Τετάρτη, 26 Ιανουαρίου 2011

Lectorium Rosicrucianum puplic lecture Monday 14.02.2011

Some Like It Hot United Artists, 1959.

 Some Like It Hot United Artists, 1959.

Directed by Billy Wilder.  Camera:  Charles Lang.  With Tony Curtis, Jack Lemmon, Marilyn Monroe, George Raft, Pat O'Brien, Joe E. Brown, Nehemiah Persoff, George E. Stone, Mike Mazurki.
In Chicago, in February, 1929, federal agent Mulligan sets up a raid on a speakeasy run by notorious bootlegger "Spats" Colombo, based on information provided by small-time gangster "Toothpick" Charlie.  As Mulligan inspects the lively speakeasy, two members of the band, saxophonist Joe and bass player Jerry eagerly discuss plans for their salary from their first job in four months.  The longtime friends begin arguing about how to spend their salary until Jerry notices Mulligan’s badge and they make a hasty exit as the raid begins, avoiding the police roundup.

Putting up their coats as collateral, they place a bet with their bookie, and promptly lose both the bet and their coats. Desperate, Joe and Jerry visit the musicians’ agency building hoping to line up another job.  At Sid Poliakoff’s agency, receptionist Nellie Weinmeier, incensed over being stood up by Joe a few nights earlier, reveals there is an opening for a bass and sax with a band in an all-expenses paid trip to Florida.  Joe and Jerry eagerly question Sid, only to learn that the positions are in an all-girl band.  Sid tells them of a job at a college dance in Urbana and Joe accepts, then charms Nellie into loaning them her car for the Urbana gig.

Retrieving the car at a garage owned by Toothpick Charlie, Joe and Jerry unintentionally witness Spats and his men shoot Charlie and his men to death for informing on the speakeasy.  Although the musicians are spotted by Spats, he is distracted by Charlie, who revives long enough to allow Joe and Jerry to flee.  After they evade the gangsters, Jerry suggests they call the police, but Joe reminds him they will not be safe from Spats in any part of Chicago in spite of the police.  Joe then telephones Sid and, using a high falsetto voice, accepts the job with the all-girl band.

That evening at the train station, Joe and Jerry, uncomfortably disguised as women, check in with band leader Sweet Sue and manager Beinstock as the newest members of the Society Syncopators, Joe as Josephine and Jerry as Daphne.  Once on board the train, Joe fears that Jerry’s enthusiasm at finding himself among so many women will expose them and warns his friend to behave "like a girl," but in the process, musses Jerry’s outfit.  Retreating to the ladies’ room for repairs, the men come upon stunning singer and ukulele player Sugar Kane Kowalczyk drinking bourbon from a flask.  Sugar pleads with them not to report her to Sue, who has threatened to fire her if she is caught drinking again.

A little later during rehearsal, when Sugar’s flask falls to the floor, Sue responds angrily, but Jerry steps forward, and to Sugar’s surprise, claims the flask is his own.  That night, Sugar sneaks to Jerry’s berth to thank him for his action, then abruptly jumps into the berth to avoid Sue.  Overwhelmed by Sugar’s proximity, Jerry grows anxious and suggests that he needs a drink and within minutes an impromptu party ensues at Jerry’s berth.  Joe awakens and is horrified, but gets drawn into the festivities when Sugar asks him to help break up an ice block in the ladies’ room.  There Sugar confides that she is with the all-girl band in order to escape a series of unhappy love affairs with tenor saxophone players and dreams of finding a sensitive millionaire who wears glasses.

Upon arriving in Florida at the beachfront Ritz Seminole Hotel, "Daphne" catches the attention of wealthy, oft-married Osgood Fielding III.  Once in their room, Jerry, infuriated at being flirted with and pinched by Osgood, demands they give up their disguises and find a male band, but Joe insists they must maintain their masquerade, as Spats will surely investigate male orchestras all over the country.  Jerry reluctantly agrees and then accompanies Sugar to the beach.  Unknown to Jerry, Joe has stolen Beinstock’s suitcase of clothes and eyeglasses and, dressing in them, goes to the beach where he stages an accidental meeting with Sugar.  Joe implies that he is the heir to the Shell Oil company and, captivated by the apparently sensitive "Junior," Sugar invites him to the band’s opening that night.

Back in their room, Jerry receives a call from Osgood inviting Daphne to a candlelit dinner on board his yacht.  Joe accepts for Jerry, then tells his protesting friend that he must keep the date with Osgood on shore, as he, in the guise of Shell Oil, Junior, plans to dine with Sugar on Osgood’s yacht.

That night during the band’s performance, Osgood sends Jerry an enormous bouquet, which Joe commandeers to give to Sugar with a card inviting her to dine with Junior.  Afterward, Joe meets Sugar on the pier as an unhappy Jerry talks Osgood into dining at a local roadhouse.  While Jerry and Osgood tango to the music of a Cuban band at the roadhouse, on board Osgood’s yacht Joe convinces Sugar that a romantic emotional shock in his youth has left him impotent and years of expensive medical treatment have failed to cure him.  Appalled, Sugar begs Joe to allow her to help, but after numerous passionate kisses, Joe insists he is unmoved.  Determined, Sugar pleads to keep trying and Joe agrees.

At dawn, Joe climbs back in the window of the hotel room to find Jerry deliriously happy because Osgood has proposed.  Taken aback, Joe tells his friend it is impossible for him to marry another man, but Jerry explains his plan to reveal his identity after the marriage ceremony and, after an annulment, force Osgood to pay him alimony.  Disturbed by Jerry’s high spirits, Joe urges him to remember that he is a boy, and Jerry sadly wonders what to do with Osgood’s engagement gift, an extravagant diamond bracelet.

The next day, gangsters from all over the country, summoned by mob boss Little Bonaparte, meet at the hotel under the guise of attending an opera convention.  Mulligan is also present and, when Spats arrives, accuses him of the murder of Toothpick Charlie and his gang.  Upon spotting Spats in the lobby, Joe and Jerry panic and realize they must flee.  In their room, Jerry laments having to give up Osgood, and Joe telephones Sugar to disclose that Junior’s family has ordered him to Venezuela immediately for an arranged marriage.  Moved by Sugar’s despair, Joe places the diamond bracelet in a box of flowers and pushes it across the hall to her door as a farewell gift from Junior.  Joe and Jerry then escape out of their hotel window but are seen by Spats and his men on the floor below.  When the pair dash away leaving their instruments behind, Spats finds bullet holes in Jerry’s bass and realizes the "broads" are the Chicago murder witnesses in disguise.

