Log in

No account? Create an account
Fata Morgana
08 April 2009 @ 10:16 am
"Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people won't feel insecure around you. We are all meant to shine, as children do. We were born to make manifest the glory of God that is within us. It is not just in some of us; it is in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others."
Fata Morgana
28 February 2009 @ 12:50 pm
“Men are not punished for their sins, but by them.”
Fata Morgana
The Terraces of Purgatory

First Terrace: Pride, by carrying a heavy weight on their backs. The wearer is unable to stand up straight (Cantos X through XII). This teaches the sinner that pride puts weight on the soul and it is better to throw it off. Furthermore, there are stones of historical and mythological examples of pride to learn from. With the weight on one's back, one cannot help but see this carved pavement and learn from it.

Second Terrace: Envy, by having one's eyes sewn shut, and wearing clothing that makes the soul indistinguishable from the ground (Cantos XIII through XV).

Third Terrace: Wrath, by walking around in acrid smoke (Cantos XV through XVII). Souls correct themselves by learning how wrath has blinded their vision, impeding their judgment.

Fourth Terrace: Sloth, by continually running (Cantos XVIII and XIX). Those who were slothful in life can only purge this sin by being zealous in their desire for penance.

Fifth Terrace: Avarice & Prodigality, by lying face-down on the ground, unable to move (Cantos XIX through XXI). Excessive concern for earthly goods - whether in the form of greed or extravagance - is punished and purified. The sinner learns to turn his desire from possessions, power, or position, to God.

Sixth Terrace: Gluttony, by abstaining from any food or drink (Cantos XXII through XXIV). Here, people's desire to eat a forbidden fruit causes their shade to starve. Once they master their desire to be a glutton, their appetite for sin leaves them and they are no longer starved by it.

Seventh Terrace: Lust, by burning in an immense wall of flames (Cantos XXV through XXVII). All of those who committed sexual sins, both heterosexual and homosexual, are purified by the fire. Excessive sexual desire misdirects one's love from God and this terrace is meant to correct that. In addition, perhaps because all sin has its roots in love, every soul who has completed his penance on the lower six cornices must pass through the wall of flame before ascending to the Earthly Paradise.

I think the parallels are obvious
Fata Morgana
15 November 2006 @ 12:00 pm
Etymologically, the word "owl" goes back to the Middle English word "oule," which may derive from the Old English "ille," which is cognate with the Low German "ule," in turn going back to the German "eule." The ultimate root of the modern word "owl" was presumed by Lockwood (1993:112) to be a proto-Germanic word "uwwalo" or possibly "uwwilo."

Another derivation of "owl" is the Icelandic "ugla," which is cognate with "uggligr," which gave rise to the Scandinavian "ugly," which led to the Middle English "ugly" and the Modern English word "ugly." The Icelandic "uggligr" does not mean "ugly" in modern connotations (that is, unpleasant to behold), but rather it means "fearful or dreadful." This is precisely the connotation of owl symbols and totems in many myths and legends. Thus, the very names that we use often speak of a deep history of traditional viewpoints and cultural perspectives.

Further, in Hindi, owl is "ul" (similar to the German "eule" or Low German "ule") or "ulu" if referring to one of the large owls (the Hindi or Urdu term for smaller owls is "coscoot"). The ancient Roman "bubo," the ancient Greek "buas," the modern Hindi "ulu," and the modern Hebrew "o-ah" (Holmgren 1988) are obvious onomatopoeias, as is the modern Nepali "huhu."

From ancient Athens, the silver four-drachma coin bore the image of the owl on the obverse side as a symbol of the city's patron, Athene Pronoia, the Greek goddess of wisdom who, in an earlier incarnation, was goddess of darkness. The owl -- whose modern scientific name Athene carries this heritage -- came to represent wisdom from its association with the dark (Saunders 1995). The owl was also the guardian of the Acropolis (Holmgren 1988), and the Roman statesman Pliny the Elder wrote that owls foretell only evil and are to be dreaded more than all other birds (Rackham 1997, as recounted in Martin 1996).

In many other cultures, owls represent wisdom and knowledge because their nocturnal vigilance is associated with that of the studious scholar or wise elder (Saunders 1995). According to one Christian tradition, owls represent the wisdom of Christ, which appeared amid the darkness of the unconverted (Saunders 1995). To early Christian Gnostics, the owl is associated with Lilith, the first wife of Adam who refused his advances and control. The owl had a place as a symbol in the King Arthurian legends since the sorcerer Merlin was always depicted with an owl on his shoulder.

