Update 03 August 2015
I do not want to be harassed on the road by gangs in cars claiming that they’re ‘just watching’ and next time that their human made religion/religious beliefs are true and for example using the statement ‘jesus christ loves you, he created the universe’ repeating it over over again as I am walking on foot. It’s bad enough hounding pedestrians, continuously holding up traffic to do so, using other people’s driveways to double back on them and wait parked further along until the pedestrian comes in sight again to start over on them and acting not taking no/leave me alone/goodbye for an answer and oblivious as to why the pedestrian doesn’t want to talk to them let alone adding all the fantasy on top of it. People who want to do the equivalent of picking a fantasy/sci-fi story off the shelf and believing/pushing it are everywhere but it’s so annoying that they can’t even be bothered to study the changes to said manuscript(s) over time and its place within local and international culture/politics. Either way they need to keep their cinema/propaganda to themselves. The internet, libraries etc have plenty of information instead of stalking others especially those unwilling, as for ‘Christ’ – some people know that originally comes from ‘crystal/crystalline’ and then it was a title applicable to those given it not a name of a single person and then ‘jesus’ (and that name isn’t its original derivation either) was the ‘son of man’ not the ‘son of god’. Making a human into a god, in the same league as making aliens, ‘star beings/people from the stars’, ‘fallen angels’, demons et al into deities and god(s)? You decide, I don’t want to hear it from you. As the phrase goes ‘need to know basis’ – I don’t need to know the crap, these weirdos and deviants aren’t leaders, they play follow the leader. Who do they follow around instead of spending that time in front of/with their the so-called god/other beings? Exactly, their belief is superficial but their obsession for power/control is deep.
If their statement were true they wouldn’t need to harass me or go around the world forcing/bribing beings to believe their ideologies/’ethics’. Masons, masons, everywhere; playing chess with the world and its incumbents as pawns. Like I’ve said many times I’m not interested or linked with any one or any groups.
Look in the mirror at yourselves what do you see and what types of beings are you? Why you are doing this and what does it make you? Desperate.
‘Reap what you have sown, done and are doing…’
FYI my beliefs, heart and soul are with the One and Only Creator Destroyer of all The Almighty Lalita Maha Kali and all her Kalis, and their Kalis.
“Well it’s the end of the world isn’t it? No one needs to be afraid, you will only reap what you have sown, done, doing.”
Princess Kaguya is an interesting story and one that’s had my attention for a long time; otherwise known as the Tale of the Wood/Bamboocutter, simply Princess Kaguya or the Moon Princess/Princess from the Moon. Fundamentally it’s a story seen in many cultures but this version is said to be first recorded in 10th century Japan and the forerunner of Japanese novels/prose. It’s old lore and so I was very interested to see how Studio Ghibli would portray it, they being the ‘Disney of the East’ somewhat but of a very different style and tone, interestingly enough before they were established as a company one of the founders contracted the team that put together that classic film of beauty The Last Unicorn (1982) to make Nausicaa of the Valley of the Wind (1984) and from their track record I knew they wouldn’t do what Disney did to the ever scattered cinders/ash girls stories in their Cinderella (1950), but still.
Note – the film was originally released in 2013, the English dub was released in UK cinemas in March 2015.
Thankfully I can say that even with artistic licence this is the most ‘complete’ version of the story I’ve come across which is very important to me as there are many stories of children born of plants, usually tree stalks or flowers and indeed many are not seen as myth/legend at all but actual events at least in basis though not many in a religious sense. That said there are still ‘people’ treated/held as living idols in places and I would describe them as birds in gilded cages much for the satisfaction of those around them and hierarchy than for their own personal well being and perhaps other world/other dimensional, spiritual or divine connections.
PLOT AND VARIATIONS IN VERSIONS
A Young Child
A bamboo cutter finds a tiny fully formed person in a bamboo tree grove, she is luminescent and sleeping. He takes her home to his wife and as strange as it may seem they fight over who gets to look after her, both seeing her a blessing for either one of them rather than both initially. This first point is in itself important; in most similar stories people wish for children (Thumbelina style) or specifically for a god/deity/spirit to come to them in child form as a reward or favour, here it doesn’t make it clear if the woodcutter and/or his wife wished for her and in keeping with the original verse but not usually highlighted – we don’t actually know when she arrived on Earth and the reason(s) why and whether she’s changed form are obscure/speculative.