Knowing they have been discovered, Joe and Jerry dress as a bellboy and a wheelchair-bound millionaire and head across the lobby filled with Spats’s men.  Noticing that Jerry has inadvertently left on his high heels, the henchmen give chase and Joe and Jerry run into a convention hall and hide, unaware that the mob "convention" is scheduled to meet there.  Moments later, Spats sits at the table under which Joe and Jerry are hiding and, in a prearranged plan, Bonaparte pretends to honor Spats by presenting him with a giant cake, out of which bursts an assassin who guns down Spats and his men.  Terrified, Joe and Jerry bolt but, as Bonaparte orders them found, Mulligan and his men close in to make arrests.

Resuming their disguises as women, Joe and Jerry overhear that the remainder of Bonaparte’s men are watching all buses and trains out of town and Joe decides they should escape on Osgood’s yacht after Jerry elopes with him.  When Jerry balks, Joe says their only option is certain death by Bonaparte’s men.  While Jerry telephones Osgood to make arrangements, Joe hears Sugar and the band finishing a song and climbs onto the stage to tell her that no man is worth her heartbreak, then kisses her before hurrying away.  Realizing that "Josephine" is "Junior," Sugar follows the men down to the dock and the waiting Osgood.  As they all board the speedboat, Joe removes his wig and confesses that he is a liar and a phony, but Sugar insists that she does not care and the couple embrace.

Meanwhile, Osgood proudly tells Daphne that his mother is delighted about their upcoming wedding.  Jerry nervously confesses that he cannot marry him, declaring that he is not a natural blond, smokes, has lived in sin and cannot bear children, but Osgood remains cheerfully undaunted.  At last, Jerry snatches off his wig and admits that he is a man, wherein Osgood happily assures him that, after all, "nobody’s perfect."

Trailer : http://www.imdb.com/video/imdb/vi2371683353/

Ask me for 3 matroska links :)

Κυριακή, 23 Ιανουαρίου 2011

Tchaikovsky - 18 Pieces Op.72 for Piano : Mikhail Pletnev - 2005.

Piotr Ilyich Tchaikovsky (1840-1893)
18 Pieces Op.72 for Piano / Mikhail Pletnev: Piano
Live Recording, Zurich, Tonhalle, 6/2004
Total Playing Time: 69min 47sec / Year: 2005


01. Impromptu in F minor
02. Berceuse in A flat major
03. Tendres reproches in C sharp minor
04. Danse caractιristique in D major
05. Meditation in D major
06. Mazurque pour danser in B flat major
07. Polacca de concert in E flat major
08. Dialogue in B major
09. Un poco di Schumann in D flat major
10. Scherzo-fantaisie in E flat minor
11. Valse bluette in E flat major
12. L'Espiegle in E major
13. Echo rustique in E flat major
14. Chant eeιgiaque in D flat major
15. Un poco di Chopin in C sharp minor
16. Valse a cinq temps in D major
17. Passe lointain in E flat major
18. Scene dansante (invitation au trepak) in C major
19. Chopin: Nocturne for piano No. 20 in C sharp minor,op.posth


Thanks to horacio for uploading
Links in request

Σάββατο, 22 Ιανουαρίου 2011

The gospel of Buddha according to old records (1895) By Paul Carus

 The gospel of Buddha according to old records

The Gospel of Buddha was an 1894 book by Paul Carus. It was modeled on the New Testament and told the story of Buddha through parables. It was an important tool in introducing Buddhism to the west and is used as a teaching tool by some Asian sects.

The gospel of Buddha according to old records (1895) By Paul Carus
Chicago, The Open Court Publishing Company


THEN the Mallas, with their young men and maidens and their wives, being grieved, and sad, and afflicted at heart, went to the Upavattana, the sala grove of the Mallas, and wanted to see the Blessed One, in order to partake of the bliss that devolves upon those who are in the presence of the Holy One.

The Blessed One addressed them and said: "Seeking the way, ye must exert yourselves and strive with diligence. It is not enough to have seen me Walk as I have commanded you; free yourselves from the tangled net of sorrow. Walk in the path with steadfast aim. A sick man may be cured by the healing power of medicine and will be rid of all his ailments without beholding the physician. He who does not do what I command sees me in vain. This brings no profit; while he who lives far off from where I am and yet walks righteously is ever near me. A man may dwell beside me, and yet, being disobedient, be far away from me. Yet he who obeys the Dharma will always enjoy the bliss of the Tathagata's presence."

Then the mendicant Subhadda went to the sala grove of the Mallas and said to the venerable Ananda: "I have heard from fellow mendicants of mine, who were deep stricken in years and teachers of great experience: 'Sometimes and full seldom do Tathagatas appear in the world, the holy Buddhas.' Now it is said that today in the last watch of the night, the final passing away of the samana Gotama will take place. My mind is full of uncertainty, yet have I faith in the samana Gotama and trust he will be able so to present the truth that I may become rid of my doubts. O that I might be allowed to see the samana Gotama!"

Buddha by jessie145

 When he had thus spoken the venerable Ananda said to the mendicant Subhadda: "Enough! friend Subhadda. Trouble not the Tathagata. The Blessed One is weary." Now the Blessed One overheard this conversation of the venerable Ananda with the mendicant Subhadda. And the Blessed One called the venerable Ananda, and said: "Ananda! Do not keep out Subhadda. Subhadda may be allowed to see the Tathagata. Whatever Subhadda will ask of me, he will ask from a desire for knowledge, and not to annoy me, and whatever I may say in answer to his questions, that he will quickly understand."

Then the venerable Ananda said: "Step in, friend Subhadda; for the Blessed One gives thee leave."

When the Blessed One had instructed Subhadda, and aroused and gladdened him with words of wisdom and comfort, Subhadda said to the Blessed One: "Glorious Lord, glorious Lord! Most excellent are the words of thy mouth, most excellent! They set up that which has been overturned, they reveal that which has been hidden. They point out the right road to the wanderer who has gone astray. They bring a lamp into the darkness so that those who have eyes to see can see. Thus, Lord, the truth has been made known to me by the Blessed One and I take my refuge in the Blessed One, in the Truth, and in the Order. May the Blessed One accept me as a disciple and true believer, from this day forth as long as life endures."

And Subhadda, the mendicant, said to the venerable Ananda: "Great is thy gain, friend Ananda, great is thy good fortune, that for so many years thou hast been sprinkled with the sprinkling of discipleship in this brotherhood at the hands of the Master himself!"

Now the Blessed One addressed the venerable Ananda, and said: "It may be, Ananda, that in some of you the thought may arise The word of the Master is ended, we have no teacher more!' But it is not thus, Ananda, that you should regard it. It is true that no more shall I receive a body, for all future sorrow has now forever passed away. But though this body will be dissolved, the Tathagata remains. The truth and the rules of the order which I have set forth and laid down for you all, let them, after I am gone, be a teacher unto you.When I am gone, Ananda, let the order, if it should so wish, abolish all the lesser and minor precepts."