In ancient Egypt, India, China, Japan, and Central and North America, owls were the bird of death. In other cultures and religions, however, such as ancient Greece, they bore the role of supernatural protector.
Shakespeare wrote of "The owl, night's herald" (Venus and Adonis, 1593, Line 531) and recognized the role that owls have as the "fatal bellmen" (Macbeth, 1605-1606, Act II, Scene ii, Line 4) of that final deepest sleep. In this way, owls have been seen as harbingers of eschatology or the ultimate fate of humans.

nin: sister (reduplicated ní, 'self; body; one's own').
nínna: nocturnal bird - owl (nin, 'fearsome lady', + a, nominative suffix; the predatory owl with its human-like face probably gave rise to the demon Lilith myth; cf., dnin-nínnamušen).
nin-nínna: owl ('divine proprietress' + 'owl').

Fata Morgana
14 November 2006 @ 10:29 am
Significator - Justice, he is weighing his choices. Guilt conflicts with the urgings of his soul.

Enfolds - 2 Swords, his thoughts are of his soulmate and she brings both pain and hope.

Blocks and aids - Strength, she is very strong, this soulmate. Her siren call is an urgency to him.
Fata Morgana
10 June 2006 @ 12:17 pm
I am a story teller. I love telling people stories. I am a walking anecdote, my head full of metaphor. You might find me beside a campfire, weaving my craft. You might find me beneath a bridge with my fellow indigents. You could be at an inn, or in a pub, in the small hours of day and realize I am speaking, though you hadn't known I was, and suddenly be riveted. You might read one of my stories in a book. A friend might forward you one online. I love stories because I am one. I am a myth. I come from a family of myth, of mythic proportions, of gods and goddesses. They have gone but I remain; the heir of their legacy.

I am not without my enemies in the world of stories. Because we are, in fact, the end result of our dreams, our stories, there are those who wish to craft us stories that serve their purposes, and press those stories on us. These stories speak of sin, of a fall from grace that never happened, of only one perfect son. These stories tell us what is real and what is not, in defiance of our senses, our logic, our own and our neighbor's testimony. These stories define success and failure in such a way as to ensnare the soul. These stories sicken. These stories keep the mass of humanity pliable. And those are not my stories. In some cases they were mine once, but they were taken and twisted, so that rather than uplift and inspire, rather than inform, now they poison. If I could catch them, and lock them back in their box, I certainly would; but there is little more elusive of capture than a story. So it is that the responsibility of discernment falls on you, the listener, the reader, the observer. Will you choose to live a great story? What is a great story? Will you choose something inspiring? Or will you choose something more comfortable? Or will you embrace those stories that tell you the worst of humanity, unaware that what you choose to see in the world, which is your mirror, is ultimately yourself? Will you believe lies that pluck off the wings of your divinity, and burden you so that your back is bent double beneath load? And it's all a load of bull shit.

I know, beings such as I am, are not supposed to talk that way. Right? Wrong.

It would all be heinous, and tragic, if you were not a forever being. But you have, we all have, existed from the very beginning, and are without end. And here we must make distinct from one another, human stories, and divine stories. Human stories have a limited existence. They are born from a lack of knowledge, and resolve into the past when the wisdom of them is learned. Divine stories are never ending. They are a tapestry made of all the little stories, and embroidered with pearls of wisdom. Thus, you have, and we all have, chosen one set of human stories for one life, which may in practice stretch over many lifetimes, and a new set when those are finished, and so on and so forth, and will continue to do so. Did I mention forever?

Did I mention that while I am a story teller, I suck at endings. I just don't think that way. My version of an ending would be: and then he/she got it, and never believed such nonsense again, and chose a new story to live. Those I inspire often do think in terms of endings though. They have too often still been caught up in the illusion of mortality. And so many have felt a need to finalize their stories. They wrap it up and either move on to write a new story, or live a new story, or, more often, die. That doesn't bother me if their stories are small, human, transient stories, meant to end. I just don't like the inference that like human dramas, divine stories also end. He lived happily ever after? How about he ascended happily into the everafter. She died, but because she was good in the end, she went to heaven? Where she got to sit on a cloud and pluck a harp for eternity? How about, she died, but because she had learned the moral of her story she got to go on to a new one. All stories go on, because all lives go on; because all of life is forever ongoing unfoldment. Thus are the best of stories. Ongoing. Inspiring. Forever unfolding into that which is greater and greater.
Fata Morgana
You Are Apple Red

You're never one to take life too seriously, and because of it, you're a ton of fun.
And although you have a great sense of humor, you are never superficial.
Deep and caring, you do like to get to the core of people - to understand them well.
However, any probing you do is light hearted and fun, sometimes causing people to misjudge you.

