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Old 15-07-2018, 05:49 AM   #581
aronia
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Post Continue from post number #580

THE HIGH HISTORY OF THE HOLY GRAIL,
by Vincent Bridges

Joseph Campbell, in his epic study The Masks of God places Wolfram's Parzival squarely on the dividing line between ancient and modern. Emma Jung, whose psychological insights are invaluable, identifies the Grail cycle as the beginning of the immanent spirituality of Christianity, in opposition to the more ancient transcendent view. Adolf Hitler considered the Hallows of the Grail to be an important component of his plan for world conquest. Sort of a psychic equivalent to a Panzer battalion.

The Grail would seem to be the ultimate slippery idea. Even the word itself has a half-dozen different derivations: from gradual, gradulis in Latin, to a wide plate or dish, gradule in Old French, to the really strange meanings such as Sang Real or royal blood. A persistent whiff of Sufism lingers on, along with traces of other arcane undercurrents, such as Goddess worship, "witchcraft," and contact with such megalithic concepts as landscape zodiacs.

To approach the Grail is to enter into Fairyland, the Magic Kingdom, but one such as Walt Disney could never have imagined. The Grail is, or becomes, all things to all seekers. Perhaps it is best seen as a state of mind, one in which the numinous exists in sharp and bright detail, while the mundane becomes charged with significance and meaning. If The Castle, or Temple of the Grail is the Garden, then the Angel of the Fiery Sword becomes a Grail Knight. And to enter one must simply ask: "Whom does the Grail Serve?" We are talking of nothing less than the redemption of the human condition, the true promise of Christianity, reneged on by the Church and forgotten by all but those who take up the Quest.

Like all great and essentially timeless ideas, the Grail is a product of a specific time and place, a specific and exact set of enabling conditions that allowed the emergence of this seminal myth. To understand the Grail, we must look first to history

Elenor of Aquitaine was in many ways the most remarkable woman of the middle ages. Indeed, she was perhaps one of the most amazing women of all time. Outright sovereign of Aquitaine, the richest and fairest province of France, she was married very young to the King of France. The saintly Louis seems never to have known quite what to do with this powerful, beautiful and headstrong woman. Elenor started the fashion of the Court of Love, which flourished throughout Europe and reached its peak at the turn of the thirteenth century. Elenor's daughter, Marie de Champagne, inherited her mother's love of Provencal troubadours and all the other trappings of the cult of courtly love.

Elenor and her court accompanied Louis the Young on his expedition to the Holy Land, known as the disasterous and ineffectual Second Crusade. Elenor returned from crusading and soon embarked on the great royal romance of the period. Henry Plantagenet, Henry II of England, swept her off her feet. He married her with the aid of large bribes and good friends in Rome. Their children included two of the most renowned and infamous characters in the long panorama of English history: Richard the Lion-Hearted and King John, the signer of the Magna Carta. With illustrious siblings as these, it is easy to lose track of a simple princess, no matter what her literary tastes.

Marie de Champagne deserves a better niche in history if only for her encouragement of poetry. She brought to her court the greatest storyteller of the age, Chretien de Troyes. Through Chretien the undercurrents of the Grail mythos surfaced into literature.

Not much is known about Chretien, his origins or his early works. He was born around 1130 and by 1170, he was famous as the author of a version of Ovid's Book of Love, now lost, and a version of the Tristan story which has also disappeared. Erec is his first medieval bestseller. This poem introduces in a formal way the Matter of Britain to the cosmopolitan audience at the court of Marie de Champagne, and from there passed throughout the courts of Europe. Erec sets the basic pattern for all Arthurian Romances, but though the splendors of the Celtic world are here on display, the Grail is not yet in evidence.

Chretien followed up his success with three more Arthurian tales. Cliges is a Roman myth with an Arthurian background. It wasn't all that popular. There are only two copies extant. But it did introduce certain key elements in the Matter of Britain. Cliges contains the first mention of the Round Table and the first specific mention of Camelot. Chretain may have picked up this name from Camulodunum, the Roman name for Colchester.

The Knight of the Cart and The Knight with the Lion are perhaps Chretien's masterpieces. Certainly Ywain or the knight with the lion with its marvels, strange adventures and courtly love, its finely drawn characters and well wrought unity is a masterpiece. The Knight of the Cart , our introduction to Lancelot, fares less well. The action is unexplained and unmotivated, requiring a broader canvas in order to give the causes and consequences of the adventure. The overall feeling is that of a piece of a larger work rather than a completed work of art in itself.

We can imagine Chretien working on just that problem of scope in the early 1180's.While Chretien produced most of the Arthurian stage dressing that would define the very concept of Romance over the next three hundred years, the Grail has yet to appear.

Chretien's last work, left unfinished at his death, was Perceval, or the History of the Grail. With this uneven masterpiece, Chretien plants the seed germ of the spiritual qualities that will, within only thiry years, become the driving force behind works as unique as Wolfram's Parzival and Walter de Mapp's Queste del Saint Graal.