Then the Blessed One addressed the brethren, and said: "There may be some doubt or misgiving in the mind of a brother as to the Buddha, or the truth, or the path. Do not have to reproach yourselves afterwards with the thought, 'We did not inquire of the Blessed One when we were face to face with him.' Therefore inquire now, O brethren, inquire freely."

The brethren remained silent. Then the venerable Ananda said to the Blessed One: "Verily, I believe that in this whole assembly of the brethren there is not one brother who has any doubt or misgiving as to the Buddha, or the truth, or the path!"

Said the Blessed One: "It is out of the fullness of faith that thou hast spoken, Ananda! But Ananda, the Tathagata knows for certain that in this whole assembly of the brethren there is not one brother who has any doubt or misgiving as to the Buddha, or the truth, or the path! For even the most backward, Ananda, of all these brethren has become converted, and is assured of final salvation."

Then the Blessed One addressed the brethren and said: "If ye now know the Dharma the cause of all suffering, and the path of salvation, O disciples, will ye then say: 'We respect the Master, and out of reverence for the Master do we thus speak?'" The brethren replied: "That we shall not, O Lord."

And the Holy One continued: "Of those beings who live in ignorance, shut up and confined, as it were, in an egg, I have first broken the egg-shell of ignorance and alone in the universe obtained the most exalted, universal Buddhahood. Thus, O disciples, I am the eldest, the noblest of beings.

"But what ye speak, O disciples, is it not even that which ye have yourselves known, yourselves seen, yourselves realized?" Ananda and the brethren said: "It is, O Lord."

Once more the Blessed One began to speak: "Behold now, brethren, said he, I exhort you, saying, 'Decay is inherent in all component things, but the truth will remain forever Work out your salvation with diligence!" This was the last word of the Tathagata. Then the Tathagata fell into a deep meditation, and having passed through the four jhanas, entered Nirvana.

When the Blessed One entered Nirvana there arose, at his passing out of existence, a mighty earthquake, terrible and awe-inspiring: and the thunders of heaven burst forth, and of those of the brethren who were not yet free from passions some stretched out their arms and wept, and some fell headlong on the ground, in anguish at the thought: "Too soon has the Blessed One died! Too soon has the Happy One passed away from existence! Too soon has the Light of the world gone out!"

Then the venerable Anuruddha exhorted the brethren and said: "Enough, my brethren! Weep not, neither lament! Has not the Blessed One formerly declared this to us, that it is in the very nature of all things near and dear unto us, that we must separate from them and leave them, since everything that is born, brought into being, and organized, contains within itself the inherent necessity of dissolution? How then can it be possible that the body of the Tathagata should not be dissolved? No such condition can exist! Those who are free from passion will bear the loss, calm and self-possessed, mindful of the truth he has taught us."

The venerable Anuruddha and the venerable Ananda spent the rest of the night in religious discourse. Then the venerable Anuruddha said to the venerable Ananda: "Go now, brother Ananda, and inform the Mallas of Kusinara saying, 'The Blessed One has passed away: do, then, whatsoever seemeth fit!'" And when the Mallas had heard this saying they were grieved, and sad, and afflicted at heart.

Then the Mallas of Kusinara gave orders to their attendants, saying, "Gather together perfumes and garlands, and all the music in Kusinara!" And the Mallas of Kusinara took the perfumes and garlands, and all the musical instruments, and five hundred garments, and went to the sala grove where the body of the Blessed One lay. There they passed the day in paying honor and reverence to the remains of the Blessed One, with hymns, and music, and with garlands and perfumes, and in making canopies of their garments, and preparing decorative wreaths to hang thereon. And they burned the remains of the Blessed One as they would do to the body of a king of kings.

When the funeral pyre was lit, the sun and moon withdrew their shining, the peaceful streams on every side were torrent-swollen, the earth quaked, and the sturdy forests shook like aspen leaves, whilst flowers and leaves fell untimely to the ground, like scattered rain, so that all Kusinara became strewn knee-deep with mandara flowers raining down from heaven.

When the burning ceremonies were over, Devaputta said to the multitudes that were assembled round the pyre: "Behold, O brethren, the earthly remains of the Blessed One have been dissolved, but the truth which he has taught us lives in our minds and cleanses us from all error. Let us, then, go out into the world, as compassionate and merciful as our great master, and preach to all living beings the four noble truths and the eightfold path of righteousness, so that all mankind may attain to a final salvation, taking refuge in the Buddha, the Dharma, and the Sangha."

When the Blessed One had entered into Nirvana and the Mallas had burned the body with such ceremonies as would indicate that he was the great king of kings, ambassadors came from all the empires that at the time had embraced his doctrine, to claim a share of the relics; and the relics were divided into eight parts and eight dagobas were erected for their preservation. One dagoba was erected by the Mallas, and seven others by the seven kings of those countries whose people had taken refuge in the Buddha.

The Great Buddha Kamakura Japan Picture


Τετάρτη, 19 Ιανουαρίου 2011

The great work of the spiritualization of the world

 The great work of the spiritualization of the world

It is visible now that we live in times of revelation.
Even the demons openly show their true face projecting all that in the current social misery and poverty seem exquisite and sensual.

What in the past through an allegorical history seemed extreme, and that in only few people could this happen, to sell their soul to the devil because of acquiring property or wealth, this is becoming in an incredible degree today from a wide mass of people.

The negativity that is diffused in the atmosphere is completely onerous to the human system not only causes schizophrenia but an incredible apathy, combined with an indescribable rage.

The progress of humanity as a whole, directed wih a highly successful orchestral way from a dark elite that directs the course of different communities in every country,now degraded by their national characteristics seem identical and unprotected,this progress does not lead only to a deadlock, but the same time into a conflict, not only internally but also externally between people.

It is very easy today with this problematic consciousness of the people with the  combination with their bodies heavy history in medical sense to become easily victims not only through the production of the food chain but also from the supposed drugs that false claimed to cure,correct their health problems while they burden in reality.

All this combined with unspeakable chemicals in cosmetics and health products offers a guarantee fragmentation of consciousness and body.

In the following years what i describe to you, will speed up rapidly,and will become so distinct from all people regardless of education or economic status.

It's a law that when a work is made for the harvest of great number of souls from the Gnostic Field, as we live now, simultaneously the reaction of the eternal enemy is intensify, the ruler of this world.

These radiations from the divine kingdom offer us a correction with the cosmic laws of the primary world, leads us to a complete and comprehensive treatment, a fundamental transformation.
Everyone should learn to respond positively to these radiations internally and externally.