Either way, and without knowing any better in my opinion, the miniature Princess turns into a baby and so both have to raise her (I haven’t seen one story where someone turns into a baby for human parents turning out well, no matter how hard things are/can be amnesia is not a good thing and makes the being vulnerable). The wife is even turned into a ‘mother’ by suddenly lactating (something I’d be be opposed to without the person knowing and consenting – there’s plenty of stories religious or otherwise where people are ‘come upon’/impregnated/possessed by other entities though here there’s no question that the couple wanted her after she’s found). Appropriately for such a ‘gift’ the Princess comes well provided for by the bamboo grove with gold and fine clothing. (Similar to another divinity, Indian this time, for who it was said pots of Gold appeared underneath the house – though along with everything that should have been for her were stolen.)
After this much of the screentime is devoted to her childhood, from her first steps to finding friends. Perhaps due to being in a small village the baby/toddler is of keen local interest to other children who become competition to her father for her attention and both sides try to name her with the father eventually winning out (well, cheated) with ‘Princess’ over the kid’s favourite ‘Little Bamboo’. This part of her life is portrayed as sweet and probably very endearing to parents/new parents, it’s also slow paced and reminded me of Ghibli’s other film My Neighbor Totoro (1988). Princess’ growth is unlike the others as she has spurts and so the other children often marvel at how she’s grown from one moment to the next.
The children are portrayed as seemingly innocent but this is the calm before the storm; children are often seen as soon to be adults doing adult things e.g. they are shown hunting and along with her accelerated growth plus the father’s firm belief in what being a Princess means he suddenly tells the mother and Princess that they’re going off to live in the city so she can be raised and cultivated as she should be. This is major deviation from many versions of the story though not necessarily from these types of stories in general i.e. in many it’s enough that she’s a Princess living in the forest/village but in other stories where the/a parent/guardian has decided they want more and interpret signs and messages how they want to, the child is removed from ‘safe’ circumstances and things usually get sinister/abusive. Hence to me this signalled a turning point in the story and indeed it was.
A Young Teen/Lady
They set up shop (a mansion) and she’s given geisha oops I mean etiquette training by a self important female tutor who knows everything about being a Lady and moreso a Lady of Rank, and even moreso than that – what it is to attain the ultimate happiness of such, a successful marriage proposal from people they don’t really know beyond title and what happens after the ceremony doesn’t matter as long as they produce suitably deemed ‘heir’.
Being that females, particularly ‘attractive’ ones (of any race), traditionally are seen and drawn as lighter skinned to their peers ‘goth’ Whiteness is preferred. Also the eyebrows are plucked only to draw them back on;
“but the sweat will run into my eyes!”
Don’t worry noble Ladies/Princesses don’t sweat.
They Blacken the teeth;
“but I won’t be able to open my mouth, smile or laugh!”
Don’t worry noble Ladies/Princesses aren’t generally looked at before marriage, and they don’t smile or have reason to laugh.
The clothing is too tight and restrictive;
“How do I pick something up or move?”
You shuffle, shuffle and shuffle some more. (Thank goodness they weren’t into toe cutting, breast ironing or circumcision. So why go to such lengths? Control and training of submission and conforming to rules, the more nonsensical the acceptance of such shows success in obedience training.)
The story basically goes on that way for a while as she’s taught how to be graceful and play music etc similar to the customs where poor girls are uncomfortably dressed up as dolls annually though richer girls are sculpted into living dolls rather than a friend or family member. The film outlines ceremonies associated with aging in Japan well and when menstruation starts, it becomes a race against time.
She’s finally ready to receive a name from an ‘official’ and is named ‘Princess Kaguya’ due to her glowing beauty. During her naming/coming of age ceremony she has a strange prophetic dream sequence and then the interest and proposals start. There’s no mention of how long it took for her to get to menstruation/puberty age but some believe it took a few months.
Marriage, or not.
It’s a bit of a contrasting situation where sure her family have the money and the materialistic status symbols but they don’t have the heritage so lower ‘caste’ men think why shouldn’t they have a ‘legitimate’ interest and shot at her while the ‘nobles’ have heard of her beauty but she’s too low born for them… Until they hear that she came from inside a bamboo. That’s a game changer and means that she has qualities worth trying to get in their gene pool and the man who assessed how fine a lady she is regales five of them in particular with his impression of her refinement so a hairsbreadth away from openly salivating they rush to get to her.
