I think as I believe that all process of the human had based on its imagination. All the inventions, discoveries and of course its creations: Art. This power is a present given by God or what so ever, to us to do our works as the Creator self do; to create!
Unfortunately, it doesn’t go well sometimes as we can see in the whole history of man, even now! And it is not the fault of imagination itself but the failure of the education. Nevertheless, the imagination is very important especially at the beginning as a child. All the children have imagination but there are some parents who don’t take them seriously and these are the lost people who have lost their power of creation; they have lost everything!
The power of imagination caused fantasy to create Art. Art is the blood in the veins in our soul, let it run!
“Without this playing with fantasy, no creative work has ever yet come to birth. The debt we owe to the play of the imagination is incalculable.” C. G. Jung
For Al and me, we both might be lucky to grow up with and in our imaginations. Our mother was so busy with the problems which she had hard to solve, couldn’t care about the way how we go with our fantasies but we have used them and built our own world within them; to protect one and the other from the outer world, therefore, we became very solitude and lonesome. Our world was very different with the society in which we’d lived.
So then, let Fantasy go unlimited, to the world of Imagination. 🤗💖
“Fantasy need not always be verbal, nor must there be visual imagery. The account which translates an event into experience may be incorporated bodily through style, gesture, or ritual, like entering into a more subtle or skilled way of going about things. We feel we are getting into the secret of cooking, fingering an instrument, playing· ball, as we fantasy ourselves into a new style. Psychologizing breaks up repetitiveness; it is particularly effective when we perform one activity as if it were another, writing novels as if they were music (like Thomas Mann).” James Hillman, Re-Visioning Psychology
After having excavated a large number of sites, such as Tanis, Naucratis, Hawara, Arsinoe, Illahun, Meïdoum, Amarna, Koptos, Nagada, Thebes, Denderah, or even Giza, William Matthew Flinders Petrie arrives on ancient Memphis – Mit Rahineh – in 1908.
With his assistant, Ernest John Henry MacKay, a British archaeologist – who has worked alongside him since 1907 – he will make, until 1913, beautiful discoveries in the enclosure of the temple of Ptah.
Located south of Cairo, “Memphis was the city of the god Ptah with whom Sekhmet and Nefertoum were associated from the New Kingdom. The city, the ancient” White Wall “, was the capital of the country during the Old Kingdom and remained an essential seat of administration throughout the history of the Double Country. ” (Isabelle Franco).
If the site, even today, gives us so little of its past grandeur, we must imagine what Egyptologists then found: a palm grove, most often flooded, in which blocks or remains of stone emerge.
Excavations are hampered by the recurring problem of the presence of water: you have to constantly pump to lower the level and dry out the excavation field. Flinders Petrie recounts the organization put in place: “Such work below the water level was novel and required close organization. The ground was lowered about two feet, just above the water level. water: a drainage system was then put in place, from which the water was pumped with large rubber pumps day and night. “
The excavations will notably allow the discovery of two sphinxes.
One, carved from a single block of pink granite from Aswan, measuring 3.62 in length and 1.45 m in height, was discovered in 1912. It bears inscriptions on the chest and around the base mentioning the names of Ramses II and his son Merenptah (although some believe that it was carved during a period prior to these two pharaohs). This sphinx, with a rather damaged face, will be offered in 1913 by the “British School of Archeology” (directed by M.W.F. Petrie) to the Penn Museum in Philadelphia.
As for the other sphinx, Ernest Mackay had, in 1911, noticed its tail protruding above the surface, but it will not be actually uncovered until the beginning of the summer of 1912. From a height of nearly 8 meters, 4.25 m wide, its weight is estimated at over 80 tonnes.
Curiously, Petrie will remain very discreet about this discovery and will be little talkative in his publications. “There are a variety of reasons for Petrie’s reluctance about the alabaster sphinx. One of the main reasons is that it is completely lacking in inscriptions and therefore Egyptologists could not, period, date it with certainty at the time. “
It will be attributed to Hatschepsout (because of the style of the face), or even Sethi I (by ‘association’ with the fact that his sarcophagus was in alabaster). Finally, “despite the absence of any inscription on the sphinx, Egyptologists estimate the period in which it was carved in the New Kingdom because of the style of the sculpture”.
