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Herein lie the "Lost" Boreas Files by Rockessence

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Author Topic: Herein lie the "Lost" Boreas Files by Rockessence  (Read 13518 times)
Janna Britton
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« Reply #120 on: November 16, 2008, 03:31:09 am »

It was against the backdrop of this religious fanaticism and persecution that the Renaissance movement was born - an era of rebirth and resurrection, facilitated by an environment of democratic free-thinking. This era (with its height in the early 1500s) was the age when Leonardo da Vinci, Raphael and Michelangelo developed the harmony of classical art to its highest form. And it was the age in which the excitement of pagan- oriented scholarship re-emerged in a burst of colour to cross new frontiers of science, architecture and design.
During the course of this, in 1614 and 1615, two tracts, entitled The Rosicrucian Manifestos, emerged from Germany. These were immediately followed by an associated romance called The Chemical Wedding, written by the Lutheran pastor Johann Valentin Andreae. The publications announced a new Age of Enlightenment and Hermetic liberation in which certain universal secrets would be unlocked and made known.
In view of the advent of Britain's scientific Royal Society and the inspired work of Isaac Newton, Robert Boyle, Robert Hooke, Edmund Halley, Christopher Wren and others a few decades later, the prophecies were correct enough but, at the time, they were veiled in allegory and appeared to convey an even more pertinent message.
The writings centred upon the travels and learning of a mysterious character named Christian Rosenkreutz, a Brother of the Rosy Cross. His name was plainly designed to have Rosicrucian significance, and he was depicted wearing the apparel of the Knights Templars.
The action of The Chemical Wedding takes place in the magical Castle of the Bride and Bridegroom - a palace filled with lion effigies, where the courtiers are students of Plato. In a setting worthy of any Grail romance, the Virgin Lamplighter arranges for all present to be weighed on the scales, while a clock tells the motions of the heavens and the Golden Fleece is presented to the guests. Music from strings and trumpets is played throughout, and all is cloaked in an atmosphere of chivalry, while Knights in Holy Orders preside.
Beneath the castle stands a mysterious sepulchre bearing strange inscriptions, and outside in the harbour are twelve ships of the Golden Stone, flying their individual flags of the Zodiac. Amid this curious reception, a fantasy play is conducted to tell the compelling story of an unnamed princess who, cast ashore in a wooden chest, is discovered by a prince, whom she marries, thereby causing a usurped royal heritage to be restored.
This is another Lost Bride fairy story of the type we have already seen. But, when combined with the two earlier publications, The Chemical Wedding's Grail significance was blatantly obvious, and the Church wasted no time in bringing the full weight of its condemnation against the Rosicrucian movement.

Having considered the historical Fairies, Pixies and Elves, we can now take a look at some others of the so-called Shining Ones: the Sprites, Goblins and Gnomes.
The definition of "sprite" is no more nor less than a "spirit person" - one of the transcendental realm of the Sidhé. The original Sprites were the ancient Scythian ghost warriors who painted their bodies grey-blue to look like corpses when they entered the battlefield.
In Shakespeare's A Midsummer Night's Dream, the character Puck is described as a "sprite", and in traditional English wood lore Puck is identified with a certain Robin Goodfellow who was said to be a "goblin". His father was Herne the Hunter. Hence, Oberon and Herne are one and the same. The name Oberon (a variant of Albrey the Elf King, as we have seen) is itself a derivative of the Scythian Oupire (meaning "over") and Ron (meaning "reign"). Oberon, therefore, means "Over Reign", which is the same as High King or Pendragon.
The description of "goblin" stems immediately from the Germanic word kobelin, and the
kobelins were said to be mine-workers or those who worked underground. In the context of the Ring culture, goblins were, in essence, attendants of the Oupire Portal Guardians of the Rath - the mound-dwellings of the Tepes gateways to the ancestral Netherworld - and they were just as human as the Oupires themselves.
Gnomes, like Goblins, were said to be the guardians of the underground treasures - which is why the word is today associated with banking, as in the so-called "Gnomes of Zurich". The word root is in the Greek equivalent of gno-, from which we get "gnosis" and "gnoble" ("noble"). The Gnomes were therefore, once again, of the noble race and were referred to as "the Wise Ones". Their job was indeed one of guardianship: they were guardians of the gnosis (the knowledge) and the Sacred Bloodline of the Albi-gens. It is by way of the noble (or gnomic) distinction that the Fairy Race in general was referred to as the Gentry - particularly the Druidic caste of the Pict-sidhé (the Pixies) who were the ultimate custodians of law and culture. Their female counterparts were the Behn-sidhé (the Banshee), which, in old Irish, simply means "the Wise Women".
In life, when presented with a seemingly unsurmountable problem, one can either submit to the stress and pressure that it causes or, alternatively, one can mentally diminish the problem. That does not mean that it goes away, but it can appear less harassing and more controllable.
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