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Post by puzzled on Dec 16, 2008 6:52:41 GMT -5
I found a document that contains insights into several different areas that I've been researching. It offers a description of both the Lily and the Winding Stairs as understood in masonry. www.gknape.com/pdf/Chapter%206%20dbl.pdfThe Temple and the Word - Knape The Winding StairIn the Legend, the Winding Stair is a spiral flight of 15 steps (consisting of three flights of three, five, and seven stairs), to a place representing the Middle Chamber of King Solomon’s Temple. The stair is a method of ascending from one floor or chamber of the Temple to another. In earlier times, dating back to at least the Egyptian rites of Isis, it was portrayed as a ladder. The symbol of the ladder is still used in Freemasonry and in the Kaballah. The progress from one stage of spiritual growth and development to the next has often been portrayed in two dimensions, producing flat symbols such as the ladder. However, this upward progress is actually a spiral. If this spiral is portrayed in three dimensions, we get symbols such as the winding stair and lotus flower. [So the Lily and the Helter Skelter stairway are the same thing?!] As a symbol of the upward way, the winding stair can be applied to both the Tabernacle and the Temple. In the Tabernacle, the winding stair represents the progress up the spine or spinal nadis. The spinal column has traditionally been said to have 33 vertebrae, 6 and the vortex of each spinal center emerges from the vertebrae. Thus, in some interpre- tations, the rungs of the ladder represent the vertebrae, while in others the “ladder of Lights” represents the centers. If we accept the vertebrae interpretation, then the three, five, and seven represent the number of steps one must take up the ladder of the spine before a mason can pass into the middle chamber of the Tabernacle. It is a symbolic representation of how high kundalini must rise up Susumna before one can take the second initiation. Since we are considering the upward movement of kundalini, we will start counting at the base or kundalini center, located between the Sacrum and the Coccyx. Since three, five, and seven equals fifteen, we will take fifteen steps up the spine, and arrive between two vertebrae below the heart center, but within its aura. When the rising kundalini energy reaches this point, it begins to energize and activate the heart center. The note of the soul at the center of the heart center begins to sound, the vortex begins to swirl, the chakra becomes active, and the incarnate consciousness experiences mystical union with his or her environment. Thus, in order to pass into the middle chamber, the freemason should have raised her or his kundalini up into the aura of the heart center, and begun the process of activating that organ of at-one-ment. However, this is the lower, Tabernacle interpretation of the Winding Stair. The higher correspondent represents a spiral progression through the Temple of Solomon, the Light Body of the Soul. This spiral represents the opening of the petals of the egoic lotus, in an upward and inward moving vortex. (This is the Egoic Lotus or Lily. I couldn't find one that was labeled.) The Egoic Lotus is a symbol of the Causal Body. Its unfoldment represents the development of the consciousness, and the developing control of the Soul over the body, emotions, and mind. In most of humanity, the Egoic Lotus includes three sets of symbolical petals. One set for the physical plane, one for the astral plane, and one for the mental plane. Each set has three petals, a knowledge petal, a love petal, and a sacrifice petal. The petals unfold and become active in a spiral formation, beginning with the knowledge, love and then sacrifice petals of the physical plane, and moving upward and inward. The inner, fourth set of petals are related to knowledge, love, and sacrifice of the Soul Body on the buddhic plane. They remain inactive, existing only in potential, until the incarnate Soul identifies with and as itself, and takes up its life on the buddhic plane. In either case, whether we are counting nine or twelve petals, there are insufficient petals or “rungs” in the Egoic Lotus to add up to the sum of three, five, and seven. Thus, in this case, we must consider three, five, and seven individually, and not their sum. That each number is itself significant is indicated by the fact that each of them (three, five, and seven) is a prime number. If we count each “step” from the beginning, then the first step of three brings us to the sacrifice petal of the physical plane. The sacrifice petal is the third and last petal related to physical-plane experience. It unfolds gradually, through physical experience, as the incarnate consciousness moves from desire to aspiration. It represents the offering of the physical body on the altar of desire. This sacrifice leads from desire to aspiration, and thus the opening of the third petal of the Egoic Lotus can be said to be the beginning of the spiritual path. In Freemasonry, the unfoldment of this petal is represented by the completion of the first initiation. The second step of five brings us to the love petal of the astral plane. This love petal is the second of the three petals related to astral-emotional experience. It unfolds as the consciousness moves from love of temporary physical and astral forms, to love of the permanent Divine Realities. In Freemasonry, the unfoldment of this petal is represented by the work of the second initiation. The third step of seven brings us to the knowledge petal of the mental plane. This knowledge petal is the first of the three petals related to mental experience and the development of the consciousness in the mind. It unfolds as the consciousness moves into service to humanity. In Freemasonry, the unfoldment of this petal is represented by the beginning of the third initiation. At this stage, the seekers service is no longer colored by the desire for any sort of personal return, and she or he is becoming a true servant of the One Life. With right aspiration in meditation, and manifestation through the magic of consciousness, the Speculative Mason can begin the true work, open the inner petals, reveal the Jewel in the Egoic Lotus, and become a Spiritual Mason. The Ark of the Covenant. The Jewel in the Lotus
In the Temple Legend, the Ark of the Covenant in the Inner Chamber represents the radiant jewel in the center of the Egoic Lotus. [The one that my avatar is flying around with!] This jewel rests within the three inner petals that remain potentials until they unfold. These three petals are the instrument for the conscious expression of the Three Aspects of God, by the Soul on its own plane. Those aspects are: • The Mother Aspect, expressed through the Knowledge Petal • The Child Aspect, expressed through the Love Petal • The Father Aspect, expressed through the Sacrifice Petal The revelation of the final three petals [Fleur de Lis?] occurs at the true third and fourth initiations. Their opening liberates the central life of the Causal Body and frees the Soul from the wheel of rebirth. In this context, these three petals of Knowledge, Love, and sacrifice are represented by the three Master Masons who raise the Grand Master. When the Soul is freed from the Wheel of Rebirth it symbolically “rises to heaven” and takes up residence in its light body on the buddhic plane. This was represented in the Egyptian Mysteries by the resurrection of Osiris and in Freemasonry by the Raising of Grand Master Hiram Abiff. [Djed pillar?]
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Post by puzzled on Dec 16, 2008 7:01:28 GMT -5
This last posting seems to tie those symbols together quite well, and I feel comfortable that this answers the question as to what the symbolism is communicating. However, I still don't feel that I've come any closer to answering the question as to why Lily is significant to Paul, and why he personally is using the symbol. I would appreciate any opinions or ideas for new directions...
