Please join me in my journey to the strange and mysterious.
"...this memorial is for those who have died, and for us to remember them." - Maya Ying Lin, designer, Vietnam Veterans Memorial WallHeroes
By Jared Jenkins
In war, there are lives risked and lives taken
Men and women giving their best to defend what they love
They defend their country
Their honor
Their people
Some call them soldiers
Others call them heroes
Our veterans have risked their lives for us
They have lived through hell and fought with honor
Many have killed
And regret doing so
For every life, there is a soul
For every soul, there is a life
For those who have died, we show great appreciation and remembrance
For those who live, along with them live the horrific memories of battle
Some, memories of defeat
Some, memories of victory
Our veterans were more than soldiers
They were, and still are heroes
The Leader of the Band
Dan Fogelberg
And I am flawed
But I am cleaning up so well
I am seeing in me now
The things you swore you saw yourself
Take It Easy
The Eagles
Tell me, did the wind sweep you off your feet?
Did you finally get the chance to dance along the light of day
And head back to the Milky Way ?
And tell me, did Venus blow your mind?
Was it everything you wanted to find?
And did you miss me while you were looking for yourself out there?
And what if all of animated nature
Be but organic Harps diversely frame'd
That tremble into thought, as o'er them sweeps
Plastic and vast, one intellectual Breeze
At once the soul of each, and God of all....
The Secret Garden opens by introducing us to Mary Lennox, a sickly, foul-tempered, unsightly little girl who loves no one and whom no one loves. At the outset of the story, she is living in India with her parents—a dashing army captain and his frivolous, beautiful wife—but is rarely permitted to see them. They have placed her under the constant care of a number of native servants, as they find her too hideous and tiresome to look after. Mary's circumstances are cast into complete upheaval when an outbreak of cholera devastates the Lennox household, leaving no one alive but herself.
She is found by a group of soldiers and, after briefly living with an English clergyman and his family, Mary is sent to live in Yorkshire with her maternal uncle, Archibald Craven. Misselthwaite Manor is a sprawling old estate with over one hundred rooms, all of which have been shut up by Archibald Craven. A man whom everyone describes as "a miserable hunchback," Master Craven has been in a state of inconsolable grief ever since the death of his wife ten years before the novel begins. Shortly after arriving at Misselthwaite, Mary hears about a secret garden from Martha Sowerby, her good-natured Yorkshire maidservant. This garden belonged to the late Mistress Craven; after her death, Archibald locked the garden door and buried the key beneath the earth.
Mary becomes intensely curious about the secret garden, and determines to find it. This curiosity, along with the vigorous exercise she takes on the moor, begins to have an extremely positive effect upon Mary. She almost immediately becomes less sickly, more engaged with the world, and less foul-tempered. This change is aided by Ben Weatherstaff, a brusque but kindly old gardener, and a robin redbreast who lives in the secret garden. She begins to count these two "people," along with Martha, Dickon Sowerby, and Susan Sowerby, as the friends she has had in her life. Her curiosity is whetted when she hears strange, far-off cries coming from one of the manor's distant rooms.
However, Mrs. Medlock, the head of the servants at Misselthwaite, absolutely forbids her to seek out the source of the cries. She is distracted from this mystery when she discovers, with the robin's help, the key to the secret garden. She immediately sets about working there, so that the neglected plants might thrive. Dickon, who brings her a set of gardening tools and promises to help her bring the secret garden back to life, vastly aids her in her endeavor. Dickon is a boy who can charm the animals of the moor "the way snake charmers charm snakes in India." He is only a common moor boy, but he is filled with so much uncanny wisdom that Mary comes to refer to him as "the Yorkshire angel."
One night, Mary hears the distant cries and, flagrantly disobeying Mrs. Medlock's prohibition, goes off in search of their source. She finds Colin Craven, Master Craven's invalid son, shut up in an opulent bedchamber. Colin was born shortly before his mother's death, and his father cannot bear to look at him because the boy painfully reminds him of his late wife. Colin has been bedridden since his birth, and it is believed that he will become a hunchback and die an early death. His servants have been commanded to obey his every whim, and Colin has become fantastically spoiled and imperious as a result. Colin and Mary strike up a friendship, but Colin becomes furious when she fails to visit him because she prefers to garden with Dickon. That night, Colin throws one of the infamous tantrums. Mary rushes to his room in a fury and commands him to stop crying. He tells her that his back is beginning to show a hunch; when Mary examines him, she finds nothing whatever the matter with him. Henceforth, she will maintain that Colin's illness is only in his mind: he will be well if only he makes up his mind to be.
