1. the recording is that of the "Hymn to the Muse" by Mesomedes of Crete but the English lyrics are only loosely based on the words of the original

    http://www.layneredmond.com

    .:.

    # vimeo.com/211662710 Uploaded 107 Plays 0 Comments
  2. Egypt : 6th century BCE : the women of the Hebrew settlements in Egypt are confronted by the exiled scribe & prophet Jeremiah (Jeremiah 44:16-19) :

    As for the word that thou hast spoken unto us
    in the Name of Yahweh
    we will not hearken unto thee
    instead we shall remain faithful
    to every promised word
    that ever flowed from our mouth
    to burn incense
    unto the Queen of Heaven
    and to pour out libations unto Her
    as we have always done
    we, and our ancestors.
    our kings, and our princes
    in the cities of Judah
    and in the streets of Jerusalem
    for then we had food enough
    and we did well
    and evil was not seen
    but since we have neglected
    to burn incense
    unto the Queen of Heaven
    and to pour out libations unto Her
    we have wanted for everything
    by the sword
    by the famine
    we are consumed
    and when we burned incense
    unto the Queen of Heaven
    and poured out libations unto Her
    did we bake crescent cakes to offer Her
    and did we pour out libations unto Her
    without our men?

    ____________________

    As in many ancient and indigenous traditions, the Great Goddess is invoked by Her titles and epithets.

    Malkuth haShamayim (מלכת השמים) - in English "the Queen of Heaven" - in Vulgate Latin "Reginae Caeli" - grew to become one of the best loved of the divine epithets that exists in the liturgy and rituals of the Catholic Madonna.

    The same tradition holds true of the Panaghia of the Eastern Church.

    She is addressed as Basileia, Basilissa, Anassa and Despoina - primal names of royal power that reach back to the dawn of the Minoan/Mycenaean civilisation.

    This multi-layered meaning is present in many languages and on the surface may simply represent a linguistic abstraction arising from the gender of the noun yet it may spring from far deeper tap-roots and transmit some memory of matrilocal marriage in which a king is raised to power by right of marriage to an heiress of the ruling lineage : the personification of the right to rule.

    The encoded phrase in early tongues may be seen to cloak a subliminal message, a cyphered thread.

    One that holds profound Elysian significance for those who still have eyes to see and ears to hear ...

    For the original words of the title of Malkuth haShamayim : the Queen of Heaven were strategically reinterpreted to mean "Kingdom of Heaven".

    They enter into orthodox scripture in that very form ... and the Goddess is once again lost in translation.

    The Greek version of this phrase that appears in the New Testament gospels is : he Basileia ton Ouranon (ἡ βασιλεια των οὐρανων).

    Basileia is an ancient Greek word which meant both "queen" and "royal woman and may also denote "sovereignty" and "royal domain".

    That this profound phrase should flow with the imagery of paradise itself speaks volumes ...

    ____________________

    Tags :

    Malkuth haShamayim, Basileia ton Ouranon, Reginae Caeli, Queen of Heaven, Basileia, Basilissa, Anassa, Wanassa, Despoina, Potnia, Po-ti-ni-ja, Jeremiah, Elephantine, Anath-Iahu, Anath-BethEl, Shekhinah, Shabbat haMalka, Matronit, Asherah, Elath, Ashima, Ashima-BethEl

    βασιλεια των οὐρανων, Βασίλισσα τῶν Οὐρανῶν

    .:.

    ____________________

    ὁ λόγος ὃν ἐλάλησας πρὸς ἡμᾶς τῷ ὀνόματι κυρίου οὐκ ἀκούσομέν σου

    ὅτι ποιοῦντες ποιήσομεν πάντα τὸν λόγον ὃς ἐξελεύσεται ἐκ τοῦ στόματος ἡμῶν θυμιᾶν τῇ βασιλίσσῃ τοῦ οὐρανοῦ καὶ σπένδειν αὐτῇ σπονδάς καθὰ ἐποιήσαμεν ἡμεῖς καὶ οἱ πατέρες ἡμῶν καὶ οἱ βασιλεῖς ἡμῶν καὶ οἱ ἄρχοντες ἡμῶν ἐν πόλεσιν ιουδα καὶ ἔξωθεν ιερουσαλημ καὶ ἐπλήσθημεν ἄρτων καὶ ἐγενόμεθα χρηστοὶ καὶ κακὰ οὐκ εἴδομεν

    καὶ ὡς διελίπομεν θυμιῶντες τῇ βασιλίσσῃ τοῦ οὐρανοῦ ἠλαττώθημεν πάντες καὶ ἐν ῥομφαίᾳ καὶ ἐν λιμῷ ἐξελίπομεν

    καὶ ὅτι ἡμεῖς θυμιῶμεν τῇ βασιλίσσῃ τοῦ οὐρανοῦ καὶ ἐσπείσαμεν αὐτῇ σπονδάς μὴ ἄνευ τῶν ἀνδρῶν ἡμῶν ἐποιήσαμεν αὐτῇ χαυῶνας καὶ ἐσπείσαμεν σπονδὰς αὐτῇ

    .:. ἡ βασιλεία τῶν οὐρανῶν.:.

    _____________

    # vimeo.com/8518798 Uploaded 1,219 Plays 0 Comments
  3. This video is been displayed in the British Museum exhibition about the Ancient Egyptian Tomb-chapel of Nebamun. Nebamun's was an accountant, a middle-ranking bureaucrat, in the temple of Amun at Karnak, a very big, old, wealthy institution by the time Nebamun died in about 1350BC.

