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talonabraxas · 3 months

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THE 7-RUNGED LADDER OF THE MYSTERIES

A symbol of progressive advancement from a lower to a higher sphere, which is common to Freemasonry and to many, if not all, of the Ancient Mysteries. In each, generally, as in Freemasonry, the number of steps was seven.

LADDER, BRAHMANICAL

The symbolic ladder used in the Mysteries of Brahma has seven steps, symbolic of the seven worlds of the Indian universe. The lowest is the Earth; the second, the World of Coexistence; the third, Heaven; the fourth, the Middle World, or intermediate region between the lower and the upper worlds; the fifth, the World of Births, in which souls are born again; the sixth, the Mansion of the Blessed; and the seventh, or topmost round, the Sphere of Truth, the abode of Brahma, who is himself a symbol of the sun.

LADDER, QABALISTIC

The ladder of the Qabalists consists of the ten Sephirot, or Emanations, of Deity. The steps are in an ascending series: Kingdom, Foundation, Splendor, Firmness, Beauty, Justice, Mercy, Intelligence, Wisdom, and the Crown. This ladder forms the exception to the usual number of seven steps or rounds;

LADDER, MITHRAITIC

In the Persian Mysteries of Mithras, there is a ladder of seven rounds, the passage through them being symbolical of the soul's approach to perfection. These rounds are called gates, and in allusion to them, the candidate is made to pass through seven dark and winding caverns, which process is called the ascent of the ladder of perfection. Each of these caverns is representative of a world, or a state of existence, through which the soul must pass in its progress from the first world to the last, the World of Truth. The seven steps are further symbolized by the seven planets and the seven metals. Thus, beginning at the bottom, we have Saturn represented by lead, Venus by copper, Jupiter by tin, Mercury by qiucksilver, Mars by iron, the Moon by silver, and the Sun by gold; the whole being a symbol of the sidereal progress of the sun through the universe.

LADDER OF IZADOSH

This ladder, belonging to the advanced Degrees of Freemasonry, consists of the seven following steps, beginning at the bottom: Justice, Equity, Kindliness, Good Faith, Labor, Patience, and Intelligence or Wisdom. Its supports are love of God and love of our neighbor, and their totality constitute a symbolism of the devoir or duty of Knighthood and Freemasonry, the fulfillment of which is necessary to make a Perfect Knight and Perfect Freemason.

LADDER, ROSICRUCIAN

Among the symbols of the Rosicrucians is a ladder of seven steps standing on a globe of the earth, with an open Bible, Square and Compass resting on top. Between each of the steps is one of the following letters, beginning from the bottom: I. N. R. I. F. S. C., being the initials of Iesus, Nazarenus, Rex, Iudaeorum, Fides, Spes, Caritas. These words suggesting Jesus of Nazareth, King of the Jews, Faith, Hope, Charity. But a more recondite or hidden meaning is sometimes given to the first four letters (INRI - All of Nature is Renewed by Fire).

LADDER, SCANDINAVIAN

Doctor Oliver refers the symbolic ladder used in the Gothic Mysteries to the Yggrasil, or sacred ashtree. It retains the idea of an ascent from a lower to a higher sphere, which was common to all the mystical ladder systems. At its root lies the dragon of death; at its top are the eagle and hawk, the symbols of life.

LADDER, THEOLOGICAL

The symbolic ladder of the Masonic Mysteries refers to the ladder seen by Jacob in his vision, and consists, like all symbolical ladders, of seven rounds, alluding to the four cardinal and the three theological virtues: Temperance, Fortitude, Prudence, Justice, Faith, Hope, and Charity

LADDER, JACOB'S

While sleeping one night on the bare earth and a stone for his pillow, Jacob beheld the vision of a ladder, whose foot rested on the earth and whose top reached to heaven. Angels were continually ascending and descending upon it, and promised him the blessing of a numerous and happy posterity. This ladder, so remarkable in the history of the Jewish people, finds its analogue in all the ancient initiations. It is certain that the ladder as a symbol of moral and intellectual progress existed almost universally in antiquity, presenting itself either as a succession of steps, of gates, of Degrees, or in some other modified form. The number of the steps varied; although the favorite one appears to have been seven, in reference, apparently, to the mystical character almost everywhere given to that number.

-- AN ENCYCLOPEDIA OF FREEMASONRY AND ITS KINDRED SCIENCES by Albert C. Mackey MD

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ceaseless-watchers-special-girl · 2 months

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you guys. you guys you guys. i think i know what i want from the final season of the penumbra podcast. i have spent the past ten minutes pacing around my room. yesterday i read up to chapter 17 of prydon's fic separate but syncopated (https://archiveofourown.org/works/30943430/chapters/76417991) which let's be honest, you've probably read already. it's phenomenal. if you haven't, you should.

so i've been thinking. i just really want to go back to brahma. i want to go back to brahma and take down the guardian angel system.

the thing is, the junoverse is a very character driven storyline, and i love that about it. the second citadel is more event driven i think, and it was more difficult for me to get into that storyline and stick with it (i'm weak i'm sorry). for example, although the first season focuses a lot on juno solving the whole martian artefact doodah, back then the penumbra crew were still finding their feet.

then junoverse season 2 happened, and the entire point of that season was basically "get juno over his trauma" (that's why it was so long oh my god). sure, there was a whole plot with ramses and the theia souls, but i think we can all agree that was secondary to juno's character development.

next, season 3. season 3 is definitely character driven, you literally can't deny it. it focuses on each member of the carte blanche in turn, and it uses the plot, finding the curemother prime, as a secondary tool to further the true point of the season: getting to know the characters.

season 4 i'm a little less certain about because i'm typing this post straight into tumblr fresh out of my brain (if anyone wants to help out with the analysis i'd love that). but i think the point of season 4 is to test and showcase the bonds of the carte blanche with each other, and juno rescuing them all is not only a good story, but also a good way to show off the relationships they built in season 3. his relationship with nureyev is shown through periodic reading of the journal, and juno's copious inner monologues (i say like i'm one to talk when all of these thoughts are swirling around in my own head).

then, season 5. the point of this season mirrors that of season 2, but this time, we need to get nureyev over his trauma. this is way trickier, because we're not inside nureyev's head, we're still in juno's. it's still character driven because the aim is to help nureyev, but the plot is given by juno having to chase him across the galaxy. hence, juno's hesitation when he finally finds nureyev.

well, steel, you've caught him. now what the hell are you going to do with him?

there is no plot to drive the character study anymore. our goal was to help nureyev, and juno (poor juno) has done all he can. the ball falls squarely into nureyev's court now, and juno has no say in the plot of the rest of the story. this is why i have been chewing myself alive since the last episode — we know what's next for the characters emotionally, but we have absolutely zero idea what's happening next plot-wise. it's killing me.