Dickon and Mary secretly begin bringing Colin out into the secret garden. On the first of these outings, the children are discovered by Ben Weatherstaff, who has been covertly tending the secret garden once a year for ten years. Ben has done so out of love and loyalty for the late Mistress Craven: he was a favorite of hers. Weatherstaff refers to Colin as "the poor cripple," and asks if he has crooked legs and a crooked back. Colin, made furious by this question, forces himself to stand up on his own feet for the first time in his life. After this feat, Colin's health improves miraculously: the secret garden, the springtime, and Dickon's company have the same rejuvenating effect upon him that they did upon Mary. The children determine to keep Colin's improvement a secret, however, so that he can surprise his father with his recovery when Master Craven returns from his trip abroad.
The three children, along with Ben Weatherstaff, spend every day of the summer in the secret garden. Only one other person is admitted into the secret: Susan Sowerby, Dickon's saintly mother. Susan sends a letter to Master Craven, telling him to hurry home so that he might see his son; she does not, however, specify why, in deference to Colin's secret. Master Craven complies, and returns immediately to Misselthwaite. His first act is to go into the secret garden; he does so at the behest of a dream in which the voice of his late wife told him that he might find her there. Just as he lays his hand to the doorknob, Colin comes rushing out and falls into his arms. Father and son are reconciled, and the miracle of Colin's recovery becomes known to all.
Themes, motifs and symbols
http://www.sparknotes.com/lit/secretgarden/themes.html
Secrets
One can say that The Secret Garden is organized around the idea of secrets. Mary is a secret from her parents' associates; Colin is kept a secret by both his father and himself. Misselthwaite is full of hundreds of locked rooms which no one may enter; its servants are forbidden to speak of its history or of its current inhabitants. Colin keeps the portrait of his mother a secret from his servants, and, later, the secret of his newfound health from all but Mary, Dickon, Ben Weatherstaff, and Susan Sowerby. The secret of the garden itself is the most significant. One by one, each of the book's secrets are disclosed: disclosure is presented as an absolute good, for, in the economy of the novel, the content of a thing does not matter—only whether one thinks of it positively or negatively does. Thus the secret of Mistress Craven's death can be disclosed, provided one maintains that she isn't really dead at all; Colin and Mary can come to light, provided that they have become kind and healthy; the garden, too, may be unlocked, so long as it, too, is resurrected.
Parallel Lives of Colin, Mary, and the Secret Garden
A number of striking similarities between Mary and Colin are immediately apparent: they are both ten years old; they have both passed sickly, neglected childhoods; both are unbelievably spoiled; and both have been looked after by retinues of servants who have been ordered to obey their every whim. Both children have parents that have denied their existence and hidden them away like secrets. No one ever sees Colin or Mary: the English soldiers who discover Mary in her parents' bungalow declare that they never knew that "that pretty woman" had had a child at all. Upon first seeing Colin, Mary exclaims, almost identically, "I never knew [Master Craven] had a child!" The garden has been closed for ten years; up to the moment that Colin and Mary each enter the garden, they too are closed off—they have loved no one, and have been utterly unloved. Because it has been so long since anyone has tended the garden, it is impossible to determine whether its flowers are dead or alive. Similarly, both Mary and Colin have had no one to care for them since their birth, and their skin has become either waxen or stony as a result. Both of these words ("waxen" and "stony") connote lifelessness. The awakening of the secret garden both parallels and is the cause of Colin and Mary's own rebirth.