The great work of the spiritualization of the world in which we live is inevitable, anyone who will not be able to react into this, will face specific bodily and psychologically tensions, only one way is left for us, but this path should been experienced fully conscious from every man.

Through an incredible attack by dark forces that are intended to exclude us from the Gnostic message bodily and consciously, our struggle becomes entirely more difficult, and therefore we will need all these pure souls with us,which will be able to carry inside them this Light and thus to spread it everywhere around them.

There is only one way and is invites us into a full fundamental transformation.
The choice is yours.

Translated from my Greek text for all not Greek friends

Τρίτη, 18 Ιανουαρίου 2011

Ferdinand Leeke - Parsifal & Lohengrin

     Parsifal in Quest of the Holy Grail 1912 

Ferdinand Leeke was born in Burg, near Magdeburg, Germany on April 7th 1859. He studied at the Munich Academy under the famed Johann Herterich (1843-1905), considered to be a remarkable genre and historical painter, and with the Hungarian genre and landscape painter, Alexander von Wagner (1838-1919).

Lohengrin 1916

Around 1889 Leeke was commissioned by Siegfried Wagner, the son of the composer Richard Wagner, to paint a series of paintings showing scenes from ten operas of Wagner.

Dante Gabriel Rossetti (12 May 1828 – 9 April 1882)

The Damsel of the Sanct Grael or Holy Grail - Dante Gabriel Rossetti 1874

How Sir Galahad, Sir Bors and Sir Percival were Fed with the Sanc Grael; 
But Sir Percival's Sister Died by the Way, 
a watercolour by Dante Gabriel Rossetti 1864

Dante Gabriel Rossetti

Dante Gabriel Rossetti (12 May 1828 – 9 April 1882) was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and John Everett Millais, and was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work influenced the European Symbolists, and he was also a major precursor of the Aesthetic movement.

Rossetti's art was characterised by its sensuality and its medieval revivalism. His early poetry was influenced by John Keats. His later poetry was characterised by the complex interlinking of thought and feeling, especially in his sonnet sequence The House of Life. Poetry and image are closely entwined in Rossetti's work; he frequently wrote sonnets to accompany his pictures, from The Girlhood of Mary Virgin (1849) to Astarte Syriaca (1877), one of his last completed works.

Rossetti's personal life was closely linked to his work, especially his relationships with his models and muses Elizabeth Siddal, Fanny Cornforth, and Jane Morris.


Το μεγάλο έργο της πνευματοποιησης του κόσμου

Ο Ήλιος και το άρμα του σε κρατήρα του 435 π.Χ.
     Βρετανικό μουσείο, Λονδίνο.
Είναι ευδιάκριτο πλέον ότι ζούμε σε καιρούς αποκάλυψης.
Ακόμα και οι δαίμονες δεικνύουν στα  φανερά το αληθινό τους πρόσωπο προβάλλοντας όλα αυτά που μέσα στην σημερινή μιζέρια και κοινωνική εξαθλίωση φαντάζουν εξαίσια και ηδονικά.

Αυτό που στο παρελθόν μέσα από μια αλληγορική ιστορία μας φαινότανε ακραίο, και ότι σε ελάχιστους ανθρώπους θα μπορούσε να συμβεί,το να πουλήσουμε την ψυχή μας δηλαδή στον διάβολο για την αποκόμιση υλικών αγαθών ή πλούτου, γίνετε κατά κυριολεξία σε απίστευτο βαθμό σήμερα από μια μεγάλη μάζα ανθρώπων.

Η αρνητικότητα που υπάρχει διάχυτα στην ατμόσφαιρα είναι ολωσδιόλου επιβαρυντική για το ανθρώπινο σύστημα,δεν προκαλεί μόνο σχιζοφρένεια αλλά και μια απίστευτη απάθεια συνδυαζόμενη με μια απερίγραπτη οργή.

Η πορεία της ανθρωπότητας σαν σύνολο κατευθυνόμενη με έναν ιδιαίτερα πετυχημένο ορχηστρικό τρόπο από την σκοτεινή ελίτ που κατευθύνει την πορεία των διαφορετικών σε κάθε χώρα κοινωνιών μας, που σήμερα αλλοιωμένες από τα εθνικά τους χαρακτηριστικά μοιάζουν τόσο πανομοιότυπες και απροστάτευτες, δεν οδηγεί σε ένα αδιέξοδο μόνον αλλά ταυτόχρονα και σε μια μεγάλη σύγκρουση όχι μόνο εσωτερικά αλλά και εξωτερικά μεταξύ των ανθρώπων.

Είναι πολύ εύκολο σήμερα μέσα από την διάτρητη συνείδηση των ανθρώπων σε συνδυασμό με τα βεβαρημένα από ιατρικής άποψης σώματα τους να γίνονται εύκολα θύματα όχι μόνον μέσα από την παραγωγή της διατροφικής αλυσίδας αλλά και των υποτιθέμενων φαρμάκων που ψευδός υποστηρίζεται ότι διορθώνουν τα προβλήματα ασθένειας των αρρώστων ενώ αντίθετα τα επιβαρύνουν.
Όλα αυτά σε συνδυασμό με τις απερίγραπτες χημικές ουσίες στα καλλυντικά και στα είδη υγιεινής προσφέρουν μια εγγύηση κατακερματισμού της συνείδησης και του σώματος.

Στα επόμενα χρόνια αυτό που σας περιγράφω θα επιταχυνθεί με γοργό ρυθμό,θα γίνει έτσι ευδιάκριτο από όλους τους ανθρώπους ανεξαρτήτου μόρφωσης ή οικονομικής κατάστασης.

Είναι νομοτελειακό, όταν επιχειρείται ένας μεγάλος θερισμός ψυχών από το Γνωστικό πεδίο όπως αυτός που ζούμε τώρα ταυτόχρονα να εντείνετε και η αντίδραση του αιώνιου αντίπαλου,του άρχοντα αυτού του κόσμου.

Οι ακτινοβολίες αυτές από το Θεϊκό βασίλειο μας προσφέρουν μια ευθυγράμμιση με τους κοσμικούς νόμους της πρωταρχής,μας οδηγούν σε μια πλήρη και ολοκληρωμένη θεραπεία,μια θεμελιακή μεταμόρφωση.
Όλοι οι άνθρωποι θα πρέπει να μάθουν να απαντούν θετικά σε αυτές εσωτερικά και εξωτερικά.

