved ones and help any/everyone in overwhelming pain that I can and I’m in it for the long haul, I don’t just give up on people, it might take ages but we get there, I might take a battering(s) from the very people/person I’m trying to help (and who even called me) but I get them out of it like they wanted. I don’t know if I’m the better for it, I’m old and tired but hey the older the ‘rebel’ or ‘leader’ any type of ‘player’ (and no I don’t play games, I try to explain them and even take them a part because humans and those they are like are addicted to them) the more dangerous they are.

I’m one-on-one, if I love you you damned well feel it, if I hate you you’ll know the meaning of fear without me having to do anything at all. This is some of the power of some of us, people and ‘people’ who for whatever reason attract others by their strong magnetism/personality/strength/resilience/ideals etc. It’s obvious I’m not interested in games or using others, but others use everything you say, think, do as a signal of some kind, as a juicy theme of the day for their news perspective/games/gossip/reporting, amazing when you’re a private individual lol. Yet groups still want you for something. And it’s that something that bothers me, even people you love have goals for you that they didn’t tell you from the start and that’s not me, I make my position clear from the start or any change as soon as I change. I say what I want, what I don’t want (and it’s rarely listened to) but still at least I try to let people and ‘people’ know where they stand with me, unless they’re game playing or communication is awkward for whatever reason. That actually puts me at a disadvantage, it’s not very clever at all, but it’s who I am.

Then there’s those that believe you’re the answer to their call and you didn’t even know they called you. Hmm.

I’m just writing the explanations of masonic symbolism here along with other things that interest me, ironically the symbolism is something that idiot masons and associates have convoluted so much over so long they barely understand themselves anymore so they flock to those like me who can see/understand (and treat them like sh*t). I don’t publicize anything nor ask for anything (heck your brutal masonic upbringing teaches us not to ask for anything that’s for sure), you don’t have to follow in any way whatsoever and yet… Playing follow the leader when the ‘leader’ doesn’t even want you. Pathetic.

You mess about with people’s psyche’s, their subconscious, unconscious, the approx 33% of their lives they spend asleep, you’re invasive, not me. Btw – El Cazador De La Bruja talks about the formulation and trying to attract a godsoul/spirit, it’s a new based on the old/continuing Mother/Daughter story/life. Control via the unconscious; so if people who’ve been conditioned for fight/flight, escape/evade, missions in a virtual reality environment and/or are just targets for practise, fun, keeping the pack satisfied etc then they should be able to defend themselves. Quite frankly if people and even ‘people’ and other species are going to go to sleep, then they should be able to sleep/rest in peace; if they’re going to dream they should be able to remember it, it’s not for you to be there and then choose whether they remember it or not, it’s their memory/mind/personality/life. We shouldn’t be sleeping or dreaming (or living fabricated waking realities) in the first place and you know it. Your change of game tactic was mega quick though, unsurprising given its one you already use i.e. surrounding the target and you with ‘children’ characters so they’ll relent, be more at ease, forget etc. Low. Really low. And you pretend to be the ‘good guys’.

I’m associated with fate/the fates, so not random ‘luck’, maybe I’m pushing against my own fate too much or at least the destiny decided by others, I don’t know. That’s the problem, people barely know anything – as quoted from ‘Read or Die’ anime – “99% of people don’t even know who they are”. So those of us who know more imo should be more open about it which is what I’ve always tried to do.

You want me to do something for you, you had better be clear about it from the start. Don’t be having meeting about me and saying I’ve done this, said that and so it’s permission, association, validity or whatever for your hopes. Yes I’m associated with hope too, but not everybody can get what they want. I’m here for Earth, the Mother Goddess, that’s it – who I help extra to that is separate, conditional and subject to change. I’ll suffer and have with others, I’ll shoulder the pain and burden, just knowing me makes things like getting into private schools on almost no fee etc happen for people who are/are seen as ‘close’ to me and the same for those who’ve parasited off association with Mum and anyone seen as a ‘source’ etc but anything we try to do for ourselves… I’m no one’s tool and I won’t be played for a fool. I keep telling people and ‘people’ to decide what they need to be happy, them, inside them, not all the expectations, programming, conditioning, culture etc (if it doesn’t hurt anyone/thing else). The thing is the people and ‘people’ who do that, and moreso those who do that successfully tend to be the least caring and/or quite oblivious and those are the ones gods, demons, villains, heroes deal with (and that should mean dealing with each other too one-on-one without using masses/regular ‘people’) and then if Gods are necessary you know it’s bad, messed up totally. Which is where ‘we’re’/the planet/narrative is at. It’s not a prophecy, worlds are ‘live’.