The colossal statue lay on a side, and in 1913 it was straightened and placed on blocks of stone.
The sphinx is a “hybrid” statue which is most often made up of a lion’s body on which a human-head rests. “The Egyptian sphinx was a protective and positive entity,” and it generally represented the “portrait” of the pharaoh to whom he was dedicated, or allied.
The alabaster sphinx takes on the attributes of a pharaoh, the uraeus, the false beard, and the nemes whose mat rests on his back. He has a very noble look, the face is beautiful, and the enigmatic smile retains all its mystery … The front legs are extended while the rear legs are folded under the body. The statue and its base are carved from the same block of alabaster.
In the chapter he devotes to minerals in his General Overview on Egypt, Clot Bey indicates: “Egyptian alabaster has always enjoyed a great reputation. The ancients exploited a quarry located between the Red Sea and the Nor, at the height of Minieh, 40 leagues from the river and 15 from the sea. They had founded near her a city to which they gave the name of Alabastropolis. “
This sphinx, the second in size after that of Giza, was then moved a few meters to be placed on a concrete base. It remained in Mit-Rahineh where it constitutes one of the most beautiful pieces of the open-air museum.
Hello friends! The main reason for this post of mine is at first a letter of Al; my brother, to a common friend which I have found lately in my documents and secondly, the question on what cause more suffering; the loss of a child or the loss of parents.
Without a doubt that Grief is always a part of our life but there is different reasons to grief I think. As I was doing my job as a taxi driver, I had many elder customers (especially aged women) who were living alone and willingly told me their stories about their days and their years and their life. They did it with pleasure because I am a good listener; my pitifulness did it well to them but a few had told me about their loss of a child and I think it is a very painful loss for us all; To lose a partner or parent is surely painful but somehow understandable, to lose your born child is like to lose the result of your life!
For example; I get and read the posts by MeRaw ( MeRaw) http://alienblob.com/author/mrsrawlings/ She is a wonderful writer, poetess, with beautiful pictures and a sorrowful mother as you might know her and see that she is always and still grieving for the loss of his Son. I wish her mercy and blessing. 🙏💖
I accepted the chaos, and in the following night, my soul approached me. ~Carl Jung; Red Book.
Now to the first reason; Al’s letter. He wrote it to a very lovely and unique friend when her father died to comfort her. I have found this first in his papers when he left me and it hit my heart so that I had translated to German and gave it to many friends to read it! Now I’d like to share it here too, with you. Thank you for have a look at it.
All-day long I thought of you and tried to put myself in your position. It was a stupid idea! When I was eight years old my father died and when I was 21 years old my mother died. Explaining the death of father for an eight-year-old boy is not that easy. Especially my mother’s weird behaviour, as she was hiding the fact from me and Aladin. When I think back and look at myself as a boy in the misty thoughts of the past, I see him standing confused in a corner and he doesn’t exactly know if he even belongs to this world or not ?! For a 21-year-old it is even more complicated because in this full energetic and fun-loving youth he suddenly sees how the fresh green leaves of his tree of life take on yellowish tones. There was once an aunt of mine whom I was very fond of. She told Aladin and me to comfort us that the death of the parents was just. Because they don’t have to witness the death of their children. Don’t know … maybe there is no justice at all, or justice is nature itself: the creator and the annihilator. I know a very interesting man named Eugen Drewermann, professor of theology, he was in the service of the Catholic Church. But he got kicked out by the Vatican 8 or 9 years ago for agreeing to condom use. He says:“We have to look at all things from the view of nature. Death is part of nature, hence part of life. Nature gives birth and buries us; it is like a river that always has to run. Man is a small part of nature. What is written in the Old and New Testaments about the centralization of the earth in the universe and about the first creatures, all of this, is covered by a religious license for the exploitation of nature. We have to accept life as it is, not as we want to see it. When nature looks so brutal with its giving and taking, it gives us the phenomenon of love. To love and live in love with others, this is how one comes to the meaning of God.” Perhaps this brings you no consolation or perhaps that consolation is ineffective for you, but what is important here and now is that you live and must continue to live. Not just for yourself, but for those you love and those who love you. Your existence helps them to better fill their own lives. Live as far as you can!