When they meet her they all proclaim she is a magnificent treasure that they would treat like other rare-to-mythological treasures – they speak in such a way that she can’t really comprehend them or if there’s any sincerity so she asks them to prove their claims by finding such legendary objects. They’re astounded at the idea but leave, her governess is infuriated and her father incredulous. How could she possibly ask such a thing especially after she was given such amazingly high honour by their proposals? She should be grateful for their attention and realize the monumental occasion.
The marriage meeting is also a major deviation in ‘feel’ in my opinion, it’s much more modern. It’s not that it’s a joint meeting where all the suitors are present which is strange (though not impossible) but it’s the tone in which the Princess’ words are represented. In many stories a Princess in such a situation is seen as ‘cold’, ‘unfeeling’, ‘unloving’ and generally bad for not wanting to get married out of duty and leave her home/family or for perhaps wanting to get married out of love. It’s usually also shown that she’s not getting any younger whereas there’s no age limit on how old a male can be to marry a girl/teen and in keeping with that all of the suitors are older than her, some much older and it’s all very cringeworthy. I felt that there was no blame from the storytellers towards her here.
(Females may not be killed if their husband dies nowadays but there are still places where she’d have to marry his male next of kin even if he has children her age, on the other hand if a wife dies first it depends on whether the man already has a ‘suitable’ heir as to his marriage prospects, if he’s got one he’s not bound by as much restriction to if he didn’t have one but then other places make up for that with having multiple wives as well as lovers of course.)
It takes years (and she doesn’t seem to age much) but no matter the cost the suitors endeavour to pull off their claims by hook or by crook and thankfully they don’t all come back. (Interestingly a point not often highlighted, but each of the treasures are of the five elements in Eastern lore.) However their failure leaves the field open for an even bigger tyrant; the Emperor tries more direct use of obligation aka physical force to get her to become one of his wives. Her fear and shock cause something unexpected to happen and a wish is granted… Her people are coming from the Moon to take her home.
I won’t go into the ending even though it’s a well known story but suffice to say both she and her parents aren’t happy at the confirmation that she was only there on borrowed time and ironically her parents act in all the shame, disgrace and ungratefulness that she was accused of.
Another modern touch is that traditionally the Princess is collected by Celestial Maidens and as ambiguous as South East and Indo-Chinese Asian art can be at times, not all of the entourage look female but there’s also the point of ‘original’ sex and gender (pre-dating humans as we think of ourselves) of Asian and other divinities.
Her ‘parents’ go from being parental/guardians/protectors to her keepers and it’s all about status to societal standards; airs, graces, titles and entitlement of such over purity, freedom and trust. Her ‘father’ is the main driving force behind this and the ‘mother’ is shown as caring and there for Kaguya but she goes along with it all and doesn’t stand up for Kaguya or respect her wishes over her life/person. They argue that they only want what’s best but they already have what is ‘best’, what is sought after and above Earthly standards.
Kaguya is faced with many parallels with how people/creatures are seen; from country ‘hicks’ to ‘grasping’ city folk, rich and poor, customs and expectations such as the use of prostration, the feeling of freedom and wilderness to cultivation and orchestration and the more she sees the more isolated and scared she feels. She and we the audience see her old friends again and it’s very upsetting.
There’s almost romance with one of her old friends but there’s no time for it and it seems he already has a wife and child; when it comes down to it they are too different and are on separate paths. (Plus a question would be: has/does her accelerated growth stop and just because she’s physically aged doesn’t mean the mind has caught up.) Ghibli could of easily made it into a love story (sometimes happens in versions of this type of story) where she runs away with a lover and is later separated or ‘lives happily ever after’ with him (or not). I’m glad Ghibli didn’t take it there and significantly they show her falling into the water after being with him and her time with him is/like a dream.
