Five-Minute "That Old Black Magic"
Friday, May 11, 2007
D'Argo: Isn't this a wonderful stage in my life? I get to visit a crowded planet in the middle of the Uncharted Terrorities to look for medicine for Rygel.Zhaan: I've had quite enough of your whining....D'Argo: Sometimes I ask myself, "What is it all for? What is the meaning of my existence?" Now, at last, I know the answer: my purpose, my destiny is to find medicine for Rygel. There can be no greater calling for a Luxan warrior.Zhaan: Oh, be quiet! Why do you bother carrying a sword when you could easily kill your enemies with this sarcasm?
Igg: I know stuff about you. Come see my non-evil master or I'll tell the world.Crichton: Oh yeah? What stuff exactly do you know?Igg: Oh, just a few little things... such as your extensive history of watching Coronation Street....Crichton: Lead the way.
Haloth: Welcome to my lair. My "assistant," who was not just me in disguise, is elsewhere.Crichton: So you're a magical pixie who can give me three wishes?Haloth: One. Budget cuts.Crichton: Very well: I wish Crais would quit chasing me.Haloth: Which he'll do after he kills you, right?Crichton: Well, yeah, but... oh, crap.
Aeryn: Oh no! Crichton's down!Zhaan: Try giving him mouth-to-mouth.Aeryn: Why me?Zhaan: Have you ever heard of a Crichton/Zhaan 'shipper?
Admiral Josbek: (over the comm) ....and so you are ordered to turn around and leave the Uncharted Territories, effectively ending the series. Heh heh. Right.Teeg: I'll go set the new course.Crais: No no, you didn't understand. That was a special order. We don't have to obey special orders.Teeg: How can you tell the difference?Crais: Well, special orders are the ones I don't want to --
Crais: -- follow. Hey! Where am I?Maldis: Welcome to my lair. "Haloth," who was not just me in disguise, is elsewhere. But look who is here!Crichton: Um... hi?Crais: YOU! Chaaaaarge!Crichton: This is the worst pixie-wish outcome ever.
Liko: Perhaps I can help you suckers. I was once a high priest of something.D'Argo: Wayism?Liko: No. But I'll gladly help your blue babe learn my techniques.Aeryn: Wayist techniques?Liko: No! If you want Wayism, go see that guy over there!Rev Bem: Ohhhh no you don't. You always saddle me with the weirdos.
Aeryn: Guard Crichton's corpse-ish thing, Rygel.Rygel: One of you had better have brought my medicine.D'Argo: Here... this'll either cure or kill you.Rygel: They didn't tell you which?D'Argo: I didn't ask.
Crais: DIE! DIE! DIEDIEDIE--Crichton: No. Instead, I'll show my mercy by passing up a chance to kill you.Crais: I take it that by "mercy" you mean "idiocy."Crichton: Well, duh.
Liko: Hurt this bird.Zhaan: Do I have to?Liko: Yes.D'Argo: May I?Liko: No! Boy, are you people dense....
Crais: Uh oh -- a big circular fire. I wish I were smart enough to think of going around it.Crichton: Well, you're not. Now allow me to explain: your brother's death was a big fat accident.Crais: Oh? Got any evidence?Crichton: Er, evidence... yes... um... of... course...."Tauvo's Ghost": Crichton killed me! He killllllllllled meeeeeeee!Crais: ARRRGH! Crichton must die!Crichton: Crais, don't be stupid! That wasn't a real ghost....Casper: Am too. Hey, it pays the bills.
Zhaan: I've dropped out of Liko's course. He was making me hurt stuff.Aeryn: Good call. Wanna help D'Argo and me?D'Argo: We're planning to go hurt stuff.Zhaan: Sigh.
Crichton: An obstacle-filled room where we can talk without being in striking distance... is this fortress well-designed or what?Crais: Whatever. I'll just talk about killing you.Crichton: Look, dolt, I'll say it again: I didn't ice your brother on purpose.Crais: Who cares? At this point I want you dead just for being your annoying, slang-filled self.
Crichton: I've figured out what you really are.Maldis: Then put away that garlic-scented crucifix and tell me what.Crichton: I invite you to guess.
