Lady Loki is an eclectic Pagan with a focus on the Matron Bastet and the Patron Loki. Who also happens to be a complete executive fan girl about the gloriousness that is Tom Hiddleston’s portrayal of the Norse God of Mischief. Feel free to contact me or check the about me page for longer detailed self glory and all of that. ;)
This article from the Anglophile ( Source ) great!
Say hey, good lookin‘ – what ya got cookin‘? How’s about cooking somethin’ up with me? Tom Hiddleston in a cowboy hat singing country music? Well call me a Hush Puppy and sign-me up!
Everyone’s favorite Marvel baddie is not only going to portray Country Music Legend, Hank Williams in the independent biopic “I Saw The Light”…but he’s going to sing Hank’s songs as well. Ohhh my…I’m going to pre-order the soundtrack now!
I can already see the album cover!
“I Saw the Light“, to be directed by Marc Abraham from a script he wrote, is a story befitting a country music song in itself….following William’s meteoric rise to fame in the country music industry only to die at the age of 29 due to heart failure brought on by alcoholism and addiction to prescription pills. This is a role Hiddleston can really sink his teeth into!
But can he sing, you ask? Apparently you didn’t see him stretching his vocal cords as the singing Captain Hook in Disney’s The Pirate Fairy
But how, you might wonder, are they going to take a quintessential English gentleman and turn him into a good ‘ol southern boy? I have NO idea…but I can’t wait to see the transformation! I could kiss RatPac Entertainment and Bron Studios, for making this film happen…and for giving the lead role to Hiddleston!
This could very well be Hiddleston’s Coal Miner’s Daughter…earning him a potential Oscar in the same way it happened for Sissy Spacek when she portrayed another country music legend, Loretta Lynn.
Hiddleston’s hat fittings and filming shall begin in Louisiana in October…when I’m prettty sure I’ll be in need of a trip to Cafe du Monde for some beignets…and a set visit
The Grand Ol Opry has NO idea what’s in store for them!
BRITAIN’S Got Talent’s David Walliams will join film stars Samuel L Jackson, Tom Hiddlestone and Simon Pegg on the catwalk for a special fundraising event.
Mr Jackson will host the One For The Boys Fashion Ball at London’s Natural History Museum on June15 to raise awareness and funds to educate men on the cancers which affect them.
The Pulp Fiction star is chairman of the One For The Boys charity, which was founded in October 2012 by Sofia Davis.
Banstead’s David Walliams will be among a host of celebrity models donning outfits by renowned designers including including Fendi, Armani and Alexander McQueen at the event, which will also feature exclusive musical performances, a Moët & Chandon reception, dinner by Michelin star chefs and a silent auction.
Mr Jackson said: “, “One For The Boys shines a little blue in the world of cancer campaigning – something I believe to be overdue. Men don’t tend to talk about their health issues, worrying about appearing vulnerable. The problem is that they do not have enough information on the subject.
“One For The Boys focuses on cutting through the noise to educate men, in the hope that we can have a similar reach to that of the pink campaigns. London Collections: Men gives us the perfect launch platform this June.”
The Ball will be the kick-off event for a month of fundraising and awareness activities held by the charity.
While we have been showing all things Pagan the last few weeks and I am happy for that it is time for a Naughty break. Loki would approve after all you can’t just only do work and talk about things like that all day it would be BORING.
The law of Karma according to the Buddhist belief, in general theory the law applies the same whether you see it as a buddhist belief, the law of three or elsewise.
Karma is the law of moral causation. The theory of Karma is a fundamental doctrine in Buddhism. This belief was prevalent in India before the advent of the Buddha. Nevertheless, it was the Buddha who explained and formulated this doctrine in the complete form in which we have it today.
What is the cause of the inequality that exists among mankind?
Why should one person be brought up in the lap of luxury, endowed with fine mental, moral and physical qualities, and another in absolute poverty, steeped in misery?
Why should one person be a mental prodigy, and another an idiot?
Why should one person be born with saintly characteristics and another with criminal tendencies?
Why should some be linguistic, artistic, mathematically inclined, or musical from the very cradle?
Why should others be congenitally blind, deaf, or deformed?|
Why should some be blessed, and others cursed from their births?
Either this inequality of mankind has a cause, or it is purely accidental. No sensible person would think of attributing this unevenness, this inequality, and this diversity to blind chance or pure accident.