Your Animal Personality

Your Power Animal: Eagle

Animal You Were in a Past Life: Whale

You are active, a challenger, and optimistic.
Hard-working, you are always working towards a set goal.

You Are Rain

You can be warm and sexy. Or cold and unwelcoming.
Either way, you slowly bring out the beauty around you.

You are best known for: your touch

Your dominant state: changing

Who Should Paint You: Roy Lichtenstein

Larger than life, your personality overshadows everyone in the room
A painter would tend to portray you with a bit of added flair!
Fata Morgana
21 April 2006 @ 10:54 am
In reading the complete myth of Tantalus, compiled from various original sources, I was struck by the similarity between this family and the family of Ceridwen.

Ceridwen has a cauldron: a most beautiful daughter, Creirwy; a most ugly son, Morfran (also called Avagddu); and kills/eats, then gives birth to Taliesin, "shining brow". Tegid Veol is her husband. Ceridwen was going to kill the infant Taliesin but he was too beautiful, so she threw him in the ocean.

Tantalus has a most beautiful daughter, Niobe; a most ugly son, Broteas; and a third son, Pelops, who was killed, thrown in a cauldron, and reborn shining with divine light. The divinity supposedly from the shoulder-blade of a dolphin which was fashioned for him by Demeter, the only one of the Gods who partook of his flesh. Pelops is stolen away by Poseidon.

Perhaps Ceridwen should be seen as derivative of Ceres-wen, the white grain goddess.

The myth of Tantalus and in part Pelops is here: http://www.haidukpress.com/tantalus/index.html

If anyone who might read this is familiar with the myth of Ceridwen and Taliesin this ought to ring bells.
Fata Morgana
04 April 2006 @ 08:16 pm
I used a Zodiac spread for this reading. I usually use Celtic Cross.

Significator - The Moon - The polarized misery of the body with its survival fears...

Enfolds - 5 Wands - is being evolved by Spirit...

Crossed By - The Sun - and is giving way under pressure of my desire to dwell in 4th seal Love and Completion.

Aries - 8 Coins - I have constructed an imprisoning paradigm.

Taurus - 2 Wands - I have new insight in the form of my soulmate's wisdom.

Gemini - The Tower - I am tearing down the fortress of the paradigm of fear...

Cauldron - 9 Cups - with an abundance of love.

Leo - Justice - I am weighing what is best for myself, and My workplace, as well as examining my own mindset and soul.

Virgo - The Hermit - I am meditating, contemplating from a distance.

Libra - Knight of Wands - Change comes on swift wings,

Scorpio - Queen of Wands - and I am the ruler of my experience in life and at work.

Sagittarius - The Chariot - Victory over polarity is assured.

Capricorn - 3 Wands - We can all work together.

Aquarius - Judgment Day - I am reaping a harvest of wisdom,

Pisces - Strength - and Strength of Spirit.

I love them and will allow them their games.

I do not need my job to get buy.
Fata Morgana
03 April 2006 @ 08:44 am
A lunar mansion is one of the 27 or 28 constellations that the Moon passes through during its monthly cycle, as used in Chinese and Hindu astrology. Therefore, each represents a division of the ecliptic similar to the zodiac. The mansion associated with a given date corresponds to the constellation which the Moon is passing through at that time.

In Hindu astrology, the lunar mansions are referred to as Nakshatras. The 27 Nakshatras cover 13°20’ of the ecliptic each. Each Nakshatra is divided into quarters or padas of 3°20’. A list of Nakshatras and their corresponding modern star names is given at the Hindu calendar article.

The list of Nakshatras is found in the Vedic texts and also in the Shatapatha Brahmana. The first astronomy text that lists them is the Vedanga Jyotisha of Lagadha.

The Sanskrit word Nakshatra means ‘that which does not decay’. The 27 Nakshatras represent consciousness and each Nakshatra represents a particular quality of consciousness. In Maharishi Jyotish the 27 Nakshatras are represented as 27 equal segments of a circle, each covering 13 degrees 20 minutes. The sequence of the 27 Nakshatras begins with Ashvini Nakshatra in Mesha Rashi.