Eden, also called Paradise, was the garden in which the first humans created by God (Adam and Eve) lived until the time of the Fall. The "Fall" refers to the moment that God cast Adam and Eve out of the Garden of Eden for tasting of the Tree of Knowledge. The secret garden is connected with Eden through Martha's story of the divine times had there by Master Craven and his wife before her quite literal "fall"—before, that is, she fell out of the rose-tree to her death. It is also similar to Eden insofar as it represents a Paradise of innocence and ideality for Mary and Dickon. As in Eden, they enjoy a uniquely close relationship with God (who occasionally is referred to as magic, and as "the Big Good Thing") when they are within its walls. Their work in the garden is compared to the work of "nest-building," which of course has certain marital implications—it is as though they too have become Adam and Eve. Furthermore, their seclusion in the secret garden conjures up that enjoyed by Master and Mistress Craven. This echo is strengthened by the fact that Mary bends down and kisses the newly opened crocuses, just as Mistress Craven kissed her roses. The Eden-like quality of their time alone together in the garden is only strengthened by the presence of Dickon's docile "creatures," which recall the animals created by the Christian God to keep the first people company. Dickon inspires "rapture" in Mary, which implies both ecstasy and "a mystical experience in which the spirit is exalted to the knowledge of divine things" (Merriam-Webster). Dickon's intimate connection with heavenly nature brings Mary nearer to divinity herself.
Symbols
The Robin Redbreast
When Mary first sees the robin redbreast, the reader is struck by a number of similarities between them: like her, he began life as an orphan; like her, he finds a haven in the secret garden; like her, he began to seek out friendship once he lost his family and came to realize he was lonely. The friendliness of the little bird both helps Mary to recognize that she is lonely and to assuage that loneliness. This is significant in that Mary first befriends a wild creature, a distinctive part of the English countryside; the robin is explicitly described as being "not at all like birds in India." She thus makes her first connection with a part of the moor, not a part of the manor. The robin is a representative of wise and gentle nature—part of Chapter XXV is told from his point of view, as though to prove that animals really do have minds of their own. It is he who first shows Mary the key to the secret garden, thereby suggesting that nature itself is colluding with her wish to get inside. Later, the robin's building of a nest with his mate is compared to Mary's nest- building with Dickon in the secret garden.
Roses
The roses are Mistress Craven's personal symbol; they are mentioned whenever she is mentioned. The bower from which she fell to her death was covered with roses; when Mary first discovers the garden, it is still flooded with rose-trees and rosebushes, though none are in bloom. Dickon reassures her that they are not dead, and remarks, "There will be fountains of roses here in the spring." This foreshadows the way in which the resurrection of the garden will bring the spirit of Mistress Craven back within its walls—she exists wherever roses are in bloom. The tree from which Colin's mother fell to her death can itself be said to undergo a kind of resurrection: though it is the only thing in the garden which is wholly dead, it is soon "covered with new roses," so that the dead wood is no longer visible. The new roses symbolize both the children and the spirit of Colin's mother herself, which has come back to the garden to watch over her son.
http://www.youtube.com/watch?v=qA_NHJL8EmE&NR=1
Winter Light by Linda Ronstadt - The Secret Garden
Is There Purpose in Nature?
by Dr. Mae-Wan-Ho
http://http://www.cts.cuni.cz/conf98/ho.htm
Organism and Pysche in a Particpatory Universe
by Dr. Mae-Wan-Ho
http://www.i-sis.org.uk/organis.php
The Doctine of Cycles
By Lydia Ross, M.D.
http://www.theosociety.org/pasadena/gdpmanu/cycle-lr/cycle-1.htm
Man and Nature Allied in Cyclic Progress
There is a purpose in every important act of Nature, whose acts are all cyclic and periodical. -- The Secret Doctrine 1:640
Nature repeats herself everywhere. She follows grooves of action that have already been made; she follows the line of least resistance in all cases and everywhere. And it is upon this repetitive action of our Great Mother -- universal nature -- that is founded the law of cycles, which is the enacting of things that have been before, although each such repetition, as said, is at each new manifestation on a higher plane and with a larger sweep or field of action. -- Man in Evolution, chapter 13
Nature moves like a great wheel, ever turning round and round, so that as it goes forward in time and space, each of its spokes takes its regular turn in moving upward, forward, downward and backward. As the whole wheel of the universe rolls onward, every atom of it gains ground and experience, and also adds its impulse to the common urge forward. This evolutionary urge in mankind is naturally quickened, in greater or less degree, by mind and self-consciousness. Thus we are able to help things below us, as we in turn are helped by wiser, greater beings.
Dogs continue to be in the news lately, hammering our heads and hearts. The pet lovers among us can't help but notice, and the news stories make it glaringly apparent that something is missing in so many people.