In this world nothing happens to a person that he does not for some reason or other deserve. Usually, men of ordinary intellect cannot comprehend the actual reason or reasons. The definite invisible cause or causes of the visible effect is not necessarily confined to the present life, they may be traced to a proximate or remote past birth.
According to Buddhism, this inequality is due not only to heredity, environment, “nature and nurture”, but also to Karma. In other words, it is the result of our own past actions and our own present doings. We ourselves are responsible for our own happiness and misery. We create our own Heaven. We create our own Hell. We are the architects of our own fate.
Perplexed by the seemingly inexplicable, apparent disparity that existed among humanity, a young truth-seeker approached the Buddha and questioned him regarding this intricate problem of inequality:
“What is the cause, what is the reason, O Lord,” questioned he, “that we find amongst mankind the short-lived and long-lived, the healthy and the diseased, the ugly and beautiful, those lacking influence and the powerful, the poor and the rich, the low-born and the high-born, and the ignorant and the wise?”
The Buddha’s reply was:
“All living beings have actions (Karma) as their own, their inheritance, their congenital cause, their kinsman, their refuge. It is Karma that differentiates beings into low and high states.”
He then explained the cause of such differences in accordance with the law of cause and effect.
Certainly we are born with hereditary characteristics. At the same time we possess certain innate abilities that science cannot adequately account for. To our parents we are indebted for the gross sperm and ovum that form the nucleus of this so-called being. They remain dormant within each parent until this potential germinal compound is vitalised by the karmic energy needed for the production of the foetus. Karma is therefore the indispensable conceptive cause of this being.
The accumulated karmic tendencies, inherited in the course of previous lives, at times play a far greater role than the hereditary parental cells and genes in the formation of both physical and mental characteristics.
The Buddha, for instance, inherited, like every other person, the reproductive cells and genes from his parents. But physically, morally and intellectually there was none comparable to him in his long line of Royal ancestors. In the Buddha’s own words, he belonged not to the Royal lineage, but to that of the Aryan Buddhas. He was certainly a superman, an extraordinary creation of his own Karma.
According to the Lakkhana Sutta of Digha Nikaya, the Buddha inherited exceptional features, such as the 32 major marks, as the result of his past meritorious deeds. The ethical reason for acquiring each physical feature is clearly explained in the Sutta.
It is obvious from this unique case that karmic tendencies could not only influence our physical organism, but also nullify the potentiality of the parental cells and genes – hence the significance of the Buddha’s enigmatic statement, – “We are the heirs of our own actions.”
Dealing with this problem of variation, the Atthasalini, being a commentary on the Abhidharma, states:
“Depending on this difference in Karma appears the differences in the birth of beings, high and low, base and exalted, happy and miserable. Depending on the difference in Karma appears the difference in the individual features of beings as beautiful and ugly, high-born or low born, well-built or deformed. Depending on the difference in Karma appears the difference in worldly conditions of beings, such as gain and loss, and disgrace, blame and praise, happiness and misery.”
Thus, from a Buddhist point of view, our present mental, moral intellectual and temperamental differences are, for the most part, due to our own actions and tendencies, both past and present.
Although Buddhism attributes this variation to Karma, as being the chief cause among a variety, it does not, however, assert that everything is due to Karma. The law of Karma, important as it is, is only one of the twenty-four conditions described in Buddhist Philosophy.
Refuting the erroneous view that “whatsoever fortune or misfortune experienced is all due to some previous action”, the Buddha said:
“So, then, according to this view, owing to previous action men will become murderers, thieves, unchaste, liars, slanderers, covetous, malicious and perverts. Thus, for those who fall back on the former deeds as the essential reason, there is neither the desire to do, nor effort to do, nor necessity to do this deed, or abstain from this deed.”
It was this important text, which states the belief that all physical circumstances and mental attitudes spring solely from past Karma that Buddha contradicted. If the present life is totally conditioned or wholly controlled by our past actions, then certainly Karma is tantamount to fatalism or determinism or predestination. If this were true, free will would be an absurdity. Life would be purely mechanistic, not much different from a machine. Being created by an Almighty God who controls our destinies and predetermines our future, or being produced by an irresistible Karma that completely determines our fate and controls our life’s course, independent of any free action on our part, is essentially the same. The only difference lies in the two words God and Karma. One could easily be substituted for the other, because the ultimate operation of both forces would be identical.