So stop saying ‘you’re the one’, ‘they’re the one’ to ‘people’, god levels and in our case Gods even. Let alone hanging onto their coattails for ‘inspiration’ on which stories/reviews/thoughts of the day to write, playing all sides and trying to beg friendship or belittle to prove yourself in another alliance you want. Life is not supposed to be a coup d’etat or game. But if you only understand it that way – this is the last/final round. I’m not escaping the fate I set myself, just not accepting other roles, add-ons (being connected to me doesn’t mean my titles/status/heritage etc is yours and vice versa) and most certainly not going along with those cretins and ‘aliens’ who want to ‘lose’ the Mother again or blame Her for our trauma. Look in the mirror for that.

It’s hard, it’s extremely hard being between a rock and a hard place especially watching and knowing others feel the same but whilst being a ‘negative’ person I’ve always managed to surprisingly (to many) stay upbeat too and I’ll keep it that way thank you very damned and divine bloody much. 🙂

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Predators and their lust for control

Those who want/need/desire the Mother and Daughter and will do anything to get/keep/pollute them.

This is an excerpt from a film review I wrote in June 2014:

https://fashionthatpays.wordpress.com/2014/06/16/momo-1986-film-review-goddess-connection/

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

Momo 1986 surrounded by dolls

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

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

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

In regards to public media the desired ending is always the same, no matter how much truth is in the vehicle e.g. film, song, series, characters etc, no matter how much they’re coded/symbolic. In regards to Momo – the point was to make the Mother figure into the Daughter figure to control her. And for those of you desperate for the ‘French connection’ in my life one of the names is in there.

In the book ‘Lolita’ – Dolores ‘Lo’ ‘Lola’ ‘Dolly’ at 12-years-old (when my ‘grooming’ was ‘activated’ with induced sleep paralysis) is sexually abused and turned into Lolita ‘the perfect lover’ [corrupted form of ancient Indian Ultimate Mother Goddess Creator of All ‘Lalit[h]a’] through the grooming, trauma/confusion/predatory behaviour and then ‘goes off the rails’ (out of the arches/off the train) only to be ‘rescued’ by her abuser/orchestrator/handler/contaminator. She is poignantly his ‘landlady’s’ daughter, and for his plot to work he must become the Father and her demoted in status to his daughter. Dolores/Dolly reminds him of an older/earlier ‘love’ Anna-Bel[l].

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

Plot Summary

Humbert Humbert*, a European literary scholar, describes the premature death of his childhood sweetheart, Annabel Leigh. He suggests his unconsummated love for her caused his fixation with nymphets (girls aged 9–14) and indulges in his sexual fantasies by pretending to read a book in a public park and being aroused by nymphets playing near him, as well as by visiting a prostitute who he believes is 16 or 17, and imagining her to be three years younger. After a misadventure when he requests a nymphet-aged girl from a pimp, Humbert marries an adult woman with childish mannerisms, Valeria, to allay suspicion. His marriage with Valeria dissolves, after she admits to having an affair with a Russian taxi driver. Humbert wants to kill her, but Valeria and the taxi driver leave before he gets the chance. After another visit to a psychiatric ward after a mental breakdown, he moves to the small New England town of Ramsdale to write.

Humbert fantasizes about meeting and eventually molesting the 12-year-old daughter of an impoverished family, the McCoos, from whom he agreed to rent an apartment. Upon his arrival in Ramsdale, however, he discovers that their house has burned down. A landlady named Mrs. Charlotte Haze offers to accommodate him instead, and Humbert visits her residence out of politeness. Humbert plans to decline Charlotte’s offer until he sees her 12-year-old daughter, Dolores (born 1935), known as “Lo,” “Lola,” or “Dolly”. He becomes infatuated with her, in part because of her uncanny resemblance to Annabel, and agrees to stay at Charlotte’s house only to be near her daughter, whom he privately nicknames “Lolita.”

