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my favourite legend from the norse mythology is when a giant steals Mjolnir and says he’ll give it back if he can have Freyja as his bride, but she refuses to go so instead Thor dresses up as her and Loki as her handmaiden and then at the wedding the giant places Mjolnir in his bride’s (Thor) lap and Thor reveals himself and kills everybody and if that shouldn’t be made a short film with I don’t know what should
#THE GOD’S HONEST TRUTH
This is a fragment of an Early Dynastic stone vessel in the private Smith collection (USA) inscribed with the name of the goddess Bastet (Wbastit). The object is made of two sherds joined together; the inscription is incised, with no sign of pigments in the lines; the goddess name is complete but it cannot be said if the inscription is too. The fragment max size is 2.5 x 1.75 inches (6,35 x 4,45cm) and it seems that it was originally a small roughly conical vessel of a grey stone; its lip is carefully rounded.
The name of the lion (later cat-) goddess Bastet is rather common in the Second Dynasty (cf. image below, especially from Hotepsekhemwy and Ninetjer reigns): the w is always graphically elided because initial atone vowel which usually doesn’t appear in the writing (except in the Greek rendering i.e. the name of king Petubastit = Petubastis; Lacau, in: PD V, 35). The s precedes the Ba bird owing to a common graphical metathesis recurring in most of the variants of this name. The horizontal ointment vessel bas is very stylized, unusually long and without inner lines but only the indication of the lid. The two t of the radical and feminine ending are often elided in the archaic writing, but they are retained in the present one. The determinative of the sitting goddess is attested in Early Dynastic inscriptions as the name also is. The goddess has a feline head and she holds the was scepter (common attribute of gods in this period inscriptions as with Seth/Ash, Neith, Bastet). She seats on a throne known also in the relief and sculpture of the Second-Third Dynasty (it has the form of the Hwt hieroglyph and a low back) even if not as common as the true throne with pedestal (as that of the Cairo Museum statue of Netjerykhet/Djoser and the one in the inscription on a vessel from Menkaura’s complex, cf. image below), or as the Khendw throne (with lateral bent arcs) or the seats with lion/bull feet. Except for the Giza bowl inscription, the determinative is generally that of the standing goddess. [For parallels of the goddess and its hieroglyphic name during the Thinite period (early Second Dynasty) see HERE (Hotepsekhemwy and Njnetjer). Cf. Wilkinson, Early Dynastic Egypt, 1999, 282; Lacau-Lauer, PD IV, nr. 57-58, 63-67 (Djefaw-Bastt); PD V, p. 35, fig. 55; Reisner, Mycerinus, 1931, p. 102, pl. 70; name: WB I, 423, 4-8; seat: Kaplony, IAF I, 237-238; Bas vase: ibid., 274; id., IAF II, n. 1527, 105, 992 (grgt Bastt), 1603; Helck, Thinitenzeit, 1987, 71-72; Kahl, Das System, 1994, 790ff. (bas jar); for mainly later evidence concerning Bastet cf. E. Otto, in: LÄ I, 628-630]. …
THE RAVEN STEALS THE LIGHT
A Haida Myth
By Bill Reid and Robert Bringhurst
“Before there was anything, before the great flood had covered the earth and receded, before the animals walked the earth or the trees covered the land or the birds flew between the trees, even before the fish and the whales and seals swarm in the sea, an old man lived in a house on the bank of a river with his only child, a daughter. Whether she was as beautiful as hemlock fronds against the spring sky at sunrise or as ugly as a sea slug doesn’t really matter very much to this story, which takes place mainly in the dark.
Because at that time the world was dark. Inky, pitchy, all consuming dark, blacker than a thousand stormy winter midnights, blacker than anything anywhere has been since.
The reason for all this blackness has to do with the old man in the house by the river, who had a box which contained a box which contained a box which contained an infinite number of boxes which nestled in a box slightly larger than itself until finally there was a box so small all it could contain was all the light in the universe.
The Raven, who of course existed at that time, because he had always existed and always would, was somewhat less than satisfied with this state of affairs, since it led to an awful lot of blundering around and bumping into things. It slowed him down a good deal in his pursuit of food and other fleshly pleasures, and in his constant effort to interfere and to change things.
Eventually, his bumbling around in the dark took him close to the home of the old man. He first heard a little singsong voice muttering away. When he followed the voice, he soon came to the wall of the house, and there, placing his ear against the planking, he could just make out the words, “I have a box and inside the box is another box and inside it are many more boxes, and in the smallest box of all is all the light in the world, and it is all mine and I’ll never give any of it to anyone, not even to my daughter, because, who knows, she may be as homely as a sea slug, and neither she nor I would like to know that.”
It took only an instant for the Raven to decide to steal the light for himself, but it took a lot longer for him to invent a way to do so. …
Raven Steals the Sun
by ~Xaadaas ©2010-2012
Traditional Art / Paintings / Miscellaneous
A set of three paintings I did in Boulder, Colorado.
The shows the Raven (yaahl) stealing the sun.
PTAH, THE DIVINE LOGOS.
This interesting deity is considered one of the great primeval gods of Egypt, and from earliest times to the end of the nation his distinctive characteristics appear to have suffered no change. So great was the reverence paid to him throughout the land that the whole country became known as Het-ka-Ptah, “the house of the soul of Ptah,” which by the Greeks was pronounced Aigyptos, and by us “Egypt,” though originally it was only the name of the city of Memphis, the most ancient capital of the nation.
