M I R R O R

La Belle et la Bete
Director: Jean Cocteau

Jean Cocteau was born July 5, 1889, 1:00 AM with his Sun 13° Moonchild 08' at his Nadir, the lowest point of his star chart [deeper part of the unconscious mind, the psyche seat of power and the astrosome or the dream level of expression]. His Destiny Path is an 11 often associated with the angel, messenger, and poet. Cocteau was born in the vicinity of Paris, France, in Maisons-Lafitte and exposed on a continuous basis to theater and the arts throughout his life. At the age of sixteen, he was already a published poet. Even as a young man, authors such as Marcel Proust were promoting and befriending Cocteau.

During World War I, Cocteau continued his love of all things artistic, and associated himself with artists such as Modigliani, poet Apollinaire, poet Max Jacob, Reverdy, Andre Salmon, Blaise Cendrars, and Pablo Picasso.

After the war Cocteau continued his association with several well known artists. He founded a publishing house called "Editions de la Sirene". The company published Cocteau's writings and many musical scores of Stravinsky, Satie and a group of composers known as "Les Six".

Beauty and the Beast, as expanded by Cocteau from the original fairy tale, moves the character of both the Beast and Beauty from the simply childlike figures to complex adult characters. The world they live in is no longer a fairy tale land, but a surrealistic dream world. The two sisters, the brother, and Avenant appear to be simple folk living in a mundane, realistic world with motivating factors being one dimensional such as greed.

In this film, Cocteau uses the mirror to allow the characters to see things happening in other places. In his other works such as Orpheus, Blood of the Poet, Les Parents Terrible, and Les Enfants Terribles he uses a mirror as a mode of transporting from the real to the surrealistic worlds. Cocteau used the mirror for introspective exploration.

His most important works include the stage play Orphee, the novel, Les Enfants terribles, and many long poems. Cocteau was born with a Grand Trine in the Earth Signs: His Moon at 23° Taurus 13' trine his Ascendant 28° Virgo 17' trine his Midheaven 26° Capricorn 06' [he has retrograde Jupiter 2° Capricorn 06', in his Eighth House inconjunct Neptune - soulmates - within 2 degrees of perfect]. Transmigration scripts may involve an incomplete initiation carried over from a past life. Many of his art forms would suggest the classic temples of Greece and Rome, however some of his transcendental ornaments and sculptures extend beyond the 1-10 key. They appear without reference to any specific culture. All these objects, Cocteau said, should look as if they were discovered in an archaeological dig.

 

 

Ancients utilized the power of Hathor's mirror as a defensive device to reflect back, and amplify, incoming energy from a source outside personal aura fields

   Aura The Hypnotist

   Aura The Performer

   Trump XV, XVI, and Pearl Harbor, eye witness account

   Trump XIX The Sun - soulpower, soul mates, family transmigration

Sun Energy Represents the Energy of the Physical Anatomy Throughout the Year.
Manly P. Hall wrote about this cycle, “The pagans set aside the 25th of December as the birthday of the Solar Man. They rejoiced, feasted, gathered in processions, and made offerings in the temples. The darkness of winter was over and the glorious son of light was returning to the Northern Hemisphere. With his last effort the old Sun God had torn down the house of the Philistines (the Spirits of Darkness) and had cleared the way for the new sun who was born that day from the depths of the earth amidst the symbolic beasts of the lower world.”

There is a striking similarity between this development of the “Sun orb “ and resonant themes portrayed in films like Metropolis, Ben Hur, Seven Days in May, and The Matrix.