Humbert starts a diary in which he keeps detailed descriptions of Lolita’s characteristics, along with moments that they spend together. The diary also contains hateful comments about Charlotte, along with a description of a picture in a magazine of a playwright (Clare Quilty), who Lolita has a crush on and who Humbert resembles.

Charlotte, Lolita, her friend Mary, and Humbert plan to go to Hourglass Lake for a picnic one Sunday. However, Mary’s mother phones to tell them that Mary is running a fever and that she can’t go. Mrs. Haze postpones the picnic and, as a result, Lolita refuses to go to church with her. Mrs. Haze leaves for church and Humbert and Lolita are left alone. While the two sing a song, Humbert secretly ejaculates in his pants as Lolita sits on his lap. She does not notice and leaves for the movies. After returning from a lunch in town, Charlotte tells Humbert that Lolita is going to camp Thursday and she won’t return until the next school year.

That Thursday, before getting in the car, Lolita runs back into the house and kisses Humbert goodbye. As Charlotte, who has fallen in love with Humbert, drives Lolita to summer camp, the housemaid delivers a letter to Humbert from Charlotte telling him that he must either marry her or move out to avoid embarrassment. To continue living near Lolita, Humbert agrees to marry Charlotte. After finding Humbert’s diary and learning his true feelings, Charlotte confronts him, calling him a “detestable, abominable, criminal fraud.” As Humbert goes into the kitchen to get them drinks, Charlotte runs out of the house with the letters that she had just written, but is killed by a passing car before she can mail them. A little girl gives Humbert the letters, and he later examines them: one was to Lolita telling her they were moving, another to a boarding school in which Lolita was to be enlisted, and a third to Humbert that suggested a possible reuniting between him and Charlotte in the future.

Humbert retrieves Lolita from camp, lying that Charlotte has been hospitalized, and takes Lolita to a hotel, where he plans to use a sleeping pill on Lolita and rape her while she is unconscious. As he waits for the pill to take effect, he wanders through the hotel and meets a man (Quilty) who inquires about Lolita. Humbert excuses himself from the strange conversation and returns to the hotel room. There, he finds that the sedative was too mild after seeing Lolita drifting in and out of sleep. He lies next to her all night, fantasizing about him and her together. However, it is she who initiates sex in the morning, showing him what she had learned at summer camp. On their way to the fake hospital that Charlotte was supposed to be staying at, Humbert tells Lolita that her mother is dead. Thereafter Lolita and Humbert drive around the country, moving from state to state and motel to motel. To keep Lolita from going to the police, Humbert tells her that if he is arrested, she will become a ward of the state and lose all her clothes and belongings. He also bribes her with food, money, or permission to attend fun events in return for sexual favors. After a year of touring North America, the two settle in another New England town, where Lolita is enrolled in a girls’ school. Humbert becomes very possessive and strict, forbidding Lolita to take part in after-school activities or to associate with boys. The headmistress of the school see his strictness as the concern of a loving, though old-fashioned, parent. Humbert reluctantly grants Lolita permission to join the school play in exchange for more sexual favors. The play she joins is written by Mr. Clare Quilty, but Humbert doesn’t know it. Just before opening night, Lolita and Humbert have a ferocious argument, and Lolita runs away. Humbert searches frantically until he finds her bike next to the phone booth she was using. She brushes the phone call off and reconciles with him, saying she wants to go on another road trip with him, only this time she gets to choose where they go.

As Lolita and Humbert drive westward again, Humbert becomes suspicious that someone is following them, first thinking it’s a cop and then later one of Lolita’s admirers from school. Lolita falls ill and must convalesce in a hospital, while Humbert stays in a nearby motel. The hospital staff tells Humbert in the morning that her uncle checked her out. Humbert embarks upon a frantic search to find Lolita and her abductor, retracing his steps to every hotel that they’d been to thus far, but fails to track them. During his search, Humbert has a two-year relationship (ending in 1952) with a woman named Rita, whom he describes as a “kind, good sport” who “solemnly approve[s]” of his search for Lolita, while knowing none of the details.