Το μεγάλο έργο της πνευματοποιησης του κόσμου μέσα στον οποίο ζούμε είναι αναπόφευκτο,όποιος δεν θα μπορέσει να ανταποκριθεί σε αυτό θα νιώσει ιδιαίτερες εντάσεις σωματικά και ψυχολογικά,μόνον μια οδός μας μένει, όμως αυτή η οδός θα πρέπει να βιωθεί εξολοκλήρου συνειδητά από τον κάθε άνθρωπο.

Μέσα από μια απίστευτη επίθεση από τις σκοτεινές δυνάμεις που έχουν σαν σκοπό να μας αποκλείσουν από το Γνωστικό μήνυμα σωματικά και συνειδησιακά ο αγώνας μας γίνετε ολωσδιόλου πιο δύσκολος, και γιαυτό θα χρειαστούμε όλες αυτές τις αγνές ψυχές μαζί μας που θα μπορέσουν μέσα τους να φέρουν το Φως και να το διαχύσουν έτσι, παντού γύρω τους.

Δεν υπάρχει παρά ένας δρόμος και αυτός μας καλεί σε μια πλήρη θεμελιακή μεταμόρφωση.
Η επιλογή είναι δική σας.

Δευτέρα, 17 Ιανουαρίου 2011

Peter Tchaikovsky - Schwanensee · Swan Lake DVD

Peter Tchaikovsky - Schwanensee · Swan Lake
Le Lac des Cygnes & Il lago dei cigni: op. 20
Ballett in 4 Akten/Acts (Gesamtaufnahme · Complete)
Rudolf Nureyev · Dame Margot Fonteyn
Wiener Staatsopernballett
Wiener Symphoniker - John Lanchbery
Int. Release 13 Apr. 2005 / 1 DVD-Video

Message me for the links 

Mani - Song of the Bema, 223 (fragment)

Edited by Willis Barnstone and Marvin Meyer
Boston & London 2003

Mani's teaching embraced a highly complex historical drama of supracosmic proportions in which humanity's past origin,present predicament, and future possibilities are described.The  drama  centers its theological  concern on the existential question of the origin of evil in human experience.Mani employed a typical apocalyptic scheme in which cosmic history was divided into three time periods:past,present,and future. 
In the past time there existed two eternal principles, one all good and  the other all evil. The good principle exists exclusively within the kingdom of light and finds its focus in the father of greatness, whose fourfold  majesty embraces divinity,light, power,and goodness.His throne is surrounded by at least 156 peace-loving entities: twelve aeons (or eternal realms, in three groups of four each) and 144 aeons of aeons.The kingdom of light is constructed of five elements or stoicheia (air,wind,light, water,and fire) and contains five peaceful "dwellings" (intelligence,knowledge,reason,thought,and deliberation).(In Manichaeism many things are given in five,even the five trees of paradise reminiscent of Gospel of Thomas 19.) 
The evil principle and the kingdom of darkness are he complete antitheses of the good principle and the kingdom of light.The many monstrous and agitated inhabitants of the kingdom of darkness are ruled by five evil archons (demon,lion,eagle,fish, and dragon), who are in constant opposition to each other and who,collectively,make up the hellish prince of  darkness.
They are sexually preoccupied and controlled by their passions,and they dwell in an ominous netherworld of smoke,fire,wind,water,and darkness.The two kingdoms are completely distinct yet eternally coexistent. 
The "present time" begins when the evil inhabitants of the kingdom of darkness drive a wedge into the kingdom of light in a lustful desire to mingle with the light.The kingdom  of darkness is thoroughly aroused,and its terrifyingly vicious inhabitants enter the light in a full-scale invasion.The father of greatness responds by evoking a series of entities who may need to be sacrificed to the invaders so as to satisfy them and stop the assault. The first evocation is the mother of life,who then evokes the primal man,who fights the incoming  forces of darkness but loses his battle.The five evil archons (who constitute the prince of darkness) then consume some of the light elements of the primal man's armor.Having unwittingly fallen into the trap of the father of greatness, they are now dependent on the light for their continued existence.The primal man awakens from his sleep of forgetfulness,remembers his divine  origins,and prays for his rescue.
The father of greatness responds by evoking a series of beings who initiate the rescue of the primal man: the friend of lights evokes the great  architect,who  then evokes the living  spirit,who evokes his five sons (the custodian  of splendor,the great king  of honor,Adamas of light,the king of glory, and Atlas).The living spirit cries out from the kingdom of light into the darkness to the primal man, who answers.The cry and answer (representing the divine word of salvation  and  the positive human response) are hypostasized,that is,they become divine beings who ascend to the kingdom  of light. The living spirit then grasps the primal man by the hand and rescues him from  the kingdom of darkness. 
The rest of the drama in the "present time" focuses on the work of the  father of greatness to regain all of the light particles swallowed by the five evil archons.The living spirit first creates ten heavens and eight earths  out of the material corpses of the slain demons.He separates the swallowed light particles into three types: the first is undefiled,and from these he creates the sun and the moon; the second is only partly defiled, and from  these he creates the stars;the third is completely defiled,and so he creates an elaborate cosmic mechanism  to  distill the light from the matter.The living spirit then evokes the third messenger,who evokes the zodiacal twelve maidens,collectively the maiden of light,who operate the cosmic three wheels created to distill the light particles out of the material universe.Another evocation is the column of glory (the Milky Way),which transports the recovered light particles from the distilling three wheels to the moon and then the sun,which function as ships transporting the light particles to their temporary haven (the new earth created by the great architect).
The third messenger and the maiden of light then excite the sexual nature of the male archons,causing them to ejaculate the light particles from within them.The sin that excites the archons falls to the earth, becoming the source of all plant life.The female archons miscarry their light-bearing fetuses,which fall to the earth and copulate among themselves,becoming the source of all animal life.The sum total of all of these precious light particles trapped in deadly matter,including plants and animals,is called the suffering Jesus (Jesus atibilis),who is on the light cross (crux luminus). 
The prince of darkness,in an attempt to frustrate  the cosmic distillation of light particles,gives birth to the two evil demons,Sakla (Ashqulan) and Nebroel (Namrael),who eat the monstrous offspring of the miscarried fetuses in order to ingest  their light  particles.The two demons then copulate,and Nebroel gives birth to exact miniature replicas (the "image of God" of Genesis 1:26-27) of the confused light-matter macrocosm:Adam and Eve. 
In a typically gnostic "inverted exegesis" of Genesis 1-5 (a hermeneutical feature shared with some forms of gnosticism),the sexually oriented evil creator can create only by copulation and birth,and so can create only matter (which is inherently evil).He is unable to create in the manner of the father of greatness,by asexually evoking pure spiritual entities.Consequently,Adam (representing humanity) is specifically designed by the evil creator in his own image (Genesis 1:26) to procreate sexually (Genesis 1:27-28).Thus,Adam can only continue  the  evil cycle of birth,copulation,and rebirth,and in so doing he fulfills his natural evil inclination to "be  fruitful and multiply" (Genesis 1:28; 5:4b).Adam's evil material nature (representing human sexuality) thus  entangles the precious light  particles,transmitted through male seed,in potentially endless generations of  material bodies (representing human history;see Genesis 5:1-32). 
But Adam is ignorant of the light within him and his true origin in the kingdom of light and so is unable to recognize and redeem the light particles. 
The evocations of the father of greatness then send Jesus of light to awaken Adam (Genesis 3:1) to inform him of his true nature (Genesis 3:4-5) and to lead him to self-recognition (Genesis 3:7,11a,22a).Jesus of light helps Adam eat of the salvific tree of life (Genesis 3:22),warns him of the dangers of sexual procreation with Eve, and so encourages a sexually abstinent lifestyle (the ideal model of behavior in Manichaean ethics).Then Eve and a male  archon copulate,and Eve gives birth to Cain (Genesis 4:1),who then copulates with his mother Eve,who gives birth to Abel (Genesis 4:2),and so begins the incestuous interaction of Cain (Genesis 4:2a) and Abel with Eve and with each other's daughters borne by Eve (Genesis  4:17).Eve then receives magical knowledge from an evil archon, which enables her to copulate with the ascetic Adam.She succeeds in her desire and bears Seth (Genesis 4:25a), who,as the first true son of Adam (Genesis 5:3,4b),contains a significantly larger amount of light particles than  the other offspring of Eve.
The ascetic Adam and Seth,self-conscious particles of light entrapped in innately evil  material bodies,become the exemplary human figures for Manichaean ethics (Genesis 4:26b;5:1-32).
The "future time" is the third and final act of the historical cosmic drama,and it provides for Manichaean ethics  a preview into the system of reward and punishment.The final and great war will break out among the unenlightened  powers of darkness when the distillation of light particles from the material  cosmos has neared its completion.  Jesus will return at a decisive eschatological moment as the great king and will judge humanity and the infernal  powers.The elect will become angels,the auditors will be judged righteous,and the sinners will be cast into hell  with the sexually promiscuous woman Eve and her hellish offspring.The cosmos will disintegrate and burn in a conflagration for 1,468 years.
The remaining light  particles will be gathered and finally return by ascent to the  kingdom of light,while the prince of darkness and his diabolical minions will be cast into a bottomless pit permanently sealed with a huge stone for all eternity.The two principles of light and darkness will again be two separate and distinct entities,never again to commingle.