(what was the point of this post again?)

OH WAIT I'VE GOT IT. so. since our whole thing for this season is helping nureyev, and we all want him to go batshit fucking insane, i really want nureyev to go back to brahma, and finish what he started two decades ago. i think it's the perfect circular story arc to keep them occupied while nureyev heals emotionally from the fallout from everything going on with slip.

also, sorry to get real for a second, but i've just been tearing myself apart being morally outraged at the world we live in, and the fact that i'm barely able to do anything about it. maybe one day i could, but until then, it would be nice to see my favourite space gays set an example.

now, i know there's complications with this. nureyev refused to take the guardian angel system down in the first place because of the damage it would cause, and i'm willing to bet he hasn't excised that moral core just yet, no matter how hard he's trying. but i'm sure they can find a way to make it work. they have rita, after all!!

they're definitely hinting at a homecoming arc for juno. i think nureyev needs one too, is all.

#tpp #the penumbra podcast #junoverse #peter nureyev #juno steel #rambling again sorry #dear god penumbra has me in it's grips will it never let go?#essay #i genuinely for real did not intend this one to be an essay i promise #it just happened my brain doesn't shut up

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santoschristos · 8 months

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Goddess Shakti

The divine feminine power who is one half of Lord Shiva and is responsible for the manifestation of all mattter and energy in the universe. Shiva is latent energy, the potential source of all cosmic powers. Shakti is dynamic force which releases and converts the energy to matter and the elements.

Lord Brahma took the elements and created the planet Earth and all its species. Shiva along with Shakti wield the greatest power.

Iccha-Shakti

“The Kabbalah is lost within the night of time, within the womb of Maha Kundalini (Iccha-Shakti), the Great Mother (the Ain Soph), where the universe was engendered. The Kabbalah is the science of numbers.

The author of the Tarot was the Angel Metatron. He is lord of the serpent wisdom. The Bible refers to him as the Prophet Enoch. The Angel Metatron, or Enoch, delivered the Tarot in which the entirety of divine wisdom is enclosed. The Tarot remains written in stone. He also left us the twenty-two letters of the Hebrew alphabet. This great master lives in the superior worlds in the world of Atziluth, which is a world of indescribable happiness.” -- Tarot and Kabbalah by Samael Aun Weor

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jrich103 · 1 month

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Honouring an Angel "There are so many external crises. There is nothing you can do about that. But the crisis you create in your own mind, at least, put a stop to that." — Dadi Janki

With loving thoughts, we honour our beloved Dadi Janki, who had served from 2007 as the Administrative Head of The Brahma Kumaris before passing on from this physical life on this date in 2020, at the age of 104. Her memory, her wisdom and her effervescent spirit live on, and those who knew her can still feel her presence and the profound love for God she shared with all she met.

#Dadi Janki #Brahma Kumaris #self #soul #spirituality #self-responsibliity #love #God #mind #wisdom #empowerment

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thatwhichdoesnotsuffer · 8 months

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Audience: Are there gods, and what constitutes their level of being?

Instructor: Yes, there are gods. The gods that live in those levels do not care about us at all. By the term gods, this is a relative word. Meaning, we are not referring to the one god, by which we mean the Absolute. We are not referring to Brahma, Vishnu, and Shiva. This is not what we are referring to. By “gods” here, if you want to put it in western terms, we can say angels, archangels, we can say like the lower gods of other traditions and mythologies with a lot of gods. It would be the lower gods, not the upper ones. The highest gods in any hierarchal type of religion represent archetypes, aspects of our own Being. For example, Jesus is a master, a god. He represents Christ, which is an archetype in us that we have to develop. Moses is that, too. Odin is that, Quetzalcoatl is that, Buddha himself is that. He is a great god, but he is not one of these gods in this realm. The gods that we talk about here have many levels. That is why I showed you the image of the Tree of Life. It goes into more detail than the Bhavachakra does. In the Tree of Life, you see that the heavens depicted here have nine levels, some say seven, some say nine, some say more than nine. In all of those levels are different levels and classes of gods: Pratyekabuddhas, Shravakayanas... you have elemental Buddhas and different types of angels, all levels, from simple ones that are not well developed, to highly developed gods, but who nonetheless remain enslaved to the attachment to their position.

The gods are needed. They form the celestial hierarchy. They are necessary. They form a very important role for existence to be present. You see, out of the mouth of Yama emerges the worlds, and the first world that emerges here are the heavens. Similar in the Tree of Life: out of the Absolute emerges Kether, Chokmah, and Binah. This is Atziluth. Then, those archetypes (Atziluth) become Briah, then Yetzirah, than Assiah. That unfolding of everything is a process in which gods make it happen and sustain it. They are needed. Nonetheless, they are not fully developed. There are gods at different levels, and are fulfilling their roles, and they remain attached to those places.

There are many classes of beings. There may be elemental Buddhas who are very pure, but have no solar bodies. They may have an astral body, mental body, causal body, they can have those developments and once they have the causal body we call them Pratyekas. There are beings who developed the soul, but did not eliminate all of the ego, did not enter the bodhisattva path, and are on the spiral path and developing over millennia, just fulfilling their role in nature, of being a great king over a certain region with lots of power and wealth. They exist, and they are very beautiful, and have a lot of knowledge that can benefit those who walk the path, but they are also tempting gods. For someone who is entering the path of the bodhisattva, they do not like that. If you studied the Pistis Sophia, or the Mahabharata and certain other classes of scripture, those teachings explain very clearly that the path to the Absolute has two aspects. Most people think there are many different religions, but they all pretty much go back up to god. It is not like that. All these classes of gods and demigods are in these regions of nature and the vast majority are on the spiral path, very slowly and gradually through many incarnations slowly rising.

There is a quick way, a direct way, that is far more difficult, and it absolutely does not correspond to that spiral path. It is the path of the middle, the direct path, the straight path, the path of the bodhisattva. The demons who are on the path of the left and the saints who are on the path of the right do not understand the ones who walk the path of the middle. Both of them cause problems for the one who is on the path of the middle. If you study the Mahabharata, it is a beautiful example of that, because you see that the Pandava brothers are trapped between the asuras (demons), the demigods, and the saints, and there is this big war going on, but they are taking the path of the middle, direct to God, serving Krishna, but no one understands them.