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Post by puzzled on Dec 16, 2008 7:51:17 GMT -5
From Chapter 8 in the same document. This section includes the Quarry Men, which makes me believe we are on the right track: www.gknape.com/pdf/Chapter%208%20dbl.pdfBuilders of Impermanent Forms The Temporary House of the Soul or Tabernacle is the Temple in which the Soul or self resides during incarnation in the three lower worlds. The builders of the Tabernacle construct the “impermanent” forms of the mental, astral, physicaletheric, and physical-dense bodies. These builders are symbolically portrayed in the legend by workers in impermanent materials, including: • The Herdsmen: These workers nurture and gather the substance from which the fabric of the Tabernacle is built. • The Weavers: These craftswomen clean, card, spin, dye, and weave the gathered substance into the fabric of the Tabernacle. • The Woodsmen: These workers nurture and gather the substance from which the supporting frame of the Tabernacle is built. • The Carpenters: These craftsmen hew, join, and finish the supporting frame and wooden furnishings of the Tabernacle. [We've been told that the Walrus isn't a Carpenter]Thus, the builders of the Tabernacle can be divided into those who: • Gather the substance • Shape the substance of the structure and form of the temporary house or three-fold persona. Builders of Permanent Forms The Temple of Solomon is the Permanent House of the Soul in which the Soul or self resides. The builders of the Temple construct the “permanent” forms (ideas or archetypes) of the Buddhic Plane. These builders are symbolically portrayed in the legend by workers in permanent materials, including: • The Quarrymen: These relatively unskilled workers gather the substance from which the fabric of the Temple is built. • The Stone Masons: These skilled craftsmen shape and smooth the gathered substance, and place it into the fabric of the Temple. • The Miners: These workers gather the substance from which the tools of the work are built. • The Smiths: These skilled craftsmen fire, cast, and pound the gathered substance into the tools of the Great Work. Thus, the builders of the Temple can also be divided into those who: • Gather the substance • Shape the substance of the structure and form of the permanent house or light body of the Soul. Gathering and shaping the substance of the temples is the task of those intelligent beings of substance who, in their myriads, constitute the body of the Great Mother, the Queen of Heaven. These beings of substance respond to the intent conveyed to them by the supervisor by gathering and shaping substance into forms. Each works in its own place, on its own plane, in accordance with their position and function in the greater life of which they are a part. Together they constitute the Hosts of Heaven. However, while those Hosts have been generically referred to as “angels” that is not really a proper term in this case. In the Bible, the world “angel” refers to those beings of substance who act as intermediaries between God and humanity. In modern mythology, these messengers are often portrayed as deceased humans, but this is not correct. These beings of pure substance are not and never were human. Where a human being is an evolving consciousness, the devas or builders are a parallel evolution of substance. Unlike saints, they do not have halos. They are the halo or body of light. These bodies of light do not have edges or surfaces, and thus have no humanoid or other shape. There are a number of levels to this evolution, and a variety of types or functions within it. They may be thought of as cells in the body of the Great Mother, each having its place in the whole and together constituting the substance of the One Life. Those commonly called angels are messengers between the Divine and humanity, and might be thought of as the nervous system of the Divine Mother. Those portrayed as “builders” are the creative intelligences who construct the shape and form of everything that exists. The building process generally proceeds as follows: • The Architect presents the Plan to the Supervisor of the Work. • The Supervisor of the Work conveys that Plan to the appropriate Builders of Permanent Structures. • The Builders of Permanent Structures gather the appropriate buddhic substance, and shape it into an idea or archetype. • The Supervisor or Soul then conveys the idea to the appropriate builders of the mental plane. • The builders of the mental plane gather the appropriate mental substance, shape it into a thought-form, and organize that thought-form into a plan of action. • The Supervisor then instructs the builders of the astral plane to gather the appropriate astral/emotional energy, and hold it in readiness. • The Supervisor conveys the plan of action to the appropriate builders of the physical-etheric plane. • The builders of the physical-etheric plane gather the appropriate physicaletheric substance and shape it into a physical-etheric form. • The Supervisor then focuses the astral/emotional energy on the physicaletheric form, and releases it. The resulting torrent of force drives the physical-etheric form downward into appearance in the physical-dense world of affairs. This is a basic outline of the process by which all forms are created. At each step: the Architect provides the plan, the Supervisor conveys the plan to the builders, and the builders give shape and form to the plan. Thus, the builders are the substance which, by its intelligent activity, creates all form. In the next chapter we will explore some of the consequences when the consciousness or Soul incarnates in and identifies with that form. As already discussed, King Hiram provided both the greater builders (the workers in stone or permanent materials) and the lesser builders (the foresters who cut and carpenters who shaped the timber, or workers in impermanent materials). King Solomon provided Purpose and wages, Hiram Abiff related the purpose to the workers as a Plan, and King Hiram provided the intelligent activity or Substance, out of which the Temple was built. Through this process, King Solomon’s Purpose is made manifest, Hiram Abiff is raised, and King Hiram’s substance is transformed. This is the process of spiritual growth and development.