I was twenty-one years when I wrote this song I’m twenty-two now but I won’t be for long Time hurries on And the leaves that are green Turn to brown And they wither with the wind And they crumble in your hand Once my heart was filled with the love of a girlI held her close but she faded in the night Like a poem I meant to write And the leaves that are green Turn to brown And they wither with the wind And they crumble in your hand I threw a pebble in a brook And watched the ripples run away And they never made a sound And the leaves that are green Turn to brown And they wither with the wind And they crumble in your hand Hello, hello, hello, hello Goodbye, goodbye, goodbye, goodbye That’s all there is And the leaves that are green Turn to brown
This topic has been lingering in my mind for many years as I’d heard more and more about this interesting but also very strange folk. Even, as I can remember, it was about two years ago that Aquileana (Amalia) https://aquileana.wordpress.com/ had written to me that we could write one time an article together about them, but this, unfortunately, hasn’t come yet.
Therefore, I thought to try it alone; because these Spartans are full of contrasts as we can see in their behaviour. There are many researchers and many tells about them. They might be famous especially because of the movie: 300 which has been run some years ago in cinemas. An action film though, based on lies as the history shows that the Spartans were not alone, they got help by Athens among the others.
‘The Spartans were a strange people…Their contemporaries in the ancient world were intrigued by the ‘mystery’ that surrounded them, by their secretiveness, their peculiar manner of life and the impenetrable seclusion into which they had withdrawn. In their own day they were a great people; but their greatness sprang from qualities violently and astonishingly different from those that the world regards as typically Greek.’ (H Michell, 1964, Sparta, Cambridge University Press, London, p.1)
It seems that as the Greek or better to say, Plato wanted to build his Utopia school, as he described a perfect society as one where everyone lived harmoniously and without the fear of violence or material possession. He believed that political life in Athens was to rowdy and that no one would be able to live a good life with that kind of democracy.
We can find it in Plato’s book; The Law: The Laws is one of Plato’s last dialogues. In it, he sketches the basic political structure and the laws of an ideal city named Magnesia. The Laws is Plato’s last, longest, and, perhaps, most loathed work. The book is a conversation on political philosophy between three elderly men: an unnamed Athenian, a Spartan named Megillus, and a Cretan named Clinias. These men work to create a constitution for Magnesia, a new Cretan colony. The government of Magnesia is a mixture of democratic and authoritarian principles that aim at making all of its citizens happy and virtuous. https://iep.utm.edu/pla-laws/
But the Spartans were just thinking of making soldiers for the next war!
Here is another look at them from the way in the Greek art of old “tragicomedy” (SPARTA AND SPARTANS IN OLD COMEDY) by Ralph M. Rosen http://Ralph M. Rosen From the book; “The Greek SuperpowerSparta in the Self-Definitions of Athenians” Edited. by Anton Powell & Paul Cartledge, according to the author:
The Athenian attitude towards Sparta that emerges from Aristophanes’ plays, however, is far more complex than this sweeping overview conveys. Even a quick, superficial reading of Acharnians or Lysistrata is enough to show that Aristophanes was not out to persuade his audience to detest the Spartans, despite the many times Sparta or Spartan customs come in for ridicule throughout all his plays. Over the past half-century, scholars have taken up the question of Aristophanes and Sparta systematically, and there is little dispute that Aristophanes’ plays serve up a mixture of hostility, admiration, ambivalence and empathy in their depiction of the Spartans.
Tigerstedt (1965) summed up the matter well when he said that the ‘expressions of popular sentiment against Sparta were not approved without reservation by Aristophanes. He – or his mouthpieces in the comedies – agrees with its adversaries in so far as the Spartans were guilty of much evil. But the Athenians are no better’ (1965, 125). Two subsequent studies, by Cozzoli (1984) and Harvey (1994), have reached similar conclusions, although the latter offers a fuller treatment of the evidence and slightly different analyses than the former. These scholars have done the important groundwork: they have collected the passages in Aristophanes where Spartans are featured – negatively, positively or somewhere in between – and tried to make some sense out of the representations that emerge….