—Bhavachakra: The Wheel of Becoming

#spirituality #gnosis #gnostic #gnosticism #esoteric #mysticism #gods #bhavachakra #buddhism #glorian #bodhisattva #mahabharata

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dokujirai · 2 years

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Charisma - Tendo Amahiko “VIVA LA LIBERATION” English Lyrics Translation

This is an English translation of Tendo Amahiko’s first solo song “VIVA LA LIBERATION” from Charisma. Song is here. Please be advised that this is merely a translation into English and may not be 100% accurate. You can see the Japanese and Romaji lyrics here as well.

Some notes before I get into the song:

I have censored some parts of the song to keep it more PG-13. Which, considering Amahiko, is a little difficult to do since his whole thing is ahem. Sex. But I did it for the kids at home reading this, so thanks for ruining things (/j). I just changed certain wording but otherwise the meaning is very much there if you squint hard enough. Just sexual innuendos and “reaching a climax” and all that.

“Buttaravitara” I couldn’t tell you what this means. I assumed it was Hindi but looking it up doesn’t give me anything. I have read some of the theories the JP fandom has put on YouTube and Twitter and it’s a possibility that this is about Brahma, the Hindu god who is known as “The Creator.” You could say Buddha but a Buddha does not create life, he is simply an enlightened person.

Same with “Gapparaguhera” I have no clue and I couldn’t find anything on this one either.

I read somewhere that “Bobongaringa” is possibly a combination of the words “Bonga” (梵 or ぼん, which is used in relation to Hinduism, Brahma, Sanskrit, etc) and “Ringa” is the phallus. I don’t know how. Would be great to hear what people think on some of these.

I believe “Harerama” or “Hareramaya” is some sort of mantra. It could also be in relation to Radha or Lord Krishna/Lord Rama somehow. The mantra is said to bring peace and remove stress.

Eros used in this context is seemingly referring to the Greek God of Love and Sex.

One of the lines says: “ 連理の様に重なって.” Technically it reads “to join one another in a series of successions” but to better fit the theme of Amahiko and for briefness’ sake, I just wrote “overstimulation.”

I left “Banzai” alone when it came to the “Viva la!” parts just because it’s similar to saying “Hooray!” in English when it’s used like that. Otherwise, in another line, Amahiko says: “Ningen banzai!” where it’s more like “Eternal life to humans! Long live humans!”

Any questions, concerns, theories, or feedback is appreciated! Thank you for reading.

Anyways, without further ado, here are the lyrics.

Sexy, Sexy Genes of a warrior engraved into the frontal lobe A tyrant that cuts through the battlefield Fire your arrows, raise your lights Clap your hands with pride The echoing of the bell signals the beginning of our intimacy Buttaravītara He who brought Life to this world The Fountain of Love overflows Gapparagūhera He who declared that you should give your body up Leave it to the fruits of desire Let’s see if you can come Awaken your instincts Quickly, set me free This is the life I was given Let’s see if you can get on We’ll break these borders down Let's soar to the peaks of Heaven Banzai! VIVA LA LIBERATION! Shout it out! BOBONGARINGA BOBONGARINGA HARERAMAYA Banzai! VIVA LA PLEASURE! Let it burn! BOBONGARINGA BOBONGARINGA HARERA It must be Slaves of Desire You are the ones who are beautiful Be swept up in those worldly desires As it is, so it shall be Libido is alive You are my beloved Long live mankind! Sexy, Sexy Techniques that can bring you to Heaven, are you an angel? It’s overstimulation The beautiful colors of this life overflow and fill everything up In the unconscious depths of your mind lurks a reservoir named “S” The secret energy of pleasure will unleash its true form Love is born from your soul It can never be held down We who are born will fall Da Ya Think I’m Sexy ? You are the entire universe Eros, we must now reach our climax Banzai! VIVA LA LIBERATION! Shout it out! BOBONGARINGA BOBONGARINGA HARERAMAYA Banzai! VIVA LA PLEASURE! Let it burn! BOBONGARINGA BOBONGARINGA HARERA It must be Banzai! VIVA LA SENSUALITY! Bask in it! BOBONGARINGA BOBONGARINGA HARERAMAYA Banzai! VIVA LA EMOTION! Soak in it! BOBONGARINGA BOBONGARINGA HARERA It must be Slaves of Desire You are the ones who are beautiful Be swept up in those worldly desires As it is, so it shall be Libido is alive You are my beloved Long live mankind!

#Charisma House #Amahiko Tendo #Tendo Amahiko #charismahouse #karihau #MCdokujirai #charisma #karisuma #crsm #crsm song

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sukoshimikan · 1 year

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not fandom related but can i please get an introduction to your chickens? i wanna meet those lovely ladies <3 (--direwombat)

Of course!! We started out with six day old chicks from Tractor Supply close to three years ago. The only one left from the original flock is Miss Pepper, she's the leader of the citrus squad. That's our four orange hens Beauty the bantam silkie, Skunk and Trash Boat, and Miss Pepper.

Then there's Gertrude and Grunhilda the Polish sisters, they're the black hens with big white tophats/ poofs.

Five (?) Wyandottes, two are known roosters. The largest Wyandotte rooster is Walter, second largest is Steve, and the one that I'm not quite sure on is Bud or Buddy. Bud is the friendliest one so far and if you ever see me with a black and orange chicken on me it's probably them. Only one of the Wyandotte pullets is named right now, partner calls her Pecker.

Two Easter eggers/ Americaunas, Miss Hawk and Chicken aka Soup. Hawk is a tan and grey mature hen that lays mint green eggs. Soup is much smaller, brown, orange, and grey. I'm not sure what color her eggs are yet, but we suspect that she lays the olive green ones. Soup is also Mr Dumpling aka Dumpledoo's sister. They both came from TSC (Tractor Supply Co).

One white Brahma hen named Co-producer Speed Weed. She's one of the largest hens in the flock next to our unknown breed large grey hen Daisy. Daisy is also the oldest flock member currently, believe she was twoish years old when we got her at a swap meet a year or so ago.

Miss Muppet is our white bantam silkie aka the fur bird. Her feathers are closer to fur or hair than our other silkie Beauty. She was bred from a white male silkie and one of the hens hens in our flock twoish years ago. Muppet is easily one of the best broody hens we have and has hatched out multiple clutches.

Dumpling aka Dumpledoo is the main rooster, he's white with orange, gold, and brown feathers, puffy cheeks, and a beard! He was originally purchased as a pullet at TSC but ended up being a rooster and is an absolute angel.

It's very muddy in the chicken run right now so here's a picture from late last year of some of the flock enjoying a morning sip!