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Post by puzzled on Dec 16, 2008 9:20:52 GMT -5
Hey - I even found the Three Temples!!! www.gknape.com/pdf/Chapter%2013%20dbl.pdfWhile this process involves different Aspects of the One Word, it will be easier for us to understand if we examine it from the perspective of the Three Aspects, the Three Temples, and the Four Elements.The Threefold Word and the Four Elements The biblical passage at the beginning of this chapter is not an abstract religious sentiment. It is an accurate description of the nature of the universe. In a very real sense, everything is sound, the sounding Word of God differentiated into infinite shape and form. In order to explain this, we must first correct some common misunderstandings about the nature of sound. Sound is usually depicted as a two-dimensional wave. The height of the wave (from the central base line) represents amplitude or volume, and the length of the wave (the distance from crest to crest) represents frequency or rate of vibration. The higher the wave the louder the sound, the longer the wave the deeper the sound. The problem with this is that physical-dense sound waves are three-dimensional and depicting them in two dimensions is a distortion. While the two dimensional illustration includes height and width, it lacks depth. Without depth one cannot see that the wave is actually a spiral. An additional problem is that the illustrations typically show sound waves as they appear from a single location. This makes the depth of the wave appear more regular than it actually is. Sound radiates out from its point of origin in a widening spiral, with higher waves at the beginning and lower waves at the end. [LILY WAVE!!] In addition, we must add dimensions when discussing the lost Word and esoteric sound. The Word exists above the physical-dense world of affairs and is not limited to three dimensions. Thus, even when we add “depth” our illustration will still be inaccurate. One of the best three-dimensional illustrations is the vortex known as “Babbitt’s Atom.” This illustration is the most accurate because it takes the other elements into account. As mentioned above, there are four basic elements: • Esoteric Sound or Air • Esoteric Color or Fire • Esoteric Vibration or Water • Esoteric Light or Earth Esoteric Sound includes three primal motions. In Babbitt’s Atom these are depicted as: • The Straight Line (between the “Vortex” and the “Torrent”) • The Spiral • Rotation (of the “Atom” on its axis) Each of these three primal motions is also associated with one of the Three Aspects of Divinity. • Spirit (Divine Will) moves in a straight line. • Consciousness moves in a spiral. • Substance moves in a circle. Each of these three primal motions dominates in one of the three elements. • Esoteric Color is dominated by straight motion. • Esoteric Vibration is dominated by spiral motion. • Esoteric Light is dominated by circular motion. Each of these three primal motions or elements also predominates on one of the three lower worlds. • Esoteric Color or Fire predominates on the mental plane. • Esoteric Vibration or Water predominates on the astral/emotional plane. • Esoteric Light or Earth predominates on the physical-etheric plane. Esoteric Sound or Air predominates on the buddhic plane (the realm of the Soul, above the mental plane). When we put all this together, it strongly suggests that the Word really did come first. • The Three Aspects of Divinity emanate from the One God who spoke the First Word. • Color, Vibration, and Light flow out of Sound (just as all the visible colors grow out of white light).At this point, we have stretched the Father – Mother – Child analogy about as far as we can. It is time to return to the symbol of the magnet, and recognize that all three aspects exist simultaneously, in balanced relationship. There is, in actuality, only one creative Divine Word. The appearance of a different word, motion, or element for each Aspect is a product of our perception or perspective. It would be more correct to say: • The One Word has attributes of all Three Aspects within it, and at different points in its sounding different Aspects appear to predominate. • Esoteric Sound has the attributes of all four elements within it, and on different planes different elements or motions predominate.So long as we are living in and identified with our persona (mind, emotions, or body) we are subject to Substance, including both its rotary motion and its differentiation of intent into forms. The results include a tendency to perceive differences rather than relationships. However, we can introduce the subject of the Magic of Substance here if we further separate it into levels: • The Tabernacle, or building the persona • The Temple of Solomon, or building the Light Body of the Soul • The Temple of Ezekiel, or building the Light Body of SpiritThe Three Temples!
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Post by iameye on Dec 16, 2008 9:52:27 GMT -5
This last posting seems to tie those symbols together quite well, and I feel comfortable that this answers the question as to what the symbolism is communicating. However, I still don't feel that I've come any closer to answering the question as to why Lily is significant to Paul, and why he personally is using the symbol. I would appreciate any opinions or ideas for new directions... you may find this interesting: Solomon's Seal Polygonatum commutatum Lily family (Liliaceae) Polygonatum (King Solomon's-seal, Solomon's Seal) is a genus of about 50 species of flowering plants within the family Ruscaceae, formerly classified in the lily family Liliaceae. seal of solomon like a VW? www.cabiz.net/heartlink/merkaba_dna.htmThe Mer-Ka-Ba is the vehicle of Light mentioned in the Bible by Ezekiel.
"Mer" means Light. "Ka" means Spirit. "Ba" means Body.
The Merkaba rotates when activated. Mer-Ka-Ba means the Spirit / Body surrounded by counter-rotating fields of Light, (wheels within wheels), spirals of energy as in DNA, which transports Spirit / Body from one dimension to another.
Merkaba can take on many forms of light. It is made up of two star tetrahedrons.
The Merkaba can connect into the grid systems of the earth, the Christ Grid and other Grid Systems.
The Merkaba serves to balance all chakras, and lead one into whole-brain synchronization.the top point goes to.... richard merkin! wearing the crown!
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Post by iameye on Dec 16, 2008 13:19:07 GMT -5
"A paper recently presented on October 25, 2006, by independent researcher Judy Kay King at the Second International Congress for Young Egyptologists in Lisbon, Portugal, is now available at www.isisthesis.com Selected by the Congress’ scientific commissions, King’s paper and approximately 55 other scientific papers, including those by prominent members of the International Scientific Commission, such as Professor Erik Hornung of the University of Basel, Professor Rosalie David of the University of Manchester, and Professor Ian Shaw of the University of Liverpool, introduced research related to the theme “Erotica, Erotism and Sexuality in Ancient Egypt.” Entitled “Biosemiotics in Ancient Egyptian Texts: The Key Unlocking the Universal Secret of Sexuality and the Birth of the Limitless,” King’s paper explains the reproductive mystery that has been manipulated by biopower from ancient Egypt to the modern era. This secret is commonly understood by 21st century scientists as viral sex, that is, horizontal gene transfer (HGT) mediated by a virus or the exchange of DNA between two different species—human and viral. The difference between modern scientific knowledge and Egyptian science is that the ancient texts claim HGT and transformation happens after a human dies. Accordingly, when biological elements escape the human body at death, Egyptian hieroglyphs and art support HGT is a potential evolutionary option, if one understands the signs. King said the texts advise the Deceased to merge with the Sun-god or the Light, the initial sign for HGT mediated by a virus called bacteriophage Lambda. The virus’ lifestyles mirror religious themes such as the dying/rising god, virgin birth, the brother rivalry, the great flood and so on, pointing to viral genetics as the origin of religious ideas. King summarized three points: “First, the Egyptian afterlife is the quantum world of particles; second, the Sun-god Osiris is a complex virus with two lifestyles mirroring historical religious themes; and third, other Egyptian deities are signs for viral and bacterial genes and proteins.” Biosemiotics is all levels of biological sign processes. This transdisciplinary science holds that biology is the basis of all signs and sign interpretation, as Egyptian texts support. Ancient religious signs such as the Star of David, the cross or swastika, the ankh, and the ouroboros match DNA and protein formations found in HGT and lytic transformation. As King explains, “When four major ancient signs are observable in one specific biological process involving viral DNA, it is reasonable to pay attention to the evolutionary message.
In 1944, Avery, Macleod and McCarty proved genetic material can be transferred from dead cells to live cells, while recent research (Sorensen et al. 2005) shows that HGT mediated by a virus occurs with the human cell-type. The Human Genome Project revealed the impact of ancient viruses and bacteria on human evolution, and some scientists believe the virus, one of the first life-forms four billion years ago, invented DNA. In view of modern research, the Egyptian secret of eternity that HGT and transformation can happen after death and that a virus is the source of life seems at worst possible and at best an answer to questions posed by philosophers and theologians about the original meaning of the idea of God. Of interest to biologists and physicists is the surprising textual evidence framed in modern terms, describing viral transformation via a DNA wormhole with the dynamics of a micro Einstein-Rosen bridge. King said, “The transdisciplinary nature of Egyptian knowledge is a mirror with a triple reflection—religion, biology and physics, while the process itself points to the conversion of matter to energy.[/i]””[/color] www.h-net.org/announce/show.cgi?ID=153897?