And he continues: This leaves us, however, still with an unresolved problem: if we are not willing to call Aristophanes a ‘sympathizer’, what exactly accounts for the restraint of his attacks on the Spartans and on some occasions, as it seems, his open support of their point of view? This is the question I would like to revisit here, partly because I think more needs to be said about the role of comic poetics in this debate, and also to pay at least some attention to what other poets of Old Comedy, fragmentary though they now are, have to contribute. I hope to show, first, that the particular ways in which Aristophanes wove the Spartans into his plots, or how he constructed them as targets more occasionally in other plays, can be explained as a function of the satirical dynamics governing the genre, without recourse to biographical speculation. Second, I would like to spend more time than earlier scholars have on the question of how Sparta was represented by the non-Aristophanic comic poets, in an effort to show that there is little evidence (as is sometimes imagined) 3 that they were any more vehement in their criticism of Sparta than Aristophanes. In the end, as I hope to show, the particular ways in which Sparta was represented by comic poets during the Peloponnesian War can best be explained by the confluence of several quite specific poetic and cultural factors, where generic forces meet historical specifics.
But interestingly, the women were free to choose what they wanted to do in their lives, of course except to taking part in the wars.
The women of Sparta were unlike any other women of their time. They were educated, known for their beauty, competent in various sporting activities, and looked upon by their Athenian counterparts as exceptional mothers. Contrasting to other Greek women, the women of Sparta were significant within the biological, social, economic, and religious parts of Spartan society and culture. It has been said that Spartan women were seen as the vehicle by which Sparta advanced; in no other Greek city state did women have the privilege of freedom like the women of Sparta.
This greater freedom for Spartan women and girls began at birth. The same care and food given to their brothers was something required for the Spartan girls by law – opposing to other Greek cities, where it was much more common for girls to be rejected or killed, starved and prevented from exposure to sunlight or fresh air.
Spartan girls, once they had reached a certain age, would receive an education. They would be trained in the arts of literacy; being encouraged to speak in public upon many topics, Moussika; to pass on the traditional values of Sparta, such as music, dance and poetry. They were also taught horsemen ship and athletics. Athletics was something that other Greek girls and women were not permitted to do, however, for Spartan women exercising unclothed, with other men, and performing in various athletic events was standard.
Although Spartan women seemed to have more freedom then most women of the Greek world, their one main role was to make strong Spartan offspring. When women in Sparta reached sexual maturity, they were not rushed into marriage or childbirth; unlike the other women of the Greek and ancient world, who would suffer from psychological and even physical injury from being rushed into childbirth at a young age. Spartan laws even advocated the importance of marriage and pregnancy only after women had reached an appropriate age.
Once married the wife would become in control of the estate of her husband, because of the frequency and length of time that the husband would be away devoting his life to the Spartan military. This is where control of the Spartan agricultural economy fell into the hands of the Spartan women. A Spartan husband became dependant on his wife, that she would pay his fees and supply the money for the son’s agoge fees. This control that Spartan women had is a sharp difference to Athenian women, who were never heiress of their husbands or fathers estates – money would be passed down to the next male in the family. Because of all this power that was given to the Spartan women it was often said by Aristotle that Spartan women “ruled” their husbands. In response to this, the wife of King Leonidas said that “Spartan women were the only women who ruled their husbands, because they were the only women who gave birth to men”.
I hope you’ve not gotten tired to read more of it, here is another article was written by the Greek friends which I more or less translated from Greek. 😉Have a great time and a peaceful weekend everyone 💖
As I read all over about the ancients, where so ever from; old Greece, old Persians, or even old Arabs, there are the women who decide over the fate or destiny of all the history of “men” and as I read a lot about Sparta and know them as a brave and advanced folk. WE can really learn a lot from our own history.
Women in ancient Sparta. Jean-Jacques-François Le Barbier – Courage des femmes de Sparte.
Women make up half of the population, but historical sources do not pay even half the attention they deserve and demand their role. But the women of Sparta were an exception. They were the only women in antiquity who, instead of remaining silent, had their own opinion and took care to formulate it. So since in the eyes of the rest of the Greeks the Spartans seemed strange with their manners and habits, their wives also seemed even more strange.
The mission given to them by the semi-mythical legislator Lykourgos was to give birth to boys who would be the soldiers of the next generation, with measures to ensure that they were physically fit. The girls were not required to be inspected by the authorities at birth, and the decision to step up was left entirely to the parents. All they needed was to exercise their bodies in running, wrestling, discus and javelin throwing, while participating naked in religious processions, orchestrations and songs.