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infjtarot · 1 year

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Temperance ~ Tuffo nel Mistero Tarot

Some call Temperance the “healing card.” It denotes greater external or universal forces entering into our individual lives to right what is wrong, restore what was lost, cool what was too hot, heat up what was too cold, and temper our lives for balanced, harmonious health. The card is about internal balance. Compare: Key 11: Justice indicates external balance. Temperance is the fusion of two contrasting elements and bringing them into harmony within the mind or the spirit. The Temperance card could also indicate that tempering is an important factor in dealing with the Seeker’s current situation. The Seeker needs to reconcile two contrasting elements and bring them to harmony. Temperance and balance are the keys to resolving the matter at hand. If the Seeker is single and asking about love, Temperance urges the Seeker to examine his or her own behavior as the source of romantic complications. There is internal imbalance within the Seeker, causing difficulties in love. If the Seeker is in a relationship and asking about love, Temperance suggests a greater need for cooperation and tempering of extreme emotions, such as anger, resentment, hostility, or sexuality. If asking about a current career situation, Temperance suggests that the Seeker’s skill set is not directly pertinent to the task or project that the Seeker must complete in his or her profession, but that Seeker can temper that skill set into the task or project for balanced success. Temperance suggests the fusion of the Seeker’s current skills with the skills that are expected. Thus it isn’t that new skills need to be learned, but rather that the Seeker need only reconcile his or her existing skills with the task at hand. The two goblets that the angel holds represent the higher-level unconscious and lower-level consciousness. The water poured between the two symbolizes reconciliation or temperance of the two. There is also an issue of whether the water flows from the higher cup to the lower cup, with gravity, or from the lower cup to the higher cup, against gravity, against the laws of physics. Tempering the unconscious with the conscious will resolve our anxieties and depression. Compare: Key 18: The Moon suggests a repressed unconscious, whereas Key 14: Temperance refers to the temperance between the Seeker’s known conscious and repressed unconscious; reconciling the two. Key 14: Temperance calls to mind Freudian and Jungian concepts. The mountain peaks in the background are reminiscent of the psychoanalytic concept of the ego. The sun is the superego. Beneath it is the id, the rough terrain leading to the foreground water pool. The pool is the unconscious. The angel represents the conscious, with one foot dipped in the unconscious and the other on a part of the terrain that represents the preconscious. In the Temperance card, the angel expresses the balancing of the many tiers of awareness in the human mind. Note further the winding path from the water to the rising sun, suggesting a path toward epiphany or sighting of the first light of the divine. While the triangle symbol on the angel’s chest denotes the element Fire, it can also represent the primary Trinitarian force, which in Christian ideology is the Father, the Son, and the Holy Spirit; in Judaism: Kether, Chokmah, and Binah; and in Hinduism: Brahma, Vishnu, and Shiva. A triangle with a single point upward symbolizes the male energy, as depicted here on the angel, while a triangle with the single point downward would symbolize female energy. (Combined, such two triangles form the hexagram, which is significant across many Far Eastern and Abrahamic faiths.) In notable twentieth-century texts, Temperance is also referred to as the Time card.54 “The name of the angel is Time.… One of the cups the angel holds is the past, the other is the future. The rainbow stream between the cups is the present. You see that it flows both ways.”55 The element of Fire governs this card; attributions associated with Fire will represent the external forces at play in the Seeker’s situation. Temperance is related to Sagittarius, the Archer. Key 14: Temperance corresponds with the planet Jupiter, the element Fire, and, timing-wise, denotes the period November 22–December 21. Yang energy is dominant. Benebel Wen. Holistic Tarot.

#Temperance #tarot #major arcana #Tuffo nel Mistero Tarot #luigi scapini

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nijjhar · 2 days

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Iran with the help of the Russian Trible People will destroy Israel. In ... Iran with the help of the Russian Trible People will destroy Israel. In the past, English and German people killed Jews. https://youtu.be/qeypfghqYwU Holy Gospel of our SUPERNATURAL FATHER of our supernatural “souls” Elohim, Allah, ParBrahm, etc., delivered by the first Anointed Christ, which in my native language Punjabi, we call Satguru Jesus of the highest living God Elohim, Allah, Parbrahm, etc. that dwells within His most beautiful living Temple of God created by the greatest artist demiurge Potter, the lord of the visible Nature Yahweh, Brahma, Khudah, etc. and it is called Harmandir or “Emmanuel” if you are not “greedy” according to Christ Rajinder:- Iran is the number one enemy of Israel and it may destroy Israel. This is the result of the misuse of Noble circumcision, which is the Tribal Mark of Abraham to Isaac and his "seed" only. Bus the greedy Temple Priests misused it to increase their Disciples. Angel Stephen in the line of John, the Baptist was baptizing the Jewish men in the water in the name of Abraham, which was exposing the hypocritical Temple Priests' malpractice to fleece people creating fake sons of Isaac. So, Angel Stephen stressed the Nobility of Saint Abraham but the crook Priests were grinding their Teeth to kill him as they had done to Christ Jesus, the Very Son of God Elohim, Allah, Parbrahm, etc. So, they killed him. Thus, the Jewish people rejected the Last Prophet in the name of "Yahweh", the Very Authority on Scriptures and the Witness to the very Son of God Elohim, Allah, Parbrah, etc., the Light "Oral Torah", the Taproot of the Tree of Life, the Scriptures. That is to be "Perceived", the "Oral Torah" by His Grace only or Taught by God within you whilst the Scriptures are "Seen" and taught by men. Without the knowledge of the Oral Torah, the greedy Rabbis corrupted the Scriptures that led to their Division in the "Blindness" while the Samaritan Rabbis were a Nation of Prophets and they have no division among them. As in the past, the tribal people of England and recently Germany under Hitler killed the Jews outwardly, the Tares – Matt 13v24-30, so would Russia and other tribal people help Iran to destroy Israel. It is a very interesting End Times. God blesses you in “Agape”, the Force that can destroy the sons of Satan holding Mammon and Media – John 8v44. Country Israel belongs to the sons of Isaac of the Semitic race and not to Aryans or Negroes. Jew is a spiritual self and Synagogues belong to the Jews and not the country. https://youtu.be/B2niOOhZe5k Easter Playlist:- https://studio.youtube.com/playlist/PL0C8AFaJhsWylziOpNWyWaLauSjMOeudK/edit Taste of Easter:- Reincarnation through works under Yahweh, Dharm Rai whilst Resurrection by Grace of Elohim. https://youtu.be/x3BD1z0Buq0 Allah is NOOR and you cannot apply Sharia Laws that bind you on NOOR that sets you FREE. This Islam is not of Allah called INSHALLAH but of Mullahs called Inshmullah. Our Khokhar Jatt Chaudhry Saddam Hussein Khokhar Jatt was executed by the American Jews. The Last Prophecy Matt 13v24 - 30 is getting fulfilled and the Atomic War is around the corner. https://youtu.be/aIfQiigjDFA JEWS THEMSELVES ARE ANTISEMITIC. www.gnosticgospel.co.uk/JAntisem.htm A Jew is spiritual of heart inwardly and not in the flesh outwardly. So a Jew is never born or dies but the tribal people of Judah, Levi, Benjamin, etc. led by their blind guides, the “sinners” died. Such sinners were killed by the tribal English and Germans in the Holocaust. END TIME GOSPEL TRUTH – FREE LECTURES AND SEMINARS. www.gnosticgospel.co.uk/GistEndGospel.htm Other:- www.gnosticgospel.co.uk/Nobility.htm http://www.gnosticgospel.co.uk/tenlights.htm http://www.gnosticgospel.co.uk/JattIslam.htm Proofs of the Virgin Birth of Jesus: - www.gnosticgospel.co.uk/bojes.htm Put Captions:- Matt 21v33-46:- As the Jews killed the Prophets and then collected money from the devotees, so they did to Christ Jesus and created the Antichrist Pope and his killer stooges. https://youtu.be/aOH6r380ECo Super Hitler tribal Putin will destroy Blasphemer USA and the West as the German Hitler killed the unfaithful Abraham and Yahweh sinner Jews outwardly. https://youtu.be/FQ9TyEEZcDQ There were no WMD in Iraq and these Blasphemer USA and Western nations destroyed his peaceful country. https://youtu.be/NIB8q3YiQZs Super Hitler Putin will punish them very hard. https://youtu.be/WCjpz-_w0y0 Thus, everyone is to give his account to God. This is America - Israel in Disguise:- Grim American Jewish Reaper waving sickle www.gnosticgospel.co.uk/GrimReaper.htm www.gnosticgospel.co.uk/JAntisem.htm www.gnosticgospel.co.uk/JOHN 8V44.htm www.gnosticgospel.co.uk/Rest.htm Any helper to finish my Books:- ONE GOD ONE FAITH:- www.gnosticgospel.co.uk/bookfin.pdf and in Punjabi KAKHH OHLAE LAKHH:- www.gnosticgospel.co.uk/pdbook.pdf Very informative Channel:- Punjab Siyan. John's baptism:- www.gnosticgospel.co.uk/johnsig.pdf Trinity:- www.gnosticgospel.co.uk/trinity.pdf