Such a fatalistic doctrine is not the Buddhist law of Karma.
According to Buddhism, there are five orders or processes (niyama) which operate in the physical and mental realms.
Utu Niyama- physical inorganic order, e.g. seasonal phenomena of winds and rains. The unerring order of seasons, characteristic seasonal changes and events, causes of winds and rains, nature of heat, etc., all belong to this group.
Bija Niyama – order of germs and seeds (physical organic order), e.g. rice produced from rice-seed, sugary taste from sugar-cane or honey, peculiar characteristics of certain fruits, etc. The scientific theory of cells and genes and the physical similarity of twins may be ascribed to this order.
Karma Niyama – order of act and result, e.g., desirable and undesirable acts produce corresponding good and bad results. As surely as water seeks its own level so does Karma, given opportunity, produce its inevitable result, not in the form of a reward or punishment but as an innate sequence. This sequence of deed and effect is as natural and necessary as the way of the sun and the moon.
Dhamma Niyama- order of the norm, e.g., the natural phenomena occurring at the advent of a Bodhisattva in his last birth. Gravitation and other similar laws of nature. The natural reason for being good and so forth, may be included in this group.
Citta Niyama – order or mind or psychic law, e.g., processes of consciousness, arising and perishing of consciousness, constituents of consciousness, power of mind, etc., including telepathy, telaesthesia, retro-cognition, premonition, clairvoyance, clairaudience, thought-reading and such other psychic phenomena which are inexplicable to modern science.
Every mental or physical phenomenon could be explained by these all-embracing five orders or processes which are laws in themselves. Karma as such is only one of these five orders. Like all other natural laws they demand no lawgiver.
Of these five, the physical inorganic order and the order of the norm are more or less mechanistic, though they can be controlled to some extent by human ingenuity and the power of mind. For example, fire normally burns, and extreme cold freezes, but man has walked scatheless over fire and meditated naked on Himalayan snows; horticulturists have worked marvels with flowers and fruits; Yogis have performed levitation. Psychic law is equally mechanistic, but Buddhist training aims at control of mind, which is possible by right understanding and skilful volition. Karma law operates quite automatically and, when the Karma is powerful, man cannot interfere with its inexorable result though he may desire to do so; but here also right understanding and skilful volition can accomplish much and mould the future. Good Karma, persisted in, can thwart the reaping of bad Karma, or as some Western scholars prefer to say ‘action influence’, is certainly an intricate law whose working is fully comprehended only by a Buddha. The Buddhist aims at the final destruction of all Karma.
Areas of Influence: Juno was the Goddess of marriage, pregnancy and childbirth.
She was the Queen of the Gods and part of the Capitoline triad that also included Minerva and Jupiter.
This Deity was an embodiment of the traditional female roles of wife and mother.
One of her titles was Lucino (meaning light) as she helped to bring children into the light of this world at birth. She was also said to set and strengthen a childs bones.
She was also Goddess of conception, a Goddess to be called upon in labour and one who helped settle disagreements between spouses.
Juno protected the finances of the Roman people. In this role she was the patron Goddess of the royal mint.
Before she absorbed many of Hera’s characteristics several scholars suggest that she was a Maiden Goddess.
The Month of June was named after her and it was considered the most favourable month to get married in.
Her other claim to fame is that as an archetypal figure she appears in Shakespeare’s play The Tempest.
Each Roman woman was said to have her own Juno which represented her female spirit.
Origins and Genealogy: According to later Roman myths she was the sister and consort of Jupiter and the mother of Mars, Hebe and Vulcan.
Mars was conceived when the Goddess was imoregnated by a flower.
Strengths: Leadership and a loyal wife.
Weaknesses: Jealousy and vindictiveness.
This Roman Goddess had a more warlike nature than Hera and was often depicted in a goat skin coat that was favoured among Roman soldiers.
She was also able to throw lightning bolts like her husband Jupiter.
Sacred Birds: Geese and peacocks.
Sacred Plants: The wild fig tree.
Festivals: A special ceremony was dedicated to her in the home to celebrate the begining of each lunar month.
Her main festival, the Matronalia was held on 1st March. On this day married woman asked their husbands to give them money to make offerings to the Goddess.
