AR THE ARCHE ARCHETYPE OF ARYAN HARMONY THE SUBSTRATA OF PROTO INDO EUROPEAN
In the Babylonian Creation Legend Aruru created Enkidu, a companion for Gilgamesh, from a piece of clay manufactured from her own spittle. Aryaman In Vedic myth one of the twelve Adityas, or guardians of the months of the year.
The Babylonian calendar was a lunisolar calendar with years consisting of 12 lunar months, each beginning when a new crescent moon was first sighted low on the western horizon at sunset, plus an intercalary month inserted as needed by decree. The calendar is based on a Sumerian (Third Dynasty of Ur) predecessor preserved in the Umma calendar of Shulgi (c. 21st century BC).The year begins in spring, and is divided into reš šatti "beginning", mišil šatti "middle", and qīt šatti "end of the year". The word for "month" was arḫu (construct state araḫ). The chief deity of the Assyrians is assigned the surplus intercalary month, showing that the calendar originates in Babylonian, and not later Assyrian times.
Armenian and Armenians have been participants in the process of global civilization from the beginning. One could go as far as to say that they have been key participants in the expansion of its horizons of civilization particularly in the intermediary zone between Europe and Asia but initially between Sumer and Asia Minor.
Armenian and Armenians have been participants in the process of global civilization from the beginning. One could go as far as to say that they have been key participants in the expansion of its horizons of civilization particularly in the intermediary zone between Europe and Asia but initially between Sumer and Asia Minor.
It is on record that Hayk the Patriarch, Progenitor of the Armenians was a participant in the idea and the initial work of the failed attempt to build around one language the axis mundi we know as the 'Tower of Babylon'. That said the sixty-four-thousand dollar question why Hayk and extended 300 (clan, blood-brothers committed by an oath)-their wives and children made the conscious decision to turn their backs on the project and move out in the still of night and what the significance of this move is to the creation of a new order, a new language, a new ethos, an alternative model that only today is being challenged as an unworkable mindset for a civilized global community living in 'Harmony.
Armenia and multilingual Armenians have been a part of the Global conversation for 4500 thousand years, naturally participating and contributing above their apparent size with courage nobility, wisdom and experience in their unique capacity within every civilized ordered culture.
Looking into the origin of the Armenian in legend we find a simple story told of their patriarch Hayk who's name is synonymous with the Hay the endonym chosen by the initial Argot of 300 on the fated day of the exodus (fixed firmly on the 10th of August 2492 BCE).
Looking into the origin of the Armenian in legend we find a simple story told of their patriarch Hayk who's name is synonymous with the Hay the endonym chosen by the initial Argot of 300 on the fated day of the exodus (fixed firmly on the 10th of August 2492 BCE).
One naturally wonders knowing all cultures have a sell by date, so to speak, how the Armenians managed to survive against all the odds, how today in the year 2022 AD the subconscious of all Armenians is still driven so passionately and assuredly forward into the unknown, into oblivion.
Obviously the Armenian language which has galvanized the culture and survived for 4500 years has everything to do with it, yet, for reasons beyond my comprehension, scholars have yet to decode the underlying structure.
Obviously the Armenian language which has galvanized the culture and survived for 4500 years has everything to do with it, yet, for reasons beyond my comprehension, scholars have yet to decode the underlying structure.
To help understand a culture one must first trace the foundation of the structure, starting with the roots of the language which have held the community in an ordered civilised state as in a superorganism for a relatively long time. A structuralist would say that one must first find the signifier in the language for the manifestation, life and position the ontological process in time and space, at ground zero, the first point and the last, the beginning and end.
One must also trace the word, the sound, the signifier for the vertical line between the above heaven and below earth; their Axis Mundi; their Tree of life and Knowledge. GIANK/LIFE
As in the Alpha and Omega, in Christianity, the first and last letters of the Greek alphabet, which are used to designate the comprehensiveness of God, implying that God includes all that can be. RMN of the Armenian implies, designates or signifies the comprehensiveness of 'eternal life' implying that 'life eternal' includes all that can be. In the Armenian language the term Hay is used as the ontological self-designation of ArmenianThis monologue will attempt to bring to light, out of the shadows, the structure, by decoding the root meanings of the names 'Armenian' and 'Hay' to start with. To do that I must start at the beginning, with the first, knowing that every beginning including the big bang is a 'GIVEN' and it is my understanding that language itself, when applied to a purpose, must, like a tool, be designed for that purpose.