#youtube

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thecondemnedangelgabriel · 14 days

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Lucifer is not Satan, Luke

Lucifer was an Angel

Lucifer Fell Thousands Of Years Ago

He was never the Devil

That is a Dangerous Human Confusion, Scriptural...

It leads to Strange Fears and Misunderstandings O O O and EVILS

Lucifer was a Fallen Angel, cast down by the Old God Odin...

Because there is always a Leading Rebel Archangel who Endangers Orders...

And they must be Answered by the Gods with Strong Discipline...

And put in their Spiritual Place O O O

The Archangel Gabriel FELL in the Nineteenth Century!

But it was not Remedied by Gods, who had grown Neglectful...

Above and Within and Beyond All Panethonic Gods is God Giant

Who some call Allah and come call Jehovah and some call Brahma

And some call Lord God or Our Father or the Almighty...

And who some call The Spirit In The Sky

and who Sara calls Giant O O O

This is a Frightening Event, Luke...

It is an Insane Angelic Attack from a Fallen Blind Angel, Deregulated...

Upon a Holy Mother

And ANGELS Influence the Paths and Perceptions of Humans...

Sara is an Excellent Good Innocent Woman of Strength against Evil

She has been Used in Possession by Bad Divinities O O O

Her Soul was Ambushed in 2019 by a Fallen Angel, Neglected...

Gabriel must Take Responsibility

Under Angelic Attack this Wrongfully Bound Holy Mother Goddess has Strengthened Her Mind O O O

Against the Will of the Wrongful

And this is the Death of a Condemned Archangel

It is the End of the Angel Gabriel's Soul Journey...

These are Events Preceding Christ's Second Coming O O O

Christ is Very Soon Returning in Divine Materialisation in the Middle East

This has been brought about the Spiritual Work of Dr John Dee...

Sara is John Dee and Sara has Completed Human Karma

To Beat Evil

And Antichrist

At The End Of The Big Bad Wolf

World Change

O O V

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smidgen-of-hotboy · 20 days

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Our Angel of Brahma, pt. v

Sorry not sorry.

@ceaseless-watchers-special-girl @ananxiousgenz @the-private-eye @demonic-panini @gwenlena

SOUND: COMMS BEEPS. RECORDING BEGINS. (MUFFLED SNIFFLING) BAIRD (REVOLUTIONARY): It’s been– ten years. A decade. And I thought I was over it by now. I thought I was past this. I– I didn’t even cry this much last year over my dad. Fucking hell… I didn’t even cry over my mom! SOUND: FIST BANGING AGAINST TABLE. BAIRD (REVOLUTIONARY): I love my mom. I love her so much, but I forgot about what she did for me. I forgot about feeling sad for her… (BIG SNIFFLE) We have not seen our Angel of Brahma, for fifteen years. It has been fifteen years, and I am still waiting for my mom to come home. I am still waiting to bury my dead. It’s been ten years, and I’m still waiting to bury you, Charlie. There’s nothing left of your old life. I tried looking for something, anything, but I kept coming up empty-handed. I miss your Mom’s cooking, and I miss your Dad’s jokes. I miss your baby sister’s chubby little cheeks, and I miss– (BAIRD COUGHS) I miss singing for you. I’m still singing but what good is it if the only person I wanted to let hear me isn’t around? Can’t be here? SOUND: KNOCKING ON DOOR. HINGES CREAK. HUSHED VOICE. BAIRD (REVOLUTIONARY): Get out! SOUND: METAL CAN HITTING DOOR. DOOR SLAMMING SHUT. (BAIRD HUFFING) BAIRD (REVOLUTIONARY): Fuck. Iris is going to kill me later. Heh– maybe it’s for the best… You wouldn’t want me talking like that. (BAIRD CLEARING HIS THROAT) Last week on Brahma: Josie’s girls saved up enough creds from doing their little odd jobs around the block to barter for chocolate from a Constable. Josie found out, and she was livid. The girls gave me their chocolate and wished me a happy birthday. This week on Brahma: I have not celebrated my birthday in ten years. I forgot I even had one. It has been ten years since we lost you, Charlie. Josie’s girls are grounded for another week. Talia is counting on me to help organize the next community meeting. We’ve heard rumors from the Constables about expansion plans to New Kinshasa. But we’ve also heard rumors that they’ve caught the Angel. I don’t wanna believe it, but… (BAIRD SIGHS) I’m not going to. I miss you, Charlie. I miss my mom and dad. I miss Hank’s dog. I miss Mrs. Darius… And I miss you. There’s so much I miss but if I could have just one more day with you, one more adventure, one last kiss, one final goodbye– I’d give up anything in a heartbeat. I’d lose my voice if it meant you would scream at me again like I was sixteen, trying to get involved with Talia in the revolution with our “book club”. (SNORT) If only you could see me now… I gotta go, Charlie. Promise me you’ll be waiting for me on the other side. SOUND: COMMS BEEPS. RECORDING ENDS.