A smaller celebration known as the Nonae Caprotinae took place on 7th July.
Greek and Etruscan Equivalents: The Goddess Hera was the Greek equivalent to Juno.
Uni was the Etruscan Goddess who shared many similarities with this Deity.
The Queen :
In the positive aspect the Queen represents the regal feminine. Using her benevolent authority to protect others. This Archetype can signify the power of women who rule over anything from the office to the home environment.
The shadow aspect reflects the tendency to become arrogant, controlling and aggressive when challenged.
As Queen of the Roman pantheon Hera has power and authority. Like her Greek counterpart, Hera, she misuses her position when she feels threatened.
This stereotype is loyal, tenacious and unselfish in their service to a more authoritive figure. In this relationship she provides the with emotional and practical support to enable her partner to concentrate on his mission. This was long considered the traditional role of the wife.
The shadow Companion manifests as betrayal, breaking confidences and identity loss through constantly suppressing your own needs.
Despite her husbands numerous affairs Juno remained loyal to her husband.
Please follow this link to the Archetypes page to discover which other Goddess Archetypes resonate with you.
How To Work With These Archetypes
The Queen asks whether you rule over your domain fairly, protecting every body’s rights and feelings.
Or do you need to look at patterns of trying to control others to protect your own emotional and personal position? If this is one of your patterns, you need to ask yourself what are you afraid of losing and where does that fear stem from ?
Do you have a long history of playing the loyal Companion to other people? Are you happy with this role or do you feel that the partnership is unequal and resent the fact that your needs are not being met? How do you express this resentment?
The shadow aspect of the Companion suggests you look at ways at achieving a better balance. Begin to rediscover who you are and what you want in life and allow time to follow your own interests.
This one is a challenge so I am going to give what Wiki gives on the topic because it is the best information and it was an interesting read for me so I think it might be for you as well.
A jinx, in popular superstition and folklore, is:
A type of curse placed on a person that makes them prey to many minor misfortunes and other forms of bad luck;
A person afflicted with a similar curse, who, while not directly subject to a series of misfortunes, seems to attract them to anyone in his vicinity.
An object or person that brings bad luck.
A penalty that one person can invoke on another when the two of them say the same thing at the same time.
The superstition can also be referenced when talking about a future event with too much confidence. A statement such as “We’re sure to win the contest!” can be seen as a jinx because it tempts fate, thereby bringing bad luck. The event itself is referred to as “jinxed”.
In a similar way, calling attention to good fortune – e.g. noting that a certain athlete is having a streak of particularly good fortune – is thought to “jinx” it. If the good fortune ends immediately afterward, the jinx is then blamed for the turn of events, often seriously.
The etymology of the word is obscure.
It may come from Latin iynx, that is, the wryneck bird, which has occasionally been used in magic and divination and is remarkable for its ability to twist its head almost 180 degrees while hissing like a snake. The Jinx bird is found in Africa and Eurasia.
It may be the plural of jink treated as singular.
The Online Etymology Dictionary entry for jinx states that the word was first used, as a noun, in American English in 1911. It traces it to a 17th-century word jyng, meaning “a spell”, and ultimately to the Latin word iynx.
Barry Popik of the American Dialect Society suggests that the word should be traced back to an American folksong called Captain Jinks of the Horse Marines, which was first popular in 1868. One verse in one version goes:
The first day I went out to drill
The bugle sound made me quite ill,
At the Balance step my hat it fell,
And that wouldn’t do for the Army.
The officers they all did shout,
They all cried out, they all did shout,
The officers they all did shout,
“Oh, that’s the curse of the Army.”
The reference to various misfortunes and a curse lend plausibility to this.
A Mr Jinx appeared in Ballou’s monthly magazine – Volume 6 – Page 276 in 1857.
There are some in this universe who truly are a light soul. *smiles* This is one..as I saw on a fan board once “he could cure cancer with his hugs alone.”
Quotes from One Mr. Tom Hiddleston:
I grew up watching ‘Superman.’ As a child, when I first learned to dive into a swimming pool, I wasn’t diving, I was flying, like Superman. I used to dream of rescuing a girl I had a crush on from a playground bully.