Humbert receives a letter from Lolita, now 17, who tells him that she is married, pregnant, and in desperate need of money. Humbert tracks down the address and finds Lolita, but her husband is not the man that kidnapped her. He promises to give her money in exchange for the name of the man who abducted her. She reveals that Clare Quilty checked her out of the hospital and tried to make her star in one of his pornographic films; but expelled her upon refusal because she only wanted to be with Quilty. She worked odd jobs before meeting and marrying her husband, Dick, who knows nothing about her past. Although she looks much older now, Humbert realizes that he still loves Lolita and repeatedly asks her to leave Dick and go with him, which she refuses. He gives her $4,000, which is much more than what she asked for, and then leaves. As he leaves, she smiles and shouts goodbye as if he was her own father. Humbert tracks down the dentist who knows where to find Quilty, and later kills Quilty in his own mansion. Shortly afterwards, he is arrested for driving on the wrong side of the road and running a red light. The narrative closes with Humbert’s final words to Lolita in which he wishes her well, and reveals the novel in its metafiction to be the memoirs of his life, only to be published after he and Lolita have both died. The novel’s fictional foreword states that Humbert dies of coronary thrombosis after completing the manuscript, just one or two months after getting arrested. It also states that “Mrs. Richard F. Schiller” (Lolita) died giving birth to a stillborn girl on Christmas Day, 1952, at the age of 17, a month after Humbert’s death on November 16, 1952.

*Humbert – means ‘bright (light for you likers of ‘light’ vs ‘dark’) warrior’ ‘bearcub’ who becomes ‘famous/Hun’; he is ultimately the demi-urge, the deviation, the mutation, the mistake that raped his Mother and Creation/Daughter to conquer and became the singular and false Godhead. There’s nothing ‘romantic’ about that despite the ‘exquisite language’ fans of this book keep going on about and other ‘classics’ in general.

The reason why I mentioned the book ‘Pamela: Or Virtue Rewarded’ was because my Mum, Sis and I each had a book in our lives when we were younger; Mum was constantly reminded of ‘Lolita’, I had ‘Pamela’ (where Pamela, like Lolita ends up with her abuser(s) but respected/false hierarchical acknowledgement via being virtuously stubborn and resistant whereas Lolita is made as desperate and downtrodden as possible so she can’t even think) and my Sis had ‘Great Expectations’ (which she was too young to read) – I and my sis ‘chose’/were drawn to the books we had but they were telling of the situations we were in. I later decided an old dictionary suited me better (which recently some people wanted to ‘drown’/submerge/ruin) and my sis, well…

‘People’ have always ‘gifted’ me books they want me to be like or take notice of something in like an encyclopedia of ‘Alchemy’ i.e. masonic symbolism and Machiavelli’s ‘The Prince’ (another way of saying the modern masculanized version, Divine Child, of the The Princess/Daughter) but I prefer to choose my own; for example on on my many visits to Camden Market in London I only had a few minutes, so went into the indoor book market (takes up almost the whole ground level) near the Lock[e] (before the convenient fire and restructuring into a tardis type maze) and ‘said’ to the books that I wanted the one I was meant to have. I automatically went to a random area (can’t remember if they were in sections or jumble sale style mix), picked up a book, opened it at a random page and the only words in Italics (different/highlighted to the rest of the normal text) said ‘Hello Dolly’ (musical/song reference, written by someone also corrupting the Mother/Daughter story and sexualizing it). I still have that book and my dictionary, and ultimately they’re all I need unlike all the magi/witches/whatevers out there dependent on tools but that said I can makeshift if I have to ‘divine’ anything in a pinch, I’m an ‘oracle’/eye and a unicorn (the one horn/eye piercer of the veil, the ultimate self-driven living mount of the Goddess but also in Princess/Daughter form so mount and mouth) afterall and tools or ‘friends’ as I really see them [which are respected/appreciated] just help you focus; only people who have little to no ability rely on pomp, ceremony, regalia, perversion and control.

The separation and/or merging of the Mother/Daughter is very important to people and ‘people’ who want things to continue as they are, to get away with everything, like nothing happened, like its ok, downplay and hide everything.