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Post by B on Dec 16, 2008 13:31:25 GMT -5
puzzled wrote: "[We've been told that the Walrus isn't a Carpenter]"He just meant that even though he's 'back from the dead', he's not Jesus, imo. The merkaba is your spirit body. It spins, and when you travel in it on the astral levels, you look like a bubble: Dorothy lands in Munchkin land www.youtube.com/watch?v=TP_wx0qrKu0Glenda here, is "a witch" because she knows consciously, that she can travel in her merkaba on the astral planes. ('Though it must be said, that is where she abides.) Dorothy, on the other hand, spiraled up to the astral level by chance, having been temporarily knocked unconscious, when a door struck her head. In essence, Dorothy has had a "Near Death Experience", though it could be seen as just a dream. Dorothy, as an unevolved human, is neither a good witch, nor a bad witch, and is protected by Glenda, as shown here: Wizard of Oz Glenda and Witch of the Westwww.youtube.com/watch?v=oz50_MWWKwgso Glenda acts in the role of "an angel". Human beings, as a rule, are not aware of their astral body. Their merkabas are like empty houses: the lights are on, but there's nobody home, because they are not "at home" when in their normal awake state of consciousness. At night, as they dream, they go out of body, but again, for the most part, the journey is not consciously driven by the being in the astral body. One could compare it to being a passenger in a car, as opposed to being the driver. What is needed is for the person to learn to be aware enough to take the wheel. I just want to add that one need not be a mason to do all this. In fact, I would have to think that being a mason would detract from the learning experience, to some degree, as it may mislead individuals to mistake the blueprint for the actual experience, just as some people go to church, but never experience spiritual awareness. How this ties in with PID/PWR is that the appearance of the Beatles in the mass consciousness was designed to begin the awakening of the populace en masse to their awareness of having been part of the Creator prior to their inKAnations as HUmans, or at least to be reminded of their prior incarnations as part of a long chain, or spiral, of individuals going back to their point of origins as "Earthlings" at any rate, so as to then be able to "remember" the "Oz like" "Garden of Eden" from whence, by virtue of their predecessors, they came.
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Post by iameye on Dec 16, 2008 14:25:52 GMT -5
puzzled wrote: "[We've been told that the Walrus isn't a Carpenter]"He just meant that even though he's 'back from the dead', he's not Jesus, imo. The merkaba is your spirit body. It spins, and when you travel in it on the astral levels, you look like a bubble: Dorothy lands in Munchkin land www.youtube.com/watch?v=TP_wx0qrKu0Glenda here, is "a witch" because she knows consciously, that she can travel in her merkaba on the astral planes. ('Though it must be said, that is where she abides.) Dorothy, on the other hand, spiraled up to the astral level by chance, having been temporarily knocked unconscious, when a door struck her head. In essence, Dorothy has had a "Near Death Experience", though it could be seen as just a dream. Dorothy, as an unevolved human, is neither a good witch, nor a bad witch, and is protected by Glenda, as shown here: Wizard of Oz Glenda and Witch of the Westwww.youtube.com/watch?v=oz50_MWWKwgso Glenda acts in the role of "an angel". Human beings, as a rule, are not aware of their astral body. Their merkabas are like empty houses: the lights are on, but there's nobody home, because they are not "at home" when in their normal awake state of consciousness. At night, as they dream, they go out of body, but again, for the most part, the journey is not consciously driven by the being in the astral body. One could compare it to being a passenger in a car, as opposed to being the driver. What is needed is for the person to learn to be aware enough to take the wheel. I just want to add that one need not be a mason to do all this. In fact, I would have to think that being a mason would detract from the learning experience, to some degree, as it may mislead individuals to mistake the blueprint for the actual experience, just as some people go to church, but never experience spiritual awareness. How this ties in with PID/PWR is that the appearance of the Beatles in the mass consciousness was designed to begin the awakening of the populace en masse to their awareness of having been part of the Creator prior to their inKAnations as HUmans, or at least to be reminded of their prior incarnations as part of a long chain, or spiral, of individuals going back to their point of origins as "Earthlings" at any rate, so as to then be able to "remember" the "Oz like" "Garden of Eden" from whence, by virtue of their predecessors, they came.The Hesperides, the spirit-beings associated with this tree, its apples, and its serpent, get their name from Hespere in Greek which means evening, and that signifies the west where the sun sets. This matches the Genesis account which describes civilization developing to the east of Eden. A return to Eden would mean traveling west. The Greeks put the Garden of the Hesperides, with its serpent-entwined apple tree, in the far west. Some mythologists have mistaken the Hesperides for guardians of the tree, but they certainly are not. Their body language, their easy actions and their very names serve the purpose of establishing what kind of a garden this is: a wonderful, carefree place. The names of the Hesperides describe what the garden is like. It’s a land of soft starlight, gold for the taking, perfect health, and wondrous beauty. Apollodorus gives four different names for the Hesperides: Aegle (Dazzling Light), Erythia (Red Land), Hesperia (Evening Star) and Arethusa (Water Fountain).8 The sound of a water fountain is one of the most peaceful sounds. What an enchanting and delightful place! The Hebrew word for Eden means "to be soft or pleasant," figuratively "to delight oneself." T he Garden of the Hesperides is the Greek version of the Garden of Genesis.
Connecting Zeus and Hera with the Hesperides automatically connects them with the serpent and the fruit tree with which they are always represented." www.solvinglight.com/features/athenaandeve03.htmand Draco the dragon, or serpent, guards the garden...or did until Jason and the Argonauts slayed him.....
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Post by puzzled on Dec 16, 2008 14:47:22 GMT -5
Iameye - that viral information is over my head, but I think you're on to something important there. I will have to read more about it and try to understand the HGT process. I do agree with Egyptian symbolism is much deeper than so far, has been given credit. Laird Scranton has made some progress working in this area, although when I read his books, he hadn't put it all together yet, but he is finding clues in the Dogon language and mythology, as they are distantly related: John Anthony West interviews Laird Scranton: Letter B: After reading all that stuff last night, I agree with your conclusions! Ah...marital bliss. Maybe we should have gotten hitched after all?