Liko: You're back. Good. Now hurt the stupid bird already.Zhaan: Look, can't we at least hurt someone who deserves it?Rygel: (over the comm) You two both suck. Just thought I'd mention that.Liko: Yes, Zhaan. Yes, we can.
Crichton: Look, can we just truce for a few minutes?Crais: Sure.Crichton: Good. Now -- OWW! What kind of lousy truce is this?Crais: You said "truce"? I thought you said "slam Crichton in the face with a pipe."
Aeryn: Maybe we can get into the fortress by overloading my huge rifle.D'Argo: Gee, great idea -- disarm yourself.Pilot: (over the comm) You two know I'm sensitive about that word!D'Argo: Not till next week, you imbecile!Pilot: Ah yes. My mistake.
Rygel: This is great. One quick "funeral" and I get all of Crichton's stuff.Crichton's Ghost: Begone! Or I shall haunt you to the end of your daaaaaaaaaaaaays!Rygel: Casper, Casper, Casper... you'll take any job nowadays. Where's your dignity?Casper: I gave up on that when they started making the live-action movies.
Maldis: You know, if you killed Crais, I'd let you go.Crichton: Let's think about this, shall we? We've established that you feed on death and that I and my friends are powerless against you. Therefore, rather than killing me, of course you'd let me go. That makes perfect sense.Maldis: Okay, so logic isn't one of my priorities.
Liko: Well, you're ready now, so let's go fight Maldis. My mind to your mind....Zhaan: I'm getting a headache.Liko: That's normal.
Crais: If you're finally done trying to talk sense into my big dumb head, let's finally get back to beating each other up.Crichton: Oh, all right.Crais: Cool. DIE! DIE! DIEDIEDIE--Crichton: Hey, where'd he go?Maldis: Back to his ship, which I want. See, now he's guaranteed to keep chasing you.Crichton: What? That's preposterous! Not only was he already determined to kill me, but nothing that happened here gave him any more reason to!Maldis: Look, I told you about me and logic.
Zhaan: Fry, jerk-boy! BWAHAHAHAHA!Maldis: Um, excuse me? I believe I'm the villain here.Zhaan: Then who am I shooting?Crichton: YEAAAAAAAAGH!Zhaan: Oh no! Sorry, John. It's been a while since I've done the "violence" thing.
Rygel: Oh crap, you're alive! I mean, welcome back.Crichton: Are you wearing my shirt?Rygel: Of course not. I traded for this one.Crichton: It says IASA.Rygel: Coincidence.
Zhaan: Uh oh... that exertion killed you for some reason.Liko: Correction, my dear: no reason.
Teeg: Welcome back. How do you feel?Crais: Like killing Crichton -- even more than before.Teeg: That makes no sense, as was already explained.Crais: Yeah, but we can't let Maldis's plan go to waste. And you die for complaining.
Aeryn: Well done, you warrior, you.Zhaan: Waaaaaaaaaaaaaaaa!Aeryn: What's with her?D'Argo: You called her a warrior. You don't want to know what that means in her language.
Crichton: So, are you okay?Zhaan: Shut up or I'll rip your arm off.Pilot: (over the comm) Watch out -- she's not kidding!(Moya starbursts off at Ludicrous Speed)
THE END
www.fiveminute.net/farscape/fiver.php?ep=thatoldblackmagic
posted by VICKY @ 7:24 PM, ,
CURSE REMOVAL SPELLS. (CURSE REMOVAL SPELL)
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posted by VICKY @ 7:22 PM, ,
THE MYSTICAL MEDITATION DIAGRAM: THE SHRI YANTRA
In
addition to visual representations based upon narratives and myths, it is also
helpful in introducing Indic material to focus on geometrical abstractions used
for purposes of meditation. The use of mystical diagrams and/or mandalas is
common to Hindu, Buddhist and Jain traditions and can be a useful device for
giving students a sense of what meditation is like. It is also a useful way of
introducing certain basic concepts or notions. Perhaps the most well known
device of this kind is what is known as the
SHRI YANTRA. The term "Yantra" comes from the root, yam, meaning "to
retrain or discipline" together with the suffix "tra," meaning a "vehicle
for"--hence, "Yantra" means a "vehicle for restraining or disciplining." It is
cognate, in other words, with the most important term in all of India’s
spirituality, namely, YOGA, which comes from the root, yuj, meaning "to harness
or yoke or restrain."