Here’s an interesting song:

The lyrics have been changed multiple times to include ‘whisky’ (the mind confuser), ‘dollar’ (think Dorothy/Doll/Dor – hence the ‘eye’ on the separated/unattached capstone of the pyramid on the US dollar and a whole bunch of other symbolism for those who’ve followed the White rabbit – Alice in Wonderland reference – down the rabbit hole/opened pyramid/mountain i.e. secret knowledge for the initiated. Oz being the trickster/false magician, sleight of hand, illusionist, paper money over Gold, and her Silver shoes changed to Red for the Silver Screen version) and ‘pretty little boy’ (masculanization, modern version of the ‘Daughter’).

Alabama

Well, show me the way
To the next whisky bar
Oh, don’t ask why
Oh, don’t ask why
Show me the way
To the next whisky bar
Oh, don’t ask why
Oh, don’t ask why
For if we don’t find
The next whisky bar

I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whiskey, oh, you know why

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whisky, oh, you know why

Well, show me the way
To the next little girl
Oh, don’t ask why
Oh, don’t ask why

Show me the way
To the next little girl
Oh, don’t ask why
Oh, don’t ask why
For if we don’t find
The next little girl

I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die

Oh, moon of Alabama
We now must say goodbye
We’ve lost our good old mama
And must have whisky, oh, you know why

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

The “Alabama Song”—also known as “Moon of Alabama”, “Moon over Alabama”, and “Whisky Bar”—is an English song written for Bertolt Brecht by his close collaborator Elisabeth Hauptmann in 1925 and set to music by Kurt Weill for the 1927 play Little Mahagonny. It was reused for the 1930 opera Rise and Fall of the City of Mahagonny and has been notably covered by The Doors and David Bowie.*

Original version
The “Alabama Song” was written as a poem in idiosyncratic English for Bertolt Brecht by his close collaborator Elisabeth Hauptmann in 1925[1] and published in Brecht’s 1927 Home Devotions (German: Hauspostille), a parody of Martin Luther’s collection of sermons. It was set to music by Kurt Weill for the 1927 play Little Mahagonny (Mahagonny-Songspiel) and reused for Brecht and Weill’s 1930 opera Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny), where it is sung by Jenny and her fellow prostitutes* in Act I. Although the majority of all three works is in German, the “Alabama Song” retained Hauptmann’s English lyrics throughout.

*David Bowie the ‘starman’ used this song on his ‘I-Solar II’ Tour (the II being Sol’s twin). Was also released with ‘Space Oddity’.