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Post by puzzled on Dec 16, 2008 14:58:00 GMT -5
Iameye:
This reminds me of a bible word-study I participated in years go. We were studying out the scriptures related to "Lucifer" (of which technically, there is only one) and my friend had disassembled all the words into their origins, and it was her feeling that the "Fall From Grace" that Adam and Eve suffered was not a removal from a worldly garden, but that he/they had been cast-down from another place or "realm." So the reference that talks about Lucifer being great and then falling was talking about Adam and NOT Satan, as the Christians have interpreted it.
So Adam and Eve lived in a happy place of peace, but after our acquisition of knowledge (of what I'm not sure yet, as this gets into a lot of deep areas - maybe HGT?) they became more "dense" and arrived in this world of ying/yang, life/death..of duality.
And it has been too many years ago, so I don't have my notes any more.
So Mr. B:
Can I move back there today - Because I am really tired of this place! Or can we only visit there in our sleep or during meditation?
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Post by iameye on Dec 16, 2008 17:50:18 GMT -5
Draco the Dragon is situated between two of the best known constellations in the sky, Ursa Major and Ursa Minor
Hillmen, Hillmen, Hillmen, Hillmen. Oh, Oh. Oh, Oh. Hillmen Come Down From The Lava. Forging Across The Mighty River Flow. Oh, Oh. Always Forever, Only So You Don't Worry Your Pretty Little Head. Ursa Major......Ursa Major...... Hillmen, Hillmen, Hillmen, Hillmen. Oh, Oh. Oh, Oh. Hillmen Bring Garments, Spices. Carrying Trinkets, Silk And Precious Stones. Oh, Oh. Exotic Legends, Only So You Don't Worry Your Pretty Little Head. Hillmen, Hillmen, Hillmen, Hillmen. Oh, Oh. Oh, Oh. Hillmen Are Sworn To Allegiance. Living A Life Of Silent Dignity. Oh, Oh. For Your Protection, Only So You Don't Worry Your Pretty Little Head. Ursa Major......Ursa Major...... The Hillman...... Living In The Higher Reaches. [/i]
Paul McCartney Pretty Little Head
so I was watching the history channel, maybe yesterday and they has a show on the knights templer, who's red cross can be linked with the pirate's Jolly Roger, skull and crossbones
navigators extraordinaries! I wonder if they used the Celtic cross? and were they sailors first?
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Post by puzzled on Dec 16, 2008 18:19:51 GMT -5
Or maybe they even used an Antikythera Mechanism?
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Post by puzzled on Dec 16, 2008 19:46:52 GMT -5
Letter B:
I agree that regarding the Carpenter issue that is a reasonable explanation. But when I saw "Carpenter" come up on the list with "Quarrymen" it made me think that there could be another code being used.
Remember this question?:
Question:
Oh, and why is the Walrus not a Carpenter?
Answer:
Because the fireman is no mason, silly..
JL
I could speculate all day I guess, but I still don't know what that means.
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Post by iameye on Dec 16, 2008 20:04:52 GMT -5
Letter B: I agree that regarding the Carpenter issue that is a reasonable explanation. But when I saw "Carpenter" come up on the list with "Quarrymen" it made me think that there could be another code being used. Remember this question?: Question: Oh, and why is the Walrus not a Carpenter? Answer: Because the fireman is no mason, silly.. JL I could speculate all day I guess, but I still don't know what that means. I dunno, but the wording placement of fireman and walrus are suspect negative or vice versa
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Post by sunsoflight on Dec 17, 2008 12:48:24 GMT -5
I just stuck this post here because it doesn't deserve a thread devoted to the issue. In The Fireman video "Sing The Changes" there is a street light with different symbols. The words "Kiss Me Quick" appears. This is in the official video. Just a couple of references to that phrase. Elvis - Kiss Me Quick ...and a movie in 1964 Kiss Me Quick (1964), produced by Harry Novak, is generally considered one of the better "nudie cutie" films. The plot, such as it is, involves an alien, Sterilox (who greatly resembles Stan Laurel in his mannerisms), from the "Buttless" galaxy being sent to Earth in order to find the perfect woman who will be used to create a race of servants. Sterilox is teleported into the lab of a mad scientist by the name of Dr. Breedlove, who offers Sterilox a number of luscious women to choose from. The highlight of the movie involves a bizarre dance number where three of Breedlove's women gyrate to rock music. www.imdb.com/title/tt0058264/
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Post by puzzled on Dec 17, 2008 14:17:05 GMT -5
Thank you for that info Sun. I have never seen that movie - they used to play his other movies on tv, but not that one. Now I have to see it!
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Post by sunsoflight on Dec 17, 2008 14:52:22 GMT -5
You're welcome, puzzled.
Elvis had a song with that title but the movie is entirely separate and he isn't in it. Sorry, didn't explain it well.
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Post by puzzled on Dec 17, 2008 15:12:14 GMT -5
Oh I understand now. No wonder I am having a hard time searching for it. Thanks again.
*Edit - and wouldn't you know, can't find it anywhere. If someone locates a streaming link, would you post it please? Thank you.