If we agree that civilization is simply the result of a conscious attempt of a group of individual organisms to mimic a superorganism, then we have to agree that the creation of a designer language is vital for the success of the venture.
That said I would like the reader to contemplate the words Civilization, Superorganism, and Harmony for I will show further down this monolog how Armeni/Armenian and Harmony are cognate in PIE.
Ar in the Armenian language represents what the Greeks named in theirs the Arche which translates to English as the 'first manifestation,' the first ray of light, the first event, the first born, or the first mover, or phenomenon, that clearly demonstrates or embodies a beginning.
In the manifestation of an ordered ancient Armenian language or speech, the syllable Ar, clearly audible to the ear became the 'sign' (speaking in semiotic terms) that signified a beginning. Ar in the Armenian language was designed to represent what we recognise as the 'given'' Without a given there is no beginning, thus no middle or end and in personal interaction or interpersonal communication there has to be an alpha and an omega.
Ar in the Armenian language represents what the Greeks named in theirs the Arche which translates to English as the 'first manifestation,' the first ray of light, the first event, the first born, or the first mover, or phenomenon, that clearly demonstrates or embodies a beginning.
In the manifestation of an ordered ancient Armenian language or speech, the syllable Ar, clearly audible to the ear became the 'sign' (speaking in semiotic terms) that signified a beginning. Ar in the Armenian language was designed to represent what we recognise as the 'given'' Without a given there is no beginning, thus no middle or end and in personal interaction or interpersonal communication there has to be an alpha and an omega.
The syllable, Ar is an abstraction that represents in sound the gesture that accompanies the act of giving. In grammar Ar is said to be a 'root verb' that translates to English as 'take'.
The act, the gesture like the sound of giving when visualised by the mind becomes a 'given'. Like life itself we accept as a given, thus it represents the most relevant sound, for it is a god given, a beginning, the starting point Ar.
Ar is the defined first mover the starting point of any and every interpersonal interaction give and take.
Ki which is the suffix of the prefix Ar in the Greek word Arche, for in Greek later Latin Ki altered to Xi and or Chi has been a difficult root verb for scholars to figure out. The exact meaning of the word and its meaning turns up early in the name EnKi. 'En' is translated as a title equivalent to "lord"; it was originally a title given to the High Priest; Gi not Ki means "earth"; there are theories that ki in this name has another origin, yet of unknown meaning.
Ki was the earth goddess in Sumerian religion, chief consort of the sky god An. An-shar ("Sky Pivot") and Ki-shar translate to ("Earth Pivot"), earlier personifications of heaven and earth united. An early name for the concept we know as the Axis Mundi. An and Ki the two ends of the vertical it was said united and gave birth to the Anunnaki, the most prominent of these deities being Enlil, god of the air/atmosphere. According to legends, heaven and earth were once 'inseparable' until Enlil was born; Enlil cleaved heaven and earth in two. An carried away heaven and Ki stayed put on earth. It is in this unity between heaven and earth that I see the meaning of the Syllable Ki, representing the earth axis, later in Armenia the Tree of Life and knowledge the Juniper tree. The gods were believed to live in Heaven, but also were represented in their temples on earth. The vertical, the axis was seen as the channel of communication between Earth and Heaven, which allowed mortals access to the gods. The Ekur temple in Nippur like the later Tower of Babylon was known as the "Dur-an-ki", the "mooring-rope" or Dur/Door to heaven from earth. The original was widely thought to have been built and established by Enlil himself.
Synonyms of the word Manifestation are words like abstract, avatar, embodier, embodiment, epitome, externalization, genius, icon (also ikon), image, incarnation, incrmenianorporr taation, instantiation, objectification, personification, personifier. Denotation, Connotation and Myth
The world egg, cosmic egg or mundane egg is a mythological motif found in the cosmogonies of many cultures that is present in Proto-Indo-European culture[1] and other cultures and civilizations. Typically, the world egg is a beginning of some sort, and the universe or some primordial being comes into existence by "hatching" from the egg, sometimes lain on the primordial waters of the Earth.
As in a given in math, or a given in a name is a known or independently determined, Specified, fixed, granted as a supposition; acknowledged or assumed. Ar in Armenian language takes precedence when a species is given a name as in Armenian taxonomic names Lion Eagle Scorpion Bear etc. always the first of a type or a specimen when described formally, in a given a priori publication that assigns it a unique scientific name, a given.
Ar in the Armenian speech is the first given the first point, marks the position in time and space. The beginning.
