"Even worse, the dynasty worshipped the club-footed wood gnome Dionysus. "
In 275 B.C., the Alexandrians gave the god of wine a parade, the likes of which the world had never seen -- a procession attended by crowds from as far away as Athens, Thebes, Crete and Ionia. Some 57,000 soldiers and 1,600 boys carrying costly vessels marched at the head of the procession, followed by 24 elephant-drawn carts and an assortment of exotic animals. At the center of the caravan, 180 men carried a statue of the god Dionysus wrapped in a purple embroidered coat. Bringing up the rear was a rolling wine press where 60 satyrs pressed grapes and served wine to the masses through a giant hose.
The Ptolemies, backed by pugnacious mercenary armies, were soon as arrogant as the pharaohs and, like the pharaohs, they pursued an appalling cult of personality. Even worse, the dynasty worshipped the club-footed wood gnome Dionysus. The deity, which Alexander (who drank up to five liters of wine at banquets and presumably succumbed to an inflammation of the pancreas caused by alcohol) had brought along from the East, became popular in the Nile delta and eventually developed into the central figure of a new state religion. The Ptolemies adorned themselves with garlands of ivy and horns of Ammon and carried around the "Thyros," a rod wrapped in ivy and grape leaves, with a pinecone at its tip.
It was a display of pure joie de vivre, or what historian Michael Grant calls an "escape from earthly cares."
Unhampered by inhibitions, the cult of Dionysus was an expression of mass pleasure, the dissolution of the self and large-scale sex orgies. The kings hoped to use the universal power of Eros to forge unity among their jumbled and religiously confused, multicultural subjects.
The Ptolemies, backed by pugnacious mercenary armies, were soon as arrogant as the pharaohs and, like the pharaohs, they pursued an appalling cult of personality. Even worse, the dynasty worshipped the club-footed wood gnome Dionysus. The deity, which Alexander (who drank up to five liters of wine at banquets and presumably succumbed to an inflammation of the pancreas caused by alcohol) had brought along from the East, became popular in the Nile delta and eventually developed into the central figure of a new state religion. The Ptolemies adorned themselves with garlands of ivy and horns of Ammon and carried around the "Thyros," a rod wrapped in ivy and grape leaves, with a pinecone at its tip.DDP
The cult of the German garden gnome is one of the country's more popular traditions.
There are several aspects of clarification we need to have when dealing with elmental beings and those that smudge and mash intimate intricacies of nature and supersensible experience into a mangled mass of impossible contradictions. "Pan's Labyrinth" is opening up windows into the intimacy of the child's soul life. The soul life of an incarnating child, fresh from the stars, gathers with it, as it incarnates, elemental beings that eventually find expression in the personality that the child will adapt for their use. Inside the soul of the incarnating child spirit Sylphs=as Sanguine personality traits; Salamanders as fiery and choleric attributes; Undines as watery and digestive forces... and Gnomes= melancholic temperamental forces, were gathered as living forces from the mathematical reality of the stars that carry a vast residue of etheric field forces that contain three constellations of fire; three constellations of water;three constellations of air and three constellations of earth.
Generally the massively uneducated mass have no clue that the stars repeat an intimate rhythm pattern that repeats, mines, draws in and out of the ethers of earth, air, water, fire. Intelligent Science called NASA are stupid mind controlling wonks and idiots that teach nothing substantial to link the interior of our psychology with that which is part of our star forces or astral and etheric natures. That is how illiterately stupid these great colleges and schools intend for your children to remain. And heavens knows you are no brighter, no more interested, clueless, useless and ignorant of just how the flowers grow, the roots in plants are nourished, how sylphs and bees help pollinate... Utterly retarded as another Spring rolls in and nature once more asks us profound Goethean questions that Goethe raised himself up to answer and humanity dumbs themselves down. Just how dumb do we intend to be? Do you intend to tear your children's soul apart psychologically to make room for the immense education of lies that the child cannot understand why we have built pitiful education to torment them, when they have come from the stars bearing such great gifts!
We are so psychologicaly removed from experiencing how the child personality employs and engages these beings, how those participatory elemental beings have been assigned to each of us as part of our etheric baggage for the trip, that we are unable to maturely transpose imaginations such as Harry Potter, The Lion the Witch and the Wardrobe, Lord of the Rings, Fairy Tale a True Story, or Pan's Labyrinth into all the submerged realities of intimate childhood companions. We have had these participants working with us for vast swaths of time, both in incarnation, where they reside enchanted within the human form and soul and where they return to the heavens when we are born again into the spiritual world.
Unable to think, literally unable to think, we can't place how Buddha dissolved his bonds with his magnificent elemental and spiritual development so that we recognize that Buddha was finally able to free up all those beings who had travelled with him and loose the bonds to physical embodiment. Here, because we are so un-read and uneducated, we are unable to trace the mighty Norse Mythology and Odhin and connect it as Spiritual Science does to Bodhin or Buddin or Buddha. The intimate connection between this being Odhin or Odin and Buddha and the second Jesus child remains an unsorted chaos in the human soul life that constantly confuses such an idea as the Gnome Dionysus or Pan with actual elemental beings, gnomes, satyrs, centaurs and how these beings truly inhabit a truer world than the Jungians have dared to brave. In fact Spiritual Science students are in such a ball of confusion that they cannot sort out these events and find out the relationship between the Naked Fleeing Man, who flees Christ, when he taken by the guards and the whole experience of new rejuvenating nature forces that will arise from humanity as humanity releases the lower kingdoms in it's soul life, Pan's Labyrinth, which as we do, will become the foundation for the Jupiter development after Earth.
by Jim Emerson
Guillermo del Toro's "Pan's Labyrinth" is one of the cinema's great fantasies, rich with darkness and wonder. It's a fairy tale of such potency and awesome beauty that it reconnects the adult imagination to the primal thrill and horror of the stories that held us spellbound as children. If you recall the chills that ran down your spine and the surreal humor that tickled your brain in the presence of "Alice in Wonderland," "Little Red Riding Hood" or "The Wizard of Oz" when you were a child (or, later, in the nightmarish dream-films of Luis Bunuel, Jean Cocteau, F.W. Murnau or David Cronenberg), you'll discover those sensations once again, buried deep in the heart of "Pan's Labyrinth."
As gruesome and brutal as it is enchanting and spellbinding, "Pan's Labyrinth" is a movie intended for adults, not children, as its "R" rating indicates. Some kids under 17 will find it fascinating (especially if they know Spanish or don't mind reading subtitles), but it's a harsh and uncompromising film -- although less gory and violent than many video games.
"Pan's Labyrinth" is itself a narrative maze, with multiple stories that branch and eddy, flowing apart and back together again like the a stream tumbling down a rocky hillside or, more aptly, blood spilling over a craggy boulder. Opening titles set the story in Spain, 1944, as resistance fighters lurking in the mountains continue to fight Franco's fascist regime. And then, immediately, before we can grasp any visual bearings in that world, the subterranean voice of Pan (a faun, whose name "only the wind and the trees can pronounce") whisks us into a fable about a dead princess whose kingly father waits for his daughter's soul to return in another form, and to reclaim her place at his side.
In the first vertigo-inducing minute or so of the film we're plunged into the turbulent imagination of Ofelia (Ivana Baquero), a bookish 11-year-old girl who is traveling with her pregnant mother Carmen (Ariadna Gil) to an old mill in the forest, where Ofelia's evil-stepfather-to-be, Capitan Vidal (Sergi Lopez), commands a fascist outpost. Next door is an ancient stone labyrinth, a place that's easy to get lost in."