Hall cites a scholarly treatise by an anonymous Master of Arts of Balliol College, Oxford, Mankind—Their Origin and Destiny.” The text reads, “The Romans also had their solar festival, and their games of the circus in honor of the birth of the god of day. It took place the eighth day before the calends of January—that is, on December 25. Servius, on his commentary on verse 720 of the seventh book of the Aeneid, in which Virgil speaks of the new sun, says that, properly speaking, the sun is new on the 8th of the Kalends of January—that is, December 25. In the time of Leo I (Leo, Serm. Xxi, De Nativ. Dom. P. 148) some of the Fathers of the Church said that ‘what rendered the festival (of Christmas) venerable was less the birth of Jesus Christ than the return, and, as they expressed it, the new birth of the sun.’ It was on the same day that the birth of the Invincible Sun (Natalis solis invicti), was celebrated at Rome, as can be seen in the Roman calendars, published in the reign of Constantine and of Julian (Hymn to the Sun, p. 155). This epithet ’Invictus’ is the same as the Persians gave to this same god, whom they worshipped by the name of Mithra, and whom they caused to be born in a grotto (Justin. Dial. Cum Tryph. P. 305), just as he is represented as being born in a stable, under the name of Christ, by the Christians.”

... explanation of the priestess and the mirror, above, from the text:
The moving priestess uses external prism colours that overlap like sheer fabrics in draped or layered fashion. These are usually blue over green, lime over turquoise, or reds over purples. Additionally, many small “wings” in tiny pleats of pastel rose over magenta, seem to capture the texture of organza and double knit satin without solely limiting the discipline to those materials. The edges ‘feel’ of crepe. High texture/high degrees of variation within a theme usually imply activity/movement. Her sister’s garment seems to be cut from double pile velvet and dramatically tight weaving of metal thread through a lightweight fiber. Their mother seems to count on frequencies of light near to the consistency utilized by Ron Howard in his sci-fi saga, “Cocoon.” Several gauze panels in motion facilitate the quick paced power lines, fitting to her choreography. These translucent sheets highlight the experience of buoyancy, yet ‘remain heavier and seem to be shed/left behind’ as the sense of ‘lifting the veil’ is provided by the priestess moving toward the mirror.

This mirror is an implied, subtle field anchor (Shinto?) for her in the physical realm. The embalmer’s kiss reiterates the compass concept, as explained in The Grateful Dead’s masterpiece, ‘Terrapin Station.’ She often appears air-borne to others and so requires a grounding agent somewhere in her field of vision. The sensorium is fully directed and there is no confusion of her flight with flitting hummingbirds. Delicate qualities are shared with the multi-colored gossamer spirit, two life forces dwelling in the element of air.

She has too much of a ‘Firefly’ (self-illuminated) spirit to be exclusively ‘Dragonfly’ in nature. Suzanne Caygill’s observations serve to further a description of her make-up: ….“a fine-grained person with a slender, thin body and face. She often has a special forte of intuitive perception. She is almost iridescent in her coloring.” Her Firefly dynamic emanates from her heart (hot center made visible by way of negative line image) and her brow generating her looking glass.

Subject: Three women, all priestesses, from different time zones and backgrounds; this life they are from the same family unit. Over time, they have slowly remembered and reacquired several of their ancient powers. Although the overall cosmic features are different, all three women seem linked to their ‘temple of origin’ in significant ways, as the illustrations explain.

-Rev. DonnaKova Dauser, Amulets and Talismans, Closing Comments

Those who have 'the gift' as sensitives are usually multi-taskers. They take up slack if there is a break in the chain of command or the operational pattern starts to collapse. They have a "can do" attitude that is based on personal confidence.

The role of 'problem solver' utilizes reader skill, belief in simple, easy to comprehend patterns that are reliable templates, and the desire, on the part of most people, to help others evolve. The sensitive is usually the first one to attempt a different implementation of an existing approach, try working with new raw materials, and redefine the landscape in the workplace. Part of the typical detachment required for real objectivity comes from the ability to recognize the mirror in the room.

Generally, an ideal staff of officials for any company, club, or association would include a Leonian as president, with Moonchild and Scorpio as vice-presidents, a Taurean as treasurer, a Virgoan as secretary; PR, communication, and desk top publishing would be supervised by Gem, Libra, and an Aquarian. Any sought benefits linked with a specific program, interest, and plan for expansion are basic for anyone. The department of life [houses of a star chart] best describing the topic, or general heading on an agenda, is often the practical indication for an ideal match between the subject at hand and a prospective zodiacal native.