Like this story http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2007/10/26/national/a075118D67.DTL
It was a dark and stormy night; Meg Murry, her small brother Charles Wallace,
and her mother had come down to the kitchen for a midnight snack when they were upset by the arrival of a most disturbing stranger."Wild nights are my glory, " the unearthly stranger told them. "I just got caught in a downdraft and blown
off course. Let me sit down for a moment, and then I'll be on my way. Speaking
of way, by the way, there is such a thing as a tesseract."A tesseract (in case
the reader doesn't know) is a wrinkle in time. To tell more would rob the reader
of the enjoyment of Miss L'Engle's unusual book.
Madeleine L’Engle, Children’s Writer, Is Dead
By DOUGLAS MARTIN
Published: September 8, 2007
Madeleine L’Engle, who in writing more than 60 books, including childhood fables, religious meditations and science fiction, weaved emotional tapestries transcending genre and generation, died Thursday in Connecticut. She was 88.
Her death, of natural causes, was announced today by her publisher, Farrar, Straus and Giroux.
Ms. L’Engle (pronounced LENG-el) was best known for her children’s classic, “A Wrinkle in Time,” which won the John Newbery Award as the best children’s book of 1963. By 2004, it had sold more than 6 million copies, was in its 67th printing and was still selling 15,000 copies a year.
Her works — poetry, plays, autobiography and books on prayer — were deeply, quixotically personal. But it was in her vivid children’s characters that readers most clearly glimpsed her passionate search for the questions that mattered most. She sometimes spoke of her writing as if she were taking dictation from her subconscious.
“Of course I’m Meg,” Ms. L’Engle said about the beloved protagonist of “A Wrinkle in Time.”
The “St. James Guide to Children’s Writers” called Ms. L’Engle “one of the truly important writers of juvenile fiction in recent decades.” Such accolades did not come from pulling punches: “Wrinkle” is one of the most banned books because of its treatment of the deity.
“It was a dark and stormy night,” it begins, repeating the line of a 19th- century novelist Edward George Bulwer-Lytton, and presaging the immortal sentence that Snoopy, the inspiration-challenged beagle of the Peanuts cartoon, would type again and again. After the opening, “Wrinkle,” quite literally, takes off. Meg Murray, with help from her psychic baby brother, uses time travel and extrasensory perception to rescue her father, a gifted scientist, from a planet controlled by the Dark Thing. She does so through the power of love.
The book used concepts that Ms. L’Engle said she had plucked from Einstein’s theory of relativity and Planck’s quantum theory, almost flaunting her frequent assertion that children’s literature is literature too difficult for adults to understand. She also characterized the book as her refutation of ideas of German theologians.
In the “Dictionary of Literary Biography,” Marygail G. Parker notes “a peculiar splendor” in Ms. L’Engle’s oeuvre, and some of that splendor is sheer literary range. “Wrinkle” is part of her “Time Fantasy” series of children’s books, which includes “A Wind in the Door,” “A Swiftly Tilting Planet,” “Many Waters” and “An Acceptable Time.” The series combines elements of science fiction with insights into love and moral purpose that pervade Ms. L’Engle’s writing.
Ms. L’Engle’s other famous series of books concerned another family. The first installment, “Meet the Austins,” which appeared in 1960, portrayed an affectionate family whose members displayed enough warts to make them interesting. (Perhaps not enough for The Times Literary Supplement in London, though; it called the Austins “too good to be real.”)
By the fourth of the five Austin books, “A Ring of Endless Light,” any hint of Pollyanna was gone. Named a Newbery Honor Book in 1981, it told of a 16-year-old girl’s first experience with death. Telepathic communication with dolphins eventually helps the girl, Vicky, achieve a new understanding of things.
“The cosmic battle between light and darkness, good and evil, love and indifference, personified in the mythic fantasies of the ‘Wrinkle in Time’ series, here is waged compellingly in its rightful place: within ourselves,” Carol Van Strum wrote in The Washington Post in 1980.
Madeleine L’Engle Camp was born in Manhattan on the snowy night of Nov. 29, 1918. The only child of Madeleine Hall Barnett and Charles Wadsworth Camp, she was named for her great-grandmother, who was also named Madeleine L’Engle.