*Remember prostitutes don’t symbolize prostitution in freemasonry and secret/mystery schools, though they do represent the ‘fall’ of the Divine Feminine and the fall of original reproduction into what we consider normal/natural reproduction/sexuality. They were the ‘blood’ (Red), menstrual blood, women and blood priestesses. Sacred sexuality which is about the ability to create, preserve and destroy i.e. the Mother, Daughter and Dark Mother which later became the Maiden, Mother and Crone (in a ‘chronological’ and wrong order in order to encapsulate regular women/control their way of life). Sacred sexuality is innocent sensuality, but has been perverted to make out its about having sex, sex rituals, orgies, live sex shows etc, making and downgrading the pure into more and more ‘earthly’ physical, heavy, lower, disconnected to/from the mental and indeed sex abuse is used to disassociate people from their feelings of personal identity/awareness (many prostitutes and sex related workers say they ‘disassociate’ from themselves/the situation to manage), to traumatise, to confuse, distract, compartmentalize and ultimately control. On a sidenote – when you see references to ‘red geraniums’ in ‘classic’ books that implies the character was ‘whorish’/untrustworthy etc like in ‘To Kill a Mockingbird’, when I was very young people used to tell me my name meant [Red] flower without telling me what the name really meant and indeed what even the Red flower was and really meant – using surface symbolism such as in modern religion makes it look very bad but it was a prayer flower used for the Goddess Kali/Dark Mother/Root Goddess/Prehistoric and probably why some still call me Tiger Lily (and others use the Lily for the French/English competition). That isn’t what my name means as I’ve since found, ‘I am’ the Daughter not the Dark Mother but since they knew they couldn’t turn me into the Mother (though they’ve certainly obsessed about it) because they had the Mother/My Mother and there’s only one incarnation at a time (like with the Slayer, there’s only one Slayer and it’s always her reborn and she has the her own unique blood connection to the Warrior Goddess/the First/the Dark Mother – the primal, primordial, source, the dark/secret – The Mothers back ‘home’). Unlike regular lineage it doesn’t inherit through breeding, genetic modification or even wishing i.e. ritual invoking (like people do for ‘avatars’) and this is why we’re so rare/sought after. I/Eye/Iris/Lily/Lotus (not A.I as some would like to make out) the pine-apple came to find the [corrupted/hurt/tricked/imprisoned] Mother Goddess here, leaving my Mother/everyone’s Mothers back ‘home’ to do so hence becoming the [fallen] Daughter. This is why current masons call me the ‘Princess in the Pyramid’, ‘Divine Child’, ‘Prince’ instead of ‘Princess/Daughter/Goddess’ above/outside the [now false] Mountain, remember the Mother Goddess used to encapsulate the Mountain/Earth but now it’s represented as a Mountain/Pyramid/Triangle of false hierarchy. The Daughter came, she found, she battled, she called home, she waited, kept battling, kept protecting, kept falling, kept battling, kept protecting, kept falling to bring what is in the dark to the light, changing/piercing reality to merge the seen and unseen, to get them to interact/talk, come out into the open, pull whats hidden in plain sight out of hiding but also put the sacred back into the dark where it belongs – the secret – the Mother – which has been abused beyond words – back into the hands of the Dark Mother/form of the Dark Mother. And now They’re here.

There’s a counter story ready and basically having the same ‘illuminati’ ending ready for/set in 2019 (when/after I was supposed to ‘die’ at 36, I’m a Winterborn so there’s crossover in the calendar year but by sometime in 2019) where ultimately the ‘coming’ ‘comet’ has no affect at all even after thousands of years of warnings and preparations by blood/breeding and genetic modification cults/labs and she lives ‘happily ever after’ with the ‘man’ she loves who she was unable to touch previously, and life goes on as if nothing happened, just dealing with the ‘endless struggle’ as usual instead of a dramatic change, they get to keep the Daughter whose come round to their way of thinking through ‘love’. Most recently reiterated in the Jupiter Ascending film, and changing Venus to Jupiter because Jupiter is more likely to take the ‘beating’/get in the way of the Ma-tri-X system or so some people ‘hope’/want to convey/persuade the Daughter to think. I came up with a character when I was 14 called Dark Angel based on my personality to be a fighter for the WWE (fight entertainment company with their ‘stables’), she ended up as the basis for Max in Dark Angel:

Similar to the use of characters Chyna and Lita in Relic Hunter and Dark Angel.

Goes well with the feeling many of us feel (and one of my favourite songs just before the show was released), who do their best but in the end just come to leave, and the game continues.

VNV Nation – Darkangel

Look at the flag of Alabama, what do you see? Yes it’s a rotated version of the English flag – Britain being the place the Daughter figure (e.g. my Mother and Gabrielle in Xena) is taken to be violated, turned into the Mother (but ultimately is saved by the Dark Mother – something they don’t realize or want to) and in the Xena story they ultimately turn Gabrielle back into a Daughter figure and Xena ‘dies’ becoming the Holy Ghost/Spirit (still the Dark Mother) who for the sake of the story stays with Gabrielle but in ‘reality’-meta-reality-other-secret-reality means she’s made invisible/changes/demoted/tricked/leaves/becomes less imposing/more ethereal/mythical. So they get to keep the newly empowered Daughter (who has the Dark Mother’s chakra[m]) who can work for them.