While the scope of Perceval, or the History of the Grail is broad enough to encompass the entire medieval world view, it is riddled with difficulties and inconsistencies. Chretien himself claimed that he was merely reworking the material that he had found in an old manuscript. Perhaps the marvels and strange doings of his Celtic original simply proved too much for Chretien's more down to earth approach. At any rate, his version ends after Gawain's adventure of the Perilous Bed.

We can be sure that Chretien began his last work, commissioned by Phillip of Flanders, with great enthusiasm. Chretien refers to the story as the greatest ever told in any court. His opening scenes are full of color and verve. He tells of his hero's blunders and gaucheries with a keen comic sensitivity of effect. He invests the encounter with the Fisher King with just the right amount of awe and reverence mixed in with the mystery and strangeness. And Chretien is equally successful with the startling appearance of the Loathly Damsel and her violent denunicaion of Perceval, whose growth from boyish boorishness to knightly grace has been well drawn and realized.

With the shift of narrative focus to Gawain, the tale begins to unravel. By the time the story returns to Perceval, it is obvious that Chretien is deeply confused and that some important concept concerning this "graal" has been lost or misunderstood.

But the clues are there, painted in broad strokes in the Grail procession scene. To understand the mystery of the Grail, it will be necessary to have the outline of Chretien's scene in the Grail Castle firmly in mind. Our first glimpse of the Grail offers many guideposts in the tangled thickets of theological and eschatological speculations to follow. Chretien faithfully followed his original, even when he didn't understand it.

Perceval's early life echoes the boyhoods of the great Celtic Solar Heroes Culchuin and Finn. His entry to the great hall of Camelot is taken from the tale of Kulwich in the Welsh Mabinogion. After his knighting, Perceval sets out in search of further adventures and arrives at the castle of the Fisher King. The Fisher King presides over a vast, empty hall, large enough for four hundred men. An old man is seated on a couch pulled close to the central fire. The Fisher King presents Perceval with a Sword, a richly appointed weapon, a marvel that "could not break save only in one peril which no one knew save him who forged and tempered it."

A procession passes through the hall. First, a squire carries a Spear dripping spackles of blood onto the floor. Two squires with ten-branched candlesticks follow. A beautiful maiden enters carrying a "Graal" which blazes so brightly that it puts out the light of the candles and the stars. Following her is another maiden carrying a talleors, a casket or tabernacle. Perceval watches all this but fails to ask its meaning.

In the morning, the castle is empty and disappears as soon as Perceval moves across the drawbridge. He comes upon a lady holding a headless body. She informs Perceval that all could have been healed if he had only asked of the grail. She also tells him that his sword will break in a careless moment, but that it can be renewed in the lake where the smith, Trebuchet, dwells.

On the surface, this is no stranger than any other marvelous encounter in any of a dozen Celtic adventure tales. It is only when the hermit, whom Perceval visits for confession after five years of godless adventure, begins to explain and chastise that we sense that something is missing or misunderstood.

Why does the hermit rebuke Perceval so severely for not asking of the Grail when he was merely following the teachings of his chivalrous mentor? And, in any case, Perceval did not know that he should ask, or that there was any penalty for not asking. It somehow doesn't seem quite fair.

But even more disturbing is the hermit's assertion that the "Graal" carried by the beautiful maiden did not contain a salmon or lamprey as Chretien implied it should, but simply a consecrated wafer intended for the King's father. Church orthodoxy specifically excluded women from serving in such a priestly capacity. Yet the Grail Maiden passes unexplained. At any rate, a dish wide enough to hold a large fish seems a strange choice to hold a smallish wafer. And, if its purpose is simply sacramental, why does it accompany each course?

The old hermit's explanations are more tantalizing than satisfying, and suggests that Chretien found the need to alibi and cover over his religious tracks. The idea of a miraculous dish is an ancient Celtic motif. The later romances give the Fisher King the name of Bron, a close proximity to the ancient Welsh Bran, whose cauldron supplied the needs of any and everyone. Bran was wounded in the foot, echoing the Fisher King's injury, a spear wound through the thigh.

It's a mistake to assume, as does Professor Loomis and other authorities, that Chretien simply misinterpreted Bran's horn, corz, which also had miraculous abilities, as cors, or body, thereby connecting the dish and the body of Christ which accidently created the spiritually potent image of the Holy Grail. This pun is definitely a clue to the real intention, but it is hardly an accident.

And there is still the matter of a woman celebrating a form of the Mass, something unheard of in orthodox tradition. Where could this have come from?

To simply say "from Celtic sources" is to beg the point. For all the pagan influences in the Grail story, it is still almost numinously Christian. But it is a Christianity far removed from the corruption and politics of Rome. This doesn't explain the eruption of Grail literature in the thirty or so years between the major Romances. For that, a broader perspective is needed.

These thirty years, from roughly 1185 to 1215, marked, in many ways, the nadir of medieval Christianity. The papal squabbles of the mid-century, along with the general sense of discouragment after the failure of the Second Crusade, created a religious vacuum, into which more "heretical" forms of Christianity stepped. These heresies took root so quickly because of the contrast they presented with the church of Rome. These priests lived with and cared about their flock. It was common for prelates in Rome to spent their whole tenure in absentee, and the lower clergy was often as venal and corrupt as the local landowner.