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Post by puzzled on Dec 17, 2008 15:57:20 GMT -5
In an octupus' garden in the sea.... Sea Lily Researchers in Japan have finally observed living larvae of a sea lily, a marine invertebrate with a 500-million-year fossil record. The finding supports a century-old hypothesis about how the vertebrate nervous system evolved. Until now, marine scientists could only speculate about the larvae of this most-primitive echinoderm, a group that also includes starfish and sea urchins. Because echinoderm larvae and vertebrate embryos share some features, such as the formation of mouth structures, echinoderm larvae have been of particular interest to developmental biologists. However, most of the 80 species of sea lilies found worldwide live on inaccessible, rocky slopes in the deep ocean, some as deep as 8,000 meters. Although sea lilies are animals, they look like plants because they attach to the sea floor by a stalk. One species, Metacrinus rotundus, lives at relatively shallow depths of 100 to 150 m off the coast of Japan. Shonan Amemiya of the University of Tokyo in Kashiwa was developing ways to keep M. rotundus adults healthy in aquariums when he discovered that their sperm and egg cells always mature in September. After pinpointing this spawning period, Amemiya and his colleagues collected adult males and females from the ocean as they were just about to reproduce. In the laboratory, the scientists succeeded in raising the resulting larvae for 10 days. The researchers describe their observations in the Jan. 9 Nature. After 31-1/2 days, the 0.6-millimeter-long, free-floating larvae have bands of tiny hairs, or cilia, running sinuously down their fronts and backs. In other echinoderms, this larval form—called an auricularia—has interested scientists since they first discovered it over a century ago. In 1894, marine biologist Walter Garstang suggested that the primitive ciliary band, which harbors neurons, evolved into the dorsal nerve cord of vertebrates. "We were most excited when we found that the sea lily embryos developed into auricularia-type larvae," says Amemiya. Since sea lilies have such ancient roots, the observations reveal what the echinoderm's ancestral larvae probably looked like and support Garstang's hypothesis, says Amemiya. Identifying the sea lily's larva is a "major advance," says Richard J. Mooi of the California Academy of Sciences in San Francisco. But he cautions against making broad conclusions about echinoderm evolution. M. rotundus may not even represent all members of the stalked crinoids, the class to which the species belongs. The new findings, however, may help ecologists learn how sea lilies reproduce and disperse. "It's tough to work on these animals," says Charles G. Messing of the Nova Southeastern University Oceanographic Center in Dania Beach, Fla. www.phschool.com/science/science_news/articles/stalking_larvae.html
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Post by puzzled on Dec 17, 2008 16:14:42 GMT -5
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Post by puzzled on Dec 17, 2008 19:55:50 GMT -5
I found this English artist Luka Bloom, who seems to have a fetish for lilies and water: Lily In The Garden lyrics by Luka Bloom I lie under the sky Dive into the sea I live in the forest Under the palm treeI wake up every morning Birds sing to me Somewhere in the distance Is my friend, my friend LilyLily paints in the garden Word pictures of the mind About her sea kingdoms And the preciousness of timeLily in the garden Do as you do Lily in the garden You ring true Her footsteps in the garden Leave an imprint in the grass Each step forward Is an imprint to the past She'll go into the world She'll be going soon She'll tell us all she learned In her mother's wombLily in the garden Do as you do Lily in the garden You ring true I found this commentary at one of Luka Bloom's fansites. I found the conversation rather amusing considering the particular words used: > > There is one final anecdote concerning the song "Lily in the Garden". I > > try and only mention things that are unique to a particular concert so > > as not to spoil Luka's beautiful and humorous banter for the next > > person. This particular incident is definitely specific to Brisbane as > > the song "Lily in the Garden" was written during a holiday up past > > Noosa > > (two hours North of Brisbane) at the end of his last Australian tour. > > Yes, he was saying she was really a lovely imaginative child who > introduced him to her rabbit and turtle and all her animals...she > sounded like a really amazing and free spirited child. > > I am not sure how old Lily > > was but probably not more than twelve and she was sitting in the front > > row not far from us with her Mum and Dad. She had inspired the song by > > reading poetry to Luka on a visit to her house. > > And I believe she'd written some of the things too...I just remember > having a very clear picture of a really lovely little girl from the inside > out! info.kuleuven-kortrijk.be/pipermail/lukalist/2005-March/008058.html Hi all! When he was talking about Lily 3 years ago I had the impression she was a little girl (maybe not going to school at the time he met her)... he said she was very shy in the beginning, but later when she warmed up with the strangers (Paul and Luka) who visited her parents, she came and took his hand, and showed him around in her garden, all her animals and so.... a really lovely story!! [ ] Listen to the RiverThe fisherman used to dive into running water And take a shining sixpence from the floor Now he's waiting for the Salmon of Knowledge To help him wade out from the shoreHe looks down on the lake on a sunlit morning Loves the ancient world that is within The surface shadow is his simple warning Transformation must beginClose your eyes Listen to the river Open your heart now Listen to the river Close your eyes Listen to the river The rain pours down on Barley Harbour As expectation fills the pier The fisherman looks out on the horizon The Salmon of Knowledge is coming here
Let the bells ring out in the heartland Let all the poets come to pen May they write in praise of celebration The salmon goes upstream once againClose your eyes Listen to the river Open your heart now Listen to the river Close your eyes Listen to the river... No Matter Where You Go, There You Are lyrics by Luka Bloom I'll sing to you of a carpenter, a Muslim man He was forced to join an army, he chose to leave his land He was born in Northern Africa, with the desert all around He loved his innocent childhood in the bosom of a desert town Mohamed left Algeria, his family and his friends Knowing he would never see his loved ones ever again You must go, follow your starNo matter where you go, there you are No matter where you go, there are you So don't let go of what you know to be trueMohamed went to Amsterdam, to Paris and to Rome Nowhere in these cities did Mohamed feel at home He'd walk the streets into the night, thrown-out wood to find Making wooden boxes occupied his mind Little wooden boxes in a line on Mohamed's stand Bringing food and shelter to a Muslim man You must go, follow your star No matter where you go, there you are No matter where you go, there are you So don't let go of what you know to be true One summer's day in Paris, he heard a haunting sound Of a lonesome Irish fiddle, he let his tools fall down Looking up he could not see the man, whose music filled this place But he knew his heart was breaking, and the tears rolled down his face Mohamed walked until he saw the man, with a fiddle to his chin He stood and let the music glow, underneath his skin He felt longing for Algeria, and loving for this song How the music of a stranger helps the dreamer move along The carpenter and the fiddler became the best of friends And Mohamed lives in Galway, where the music never endsYou must go, follow your star No matter where you go, there you are No matter where you go, there are you So don't let go of what you know to be true By the Claddagh in the evening, you might see this southern man Selling boxes, toys and fiddles, made with Muslim hand Don't you feel no pity, nor think he is alone For the music in his spirit, is his shelter and his home Mohamed's fire ignited with the ancient jigs and reels He sometimes chants in Arabic across the Galway fields His prayers go to Moher, out to the Atlantic sea And echo to Algeria to the land he had to flee