Aristotle criticized the Spartan law that allowed women, unlike men, living dissolutely and luxury. From the testimonies, we conclude that the women did not need to exercise after the birth of children or after the age at which they could have children.
So, our contexts lead us to think that women should get married when they reach the right age to have children. The Plutarch writes that they used to marry ” not little girls or immature for marriage, but in the prime of their youth and mature .” That is, while in the rest of Greece they married around fourteen, the Spartan law stipulated that the woman had to be fully physically developed, therefore at the age of eighteen to twenty.
In Sparta, unlike in Athens, the official engagement from the bride’s father was not necessary for a legal marriage, so there was no official promise from the father to give a dowry for his daughter. Lykourgos legislated this with the reasoning that no one should remain unmarried because of poverty or be sought after because of wealth, but that everyone should focus on the character and qualifications of the girl. Therefore, marriages were arranged individually, without implying that there was no agreement between the groom and the father of the bride. In addition, there was the so-called abduction, which the husband simply stole due to custom, although there is evidence that this was done knowingly by the father.
But while men had to divorce their wives in order to marry another woman, a woman was allowed to have Spartans from the time they were married, had her hair short, unlike long-haired men, and possibly wore a veil when appearing in public… sex with two men ! If a man, due to old age or incapacity, wanted to have children, he would bring home any man who admired his physique and character to have children with his wife. Also, if someone saw a woman having beautiful children, she asked, with the consent of her husband, to give birth to his children. Of course, the purpose of the law was to increase the population and give birth to as many older children as possible. The children could legally be considered to belong either to their natural father or to the woman’s husband by agreement of the men. Thus, it is not easy to capture the notion of adultery in Sparta.
However, the moralist and conservative Aristotle refers to sexual innocence when he spoke of the women of Sparta, who imposed their will and how it constituted the political and moral bankruptcy of Sparta. Like the educated Aristotle, the rest of the Greeks embraced the typical macho view that women were inferior to men and that this freedom of the Spartans alienated them unimaginably! They had the view that the Spartans were living a tender and unselfish life, at the urging of their retreating spouses. The truth is, however, that these women were nurtured within a public educational system, which resulted in a dramatic difference from the typical behaviour of other Greek women.
Apart from sexual relations with other men, a very important element for Aristotle to consider Sparta as a female-dominated society was their right to own and manage the same assets, including land ownership, without being subject to any legal committee status. When the rest of the Greek women transferred their property to their husband or the closest relative, the Spartan patrons were the owners of the property they had inherited!
They were also free from the tedious housework, unlike the other Greek women whose whole world was their home. They didn’t cook, they didn’t sew, they didn’t clean: all this was done by women. It is possible that they did not even breastfeed their children. Whether it happened or not, the fame of the Spartan food, which was obviously helots, was so great that, for example, Alcibiades was raised by a helot. In general, the rest of the Greeks, having a distorted view, considered that a climate of moral depravity prevailed and that the Spartans not only imposed their will on men but also exerted influence on state affairs!
In Sparta, there were no celebrations exclusively for women. The girls on the doorstep competed in dance and song, while the married women sang mocking songs and mocked the bachelors.
Another special feature of them was that they did not mourn or smell after the death of a family member. They did not mourn and did not retreat to their homes when their husbands fell in the war, but they walked proudly with a bright and happy face for the glorious death of their husbands.
Archileonis, Vrasidas’ mother, whose son died when some arrived from Amfipoli in Sparta and went to see her, asked if her son had died in a beautiful and dignified manner in Sparta. As they praised him and said that in his achievements he was the best of the Lacedaemonians, she said: “My son was a foreigner, right and virtuous, but Lacedaemon is much superior to him.” Plutarch.
Young people in ancient Sparta. Young Spartans Exercising by Edgar Degas (1834-1917)
Spartan society was the first to try to implement eugenics. The good physical condition of women contributed to being healthy mothers. They were not considered inferior in their society. Young girls were given similar portions of food as boys. They were imbued with a process of education and socialization with the ideals of Spartan society, for the implementation of which their behaviour as adult women was crucial.