The Shri Yantra as a mystical diagram for meditation is probably fairly late,
deriving from the later centuries of the first millenium of the Common Era (c.
5th century or later) and utilized largely in Tantric environments.
Undoubtedly, of course, there were examples of meditation diagrams (probably
simpler in their design) from earlier centuries as well. The practice of
drawing complex designs on the ground or on walls is common in village life the
world over, frequently for magical purposes but also for purposes of celebration
and focussing attention on a particular portion of space or an auspicious moment
in time.
Closely
related to the symbolic significance of the geometrical components of the Shri
Yantra are the meditation visualizations related to the theory of CHAKRAS. The
term "chakra" means "wheel" or "circle" and refers to a set of energy centers in
the body, running through the nervous system from the lower spine in the region
of the anus to the region of the head or brain. Six such centers are most
commonly mentioned, again deriving primarily from Tantric environments (after
the 5th century of the Common Era), but like the Shri Yantra, having analogues
of a less developed kind from earlier centuries as well reaching back even to
some of the relatively early Upanishads. For introductory purposes the full
symbolic "readings" of the various Chakras need not be explained to students,
but the basic geometric designs can be shown in sequence in a manner that
clearly illustrates how they can be used in meditation.
Geometric Symbolism
The basic
geometric components may be described in the following manner:
(1) The "point" or "drop" (bindu), which when expanded becomes a "circle" or
a sphere.
(2) The "straight line" (rekha or lekha) which is the shortest distance
between any two points.
(3) The "triangle" (trikona), which is the smallest enclosed geometrical
figure, may have its apex pointing up; or
(4) The "triangle" (trikona) may have its apex pointing down.
(5) Finally, the "square" (caturkona) can be described as the combination of
the two triangles, forming, as it were, a balanced base.
Moreover, two "straight lines" when they intersect may make a "cross" (vyatyasta)
and if one "breaks" the cross, either to the left, or to the right, one then has
what is known as the "svastika". The term "svastika" in Sanskrit is made up of
the particle "su," meaning "good" or "auspicious" and the word "astika," meaning
"mark." Hence, "svastika" means an "auspicious mark" and that which has "an
auspicious mark." One finds "svastikas" on Hindu, Buddhist and Jain temples
throughout Asia. It is most likely an old solar symbol, although its precise
origins are lost to antiquity. [Here it goes without saying that students must
be reminded that the use of the svastika by the Nazis in Germany was a demonic
abuse of this ancient symbol.] When it "breaks" to the right, it signifies
spring and summer and the sun moving across the northern sky. When it "breaks"
to the left, it signifies fall and winter and the hidden or dark period of the
year. Frequently the "right" is linked with the male, and the "left" is linked
with the female. [My own interpretation of the gender correlation is that
"right" is male, spring, summer, the sun, manifestation, etc., because the male
genitalia are manifest; whereas "left" is female, fall, winter, the moon, and
the dark and hidden, etc., because the female genitalia are not manifest--yet
what is hidden and unmanifest carries the seed of life and renewal and gives
birth in the spring to a new cycle of manifestation.]