It’s very easy to see all ‘divinities’ as parasitic or to blame for many things but this one reminds me of the narratives/accounts that show such personages being taken advantage of and where the people around them get a bit of power and treat them as livestock rather than sharing pure relationship. This story is one of the more ‘tame’ ones where the protagonist manages to hold out and is rescued though in this case she wasn’t old enough or hadn’t had the time to digest and realize her being taken back home was actually a rescue because she was still dependent on her keepers. There are other stories where the divinity is enslaved, raped by parents, prostituted, married off, used as breeding stock for their properties, black magic done to them, impoverished/destitute, try to escape and followed or dragged back and basically anything bad that can be done to them is. The Tale of Princess Kaguya nor the Japanese story it’s based on goes that far so has a ‘U’ film rating but it’s on its way there, such a situation can easily go that way but heck it wouldn’t be a family film.
ART & SOUND
The art is old fashioned and might seem dated particularly if compared to modern animation styles; but it’s water colour, ink and charcoal look grow on you. They certainly don’t lose out against crisp, bright, colourful films when it comes to portraying movement and emotion – everything moves with the spirit of each scene from playful to panicked.
As expected of Ghibli the dub is very well done, the parts are convincingly voiced and I actually preferred the dub to the sub-titles which is rare for me. There are some songs/snippets of in here but no big musical numbers – they’re all very gentle.
I didn’t notice the score so much as it was gentle as well but really came to the fore in action scenes and was suitably heart pulsing but when in the country the natural background sounds e.g. of insects was welcome and realistic.
ALL IN ALL
I’d say this film describes the story as well as was possible – it’s emotional, moving and aside from a few references doesn’t need to/use or hide things in symbolism and isn’t surreal. The telling is straightforward and one that tells someone like me who places it in a comparative perspective ‘don’t forget’. To any innocent divinities out there; if you’re thinking of being incarnated here don’t, on the whole/in the long run it ain’t worth it. There’s only one thing I think Ghibli could have changed with artistic license and that’s the use of the cloak at the end, personally I’d scrap it.
There are many adaptations of and references to the story from shadow puppetry to Hello Kitty but a few apt ones are:
Claire (2001) – A new yet old version of this story; a male couple find the Princess in an ear of corn and then follows the story of the Moon Princess. It was filmed in Black & White and has no sound but was still very watchable.
You have inserted yourselves into my life and never stop spying, following and orchestrating – waking, dreaming you’re there scheming trying to see what will happen to Earth, celestial events, movement of Nibiru, and trying to manipulate me like a video game character to do as you please. You’ve made a continuous business out of it even broken time to 24/7 to suit your sneaking but time is not on your side. If you were so important you would not be doing this so ask yourself why you need to, ask your ‘god(s)’ or think about your phrase ‘need to know’. (I remember you asking, you the know-it-alls, high and mighty, in control – “what happens after death?” LOL.)
You’re so desperate though, so:
– a great Black celestial body will appear,
– magma rises from the ground all around, swallowing most in its path,
– others are lifted into the air, hands&feet touching each others like a chain link net,
– while others are taken to the ground turned into dust/ashes,
– a ray passes turning everything/one into white stone and crumbling all to dust,
– Nibiru on collision course.
NOTE: Stop all Gang stalking of all creatures, Dream manipulations, Body and Mind control through machines/wifi-remote control technology/implanting micro chips, psychic and possession, body snatching- sleep, artificial death, using harmful frequencies, contaminating the sky, water, land, food and so called medicines, divide and conquer techniques to keep all in different groups/ making all feel inferior or superior, vampirism/ stealing energy, eating all creatures/ and using and abusing all in experimentation, war games / the so called matrix turning the planet in to a prison / Control = creating money = rich and poor = hierarchy = all orchestrated by the evil beings.
You will reap/ be punished for what you have sown/ done/ are doing to all creatures that is guaranteed – the world and all contaminated places are about to end deleted but the ones that knowingly created/ orchestrating evil will still be punished for all evil done to all.
A story of Goddess Lalita RajaRajeshvari based on truth and lies encapsulating the so-called matrix (later meaning, not ‘ma-trix’ but the morphed meaning of that meaning ‘web/net’) of deception and evil. It is not about the current ruling ‘goddesses’ under ‘shakti-ism’; RajaReshvari refers to Lalita and Lalita only. The series uses the later spelling with a ‘w’ instead of ‘v’.