Ancient societies had anthropomorphic gods: a huge pantheon expanding into centuries of dynastic drama; fathers and sons, martyred heroes, star-crossed lovers, the deaths of kings – stories that taught us of the danger of hubris and the primacy of humility.
Haters never win. I just think that’s true about life, because negative energy always costs in the end.
Showing young children in these communities, that there are outlets for their feelings, that there is room in a space for their stories to be told, and that they will be applauded – and it’s not about ego, it’s about connection: that their pain is everybody else’s pain.
My father and I used to tussle about me becoming an actor. He’s from strong, Presbyterian Scottish working-class stock, and he used to sit me down and say, ‘You know, 99 percent of actors are out of work. You’ve been educated, so why do you want to spend your life pretending to be someone else when you could be your own man?’
I don’t think anyone, until their soul leaves their body, is past the point of no return.
For myself, for a long time… maybe I felt inauthentic or something, I felt like my voice wasn’t worth hearing, and I think everyone’s voice is worth hearing. So if you’ve got something to say, say it from the rooftops.
I was so lucky because what I did in ‘Thor’ was I built the character from the ground up – the foundations of his spirit, really. He was someone who was born with an expectation that he would one day be a king, born with an entitlement.
Artists instinctively want to reflect humanity, their own and each other’s, in all its intermittent virtue and vitality, frailty and fallibility.
I always found the extraordinary loss of life in the First World War very moving. I remember learning about it as a very young child, as an eight- or nine-year-old, asking my teachers what poppies were for. Every year the teachers would suddenly wear these red paper flowers in their lapels, and I would say ‘What does that mean?’
I’m an eternal realist and the success rate for being an actor is pretty low.
If you are at a boys’ school, especially, there is a level of bravado that you have to keep up otherwise you’ll get picked on.
Since my education, I’ve done quite untraditional things. There are very few Etonians who went to Rada. And far fewer Etonians – certainly when I was there – went to Cambridge. I don’t know whether it’s the same now. Most people I knew went to Oxford, because it seemed more of an easy bridge.
For thousands of years, people have used fragrant flowers, plants, and herbs as incense. Using smoke to send prayers out to the gods is one of the oldest known forms of ceremony. From the censers of the Catholic church to the Pagan bonfire rituals, incense is a powerful way to let your intent be known. You can make your own quite easily, using a blend of herbs, flowers, wood bark, resins, and berries. Most of these are items you can grow yourself, find in the woods, or purchase inexpensively.
Incense — and other fragrant items, such as oils and perfumes — work on a couple of different levels. The first is the effect on your mood — a certain scent will trigger a particular emotion. Aromatherapists have known for years that smells affect different parts of the senses. Secondly, an aroma may have various associations. You may be walking through a store, catch a whiff of Chantilly, and suddenly be reminded of your grandmother who passed away when you were away at college. The smell of a particular food may evoke memories of the summer you spent at camp.
Finally, we experience scents on a vibrational level. Every living being has energy, and emits its own vibration – plants are no different. When you blend them into incense, these vibrations change in accordance with your intent. This is why, in magic, incense is so popular — in addition to making your ritual space smell nice, you are able to change the vibration in the atmosphere, effecting change in the universe.
Why Make Your Own?:
You can buy commercially produced incense sticks and cones just about anywhere, and they’re not that expensive. However, they’re typically made with synthetic ingredients, and therefore have little to no magical value. While they’re nice to burn, and certainly smell lovely, they serve little purpose in a ritual setting.
Burning Your Incense:
Loose incense, which is what the recipes on these pages are for, is burned on a charcoal disc or tossed into a fire. The charcoal discs are sold in packages by most metaphysical supply shops, as well as church supply stores (if you have a Hispanic Marketa near you, that’s a good place to look too). Apply a match to the disc, and you’ll know it’s lit when it begins to spark and glow red. After it’s glowing, place a pinch of your loose incense on the top — and make sure you’ve got it on a fireproof surface. If you’re holding your ceremony outside with large fire, simply toss handfuls into the flames.
How to Read the Recipes:
Any good cook knows that the first step is to always gather your goodies together. Collect your ingredients, your mixing and measuring spoons, jars and lids, labels (don’t forget a pen to write with), and your mortar and pestle.
Each incense recipe is presented in “parts.” This means that whatever unit of measurement you’re using — a cup, a tablespoon, a handful — is one part. If a recipe calls for two parts, use two of whatever you’ve chosen. One half part is a half cup, if you’re using a cup to measure, or half a tablespoon if you’re using a tablespoon.