Growth and value orientation without standards of right and wrong are as impossible as cultures without value systems.

Beauty and goodness are basic categories of human discrimination, hence of differentiation of consciousness.

 

The Other Side of a Mirror by Mary Elizabeth Coleridge

A woman looks at Inverse Reverse Peverse (1996) by Cerith Wyn Evans at the Royal Academy's Sensation exhibition.
"... It is the other self of the Victorian ideal woman, falsely sanctified as wife and mother and carer – "the angel in the house". A society that fears and silences the more truthful version of femininity turns it into a monster... "
"... Although a successful novelist, Coleridge was never sure of herself as a poet, and wrote under the melancholy pseudonym "Anodos", meaning "on no road". But she was, of course, firmly on the road to what we would now understand as a modern feminist poetics. The breakthrough to a self-image that is neither angel nor monster remains for most women, writers or not, a difficult work-in-progress... "

Commentary on the same point also surfaces in Return of the Goddess as well as other works, even within the volumes written by Carl Jung, so I have included this compelling poem about a moment in time but a moment that eludes our time. Also, it is important to note the prominent allusion to the 'Embalmers Kiss' as interpreted by Evans, "It suggests an ugly wound" - a symbol represented in the aura field of the Priestess, drawn from an entirely different time period. The "Kiss" is a sign of great respect, stronger love, honor fashioned in gold as a statement of higher octave soul powers to endure for eternity. See the entire poem below.

 

Caution: the flame is hot but not all fire is the same

 

THE PHYSICAL EDUCATION INSTRUCTOR

This aura was drawn originally in a private session and later on commissioned as an in depth work for the subject. The energy at the crown shows balanced aspects with both the curtain of night suggested through the stars and light rays which resemble the sun's heat and warmth. The crystal form is somewhat solid, traditionally representing the ability to work in past, present, and future time periods. This is carried through in daily life if the feet and movement of the physical temple are observed closely. Note how the image is walking forward while glancing behind her - and how the watery flow at both head and feet suggest forward and backward movement at once. Here we see an interesting equilibrium which this woman has created for herself. She is in present time but aware of both past and future at once.

The light circle about the crown carries through the idea of the crystal, in which all possibilities are held for her. The form surrounding the crystal is reminiscent of the crown of Hathor or The High Priestess of the Tarot Deck stating the balance of front and back pituitary glands (and control of both active and passive elements of the personality). In daily life, this woman instructs students in physical education. Frequently the throat center as we note here by the golden circle, is developed in the aura of teachers. There is also a developed brow, signified by the triangle, although this may not be present within auras of instructors in order to qualify them to teach well. The triangle represents the female element traditionally, while the square is usually said to signify the masculine powers of creation.

The light which enters at the crown level is transformed into physical action and functions through the lower levels of the personality and life's focus as seen by the sweeps of this same color which emanate from beneath the waist. Note also the triangles at the upper torso centers which seem to blend in with the garment she wears. A brief note on this costume: this woman had just had her colors done by a professional color analyst shortly before our session. She was told this rose/maroon color was not for her and she should purge it from her wardrobe. This was clearly the garment she was wearing however, and it connected her to something strongly suggesting a dance costume or evening dress in style during the 20's or early 30's. As we discussed her aura, she laughed and told me she wanted to share something that had bothered her about her color analyst's suggestions to her. From her closet she retrieved this exact same garment (it had sleeves and no cape), identical in length, cut and design. She said it was her favorite thing to wear and had felt disappointed when the analyst told her to give it up. Now she felt more comfortable about the session with the analyst and with me.

"I'm walkin' on Sunshine!"