Kali/Mahavidyas – Clarification
I was just saying to Mum yesterday something that’s been bothering me – that we hadn’t gotten round to explaining the use of the Mahavidyas (forms of Lalita Maha Kali) though we have mentioned them before and spoken about Kali. I thought it might be confusing due to their general representation. Note – the Mahavidyas can also simply be called Kalis (plural), though their number is disputed, the most famous number being the Dasha (9 + 1, they being the 9 and Lalita being the 1). But any number comes after Lalita or in that sense Lalita Maha Kali (Great Lalita who becomes Kali or Lalita and Her Kalis) and the Kalis are not her only forms, and those forms have forms of forms – a great many needed to be space/creation.
Then today it came to my attention that Nag Hammadi and early Gnostic researcher John Lamb Lash is using the name Kalika (another form of Kala or Kali etc basically meaning ‘Black’/dark/time) for action based upon what he’s probably most well known for and what he calls the Sophianic Myth – his interpretation of the Nag Hammadi (and it seems channeling or inner voice) on the divine feminine. I’m not massively au fait with his work only having seen/heard a few of his interviews though and having tried to read his book Not In His Image. That said there is probably quite a bit of crossover in information I have presented on this blog but I feel it best to put this note here. I don’t have any affiliation with his work, party, belief or manifesto and I do not agree with/approve of the use of the patriarchal version of Kali and hence also her Mahavidya sub/extra-parts/forms of being.
Interestingly enough he’s also using the name Kalki which is a completely masculanized version of Kali implying a male avatar and that it’s ‘coming’, perhaps he thinks its already here or is trying to make/bring it, or sees himself as the name since he’s acting as figurehead. I never agreed with his eager acceptance of the ideal man or person being that which laughs scornfully at nature (Sophia) making the most of what she has to offer, nor the privileged ancient Greek lifestyle. Kali is a completely feminine (original feminine not feminine of what we’d consider feminine nowadays) concept or character – masculanizing it in Hinduism was always completely twisted. It should also not be associated with anti-LGBT since, and as he infers but doesn’t go into in one of his interviews, our current awareness of creation and reproduction is not in line with what was considered as ‘real’ in the time where she was in ‘original’ or at least older form to the point where we remember her earliest. Our current sexes and genders would not apply and feminine was an all inclusive term – hard to explain or recognize to today’s standards, the terms ‘man’ and ‘god’ did not relate to ‘masculine’. Lalita Rajarajeshvari for example means ‘King of Kings’ but is entirely feminine and refers only to Lalita (Red, She Who Plays, Love and made creation/manifestation/existence from the void/source through ‘pure joy’ and not the type of joy associated with sexual intercourse which is actually pain relief so confused with joy. It was not viewed as through a plug style penetration/harnessing of source energy, it’s the stolen/vampiric energy that is associated with the Fall of creation, the Demi-Urge, the separating from Mother to Mother-Daughter and the Fall of the Daughter into fallen creation to help it – later referred to as Krishna and even later referred to via the Jesus the Christ/kryst/crystalline story), though nowadays you’d have to say ‘Queen of Queens’ to be commonly understood.