When the basic geometrical forms have been introduced, one can then indicate
some possible
correlations as follows:
(1) The "point" or "drop" or "circle" can be associated with
- the gross element, space (akasha)--the expanse of space that holds
all of reality but begins from a point-instant
- the "up-breath" (udana) in the physical body--one of the five basic
"breaths" in ancient Indian physiology--the "up-breath" is the
breath of "speech" in the region of the throat and head
which operates in "space" (akasha), the medium for sound
- the sense-capacity of hearing (shrotra)
(2) The "straight line" can be associated with
- the gross element, wind (vayu)--movement in a particular direction
like that of the straight line
- the "respiration-breath" (prana) in the physical body--the basic
breath that operates in the region of the heart and lungs and is
often thought of as the basic "life-force"
- the sense capacity of touch (tvac)
(3) The "triangle" with apex "up" is the male triangle and can be associated
with
- the gross element, fire (tejas)--the energy for light and movement
and power
- the "digestive breath" (samana) in the physical body--the basic
breath that operates in the region of the navel and stomach
for the digestion of food (internal burning)
- the sense capacity of seeing (cakshus)
(4) The "triangle," apex "down" is the female triangle and can be associated
with
- the gross element, water (ap)--the liquid or fluid element that makes
possible the ingestion of food, the flow of blood and semen
- the "diffuse breath" (vyana) [or possibly the sexual breath]--the breath
that operates primarily in the region of the genitals but circulating
throughout the body [on analogy perhaps
with Freud’s notion of "libido" flowing through the body]
- the sense capacity of tasting (rasana)
(5) The "square" is the base support for stability and can be associated
with
- the gross element, earth (prithivi)--the solid stuff that is made up of
the coming together of all of the preceding elements and represents
final gross embodiment
- the "down breath" (apana)--the breath of elimination and excretion, also
the breath of birth when the woman breaths "down" to expel the
new-born child
- the sense capacity of smelling (ghrana)
ICONOGRAPHY/CONTENT:
By combining the geometrical figures, the
Shri Yantra is created. First, one marks the "point" (bindu), placing it
in the center. Second, one expands the "point" into a series of concentric
circles. Third, one takes four "male" triangles and five "female" triangles and
superimposes them on one another. Similarly, one takes two "svastikas," one
"breaking" to the right, the other "breaking" to the left and superimposes them
on one another. One then adds the "square" as a stable base around the circles
but within the superimposed svastikas. When the superimpositions have been done
properly, one then has the Shri Yantra as a meditation diagram.
In addition to the geometrical figures, the Shri Yantra also includes
stylized representations of a series of lotus leaves, a circle of eight and a
circle of sixteen located within the concentric circles within the Yantra.
Beyond the Shri Yantra itself, similar geometrical forms and lotus leaves can
be combined to picture the various
Chakras or energy centers in the body as follows:
(1) The
"Root-Support Center" (Muladhara Chakra)--in the region of the anus at the
base of the spine;
(2) The "Self-Support Center" (Svadhishthana Chakra)--in the region of the
genitals;
(3) The
"Jewel-Filled Center" (Manipuraka Chakra)--in the region of the
navel;
(4) The "Unstruck Center" (Anahata Chakra)--in the region of the heart;
(5) The
"Purified Center" (Vishuddha Chakra)--in the region of the throat’
(6) The "Insight or Command Center" (Ajna Chakra)--in the region of the
forehead just above the eyes (the area of the "third eye"); and finally
(7) The
"Thousand Petalled Lotus Center" (Sahasrara Chakra)--at the very top of the
head.
Interpretation
There is no need or time in these introductory sessions to give a detailed
interpretation of the Shri Yantra and the various Chakras. It is important,
however, to suggest various levels of meaning and to show students how the
various concepts and notions come to be associated with one another, since such
associations are basic for understanding the basic structures of Indian
cosmology, psychology and philosophy.
The Shri Yantra has at least four distinct levels of meaning:
(1) It is an architectural drawing of a sacred temple--with the
holy of holies and the entrances from the four directions;
(2) It is a diagram of the interaction of male and female and
the rhythms, on the one hand, of spring and summer, and, on the other, of fall
and winter;
(3) It is a diagram of sacred speech--when the nine triangles
are superimposed properly, they in turn generate circles of some forty-two
additional triangles--if one then combines the forty-two triangles with the
eight basic lotus leaves, one has the number fifty, or, in other words, the
number of sounds in the Sanskrit system of sounds--the Yogin inscribes the
triangles and lotus leaves with bits of sound and then uses the Shri Yantra as a
vehicle for uttering sacred sounds such as "OM"--there is, finally, a small
central triangle (a forty-third triangle) with apex down which may well signify
the hidden "silence" from which all sound arises
(4) It is a diagram of macrocosm and microcosm--finally, the
vision of the Shri Yantra is both a picture of the universe and a picture of
one’s internal life--this becomes especially clear when one combines the Shri
Yantra symbols with the energy centers or Chakras in the body of the Yogin, the
five basic breaths, the five basic sense capacities and the five gross elements.
