#C: Servator

[wintercrystal]

The Light and the Tree

AN: Happy Valentine's Day!

Content warning: Angst?, Fluff?, Male Reader, Abyss Princess Lumine (My interpretation of her at least), yearning happens, takes place before the Mondstadt Archon quest

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You couldn’t open your eyes, you couldn’t move, you couldn’t hear her. Not her pleading for you to wake up or lately the occasional chatter. Nothing she’d done could rouse you from the cursed sleep you were placed in. Trapped state of limbo, so close to death but still very alive. 

It wasn’t like the fairy tales where a kiss could break a curse. No, perhaps it was the fact she kissed you that got you here. Or maybe coming in contact with Abyss had poisoned your soul beyond repair. The reason didn’t matter to her.   

What matters now is if there is a way to wake you up and she will find it. She cannot lose you. Not now, not ever. 

Not after the years of travelling together, learning this world’s secrets and learning each other’s secrets. 

She laughed humourlessly as she looked over at the sleeping, cold you. You were in a comfortable bed decorated with flowers, (‘You deserve the best’ she says,) breathing softly but barely moving.

Lumine kissed your forehead, caressing the precious metal on your ring finger. “I love you,” she says, knowing you can’t hear them, the words she wished she said to you so much earlier. 

During your journey, you jokingly referred to yourself as a prince. To the Abyss Princess, you still were, a heroic one who shines so brightly, a source of comfort when your journey became so exhausting and frustrating. 

But this time, when you awake, you rule alongside her as the Prince of the Abyss Order. 

Hopefully, with time, her brother could understand her actions, especially the ones regarding you.

[if-you-fan-a-fire]

"MENTAL, MORAL SIDE OF SPORT ARE IMPORTANT," Hamilton Spectator. August 29, 1933. Page 5. ---- Mere Muscle Development is Not All --- Judge Jackson Addresses Lions Club ---- Stresses Value of Modern Athletics ---- "If my interest in athletics, extending over a period of some 40 odd years, was confined entirely to the muscular development, I doubt that I would have ever become interested," declared Judge J. A. Jackson, past president of the Amateur Athletic Union of Canada, as one of the pertinent and timely ob- servations of his address to the Lions club of this city during the weekly meeting at the Royal Connaught hotel yesterday at noon.

Judge Jackson, presiding judge of Lethbridge, Alta., and district, was one of many notables at the meeting, the Lions being very fortunate in obtaining the learned judiciary as guest speaker, and his discourse on amateurism and sports in general proved most impressive.

Introduced by W. A. Fry, of Dunnville, vice-president of the A.A.U. of C., and reputed holder of more titles in amateur official cir- cles than any other Canadian, Judge, Jackson was by Sam R. Manson. W. H. Crocker, president of the A.A.U. of C., W. A. Hewitt, Toronto, secre- tary of the O.H.A., and P. J. Mulqueen, chairman of the Canadian Olympic committee, were unable to be present.

"Hamilton," observed the speaker, in his opening remarks, "is one of the places that keeps Canada on the map. I have the greatest respect for Hamilton as an athletic center and for my confrere here (Mr. Fry), who will shortly be president of the A.A.U., I predict great things, particularly for the next Canadian Olympic team he will head."

Other Qualities Then the speaker declared that interest only in the muscular development of the athlete was not sufficient. It is to the mental and moral end of things that one must look. Giving various reasons for interest in athletics, which are becoming more and more important, The judge stated that the secret of mankind's mental well-being came from the days of the ancient Romans, who believed in giving the populace bread and games to keep them content.

Judge Jackson observed that the crime wave which reached its height four or five years ago could be traced to early war days when the youth of from thirteen to eighteen years was neglected during the stress of difficult times. With no older companions to show them the way, he said, the youngsters drifted into bad company. As the older boy leads, he declared, the younger boy will follow, and he then charged those just graduated from the teen age to show way that their younger companions might place their feet in the proper steps. The older boy of tomorrow, he said, and in ending the big trouble. to fill a boy's day, he said healthy and beneficial sport must be brought into play.

Play Is Vital "All work and no play makes Jack a dull boy," he stated, quite pertinently, "but no work and no play makes Jack a criminal. We must direct our pleasure-minded lives along the proper channels that the youngsters will follow and obtain benefit. The best way to handle idle hours is in clean and wholesome sport. If there is no work let's give them bread and games and we'll find that the general improvement that has been reached during the past fifteen years will continue, and that amateur sports of all kinds will hold a major part in the lives and well-being of the community."

The speaker, a cousin of the president, Dr. E. C. Jackson, who occupied the chair, voiced his pleasure in being able to propound a subject near and dear to him, and he referred jocularly to his introducers, Messrs. Fry and Manson. The attendance prize, donated by Howard Williams, was won by Sam Manson.

[rausule]

Biographia Iesu

in colloquio cum Patre: id facit post baptismum in Iordane (21), in media prima turbae fervore (5.161 ante electionem duodecim Apostolorum (8.12), ante Petri professionem (8.12), ante Petri professionem. 9.181, per lenne ela mentum de transfiguratione (9, 28-29), antequam discipulos edoceat peculiarem christianorum orationem « Pater » (11, 1), Iesus nos confirmat « semper orare, sine intermissione (18.1).

In limen mortis habetur maxime emblema, quod precationis in horto Oliveti, Gethsemani (21.9 46), acma, quam Lucas accuratius rupette describit quam ceteri evangelia, eam non minus quam quinque notantes. orationes eamque duplicatam aperiendi et claudendi sententiam conponens: "Orate ne intretis in tentationem, contremiscimus hanc imaginem contemplari, quae Iesum tamquam perfectam eruptionem designat, audientem Beethoven's solum eratorio Christus am Oberge up 65, " Christ at the. Montem Ube anno 1802- 1803 involvit, primum die Aprilis 1803 editum, deinde a musico editum et anno 1811 tantum editum, ut in hoc argumento concluderetur, praedicta verba Christi in cruce memorari necesse est; quae sunt oratio 6ducta ad Patrem, cuius manus spiritum concredunt (23.46).

Commentaria. Solet Lucas definire "telego historiae salutis," et notatur Christum Lucam esse podn in medio temporis. Quapropter optime distingui potest in serie Mariae secundo Lacae duobus vel tribus gradibus coordinatis. cum Crista C semel "promissionis", et id est Veteris Testamenti, et est tempus plenae plenitudinis, vil pallo inguratu da Crista Vel etiam cogitare potest tempus commercii quod currit usque ad Baptistam. (1616), praecipuum tempus Iesu ac prospero tempore Ecclesiae, trilogiam tantum repraesentari potuit in textuali Veteris Testamenti (vel etiam per pruni duo captudi Evangelii Lucae), a. tertium Evangelium, et tandem, per Ami degli Apostoli

"praesens Christi et Ecclesiae iam pars est illius futurae plenitudinis historiae humanae, quae vitatur a chnologia secundum Lucam, sicut Ioannes, non exclusis futuram perfectionem (17.20-37 ec. 21), quod in historia sentit. iam a Christo depositum sementem aeternae i ideo amat levebi "ogg" cand (199) Ante paralitionem sana et dimitte Hodie vidimus mirabilia (526) Almal tore pentil "Oygi te mecum erit in paradiso" (2343). "Si demumi od dito di Din tunc venerit ad vesil regnum Dei ih D non venerit ut notabiliter dicat unus hic est hic est. Ecce quare est Regnum Dei in medio vestrum (11.201731).

Salutamus Lucam, medicum et evangelistam coletum, qui historiam hominis imprimere voluit — a Graeco philosopho Erados philosopho similem ludum tesseris ludentibus pueris salutamus — sensum, notans transitum Iesu Christi, coordinatoris illius craticulae. eventus, servator mali Italici et peccati, quod latet in rebus humanis. Spei, libertatis et iustitiae evangelizator, praesertim erga humiles et minimos terrae.