Song of the Bema, 223 

Let Us Worship the Spirit Let us worship the spirit of the comforter,bless lord Jesus who sent us the spirit of truth. 

He came and split us from  the world's error.

He came with a mirror,we looked. 

In it was the cosmos. 

When the holy spirit came she disclosed the way of truth.

It taught us two natures,light and darkness,distinct from the beginning. 

The kingdom of light has five greatnesses: father and his twelve aeons,and the aeons of aeons, the living air,the land of light,and the enormous spirit through whom they breath and which nourishes them with light.

But the kingdom of darkness has five storehouses: smoke and fire and wind and water and darkness.

Their advocate creeps in them, inciting them to make war on each other. 

When making war they dared attack the land of light.

They supposed they could vanquish it and didn't know that their plans would crash down on their own heads.

There was a horde of angels in the land of light,ready to pour out and break the father's enemy. 

They were pleased to have the father's word to rout those rebels who saw themselves  exalted. 

The angels were like a shepherd who sees a lion padding near to destroy the  fold,who cunningly takes a lamb and sets it as a snare to catch the lion. 

With a single lamb he saves his fold, heals the lamb, and wounds the lion.

Such is the way of the father who sent forth his strong son and made from himself his virgin armed with five powers to fight the five abysses of the darkness. 

When the watcher stood at the borders of light, he showed them to the virgin who is his soul.

In their abysses they stirred,desiring her.

They opened their mouth to swallow her.

He held her power fast.He spread her over them like nets over fish. 

He had her rain down on  them like purified clouds of water.

She stabbed inside them like piercing lightning. She crept into their inner parts.She bound them.

They knew nothing. 

When the first man finished his war,the father sent his second son.

He came,lifted his brother out of the abyss.

He made the whole world out of that mixture of the light and darkness. 

He spread all his powers of the abyss to ten heavens and eight earths.

He shut them up into this cosmos and made it a prison for all powers of darkness.

It was also a place of purification for the soul swallowed in them.

He established the sun and moon and set them high to purify the soul.

Daily they took in refined parts up to their height,yet however they mixed the dregs they couldn't move them up or down.

The whole world halts for a season.

A great building is being built outside the world.

As soon as the workers finish,the cosmos will dissolve,catch fire, and flame will melt it away.

All life,the relic of light wherever it is,he will take to himself and then project an image.

The counsel of death—it is all darkness—will meet and create a likeness of itself and the ruler,but in a flash the living spirit comes,succors the light,and will lock up the counsel of death and darkness in a house made to hold them there forever. 

There is no other way to freeze the enemy.

He won't be received to the light,for he is a stranger, yet he can't be left in his land of darkness.

He must not engage in a war greater than the first one. 

A new aeon will be built in the place of the cosmos that will dissolve.

In the aeon the powers of light may reign, since they have performed and fulfilled the will of the whole father,subdued the hated over him  forever.

This is Mani's knowledge. Let us worship and bless him. 

Whoever trusts him will be blessed and live with justice.Glory and victory to our lord Mani.

Spirit of truth from the father.

He reveals to us the beginning, the middle,and the end.Victory to the soul of the blessed Mary,Theona,Pshaijmnoute. 13

11 The Coptic uses the Greek word Theona.Theona is identified  by Allbery as one,along with Mary of a pair of martyrs.The name also suggests Mary as a female  god. 

12 The Bema was a rostrum  on which Manis picture was displayed during the Bema feast. The Bema celebration commemorated the death of Mam in the early spring of the year (just as the death and  resurrection  of Jesus were commemorated during the Christian holidays of Good Friday and Easter,also in the spring of the year.A the Bema celebration,songs like this song of the Bema were sung.In the song the comforter (or paraclete) is Mani. 

13. Another Manichaean  name or epithet. In Coptic noute means "god."

Κυριακή, 16 Ιανουαρίου 2011

Sergei Rachmaninoff (1873 – 1943)

Sergei Vasilievich Rachmaninoff (1873 – 1943) was a Russian composer, pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, perhaps the last great representative of Romanticism in classical music.Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom that included a pronounced lyricism, expressive breadth, structural ingenuity, and a tonal palette of rich, distinctive orchestral colors.The piano is featured prominently in Rachmaninoff's compositional output. He made a point of using his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works he revealed a sure grasp of idiomatic piano writing and a striking gift for melody.