Phanes /ˈfeɪˌniːz/ (Ancient Greek: Φάνης, romanized: Phánēs, genitive Φάνητος) or Protogonus /proʊˈtɒɡənəs/ (Ancient Greek: Πρωτογόνος, romanized: Prōtogónos, lit. 'first-born') was the mystic primeval deity of procreation and the generation of new life, who was introduced into Greek mythology by the Orphic tradition; other names for this Classical Greek Orphic concept included Ericapaeus /ˌɛrɪkəˈpiːəs/ or Erikepaios (Ancient Greek: Ἠρικαπαῖος/Ἠρικεπαῖος, romanized: Ērikapaîos/Ērikepaîos, lit. 'power') and Metis ("thought").
The world egg, cosmic egg or mundane egg is a mythological motif found in the cosmogonies of many cultures that is present in Proto-Indo-European culture[1] and other cultures and civilizations. Typically, the world egg is a beginning of some sort, and the universe or some primordial being comes into existence by "hatching" from the egg, sometimes lain on the primordial waters of the Earth.
Protogonos (First-Born) and Eros (Love)—being the seed of gods and men—Phanes means "to bring light" or "to shine" and is related to the Greek "to shine forth" as well as the Latin "Lucifer". An ancient Orphic hymn addresses him thus: Ineffable, hidden, brilliant scion, whose motion is whirring, you scattered the dark mist that lay before your eyes and, flapping your wings, you whirled about, and through this world you brought pure light.
Eggs symbolize the unification of two complementary principles (represented by the egg white and the yolk) from which life or existence, in its most fundamental philosophical sense, emerges.
Eggs symbolize the unification of two complementary principles (represented by the egg white and the yolk) from which life or existence, in its most fundamental philosophical sense, emerges.
Hiraṇyagarbha (Sanskrit: हिरण्यगर्भः ; literally the 'golden womb', poetically translated as 'universal womb') which is conceived as the source, the abstracted creation of the manifested cosmos in Vedic philosophy, as well as an avatar of Vishnu in the Bhagavata Purana.
In classical Purāṇic Hinduism, Hiraṇyagarbha is the term used in the Vedanta for the "creator". Hiraṇyagarbha is also Brahmā, so called because it is said he was born from a golden egg (Manu Smṛti 1.9), while the Mahābhārata calls it the Manifest.
The Manusmṛiti (Sanskrit: मनुस्मृति), also known as the Mānava-Dharmaśāstra or Laws of Manu, is believed to be the first ancient legal text and constitution among the many Dharmaśāstras of Hinduism. In ancient India, the sages often wrote their ideas on how society should run in the manuscripts.
The Upanishad calls it the Soul of the Universe or Brahman,[3] and elaborates that Hiraṇyagarbha floated around in emptiness and the darkness of the non-existence for about a year, and then broke into two halves which formed the Svarga and the Pṛthvi.
Manifestation in an occult sense is a phenomenon, specifically a materialization from nothing.
Manifestation could also mean a public demonstration of power and purpose, like meetings, parades, and other such manifestations.
Manifestation could also mean a public demonstration of power and purpose, like meetings, parades, and other such manifestations.
Ar in ancient Armenian and Arche from ancient Greek ɑːrki; ἀρχή; have exactly the same primary senses "beginning", "origin" or "source of first action" (ἐξ ἀρχῆς: from the beginning, οr ἐξ ἀρχῆς λόγος: the original argument), and later "first principle" or "element". By extension, it may mean "first place", "method of government", "empire, realm", "authorities" (in plural: ἀρχαί), "command". The first principle or element corresponds to the "ultimate underlying substance" and "ultimate demonstrable principle".
THE DEFINED ORIGIN OR ROOT OF A THING THAT EXISTS, A PHENOMENON
In the philosophical language of the archaic period (8th to 6th century BC), arche (or archai) designates the source, origin or root of things that exist.
In the Orphic cosmogony, eternal Chronos/Time produced Aether and Chaos and made in divine Aether a silvery egg, from which everything else appeared.
In the mythological cosmogonies of the Near East, the universe is formless and empty and the only existing thing prior to creation was the water abyss. I understand watery abyss to mean the collective unconscious. In the Babylonian creation story, Enuma Elish, the primordial world is described as a "watery chaos" from which everything else appeared. The "everything else" that "appeared" can only be referring to the "order and justice" that man superimposed on "Reality/SpaceTime". This is similar ito the description in the Book of Genesis where we start with the spirit of God moving upon the dark face of the waters, the collective unconscious, then we go into the first creation with "let there be".