[whatdoesshedotothem]

1834 Oct[be]r Fri[day] 3

8

12 1/4

+

N

P

No kiss she fast asleep I had rubbed her back twenty minutes with brandy ver[y] fine morn[in]g F[ahrenheit] 58°

at 8 50/.. at w[hi]ch h[ou]r w[e]nt out – till 9 1/2 when br[eak]f[a]st in 1/2 h[ou]r - r[ea]d the pref[a]ces and prelim[inar]y ob[servation]s to

Bakewells’ geol[og]y co[me] th[i]s morn[in]g w[i]th Swains[o]ns’ prelim[inar]y disc[ourse] on nat[ura]l hist[ory] – A- [Adney] call[e]d me

d[o]wnst[ai]rs ab[ou]t 11 and fr[om] th[e]n for the rest of the day siding and presid[in]g ov[e]r sid[in]g 1 th[in]g or oth[e]r in doors or

out – the th[in]gs last fr[om] Lidg[a]te – the old fam[il]y carr[ia]ge int[o] the new c[oa]ch h[ou]se etc. etc. - Mallins[o]n n[o]t

here b[u]t 2 of his men and 1 boy – court finish[e]d flagg[e]d – Laundry fire-range set – the young

man holing stone posts - plann[e]d wind[ow] in barn-end tow[ar]ds farm-y[ar]d joiners’ shop - Ch[arle]s and

Ja[me]s H- [Howarth] finish[e]d open[in]g wind[ow] light in Lin[e]n clos[e]t and help[e]d to side – Pickells sweep[in]g the walk of leaves - no[te] th[i]s morn[in]g fr[om] the philosoph[ica]l

soc[iet]y - ann[ua]l meet[in]g to be held on Mon[day] 6th inst[ant] at 4 p.m. - H[a]d Holt th[i]s aft[ernoo]n – seen

Mr. Raws[o]n can[no]t get the 11DW. of Mrs. Machins’ coal – to co[me] at 10 a.m. on Sun[day] – the

pict[ure]s (prints b[ou]ght at Geneva etc. and fram[e]d in Lond[on]) arriv[e]d th[i]s aft[ernoo]n - din[ner] at 6 20/..

coff[ee] - calculat[in]g for A- [Adney] 1/2 h[ou]r w[i]th my a[un]t till 10 5/.. - wr[ote] the ab[ov]e of today till 10 20/..

at w[hi]ch h[ou]r F[ahrenheit] 62 1/2° ver[y] fine day – A- [Adney] writ[in]g to h[e]r sist[e]r beside me in my study till 11 40/..

till when r[ea]d fr[om] p[age] 348 to 379 Boase’s prim[ar]y geol[og]y –

[mergeglobal7]

& Crypto blockchain

Quod proprium defi applications existentium infrastructure ut involves leveraging components potest esse contribuens factor, autem etiam haec addidit significant effectum habere non innovative complexionem ad altiore defi ecosystem. Et intrabit in foro developers ut magis peritus est, simile est etiam magis sophisticated products et facti sunt available. Summus celeritate fees, et tardos res confirmatio, de downsides defi major, erit resolvi in ​​iacuit II diverse projects quod technologies ut zkrollup. In digital duplicatur adhibita dignissim est in valorem minus quam mensem et annum magis quam in lucrisque quadruplicavit. Nam annis camera eadem quae virtualis monetæ, non requiritur consilium vectigales continentur in financial crimina nuntiavit in forma network CXIV exigeretur, et ab aliena ripam rationum oeconomus, seu quae adhiberi potest ut dicitur in fbar. Magisque vultum Stablecoins Crypto futura merito et applicatione suscipit semper progrediendi novas aperiret.

Quod munus est et sub condicione computorum nostrorum rotulatoris, et probatus est statio digital currency ripam scriptor application per applicationem ad nationalibus carta fide, Megstar  facit ut licet prima Crypto ripam opperate in omnibus L civitatium. CEO de Winklevoss publice geminos vendidit microstrategy veterani V, tenere et satis acri elit Crypto per alta vehuntur rursus varietas.

Potest ponere signa in securitatem technical enim fundamenta 'protocol oeconomia - ideam de regimine adstant atque distribuendi est aperire pulchra ut diam ultricies elit participantium. Praedictio VII - dex summa re gesta recentibus volumine erit crescere et Pages 2021. praedictio VI billion in 500+ - MMXXI in finem, et non defi signa 13+ medio in foro signis c vertice L (ANTOECUMENE XXX% + incremento). Et hoc non negant plus hoc mundo testes esse defi in singultum et hacks sector. Sed sicut sector ad statum perfectionis, ad altiore nisus et developers concitata civitas et membris in corpore robustiore culmen attinget architectura servat ea perficienda. In facto, nos es currently assecurationis magis Spectare protocols veniens ad forum, atque simul ventum est inter idealis combination metus et periculo administratione et altiore habet forum multis de causis defi aridum. Ob dolor in mane tempus angustum, defi applications relinquere locus magis quam pro traditional bugs applications.

Unus de features cryptocurrency habet in comparatione ad fidem pecto, exempli gratia, praesidio contra dolor sit dolum, ut chargebacks. Eam typice non existit in forma corporalis est typically quod non sit ab Apostolica auctoritate a centralis. Decentralized ad centralized digital currency potestate uti, ut opponitur Cryptocurrencies typically et media fretus ratio. Cum autem prior creatus est seu signati hoc cryptocurrency editae, vel edita ab uno issuer, consideratum est plerumque centralized. Impletur autem cum decentralized rerum distribuuntur singulis tabulis per cryptocurrency technicae blockchain sit amet, pecunia publica res database ministrator. Saepissime gratis per terminos ad impugnationem cryptocurrency reticulis actis subscribere antequam ad creandi blockchain.

Tempero monuit ut in pluribus terris in rebus sumpta sunt cryptocurrency et regulatory consilium ut se custodiat impius users. Donec non multi ripas offerre servitia, cuiuscumque virtutis officia abnuebam cryptocurrencies ac dolor. Kessinger Murphy, a senior media fretus officer affirmavit "et latos usum esse difficile facere est ad plus actuariorum notitia in unum præciperent congregari Activitatum oeconomicarum agencies quae sunt imperia regere per oeconomiam». Et ilium de illo virtualis valūtās pose novus provocatione ad central ripas, in potestate magna et munera pecuniariis policy commutationem rate. Cum praesidiis tradita perussi financial uber pro validis nulla damna accumsan nisi mediante virtute finire bitcoins furto perierat.

[drsilverfish]

Jack Kline Novak Winchester: Son, TFW Mirror, Trinity and Key; Quaternity, Ouroboros, Caduceus, and Harbinger of The End

“I am a hunter, I am the son of Lucifer, I am a Winchester!” (14x14 Ourboros).

“One becomes two, two becomes three, and out of the third comes the one as the fourth.” (the alchemist Maria Prophetissima 1-3 C AD). This refers to the four stages of alchemy, the refining of base metals into gold on the material plane, but the refining of the soul to God on the spiritual plane -  nigredo (black), albedo (white), citrinalis (yellow), and rubedo (red).  

In Jung’s interpretation of this alchemical piece of wisdom, this means the refining of the psyche:

1) = Conscious Self

2) = Unconscious Self (the Shadow or Mirror)

3) = Inner Mediator

4) Integrated Self

(One of the books Dean uses to build the Ma’lak box in 14x11 Damaged Goods)

This meta is concerned with Jack’s rich symbolic role in the SPN narrative. 

Jack enters the story to help Team Free Will face their Shadow-Selves and thus evolve psychologically.

This concludes my S14 meta series on the Jungian (and alchemical) themes of the season.

