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Re: The Black Madonna

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Approaching Infinity:

--- Quote from: NORDIC HEALER on August 27, 2008, 09:56:58 AM ---CAVE...also in its most esoteric sense is "supposed" to refers to the "Third Ventricle" of the brain, and more specifically the area of the Pineal Gland which is also the seat of Daath (or Doorway to Elsewhere) in Cabalistic Mysticism.
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I'm curious as to the source of the above information. Where is this link between "cave" and the pineal gland mentioned? I can see how a cave can represent the mind in a typical allegorical sense (just as the alchemical temenos is a good representation of the developing "inner psychic environment" that accompanies real development), but the above seems kind of reaching to me.

Johnno:
Also came across this with the feminine principle being described as a valley. This time from the Tao Te Ching Chapter 6



--- Quote ---    The valley spirit, undying
    Is called the Mystic Female

    The gate of the Mystic Female
    Is called the root of Heaven and Earth

    It flows continuously, barely perceptible
    Utilize it; it is never exhausted
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NORDIC HEALER:
Approaching Infinity wrote
--- Quote --- I'm curious as to the source of the above information. Where is this link between "cave" and the pineal gland mentioned? I can see how a cave can represent the mind in a typical allegorical sense (just as the alchemical temenos is a good representation of the developing "inner psychic environment" that accompanies real development), but the above seems kind of reaching to me. 
--- End quote ---

Sorry for the delay but I have had some very critical situations going on within my home involving what I believe to be Psychopath.

Thank you for questioning my source and I did look for the source book that I originally got this info from, which was a large text book for a course I took called The Nature Of the Soul. The author of this book is also uncertain, and (if I recall) was purposely kept obscure so as not to draw attention to the writer but rather the material.

About half of my books are packed away right now, and even though I have a master list of what is supposedly in each numbered box, for some reason this book did not show up. I did do a brief look on the internet and found some connections to the same general idea as I originally suggested (the connection between Plato's Cave and the Pineal/Pituitary Gland). But of course it could all be dysinfo. I was just putting out something I had been taught quite a while ago. I don't want to present anything more at this time until I have more time to really dig into the subject and present something with more substance. Right now I am fighting to keep my home.

dantem:
Found a book online that may be of interest:

The Two Babylons or The Papal Worship Proved to be the Worship of Nimrod and His Wife
by the Late Rev. Alexander Hislop

_http://www.acts1711.com/twobabylons.pdf

Seems to be filled up with with biblical gloss and some as yet unclear (to me...) stands on women in general. The text is very 'dense' and haven't had the time to read it carefully by now.

Hislop's bio from wiki:


--- Quote ---Alexander Hislop (Born at Duns, Berwickshire, 1807; died Arbroath, 13 March 1865) was a Free Church of Scotland minister famous for his outspoken criticisms of the Roman Catholic Church. He was the son of Stephen Hislop (died 1837), a mason by occupation and an elder of the Relief Church. Alexander's brother was also named Stephen Hislop (lived 1817–1863) and became well known in his time as a missionary to India and a naturalist.

Alexander was for a time parish schoolmaster of Wick, Caithness. In 1831 he married Jane Pearson. He was for a time editor of the Scottish Guardian newspaper. As a probationer he joined the Free Church of Scotland at the Disruption of 1843. He was ordained in 1844 at the East Free Church, Arbroath, where he became senior minister in 1864. He died of a paralytic stroke the next year after being ill for about two years.
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Hislop's book review from wiki:


--- Quote ---The Two Babylons

This book was initially published in 1853 as a pamphlet, then greatly revised and expanded and released as a book in 1858. Hislop's work has been described as conspiracy theory propoganda which mixed "sketchy knowledge of Middle Eastern antiquity with a vivid immagination."[1]

He claimed the Roman Catholic Church was a Babylonian mystery cult, and pagan, whereas Protestants worshipped the true Jesus and the true God. He contended that Roman Catholic religious practices are actually pagan practices grafted onto true Christianity during the reign of Constantine. At this point, he alleged, the merger between the Roman state religion and its adoration of the mother and child was transferred to Christianity, merging Christian characters with pagan mythology. The Goddess was renamed Mary, and Jesus was the renamed Jupiter-Puer, or "Jupiter the Boy".

Hislop's theory was that the goddess, in Rome called Venus or Fortuna, was the Roman name of the more ancient Babylonian cult of Ishtar, whose origins began with a blonde-haired and blue-eyed woman named Semiramis.

According to Hislop, Semiramis was an exceedingly beautiful woman, who gave birth to a son named Tammuz, was instrumental as the queen, and wife of Nimrod the founder of Babylon, and its religion, complete with a pseudo-Virgin Birth. This he called a foreshadowing of the birth of Christ, prompted by Satan. Later, Nimrod was killed, and Semiramis, pregnant with his child, claimed the child was Nimrod reborn.