In the Hindu cosmology, which is similar to the Vedic cosmology, in the beginning there was nothing in the Universe but darkness. The self-manifested being created the primordial waters and established his seed into it. This turned into a golden egg (Hiranyagarbha) from which everything else appeared.
The heritage of Greek mythology already embodied the desire to articulate reality as a whole and this universalizing impulse was fundamental for the first projects of speculative theorizing. It appears that the order of "being" was first imaginatively visualized before it was abstractly thought.[10] In the ancient Greek philosophy, arche is the element and the first principle of existing things. This is considered as a permanent substance or nature (physis) either one or more which is conserved in the generation of rest of it. From this all things first come to be and into this they are resolved in a final state. This source of entity is always preserved. (Aristotle-Metaph.A, 983, b6ff). Anaximander was the first philosopher that used arche for that which writers from Aristotle onwards called "the substratum" (Simplicius Phys. 150, 22).[11] The Greek philosophers ascribed to arche divine attributes. It is the divine horizon of substance that encompasses and values all things.
The concept of an archetype (/ˈɑːrkɪtaɪp/; from Greek: ἄρχω, árkhō, 'to begin' + τῠ́πος, túpos, 'sort, type') appears in areas relating to behavior, historical psychology, and literary analysis. An archetype can be:
a statement, pattern of behavior, prototype, "first" form, or a main model that other statements, patterns of behavior, and objects copy, emulate, or "merge" into. Informal synonyms frequently used for this definition include "standard example," "basic example," and the longer-form "archetypal example;" mathematical archetypes often appear as "canonical examples."
the Platonic concept of pure form, believed to embody the fundamental characteristics of a thing.
a collectively-inherited unconscious idea, a pattern of thought, image, etc., that is universally present, in individual psyches, as in Jungian psychology
a constantly-recurring symbol or motif in literature, painting, or mythology. This definition refers to the recurrence of characters or ideas sharing similar traits throughout various, seemingly unrelated cases in classic storytelling, media, etc. This usage of the term draws from both comparative anthropology and from Jungian archetypal theory.
Archetypes are also very close analogies to instincts, in that, long before any consciousness develops, it is the impersonal and inherited traits of human beings that present and motivate human behavior.[1] They also continue to influence feelings and behavior even after some degree of consciousness developed later on.
The word archetype, "original pattern from which copies are made," first entered into English usage in the 1540s.[2] It derives from the Latin noun archetypum, latinisation of the Greek noun ἀρχέτυπον (archétypon), whose adjective form is ἀρχέτυπος (archétypos), which means "first-molded",[3] which is a compound of ἀρχή archḗ, "beginning, origin",[4] and τύπος týpos, which can mean, amongst other things, "pattern", "model", or "type".[5] It, thus, referred to the beginning or origin of the pattern, model or type.
Archetypes in literature
Function
Usage of archetypes in specific pieces of writing is a holistic approach, which can help the writing win universal acceptance. This is because readers can relate to and identify with the characters and the situation, both socially and culturally. By deploying common archetypes contextually, a writer aims to impart realism to their work.[7] According to many literary critics, archetypes have a standard and recurring depiction in a particular human culture or the whole human race that ultimately lays concrete pillars and can shape the whole structure in a literary work.[citation needed]
Story archetypes
Christopher Booker, author of The Seven Basic Plots: Why We Tell Stories, argues that the following basic archetypes underlie all stories: Overcoming the Monster; Rags to Riches; The Quest; Voyage and Return; Comedy; Tragedy; Rebirth
These themes above coincide with the characters of Jung's archetypes.The concept of psychological archetypes was advanced by the Swiss psychiatrist Carl Jung, c. 1919. Jung has acknowledged that his conceptualization of archetype is influenced by Plato's eidos, which he described as "the formulated meaning of a primordial image by which it was represented symbolically." According to Jung, the term archetype is an explanatory paraphrase of the Platonic eidos, also believed to represent the word form. He maintained that Platonic archetypes are metaphysical ideas, paradigms, or models, and that real things are held to be only copies of these model ideas. However, archetypes are not easily recognizable in Plato's works in the way in which Jung meant them. Likewise symbolic abstract language
In the philosophical language of the archaic period (8th to 6th century BC), arche (or archai) designates the source, origin or root of things that exist.