You can read all the previous meta in that series here:

1) The Shadow 14x08

http://drsilverfish.tumblr.com/post/180906003584/the-shadow-14x08

2) 14x09 The Spear (Jungian Decoder Ring Edition)

http://drsilverfish.tumblr.com/post/181122764984/14x09-the-spear-jungian-decoder-ring-edition

3) Jung and Dean’s Journey Towards Self-Integration in 14x11 Damaged Goods

http://drsilverfish.tumblr.com/post/182299438269/jung-and-deans-journey-towards-self-integration

4) Ouroboros in Prophet and Loss (14x12)

http://drsilverfish.tumblr.com/post/182486474324/ouroboros-in-prophet-and-loss-14x12

5) A Pearl of Great Price - 14x13 Lebanon

http://drsilverfish.tumblr.com/post/182660472289/a-pearl-of-great-price-14x13-lebanon

6) The Serpent and the Egg: Snake and Eye Symbology in 14x14 Ouroboros

http://drsilverfish.tumblr.com/post/183327000184/the-serpent-and-the-egg-snake-and-eye-symbology

7) Another Alchemical Easter Egg in 14x14

http://drsilverfish.tumblr.com/post/183388134889/another-alchemical-easter-egg-in-14x14

8) The Scapegoat: Speculative Musings on S14′s End (Moriah) (Linked to the Season’s Jungian Themes - Scapegoating and the Unacknowledged Shadow)

http://drsilverfish.tumblr.com/post/184045009309/the-scapegoat-speculative-musings-on-s14s-end

9) Dean’s Jungian Shadow Arc in S14: Confronting the Internal Father (2x22 to 14x20 Moriah)

https://drsilverfish.tumblr.com/post/184507150574/deans-jungian-shadow-arc-in-s14-confronting-the

Jack is dualistic; Good and Evil, Human Soul and Angelic Grace. He is a trinity: Human, Angel and “Demon” (fallen Angel); Dean-mirror, Cas-mirror, Sam-mirror. He is also a quaternity, thanks to the additional feminine element: his mother, Kelly Kline and his adoptive mother/ grandmother Mary Winchester (the latter resurrected by the feminine God-principle Amara).

Jung considers the quaternity to be highly significant (he refers to “squaring the circle”) including, as above, in relation to his interpretation of Maria Prophetissima’s alchemical summary as being analogous to the stages of psychic growth and integration. He often considers the, Son, Father, Holy Ghost and Mother Mary of Christianity to be external symbols for the four stages or elements of the human psyche.

“The quaternity, is an archetype of almost universal occurrence [. . .]” For instance, if you want to describe the horizon as a whole, you name the four quarters of heaven…There are always four elements, four prime qualities, four colours, four castes, four ways of spiritual development, etc. So, too, there are four aspects of psychological orientation [. . .] The ideal of completeness is the circle sphere, but its natural minimal division is a quaternity” 

(Jung: Psychology and Religion: West and East).

Conceived by stealth-rape in a Bucklemming episode (12x08 LOTUS) Jack was possibly off to an inauspicious start as the Devil’s Baby.

But Jack the Nephilim, son of Lucifer and Kelly Kline, had the good sense to adopt Castiel as his protector in the womb, and from then on out he has ascended through the spiral narrative like the phoenix he is.  

Born in 12x23 All Along the Watchtower, Jack was always part of Dabb’s Ouroboros narrative. A "demon” with yellow eyes in a nursery, a child, and a mother who dies; Jack was a mirror, reflecting SPN’s origin story, of Azazel feeding baby-Sam demon blood, and burning Mary Winchester on the ceiling. And Jack was Sammy and Azazel both. 

Castiel died at Jack’s birth too, murdered by Lucifer in front of Dean’s horrified eyes, thus placing Cas in the role of Mary Winchester and Dean in the role of John Winchester.   

Adopted by a reluctant grieving Dean and a hopeful Sam, Jack discovered he loved nougat and stole a lot of fandom hearts. 

Importantly, through their adoption of Jack and his reflection of many of their previous experiences, TFW are forced to recognise themselves (including painful repressed elements of themselves) in him, thus he enables them to better meet their Shadow-selves and evolve. In this sense he is the mediator between the Ego and the Id, the conscious self and the unconscious self, the Self and the Shadow for TFW. That is why Jack is linked to the symbol of the Ouroboros, the snake swallowing its own tail, because in alchemy that signifies transformation:

This self-recognition (of themselves in Jack) is initially much easier for Sam and Cas than it is for Dean....

Sam the boy corrupted by demon blood, of course sees himself in the innocent yet unstable son of Lucifer. Cas, fallen angel in love with humanity, likewise naturally sees himself in a half-angel/ half-human child who is struggling with his place in the world. 

Juxtaposing innocence and enormous power (potential for good and potential for evil) Jack was a child who grew up too fast, literally (appearing twenty whilst only two). In this respect, he was a mirror for Dean, who had to grow up too fast when his Mom died, assuming the role of substitute-parent to Sammy. 

Dean has a hard time recognising and having compassion for the innocent child part of himself that he gave up to become Daddy’s “good little soldier” and caretaker to Sammy. Which is why his journey into loving Jack (as a reflection of himself) goes hardest (see my meta on Dean’s Jungian shadow arc, linked above, for more on this). 

Jack is also (like Dawn in Buffy) a metaphysical, mystical key. He opens doors; doors between dimensions/ worlds and alternate universes as well as doors in the psyche between the Self and the Shadow. He is the key to Chuck’s multiverse and to the larger God-machine.

Jack (responding to Dean’s intense grief) resurrected Castiel in The Empty, the space where dead angels and demons go. Only Chuck had resurrected Castiel previously. So, we see Jack step into the role of God, but in a place (The Empty) where (if we believe the Cosmic Entity that resides there) God has no dominion. Jack already presages God Level Mark II.   

With Mary Winchester in the apocalypse world (she who was resurrected by the feminine God-principle, Amara) Jack stood on the side of humans against angels, and in this, he was a mirror for Castiel (who rebelled against Heaven to stand with the Winchesters). 

When his birth father, Lucifer, stole his grace in 13x23 Let the Good Times Roll, Jack became de-powered (human-ish) again, mirroring Castiel (and his Human!Cas arc after the angel fall in 8x23 Sacrifice).  

With his soul/ grace unbalanced, Jack began coughing up blood; a mirror for Sam’s journey during the demon trials of S8.

Knowing he was dying, Jack went fishing with Dean in 14x07 Unhuman Nature 

Ahhh all the lovely fish and fishing metaphors SPN has employed over the years. Fish have sometimes stood for humans, sometimes stood for angels, but always for angel/ human convergence. Jung in Aion (reading medieval alchemical texts) writes about the fish as an alchemical symbol for the philosopher’s stone (the mystical substance that allows transformation - of matter and spirit and, for Jung, of the psyche):  “...alchemical fish symbolism leads direct to the lapis, the salvator, servator, and deus terrenus; that is, psychologically, to the self.” (Jung, Aion: Researches into the Phenomenology of the Self, 1979: p157)   

So, Dean and his adopted Nephilim son fish together, which recalls, in particular, Dean’s fishing dream in 4x20 The Rapture, which Cas entered and there passed Dean a love note of assistance. If fish are angels, then Dean and Jack have already “caught” one, by means of love: Castiel.

Dean is placed here again in the role of his own father, John Winchester. 

JACK: “You once told me you and your father did the exact same thing. It was your happiest memory of him.”

And Jack, as the product of angel/ human congress, has always stood (in subtext) as a metaphor for the love between Dean and Cas.

But, metaphysically unbalanced, Jack sickens further. An injection of Gabriel’s archangel grace doesn’t help. TFW take him to the hospital together, to no avail. Sam, his third adoptive father, keeps vigil at his bedside as he dies.

Jack finds himself in Heaven. Here he is a mirror for Sam and Dean, who have both died multiple times on the show. He reunites with his mother Kelly Kline, but The Shadow (a manifestation of The Empty particularly linked to Castiel, symbolising, as it does, Cas’ Jungian Shadow-self) has invaded Heaven and wants to drag Jack to The Empty with it. Jack’s duality is here highlighted, as his human soul belongs in Heaven, but his dead angelic self belongs in The Empty, (according to the SPN cosmic sorting hat!)