The decline of the church was given an extra push in the 1160's and 70's by the wide circulation of Abelairdian rationalism. Abelaird, best remembered today for his romance with his pupil Heloise, discussed the superstitions of the church with such clear-headedness that many intellectuals agreed that change was necessary, even essential.

If the second crusade has been disappointing, then the fall of Jerusalem in the autumn of 1187 was devastating. It was seen as a sign of God's disfavor. A crusade was proclaimed, joined by such personages as the Kings of Germany, France and England. Frederick Barbarrossa died along the way and even though Elenor's golden child, Richard I of England, pursued the crusade with all the force of his fiery personality, Jerusalem remained in the hands of the infidels.

Richard, Heart-of-the-Lion, was something of a troubadour himself and gave his own stamp of approval to the new mode of romance. He seemed to literally embody the Matter of Britain and its chivalric traditions. We can be sure that the new poetry of the grail accompanied the crusaders because Richard's nephew, Marie's son, Henry of Champagne was elected King of Jerusalem. It is tempting to envisage the poet Gautier de Danans chanting his continuation of Chretien's masterwork in the great hall of Acre, with Richard and his Queens, his sister Johanna and his wife Berengaria, nodding their approval.

In 1191, the whole of the Arthurian tradition was verified by the monks of Glastonbury. Staking their claim as the "Vale of Avalon," the good monks disinterred the body of a Bronze Age chieftain and his queen. The bodies were supposedly marked with a cross identifying them and King Arthur and Guinevere.

Naturally, this created an international sensation, and along with it, an appetite for stories about Arthur, his knights and their adventures in search of the Grail. There were several good reasons for this sudden discovery. First and foremost stands the political reason. The Plantagenet conquest of Wales was still quite recent and the nationalist guerrillas, to give them a modern appellation, believed that Arthur, rex quondum et futurum, the once and future king would rise from his rocky tomb in Gwenydd and ride to battle against the invaders. It was politically sound to produce Arthur's body, safely buried on English soil.

But, looking closer, there is something very interesting about Glastonbury's claims on Arthur and the Grail. Tradition has it that Joseph of Arimathea brought Christianity, and possibly the Virgin Mother herself, to Britain within a decade of Jesus' death. The first Christian church in the world was then the small circular wattled structure at Glastonbury.

The Celtic Church, which was responsible for bringing culture, indeed one might say even civilization, back to Europe after the fall of Rome, survived at least until the eighth century. It survived even longer in the wilds of Ireland and Scotland. We find Robert the Bruce being crowned by a Culdee bishop as late as the early fourteenth century.

Glastonbury functioned as if it were a school, or spiritual center of some sort. Its place was high on the list of Celtic Church pilgrimages and from the earliest times was associated with the Virgin Mother. Arthur was associated at an early era by his adoption of the image of the Virgin as a personal banner. (See Gildas and Geoffrey of Monmouth). If Arthur has an actual historical focus, it is the late 400's, just after the last legions were recalled to Rome and before the overwhelming wave of Saxon invasions in the early 500's. Arthur at this point is a "Restitutor" or rescuer of Roman civilization. His choice of the Virgin, rather than the crucifix of Rome, indicates that along with restoring the Empire, Arthur intended to change the focus away from apostolic Catholicism toward the more inspiration oriented Celtic Church. That he failed is perhaps the great tragedy of the Dark Ages.

At any rate, it is not hard to see the glimmers of this earlier and more spiritual form of Christianity as the undercurrent of ideas that emerged as Chretien's "graal." The connection is never made directly, accept in the later romances, but the Matter of Britain was basically a front for the Celtic Church. In this seemingly secular form, the spiritual motiffs of a truly gnostic Christianity emerged in the intellectual current of the age. The Roman Church neither encouraged nor discouraged the Grail Romances, even though it was obvious that an earlier and possibly heretical form of Christianity was being represented. As we shall see, the Church was not above persecuting heretics, but there was absolutely no attempt to discredit the Grail stories.

Perhaps the reason for this is that even the Roman Church found it hard not to believe that the origins of the Celtic Church went back to the very family of Christ. "Royal Blood," indeed.

Around 1200, Robert de Borron, following the popularity of the continuations of Chretein, produced Joseph of Arimathea, the prequel to the series the ties it all very neatly into the Celtic Church. He reveals the themes of a hidden or inner teaching given to Joseph after Christ's resurrection. These teachings appear to center around the Grail, here called a Chalice, and consitute the heart of the "mysteries." Mention is also made of a journey westward, to the "Vale of Avaron (Avalon?)" and provision is made for the future hero, Percival, who will fulfill the Quest.