You must go, follow your star No matter where you go, there you are No matter where you go, there are you So don't let go of what you know to be true There's a woman in Algeria, she looks across the sand And hears a loved one's prayer from the distant land...Rainbow Day lyrics by Luka Bloom I want a simple life Try to be a good man Never want to hurt nobody Tread lightly on the land I forget about the future Squeeze the juice out of the day And when I feel unsure That's when I like to pray And if I find love along the way If I find love, it's a rainbow dayOut among the creatures I come into my own I love to hide my little secrets In the bushes and the stones .... [ ] It's the simple pleasures Always come back in the end Like a night of sweet, sweet music With my family and friends And if I find love along the way If I find love, it's a rainbow day
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Post by puzzled on Dec 17, 2008 20:13:45 GMT -5
From the lyrics above, I got to wondering about "sixpence." It is also known as "crooked coin." Apparently men used crooked coins as love tokens: "There was a crooked man and he walked a crooked mile. He found a crooked sixpence against a crooked stile. He bought a crooked cat, which caught a crooked mouse. And they all lived together in a crooked house." What's this got to do with metal detecting you might be thinking? Well the reference to the crooked sixpence is the link to metal detecting. There really were such items as crooked sixpences. They were created and kept as good luck charms along with the numerous other thought of as bringers of good fortune. An old English superstition decreed that a bent coin should always be kept in a pocket or purse to ensure that it's owner would always have a good amount of money. There was another purpose too. In medieval times, until at least the late 16th century, it was customary for a man to bend a copper coin and give it to his sweetheart as a token of his love and intention of marriage. They were never spent and were always carried by the woman as a demonstration of her loyalty and as a constant reminder to her each time she opened her purse. There was a difference between the good luck symbols and those given as love tokens however. Those bent to bring financial luck were usually just simply bent through the centre, whereas those made for love were usually bowed or even cup shaped. The first settlers also took these customs to America and they survived into the 19th century. In later centuries, especially the 18th and 19th centuries, coins were still used as love tokens. They were hand made; created by the young men to give to their sweethearts and in some instances were given by soldiers and sailors before they went abroad in case they were to die. These examples though were always flat. The poorer working classes usually made there love tokens from copper coins, although these were occasionally saved so a silver coin could be obtained. A wealthy man on the other hand would use a silver or even a gold coin. Love tokens vary in size from the cartwheel penny of George III, to the smaller farthings. They were simple to make, although a highly decorative piece was usually achieved. The coin was rubbed down, usually on both sides, until the monarch's head, Britannia and other details of design had been removed. The man then engraved or stamped his own pattern and wording onto the blank disc. When considered that most men who did this were low skilled and illiterate, some of the results are quite remarkable. The decorations varied from finely designed examples down to very crude ones. They included symbols of romance, such as hearts pierced with arrows. Cupid's bow and arrow, flowers, [lily maybe?] love birds and lovers' knots, with either the initials of the maker or the receiver. In Victorian times a variety of love tokens were introduced. The waistcoat was fashionable as part of the male clothing and a watch was worn in one of the waistcoat pockets, often with coins hanging upon the watch chain. These were usually farthings, silver threepenny pieces or sometimes even sovereigns. The lower value coins sometimes had one side filed down and the name of a loved one engraved on it. All types, from all ages can be found with a metal detector and make a nice piece in a display case. I have found one so far; this being a sixpence of Elizabeth shaped as a love token. Maybe after reading this, you'll go out and find one! relic-hunter.50megs.com/whats_new.html
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Post by B on Dec 17, 2008 21:55:30 GMT -5
Hate to break the flow here, but: Elvis - Kiss Me Quickca.youtube.com/watch?v=5n8u0YxI65YKiss me quick, I just can’t stand this waiting ‘Cause your lips are lips I long to know. For that kiss will open heaven’s door And we’ll stay there forevermore,So kiss me quick because I love you so.
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Post by puzzled on Dec 18, 2008 0:17:59 GMT -5
Excerpts from the website "Isis, the Lady of the Lotus" mirrorofisis.freeyellow.com/id206.htmlIsis, the Lady of the Lotus by Linda Iles, Prs. H., ArchDrs. Isis, Lotus of Alexandria Lyceum Grove of Elen of the Ways and Llew of the Silver Hand Among the Many Titles of Isis of Ten Thousand Names: Creation, Creatrix of the Nile Flood, Diadem of Life, Divine Mother, Female Principle in Nature, Fresh Tuft, Fructifier, Giver of Life, Goddess of Moisture, Green Goddess, Lady of Green Crops, Mistress of the Earth, She of Green Wings and Crescent Moon, Lotus-bearingBecause the lotus (and the water lily) are aquatic flowering plants we tend to think of them as corresponding to the moon. Yet to the ancient Egyptians, the lotus had a strong solar association. According to the creation myth of the ancient Egyptian city of Heliopolis (City of the Sun), a lotus first grew out of the primeval mound of that rose from the inert waters of Nun. The lotus opened, bearing the creator sun God Atum. He rose out of the heart of this primordial lotus, sending out His light into the Cosmos. (One of the later versions suggests that the Sun God emerged out of the petals of the flower as Ra rather than Atum.) The lotus was the symbol of life and of life ever renewed, bearing forth the sun at the dawn of creation. “The Coming Forth by Day” is a series of rites and incantations that often accompanied the deceased in burial. They formed part of the body of work known as “The Funerary Texts” of ancient Egypt. These include the “Pyramid Texts” of the Old Kingdom, the “Coffin Texts” of the Middle Kingdom and other variations found in the New Kingdom, such as “The Book of the Heavenly Cow,” “Litany of Re,” and “The Book of Gates,” etc.; in the latter period of the New Kingdom “The Books of Breathing,” and in the Ptolemaic Period “Book of Tranversing Eternity.” There are many versions of these texts. “The Coming Forth by Day” which is also known as “The Book of the Dead” contains a famous passage about the lotus in Spell 81a and 81b. “The Egyptian Book of the Dead: The Papyrus of Ani in the British Museum,” translated by Sir E. A. Wallis Budge (1895) contains the following translation of Chapter 81a which is titled ‘The Chapter of Changing into a Lotus’ :Saith Osiris Ani: “ I am the pure lotus which cometh forth from the god of light, the guardian of the nostrils of Ra, the guardian of the nose of Hathor. I advance and I hasten after him who is Horus. I am, the pure one who cometh forth from the field.” Raymond O. Faulkner translates this same passage with the title ‘Spell for being transformed into a lotus’ and it reads: “I am this pure lotus which went forth from the sunshine, which is at the nose of Re; I have descended that I may seek it for Horus, for I am the pure one who issued from the fen.” The association of Isis with the lotus is not unique in ancient Egypt in one sense. It was not uncommon for ancient Egyptian deities to be depicted with lotus imagery in some manner, the lotus staff being one of the more frequent, along with a papyrus staff, a w3s (was) sceptre and an ankh. All of these symbolize the forces of life and generation. Besides a use in sacred symbolism, the lotus was used in imagery of a more political nature in ancient Egypt. The lotus flower represented Upper Egypt