Castiel comes searching for Jack in Heaven, and makes a deal with The Shadow in 14x08 Byzantium - Jack’s life for his own (the moment Cas allows himself to be happy). Cas and Jack mirror Dean and Sam here, and all the supernatural deals they’ve made, or tried to make, to bring one another back from death over the years. Cas in particular mirrors Dean, because Sam has always, in one sense, been not only Dean’s brother, but his son. 

As ever, there will be a price to pay for this deal. Not only Castiel’s promise to surrender himself to the Shadow, but also the second “death” of Mary Winchester (caused by a resurrected Jack). 

But, Cas loves his Nephilim son so much (<my heart>):

Held in an unstable balance thanks to Lily Sunder’s dark soul-consuming magic, things start to get dicey for Jack post-resurrection. He tries to impress Max, Stacy and Eliot (the Lebanon kids) and ends up stabbing Stacy (Castiel’s mirror) with an angel blade (14x16 Don’t Go in the Woods) leaving Max (Dean’s mirror) grieving over her body, thus, in that moment, mirroring his father Lucifer (12x23 All Along the Watchtower), However, he brings Stacy back from death (mirroring his own resurrection of Cas) but every time he uses his powers, he burns off some of his soul:

Wow he is cycling, Ouroboros style, through so many previous TFW arcs.

And so we arrive at 14x14 Ouroboros itself, THE crucial episode in terms of all this symbology, in which Jack kills the Queer Gorgon Noah Ophis (himself an Ouroboros symbol = Noah from Genesis and Ophis from Revelation) to save the Winchesters and adopts his snake, Felix (also an Ouroboros symbol). 

Then, he burns off considerably more of his soul (perhaps all of it  - it’s unclear) to kill AU!Michael, and swallows his grace, Ouroboros style:

Jack is now another symbolic duality and trinity - he contains elements of both Michael and Lucifer, the two opposing forces in Apocalypse Mark I, now united in one being. The third element is provided by his humanity (now, seemingly, in jeopardy). 

An evolved and fully re-powered-up Jack has sprung forth, just as Pegasus the winged horse and his brother Chrysaor of the golden sword did from the neck of their Gorgon mother Medusa when Perseus slew her:  

In this form, Jack is linked (via a book on Donatello’s shelves behind him in 14x15 Peace of Mind - thanks to @postmodernmulticoloredcloak for this spot!) to the Caduceus symbol on the spine of the Book of Life here:

The Caduceus is the staff of Hermes, consisting of two serpents entwined about a staff crowned with wings. Hermes is the messenger of the Gods in Greek mythology. He can move freely between the worlds of God and men (linking to Jack’s function as a metaphysical key, on both a micro-cosmic psychological scale, and a macrocosmic God-machine scale). Hermes was also a psychopomp, a conductor of souls to the afterlife. The psychopomp is linked by Jung to the psychological mediator function - that which mediates between the Self and the Shadow, as Jack does for TFW via his mirroring function. 

Jack’s visit to Donatello also serves to remind us that even someone without a human soul can live a good life if they pick the right role models (Donatello picks Mr. Rogers, Jack picks the Winchesters). 

In 14x15 Peace of Mind, Jack demonstrates both his potential for good and evil in this new diminished soul-state, via a (misplaced) compassion (good) which leads him to kill Felix the snake (evil) believing the beastie is grieving for Noah the Queer Gorgon and will be reunited with him in death:

This death of the snake is also symbolic of Jack’s role as mirror and mystical key - old patterns within both Team Free Will and Chuck’s Multiverse must die, in order for newer and healthier ones to be born. Jack is the catalyst, the messenger, the Ouroboros, the Caduceus. 

In Jack’s new, vulnerable, state (with either some, or all, of his soul gone) he  banishes Lucifer back to the Empty in 14x17 Game Night after Nick (bleugh) tries to resurrect him, and he then burns Nick to a crispy cinder for good measure. Afterwards, Jack is tormented by Hallucifer (a vision of his father Lucifer in his mind). This is very possibly the actual Lucifer, communicating with Jack via the blood-link spell Nick performed, hoping to lead him astray. It certainly sounds like the actual Lucifer. It also, of course, mirrors Sam’s Hallucifer arc.

Distressed by Mary’s reaction to his incineration of Nick and taunted by Hallucifer, Jack loses control and (or so we are led to believe) kills Mary (in fact I think he’s blasted her unwittingly through a portal to an AU/ mirror universe, but that’s another story).

Now the crisis in Jack’s relationship with his adoptive fathers is set up. 

Dean, is the member of TFW who (as I explained above) has found it hardest to have compassion for the mirror-self whom Jack reflects back to him (young Dean with the weight of the world on his shoulders) and he determines Jack must be locked in the Ma’lak box and/ or killed. Sam and Cas, who have been better able to recognise themselves in Jack and so have compassion for him, dissent (but Sam’s hangover child-role to Dean’s father-role in their toxic co-dependency means he doesn’t initially stand up to Dean).  

Here is Jack, locked in the Ma’lak box (Jack in the Box 14x19) being tormented again by Hallucifer:

And, of course, that couldn’t contain him, so, deeply upset at being lied to by two of his three adoptive fathers, Jack busts out all glowy-eyed:

Chuck shows up to set Mount Moriah and Abraham and Isaac redux in motion , and Dean, possessed by his Shadow-self (the Ghost of John Winchester) gets ready to repeat history. 

A yellow-eyed “demon”has killed Mary Winchester (again) and Dean-as-John picks up Chuck’s weapon of RevengeTM (the Hammurabi - see my meta on Dean and his Shadow arc linked above for more on this).

But Jack, in his role as mirror and mediator between the Self and the Shadow. freely offers himself as a sacrifice, a scapegoat. 

And seeing this, at last, Dean has compassion, both for Jack and for his own mirror-child self, “murdered” by John Winchester’s revenge quest to get Yellow-Eyes/ Azazel. And so, he stays his hand.

Chuck, the bastard, kills Jack anyway and lights the fuse under Apocalypse III. 

But, because Jack is a metaphysical key and the symbol of transfomation (Ouroboros) he can move between all the realms of the God-machine. And so, Death has no true dominion, and we see Jack awaken (14x20 Moriah) in The Empty: 

There, he is greeted by a figure, presumbly the Cosmic Entity who presides over the place, as well as by Billie the New Death.

According to the Empty’s Cosmic Entity in 13x04 The Big Empty, “Before God and Amara, creation, destruction, Heaven, Hell, your precious little earth, what was there?... Nothing. Nothing but Empty... Angels and demons... you all come here when you die...  I’m the only one that has any pull here. Not Heaven, not Hell, not G-O-D himself.“

As with the Amara storyline (she is mapped to Sophia, the cosmic feminine God-principle) it seems Dabb is drawing on Gnosticism in his conception of The Empty. Jung was also fascinated by Gnosticism. 

The Gnostics made a distinction between the supreme unknowable Being, and the creator of the material universe, God, known as the Demiurge (who was often seen as amoral, even wicked). 

We don’t yet know whether Chuck has already merged with Amara, and is the double entity Chuck/ Amara or, whether her feminine God-principle will be instrumental in persuading him to finally end his story, and let Team Free Will and humanity become the authors of their own stories. The latter would make sense in Jung’s quaternity structure, and would be linked to my theory that Mary Winchester is not dead and will return to her sons before the end. 

Chuck, as the Demiurge, may perhaps be the mere avatar or emanation of the true supreme Godhood, if we take a Gnostic perspective. Whilst Chuck-the-Demiurge must be defeated, because he doesn’t want to relinquish control of the narrative, in his Supreme Godhood form, and/or merged Amara form, he may himself relinquish control and let Team Free Will go.   