There is an overall feeling of an even earlier time period, possibly suggesting a lifetime in Ancient Egypt around the time of Akhenaton (Amenophis IV, son of the "Golden Age" ruler Amenophis III). During this time an artistic and religious rebellion occurred, with the introduction of ATEN (the Sun God - a monotheistic religion) greatly threatening the powerful temples and secret sects at the time. Although the Egyptians portrayed physical world creative aspects as Gods and Goddesses (as much as Hindus do today), or caused "scientific" and natural acts to be personified, they seem to have had an inner teaching that in our terms would be called monotheistic throughout the early years of their known history at least. Since we see the same lines of that era in vague representation through the entirety of this drawing, we could suggest a connection here between the use of symbolism to condense or communicate an idea in nature, as well as the bridge into a less linear portrayal of freedom of spirit. Because both are present at once we could say that a compatible time in history for this individual (if she were to time travel) would be at the time the revolution in Egypt began - when it was fresh and popular in its first stage of development. The subtle suggestion of the astrological sign Taurus around the crystal, although still undefined and not quite exact, is an indication of the Taurean Age keynote.

This symbol is properly drawn as the Bull or the Sacred Cow (Hathor). In more specific terms, it referred to the front and back pituitary glands and represented the union of active/passive aspects of creation. Other symbols during that age also set up this idea of co-rulership of masculine and feminine aspects. For example, there was an idea about our origins (long before Darwin) that we came originally from the water*, and this aspect of our physical beginning was discussed through use of masculine and feminine symbols for primal water. Everything in nature must have both a positive and negative charge (electrically) in order to manifest in the physical kingdom and the ancient language conveyed this precisely. It is known that there is a masculine and feminine energy which moves upward and around the spine. In Eastern terms the acupuncturists and acupressurists refer to it as Yang and Yin energies. The balance of these two types of energy must exist for the physical temple to be in equilibrium. The two snakes that entwine the rod of Hermes represent these two factors around the spinal column. This later symbol of the present day medical profession is probably derived from the concept of co-rulership of the masculine and feminine powers of creation as seen in ancient cultures.

What we see then is the underlying factor of physical fitness here - that the individual we now observe uses a highly developed and efficient approach in her instructions about health and physical tone and harmonizing of life forces so that competitive sports are more interesting to her students. Although she does this "intuitively" (since this is a suggestion here, rather than an open statement of these principles) she may act without thinking or move intuitively into a position on a playing field, which allows her to perform successfully against any opponent. The triangle at the solar plexus means she is able to control stress well and direct her physical activities easily. Most people in our Western culture have severe problems in the area of the solar plexus and this accounts for the great confusion in the lives of Westerners.

The idea of the water flowing from the crown to the feet and back up again to the crown of course suggests the Nile, if we are to take the Ancient Egyptian symbolism to its obvious conclusion. However, there is an interesting reference in Genesis to the four rivers which flow (an obvious link to 4 vessels which interact within the skull at the crown center when one is enlightened) that we could also draw insight from herein. In order to appreciate this, refer to work of "alternative realities", Bill Martin "THE ROCK", oil on canvas, 1971. Note how this energy seems to pass through or into the hands and how passive the hand posture appears. There is receptivity and sensitivity to the psyche of others first before attempting to transmit personal viewpoints here. This woman knows how to teach, to listen, and to "read" others well. In working with young people, this is perhaps more valuable than a whole encyclopedia of information. Her success therefore is going to increase with time and she will win the admiration and respect of those with whom she works. This is an inspirational aura and a resource for guidelines in working with restructuring the physical image. In order for changes to occur in physical form we must do work with the images that exist at present - update them to fit with our new goals. For further information on this see the article, "The Survivor Seminar." (AURAS AND ALCHEMY #2)

 

 

Alchemical Fire of Both Lights in Rivendell from Tolkien's Return of the King

 

There are several kinds of fire, electricity, and lightning. Ancients were sensitive to all categories and collected large amulets of amber to balance their home and garden. They believed amber would transform electrical energy [especially lightning], circulate it throughout the structure and surrounding grounds, and maintain harmony. The sistrum, a metal instrument not unlike our modern tambourine, was used to keep things moving around within sacred structures such as temples, memorials, places that were designed for ritual, drama, initiation, etc.