Hislop claimed that the cult and worship of Semiramis spread globally, her name changing with the culture. In Egypt she was Isis, in Greece and Rome she was called Venus, Diana, Athena, and a host of other names, but was always prayed to and central to the faith which was based on Babylonian mystery religion.

Then, according to Hislop, Constantine, though claiming to convert to Christianity, remained pagan but renamed the gods and goddesses with Christian names to merge the two faiths for his political advantage, under Satan's guidance.
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Anyway, that's what caught my attention from the book's index. Some clues about the Madonna and Child iconography:


--- Quote ---Section II. The Mother and Child, and the Original of the Child (14k)
Sub-Section I. The Child in Assyria (57k)
Sub-Section II. The Child in Egypt (22k)
Sub-Section III. The Child in Greece (28k)
Sub-Section IV. The Death of the Child (10k)
Sub-Section V. The Deification of the Child (61k)
Section III. The Mother of the Child (73k)
--- End quote ---

An excerpt:


--- Quote ---Chapter II Section II Sub-Section I The Child in Assyria

The original of that mother, so widely worshipped, there is reason to believe, was Semiramis, * already referred to, who, it is well known, was worshipped by the
Babylonians, and other eastern nations, and that under the name of Rhea, the great Goddess "Mother."

* Sir H. Rawlinson having found evidence at Nineveh, of the existence of a Semiramis about six or seven centuries before the Christian era, seems inclined to regard her as the only Semiramis that ever existed. But this is subversive of all history. The fact that there was a Semiramis in the primeval ages of the world, is beyond all doubt, although some of the exploits of the latter queen have evidently been attributed to her predecessor. Mr. Layard dissents from Sir. H. Rawlinson's opinion.

It was from the son, however, that she derived all her glory and her claims to deification. That son, though represented as a child in his mother's arms, was a person of great stature and immense bodily powers, as well as most fascinating manners. In Scripture he is referred to (Eze 8:14) under the name of Tammuz, but he is commonly known among classical writers under the name of Bacchus, that is, "The Lamented one." *

* From Bakhah "to weep" or "lament." Among the Phoenicians, says Hesychius, "Bacchos means weeping." As the women wept for Tammuz, so did they for Bacchus.

To the ordinary reader the name of Bacchus suggests nothing more than revelry and drunkenness, but it is now well known, that amid all the abominations that attended his orgies, their grand design was professedly "the purification of souls," and that from the guilt and defilement of sin. This lamented one, exhibited and adored as a little child in his mother's arms, seems, in point of fact, to have been the husband of Semiramis, whose name, Ninus, by which he is commonly known in classical history, literally signified "The Son." As Semiramis, the wife, was worshipped as Rhea, whose grand distinguishing character was that of the great goddess "Mother," * the conjunction with her of her husband, under the name of Ninus, or "The Son," was sufficient to originate the peculiar worship of the "Mother and Son," so extensively diffused among the nations of antiquity; and this, no doubt, is the explanation of the fact which has so much puzzled the inquirers into ancient history, that Ninus is sometimes called the husband, and sometimes the son of Semiramis.

* As such Rhea was called by the Greeks, Ammas. Ammas is evidently the Greek form of the Chaldee Ama, "Mother."

This also accounts for the origin of the very same confusion of relationship between Isis and Osiris, the mother and child of the Egyptians; for as Bunsen shows, Osiris was represented in Egypt as at once the son and husband of his mother; and actually bore, as one of his titles of dignity and honour, the name "Husband of the Mother." * This still further casts light on the fact already noticed, that the Indian God Iswara is represented as a babe at the breast of his own wife Isi, or Parvati.

* BUNSEN. It may be observed that this very name "Husband of the Mother," given to Osiris, seems even at this day to be in common use among ourselves, although there is not the least suspicion of the meaning of the term, or whence it has come. Herodotus mentions that when in Egypt, he was astonished to hear the very same mournful but ravishing "Song of Linus," sung by the Egyptians (although under another name), which he had been accustomed to hear in his own native land of Greece. Linus was the same god as the Bacchus of Greece, or Osiris of Egypt; for Homer introduces a boy singing the song of Linus, while the vintage is going on (Ilias), and the Scholiast says that this son was sung in memory of Linus, who was torn in pieces by dogs. The epithet "dogs," applied to those who tore Linus in pieces, is evidently used in a mystical sense, and it will afterwards been seen how thoroughly the other name by which he is known--Narcissus--identifies him with the Greek Bacchus and Egyptian Osiris.