Whether Jack is initially manipulated by The Empty, Death and/ or an awakened Lucifer and/or indeed AU!Michael, or joins forces with them (in their good faith) remains to be seen. Lucifer may (ugh, but definitely possible) get a redemption arc, as he has, despite his many evil deeds, undoubtedly been wronged by Chuck (forced to bear the Mark of Cain and thus become corrupted by it). 

Ultimately, I have no doubt that Jack, thanks to his loving connection to Team Free Will, will ultimately (as Cas has always believed) be “good for the world”:

(Jack and his three adoptive Dads in Unhuman Nature 14x07) 

 Jack, as the alchemical symbol of transformation (Ouroboros) as Mercury the mediator (Caduceus) between universes, between realms in the God-Machine, and between the conscious and the unconscious, and as the union of opposites (Michael and Lucifer, Good and Evil, Self and the Shadow), and as the trinity symbolising that unity (Sam, Dean and Cas merged as TFW) and as the quaternity (the ultimate integration [I hope] with the feminine principle symbolised by Mary and Amara) will, I believe, help usher in “Paradise” after the Apocalypse III; a “new Heaven and a new Earth, because the old Heaven and the old Earth had passed away” (Revelation) in which true free will reigns and Team Free Will have completed their psychic journeys. 

“Thus we have the “hostile brothers,” Christ and the devil, who were regarded as brothers in the Jewish-Christian tradition; the tetrameria into four parts or elements; the paired opposites and their ultimate unity; the parallel of the lapis and Mercurius with Christ and, because of the snake or dragon symbolism, also with the devil; and finally, the figure of Mercurius duplex and of the lapis, which unites the opposites indivisibly in itself.”

(Jung, Aion: Researches into the Phenomenology of the Self, 1979: p214)

https://www.jungiananalysts.org.uk/wp-content/uploads/2018/07/C.-G.-Jung-Collected-Works-Volume-9ii_-AION_-Researches-into-the-Phenomenology-of-the-Self.pdf

[vintagekrissword]

Rare Pamor Hamon Keris Pancuran Mas Golden Pluviae Antiquae Keris From Tuban Era Very Special https://www.etsy.com/listing/1063913492/rare-pamor-hamon-keris-pancuran-mas Dhapur Keris (genus figurae kris): Brojol Pamor (forma plicarum ferrearum): Pancuran Mas / Pluvia aurea Tangguh (aestimari tempus fabricandi): Tuban Lamina Longitudo: 35.5cm Warangka : Gayaman Surakarta Antiqua Trembalo Wood Palpate / manubrium: Vetus CREPITUS lignum flavo Pendok : Blewah Surakarta Mamas antiquus Mendak : Ancient Silver Proprietas huius keris $ Rara dignitas (forma plica ferrea) $ Ferrum in optima conditione Pamor $ non fractus et integer Item est prorsus eadem cum photo. C% verum prisce fideiussor Pancuran Mas' praestantia philosophiae: "Pancuran" est fons aquae quae manat, dum "mas" significat Aurum quod est metallum pretiosum magni pretii. Sic "Mas Pancuran" interpretari potest "Source". Aurum" pergit fluere. Si imber in communi aqua est, tunc imber aureus significat imbrem qui aurum servat (fons auri). Itaque auctoritas Mas Pancuran symbolum est spei et precationis pro Keris dominis vitam prosperam habere possunt, divitiis volutari est sicut fons perennis auri fluens habens. Mas Pancuran etiam aliam significationem habet quae nuntius est ut dominus Keris semper agere possit sicut imber/aquarum fons qui ambitus ambitus adiuvat. Humani sensus et curas sociales habere debent et aliis utiles esse debent ut in eius vita gloriari possint. Pamor Pancuran Mas doctrinas continet semper caritatem adiuvare ad alios adiuvandos quia eleemosynae sunt sicut fons aquae, nquantumcumque expendas numquam excurrere. Aqua est fons vitae omnium viventium in mundo, cum aquae praesentia tunc omnes vivere, crescere, crescere et fructum ferre possunt. Aqua etiam habet proprietates refrigerationis. Item eleemosyna, quia eleemosyna refrigerare et mollire corda hominum potest eleemosynas dantium et eleemosynas. Recipiens enim eleemosynam acceptam sentietur sicut res pretiosa et utilissima ad vitam suam, et pro eleemosyna dando eleemosynam dabit ei benedictio, et multoties ad ipsum redibit. Per eleemosynam, necessitudo socialis inter eleemosynas datores et recipientes eleemosynas lenior et concordior erit.

[joseandrestabarnia]

La familia feliz, c. 1775

Medio: óleo sobre lienzo

Dimensiones: total (ovalado): 53,9 x 65,1 cm

Línea de crédito: Colección Timken

Artistas / Creadores: Jean Honoré Fragonard (artista) Francés, 1732-1806

ENTRADA:

La familia feliz debe haber sido una de las composiciones más populares de Fragonard, ya que es conocida en numerosas variantes y fue grabada dos veces.[1] Como suele ocurrir cuando existe más de una versión de una imagen, es difícil establecer la procedencia temprana de cualquiera. Las dimensiones del ejemplar de la National Gallery of Art son muy cercanas a las de un cuadro que apareció en una subasta de 1777, que combinó las colecciones de la comtesse du Barry y Radix de Sainte-Foy, entre otras.[2] Otra versión, sin embargo, ahora en el Museo de Arte Fuji de Tokio. [HIGO. 1], es de tamaño similar y tiene el mismo derecho a ser esa pintura. Para complicar el asunto, la versión reproducida enNicolas Delaunay's (1739-1792) grabado, publicado en 1777, pertenecía - según la inscripción del grabado - a un "Monsieur Servat".[3] Desafortunadamente, las dos pinturas de Fragonard son lo suficientemente idénticas en composición y detalles, aunque muy diferentes en tono y color, por lo que es imposible determinar cuál fue el modelo para el grabado. Es concebible que una tercera versión, más pequeña (Palm Beach, Florida, Palm Beach Atlantic University), sirviera para este propósito.[4] La acuarela resplandeciente en el Musée Cognacq-Jay de París [HIGO. 2], que a veces se dice que es la fuente de Delaunay, es probablemente una réplica hecha por el pintor como una obra de arte por derecho propio, una práctica que no era infrecuente para Fragonard.[5]

El experto a cargo de du Barry et al. Sale, Alexandre Joseph Paillet, describió la pintura como “manejada con mucho entusiasmo y de excelente efecto; representa el interior de una habitación en la que hay una mujer y varios niños; un hombre, que parece sorprenderlos, se ve en la ventana abatible ".[6] A este hombre se le suele considerar el padre, que se asoma a la ventana para mirar con adoración a su generosa familia; el título del grabado de Delaunay era L'Heureuse fecondité (fecundidad dichosa). La madre está rodeada de cuatro hijos, un gran número dada la alta tasa de mortalidad infantil, especialmente en las provincias, durante las décadas medias del siglo XVIII. Un niño juega con un perro, mientras otro le da heno al burro.[7] Al fondo, oscurecida por las sombras, una mujer mayor, tal vez una sirvienta, se inclina hacia la escena; un quinto niño se esconde detrás de ella, como si se apartara del fuego que arde detrás de la base de una columna de piedra. Fragonard enfatizó la pobreza de la familia con la escasa variedad de puerros a la derecha (un recordatorio de que comenzó su carrera en el estudio deJean Siméon Chardin (francés, 1699-1779)); las manzanas que se han recogido en un sombrero en primer plano; y la arquitectura clásica, que sugiere que la familia se instaló en una ruina abandonada. A pesar de tal indigencia material, la familia es rica en amor y sentimiento emocional, encontrando alegría en la mera vista del uno al otro.