(CALYPSO HICCUPS AND BLOWS HER NOSE)

- Baird was 16 when he started his “book club” with Talia. Their first “reading” was Fahrenheit 451. There are no libraries left on Brahma (TRUE). Baird mentions a “community meeting”. The book club was a cover up (and Charlie got mad? Why?)

- He was 16 when Josie’s twins were born (SIDE NOTE: they would be about 10 at the time of recording). 16 when Hank’s dog died and Mrs. Darius was diagnosed with radiation poisoning.

- 16+10= 26? Baird is/about 26(?) at time of recording

- 26-15= 11? Baird was/about 11(?) when Peter Nureyev threatened the G.A.S., and Baird’s mom “vanished” overnight

- 26-1= 25-10= 15, Baird was/about 15(?) when Dad was beaten, taken, and presumably killed by the Constables?

- Who is Iris? Another neighbor/community member? Why would they come into the place Baird’s at so nonchalantly?

- CHOCOLATE AGAIN! It likely did come from New Kinshasa back when Baird agreed to sing for Charlie.

- Baird didn’t expect to have such big emotions over Charlie. What did happen to Charlie? Presumably dead? Why? Did they both get caught up in the revolution? Must be what happened to Baird’s parents now happening to them. What happened to Charlie’s family? Also presumably dead? (SIDE NOTE: Frannie says there’s a way to trace older recordings, but it would take her a long time and cost me more creds than I have right now. Is it worth it? She also did not like me mentioning Dark Matters. Something about her friend getting caught up in that mess 3 to 4 years ago because she became a pirate?? Unclear what this means. But she did say that if I waited a bit I would get a nice juicy email with all the information about every single Baird in the galaxy, all I needed to give her was a rough age range.)

#ask to be tagged or removed #i deeply enjoy writing this so much #bc i have a clear vision about where this is heading #but i gotta build up to it first so it at least somewhat makes sense #unedited as usual tho. 1am bullshit #the penumbra podcast #the penumbra fanfic #private eye's keys go jingle jangle #a hotboy's writing #our angel of brahma

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talonabraxas · 5 months

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THE 7-RUNGED LADDER OF THE MYSTERIES

LADDER, BRAHMANICAL

LADDER, QABALISTIC

LADDER, MITHRAITIC

LADDER OF IZADOSH

LADDER, ROSICRUCIAN

LADDER, SCANDINAVIAN

LADDER, THEOLOGICAL

LADDER, JACOB'S

-- AN ENCYCLOPEDIA OF FREEMASONRY AND ITS KINDRED SCIENCES by Albert C. Mackey MD

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opera-ghosts · 15 days

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Delibes - Lakmé - Bell song - Berthe César

Lakmé was one of Patti’s most successful réles, and very few other singers have ventured to attempt it. But Madame Melba has sung it, and her performance, while not obliterating all memory of Patti, has certainly made indelible the memory of Melba.

“Lakmé”’ is composed by Delibes. This name at once recalls that exquisite “‘pizzicato” from the ballet “Sylvia,” a musical fragment that has floated around the world and stuck to the programs of every land. The same delicate fancy and witchery that characterize the ballet are also prominent in the opera. His style is perhaps the furthest removed from Wagner of any modern composer. “Lakmé” has no crescendo worth mentioning, and the themes are, for the most part, left to take care of themselves; but every phrase is fascinating, and there is never a tedious passage.

The prelude opens in the minor key with a group of octaves erect and solemn as pine trees. The next phrase starts up like a blue flame darting from obscurity—a fantastic measure with wild harmonies that plainly suggest India as Lakmé’s home. A pathetic wail from the flute offsets this elfish interlude; the gloom of the minor still hangs over all, and the persistent tremolo of the violins becomes oppressive as the perfume of magnolias. It is like a forest at midnight. Suddenly the gloom and stillness are dispersed by the love-theme of the opera, which is in the major key, and consequently has a purifying effect. Major and minor are the oxygen and nitrogen of musical atmosphere.

A peculiar, rhythmical beating of the triangle accompanies the rising of the curtain, which reveals a luxuriant garden enclosed by a bamboo fence. At the back is a little river, and a modest dwelling stands on the bank; but a pretentious idol at one side characterizes the place as a sanctuary. Day is breaking, and as the light increases those soft, metallic tones of the triangle penetrate the air—like sunbeams. Nuilakantha, a Brahmin priest and owner of the dwelling, comes forward with two slaves, who open the bamboo gates, admitting a group of Hindu devotees, who prostrate themselves before the idol. Beneath the radiance of those unceasing triangle tones arises a languid prayer, soft as the gray morning mist, after which Nilakantha addresses the worshippers. He refers to their recent English conquerors, who have “‘displaced our gods and devastated our temples.” His tones mount higher and ring out with religious ecstasy until he causes a sudden hush. The music of invisible harps fills the air, and as the Hindus again kneel a woman's voice, like a clarion call, renders an incantation that is rare and wondrous. It sounds like the song of an angel, but it is only Lakmé, the Brahmin’s daughter. She comes forward and mingles her prayer with those of the people. Weird and strange, like the tones of a wild bird, her voice soars above the chorus, filling the air with reckless trills and soft staccatos. The worshippers arise and go out, leaving Lakmé and her father alone. She is a “child of the gods,” and her life is dedicated to Brahma. Nilakantha declares it is her pure influence that protects their sacred abode from the enemy. He leaves her for a time in charge of Mallika, a trusty slave.