There is a certain murkiness to this story, perhaps as a result of trying to tell the important part (for those with ears to hear) and still stay within certain defined limits that would allow the Roman Church to ignore the tale. Things had changed by 1200. A powerful Pope, Innocent III, had regained the upper hand in his struggles with the Holy Roman Empire and began to turn his attention to unifying the whole world under his spiritual rule. By the grace of God, of course.

And this led directly to the most disgraceful incidents in the history of the Roman Church. The Fourth Crusade and the Crusade against the Cathars were waged against fellow Christians. The Fourth Crusade ended with the sack of Constantinople. The Crusaders, tricked by those crafty and godless Venetians, fell upon the first city of Christendom and plundered and sacked with a vengence. The Knights Templars found the shroud, whose adoration would produce charges of idol worship eventually resulting in their downfall. Innocent III rejoiced in the "unification of the Church."

But not quite. A resurgence of a gnostic heresy in the south of France threatened to become the majority religion and Innocent responded in the manner he knew best: call out the troops. The extermination of heretics in the south of France would continue for half a century, long after Innocent III went to his just rewards in whatever afterlife he actually believed in.

Why exterminate the Cathars, or the Perfecti as they called themselves. Why not also attack the Celtic Church which was also active at the same time?

It boils down to a question of legitimacy. If Rome was afraid to open the question of the Celtic Church, it was because of the nagging suspicion that the Celtic Church had the greater claim to legitimacy and could just possibly prove it. There were connections between the Perfecti and the Celtic Church. By concentrating on the Perfecti, heresy could be severely rebuked as an object lesson that would force at least superficial adherence to Rome.

The Cathars became scapegoats for the whole underground current of Celtic/Grail/Gnostic Christian survivals. It seems to have worked. For by 1220, around the time the first wave of anti-cathar crusading was winding down, Grail Romances were falling out of favor. Other than Malory, whose rendition of Walter de Mapp's 1220 Queste de Saint Greal has become our story book Grail, there is only the "Elucidation" of Chretien by an anonymous author. This is a half hearted attempt to give another explanation for all these mystical goings on. It is unsuccessful and is often not included in the Grail texts.

Clearly, the Grail had a specific significance for those who listened so avidly to these stories of wonder and marvel. The grail's significance is simply its connection with the Holy Family. The Grail suggests in the strongest possible terms that another route to salvation -- one that had nothing to do with the Church of Rome -- was available around the turn of the thirteenth century.

This is most clearly seen in the two most unique of all Grail legends, that of the "Perlesvaus" and Wolfram's Parzival. Wolfram's tale is almost devoid of any mention of the clergy. His Parzival finds grace through knightly prowess in pursuit of a gnostic, or experiential faith. His Grail is the stone that fell from heaven. This "stone" would eventually become, over the centuries, the philosopher's stone of the alchemist.

The "Perlesvaus" ties the matter to Glastonbury and may even have been written there shortly after the discovery of Arthur's Tomb. This story differs somewhat from other Grail legends, but its connection with the megalithic zodiac around Glasonbury, which Katherine Maltwood identified in the 1930's from a close reading of the "Perlesvaus," suggests the area's older connection with the gateway to Anwen, the Celtic underworld where the original cauldron of Bran was hidden. There is even an ancient Welsh poem about Arthur's trip to Anwen to capture the cauldron.

The pattern is clear. Around the turn of the thirteenth century, the Grail Romances offered a direct challenge to the authority of Rome, one that Rome could not answer for fear of exposing her own shaky position. Innocent III felt strong enough, after the fall of Constantinople, to turn the iron grip of Christian chivalry on the most exposed and concentrated group of heretics hoping to quiet the lot of them. Indeed, the fear and horror of the Cathar Crusade did put the fear of the Pope back into the hearts of Christians everywhere.

And if the Celtic heresy could not be brought to the sword directly, then the land of England could be put under interdiction, a terrible form of religious coercion in which the church effectively goes on strike. It will not marry or bury or hold services while under interdiction. Innocent III, for good measure, also excommunicated King John. All of this was resolved by England becoming a Papal Fief for a few years. The Celtic Church gradually faded away over the next century.

The image of the Grail, though, did not fade away. The Matter of Britain still retained its popularity, though without the spiritual overtones. The spiritual current went underground, surfacing in the Renaissance, and then again in the Rosecrucians, and again in the nineteenth century.

Wolfram says that to know the Grail you must "learn your ABC's without the aid of black magic." Robert de Borron's Joseph is quite explicit. The mystery of the Grail is the inner teaching. Jesus taught Joseph strange words to vibrate over the cup that held the holy blood. This attempt to clear away the underbrush of the Grail texts has shown that the source of the Grail is that strange mixture of Celtic and Christian beliefs that developed in the west of England and Ireland before the Empire crumbled. It was defended by Arthur, and almost brought by him on to the stage of European history at just that juncture when the politics of the Empire would have allowed a completely new direction, a completely new version based on the inner teaching of the Christian mysteries.