Como se señaló, el tema y la composición general de La familia feliz recuerdan las pequeñas escenas de género que Fragonard pintó durante su primer viaje a Italia, de 1756 a 1761, mientras se encontraba jubilado en la Académie de France de Roma.[8] Como su amigo Hubert Robert (francés, 1733-1808)Fragonard, con quien a veces trabajaba, parecía fascinado por la pintoresca vida en Roma y sus alrededores, y produjo una serie de pinturas e innumerables dibujos inspirados en lo que veía. Algunas de estas escenas, mujeres lavando ropa en fuentes públicas, cocinas rústicas, interiores de graneros y paisajes, sin duda se basaron en la realidad, mientras que otras fueron claramente producto de su imaginación.[9] En La familia feliz , la composición rectilínea, con sus planos de formas que retroceden en un interior arquitectónico, y el enfoque en la madre y el niño en el centro de la escena recuerdan obras de la época romana como La madre feliz.[HIGO. 3], fechada por la mayoría de los estudiosos alrededor de 1760.[10] Al pintar La familia feliz, Fragonard debe haber recordado esta obra temprana, ya que tomó prestados motivos como la base de la columna antigua o el altar decorado con una guirnalda esculpida y una cabeza de carnero y coronada por una urna; el perro juguetón; y las columnas que se ciernen sobre el fondo. Al igual que la familia abarrotada de La madre feliz, la gente humilde de La familia feliz evidentemente ha encontrado refugio en una ruina antigua, adaptando a sus necesidades actuales lo que originalmente debió haber sido un templo pagano. Los hermanos Goncourt caracterizaron acertadamente estas escenas: “La ruina juega con el follaje; la tumba antigua anima el paisaje; la arqueología ya no reconoce sus reliquias; los monumentos se convierten en decoración ".[11]

Sin embargo, a pesar de su parecido con obras anteriores, La familia feliz y sus variantes suelen estar fechadas a mediados de la década de 1770, después del segundo viaje de Fragonard a Italia en 1773-1774. La mayoría de las escenas de género pintadas en el período anterior se caracterizan por una muy un manejo libre que da a las obras la sensación de bocetos al óleo, rápidamente desvanecido con la energía que uno esperaría de la primera respuesta de un artista joven al estimulante entorno de Roma.[12] La familia feliz , por el contrario, se pintó con el deseo de crear formas sólidas en un espacio legible. La composición piramidal está mucho más ordenada que en obras como La madre feliz , y las pinceladas son fluidas pero en completo control. Además, la sofisticada orquestación de luces y sombras, en la que la madre y el niño brillantemente iluminados se colocan crudamente sobre un fondo oscuro, mientras que el rostro sombreado del padre forma una silueta llamativa contra la cálida luz del sol, son signos de que la obra data de la plena obra del artista. madurez. La pintura de la Galería Nacional recuerda las diversas versiones de El descanso en la huida a Egipto [HIGO. 4], que data de mediados o finales de la década de 1770.[13] La colocación general de las figuras en formato ovalado, el uso de un elemento rectilíneo de piedra para establecer el plano de primer plano y la iluminación teatral de las figuras centrales son similares en ambas pinturas. Podemos estar bastante seguros de que La familia feliz y sus variantes fueron pintadas en algún momento entre el regreso de Fragonard de su segunda visita a Roma en 1774 y la producción del grabado de Delaunay en 1777.

Las relaciones formales entre The Happy Family y The Rest on the Flight into Egypt refuerzan el sentido en el que Fragonard ha investido a The Happy Family con sentimiento espiritual, si no con absoluta religiosidad. El tema de la pintura de la Galería Nacional es indudablemente secular, pero el artista ha buscado claramente recordar al espectador la Sagrada Familia, que vive en su humilde cobertizo pero brillantemente iluminado por una luz celestial. Fragonard hizo con frecuencia esta alusión, repitiéndola en La visita a la guardería, en el que las actitudes de las figuras y la organización de la composición recuerdan muchas escenas familiares de adoración de la pintura religiosa. El antiguo edificio derrumbado de La familia feliz recuerda la tradición de representar la Natividad en una estructura clásica en ruinas para sugerir el paso del mundo pagano. Si bien la pintura de Fragonard no representa realmente un tema religioso, no obstante predica el evangelio secular de Jean Jacques Rousseau (1712-1778), cuya oda a la familia ideal en Émile(1762) podría servir como descripción del presente trabajo: “La atracción de la vida doméstica es el mejor contraveneno a la mala moral. La molestia de los niños, que se cree que es una importunidad, se vuelve agradable. Hace que el padre y la madre sean más necesarios, más queridos el uno por el otro; refuerza el vínculo conyugal entre ellos. Cuando la familia está viva y animada, los cuidados domésticos constituyen la ocupación más querida de la esposa y el disfrute más dulce del esposo ”.[14]

Como otras escenas de género pintadas por Fragonard en las décadas de 1760 y 1770, La familia feliz tiene la influencia inconfundible deJean-Baptiste Greuze (francés, 1725-1805), el pintor de género más innovador de la segunda mitad del siglo XVIII. Fragonard había conocido a Greuze durante su primer viaje a Italia, probablemente en 1756,[15] y las pinturas de género que produjo poco después de su regreso a Francia, como The Parents 'Absence Turned to Account (San Petersburgo, Museo Estatal del Hermitage), exhibida en el Salón de 1765, donde Denis Diderot la admiraba, fueron claramente intentos de coincidir con Greuze en su especialidad.[DIECISÉIS] Las imágenes de la vida familiar, temas particularmente dramáticos que parecían participar en debates contemporáneos sobre el amor conyugal, los roles de género y la crianza de los hijos, fueron especialmente populares en las décadas de 1760 y 1770.[17] Al concebir La familia feliz, Fragonard pudo haberse inspirado en himnos a la felicidad familiar como The Beloved Mother de Greuze.[HIGO. 5], finalizado en 1769 (Madrid, colección particular). Cuando Diderot vio un estudio para La amada madre en el Salón de 1765, comentó: "Esto predica a la población y describe de manera muy conmovedora la felicidad y el premio inestimable de la paz doméstica", un comentario que podría hacerse fácilmente sobre la familia feliz de Fragonard .[18] Sin embargo, uno debe tener cuidado de interpretar las escenas familiares de Fragonard como abiertamente moralistas o incluso completamente sinceras. Este era un artista que, después de todo, estaba igualmente, si no más, cómodo representando sujetos libertinos. La audiencia principal de Fragonard era un círculo algo cerrado de conocedores sofisticados que se habrían deleitado con una pintura como La familia feliz más por su habilidad técnica y hermosos efectos pictóricos que por una aguda identificación con el tema.[19]

Este texto se publicó anteriormente en Philip Conisbee et al., Pinturas francesas del siglo XV al XVIII , Catálogo sistemático de las colecciones de la Galería Nacional de Arte (Washington, DC, 2009), 176–181.

Es posible que los datos de la colección se hayan actualizado desde la publicación del volumen de impresión. Se han realizado adaptaciones de luz adicionales para la presentación de este texto en línea.

Richard Rand

1 de enero de 2009

Información e imagen de la National Gallery of Art de Washington.

[christophe76460]

L’abandon du corps - Evangile 21

Si vous avez un peu suivi l’actualité française, soit sur les médias sociaux, soit de manière plus « classique », vous n’avez pas manqué de remarquer la vive critique dont a été (j’ai failli dire « victime ») l’objet la récente cérémonie des Césars – il y a plusieurs semaines déjà. Pour rappel, les « Césars du cinéma » sont la récompense cinématographique française. C’est un moment fort dans la vie culturelle française, un temps de reconnaissance et de célébration de la créativité, ce grand don divin.