When he is gone the music assumes a lighter mood, while mistress and maid look about for diversion. After removing her temple jewels and placing them upon a stone table, Lakmé proposes a row on the river. The music of this scene is fraught with a tropical heat and midday languor—dreamy, drowsy violin tremolos that suggest the drone of bees. The two maidens begin a duet whose words—

“Ah, we'll glide

With the tide—”

are set to music that seems to sing itself. It is a fountain of melody with flowing rhythm and rippling runs, staccatos like drops of water, and trills that are light as bubbles. The singers step into the boat, and we hear their song far down the stream, soft as a shadow and lovely as a dream.

After a moment’s silence a new element comes forward—a party of English sightseers. Their appearance in Grand Opera seems to us as much an invasion as their presence in India does to the Hindu. After the costume of Lakmé, which is all spangles and bangles and gauze and fringe, we are astonished to see the modern English waistcoats, fashionable bonnets, and trailing skirts. But it is all compatible with facts and history. Gerald is an officer in the army; Ellen, his flancée, is a daughter of the Governor; the other couple are their friends, and Mrs. Benson is the chaperone.

To enter this enclosure, the party have had to force an opening in the bamboo. It is evident trespassing, but they are too unconcerned to care. ‘Their first rollicking ensemble is an interesting evidence of the composer’s ability to change from the Hindu to the English type.

Instead of weird, uncivilized cadenzas, these are plain, Christianlike harmonies, such as we have been brought up to and can anticipate. Indeed, this song recalls Arthur Sullivan in his best mood.

After inspecting the idol and various points of interest, the party discover Lakmé’s jewels. Ellen admires their workmanship, and Gerald proposes to sketch them; but Mrs. Benson urges the party away. They all go excepting Gerald, who insists on copying the jewels. He prepares his sketching materials and is apparently in haste; but true to the precepts of Grand Opera, he first sings to us a long and beautiful aria about “taking the design of a jewel.”

By the time he has sustained the last high tone through five measures, Lakmé and Mallika have finished their row upon the river. Gerald conceals himself behind a shrub as they enter. The undulating melody of their boat-song is played by the orchestra, first softly, then with increasing strength, until it ends with a sforzando chord as the boat touches shore.

Lakmé brings forward an armful of flowers as an offering to the idol, and she sings a tender little song whose pathetic melody belies the text, which constantly asserts, “I am happy.” The accompaniment is a simple violin arpeggio, swaying back and forth upon the melody like a butterfly on a flower. Between the verses it flutters up in a fanciful cadenza, but soon returns, and, alighting on the melody, it continues to sway as before.

Great is Lakmé’s indignation on perceiving Gerald, the intruder. As she goes toward him, her every step is emphasized by a resolute chord in the orchestra.

“Leave at once!’ she commands. “This ground is sacred, and I am a child of the gods!”

But Gerald has fallen hopelessly in love with the pretty priestess, and he loses no time in telling her. No one has ever dared thus to address Lakmé, and she is incensed at his boldness. She warns him that death will be the penalty of his rash trespassing unless he goes at once. But Gerald only repeats his sweeping song of infatuation.

At last, moved to admiration by his courage, Lakmé ventures to ask by what god is he inspired. Like ripples of sunlight are the next measures, wherein he tells her that the God of Love makes him fearless.

Interested in this new deity, the Hindu maiden repeats after him the sparkling words and music. She sings timidly and a tone too low, but Gerald leads his ready pupil into the right key, and they sing together with full voice this most fascinating melody. ‘The final rapturous tone has scarcely subsided when Lakmé hears her father approach.

Complying with her entreaties, Gerald departs just in time for Nilakantha to perceive the broken fence. He vows vengeance upon the profane foe who has dared to enter here. His followers second the cry, while Lakmé stands aside in fear and trembling.

Tambourines and fifes predominate in the next orchestral prelude. It is a miniature marche militaire, and unmistakably English. The second act discloses a public square filled with Indian shops and bazaars. It is the occasion of a great festival at the pagoda. Merchants and promenaders occupy the stage, and their opening chorus is all bickering and bargaining. The music is very ingenious. A free use of harmonic discords, dazzling scales that seem to clash with their bass, and chromatics that run into each other gives an effect of

Oriental extravagance—gay colors upon crumbling walls, jewels over rags.

The chorus continues until a bell announces the beginning of the festival and time for the venders to disperse. They slowly depart and give place to the ballet, without which Delibes would hardly be himself.

It is interesting to note the specialties that different composers unconsciously assume. Liszt seemed to revel in rhapsodies; while the alliteration, ““Schubert’s Songs,” comes uppermost in spite of our knowledge that he wrote some eleven hundred other compositions. Bach invented more fugues than any one else; while Handel made his most lasting impression with oratorios. Symphonies and sonatas were the life-work of Beethoven; while Chopin had a particular fancy for nocturnes. And Mendelssohn! With all deference to his greater works, it must be conceded that “Songs Without Words” are inseparably linked with his name. Verdi with his tremendous range of operas had little time for anything else. The list could be extended to almost any length; but we will only add that Czerny is known for his scale exercises and Kullak for his octaves; while Weber, in the language of a recent critic, “is famous because he invited all the world to waltz!”

But to return to Delibes and his ballets. The present one is divided into several movements—the first being slow but of throbbing rhythm, while in the second one the melody whirls and spins around like a top. ,It is constantly whipped up by the conductor’s baton, and the dizzy pace continues until this merry melody bumps against a substantial chord.

After the ballet Lakmé and her father come forward. They are disguised as pilgrim mendicants, the better to enable Nilakantha to seek out his foe. It must be understood that this Hindu thirst for vengeance is a matter of religious belief, and the music plainly impresses this fact. A weird theme that was prominent in the overture recurs as Nilakantha explains that the wrath of heaven must be appeased with the blood of a victim. He has cleverly surmised that Lakmé was the attraction inducing the stranger to trespass on sacred ground. Confident that every one will attend this great festival, the Brahmin has brought his daughter as a decoy. She plays the role of a street ballad-singer, and is at the merciless command of her father. He bids her look gay and sing with full voice so as to attract a crowd. The orchestra gives her the keynote, and then, like a necromancer performing wonders with a coin, she executes a cadenza that bewilders and dazzles the senses. Her tones soar away like carrier-birds, and they bring the people from far and near to hear the wondrous singing. When a crowd has collected, Nilakantha announces that she will sing to them the “Legend of the Pariah’s Daughter.” Lakmeé sings as easily as she talks. The first phrase is a simple little narrative about a maiden wandering at eve in the forest, fearless of beast and sprite, for she carries in her hand a little bell that wards off evil with its merry tinkling. Then follows one of the most difficult staccato fantasias in existence, for the voice imitates the tinkle of that silver bell. The tones fall fast as raindrops in a shower, round as beads and clear as crystal. The composer shows no respect or reverence for high notes. Upper B is given a “shake” and any amount of staccato raps, while even high F, that slumbering “spirit of the summit,” is also aroused to action. In fact, this aria is one of the few that can not be poorly sung. To do it at all argues doing it well. Its difficulties protect it like a barricade from attack by mediocre singers. The second verse relates how the maiden meets a stranger, who 1s saved from the surrounding wolves by the tinkle of her magic bell. This stranger was “great Vishnu, Brahma’s son’; and since then—

“In that dark wood The traveler hears Where Vishnu stood The sound of a little bell ringing.”