By the eighth century, the time of Charles the Great, Rome had established her death grip on the religious community, and Charles, out of guilt, or through the trickery of the Pope, allowed himself to accept the Imperial Throne from the hands of the Patriarch of Rome. The fraudulent Donation of Constantine, which supported the temporal power of the Church, clinched the situation. From that point on, Rome was locked in a desperate struggle against the various gnostic survivals, some of whose claim to be the real "Church" was considerably better than Rome's. To admit any other claim was to lose the position of defender of orthodoxy; for if there were many churches, than Rome was not THE church, catholic and universal.

This power struggle would color the next seven hundred years, ending finally with Luthor's thesis nailed to the door of the seminary. That rupture could not be healed, even by the sword.

In the Grail, we see, even at this late date, the radiant quality of that early church. The importance of the Grail, for us now, as we plunge into the next cycle of spiritual evolution, lies in its symbolic nature. Within the Grail can be found a synthesis of all western mystical and magical traditions. It is the source of that underground stream of meaning that flows through the occult and esoteric teachings of the last two thousand years.

The Grail is all things to all people, and to all it is The Mystery. Omnia quia sunt, lumina sunt.

One of the Merovingian kings bore the name Dagobert. In Egyptian, Mer is associated with second chakra energy and indicates sexual balance .

Mer is the essence of the regeneration of our Universe indicating, combining the Natural balancing powers within and without.. Mer also describes "going into" and is associated with "a counter rotating field of light". Mer is given as instruction to actualize the transcendent process, unveiling the path out of the duality. The idea is that by combining these polarities (plus a few more steps) one achieves a very special oneness, which is called the Center Eye of Horus, or The Child's Eye of Horus.

Mer activates the mind's eye. The first step is the Wisdom which is altering the consciousness combining positive and negative. Oneness unleashes the Light which rises and begins healing the body, be it Person, Earth, or Universe. Mer [the second power] is the very first step in Becoming Self Aware. Mer enables the Energies of two people, simultaneously, into The Light of the same Portal.

Mer means:"a going into", or "a counter rotating field of Light", or "Light". Ka represents the Higher Spiritual Self and it's primary connection to The Archtypes, known also as "the Spirit of the cosmos". Ba translates as "Soul" or"astral body". "Ba exists from beginning to end". Merkaba is perceived as a balanced male/female field of counter rotating Light which contains the Higher Spiritual Self and its connection to the Archtypes, plus the soul or astral body -- combining the energies into a transdimensional vehicle. Mer is the Light that is created in the primal cause and effect, and is used in the Merkaba Light Body, creating the Light of Genesis, the beginning of new consciousness.

Catholic Inquisitions of the Middle Ages were set against all the so-called heretics who in one way or another supported the Messianic Blood Royal (the Sangréal) of the Dragon Kings against the corrupted dogma of the bishops. Many of the victims were classified as occultists and witches, and they were charged with upholding the ancient and heretical cult of Draco, the Prince of Darkness. They were proclaimed by the Church authorities to be vampires, maligned and persecuted.

The Mystery of the Fisher King goes back to the dawn of time, when the universal God and Goddess united to produce the Divine Son in the form of the Vesica Pisces "fish." The Divine Son swam through the cosmic waters -- sea of constellations -- as the Fisher or "Fisher" King of the universe. In the Sumerian tradition in his primal form he is known as Goat-fish Enki, the Primal Dragon- fish, who while swimming in the Apsu, the Cosmic Ocean, created the universe and then came to Earth to rule as its Fisher King.

The Holy Grail association with the Fisher King began with Enki, who was the "keeper" of the the Holy Grail and the embodiment of its power. Enki, the Lord of Wisdom, was an embodiment of the Holy Spirit or Kundalini. The Sumerian monarchs who descended from Enki were all similarly represented as King Fishes swimming in the Apsu - and this tradition could be found in other parts of the world, where Earth's monarchs were Fisher Kings that guarded and protected the Holy Grail power.

When Parzival discovered Fisher King Anfortas in "Parzival", the monarch had forgotten who the Grail Serves and had become a cripple. The power of the Holy Grail, which is the Holy Spirit and life force, serves all persons, not just its owner. When Anfortas realized his mistake he was cured of his malady. The lesson for all people is to share your power by serving all beings.

One of the biggest distortions of western civilization has been the legend of St. Michael and the Dragon. St. Michael never slayed the Dragon. He tamed it and rode it to Heaven, i.e., to enlightenment. We are all spiritual warriors taming our vehicles and then riding them to the goal. Our inner spirits are St. Michael and the various sheaths that surround our spirit are collectively our Dragon. The Dragon is also the Serpent Fire at the base of the spine. We ride it up the Tree of Life, the spine, to "Heaven," the 6th and 7th chakras and their corresponding gnostic enlightenment.

The Underground Stream of knowledge, the hidden mysteries of western esotericism, is gnostic Goddess Worship. Cultural Transformation theory asserts the original direction of cultural evolution was toward partnership. We are here to set the record straight and define ourselves with our own narratives in today's world, as the stewards we rightfully claim to be. The "underground stream" connotes an unacknowledged and thus "subterranean" bloodline -- the Grail families of Jesus. The Desposyni (from Greek (desposunos) meaning "of or belonging to the master or lord" was a sacred name reserved for Jesus' blood relatives, descendents of King David.