Cette année cependant, cette célébration a été vivement critiquée. Il faut dire qu’en deuxième année de crise sanitaire, les tensions sont normales, et s’intensifient. Pour le Figaro, cette 46e cérémonie fut un « naufrage ». L’auteur montpelliérain Henry-Jean Servat, spécialiste du cinéma, a une parole plus forte encore : « Sans classe. Sans chic. Sans élégance. Sans humour. Sans tendresse. Sans passion. Sans retenue. Sans envie. Sans panache. Sans partage. Sans courage. Sans conscience. Sans fierté. Sans décence. Sans honneur. Sans rien. Sans nous. Sans moi. »[1]

Pourquoi une réaction aussi négative ? Il y eut les revendications politiques et les mauvaises blagues. N’étant pas un grand blagueur, les mauvaises blagues me touchent peu. Mais il y eut aussi la remise du prix du meilleur costume par l’actrice Corinne Masiero. Par protestation contre l’abandon de la « culture » par l’état, elle s’est avancée sur le plateau en costume sanglant de Peau d’Âne, et s’est entièrement dévêtue, dévoilant les slogans « Rends-nous l’art, Jean » ou « No culture, no future ». Vous comprenez mieux.

Le corps, cet instrument

Pourquoi est-ce que je parle de cela ? En quoi cela nous concerne, pourriez-vous dire ? Je pourrais bien sûr revenir sur le fait que la culture est une partie intégrale de la nature humaine, et que ne pas s’en préoccuper est un amoindrissement de ce que l’homme est. Je ne doute pas de la sincérité de tous ceux qui ont utilisé les Césars pour une protestation culturelle, professionnelle et politique. Je ne veux donc pas m’arrêter sur tout ce débat… mais plutôt sur un enjeu apologétique majeur.

Pour moi cette cérémonie des Césars est un témoin de notre société. En étant « témoin », elle dit aussi quelque chose de ce que notre société est devenue. Le problème ? C’est la dégradation, la relégation, du corps humain à un simple instrument. Notre corps n’est plus la partie indissociable de notre raison, de notre imagination, de tout notre être. Ce n’est pas ce que nous sommes… c’est simplement un instrument entre nos mains. Cette chosification du corps a même frappé certains de nos politiciens. La sénatrice UDI de l’Orne, Nathalie Goulet, l’a bien vu elle qui a dit : « il y a d’autres moyens de servir une cause juste »[2].

Le corps, cette « chose ». C’est tragique.

Mais ce n’est pas surprenant. Nous vivons dans un monde qui a réduit l’être humain à une association de composants : sa raison, ses émotions, son sexe (ou sa sexualité)… sa réalité matérielle. Disséquez, démontez, choisissez. L’être humain est devenu un puzzle dont on choisit des pièces, que l’on remonte au gré de ses préférences émotionnelles, et qui au final ne sera jamais à l’image de cette personne porteuse d’image de Dieu, être merveilleux mais aussi fragile.

Non, pour mettre des injustices à nu (s’il y a même une injustice ici!), il n’y a pas besoin de faire de son corps un instrument de communication[3]. Ce serait oublier que le corps, c’est nous-mêmes. Il n’est pas une chose, quels que soient les défis auxquels nous sommes confrontés. Penser que nous n’avons plus d’autre recours que d’utiliser notre corps, c’est fermer les yeux sur les implications

Au risque d’une anthropologie biblique

Si le corps est une chose que nous manipulons comme nous le voulons, selon les luttes politiques, sociales et culturelles, comment pourrons-nous éviter qu’il soit utilisé, asservi, avili, et même abusé par les autres ? Dire que j’ai des droits sur mon corps ne suffit pas. Au contraire, cela renforce simplement cette philosophie anti-corporelle dans laquelle nous vivons. Nous aurions des droits sur cette chose qui nous est étrangère, extérieure.

Si nous prenons cette route, nous nous piégerons nous-mêmes : il sera impossible de prendre soin du corps, le nôtre, celui des autres. Si nous faisons du corps un objet sur lequel j’ai des droits, nous perdrons un jour ces derniers. Si le corps est vraiment un instrument, nous ne pourrons pas le protéger contre l’abus de la part des autres, vu que nous-mêmes en abusons. Or le corps est attaqué, compromis : esclavages sexuel ou économique, pédophilie, inceste… Si nous voulons défendre la dignité du corps, surtout du corps des plus faibles (les pauvres, les enfants, les exploités), nous devons développer une solide vue biblique du corps et de la personnalité humaine.

L’enjeu est réel, et il est crucial. Il ne s’agit pas simplement de défendre la dignité de l’homme, mais de présenter l’intégralité de notre foi. Nous ne sommes pas les maîtres sans pitié d’un bout de chair que nous appelons « corps ». Nous n’en sommes aucunement les maîtres. Le seul qui ait un tel droit sur notre corps, c’est celui qui l’a créé. Il est le seul à pouvoir dire ce qu’est notre corps, à garantir son intégrité, et il a inscrit en nous la trace de cette dignité.

Nous ne devrions pas faire subir à notre corps le moindre abus : il fait lui aussi partie de ce que nous sommes en tant qu’image de Dieu. La dernière cérémonie des Césars est le témoin de cet enjeu du témoignage chrétien : affirmer son intégrité, c’est diriger le regard de nos contemporains vers le Dieu créateur, et vers le Dieu re-créateur.

[1] « César 2021 : ‘Naufrage’, ‘Sans humour’… Les critiques pleuvent contre la cérémonie », 14 mars 2021, Le Point, https://www.lepoint.fr, consulté le 17 mars 2021.

[2] Sur son compte Twitter, le 13 mars.

[3] Contrairement à l’analogie faite par Manon Aubrey, eurodéputée de la France insoumise sur son compte Twitter le 13 mars.

[rebetski]

C-ordet

Jag lever och drömmer, i världen av C. Året då allting skulle lyfta, ta fart, jag ville flyga och jag skulle.  Inte har jag flugit, men lyft har jag. Levat har jag. Jag har landat. Jag har kommit hem. Jag har arbetat, på riktigt, 12-timmars pass utan rast-riktigt. Jag har gått upp, ätit en macka utan smör eller pålägg, kört till jobbet, vimmelkantig och ångestfylld, servat kunder med ett kontrollerat mörker inom mig. Jag har gått upp, kört till jobbet, varit lycklig, fått goda vänner, skrattat så mycket att jag glömt alla kunder som skrikit på mig den dagen. Jag har lärt mig om livet. Jag har lärt mig att allting inte blir som man har tänkt sig. Faktum är, att det nästan aldrig blir det. Och det är okej. Det är bra, till och med. Jag har lärt mig att släppa kontrollen - låta livet hända mig, istället för att styra det som händer mig. Jag behöver ingen, jag har mig, jag har de jag vill ha, och jag har mig. Jag har mig. Jag har blivit tuff. Jag skiter i allt. Jag har inte glömt drömmarna, visionerna, ambitionerna. De ligger och marinerar och drar sig, och väntar. Jag vet att de kommer att få sin tid. Men just nu, är tiden för något annat. Just nu är tiden för att ta hand om mig.  Du kommer att vara lycklig. Men först ska vi göra dig ödmjuk. 