    We (Campbell & Co) produced the movie for the British Museum along with 3D modeler Fleming Woelfel.

    # vimeo.com/4312123 Uploaded 1,150 Plays 1 Comment
  4. Daemonia Nymphe Live in Club Liebe.
    30/05/08.
    Thessaloniki.

    Daemonia Nymphe were formed in the year 1994 and after a four years time intense creative period ,they released their debut album in 1998 under the title "The Bacchic Dance of The Nymphs" by the German record label Solistitium rec.This album focuses on a lyrical theme that ranges between the myths of the Hellenic antiquity and music that could easily be described as "theatrical".

    # vimeo.com/1195075 Uploaded 4,659 Plays 1 Comment
  5. This is an Akathist litany by Saint Nektarios of Aegina who was a dedicated scholar, well versed in the ancient texts and in the liturgy of the early Byzantine Church.

    His hymn draws heavily on the liturgical traditions and musical forms of 6th century Byzantium and reflects the music of the early Eastern Orthodox Church at a time when it was borrowing heavily from the cultural and philosophical traditions of Hellenic and pre-Hellenic Greece.

    The verb "khaire" (meaning "hail !" in the sense of invocation) is most often "translated" as "rejoice" in the English versions of Akathist hymns.

    As in the pre-Christian hymns to the Goddess - the refrain "Khaire Nymphe" is repeated after each verse and forms the chorus.

    This is reminiscent of the invocation of the Shekinah ("the Holy Spirit") in the traditions of mystical Judaism in which the call "Bo-i Kallah, Shekinah !" ("Come, O Bride, Shekinah !") resounds with deep reverence and love.

    In this prayer, the Panaghia is invoked by Her sacred titles which have been part of a silver umbilical cord of continuity that is well-documented from inscriptions that stretches back to pre-Hellenic times :

    Despoina ("Mistress")
    Nymphe ("Bride")
    Meter ("Mother")
    Kore ("Daughter")
    Kuria ("Lady")
    Anassa ("Queen")
    Basilissa ("Queen")
    Pantanassa ("Queen of All Things")
    Panaghia ("All Holy One" cf. Ariadne / Ariagne )

    One of the most compelling is "Kore Semnae Basilissa" - a ritual title which carries with it echoes of the Mysteries of Rhea, Demeter and Kore in Eleusis, Lykosoura, Phigalia, Mount Ida, Magna Graecia and the islands of the Mediterranean.

    Despoina has, in living memory, been one of the names by which the memories of the Goddess are retained in the land, This fact has been well documented since the 19th century - the very time that this inspired litany came into being.

    The mysterious traditions of the wonder-working Black icon of Despoina of Tsakonian Elonas (Despina a 'Eona) still manage to transmit a distant ancestral remembrance of the ancient Despoina, daughter of Black Demeter (Μέλαινα Δημήτηρ) of Arcadian Lykosoura (Λυκόσουρα) and Phigalia (Φιγαλεία) to this day.

    The musical arrangement is timeless, extraordinarily beautiful and evocative.

    _________________________________

    The many titles which have been encoded in this hieratic aretalogy of the Panaghia are the same as those which were used to invoke the Great Goddess from the pre-Hellenic period onwards.

    Before the establishment of formal pantheons the Great Goddess was primarily known by Her sacred titles as is documented in the Linear B tablets and in the earliest inscriptions of Cyprus, Rhodes, Aegina and the Cyclades.

    Anassa, or the more ancient form : Wanassa (Wa-Na-Sa in Cypriotic : 𐠨 𐠙 𐠲 and Wa-Na-Sa in Linear B : 𐀷𐀙𐀭) and Basilissa - both mean "The Queen" and are well known titles for the Great Goddess in Minoan Crete and Cyprus and in the islands of the Mediterranean.

    Despoina - "The Mistress" is known from inscriptions in Her Pelasgian shrine in the hills of Arcadia and this title remained Hers in the mountain villages of Greece in living memory.

    ________________

    The chorus of "Khaire Nymphe" is an invocation to "The Bride" and appears in Orphic hymns long before it was consciously appropriated by the Byzantine Church and given new meaning.

    St. Nektarios was a scholar and an expert in both Byzantine liturgy and the pre-Christian sacred texts and would have been well aware of the original context when he composed this hymn ...

    A pre-Christian version - upon which this hymn could haven been based - may have included the evocative chorus :

    .:. Khaire Nymphe .:. Io Nymphe Thea .:.
    .:. Χαίρε Νύμφη .:. Ιώ Νύμφη Θεά .:.

    __________________

    Tags:

    Linear-B : (Wiktionary links)

    𐀷𐀙𐀭
    wa-na-sa
    ανασσα
    Queen, divine title

    𐀡𐀴𐀛𐀊
    po-ti-ni-ja
    Πότνια
    Lady, divine title

    𐀂𐀋𐀩𐀊
    i-je-re-ja
    ιέρεια
    priestess

    Πότνια Po-ti-ni-ja Potnia Despoina Panaghia Despoena Panagia Nymphe Anassa Basilissa Aphaia Britomartis Diktynna Meter Kore Kuria Aegina Eurynome Elonas Χαίρε Νύμφη Δέσποινα Παναγία Άνασσα Βασίλισσα Ἀφαία Βριτόμαρτις Δίκτυννα Αίγινα Εὐρυνόμη Κορή σεμνή

    # vimeo.com/8446790 Uploaded 2,421 Plays 0 Comments

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