Throughout the Renaissance, 'Arcadia' was used as a sort of code word for “the underground stream,” an invisible college of kindred souls who secretly shared their esoteric knowledge with one another, passing it around Europe via a network of secret societies and mystery schools, often utilizing its arcane symbolism in works of art and literature. Such symbolism shows up, for instance, in the works of Rene d’Anjou, Giordano Bruno, Leonardo da Vinci, Nicholas Poussin, and many others. The authors of Holy Blood, Holy Grail (Michael Baigent, Richard Leigh, and Henry Lincoln) describe the symbolism of the underground stream:

… the motif of an underground stream seems to have been extremely rich in symbolic and allegorical resonances. Among other things, it would appear to connote the ‘underground’ esoteric tradition of Pythagorean, Gnostic, Cabalistic, and Hermetic thought. But it might also connote something more than a general corpus of teachings, perhaps some very specific factual information — ‘secret’ of some sort transmitted in clandestine fashion from generation to generation. And it might connote an unacknowledged and thus ‘subterranean’ bloodline.

The Merovingians (also Merovings) were a Salian Frankish dynasty, sometimes referred to as the "long-haired kings" (Latin reges criniti). The Frankish King Dagobert II, and the Merovingian dynasty from which he came carried attributions of saintliness and magical powers (derived from their long red hair). Men's hair was worn long, especially men of the royal house, thus their title. These long-haired monarchs claimed the divine right to rule from being descended from the House of David.

The Merovingians, who wore long hair as a symbol of their power, are named after their semi-legendary, fifth-century founder Merovech. The Merovingian's tradition of long hair and the name Samson among the Royal House would indicate descent from Samson. The primordial Merovingian king, father of Clovis, had gold bees buried with him. So let's remember the long hair of the Merovingians, and also the golden bees found on their tombs and in their societies based on the beehive.The last Merovingian King Childeric III was humiliated by Pepin the short and Pope Zachary having his hair cut, and imprisoned on the dungeons of his castle until his death.

Charles Martel went on to become Duke of all the Franks and founder of Carolinian line of Kings. Thirteen years later in 732 he defeated the Saracen Army at Poitiers in France, and saved Western Europe from complete invasion by the Moslems. As a result of this, his son Pepin III, became 1st King of the Franks. Pepin in turn was the father of Charlemagne. Charlemagne, 2nd King of the Franks," Berta (Bertrada) was the wife of Pepin and mother of Charlemagne.

Likewise, their Cathar successors: Cathar priests – known under the name “perfects” or “the perfect” – were dressed in black. Men had long hair, particularly the characteristic long red hair like Mary Magdalene. Their Perfects were considered living Christs. They were called the Good People. They sought only the light, through the Light-Bringer, who was the same as Christ and the archangel Michael. Cathars had a specific fascination with Mary Magdalene and the Languedoc tradition of Courtly Love.

The Cathars retained the Ring Lord culture and traditions, refering to the Messianic bloodline as the Elven Race, venerating them as the Shining Ones. In the language of old Provence, a female elf was an 'albi', and Albi was the name given to the main Cathar centre in Languedoc. This recognized the matrilinear heritage of the Grail dynasty, for the Cathars were supporters of the Albi-gens - the elven bloodline which had descended through the Grail queens such as Lilith, Miriam, Bathsheba and Mary Magdalene. The Shining Ones of the elven race were there to light the way. This is why their 1209 genocide was called the Albigensian Crusade.

In Ireland they were known as Tuadhe d'Anu - the people (or tribe) of Anu, the great sky god of the Anunnaki. They migrated from the Central European lands of Scythia, which stretched from the Carpathian mountains and Transylvanian Alps, across to the Russian River Don. They were strictly known as the Royal Scyths and they were said to be the masters of a transcendent intellect called the Sidhé, which was known to the Druids as the Web of the Wise.

The terms 'fairy' and 'elf 'are castes within the succession of the Shining Ones. Another is the 'pixies', of utmost importance within the overall structure of the princely bloodline. Having the same Sidhé heritage as the historical elves and fairies, their familiar name derived from the description Pict-sidhé. When they migrated into Anjou, Ireland and the far North of Britain, they became known as the Picts. They called their northern domain 'Caledonia' - the land of the Caille Daouine forest people. The 'leprechauns' were the armoured horse troops of the Pict-sidhé. Their body armour was made from small overlapped plates of bronze, which tarnished to a greenish colour so they looked like lizards or dragons. In this regard, they were called 'lepra-corpan' (scaly body), a word corrupted in Ireland to leprechaun.

The concept of calling the original princely race the Shining Ones, while also defining them as 'elves', dates well back into Biblical times and can be traced into Mesopotamia and Palestine. The ancient word El, which was used to identify a god or lofty-one (as in El Elyon and El Shaddai) actually meant Shining in old Mesopotamian Sumer. To the north in Babylonia, the derivative Ellu meant Shining One, while in Saxony and Britain it became Elf.