One other dimension of interpretation: It is clear enough with the triangles
encompassed by the square and the superimposed svastikas that the Shri Yantra is
especially utilizing the numbers 3 and 4, and one useful way of illustrating
this pattern of three plus a fourth is to show how such a sequence is common in
some basic Indic conceptual frameworks as follows:
3 plus | an all encompassing 4 th | ||
Brahma | Vishnu | Shiva | Brahman (the Absolute) |
Thought | Energy | Matter | Prakriti or Nature |
sattva | rajas | tamas | |
white | red | black | |
Jnana-Yoga | Karma-Yoga | Bhakti-Yoga | Moksha or Freedom |
Duty | Livelihood | Erotic | Moksha or Freedom |
Dharma | Artha | Kama | |
"A" | "U" | "M" | The Mystical Syllable OM |
The Shri Yantra and the Chakras are, therefore, the design for a fully
constructed world in which all of us pursue our various Karmic trajectories. We
are in the world; the world is in us; we ARE the world--thus, the Yoga of the
Shri Yantra!
posted by VICKY @ 7:18 PM, ,
The Nine Mandalas of the Shri Yantra
The two bindus, white and red, are Shiva and Shakti, who in their secret
mutual enjoyment are now expanding and now contracting...the Sun is Kama, which
is so called because of its desirableness; and Kala is the two bindus which are
Moon and Fire.- Kamakalavilasa
This mandala represents the enclosing walls or fence of the
zonule of a practitioner. The three lines of the earthsquare of Shri Yantra each
has a set of subsidiary aspects or sub-limbs of the goddess.
On the outer line are the eight World Protectors (lokapalas), the guardian
spirits of the directions and intermediate points. On the middle line are eight
Siddhi Shaktis identified with the senses. On the inner line are eight Shaktis
ruling desire, anger, envy, delusion, greed, jealousy, virtue and vice. They are
the eight matrikas or little mothers. These Shaktis are collectively known as
the Obvious Ones (Prakata Yoginis).
The Shaktis in this circle are known as the Hidden Ones. The
whole mandala of 16 petals is called 'Fulfiller of Desire'. The presiding form
of the red devi is Tripureshi. Her vidya is Aim Klim Sauh. She is described as
ornamented with all gems, carrying a book and a rosary. The 16 yoginis in this
mandala are associated with the attainment of desires by the cultivation or
strengthening of power over mind, ego, sound, touch, sight, taste, smell,
intellect, steadiness, memory, name, growth, etheric body, revivification, and
physical body. They are described as the Nityakalas. Each holds noose, goad, pot
full of nectar, and makes the sign of giving. They are very red.
The Shaktis in this mandala are called the Very Secret Yoginis.
The whole circle of eight petals is called the 'All Exciting Cakra'. Presiding
here is Tripura Sundari. She is described as swaying because of Her love
intoxicated state, with Her eyes full of bliss. She smiles with passion. She
shows the mudras dispelling fears and granting boons. The eight Shaktis in each
of the eight petals of the mandala are described as Shaktis of Speech, Holding,
Walking, Excreting, Pleasure, Abandoning, Concentration and Detachment. They are
described as sapphire blue, holding noose, goad, dispelling fear, and holding
blue lotus. Their names (Ananga Madana etc) all convey terms of loving
sexuality.
This mandala is called 'The Cakra Bestowing All Good Fortune'.
The Yoginis are called 'Concealed by Tradition'. The presiding form of the devi
is Tripura Vasini. She is very red and very beautiful. Fourteen Shaktis of the
triangles are associated with the chief nadis or currents of bioenergy. They are
described as being proud, wanton, young, colour of cochineal, ornamented with
gems, holding noose, goad, mirror, winecup full of nectar. They are the
Arkashanis or Attractors. Here we move from the petals of the flower into the 43
triangles of Shri Yantra, formed from the four fires and the five shaktis.
