Bb11.2 Once again. Nothing will grow until sweet rain water is being poured down.
... The Mahabharata insists on six as the number of the Pleiades as well as of the mothers of Skanda and gives a very broad and wild description of the birth and the installation of Kartikeya 'by the assembled gods ... as their generalissimo', which is shattering, somehow, driving home how little one understands as yet. The least which can be said, assuredly: Mars was 'installed' during a more or less close conjunction of all planets; in Mbh. 9.45 (p. 133) it is stressed that the powerful gods assembled 'all poured water upon Skanda, even as the gods had poured water on the head of Varuna, the lord of waters, for investing him with dominion'. And this 'investiture' took place at the beginning of the Krita Yuga, the Golden Age ... ... In the deep night before the image [of Lono] is first seen, there is a Makahiki ceremony called 'splashing-water' (hi'uwai). Kepelino tells of sacred chiefs being carried to the water where the people in their finery are bathing; in the excitement created by the beauty of their attire, 'one person was attracted to another, and the result', says this convert to Catholicism, 'was by no means good'. At dawn, when the people emerged from their amorous sport, there standing on the beach was the image of Lono ... ... He was moreover confronted with identifications which no European, that is, no average rational European, could admit. He felt himself humiliated, though not disagreeably so, at finding that his informant regarded fire and water as complementary, and not as opposites. The rays of light and heat draw the water up, and also cause it to descend again in the form of rain. That is all to the good. The movement created by this coming and going is a good thing. By means of the rays the Nummo draws out, and gives back the life-force. This movement indeed makes life. The old man realized that he was now at a critical point. If the Nazarene did not understand this business of coming and going, he would not understand anything else. He wanted to say that what made life was not so much force as the movement of forces. He reverted to the idea of a universal shuttle service. 'The rays drink up the little waters of the earth, the shallow pools, making them rise, and then descend again in rain.' Then, leaving aside the question of water, he summed up his argument: 'To draw up and then return what one had drawn - that is the life of the world' ...
The dry ('dead') earth must drink the waters arriving from the sky in order to come alive again. This basic fact may have influenced the kava ceremony. ... For when the ruler drinks the sacred offering, he is in the state of intoxication Fijians call 'dead from' (mateni) or 'dead from kava' (mate ni yaqona), to recover from which is explicitly 'to live' (bula). This accounts for the second cup the chief is alone accorded, the cup of fresh water. The god is immediately revived, brought again to life - in a transformed state ...
In the G text we can read that the curve at the top grows 'feathers' from the reappearance of Sirius: ... in ancient Egypt the spring was connected with the waters of the Nile arriving from the south, i.e. delayed with around a quarter compared to north of the Mediterranean and Mesopotamia: *123 (July 22, 22 / 7 → π) - *41 (Beltaine, May 1) = *82 days ...
... Long ago in the very beginning of time there dwelt within a shell an infant god whose name was Ta'aroa. He was Ta'aroa the unique one, the ancestor of all gods, the creator of the universe whose natures were myriad, whose backbone was the ridgepole of the world, whose ribs were its supporters. The shell was called Rumia, Upset. Becoming aware at last of his own existence and oppressed by a yearning loneliness Ta'aroa broke open his shell and, looking out, beheld the black limitless expanse of empty space. Hopefully, he shouted, but no voice answered him. He was alone in the vast cosmos. Within the broken Rumia he grew a new shell to shut out the primeval void. Eons passed and Ta'aroa grew to be a lad conscious of his own vigor and potentialities. Impatience grew upon him until he could bear his isolation no longer. He broke forth from his shell with energy, resolved to create beings like himself who would banish his loneliness forever. Ta'aroa's first act was to construct a firm foundation for the earth, using the strong second shell for stratum rock. The shell Rumia became his dwelling place, the overarching dome of the sky. It was a confined sky enclosing the world just forming, and in its deep and abiding night the lad attained manhood. There were no Sun, Moon, or stars and only one other living creature, the Great Octopus. The sun was held down close above the slowly evolving earth by the Great Octopus, Tumu-rai-fenua, Foundation of Heaven and Earth, who lived in the primeval waters on which the earth floated. One of his arms was to the north, one to the south, one to the east and another to the west. With these vast arms he held the sky, the shell Rumia, close down against the earth. Meanwhile on the earth itself various generations of rocks were born, one after the other; then sand appeared. Roots were born and as they spread they held the sand together and the land became firm. Ta'aroa sat in his heaven above the earth and conjured forth gods with his words. When he shook off his red and yellow feathers they drifted down and became trees ... ... In many Polynesian cultures the bodies of gods were conceived of as covered with feathers and they were frequently associated with birds: in Tahiti and the Society Islands, bird calls on the marae signaled the presence of the gods. Hawaiian feathered god figures generally depict only the head and neck of the god ...
The Chinese structure has the Wing feathers of the Raven (Gienah, γ Corvi) at the September equinox → the Wing feathers of the Pegasus Horse (γ Pegasi, Algenib) + 184 days.
The Chinese Chariot (Worm) station was the 28th and last in the list. The 1st station in the list was the Horn (Crocodile), which means that the zero station ought to be at Porrima. Here Virgo was spreading out her red feather carpet (tapa mea) ready for multiplying:
... The Fijian barkcloth that in the end captures the chief represents his capture of the land: upon installation, he is said to hold the 'barkcloth of the land' (masi ni vanua). The barkcloth thus has deeper significance. In general ritual usage, barkcloth serves as 'the path of the god'. Hanging from the rafters at the rear, sacred end of the ancient temple, it is the avenue by which the god descends to enter the priest ... There is still more to the barkcloth. The barkcloth which provides access for the god/chief and signifies his sovereignity is the preeminent feminine valuable (i yau) in Fiji. It is the highest product of woman's labor, and as such a principal good of ceremonial exchange (soolevu). The chief's accession is mediated by the object that saliently signifies women ...
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