Perhaps it seems a natural progression for him to go from Sophia/Lalita/Dea to Kali as the more practical/hands on route for Sophia’s Correction as he puts it but Kali as most know her today is a morphed version of her former self. Her and the Mahavidyas are seen as fringe and the remnants of a root culture, they pre-date modern Hinduism. She and the forms of are currently associated to many with tantra, sex, death, vampirism, necrophilia, ‘Black magic’, ritualistic hedonism and sacrifice; her age has also been commonly ignored as she is now seen as a feminine form of Shiv(a) and apparently even Durga. All of the those characteristics are later additions and the latter characters are younger, separate and conveniently the current heads of the prevailing ruling ‘divine’ triads in modern-post Vedic Hinduism (with the male one – Shiv(a)/Brahm(a)/Vishnu and Indra – being higher than the female – Durga/Laxmi/Sarasvati – and the female mainly being referred to as consorts.) Shiv(a) and Durga are thought of as the almighty and the creators of the universe though they, like everyone/thing else was made by Lalita who is the first/greatest/Maha Kali from which Kali and her Mahavidyas came before Shiv(a)/Durga et al. Typical re-categorizing and distracting behaviour with regime change (e.g. building a temple over an older temple and mixing things up a bit, omitting some, changing some, adding some… Until you forget which is which and who is who, where the entrance and exit was, which way is the loo? Oh heck when did they add a gift shop, I totally need to get me one of those t-shirts – eh why do I need money again and why does it look so weird?) Yeah…
The association with the Thunderbird is also ‘hmm’ since in South Asian terms it’s referring to Garuda and hence Jatayu so Vishnu forms/seats not Kali related proper unless… I’ll get to that. They, along with much of Hinduism, can be found in early or now fringe Buddhism (not the watered down Western ideas we have of Buddism) and obviously the phoenix – other forms of – and can be linked to the Benu bird, and perhaps most well known in Native American beliefs (where it can take on the reptile form of Quetzalcoatl) as well as a straight up animal aka eagle. But remember in Asia thrones were traditionally viewed as animals and represented transport or even gates/portals or access to those. To Kali – or actually, her mother Lalita, her chariot/throne or flying seat can be seen as a whole dark star system and some think of it as Nibiru et al. So that links in with the use of ‘Kalki’/’coming male’ and perhaps ‘Lord Nibiru’ – kind of like putting reins on the ‘divine feminine’ energy/power and fitting it into a patriarchal view/use. Like using the term Maha Kali for humans or males since they are not mothers, even Hindus who love naming their children after divinities don’t do that. Then there’s ‘”5, 4, 3, 2, 1 – Thunderbirds are go!” *explosive projectile blasts*’ puppets.
The point of this ‘disclaimer’ of sorts is to reiterate that I’m not religious, I don’t have political affiliations, I’m not a member of groups. However since there’s some similarity in our presentation it’s probably best to say this now as I’ve learned about it – that just because out of all the research I’ve done I’ve been kindest to Lalita (Mother) and Kali (Dark Mother) doesn’t mean I agree with other people’s interpretations/use of them. I don’t think the Dark Mother is represented correctly as a counterpart or form of Shiv(a) (could be called the Demi-Urge) and Durga (the usurper of Lalita in current culture) and I believe her connection to death is hampered by cultural norms e.g. the differences of social attitudes towards types of death or fear of the unknown between the West and East such as moral derision to suicide common in the US but a very different view from traditional Japan. As for the other controversial connotations she and her forms of have – poppycock is pretty much how I view them (not as valuable manure but more just waste/garbage) and that means whist I don’t disbelieve in people partaking in those things and there being consequences I’m not personally a believer/partaker.
I see Kali as a representation of or the Dark Mother but not cruel or spiteful as compared to a number of old Eur-Asian belief systems where harsh to downright awful mother/daughter figures or even triple goddesses can be found nor is she the ‘evil stepmother’ as per could be later/currently thought of as a Disney syndrome. I’d never noticed a preference from Lash to Asian (or South Asian at least) names though of course since Kali is a root Goddess and she is/can be linked to many other goddesses worldwide (as the Daughter is/can be linked to characters feminine or masculine defined by virgin births, sacrifice, cave analogy and resurrection) hence as aforementioned I can see why he’s picked her name but I disagree with his use/interpretation of it and the Mahavidyah names for his Thunderbird structure. I see her name in it’s wide-sweeping cosmic/space form – meaning the darkness of space and distance (the measurement of being time) and from that which everything comes, and ends. She is a protector of the Divine Mother and hence destroyer, ‘Dark Mother’ is generally an honour/acknowledgment title for her status being a major part of the Mother when she separates into the Ma-tri(x)/Creatrix (triple Mother): Mother-Dark Mother-Daughter. She is not a or the Creator, more a maintainer (the Daughter represents creation – but also has the respectful Mother association title as she is still directly from/a part of/the Mother but is also separate from her and is generally the one referred to in religions when we hear about a divine child being sacrificed/falling away to look after those who are not seen as direct creations/divisions of the Mother i.e. parts that are diluted enough to exist at all and be separately sentient – in effect questioning/confused – from the Mother and her high forms such as Kali/Mahavidyas, otherwise they wouldn’t be separately sentient and would automatically disin/reintegrate.) Kali/Mahavidyas don’t talk much, conversational communication appears in scripture when the later ‘gods’ become prominent, her character is altered and the Mahavidyas become even lesser known.