Finally, as adults, they had the right to inherit and manage their own property. They could express their opinion about the prospective groom that their father would choose and their opinion was important. It was these women who, if their sons returned defeated and alive, would publicly show them their wombs and ask them insultingly if they wanted to crawl into it! They were just unique in a macho world!
The flowers, they are one of the wonder on our planet for sure. I am not exaggerating; we may see them all around us and not notice when we look at them we feel some calmness and happiness in our soul.
And here is the proof! The magic of this nature goes back to the magic of ancient Egypt. Here is the tale of the wizard of Nymphaea, the Water Lily.
With a heartily thank to two honourable Egyptologists and friends of mine
“Imagine it if in the hands or on the forehead of women, in bouquets mounted or on offering tables, in decorative friezes or floating on water features in gardens, the image of elegant blue lotus is one that is automatically associated with Egyptian civilization. ” (Jean-Pierre Corteggiani, Ancient Egypt and its Gods, Fayard 2007).
In his “General Overview on Egypt” Antoine Barthélémy Clot-Bey, evokes it thus: “The water lily is the famous Nymphaea lotus of antiquity. When the flood disappears, this aquatic plant covers the surface of its canals. immense leaves, in the middle of which stand out white or azure flowers, of the most elegant form. Its tubers were, according to what Herodotus reports, one of the foods most in favour among the ancient Egyptians “.
In fact, three different water lilies are usually listed on Egyptian soil: the pink Indian lotus introduced to Egypt by the Persians around 500 BC. AD; the white lotus which opens at nightfall and is characterized by its jagged-edged leaves, rounded buds, spreading petals and strong scent; the blue lotus, with its leaves with a linear edge, its tapered, pointed buds and its narrow, pointed petals.
It is the latter – the Nymphaea caerulea, lotus or blue water lily – that is most characteristic of Egypt.
With a suave and sweet aroma, it blooms during the day, opening at the first rays of the sun, then in the evening, closed for the night, it disappears under the water from which it will not emerge until the next morning. “Its yellow centre, with a blue outline, also evokes the sun in the sky” specifies Salima Ikhram. It is considered by the ancient Egyptians to be “the initial flower” and “the symbol of the birth of the divine star”. Thus, when it has finished its course, the sun takes refuge in the lotus to plunge back into the wave.And the cycle begins again every day and every night, since the dawn of time.
Symbol of birth, the lotus is also that of re-birth. “Chapter 81 of the Book of the Dead allows the deceased to assimilate to the renewed solar god. The vignette which illustrates it represents the skull of the dead springing from the water lily” specifies Isabelle Franco.
This image can only refer us to the magnificent polychrome wooden statue representing Tutankhamun whose head emerges from a lotus flower whose blue petals are open (JE 60723). Christiane Desroches Noblecourt analyzes it thus: “Symbolic image of the rebirth of the deceased, the head of the sovereign emerging from the lotus evoked the Horus-child: Harpocrates”.
This flower can also serve as a “support” for the four sons of Horus: “This representation appears at the end of the XVIIIth Dynasty, without real systematization at the beginning. Then the motif of the four standing figures, frozen in a precise order, on the corolla of the open lotus will be the standard cannon from the XXth Dynasty until Roman times …
The choice of the blue lotus is clearly related to the rise at this time of the Hermopolitan cosmogony. This presents, at the dawn of time, four male characters who fertilize the primordial lotus floating on the abyssal waters of the Nun (or the Nun himself, from which the plant will emerge); lotus from which will spring the solar child, and therefore Creation “… (Osirisnet)
The lotus was endowed with other functions, symbolic and mythological; it was used in particular to represent Upper Egypt, Lower Egypt has been associated with the papyrus. Thus the two plants are instituted as the “heraldic plants” of Egypt and are often presented linked to signify the union of the two lands.
It is widely used in the decoration of temples. This is how we find columns with loti form capitals – “they may have originally represented, writes Gaston Maspero, a bundle of lotus stems whose buttons, tight around the neck by a link, meet in a bouquet to form the capital “- and that often” the base of the columns is surrounded by leaves, the foot of the walls were lined with long stems of lotus or papyrus “.