Young Madeleine’s mother came from Jacksonville, Fla., society and was a fine pianist; her father was a World War I veteran who worked as a foreign correspondent and later as drama and music critic for The New York Sun. He also knocked out potboiler novels.
The family lived on the Upper East Side of Manhattan; her parents had artistic friends, Madeleine an English nanny. She felt unpopular at school. She recalled that an elementary school teacher – Miss Pepper or Miss Salt, she couldn’t remember which — treated her as if she were stupid.
She had written her first story at 5 and retreated into writing. When she won a poetry contest in the fifth grade, her teacher accused her of plagiarizing. Her mother intervened to prove her innocence, lugging a stack of her stories from home.
When she was 12, she was sent to a boarding school in Switzerland, Chatelard, and at 15 to Ashley Hall, a boarding school in Charleston, S.C. She graduated from Smith College with honors in English. (She took no science, often a surprise to readers impressed with her science fiction.)
Returning to New York, Ms. L’Engle began to get small acting parts. She wrote her first novel, “The Small Rain,” in 1945 and had several plays she wrote produced.
She met the actor Hugh Franklin when both were appearing in a production of Chekhov’s “The Cherry Orchard.” They married in 1946, and their daughter Josephine was born the next year. In 1951, when Ms. L’Engle became pregnant again, they moved to the small town of Goshen, Conn., where they bought and ran a general store. Their son, Bion, was born in 1952, and in 1956 they adopted another daughter, Maria.
Mr. Franklin died in 1986 and Bion in 1999. Ms. L’Engle is survived by her daughters, Josephine F. Jones and Maria Rooney; five grandchildren; and five great-grandchildren.
Ms. L’Engle’s writing career was going so badly in her 30s that she claimed she almost quit writing at 40. But then “Meet the Austins” was published in 1960, and she was already deeply into “Wrinkle.” The inspiration came to her during a 10-week family camping trip.
That was just the start. She once described herself as a French peasant cook who drops a carrot in one pot, a piece of potato in another and an onion and a piece of meat in another.
“At dinnertime, you look and see which pot smells best and pull it forward,” she was quoted as saying in a 2001 book, “Madeleine L’Engle (Herself): Reflections on a Writing Life,” compiled by Carole F. Chase.
“The same is true with writing,” she continued. “There are several pots on my backburners.”
Her deeper thoughts on writing were deliciously mysterious. She believed that experience and knowledge are subservient to the subconscious and perhaps larger, spiritual influences.
“I think that fantasy must possess the author and simply use him,” she said in an interview with Horn Book magazine in 1983. “I know that is true of ‘A Wrinkle in Time.’ I cannot possibly tell you how I came to write it. It was simply a book I had to write. I had no choice.
“It was only after it was written that I realized what some of it meant.”
What turned out to be her masterpiece was rejected by 26 publishers. Editors at Farrar, Straus and Giroux loved it enough to publish it, but told her that she should not be disappointed if it failed.
The family moved back to New York, where Hugh Franklin won fame as Dr. Charles Taylor on the popular soap opera “All My Children.” For more than three decades, starting in 1966, Ms. L’Engle served as librarian and writer-in-residence at the Cathedral Church of St. John the Divine. One or two of her dogs often accompanied her to the cathedral library.
Much of her later work was autobiographical, although sometimes a bit idealized; she often said that her real truths were in her fiction. Indeed, she discussed her made-up stories the way a newspaper reporter might discuss his latest article about a crime.
When her son, then 10, protested the death of Joshua in “The Arms of the Starfish” (1965), she insisted that she could not change the tale, which was still unpublished at the time.
“I didn’t want Joshua to die, either,” Ms. L’Engle said in 1987 in a speech accepting the Margaret Edwards Award from the American Library Association for lifetime achievement in writing young adult literature, one of scores of awards she received.
“But that’s what happened. If I tried to change it, I’d be deviating from the truth of the story.”
Her characters continued living their lives even if she hadn’t mentioned them for decades. She had gotten word that Polly O’Keefe, who appeared in three books of the “Time Fantasy” series, was in medical school, she said a few months before the library speech.
A woman wrote her to say that she herself was a first-year medical student at Yale and that she would love to have Polly in her class. Ms. L’Engle said fine, and the student went to the registrar’s office to sign up Polly as an “official” Yale medical student.