Lalita, Kali or Bala are not Earth/Gaia though ultimately she is part of them like all the other cosmic bodies. This duality – all from one, one dividing into all – is what leads to the Divine/Cosmic Mother or Divine Feminine terms being used interchangeably with Mother/Earth/Solar/Galactic Goddess, and the triple/tri/trix importance where one is three and three is one. (In later systems/modifications that can be seen as 3 + 1.)
On a sidenote – I’m also not a New Ager and don’t agree with/approve of unconditional love and don’t see anger as a negative or bad emotion and do think you have to be tough as nails to survive on/in/around (whatever) Earth. I don’t confuse revenge with retribution and I’m not scared of judging and thinking that not all opinions or beings are equal but as someone on Earth I strive for equality of opportunity/fairness. I’m not scared of being strong and ‘warrior’ like but would prefer things to be peaceful so I could just lay under a tree in the sunshine or something that to many might sound lazy or sadly even ‘boring’ but to me that’s pure harmony, I don’t want bad things to happen to prove myself or drama to pique my interest. I don’t think there needs/should be struggle or suffering to be ethical/aware/learn/appreciate. I’m not interested in forgiving and forgetting especially not for the sake of personal evolution/ascension – I’ve too much social conscience for that type of spirituality. I’ve never thought that good beings need leaders, perhaps assistance from time to time or temporary guidance but as long as creatures aren’t going beyond their default nature of parasite (which we all are as long as we need something else to survive let alone thrive) to invasive, ruling, harmful, using/abusing, making a business out of life etc then leadership shouldn’t be necessary. That’s unrealistic in life as we know it though and whilst I don’t like it survival of the fittest or those with the strongest will/resources who shout the loudest longest tend to get their way and later ‘die’ in relative comfort surrounded by people they at least prefer over others/’outsiders’. We’ll see who’s strongest, who’s left standing – or better yet Lalita MahaKali will ensure we’re all re-absorbed/unmanifested into source again ;-). In the meantime… 🙂
A Call To Arms
To all the Sirens of the Sea, Temptresses and Torturer, To Sinful Sailors’ Vanity, Sing and Scream and Call to Her. Move the Waters and Come to Me.
Magical Maidens of the Ocean Who once Swam Happy and Carefree I call to you with Pure Devotion Raise up the Waves and Come to Thee It’s Time to Cause such a Commotion
And Water Sprites I do not forget You Of Pond, Lake, River, Puddle and Spring You’ve been Hunted and Feel all too Few Take Heart there is still much Fight to Bring Make Water Red with Blood of the Untrue
To all the Pure Ladies Left on the Land Once You had Homes that were Lush and Green Your Festivities were Enjoyed and Grand Now You Feel Buried, Covered and Unclean Get Yourselves Ready to Make the Last Stand
Be You Live On Sand, Snow or Ice In a Cave, Hill or Underground Earth is Sick and Full with Vice Her Death Wish Hath Resound Honour Her Now, Less will not Suffice
Serene Sylphs And Women on High You Ask and Wonder “What’s in My Hair?” False Clouds Are Spread To Fill the Sky The Pure Air You had has Gone Awry Rock the Mountains Shout Your Battle Cry
Deep within the Earth I seek Holy Fire I Want to Reach Mother Magma to You I speak Blast through the Shell I Beseech Use All Your Power Nothing Meek
Burning Acid Your Breath is Desire The False Sleep is Over, Awake Hasten Spread Thy Funeral Pyre Hurry Be Quick, Do Not Forsake Nothing to Remain no Cease-Fire
I Summon You All; Heed, Obey My Call Disrupted, Invaded, Contaminated Trapped, Numbed, Abused Since The Fall Break the Chains of the Calculated
Gather Together Your Might, Bring it All.
The Animals have Been Going, Alone or Grouped Together, Ancients Rising from the Deep, Bodies Washing Up Ashore, Others Dead in Fields, Thousands a Go in every Weather, Millions the Number and Mounting, There will be More.
Ambassador of Dolphin & Whale Said Goodbye to Me, Their Last Request to End the Suffering of their Kind Left, Then went to Seal Their Fates in the Vast, Eternal Sea, All Animals Carried the Greatest Burden, Dignity Bereft.
Now it’s Time to Finish the Job. Get on with it.