US state flags
The Red and White stripes were mentioned to me following my French visit post about people who knew I’d be visiting back in 2009 and I didn’t know they’d know. Those of the Red and White stripes (and different use of the lions) were glad I’d rejected that and as usual saw it as an association with them instead, begging friendship but making it look like me choosing them. The Red and White stripes is another way of referring to the English flag, which has also been used in the places in the following link interesting ways (like with the moon which is a satellite and reflector of the sun, for the Earth it can be called a smaller/second sun, a reference Sol’s twin but a false one hence its false association with the ‘feminine’ which is really everything/every cosmic body but epitomized by stars): https://en.wikipedia.org/wiki/St_George’s_Cross

(Interestingly though I’m not too surprised, is the use of it for Georgia and some people knowing without me telling them and highlighting that Rome/the current ‘pop[e]’ isn’t actually adverse to the Goddess nowadays, whilst Britain particularly England and Scotland still is.)

And of course the notorious Red Cross ‘charity’…

The song was written for a false Red&Gold (divinity) (and false useless ‘inheri[heir]tors’ thinking they’re royalty, as well as mixing up the Red – cosmic, and Earth – Blue/Green, to make Purple) place:

https://en.wikipedia.org/wiki/Mahagonny-Songspiel

The Little Mahagonny was based on five ‘Mahagonny Songs’, which had been published earlier in the year in Brecht’s collection of poetry, Devotions for the Home (Hauspostille), together with tunes by Brecht. To these five was added a new poem, “Poem on a Dead Man”, that was to form the finale. Two of the songs were English-language parodies written by Elisabeth Hauptmann: the “Alabama Song” and “Benares Song”. Using one or two of Brecht’s melodies as a starting-point, Weill began in May to set the songs to music and to compose orchestral interludes along the following pattern:

Song One | Little March | Alabama Song | Vivace | Song Two | Vivace assai | Benares Song | Sostenuto (Choral) | Song Three | Vivace assai | Finale: Poem on a Dead Man

The Little Mahagonny was first produced at the new German chamber music festival at Baden-Baden on 17 July 1927. Brecht directed, Lotte Lenya played Jessie, and the set-design was by Caspar Neher, who placed the scene in a boxing-ring before background projections that interjected scene-titles at the start of each section. According to a sketch published years later, they read:

-The great cities in our day are full of people who do not like it there.
-So get away to Mahagonny, the gold town situated on the shores of consolation far from the rush of the world.
-Here in Mahagonny life is lovely.
-But even in Mahagonny there are moments of nausea, helplessness and despair.
-The men of Mahagonny are heard replying to God’s inquiries as to the cause of their sinful life.
-Lovely Mahagonny crumbles to nothing before your eyes.

The song is written by ‘interesting people’ at an ‘interesting time’ as well, remember these are long term, very long term plans – a ’round’ in a game/battle – the wars of gods. Momo (the book, 1973, written by Michael Ende) and originally called ‘The Grey Gentlemen’ for example showed Brown-skinned Momo turning up out of nowhere, through a tunnel/hole/cave, and since no one wants to personally look after her they share her and say she can live in the amphitheatre. The song Alabama was written by a Beth/a-class Elisabeth Hauptmann (for Bertolt Brecht – who was focused on overt poli-tics rather than the symbolic/real rulers – so they had both sides, seen and unseen covered – and for those in the know the ‘hidden in plain sight’) who also co-wrote The Threepenny Opera starring a character of a name that one old influential and patriarchal family wanted me to have ‘Polly’ and as explained in the last post I made – an interview from Dr Salter done by Sott.net – they mention the PollyAnna Principle mentality of society (Anna being a Goddess connection too from the old Indian Annapurna aged/meaning 16 a reference/form of S[h]odashi the TriPura Sundari – or Lalita Tripura Sundari, both the and one of the Dasha (Ten) MahaVidyas (9 Kali/Dark Mothers forms completed made 10 as/by/of/with the whole Lalita, who were copied by later Durga’s imitations) who was then corrupted with the pairing of usurper Hinduism (male triad and fake ‘queens’ triad of Shaktism) with the ‘cradles of civilization’ where you also get Inanna/Ishtar. Annapurna keeps her food/plenty/fire/harvest/abundance connection in later Ishtar/Inanna versions in classical antiquity and by them completely even more corrupted/perverted/topsy turvy like ‘Mary’ style names, those names are often in the game/false Mountain rather than against/out of it). However, coming from a matrilineal line but who were corrupted by patriarchy I had to have an original not lesser/false Daughter name, because it means so much more to control the real thing. That said modern and ignorant but think they’re something masons in ‘sunnyland’ where we reside like to always call Mother by name instead of hers – Lalita (the original Creator, the G in their insignia – G standing both for Goddess and for ‘G’ as in ‘super’ from the Indian where you add ‘G’ at the end of the title to say ‘extra’ ‘super’ ultimate’, e.g. Mata Gi, Guru Gi, Master Gi – which they’ve lowered massively into ‘master’ and ‘grand master’.) They’ve always referred to her as Dolly instead of Lalita and have even consistently mispelled her name in multiple ways until I made them do it right every time and at other times call her ‘Molly’ or have someone standing near/passing addressed as ‘Molly’ instead. They refuse to acknowledge because they want the nicer Daughter instead, who they think will somehow give up the Mother for them the false ‘kin’ the manikins (especially those who’ve elevated/ascended/’rose’ – I’ll get to the ‘rose’ in another post – themselves to false god level and fear the Gods/Mothers) and if that doesn’t work will sacrifice herself [over and over again] and even the Mother [again].