“Why does anybody tell a story?” Ms. L’Engle once asked, even though she knew the answer.
“It does indeed have something to do with faith,” she said, “faith that the universe has meaning, that our little human lives are not irrelevant, that what we choose or say or do matters, matters cosmically.”
And on the other side of the pond another Madeleine's story grows ever more gruesome and dark. Young Madeleine McCann's Mother & Father were officially charged as suspects by the Portugese police today. At the beach of light hearts grow dim and darkness descends.
But there is always, always hope.
Wish upon a star or a Wrinkle in Time.
After all Jacks are in their boxesOn June 25, 2004 this crop circle appeared Bee Crop Circle
And interesting to note that the previous night when this crop circle formed (June 24) is known as "St. John's Day". St. John's Day wiki link
And John the Baptist is famous for surviving in the wilderness on locusts and "wild honey". Ever asked yourself or wondered why the majority of the ancient gothic cathedrals and churchs are dedicated to either St. John or Mary? Not Jesus?
In the above bee crop circle link the author makes note of many symbolic dreams -
My essay was based on the Navaho Sand Painting called, "The Pollen Path," which is one of the examples given by Joseph Campbell as relating to the midpoint of seven, as three and a half. This indicates the seven chakra levels of consciousness with the the midpoint or fourth point as significant. This is the Heart chakra level. The thesis of my essay is that humanity is near the three and a half point, and the leap to the Heart Chakra level, en mass.
I believe the Woman with Child is related to Mother Goddess figures in many mythologies, such as Isis, Ishtar, Sakti, Sophia, Shekinah, etc. In the Christian tradition, it would be the Virgin Mary. The Heart Chakra is symbolized by a twelve-petaled lotus flower, with a Star Of David inside. The New Jerusalem has 12 gates, pearls, and angels.
The Goddess figure is sometimes related as having daughters. The Bible has this as the daughters of the harlot. In the Babylonian myths, Ishtar is said to be the mother of all the harlots in Babylon. Isaiah 4:4 says,
". . . when the Lord shall have washed away the filth of the daughters of Zion and cleansed the bloodstains of Jerusalem from its midst by a spirit of judgment and by a spirit of burning."
The idea I have is that the Mother Goddess figure in the New Age is related to the Holy Spirit, and that Her Daughters will be the the Holy Spirit aspect within each individual. You might say this is the "repair" of the Motorcycle.
I had developed a theory that a bicycle or motorcycle was a dream symbol of the duality, as two wheels moving in tandem. The Great Change seems to clearly involve a duality balancing of the female and male attributes within us human beings.
You may have read many articles related to duality and when the two become one. And many articles relating to the return of the Goddess. These should not be taken "literally" to mean that women should rule the world or that men have to become feminine. It merely means the balance of life the yin/yang, and yin refers to "nature" and more.
And just a few days ago science papers were full of the strange, rotating hexagon found on Saturn's pole.
And hexagon is described as
n geometry, a hexagon is a polygon with six edges and six vertices. Its Schläfli symbol is {6}.
The internal angles of a regular hexagon (one where all sides and all angles are equal) are all 120° and the hexagon has 720 degrees. It has 6 lines of symmetry.. Like squares and equilateral triangles, regular hexagons fit together without any gaps to tile the plane (three hexagons meeting at every vertex), and so are useful for constructing tessellations. The cells of a beehive honeycomb are hexagonal for this reason and because the shape makes efficient use of space and building materials. The Voronoi diagram of a regular triangular lattice is the honeycomb tessellation of hexagons.
And stranger still n French, the term l'hexagone (the hexagon) is often used as a nickname for France, since the country is shaped somewhat like a hexagon.
In Bloodline of the Holy Grail, Laurence Gardner explains the importance of the bee to Merovingian royalty -- bees make honey, a symbol of insight and wisdom. Although Gardiner appeals to Scripture which likens honey with the knowledge of wisdom, the secret doctrine of the occultist redefines these terms as gnôsis (the Greek word for 'knowledge' or 'insight') and the ancient wisdom of the Hermetic tradition, i.e. sorcery. The emperor Napoleon is included among the Merovingian worthies because, in 1810, he married Marie-Louise, the daughter of Francis II, the last Habsburg to sit upon the throne of the Holy Roman Empire.