With singular unanimity all the Egyptologists agree that the name of Ptah, (by the Greeks written “Pthah”), can be recognized, letter for letter, in the well known Hebrew verb patach, “to open,” “to begin,” and derivatively, “to carve, to engrave, to make a sculpture.” Each of these meanings thoroughly supports our interpretation of the significance of Ptah, who stands for the idea of Revelation, the Divine Word, the creative Logos which was in the beginning with God. By it were all things made that were made; by it the Infinite created, [in Hebrew bara, “carved”], all things out of His own Divine substance, and by it He opens His Infinity to His human creatures in representative types or letters which in ancient times were carved upon tablets of stone. Ptah is generally represented as a man clothed in a close-fitting garment or mummy shroud, with face and hands bare, while on his head is a skull-cap without any crown or other emblematic ornaments. He is sometimes seen standing, sometimes sitting on an ornamental chair or throne, holding in one hand a roll of papyrus, and in the other a writer’s pen ;* but whether standing or sitting there is always beneath him a kind of pedestal, the name of which is Maat, (= truth), “shaped like a cubit rod which is the sign for truth and just measurement.” (Wiedemann, p. 131.) When standing he holds in his two hands the usual staff, combined with the ankh and a miniature djed-pillar, and at his back there is again the djed-pillar with its three degrees, while from the back of his neck there extends into the highest degree of the djed-pillar the menat, formed like a pendant bell-shaped flower.
Every one of these emblems is full of significance, representing various truths of the Doctrine concerning the Word.
1). The close-fitting garment or mummy shroud represents the letter of the Word, in itself dead, while the naked face and hands represent the internal sense which in places is open even in the letter. The Assyrians and Babylonians in the same way represented the letter of the Word by their god Nebo.** The bald head with the skull-cap again represents the letter of the Word in which, as a whole, spiritual truths are not apparent, (compare the “bald head” of Elisha, who represents the letter of the Word).
2). The papyrus-roll and the writer’s pen speak for themselves as signs of the written Word. The pedestal of “truth” also, is the self-evident emblem of the letter of the Word as the basis of the internal senses. The staff represents the Word as the “firmament” which confirms and supports the interior truth, while the ankh in his hands is the universal emblem of spiritual life and holiness. Thus we find that the Ancient Egyptians were well acquainted with the “New” Church Doctrine that the letter of the Word is the basis, firmament and containant of the internal sense, and that in it the Divine Truth is in its fulness, in its holiness and in its power.
3. The djed-pillar behind Ptah speaks volumes concerning that internal sense behind the letter which is contained in a series of three successive degrees, while the menat, — the emblem of conjunction and delight, — is a symbol of the affection and delight which is extended especially to those who enter into the inmost sense of the Word, — the sense which treats of uses, of goods, of love to the neighbor and to the Lord, and which like a flower exhales the fragrant delight of perception.
Porphyry states that Ptah came forth from an egg which issued from the mouth of Khnum, and the monuments describe him as “the Lord of Truth;” “the very great god who came into being in the earliest time;” “the Father of the mighty fathers; Father of the beginning; he who created the sun-egg and the moon-egg;” he from whose eye the gods came forth, while men came forth from his mouth. Ptah is recognized as the primeval creative power; not such as the sun, for he is never represented with any solar emblems, “but as an abstract idea of intellectual power.” A bas-relief in the island of Philae shows him turning upon a potter’s wheel a lump of clay, or, as others say, a chaos-egg, from which all things were made, just as Khnum, Amon and Ra are represented in the same creative act. But their distinctive emblems show that the One Creator is thus variously represented as to His distinct essentials, just as a Newchurchman might, without contradicting himself, ascribe the act of Creation successively to the Divine Love itself, to the Divine Wisdom, to the spiritual Sun, and to the Word.
Regarded originally as the creative Logos, Ptah became gradually invested with the character of a demiurge and master architect and designer of everything created, as the chief god of all handicraft, the great artificer in metals, as smelter, caster, sculptor and engraver of all forms in the universe. By the Greeks he was identified with Hephaistos or Vulcan, (= Tubal-cain, the “loud-sounding smith,” the “instructor of every artificer in brass and iron”), but Hephaistos was a very subordinate deity as compared with Ptah, and Wiedemann shows that “Ptah has no essential connection whatever with Hephaistos,” (R. A. E., p. 137), unless it be, as he suggests, that the name of Hephaistos was originally derived from Ptah.
Many of the Egyptologists recognize the close relation of Ptah with the Ibis-headed god Thoth. The attributes and associations of the two are, indeed, very similar. Ptah, like Thoth, figures as the scribe of the gods, and like him is called “Lord of maat,” i. e., of “truth.” The goddess Maat, the wife of Thoth, is also said to be the wife of Ptah, and Dr. Budge comes very close to the true interpretation of the two deities when he states that “Thoth was in reality only a personification of the intelligence of Ptah.” (G. E. i:516.) For though both of them represent the Word, Thoth more particularly stands for the understanding of the Word in its interior sense, as is evident from his emblems: the Ibis bird, the udjat eye, the crescent moon, etc. …
*”The writings of Ptah” are referred to in the book of the dead. (G.E. i:502.)
**In Hebrew, nebu, a prophet, from naba, to bubble forth, to utter inspired sentences. The name is frequently used as part of personal names such as Nebuchadnezzar, Nabopolassar, etc.
Outdated in some ways (e.g., ‘anch” and “tet” instead of “ankh” and “djed,” etc), but interesting. It has large, mostly fascinating illustrations, and also seems rather spiritually useful.
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