This mandala is called 'The Cakra Bestowing All Objects to the
Sadhaka'. The Shaktis are called the Kula Kaulas. The presiding aspect is
Tripura Shri. She is as effulgent as 1000 rising suns, adorned with celestial
ornaments, with large rising breasts, holding book and rosary, dispelling fears
and granting boons. The 10 Shaktis in the triangles are described as having
thrilled faces, holding noose and goad and adorned with various crystal and
heavenly gems. These are the Yoginis of the 10 vital breaths. The gem is pearl.
The dhatu is semen. The time is lunar day (tithi). The mudra is called the All
Intoxicating with Love. The nature is sun of sun.
The mandala is called 'The Cakra Protecting All'. The Yoginis
are called Without Origin. The presiding aspect of Lalita is Tripura Malini. She
holds noose and goad, dispels fear, and holds a skull. She is of vermilion
brightness. Her Shaktis are the colour of 1000 rising suns, adorned with pearls
and gems, holding noose, chisel, and showing the gestures of knowledge, and
giving boons. They are the Shaktis of the 10 Vital fires. The gem is emerald.
The dhatu is Marrow. The time is Lunar Fortnight. The Mudra is the Great Goad.
The nature is moon of sun. Here Tripura is garlanded in her red flowers, also
equated with the blood of menstruation. See Yoni Tantra.
The eight triangle mandala is called 'The Cakra Destroying all
Disease'. The yoginis are known as the Secret or Rahasya yoginis. The presiding
aspect of the Red Goddess is Tripura Siddha, She is described as the Destroyer
of Poison. Her yoginis are the colour of pomegranate flowers, wearing red
clothes, smeared with red scent, each carrying five arrows and a how. These
Shaktis are the rulers of Cold, Heat, Happiness, Sorrow, Desire, and the three
Gunas Sattvas, Rajas, Tamas. They are also called the eight Vasinis. The gem is
diamond (Vajra). The time is month. The Mudra is Khecari Mudra. The nature is
fire of moon.
The central triangle mandala is called 'The Cakra Giving All
Success'. The Yoginis are called Very Secret. Lalita dwells here as Tripura Amba.
She is also known as Sampatprada Bhairavi, coppery effulgent, like 1000 suns,
with three eyes, a face like the moon, adorned with white gems, with a beautiful
figure, rising swelling breasts, intoxicated, wanton, young, proud, holding
book, dispelling fear, holding a rosary and granting boons. Her three Shaktis
are called Lady of Lust (Kameshvari), Adamantine Lady (Vajreshi), and Flowery
Vagina (Bhagamalini). KamesvarI is called the Rudra Shakti. She is white in
colour, besmeared with ash, adorned with pearls and crystal, and various other
gems, holding book, rosary, bestowing boons and dispelling fear. Vajresi is the
Visnu Shakti. She is bright as red powder (Kumkuma), adorned with flowers and
gems, like the dawn sun. Her eyelids are smeared with sapphire dust, She holds
sugarcane how, flowery arrows, bestows boons, dispels fear. Bhagamalini is the
Brahma Shakti. She is effulgent as molten gold, adorned with priceless gems,
holds noose, goad, and shows the gestures of knowledge and bestowing boons.
This is the bindu and the mandala is called 'Purely Blissful'.
The Yogini in this mandala is the Queen of Queens, the Very Red One, Her
Transcendent Majesty Lalita Maheshvari. Her vidya is Ka e i la hrim ha sa ka ha
la hrim sa ka la hrim, plus a secret 16th syllable. Her description is given in
Vamakeshvara Tantra. Surrounding Her are the fifteen Eternities of the
waxing moon. The gem is ruby. The dhatu is hair. The time is year. The mudra is
Yoni Mudra. The nature of the mandala is moon of moon Here too is Kamakala, the
combined red, white and mixed bindus and the ultimate secret of Shri Shri
Mahatripurasundari Devi. Here she sits in sexual union with Mahakameshvara, a
form of Shri Mahadeva.
posted by VICKY @ 7:15 PM, ,