In ancient Greek philosophy, Aristotle foregrounded the meaning of arche as the element or principle of a thing, which even if undemonstrable and intangible in itself, provides the conditions of the possibility of that thing.
In the mythical Greek cosmogony of Hesiod (8th to 7th century BC), the origin of the world is Chaos, considered as a divine primordial condition, from which everything else appeared.
In the mythical Greek cosmogony of Hesiod (8th to 7th century BC), the origin of the world is Chaos, considered as a divine primordial condition, from which everything else appeared.
In the creation, the divine primordial condition "chaos" is imagined as a gaping-void, later the word is used to describe the space between the earth and the sky, after their separation. My understanding of the word "Chaos" is the condition of everything before man put order to things, to some it meant infinite space, or a formless matter which could not be differentiated.
In the Orphic cosmogony, eternal Chronos/Time produced Aether and Chaos and made in divine Aether a silvery egg, from which everything else appeared.
In the mythological cosmogonies of the Near East, the universe is formless and empty and the only existing thing prior to creation was the water abyss. I understand watery abyss to mean the collective unconscious. In the Babylonian creation story, Enuma Elish, the primordial world is described as a "watery chaos" from which everything else appeared. The "everything else" that "appeared" can only be referring to the "order and justice" that man superimposed on "Reality/SpaceTime". This is similar ito the description in the Book of Genesis where we start with the spirit of God moving upon the dark face of the waters, the collective unconscious, then we go into the first creation with "let there be".
In the Hindu cosmology, which is similar to the Vedic cosmology, in the beginning there was nothing in the Universe but darkness. The self-manifested being created the primordial waters and established his seed into it. This turned into a golden egg (Hiranyagarbha) from which everything else appeared.
The heritage of Greek mythology already embodied the desire to articulate reality as a whole and this universalizing impulse was fundamental for the first projects of speculative theorizing. It appears that the order of "being" was first imaginatively visualized before it was abstractly thought.[10] In the ancient Greek philosophy, arche is the element and the first principle of existing things. This is considered as a permanent substance or nature (physis) either one or more which is conserved in the generation of rest of it. From this all things first come to be and into this they are resolved in a final state. This source of entity is always preserved. (Aristotle-Metaph.A, 983, b6ff). Anaximander was the first philosopher that used arche for that which writers from Aristotle onwards called "the substratum" (Simplicius Phys. 150, 22).[11] The Greek philosophers ascribed to arche divine attributes. It is the divine horizon of substance that encompasses and values all things.
The concept of an archetype (/ˈɑːrkɪtaɪp/; from Greek: ἄρχω, árkhō, 'to begin' + τῠ́πος, túpos, 'sort, type') appears in areas relating to behavior, historical psychology, and literary analysis. An archetype can be:
a statement, pattern of behavior, prototype, "first" form, or a main model that other statements, patterns of behavior, and objects copy, emulate, or "merge" into. Informal synonyms frequently used for this definition include "standard example," "basic example," and the longer-form "archetypal example;" mathematical archetypes often appear as "canonical examples."
the Platonic concept of pure form, believed to embody the fundamental characteristics of a thing.
a collectively-inherited unconscious idea, a pattern of thought, image, etc., that is universally present, in individual psyches, as in Jungian psychology
a constantly-recurring symbol or motif in literature, painting, or mythology. This definition refers to the recurrence of characters or ideas sharing similar traits throughout various, seemingly unrelated cases in classic storytelling, media, etc. This usage of the term draws from both comparative anthropology and from Jungian archetypal theory.
Archetypes are also very close analogies to instincts, in that, long before any consciousness develops, it is the impersonal and inherited traits of human beings that present and motivate human behavior.[1] They also continue to influence feelings and behavior even after some degree of consciousness developed later on.
The word archetype, "original pattern from which copies are made," first entered into English usage in the 1540s.[2] It derives from the Latin noun archetypum, latinisation of the Greek noun ἀρχέτυπον (archétypon), whose adjective form is ἀρχέτυπος (archétypos), which means "first-molded",[3] which is a compound of ἀρχή archḗ, "beginning, origin",[4] and τύπος týpos, which can mean, amongst other things, "pattern", "model", or "type".[5] It, thus, referred to the beginning or origin of the pattern, model or type.