Not happening and it’s too late anyway, so there motherf*ckers.

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

Overview
Set in Victor[y]ian London, the play focuses on Macheath*, an amoral, antiheroic criminal.

Macheath (“Mackie,” or “Mack the Knife”) marries Polly Peachum*. This displeases her father, who controls the beggars of London, and he endeavours to have Macheath hanged. His attempts are hindered by the fact that the Chief of Police, Tiger Brown, is Macheath’s old army comrade. Still, Peachum exerts his influence and eventually gets Macheath arrested and sentenced to hang. Macheath escapes this fate via a deus ex machina moments before the execution when, in an unrestrained parody of a happy ending, a messenger from the Queen* arrives to pardon Macheath and grant him the title of Baron.

The Threepenny Opera is a work of epic theatre. It challenges conventional notions of property as well as those of theatre.

* (Like Mac-beth, Scottish version.)

*Peach is an alternative softer/less knowing symbol for the apple, easier to control/abuse as a person. ‘You’re a peach… darl (doll), thanks [smirk/grin/wink or nowadays cough]’. ‘Life’s a peach’ goes well with the Pollyanna Principle and the story of the girl who played the glad game ‘gladly’ making the best of everything, rose tinted glasses, letting them get away with it – not intentionally but because people are taught to make the best of it and let the rest take care of it/themselves even if you’re using them, that can’t be helped, that’s just life. Bad things happen, then they pass, and look less bad over time (with revisionism, advertising and collective memory loss). Don’t worry it’ll all work out but really continues. ‘Keep Calm and Carry On’ with the [false] crown over it – an inversion of the Dark Mother in the book Aunt/Spinster Polly whose way would have actually been better for Pollyanna. The name wouldn’t have suited me for that reason but also because I’m not Dark Mother (and remember the Daughter and Dark Mother titles are honourary ‘Mother’ titles in that they don’t imply creative ability but are still carers/protectors.) Sorry (not) but I’m an ‘Angry [multi-element]Bird’ who was/is properly pictured as Red [fire/blood/star/divinity] though improperly portrayed as male 😉 and he does save the birds who can’t fly anymore because they’re so glad to live in glad/happyland society which they think is safe with all their rules/regulations/’events’ and then from the pigs/false security who steal their eggs/children/creative principle, very Animal Farm style.

*False ‘queen’ – Victory and Beth. Victory being the traditional/older reference for false queens (and a fusion from India-to-Britain).

(Think on why the Goddess figure – including masculanized figures like Superman – in superhero stories are often paired with/relationship wise a military or journalist male who doesn’t usually have her best interests at heart, but wants to keep her for [secret] ‘society’s agenda too.)

I hold the scythe, I am fate, I am the unicorn, I reign myself, the chooser of divinity and I was both chosen and have chosen myself the Daughter, I have found the Mother and signalled the Dark Mothers return and became the Dark side of my Daughter self. I rose from the ashes and I am the last. Death is my gift. Real Death not the false death of this poisoned planet. Death is a blessing/honour for the good and punishment for the bad. Death/She is beautiful, She is both radiant and dark. You’ve lost. Do yourselves a favour and surrender.