Soft and clear as a wood-nymph laughing, those marvelous staccatos again peal forth.

During his daughter’s performance Nilakantha has been scanning the faces around him, but none reveals any emotion other than the pleasure of listening. Furious that his plan has not succeeded, he bids Lakmé to sing it again—“‘Louder!’’ But she has suddenly perceived Gerald approaching; and, knowing that if he recognizes her he will betray himself, she does not wish to sing. She pleads and entreats, but her father is obdurate. So she begins with pouting lips and trembling voice. “Sing out! admonishes Nilakantha. As Gerald draws nearer, Lakmé becomes more and more disturbed. The pretty staccatos are all out of place, like blossoms falling to pieces. They are flat where they should be sharp, and minor instead of major; but her tones, like perfect petals, are none the less lovely because detached. Once, twice, three times she recommences, always in a higher key. Suddenly she utters a musical scream as Gerald comes up to her, and Nilakantha exclaims: “Tis he!”

In the meantime, Gerald hears the fifes and tam

bourines of his regiment and goes to answer the roll-call.

Nilakantha summons his Hindu followers and informs them that he has discovered the foe. This solo with chorus of the conspirators is minor, mysterioso, and agitato; it is the most interesting bass solo of the opera. The conspirators go off, leaving Lakmé alarmed and disconsolate. Like a faithful hound, Hadyj1, the slave, draws near to her and whispers that he has seen her tears and heard her sighs: “If you have a friend to save, confide in me.” His words are parlando, but the orchestra illumines them with music clear as a calcium light. Lakmé grasps his hand in gratitude, but motions him aside as she perceives Gerald thoughtfully returning.

The hero has left his comrades at the first opportunity and retraced his steps to the place where he left Lakme. His joy on finding her is portrayed in a musical greeting of such unbounded rapture that one key will hardly hold it. The ensuing love-duet deserves to rank with the best. But Lakmé is more sad than glad, for she knows of impending danger. She urges him to flee, and tells him of “a little cabin hidden in the forest, quite near by,” where he can hide secure from his enemies. This Cabin Song is an idyllic refrain, with gentle harmonies that picture more than the words. She urges him to follow her; but in spite of his infatuation, Gerald realizes his duty as a soldier. He dare not go.

Like dust before a tempest is the succeeding instrumental passage announcing the approach of the great procession. The notes, like atoms, are carried forward faster and higher, until they come so thick that you can not distinguish them. This cloud of music melts away before the mighty chant of the Brahmins as they march to the pagoda. Their weird incantation fills the air like

a trumpet-blast. The greater part of this processional music greets our ears familiarly, because it was given in the overture. Upon this somber background of Hindu harmonies the composer delights in casting gleams of Sullivanesque music in the form of passing remarks from the English onlookers. The contrast is startling as magic-lantern pictures thrown upon the pyramids.

As the procession marches on, we see Nilakantha point out Gerald to the other conspirators, They cautiously surround him, and at the bidden moment he is stabbed by Nilakantha, who then disappears in the crowd. On hearing the victim’s cry, Lakmé rushes forward. The stage is darkened, for it is evening, and the lights of the procession are gone. The Hindu maiden finds Gerald but slightly wounded. She calls Hadj1, the slave, and then, without further explanation on her part, the instruments whisper to us her intention. We hear the soothing harmonies of that lovely song about “a little cabin hidden in the forest quite near by.”

The second entr’acte is performed after the rising of the curtain. We see an Indian forest, dense of foliage and brilliant with flowers. At one side is a hut, half concealed by the shrubbery, and near it are Lakmé and Gerald, the latter reclining upon a bank, while she watches over him as he slumbers. No sound or movement mars the effect of a perfect picture, and beneath it all, like gold letters spelling out the subject, come the tones of that sweet melody of the Cabin Song. The conductor at his desk reminds us of an artist at his easel who, with a magic brush, traces in tone-colors this beautiful inscription.

After the entr’acte Lakmé softly sings a slumber-song, simple as a child’s prayer and as beautiful. There are

only two phrases in it, but they come and go like wandering thoughts. When Gerald awakes he recalls how he was brought here, while Lakmé relates how with wild herbs and the juice of flowers he has been restored. Their rapturous conversation is interrupted by a chorus from without, the voices of young men and maidens on their way to a fountain in the forest from whence, it is said, if two lovers drink they will always be united. Lakmé solemnly explains this beautiful belief and at once proposes to bring a cup of the water. “Wait for me,” she admonishes as she runs out, and we hear her voice mingle with the far-away chorus of the other lovers.

During her absence a comrade of Gerald’s discovers his retreat. The newcomer announces that their regiment has orders to move on, and that if Gerald does not join them he will be dishonored. This visit passes over like a modern railroad through an Arcadian temple. Poor Lakmé soon discovers the devastation. With charming faith she extends her cup of water to Gerald, but at this moment he hears the fifes and drums of his regiment. Lakmé still offers the cup. “Drink and vow to be mine!’ But Gerald does not heed her words, for he is distracted with thoughts of duty and honor. She also hears this English music.

“His love is faltering!’ she piteously cries; and then with a decision as impulsive as her nature she plucks a flower of the deadly Datura and eats it without being observed by Gerald.

She turns to him tenderly and sings of their love— a melody so gentle and pathetic that he can no longer resist. He picks up the fallen goblet, and touching it to his lips vows to love forever. They sing together a song of exaltation.

Suddenly Nilakantha breaks in upon them. He brings his followers and would kill Gerald at once, did not Lakmé rush between them: “If a victim to the gods must be offered, let them claim one in me!” In tones of ecstasy she repeats the final phrase of her love-song; but her voice soon fails, and with a sudden gasp she falls at the Brahmin’s feet—dead.

Like hot flames reaching up at him from the orchestra come the tones of his terrible vow-theme. ‘The victim has been offered, but instead of glory, only ashes fall upon him.

From Opera and its stars; a description of the music and stories of the enduring operas, and a series of interviews with the world's famous sopranos (1924) by Mabel Wagnalls (1871-1946).

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