The concept of fairies was born directly from the Ring Lord culture and, deriving from the Greek word 'phare', the term related to a Great House, from which also stemmed the designation 'pharaoh'. In the Gaelic world, certain royal families were said to carry the fairy blood - that is to say, the fate or destiny of the Grail bloodline and of humankind at large. Meanwhile, the elf-maidens of the Albi-gens were the designated guardians of the earth, starlight and forest.

Certain royal families, in the Celtic world, were said to carry the fairy blood, that is to say, the fate or destiny of the royal bloodline, while the elf princesses of romance and history were often called 'elf-maidens'. Certain royal families were said to carry the fairy blood, and it was their responsibility to safeguard the royal blood, but not only for their family but for mankind itself. Elf-maidens were the guardians of the earth, starlight and forest. It's for this reason that the elves have been called the 'Shining Ones", because they led the way.




https://sangreality.weebly.com/merovingians.html#

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Old 04-08-2018, 08:58 PM   #582
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Exclamation The Nobility families might be members of the black nobility too its a

Quote:
Originally Posted by STJUART View Post
what is the difference between Venetian black nobility and royal houses of Europe are kings lower level than black nobility
The Nobility families might be members of the black nobility too its a very secret world with little real information known to the public, there might black nobility members who is a member of the nobility families who knows?
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Old 17-11-2018, 11:28 PM   #583
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Post Hardwell - We Are One (Ft. Jolin Tsai) | Music Video HD

Hardwell - We Are One (Ft. Jolin Tsai) | Music Video HD



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Jun 20, 2017
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Old 17-11-2018, 11:31 PM   #584
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Post Wrath of the Tsar,Peter the Great of Russia

Wrath of the Tsar,Peter the Great of Russia




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Quote:
Aug 1, 2017

The movie tells about youth of Peter the Great, about formation of his nature and about the immediate circle. The tsar resolutely refuses a number of patriarchal .

Peter Rabbit Peter's Great Escape The Great Cake Peter The Great Odemwingie Hattrick, Madura United 6 - 0 Semen Padang (Full Time) Peter 'The Great' .

Historical television documentary looking at some of the most hated people in history. This documentary focuses on the Russian tsar of the famous Romanov .
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Old 28-01-2019, 12:44 PM   #585
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Exclamation

I don't know if you know who you are until you lose who you are.

I'm wide awake now
Yeah, I was dreaming for so long
I wish I knew then
What I know now
Wouldn't dive in
Wouldn't bow down


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Old 31-01-2019, 02:55 AM   #586
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Exclamation Katy Perry - Wide Awake (Official)

Katy Perry - Wide Awake (Official)



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Lyrics
I'm wide awake
I'm wide awake
I'm wide awake
Yeah, I was in the dark
I was falling hard
With an open heart
I'm wide awake
How did I read the stars so wrong
I'm wide awake
And now it's clear to me
That everything you see
Ain't always what it seems
I'm wide awake
Yeah, I was dreaming for so long
I wish I knew then
What I know now
Wouldn't dive in
Wouldn't bow down[
Gravity hurts
You made it so sweet
Till I woke up on
On the concrete
Falling from cloud nine
Crashing from the high
I'm letting go tonight
I'm falling from cloud nine
I'm wide awake
Not losing any sleep
Picked up every piece
And landed on my feet
I'm wide awake
Need nothing to complete myself, no
I'm wide awake
Yeah, I am born again
Out of the lion's den
I don't have to pretend
And it's too late
The story's over now, the end
I wish I knew then
What I know now
Wouldn't dive in
Wouldn't bow down
Gravity hurts
You made it so sweet
Till I woke up on
On the concrete
Falling from cloud nine
Crashing from the high
I'm letting go tonight
I'm falling from cloud nine
Thunder rumbling
Castles crumbling
I am trying to hold on
God knows that I tried
Seeing the bright side
But I'm not blind anymore
I'm wide awake
I'm wide awake
Falling from cloud nine
Crashing from the high
I'm letting go tonight
I'm falling from cloud nine
I'm wide awake
I'm wide awake
I'm wide awake
I'm wide awake
I'm wide awake

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Old 31-01-2019, 03:11 AM   #587
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Exclamation Taylor Swift - I Knew You Were Trouble

Taylor Swift - I Knew You Were Trouble




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Taylor Swift Lyrics

Play the Taylor Swift Quiz
on Melody Facts

"I Knew You Were Trouble"

[Music video spoken part:]
I think - I think when it's all over,
It just comes back in flashes, you know?
It's like a kaleidoscope of memories.
It just all comes back. But he never does.
I think part of me knew the second I saw him that this would happen.
It's not really anything he said or anything he did,
It was the feeling that came along with it.
And the crazy thing is I don't know if I'm ever gonna feel that way again.
But I don't know if I should.
I knew his world moved too fast and burned too bright.
But I just thought, how can the devil be pulling you toward someone who looks so much like an angel when he smiles at you?
Maybe he knew that when he saw me.
I guess I just lost my balance.
I think that the worst part of it all wasn't losing him.
It was losing me.