When making your own incense, if you’re using resins or essential oils, combine these first. Use your mortar and pestle to mash these until they get a bit gummy, before you add any bark or berries. Dried herbs, flowers, or powdery items should go in last.
A Note on Allergies:
Many people suffer from allergic reactions to incense smoke. In many cases, this is caused by a reaction to synthetic materials in commercially-produced incense. Some people find that they have less of a reaction if they use incense made only from natural materials. However, if you have an allergy or some other condition that can be triggered by incense smoke or fragrance, you should consult your physician before using any incense, whether it’s commercially bought or home-made and organic. You may find that the best solution for you is to just avoid the use of incense altogether.
(The Egyptian words Ast or Aset, mean ‘Throne or Seat’. Isis is an onomatopoeic Asianic word, Ish-ish, meaning ‘she who weeps’.)
Isis, was for almost 3,500 years, the principle Goddess of Egypt. She was the wife and sister of Osiris and the mother of Horus, and the personification of the faithful wife and devoted mother. Isis is the Mistress Of The Words of Power and the Goddess Of Nature. She is the embodiment of nature and magic. The lap of the Goddess Isis was regarded as the royal throne, while her breast poured forth the nectar that conferred the divine right to rule.
Isis, is often depicted crowned with a throne or later with a disc and two horns. The Sycamore tree was sacred to Isis, and she is associated with the planet Venus, Copper and the colours emerald and turquoise.
The story of Isis.
The Sun god Ra ordered Shu (Air) to separate Nut (Sky) from her brother/lover Geb (Earth), he also declared that Nut should never have children in any month of the year. Thoth, the god of wisdom, won from the moon, in a game of draughts, one seventy-second part of its light. It was during these days, that belonged to no month, that she bore Osiris, Horus the Elder, Set Isis and Nephthys. Osiris and Isis fell in love and mated while still in Nut’s womb and became man and wife, her sister Nephthys married Set.
Together with Osiris, they ruled Egypt and taught the people all the basic skills of civilisation. Set, however, was envious of his brother, and conspired to kill Osiris, nailing his body in a coffin and throwing it into the Nile. Isis traced the coffin to Byblos in Phoenicia, where the currents had carried it. However, a tamarisk tree had grown around it, and King Malacander had built the trunk into his palace. Isis, in disguise, first became the nurse to the kings son and later his queen. Isis revealed herself to Malacander, who granted her a ship to take the coffin back to Egypt
On her journey back to Egypt, she hid in the Nile Delta marshes near Buto, to conceal herself and the body of the dead Osiris, with whom she had become magically impregnated. Set, however, discovered the body and tore it asunder casting the fourteen pieces throughout the kingdom. Isis, undertook a journey to recover the disembodied parts of her husband/lover. At each place, as she found one of the parts, she performed a burial ritual and set up a stela marking its place, hoping to deceive Set into thinking that all the parts were buried in separate places.
In time, Isis recovered all the missing parts, except the phallus of Osiris, which Set had thrown into the Nile and had been eaten by a crab. Isis was able to fashion a new one, and magically restored Osiris’s body by anointing it with precious oils. She was thus to become the inventor of embalming. Osiris, now fully immortal, became the King of Amenti, the realm of the dead, while Isis in due course gave birth to Horus the Younger.
Invocation Of Isis
I, Isis, am all that hathbeen that is or shall be,
I, who made light from my feathers, The wind from my wings,
No mortal man ever hath me unveiled! – Until now.
Isis and the Seven Scorpions
The god Djehuty or Thoth to the Greeks realised that Aset (Isis) was in great danger from Set. Set was her brother, but also the brother of Wesir (Osiris), to whom Aset had been wife. Set had murdered his brother, to take the throne, and now sought for Wesir’s son, Heru (Horus), whom Aset yet carried in her womb. Djehuty rescued Aset and advised her to go into hiding until her son grew of age. Aset set out for the Delta intending to hide herself in the papyrus thickets and marshes. Accompanying her were seven scorpions, the leader of which was called Tefen.
During their journey Aset and the scorpions came to the town of Per-sui and asked for refuge of the house of a wealthy lady named Usert. But Usert slammed the door in Aset’s face, so the scorpions gave Tefen all their venom and he crept under the door and bit her son.