The lotuses are very often represented in the scenes of the tombs. They are found on offering tables, in floral wreaths, on headbands worn by beautiful ladies, or, quite simply, in their hands and sometimes turned towards their nostrils …
As we can see on certain wall decorations, or pavements, which reach us from the Amarna period, the lotus, like the papyrus, expressed their freshness and their overflowing nature …
It is also very popular in goldsmiths where it is found in rings, bracelets, elements of necklaces or pectorals or in certain chalices which borrow its shape.
He was the emblem of the god Nefertum, son of Ptah and Sekkmet, “divinity of the pleasant smell”, appeared “like a lotus in the nostril of Ra”.
“Despite its brevity, comments Jean-Pierre Corteggiani, this [last] formula is important since, in addition to the allusion to the fact that the flower is breathed, it establishes a relationship with the sun, a link that underlines (…) the only other mention of the god in the oldest corpus of Egyptian religious texts: invoked as ‘image of Nefertum’, the lotus then becomes that of the primordial flower, ‘exit of the Nun’ [personification of the primordial waters existing before creation], d ‘where the solar child arises every day as he did the first time. ”
Represented in the “erotic” papyrus of Turin, above the heads of the characters, the lotus was famous, such as Ginko Biloba, for its tonic, narcotic and aphrodisiac virtues, against the effects of ageing or sexual “breakdown”.
The lotus was, therefore, for the Egyptians of antiquity, a flower, beautiful and fragrant, loaded with meaning, life, and promises …
sources: Dictionary of Egyptian Mythology, Isabelle Franco, 2013 Ancient Egypt and its gods, Jean-Pierre Corteggiani, 2007 Egyptian Archeology, Gaston Maspero, 1910 General Overview on Egypt, Clot-Bey, Antoine B., Paris, 1840 https://digi.ub.uni-heidelberg.de/diglit/clotbey1840bd1/0200/text_ocr osirisnet.net The fabulous heritage of Egypt, Christiane Desroches Noblecourt, 2004
It’s the title of a movie of course and I was in Crete lately and not in Venice and I’m still alive!
But when I was sitting at the beach almost alone and as I felt this total solitude how beautifully, it came to my head once the scene of the end of Luchino Visconti’s masterwork, when Dirck Borgarde in the movie: Death in Venic, as Gustav von Aschenbach (actually Gustav Mahler) sitting in his chair in the last minutes of his life, regards the perfect beauty, I thought; isn’t it a perfect death?,,
This film, I don’t know if you have seen it or have any interest in such as Neorealism Italian movies (I love them all!) has been made in 1971 and I saw it some years later, the interesting mixed of three Genius Artists: Thomas Mann the writer,Luchino Visconti the director and Gustav Mahler, (I think he had a special view on the beauty) it makes a perfect sense!
Oh yes, the Beauty, it is as I think the most adorable as a questionable issue of all time! I say this because, I, myself, am not and never be a homosexual though, I had a lot of homosexual friends in Iran.! And I must say that they were all artists, therefore, we have the same view on beauty, no matter of what kind (you can understand what I’m talking about). Beauty was the matter.
I can imagine that this one is an unknown or might be not so famous one at least for you; as I may be allowed to mention, we in Iran, as artists, tried to survive, the bred was not the problem but lack of arts was the main one. That was the motive for us to catch up with all the good things which had to do with the arts, therefore, we swallowed all the arts in the nigh (come what may). You know; those days the art had a meanig!
And I meant the Art, I am convinced that art is a gracious presence or “the presence” of God, and it helps us with no hesitation to find our path, the way to the certain aim. That’s all I can imagine.
Anyway, in this movie, Luchino Visconti, choose a wonderful set for his movie; Burt Lancaster, an old master of the act. And Helmut Berger, a wonderful actor, (+ a handsome Dorian Gray)
Let’s have a look (searching) for the Beauty “In meinem Lied”…
By making this video, Stephen Van Woert explains; Gustav Mahler (whom Visconti asserted to be Aschenbach in the film) composed “Ich bin der Welt abhanden gekommen” (“I have become lost to the world”) in 1901, ten years before his untimely death. He said of this music, “It is truly me!” The words are from a poem by Friedrick Rückert. If you want to understand Mahler and Aschenbach, then you must understand the meaning of the song. Here is a translation:
I have become lost to the world With which I formerly wasted much time It has heard nothing from me for so long It may well believe me to be dead It is of no concern at all to me If it takes me for dead
[These two lines are omitted from the video: I can’t at all contradict it For in a real sense I am dead, dead to the world]
I am dead to the world’s turmoil And rest in a quiet realm I live solely in my heaven In my loving In my song!