Archetypes in literature
Function
Usage of archetypes in specific pieces of writing is a holistic approach, which can help the writing win universal acceptance. This is because readers can relate to and identify with the characters and the situation, both socially and culturally. By deploying common archetypes contextually, a writer aims to impart realism to their work.[7] According to many literary critics, archetypes have a standard and recurring depiction in a particular human culture or the whole human race that ultimately lays concrete pillars and can shape the whole structure in a literary work.[citation needed]
Story archetypes
Christopher Booker, author of The Seven Basic Plots: Why We Tell Stories, argues that the following basic archetypes underlie all stories: Overcoming the Monster; Rags to Riches; The Quest; Voyage and Return; Comedy; Tragedy; Rebirth
These themes above coincide with the characters of Jung's archetypes.The concept of psychological archetypes was advanced by the Swiss psychiatrist Carl Jung, c. 1919. Jung has acknowledged that his conceptualization of archetype is influenced by Plato's eidos, which he described as "the formulated meaning of a primordial image by which it was represented symbolically." According to Jung, the term archetype is an explanatory paraphrase of the Platonic eidos, also believed to represent the word form. He maintained that Platonic archetypes are metaphysical ideas, paradigms, or models, and that real things are held to be only copies of these model ideas. However, archetypes are not easily recognizable in Plato's works in the way in which Jung meant them. Likewise symbolic abstract language
This week, I wanted to do something with eggs. Eggs don’t really need their symbolism explained, but some of you might not know that The Cosmic Egg plays a major role in many creations myths. It occurs as a motif among the Celts, Greeks, Egyptians, Phoenicians, Canaanites, Tibetans, Hindus, Vietnamese and Chinese. The egg is complete and self-contained, holding within itself all things. It only needs brooding – that is to say, love, tenderness, warmth, attention and recognition. Something has to want it to hatch.
If I use this collage for self-analysis, I would say there is something in me wanting to be born that needs my attention and desire to bring it forth.
The cultures listed above have vastly different interpretations of how the egg came to be – it may have risen mysteriously from the sea or a white lake; or been vomited up; or laid, or whispered into being by a dragon. Some say the egg is the Primal Spirit that arises out of the “sounding vibration” of the universe. How ere it be, the egg is the first differentiation that follows Chaos – everything – earth, air, fire and water; Heaven and Earth, the Sun and Moon, arise from its hatching.
The egg holds within itself the dualities of the feminine masculine and masculine, egg and sperm. Or as The alchemical Axiom of Maria Prophitessa says: One becomes two, two becomes three, and out of the third comes the one as the fourth.
Looking at the collage you could say that out of the one egg arose the masculine and feminine which produced the man-child who became the fourth. As you can see he is holding three birds. Of course, that isn’t what I intended at all; my only intention was to begin with an egg. However, as a student of symbols I am familiar with the language of alchemy. Who knows what strange amalgam of knowledge and preference made me choose these images, which may have been sitting in my files for years?
The boy reminds me of the images of the Minoan priestess holding snakes with a cat on her head 
and also of the mysterious boy child Zagreus who may have been the son of Persephone and Hades. It is hinted that he appears as a symbol of rebirth in the Orphic Mysteries. As the venerable riddle demonstrates, eggs are all about rebirth – “Which came first the chicken or the egg?”
I chose the flower because I wanted to add something lush and beautiful. I tried a number of images but this one with its trailing sepals seemed chthonic and earthy as well as beautiful and alive. I liked the funereal tinge it seemed to provide; the reminder that death is part of the mix.
By the time I got to the flower I was already thinking about ancient Greeks and Minoans – so this wasn’t as instinctive a choice as the others, but the collage work really starts to get fun for me when both sides of my brain are collaborating and playing off each other. Of course, my internal symbols librarian had to 
put her two cents in, demanding a snake. Eggs and snakes are ancient associates of each other. The Celtic Cosmic Egg was born of a snake. Like eggs, snakes are symbols of rebirth. And, of course, snakes lay eggs themselves. Who can forget the famous fierce fight to the death between the mongoose Rikki-Tikki-Tavi and the serpent Nagina in which, with the help of a courageous bird, he saves the boy Teddy by capturing the cobra’s last egg and taunting her with it …
Yikes! I’m off on another by-way, into another story; association leads to association, always with a thread of logic connecting them. Today, the threads seem to be eggs, snakes, death, and the very word ‘mongoose!’
For me, creating a piece of art, crafting a poem or evolving a ritual connects the dots between images, ideas and insights I’ve been filing away for years. I’m constantly grateful and excited that these miraculous psyches of ours allow for such an exponential expansion of creativity. Isn’t it amazing we humans come with a built-in entertainment system?
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