Flags are placed before buildings, on top of poles, leading a procession - to keep akasha moving - around places of worship, the state capitol and official buildings, also to represent the powerful spirit and unique contribution of various collectives. Flags, standards and team banners often herald important competitive events such as the Olympics, World Series, Super Bowl as well as local contests.
Flags identify our location in terms of spiritual, mental, emotional, and physical terrain where we stand. The key to a personal group logo that succeeds is found within the energy and sometimes philosophy, employed as a group. A logo should accurately communicate the purpose of a collective - its motivation, power, and goal. The more the image, seal, or reference mirrors divine law and natural law [Hermes Trismegistis – “as above so below”] the more effective it will be. The right brain responds to this type of adherence to the order of the universe automatically.

Cleopatra's High Priestess shows how the Senate betrayed Caesar The universe is predictable. The law always works. Formulae always work. People don't always mirror the law or use formulae properly - that is usually when things begin to break down.

… and so the Lord has watched for the right moment to bring disaster on us, since the Lord gives a just return for what we do of all that he has ordered us to do, and we have not listened to his voice telling us to follow the commandments which the Lord had ordained for us.
Baruch 2, v 9-10
Jr 1:12, 31: 28, 44:27
Dn 9:14 and 1:18

 

   see Sirius Black and Belatrix Lestrange @ The Noble and Most Ancient House of Black

 

Magic is how cosmic force can be packaged and expanded so one can extend the will into the universe effectively.

 

Professor Lupin teaches Harry Potter the Patronus Charm

Defending Hogwarts 4:22

Trump IX The Hermit, Hooded Man,
Jedi Knight, Philosopher

 

 

 

 

The collective consciousness frequently takes in chunks of cosmic energy in large amounts so the pace of human evolution can mirror overall changes in the unfolding universe. The ‘tandem principle’ is also evident as a part of the individuation process – when we require new knowledge to keep time with the world around us, the moving parts and changing scenery. Harmony is maintained when whole parts of the unconscious mind make their way into waking consciousness so we can sustain balance between the internal and external reality.

This aura field is an accurate illustration of the energy field in the process of adjustment to both levels of adaptation, cosmic and personal. The draft was recorded when John Paul Jones played The Fillmore in San Francisco, at the turn of the century/millennium. At the time his Sun had encountered pure ‘atomic drift’ in the electronic-space age sign Aquarius: the Kerub of Air: Age of the Philosopher, Illumination, and the Child.

Instrumental and vocal musician during a performance at the Fillmore,
San Francisco - incomplete second draft illustrates dominant elements
are wind and electricity [fire]
watch Foo Fighters with guests John Paul Jones and Jimmy Page
Wembley Stadium
7:40 You Tube

 

"My first and most vivid morviegoing phase was from 1932 to 1939 – from seven to fourteen. Films watched before puberty are still the most vivid, A Midsummer Night’s Dream, The Mummy, Roman Scandals, The Last Days of Pompeii. Ancient Egypt, classical Rome, Shakespeare when he was still in thrall to that most magical of poets, Ovid.

Although Roman Scandals was a comedy, starring the vaudevillian Eddie Cantor, I was told not to see it. I now realize why the movie, which I saw anyway, had been proscribed. The year of release was 1933. The country was in an economic depression. Drought was turning to dust the heart of the country’s farmland, and the heart of the heart of the dust bowl was my grandfather’s state of Oklahoma. So bad was the drought that many of his constituents were abandoning their farms and moving west to California. The fact that so many Oklahomans, Okies for short, were obliged to leave home was a very sore point with their senator.

At the beginning of Roman Scandals we see the jobless in Oklahoma. One of them is Eddie Cantor, who is knocked on the head and transported to ancient Rome, much as Dorothy was taken by whirlwind from Kansas to Oz; thus, a grim Oklahoma is metamorphosed into a comic-strip Rome."

-Gore Vidal, Point to Point Navigation – A Memoir

Neo in matrix - the world of mirrors generated by machines