In some places in Egypt, for the song of Linus or Osiris, a peculiar melody seems to have been used. Savary says that, in the temple of Abydos, "the priest repeated the seven vowels in the form of hymns, and that musicians were forbid to enter it." (Letters) Strabo, whom Savary refers to, calls the god of that temple Memnon, but we learn from Wilkinson that Osiris was the great god of Abydos, whence it is evident that Memnon and Osiris were only different names of the same divinity. Now the name of Linus or Osiris, as the "husband of his mother," in Egypt, was Kamut (BUNSEN). When Gregory the Great introduced into the Church of Rome what are now called the Gregorian Chants, he got them from the Chaldean mysteries, which had long been established in Rome; for the Roman Catholic priest, Eustace, admits that these chants were largely composed of "Lydian and Phrygian tunes" (Classical Tour), Lydia and Phrygia being among the chief seats in later times of those mysteries, of which the Egyptian mysteries were only a branch.

These tunes were sacred--the music of the great god, and in introducing them Gregory introduced the music of Kamut. And thus, to all appearance, has it come to pass, that the name of Osiris or Kamut, "the husband of the mother," is in every-day use among ourselves as the name of the musical scale; for what is the melody of Osiris, consisting of the "seven vowels" formed into a hymn, but--the Gamut?

Now, this Ninus, or "Son," borne in the arms of the Babylonian Madonna, is so described as very clearly to identify him with Nimrod. "Ninus, king of the Assyrians," * says Trogus Pompeius, epitomised by Justin, "first of all changed the contented moderation of the ancient manners, incited by a new passion, the desire of conquest. He was the first who carried on war against his neighbours, and he conquered all nations from Assyria to Lybia, as they were yet unacquainted with the arts of war." [...]
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FWIW.

Aeneas:

--- Quote from: Black Swan on August 22, 2008, 12:17:24 AM ---There is a dialogue between Hedsel and a woman he met at Chartres about the Black Madonna:


--- Quote ---"Why are you in Chartres, Latona?"
"I'm here to see the Black Virgin..."
"The smell of the grave..." She was quoting from Fulcanelli. (Morien, quoted by Fulcanelli in a brief mention of La Clef du Cabinet hermetique, says of the black matter used in the alchemical process of refinement that it must show some acidity and have a 'certain smell of the grave.')
Hesel asks, "Do you think the Virgin was an Isis? Or was she something else?"
"I don't know. It is enough for me that the cathedral protects a pagan goddess - and that she is black...Do you know anything about the Black Virgins?"
"Fulcanelli says they bear the inscription, "To the Virgin about to give birth."
"Fulcanelli is right. Some do have those words inscribed on the socles." ( the inscription is Virgini pariturae)
"Fulcanelli said that the Black Virgin was also called the Mother of God, the great idea."
"Matri deum, magnae ideae. Difficult to translate, as idea is a play on the feminine for goddess, dea."
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Highlighting the above is just to bring attention to a poem by Marguerite de Navarre that Thorbiorn made in a travel log that he posted some days ago, where Marguerite de Navarre in the poem said that she was the mother of God. Interesting because of Marguerite de Navarre's strong link to the Auch Cathedral that was dedicated to the Black Virgin. The excerpt from the other thread is:

--- Quote from: thorbiorn on June 23, 2009, 04:44:17 PM ---
Most of Marguerite's poems and letters have not yet been translated into English, but enough is available to show the reader a fuller picture of the witty author of the Heptameron.
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--- Quote ---[From Shell's modernized version, Marguerite's opening, "To the Reader":]
If thou dost read this whole work, behold rather the matter and excuse the speech, considering it is the work of a woman which has in her neither science nor knowledge but a desire that each one might see what the gift of God doth when it pleaseth Him to justify the heart of a man.       [p.113]
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"And now I can call thee son, father, spouse, and brother."
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[The major theme of Miroir is the multiple relationship of the human with God:]
Thou hast done so much for me, and yet art Thou not content to have forgiven me my sins, but also given unto me the right gracious gift of grace. For it should suffice me (I coming out of such a danger) to be ordered like a stranger; but Thou dost handle my soul (if so I durst say) as a mother, daughter, sister, and wife.        [p.117]
Now, my Lord, if Thou be my father, may I think that I am Thy mother? For I cannot perceive how I should conceive Thee, which hast created me. But Thou didst satisfy my doubt when in preaching (stretching forth Thy hands) Thou didst say: "Those that shall do the will of My Father, they are my brethren and mother."
I believe then... that through love I have begotten Thee. Therefore without any fear will I take upon me the name of a mother: Mother of God. O sweet virgin Mary, I beseech thee be not sorry that I take up such a title.... For thou art His corporeal mother and also (through faith) His spiritual mother. Then I (following thy faith with humility) am His spiritual mother.        [pp.120-121]
Now I have Thee, my father, for the defense of the foolishness of my long youth. Now have I Thee, my brother, to succor my sorrows wherein I find no end. Now have I Thee, my son, for the only stay of my feeble age. Now have I Thee, true and faithful husband, for the satisfying of my whole heart and mind.        [p.134]
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