Meanwhile a poor little fisher girl offered shelter to Aset.
Tefen’s venom caused Usert’s son extreme agony and Usert ran into the town calling for help but was ignored. Aset felt sorry for the innocent child and decided to cure him, calling Usert to bring the child to her so she could magically expel the poison. Aset put her hand on the child and recited, “O poison of Tefen, come forth and drip onto the ground. May the child live and the poison die.”
Usert was stricken with remorse and sought to make amends by filling the poor little fisher girls hut with possessions from her own home.
Aset continued on her journey and came to Khemmis in the Delta, where she gave birth to Heru, Heru Avenger of his father. She tied her girdle around the baby for protection.
There was no one to feed Aset in Khemmis, so eventually she was forced to leave Heru alone and search for food, disguised as a beggar. She wandered all day with no luck, and returned to find Heru lying still on the ground. The marsh dwellers came running but could offer no help, Aset feared this might be an attack by Set. Thn a great learned lady came and said Atum had decreed Set should not enter Khemmis and perhaps a scorpion or snake had bitten Heru. Aset smelled Heru’s breath and detected poison of the scorpion. But this time Aset was unable to expel the poison of the scorpion and her cries brought Nebt-Het and Serqet to her side. They combined their voices and reached Ra in his Barque of Millions of Years, causing the boat to stand still so that darkness descended upon the earth.
Djehuty alighted from the bark and recited the healing spell of Heru.
“Come back, Oh Poison. You are exorcised by the spell of Ra himself… the Barque of the Sun God wil stand still… until Heru recovers – to his mother’s delight. Fall onto the earth, Oh poison… darkness will cover everything… wells will be dry, crops will wither… until Heru recovers – to his mother’s delight.”
To the delight of Aset, the spell of Djehuty cured the son of Aset, Heru – Avenger of his Father and Ra and his Barque of Millions of Years was allowed to continue its journey. Correspondences
Animal: Man, Woman, unicorn, sphinx, ram, owl, lion, eagle Colour: Emerald, turquoise
Day: Wednesday, Friday
Festivals: Advent of Aset – January 2nd, July 17th, Oct 30th – Nov 2nd
Flower: Amaranth, cypress, willow, lily, ivy, snowdrop
Gems: ruby, star ruby, turquoise, sapphire, pearl, amethyst, peridot, beryl
Minerals: Phosphorus, silver, sulphates
Perfume: musk, myrrh, civert, cedar, dragons blood, narcissus, onycha
Tarot: Twos, Threes, Fours, Tens, The Emperor, The Hermit, The Hanged Man
Weapon: Lingam, Inner Robe Of Concealment, Yoni, Magic Circle
I will perhaps visit this topic later and give my thoughts and information on the High Priestess of a temple or such. For this one I am going to cover the Tarot Card High Priestess.
staying nonactive withdrawing from involvement allowing events to proceed without intervention being receptive to influence becoming calm being passive waiting patiently
accessing the unconscious using your intuition seeking guidance from within trusting your inner voice opening to dreams and the imagination being aware of a larger reality
seeing the potential understanding the possibilities opening to what could be seeing your hidden talents allowing development letting what is there flower
sensing the mystery looking beyond the obvious approaching a closed off area opening to the unknown remembering something important sensing the secret and hidden seeking what is concealed acknowledging the Shadow
The High Priestess is the guardian of the unconscious. She sits in front of the thin veil of unawareness which is all that separates us from our inner landscape. She contains within herself the secrets of these realms and offers us the silent invitation, “Be still and know that I am God.”
The High Priestess is the feminine principle that balances the masculine force of the Magician. The feminine archetype in the tarot is split between the High Priestess and the Empress. The High Priestess is the mysterious unknown that women often represent, especially in cultures that focus on the tangible and known. The Empress represents woman’s role as the crucible of life.
In readings, the High Priestess poses a challenge to you to go deeper – to look beyond the obvious, surface situation to what is hidden and obscure. She also asks you to recall the vastness of your potential and to remember the unlimited possibilities you hold within yourself. The High Priestess can represent a time of waiting and allowing. It is not always necessary to act to achieve your goals. Sometimes they can be realized through a stillness that gives desire a chance to flower within the fullness of time.