and the papyrus represented Lower Egypt, the two combined in a motif signified the ‘unification of the two lands’ - the kingdoms of northern and southern Egypt united in peace under the rule of Pharaoh. When seen on maps, the fertile regions of land that were annually flooded by the Nile looked like a giant lotus, whose stem stretched upwards from the southern most region along the strips of land that flanked the banks of the river in the arid portions of Upper Egypt. The fertile flood plain area spread out in the northern delta and flowed into various tributaries that nourished the green marshes in the Egyptian north, fanning into the shape of the blossom of a giant lotus flower seen from the side view. Lawrence Durdin-Robertson, in his book “The Symbolism of Temple Architecture” writes: “ The Latin word ara, a feminine noun, usually rendered altar, in its older form is asa. White and Riddle derive this latter word from the Sanskrit as, asan, (cf. asana) meaning a sitting or seat … Though in later times the altar became associated with death, basically it has no connexion with death, either actual or symbolic. The altar, in the worship of the Goddess, is one of the many forms of her seat … here the potency associated with the altar …” Along this same line of thought, Helena P. Blavatsky in her book “The Secret Doctrine” has this to say about the lotus: “The flower of the lotus, which is the bearer of the seed for reproduction, as the result of its maturing, is connected by its placenta-like attachment with mother-earth, or the womb of Isis, through the water of the womb, that is, the river Nile, by means of the long cord-like stalk, the umbilicus. Nothing can be plainer than the symbol … The new born is an ever-recurring miracle, an evidence that within the workshop of the womb an intelligent creative power has intervened to fasten a living soul to a physical machine. The amazing wonderfulness of the fact attaches a holy sacredness to all connected with the organs of reproduction, as the dwelling and place of evident constructive intervention of deity.” Another quote from “The Symbolism of Temple Architecture” by Lawrence Durdin-Robertson reads: “ The locality of the womb is to be taken as the Most Holy Place … Both India and Egypt have their sacred lotuses, symbolic of the same ‘Holy of Holies’… the Holy of Holies … meant spiritual conception and birth, or rather the rebirth of the individual and his regeneration …” Helena Blavatsky wrote in “The Secret Doctrine” that “the metaphor of the Holy of Holies of sacred constructions (is) taken from the idea of the sacredness of the organs of generation. Carried to the extreme of description by metaphor, this part of the house is described in the Sacred Books as “between the thighs of the house,” …” [That oft-repeated "101" symbolism that we see so often, a circular water-gate between the two pillars]Scenes of the Annunciation show the Archangel Gabriel holding a spray of lilies, sometimes water lilies as he appears before the Virgin Mary. These flowers represent the esoteric properties of water and of fire, creation and generation, in just the same way as the primordial waters of Nun and the solar fire of the lotus of Atum in ancient Egypt. The lotuses held in the hands of the devas who announce to Queen Maha Maya (Mayadevi) that she will give birth to the Gautama Buddha, express the exact same idea. In nature, before germination, the seeds of the lotus contain perfectly-formed miniature leaves, mirroring within what the seed will one day become. This sacred potential, the ‘lotus seed’ that exists within every soul, every being, if it is nourished by the inner fire of the spiritual sun, will one day rise as perfected being, the divine inner nature revealed at last - the magical Horus child of Isis and Osiris.The masculine element plays a part too, because just as it takes male and female to create life in our physical world, so it took both Osiris and Isis to create Horus. In the Osiris myth when the scattered pieces of his body are re-united by Isis, there is one member missing. It is replaced by one made of gold. Gold was considered to be the very flesh of the Gods and Goddesses by the ancient Egyptians. The resurrected Osiris as King of the Otherworld, brought forth the seed of life out of death, a life spark that was imperishable, precious and beautiful. Isis, as the Lotus-bearing nurtures this potential ‘Horus seed’ within all of us in Her Sacred Womb as the Great Mother of All. Her ‘seat of power’ is our altar, the place of our giving, Her hearth, our hearts.“… tell them there is the lotus-bloom in every human soul, and that it will open wide to the light unless they poison its roots; tell them to live in innocence and seek after truth, and I will come and walk in their midst, and show them the way into that place of peace where all is beauty and all are content. Tell them I love my children and would come and dwell in their homes and bring that content which is more than any prosperity, even unto these their hearths of the earth … Egypt must decay; but it shall not decay in ignorance. It shall hear a voice … and the words which that voice utters shall be the hidden heirloom of ages, and shall again be spoken under another sky, and herald the dawn which must break through the long blackness.” - Vidya, Lady of the Lotus from “The Idyll of the White Lotus: A Mystical Novel” Lily ovaries
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Post by puzzled on Dec 18, 2008 23:53:03 GMT -5
I found this Rosicrucian reference to the Order of the Lily. I don't really understand it, but I thought I'd put it here so Iameye can explain it to me I have an idea that the 'Chemical Wedding' may also have been a representation of an attempt to join the two houses of the Order of the Lily of the French House with the Order of the Rose of the English House.
If you read 'Yates' she believes that Andreae got his ideas and inspiration for his book from the enormous festivities that were held at that time for the Knighting of Duke Friedrich I., of Württemberg, in Stuttgart, into the "Most Noble Order of the Garter". Queen Elizabeth I. confirmed the choice of her, 'Cousin Mumpellgart' as she called him, in 1597, but it was not until November of 1603 that his investiture and Knighting took place through her envoy Jakob I. The joining of two rings represents a wedding so if you look at the cross upon a globe then you will see that the vertical line of the Lily, (spiritual world and red in heraldry) is a circle that is joined to the horizontal line of the Rose (physical world and blue in heraldry) are joined at the point of Quintessence, which is the point of light which opens The Stone and is the life blood of the Rose. When these two worlds are perfected they unite with one another creating the 5th point or Quintessence. According to Yates, the Naometria of Simon Studion contains some music and verses dedicated to the eternal friendship of the Lily (the King of France), the Lion (Jackob I. of England) and the Nymph (Duke of Württemberg). The source of the idea for the founding of the Order of the Garter could have originated from the stories of King Arthur and the Holy Grail. As an example, the "Round Table" that hangs on the wall in the Great Hall of Winchester Castle is 18 feet in diameter, and made of solid oak, and weighs approximately one and a quarter tons. The table was made during the reign of Edward III, probably in 1344 when the King conceived the idea of an order of chivalry based upon the Knights of the Round Table as reflected in the popular Romances of the Arthurian legends during the Middle Ages. It was in 1348 that the King abandoned the idea, and instead founded the Order of the Garter. Erhard Cellius, a professor in Tübingen, wrote a detailed report about the ceremony and the festivities in Latin that was published in Stuttgart in 1605. He also wrote that another of the bearers of the Order from England was a Robert Spenser, (a relation of the Poet?). According to Yates these festivities were also mentioned by Elias Ashmole in his history of the "Order of the Garter". You will also find the coat of arms of the Order on the title page of John Dee´s "General and Rare Memorials, pertayning to the Perfect Arte of Navigation", 1577. www.crcsite.org/studion2.htm
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