The Voice of the Silence, verse 274

Παρασκευή, 14 Ιανουαρίου 2011

New Year's Eve: Alan Gilbert, Lang Lang, and Tchaikovsky (Avi)

Location: Avery Fisher Hall (Directions)
Price Range: $69.00-$265.00
Fri, Dec. 31, 2010

Led by conductor Alan Gilbert and accompanied by renowned Chinese pianist Lang Lang, the New York Philharmonic
symphony orchestra puts on a special New Year’s concert at the Lincoln Center for the Performing Arts in New
York City.
A true mid-winter night's dream: Alan Gilbert conducts Tchaikovsky’s Piano Concerto No. 1 with soloist Lang Lang, and the magical second act of The Nutcracker.

Each New Year's Eve the New York Philharmonic plays a Gala Concert in Lincoln Center's Avery Fisher Hall. The musical content is appropriately festive, and the stage is festooned with balloon and floral decorations. Over the years it has been the pleasure of Live From Lincoln Center to bring many of those concerts into your homes; and we shall do so again this year on Friday evening, December 31. The event will mark the second New Year's Eve Gala conducted by the Philharmonic's still-new Music Director, Alan Gilbert. This year we'll be treated to an all-Tchaikovsky program, with the blazing young pianist, Lang Lang, playing the composer's Piano Concerto No. 1. It was this Concerto that Lang Lang played to great acclaim at the age of 17 with Daniel Barenboim and the Chicago Symphony as a last-minute substitute for an ailing colleague. The concert will begin with the Polonaise from the opera, Eugene Onegin, and after the intermission we'll have the music for the complete Second Act of the beloved ballet, The Nutcracker.

Come back with me to the Live From Lincoln Center telecast of July 29, 2003, a concert given in the course of summertime New York's Mostly Mozart Festival. The program was indeed made up of music mostly by Mozart, but also scheduled was Mendelssohn's Piano Concerto No. 1 with the very young (barely into his twenties) Lang Lang as soloist. Several Mozart opera arias, lasting a total of about 15 minutes, were also scheduled. But literally minutes before concert time the soprano conceded victory to the laryngitis that had attacked her and she informed us she would be unable to perform. What to do on a live telecast scheduled to occupy two hours of air time? Into the breach stepped Lang Lang, offering to perform Liszt's knuckle-busting "Reminiscences of Mozart's Don Juan", which mercifully runs just about the same length as the scheduled soprano arias. His offer was immediately accepted, and I remember Lang Lang running through the corridor on the broadcast booth level in order to get to one of the dressing rooms that was equipped with a piano. A few quick "licks" on the keyboard and Lang Lang was ready to go onstage. His performance of the Liszt was electrifying, and I daresay it served to ignite his remarkable ensuing global career.
The three Tchaikovsky works on the program come from the last 18 years of the composer's lifetime (1840-1893). Earliest was the Piano Concerto, whose first version was completed in 1875. Tchaikovsky intended the Concerto for the reigning Russian pianist of the time, Nicholas Rubinstein. But when he showed the manuscript to Rubinstein, the latter vehemently criticized the piece and declared he would not play it. It then came to the attention of the pianist and conductor, Hans von Bülow, who eagerly became its champion and gave the world premier not in Moscow, or St. Petersburg, or some other Russian city, but in a concert he played on tour in Boston, Massachusetts on October 25, 1875. Tchaikovsky subsequently made slight revisions in the score; the final version as we know it came in 1888. It is perhaps the best-known piano concerto in the literature, and even attracted the attention of Tin Pan Alley some 65 years ago when the theme of its Introduction became the basis of a Pop song titled "Tonight We Love".
As to The Nutcracker of 1892, it is the last of Tchaikovsky's three great ballet scores, the other two being Swan Lake (1875-76) and The Sleeping Beauty (1889). The Nutcracker is in two acts. In the First Act we are set up for the primacy of the children, Clara and Fritz, and the toy nutcracker, whose victory over the Mouse King transforms him into a handsome Prince. The Second Act takes the children on a visit to the Kingdom of the Prince and presents us with all the music familiar from the concert suite Tchaikovsky extracted from the score, among them The Dance of the Sugar-Plum Fairy, the Arab Dance, the Chinese Dance, the Russian Dance and ultimately the Waltz of the Flowers. No offense meant to diehard balletomanes, but all by itself Act 2 of The Nutcracker, without choreography, makes for a rewarding concert experience.

The Polonaise from Eugene Onegin that opens our program is a high-spirited moment from a basically gloom-laden opera that includes a murder by duel, an early unrequited love, and an ultimate rejection of that early love on moral and ethical grounds. The opera dates from 1878.



Link in request

Πέμπτη, 13 Ιανουαρίου 2011

J. S. Bach and his three sons

Projet Homère - Όμηρος Project

Projet Homere est un site gratuit et de qualité sur la langue grecque moderne, classique et savante proposant de nombreux travaux, informations et ressources

Homer project is a free website and quality of the Greek modern classical scholarship offers numerous works, information and resources


Τετάρτη, 12 Ιανουαρίου 2011

Lion as a symbol


Largest of the cat family and feared by most wild animals, the lion is almost universally known as the “king of beasts.”  Its  physical  appearance,  size,  strength,  dignified movements,  and  fierceness  in  killing  other  animals  have,since early times, left a deep imprint on the human psyche.

Associations with the concept of royalty (i.e., power, majesty,control of others) have elevated the status of the lion as symbol; such figures as Richard the Lion-Hearted; various Catholic  popes  who  have  taken  the  name  of  Leo;  the  Buddha,who was known as the “Lion of the S´akya Race”; and Christ,called the “Lion of Judah,” have all been identified with this animal  through  their  imputed  possession  of  certain  heroic qualities.  Sekhmet,  Gilgamesh,  Herakles,  Samson,  David,Daniel, Aeneas, and Aphrodite all share some of the “lion-like” qualities of ferocity, strength, valor, dignity, and nobility.

In astrology, such connotations of royalty were taken a step further: The lion was equated with the solar principle,which  is  often  identified  as  the  illumination  of  consciousness.  The  constellation  of  Leo  was  assigned  the  sun  as  its ruler, and the zodiacal sign of Leo appearing during the hottest  time  of  the  year  (July–August).  This  relationship  between the sun and Leo is central to an undeurstanding of the major role played by the solar principle in this complex symbolism.