The psychotherapeutic art of Heraclitus, which can cure the disharmony that reigns in our psychic world but also in society.
In such a short phrase as the above, the great Ephesian philosopher Heraclitus – the so-called dark philosopher of the ancient Greek spirit – was able to capture the truth about the human soul, formulating it with simple and shocking clarity. Heraclitus holds a special place not only in ancient Greek philosophy but also in the field of -youngian mainly- psychotherapy since Heraclitus philosophy clearly influenced the Swiss psychiatrist and psychologist, Carl G.Jung.
Jung incorporated in his philosophical system but also in the methods of a psychotherapy that he applied, the famous Law of Crossing which is based on the philosophy of Heraclitus on the harmony of opposites. Jung attributed the inspiration and philosophical conception of this Law to Heraclitus himself, who was the first to speak of the urgent need to unite opposites, both in Nature and in man himself. Jung always tried – during his psychotherapeutic course – to spread a bridge of communication between two seemingly opposite elements in the personality of his patients: the conscious on the one hand (with rational thinking and critical mind) and the unconscious on the other. (with all his primordial and unruly actions.)
This coexistence of conscious and unconscious, with their diametrically opposed forces, was for Jung the key to the mental balance of every human being, just as for Heraclitus the wonderful order and function of the Universe was based on the harmony of opposite elements in Nature: day and night, light and darkness, heat and cold, winter and summer.
The Balance of Opposites For Jung, the Law of Opposition is the wisest psychological law, as it serves man’s path to self-realization, through redefining and redefining his life. According to the Law of Crossroads, when an energy flow, a psychic potential develops unilaterally and is consolidated as a way of life – without the completion of its opposite – it will reach the highest point of development and manifestation and then a diametrically opposite will follow. of course from the original, so that the manifested psychic energy can include and assimilate its opposite, which until then had been neglected. Jung had said that every action always has two poles. The purpose of the Enantiopry is, therefore, the balance of these two opposite poles.
For example, when one has expressed a one-dimensional sexual life, based on intense erotic passion, pleasure, emotional excitement and instinctive arousal, but at the expense of his spirituality and the collective dimension of his soul (which includes the needs of others people, partners – erotic or not), with an axis of satisfaction only his own individual soul and its egocentric, narcissistic needs, then it will come at some point in the life of this person, an “unexpected”, shocking event (in the form of a serious accident or a catalytic “misfortune”), or an “unexplained” but persistent psychosomatic or organic symptom), or a prolonged, deep melancholy, or even a tyrannical ideology (like phobias, that did not exist before and seem incomprehensible, intense hypochondriac tendencies and obsessive-compulsive behaviours), which will manifest as a critical and decisive turning point. An almost borderline situation – between collapse and elevation -, a balance into enabling the hitherto one-sided and egocentric expression of sexuality to be transformed into the emotional sharing with the other side and the recognition of a spiritual, higher dimension in the soul of the individual himself, which until then remained unfolded.
Sex life The course of human sexuality for Jung is a perfect application of the Law of Crossing: It begins vigorously and rapidly in the instincts and passions, reaches maximum levels of climax, arousal and filling to follow in about middle age (the time point, where the Enantiodromia occurs) a gradual, downward course. Instincts and impulses recede to enter more spiritual and psychic elements. Someone who does not take into account the manifestation of the Law of the Cross will be led, according to Jung, to sexual nerves and emotional disorders, the severity of which will depend on the life of the person until then.
The Law of the Crossing has its own consequences. A life focused solely on sexuality and sensuality will initially bring pleasure and satisfaction, but later on sexual dysfunction and depression. Of course, the Enantiodromia can be valid in the opposite case: Someone who lives a sterile – emotionally, erotically and sexually – spiritual life, for the sake of the intellect and at the expense of his sexual and material side, to feel – in some unexpected phase of his life – an unprecedented, erotic passion, so intense and insane, that it completely diverts him from the hitherto spiritual and calm course of his life. Or he may show symptoms of boredom, depression, emotional emptiness, which will always remind him that a part of himself – less spiritual but just as important – has remained unexpressed and incomplete.