Once upon a time, a few mistakes ago
I was in your sights, you got me alone
You found me, you found me, you found me
I guess you didn't care, and I guess I liked that
And when I fell hard you took a step back
Without me, without me, without me

And he's long gone when he's next to me
And I realize the blame is on me

'Cause I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
'Til you put me down, oh
I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
Now I'm lying on the cold hard ground
Oh, oh, trouble, trouble, trouble
Oh, oh, trouble, trouble, trouble

No apologies. He'll never see you cry,
Pretends he doesn't know that he's the reason why
You're drowning, you're drowning, you're drowning
Now I heard you moved on from whispers on the street
A new notch in your belt is all I'll ever be
And now I see, now I see, now I see

He was long gone when he met me
And I realize the joke is on me, yeah!

I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
'Til you put me down, oh
I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
Now I'm lying on the cold hard ground
Oh, oh, trouble, trouble, trouble
Oh, oh, trouble, trouble, trouble

And the saddest fear comes creeping in
That you never loved me or her, or anyone, or anything, yeah

I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
'Til you put me down, oh
I knew you were trouble when you walked in (you were right there, you were right there)
So shame on me now
Flew me to places I'd never been
Now I'm lying on the cold hard ground
Oh, oh, trouble, trouble, trouble
Oh, oh, trouble, trouble, trouble

I knew you were trouble when you walked in
Trouble, trouble, trouble
I knew you were trouble when you walked in
Trouble, trouble, trouble

[Music video spoken part:]
"I don't know if you know who you are until you lose who you are. "
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Old 26-02-2019, 11:06 PM   #588
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Post Chris de Burgh - Seven Bridges (Official)

Chris de Burgh - Seven Bridges (Official)




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Lyrics
Sometimes I go down my street without a glance
And I long to see my childhood days again
Sometimes I can hardly even stay still
Needing something new behind the doors I go through
Sometimes I am hot and then I’m cold
When I know that there is something going on
In the places that we all have to go
Before we see the right that’s in a wrong
There are seven bridges to be crossed
Seven years of darkness to survive
Seven times in oceans to be lost
But then I’ll see the shining light
Sometimes seems the hands of time are standing still
And it feels that things are going round and round
Sometimes we all have the need to get away
And to sit in silence all by yourself
Sometimes hands can reach out to the world
Maybe lucky stars are on the way
Sometimes we are taking when we should give
And hate the things that we still really love
There are seven bridges to be crossed
Seven years of darkness to survive
Seven times in oceans you’ll be lost
And then you’ll see the shining light
There are seven bridges to be crossed
Seven years of darkness to survive
Seven times in oceans you’ll be lost
And then you will see the shining light
And then you will see the shining light

Last edited by aronia; 26-02-2019 at 11:06 PM.
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Old 26-02-2019, 11:11 PM   #589
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Post Already There - Chris De Burgh

Already There - Chris De Burgh



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Lyrics
Waking up to yet another grey day
And I say
Nothing ever seems to change round here
Surely there is more to life than dreaming, hoping
Now I want to make those dreams come true
I’m going to get away
I’m going to go today
Had enough of wasting time
Because there is a place
That’s waiting far away
For me to have another life
And there will be a house beside the sea
Beneath a clear blue sky
And every night I’ll go to sleep
And hear an ocean lullaby
Because in my mind I’m already there
Yes, in my mind I’m already there
And this can be more than a dream
I have a photograph
I keep it in my heart
A day from long ago
‘Twas in a music store
I never heard before
Such amazing melodies
And they were talking to my very soul
And set me on my way
Funny how these memories
Can make it feel like yesterday
Because in my mind I’m already there
Yes, in my mind I’m already there
And so I could follow the dream
And we will find that house beside the sea
Enough of wasting time
This will be our destiny
To hear an ocean lullaby
Because in my mind I’m already there
Yes, in my heart I’m already there
In my dreams I’m already there
With my love I’m already there
Already there
Already there
Already there
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Old 26-02-2019, 11:15 PM   #590
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Post Every Step Of The Way - Chris De Burgh

Every Step Of The Way - Chris De Burgh



BACKWARDS LINK

Lyrics
Climbing that mountain day by day
Meeting the world along the way
The sun was on my back
And hopes were high
To reach beyond my dreams
Then there were times when all was lost
Back over bridges that I’d crossed
Many were the days I was alone
I’d want to give it up
And go home
And then I heard your voice calling to me
And then I’d feel your arms so tenderly
I thought I was alone in the wind and the rain
But you were there every step of the way
Music has moved me through the years
Brought me the laughter and the tears
But more than anything I treasure friends
I’ve met along the way
Then there were times that I was sure
Nobody heard me at the door
The more that I would push, the less I’d gain
And I’d be on my knees
Once again
And then I heard your voice calling to me
And then I’d feel your arms so lovingly
I thought I was alone in the wind and the rain
But you were there every step of the way
We were together
In the wind and the rain
And you were there every step of the way
Yes, you were there every step of the way
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