In  early  Western  mythology,  sun/lion  attributes  were identified as powerful cosmic forces, eventually replacing the moon/bull  themes  that  had  dominated  earlier  myths.  In Sumer  and  Crete,  the lion was associated with the blazing sun, which slays the moon and parches vegetation. In Egyptian  art  and  mythology, representations  of  lions  were  frequently stationed at the end of tunnels and placed at palace doors and tombs to protect against evil spirits. Sekhmet appears as a lion-headed woman holding a sun disk. She was known  as  a  war  goddess  and  became  associated  with  the Temple of Mut during the reign of Amunhotep II (1450–1425 BCE).
In his study The Great Mother (New York, 1963),Erich Neumann sees Sekhmet as a symbol of fire—the devouring, negative  aspect  of  the  solar  eye  that  burns  and judges.

In the Hebrew scriptures (Old Testament), the lion appears as a symbol of strength and power and an object of fear intended as a catalyst in humanity’s relationship to God. The allusion in Judges 14:18—“What is stronger than a lion?” and the story in Daniel 6 of the prophet who was sent into the lion’s den as a test of his faith in God exemplify the aweinspired associations of the lion with God’s power to judge humankind.

In Christian iconography Mark the evangelist is depicted as a winged lion, perhaps because the first chapter of  the Gospel of Mark refers to “the voice of one crying in the wilderness” (Mk. 1:3), a voice that reputedly resembled a lion’s roar. The lion is also symbolic of Christ’s royal dignity. The Book of Revelation contains a
reference to the lion as symbolic of Christ, particularly his ability to conquer evil and overcome darkness: “Weep not, the Lion of Judah, the Root of David, has conquered” (Rv. 5:5). The lion also came to symbolize resurrection. According to popular legend, lion cubs,when  born  in  litters  of  three,  were  stillborn;  they  were brought back to life by their father, who after mourning for three  days,  revived  them  with  his  breath.  Similarly,  Jesus,three days after his death, was resurrected by God the Father.

Royal and superhuman qualities are also reflected in the portrayal  of  the  Hindu  Great  Mother  goddess,  S´akti, who rides upon a lion. In one of Visnu’s many incarnations, he manifests himself in the form of Narasimha, the “man-lion,”to defeat the demon Hiranyakasipu. Numerous references in the Bhagavadgıta demonstrate the importance of the lion as a symbol. In battle scenes, Bharata, chief of warriors, is compared to Indra and described as an “invincible lion of a man.”

Well-known representations of the lion in Indian Buddhist  art  include  the  Asoka  pillar,  capped  by  a  four-faced lion, and the Sarnath pillar, crowned by a lion upholding a great wheel or disk indicative of the solar principle. In Tantric   Buddhist   art,   the   bodhisattvas   Avalokite´svara   and Mañjusrı  are  seated  on  lions,  and  the  fierce  goddess Simhamukha is depicted as having the head of a lioness. The stylized posture called the Buddha Entering Nirvana is also known as the Lion Posture and forms part of the ritual for disciples being initiated into certain ceremonies. 

In  addition  to  its  function  as  a  representation  of  the solar principle, the lion symbol has also been variously used to depict contemplation and the solitary life. These qualities are best illustrated in the lives of certain Christian saints, especially Euphemia, Ignatius, Jerome, Paul the Hermit, and Mary of Egypt.Rebirth  motifs  have  also  focused  on  the  lion.  In  the Mithraic  cult,  the  lion-headed  god  Aion  (Deus  Leontocephalus) is associated with time and the shedding of light so that rebirth may ensue. C. G. Jung regarded the lion, as discussed in alchemical literature, as a “synonym for mercurius .  .  . or a stage in  transformation.” “The fiery lion,” he concludes,  “is  intended  to  express  passionate  emotionalitythat precedes recognition of unconscious contents.” 

According to Heinrich Zimmer, the insatiable qualities of the lion as devourer are demonstrated in S´iva’s creation of a lion-headed monster. The Book of Job (4:10) also notes the  destructive,  fear-inspiring  characteristics  of  the  lion  in epitomizing its roar as the “voice of the fierce.”


Bleek, W. H. I., and L. C. Lloyd, eds. Specimens of Bushman Folklore (1911). Reprint, Cape Town, 1968.

Goodenough, Erwin R. “The Lion and Other Felines.” In his Jewish Symbols in the Greco-Roman Period, vol. 7, Pagan Symbols in Judaism, pp. 29–86. New York, 1958.

Gray, Louis H., et al., eds. The Mythology of All Races. 13 vols. Boston, 1916–1932. Consult the index, s.v.

Gubernatis,  Angelo  de.  “The  Lion,  the  Tiger,  the  Leopard,  the Panther, and the Chameleon.” In his
Zoological Mythology,or  The  Legends  of  Animals,  vol.  2,  pp.  153–161.  London,1872.

Thompson,  Stith. Motif-Index of Folk Literature. 2d ed., rev. & enl.  6  vols.  Bloomington,  Ind.,  1955–1958.  Consult  the index, s.v. Lions.

New Sources
Stith,  D.  Matthew.  “Whose  Lion  Is  It,  Anyway:  The  Identity of  the  Lion  in  Amos  3-12.”  Koinonia  11  (Spring  1999):103–118.

KATHRYN HUTTON (1987)  Revised Bibliography

Encyclopedia of Religion, Second Edition
Lindsay Jones, Editor in Chief 
© 2005 Thomson Gale, a part of The Thomson Corporation.

In yet another picture the spirit and soul are represented by a lion and lioness, between which an union must  be effected before the work upon the body can be accomplished. It is an operation of great wisdom and even cunning, and he who performs it has merited the meed of praise before all others. I suppose that rough allegory could hardly express more plainly the marriage in the sanctified life between the human soul and the Divine Part. From : The Pictorial Symbols of Alchemy by Arthur Edward Waite

 Twelfth Key

An alchemist in his laboratory searches for the legendary philosopher's stone, 1618. An engraving from 'Tripus Aureus', published in 1618 by Michael Maier, from the original 1599 work 'The Twelve Keys of Basil Valentine'. The lion devouring a serpent represents the process of changing matter into something new. The symbol under the window is the alchemical symbol for mercury. (Photo by Hulton Archive/Getty Images)
From : Twelve Keys of Basil Valentine From Musaeum hermeticum, Frankfurt, 1625

Revelation 5:5
Then one of the elders said to me, "Do not weep! See, the Lion of the tribe of Judah, the Root of David, has triumphed. He is able to open the scroll and its seven seals."

Και εις εκ των πρεσβυτέρων μοι λέγει· Μη κλαίε· ιδού, υπερίσχυσεν ο λέων, όστις είναι εκ της φυλής Ιούδα, η ρίζα του Δαβίδ, να ανοίξη το βιβλίον και να λύση τας επτά σφραγίδας αυτού.