[domainedesromarins]

Journée du commerce et de l'artisanat de Provence

Journée du commerce et de l’artisanat de Provence

Ce samedi 14 octobre nous serons à Tarascon pour la Journée du commerce et de l’artisanat de Provence. Dégustation d’une sélection de nos vins avec possibilité d’acheter sur place à prix caveau. Nous serons présents dans notre petit chalet de 10 à 18 heures, rue des Halles (à côté du magasin l’optique des halles), devant l’entrée 32. Les organisateurs proposent aussi un défilé de mode à 14h30 et…

[78682homes]

Top 14: Racing 92-Toulouse, sans trop penser au printemps 78682 homes

http://www.78682homes.com/top-14-racing-92-toulouse-sans-trop-penser-au-printemps

Top 14: Racing 92-Toulouse, sans trop penser au printemps

Pas de répétition générale: le Racing 92 et Toulouse s’affrontent dimanche (16h50) dans le choc de la 16e journée de Top 14 en l’absence de nombreux internationaux, surtout côté Rouge et Noir, un mois et demi avant leurs retrouvailles dans cette même Arena en quarts de finale de la Coupe d’Europe. »Appeler ce match une répétition serait galvauder cette rencontre de Top 14 qui va être un match avec une grosse intensité » lance William Servat, entraîneur des avants toulousains,…

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Sunday 15 April 1832: SH:7/ML/E/15/0052

8 5

12 ¾

-  Let[ter] fr[om] L[ad]y St[uar]t inclos[in]g     half sheets fr[om] Mrs. Hamilt[o]n to L[ad]y S- [Stuart] de R- [Rothesay] and let[ter] fr[om] L[ad]y G- [Gordon] 1 half sh[ee]t full - fine morn[in]g F[ahrenheit] 61° at 9 1/2 in my r[oo]m and 67° at 9 3/4 in the balc[on]y - Mr. West preach[e]d 33 min[ute]s fr[om] 1 Tim[oth]y 1.15 - queer Evangel[ica]l serm[o]n awake all the time w[e]nt out at 1 1/2 for 1 1/2 h[ou]r - met Captain Cameron she asked him to dinner the murder is out  we talked it over she will not say no so ‘tis done ca[me] to my r[oo]m soon aft[e]r 4 - wr[ote] the foll[owin]g to L[ad]y S- [Stuart] ‘Hast[in]gs Sun[day] 15 Ap[ril] 1832. Th[an]k you ver[y] m[u]ch my d[eare]st L[ad]y St[uar]t, for all y[ou]r k[i]nd anx[iet]y ab[ou]t me, and for Mrs. Hamilton’s excell[en]t let[ter] - we will talk ab[ou]t all this - I shall n[o]t fix an[y]th[in]g till my arriv[a]l in Lond[on] - I fear there is no chance of my see[in]g L[ad]y St[uar]t de Rothesay - I h[a]d a let[ter] fr[om] L[ad]y Gordon this morn[in]g who is alarm[e]d already - I kno[w] n[o]th wheth[e]r Vere will, or can for fear of overweight, wr[Ite] at all today - poor dear girl! I really feel for and pity her excessive shyness and incredulity   on going out to take our little walk we un expectedly met a friend whom between ourselves I rather coutned upon seeing again rather sooner at last poor Vere has found herself almost forced into entering upon the subject with me and I have really thought it right   assured as I am of your approbation to express my gladness to see our friend who is to dine with us this evening   as I find he stays tomorrow I conclude he will call in the morning  when it will be so natural for me to be out that even Vere’s fastidiousness can find not fault  the mere being asked to dinner might be taken as enough  I hope and think it will       we ha[ve] h[a]d a good deal of n[or]th east wind till today; b[u]t Vere h[a]s borne it bet[ter] then I expect[e]d; and I am in bet[ter] sp[iri]ts ab[ou]t h[e]r than I w[a]s - ever, dear[e]st L[ad]y St[uar]t, ver[y] affect[ionatel]y y[ou]rs A. [Anne] Lister’ at 5 20/: took d[o]wn my no[te] 3 p[ages] of 1/4 sh[ee]t to ‘the Hon[oura]ble Lady St[uar]t Whitehall’ to Miss H- [Hobart] to enclose w[i]th Mrs. Hamilton’s let[ter] to L[ad]y S- [Stuart] twenty minutes with Miss H- [Hobart] laughing and joking but found the tears sstarting as I kissed her forehad and ran away   what are you going said she but I was off

saying oh I dare not look behind me     a few tears are falling but away with them ‘For hum[a]n weal

heav[e]n husb[a]nds all events’   I am satisfied  I can keep uo the friendship try to arrange  with Lady Gordon and be better off than with Miss H- [Hobart] ‘tis strik[in]g 6 - dress[e]d - din[ner] at 6 3/4 - on going down saw them on the sofa to[ge]ther and both looking so satisfied I suspected how it was  the moment we left the dining room about eight he staying behind  quarter hour she told me it was all over he made his offer

in a very flattering manner to her done it very well and she had accepted him I said it was much better I was very glad of it she gave me her two cheeks to kiss  I kisse[d] the first one then the other but said nothing   she morelized a little said how a moment changed our whole  lives but she thought she should not repent  he stays tomorrow I asked if he would dine with us yes she did not care now what was ssaid I gently suggested that it would be more consistent with her former  primminess to tell him that now they could not mistake each other she thought he had better not dine here two days together  they could see more of each other at the Lodge  and perhaps he would not be the less pleased with  her for this  I was not prudish but now perhaps I even felt more particular than she did   she seemed satisfied with what I said said Italy had already been mentioned for the winter he came in   we soon had coffee I poured it out ordered tea in half an hour and soon came upstairs   a little before nine  and left them to their happiness  what a sudden change for us alll  for me too she will go to Italy but not with me  well tho’ I made my eyes very yed [red] with crying before dinner I already begin to think it is better she would  have left me in the lurch when I could have managed less well than now odd enough we had scarcely  gone out to the house this afternoon when we a long small man at a distance before us and she said  how very far that man’s arms are for his ssides (one saw the light between the uper arm and side)  I don’t like that  when who should it be but Captain Cameron   he shook hands with us both we walked  up High street and past the nursery garden and then took several turns in the croft  I thought she walked up and down very satisfiedly  in returning along George street I heard her ask him if he would eat his mutton chop with us  ‘I shall be very glad to see you’ ‘will you really’ said he in a low voice  oh oh thought I then it’s all over  and we talked it over on our return  she owned that aunt and she had agreed it  would be very foolish to refuse him but still she refused to believe he really would offer till he had absoultely  done it  she will soon be sufficiently in love   well my prospects are changed  it was only this morning at  

 SH:7/ML/E/15/0053

breakfast I had spoken of my father and mother as having been unhappy together  an ill assorted match and spoke of Marian as   if I wanted to make a thing better always pulling it down again  she liked to everybody be cock of the dunghill etc etc in fact I have gradually of late become more confidential luckily I have never told her my fortune or income and on the whole said nothing I am very sorry for  I do not feel uncomfortably committed tho’ I did laugh and say befor[e] church this morning  well if it was not for the petticoats the thing would be clear enough  yes that it would said she  perhaps ssaid I laughingly it is pretty much the same thing in spite of them (the petticoats)  how little dream what so few hours would bring forth while doubting of Captain C- [Cameron]  she liked to keep me within reach better have me than neither or nobody  le jeu vaut la chandelle  I am satisfied perhaps I shall do tolerably yet  at all rates I feel more comfortable after having  written the above - fr[om] 8 55/.. to 9 1/2 wr[ote] the last 33 lines in Miss H-‘s [Hobart] room my own full of smoke  w[e]nt d[o]wn to tea at 9 35/.. - talked away agreeably enough he staid till eleven and a quarter  she then ate an orange and when she had done it I asked for my orangeade  oh said she I had forgot it  I made no ob[servation]s but kept  up very well ca[me] upst[ai]rs at 11 1/2 and to my r[oo]m at 11 35/.. - kissed her forehead as usual and glad to be  off rang my bell immediately to get rid of Cameron and have no fear of interruption feeling  that I should make a fool of myself as ssoon as alone  why do I do it   she never cared for me well she even think for one moment of what I may or may not really feel on this occasion?  well flow on my useless miserable foolish tears  but they have flowed before perhaps  even more uncomfortably than now there is less mortification  the thing is at least  intelligible I shall get the better of it and at least be thankful that my fate is fixed  shall I see much of her hereafter or not   how odd will seem our meeting in Italy! but I shall be better then  how thankful I am this business did not happen sooner  I shall at least  escape the lovemaking  she says I behave beautifully she little guesses the misery of this tearful moment as I write but no more surely it will be over by morning  Finish mild sunless day - F[ahrenheit] 63° at 11 3/4 in my r[oo]m and 49 1/2° at 12 3/4 in the balc[on]y