"The Merovingian kings were noted sorcerers in the manner of the Samaritan Magi, and they firmly believed in the hidden power of the honeycomb. Because a honeycomb is naturally made up of hexagonal prisms, it was considered by philosophers to be the manifestation of divine harmony in nature. Its construction was associated with insight and wisdom — as detailed in Proverbs 24:13-14...
"To the Merovingians the bee was a most hallowed creature. A sacred emblem of Egyptian royalty, it became a symbol of Wisdom. Some 300 golden bees were found stitched to the cloak of Childeric I (the son of Meroveus) when his grave was unearthed in 1653. Napoleon had these attached to his own coronation robe in 1804. He claimed this right by virtue of his descent from James de Rohan-Stuardo, the natural son (legitimated 1667) of Charles II Stuart of Britain by Marguerite, Duchesse de Rohan. The Stuarts were in turn entitled to this distinction because they, and their related Counts of Brittany, were descended from Clodion's brother Fredemundus--thus (akin to the Merovingians) they were equally in descent from the Fisher Kings through Faramund. The Merovingian bees are still to be seen on some Jacobite glassware." - 29:171-2
Recall that the predecessor of the Prieuré de Sion was the Society of Ormus, to which the Therapeutae of Alexandria and the Essenes of Qumran attached themselves. The word Essene means king bee. The Qumran desert, where the Essene community was established, is located on the ancient site of Gomorrah, the city which God judged with for its homosexual perversion. (Gen. 19; Jer. 17:5,6) The Essenes were also priests of the Greek goddess Diana, a lesbian, whose symbol was the bee. The Mother Goddess, under her various names, was known as the Queen Bee while the priests who ministered in her temples were called Essenes or King Bees. (this was copied from a very anti gnostic site).
"The symbol of the bee is also used in Mormon temples today. The bee is the state symbol for Utah. Furthermore, Mormon doctrine teaches that Mary Magdalene was the wife of Jesus Christ. The religion of the Mormon Church of the Latter Day Saints is replete with Merovingian ideology..." - 127:82
[From www.npr.org :]
[QUANTUM BEES] -- Robert talks to mathematician Barbara Shipman about her cross-disciplinary discovery. In mapping a six-dimensional figure onto two-dimensions, she recognized the pattern as that of the honeybee's ritual dance. To her, this implies that bees can sense the quantum world, since it is in that realm that six-dimensional geometry has real meaning. The bees use the dance to communicate to others in the hive the location and distance of a pollen source:
the dance that honey bees do to tell their hivemates where they have found a good food source. The bees change the form of the dance acording to the location of the flowers that constitute the source. The surprising thing is that there may be a deep mathematical reason for how the dance changes form. The reason is related to a space in symplectic geometry known as a "flag manifold." Although no one is suggesting that honey bees understand flag manifolds, it is possible that the instincts which control their behavior are wired in such a way that the principles of this kind of geometry apply.
"...guided along as it were
a chain of flowers into
the mysteries of life."
Telling the Bees there has been a death in the family, or a change in the head of the household is a little known superstition these days, but I remember speaking to the bees with my grandmother as a child.
It is a Scots/Celtic superstition, and so it should have a third component. For me, it is that the bee is a symbol of resurrection and immortality, often used that way in heraldry, too. The word is related to beo, byw - 'to be living.'
I believe these are all symbolic of the great union within the self....outwardly it is the emerging of Kundilini energy and the circuit is connected between the Pituitary (feminine) and the Pineal (masculine)...within the Kings chamber (third Ventricle of the brain) the Throne. Inwardly a star is born, the creative spark manifests. You are "reborn" in a way...maybe that's the real intent of that word... probably from ancient rituals.
So are you totally lost and befuddled or are you beginning to listen and hear the music of the divine?
Some more fun bee linkshttp://en.wikipedia.org/wiki/Bee_(mythology)
Bee (mythology)
From Wikipedia, the free encyclopedia
the outer limits ZZZZ the bee queen
http://www.scifilm.org/tv/outerlimits/outerlimits1-18.html
http://mythsdreamssymbols.com/myths, dreams and symbols Joseph Cambell
Bill Moyers: So the one great story is our search to find our place in the drama?
Joseph Campbell: To be in accord with the grand symphony that the world is, to put the harmony of our own body in accord with that harmony
