Friday, December 30, 2016

More CD Track Lists

Breaking Benjamin
  1. Give me a Sign
  2. ^ Acoustic
  3. Diary of Jane
  4. ^Acoustic
  5. Blow me away - Valora
  6. Angels Fall
  7. Dance with the devil
  8. Ashes of Eden
  9. Failure
  10. Breathe
  11. So Cold
  12. Sooner or Later - eh
  13. Evil Angel
  14. Dear Agony
  15. Anthem of the Angels
  16. What Lies Beneath !!!
  17. unknown soldier
  18. Never Again
  19.  I will not Bow
  20.  Without you acoustic
Rock Love songs (did i already make this one?)
  1. Follow You - bring me the rhorizon
  2. the drug in me is you
  3. yours to hold
  4. cold by crossfade
  5. Right here staind
  6. hold on to me mayday parade
  7. The reason
  8. here without you
  9. Contemptress
  10. Heres to us - halestorm
  11. What if i was nothing
  12. Say You'll Haunt Me
  13. Shadows - Red
  14. Its been a while
  15. Halo 
  16. Black Roses Red
  17. Whispers in the Dark
  18. Swing life away - rise against
  19. Miles away 
  20. calling you - blue october

Friday, December 9, 2016

Asnwers

Astarte got me my answers.

I'm drunk.

I'm going to cry.

Then I'm going to sleep.

I'll blog tomorrow.

Thursday, December 8, 2016

Venus help me please!

I pray to the goddess of love, beauty, confidence, and self esteem.... She goes by many names: Inanna/Astarte/Ishtar, Aphrodite, Venus.....

I call her by different names depending on what aid i need of her.

Venus for romantic relationships.
Aphrodite for appearances and platonic relationships...
Astarte in general....

VENUS HELP ME PLEASE!


lately I have been "talking"/seeing a girl named Stacey. She seems to really like me and on my end its not as much... shes sweet and i like to ang out with her, but no romatnic feelings have emerged. Granted, that can sometimes take time. but... no, not really there.

She is coming to my birthday celebation tomorrow night.

Who else is coming? My crush.... Kris. yup people.... after a full semester of denial, that crush is still going strong.


Both women are coming and i'm freaking out......I will be drinking which = no poker face. Stacey is going to see that i like this other girl....

which means her feelings will be hurt.

I'm dreading that but at the same time? Hoping it happens.

It would allow the conversation of feelings to be brought forward between stacey and me, so that the unreciprocated-ness can come out. Plus it would clear the air about me liking another girl.

Granted..... this other girl won't give me the time of day...

which brings me to my next point....

For the first time since i accepted that things between us were pretty much done, I had a dream about her. Last night. And then i find out that she will be coming to my partying session? hmm...

I've always kinda daydreamed about me drinking and being able to use that excuse (being drunk) to ask her what made her lose interest in me.

Do i dare? Is it okay for me to pray for her to maybe bring it up? I know in reality neither of those things will happen.

But Astarte... Venus.... I really do need your help. In the past you have helped me when i had a specific request. Now i just really need your guidance....

I have a nieve hopeful outcome of tomorrow night.... Kris will drink, I will drink, we start talking.... and somehow it turns out there was simply a misunderstanding and she never lost interest in me. This leads to us going out.

that is my wish. I know it is not realisitic but there it is. Kris plans to be sober though so that ends there haha.

But what i need help on in a more realistic aspect is Stacey.... please let her see my interest in another and realize i'm not on the same level as she is in terms of affection. I don't want her to be hurt because she is a great girl and i love being around her and with her, but so far i don't see anything coming from this.

Venus please help me clear the air with stacey.
Venus if it is meant to be, please help me to reconnect with Kris.

These are my pleas. Please hear them. Please help me.



** tomorrow I need to light a candle, start a prayer to her "Beloved Venus, tender-hearted,
friend of those who seek love and beauty, please hear my prayer" and read this blog post outloud over the flame, in a physical prayer to her. ***


Wednesday, December 7, 2016

Grades for Fall - sp far


  • PE : 93   A-
  • Spanish: 81   B-
  • Motherhood of God: 
  • Psych of Rel:
  • Nonfiction:
  • Fiction: 

Tuesday, December 6, 2016

Portfolio Page for revisions

Dear Dr. Weiland,

Revising this short story was a lot harder than I planned. Although I like the idea of writing the murder scene from the Kelpie's point of view, I found it very hard to give the proper character development that the class wanted to see. As I usually do, I sat down and wrote the whole story in two sittings. I thought about what we talked about in class for revisions and found most weren't helpful. Already I was changing the point of view and knew which scene I needed to focus on, but I was unsure of how to start the scene and how to finish it. To be honest I was unsure of what to put in the middle as well.
In the original story, I wrote the scene very short and in third person omniscient. Because of this I needn't go into much detail, merely summarizing the event. I did this because in my mind this event wasn't as much a scene for character development but served more as a catalyst for the relationship of the girl and the kelpie. Beforehand she avoided the river due to the Kelpie having killed her father, but after this new kill she rekindles her connection to the kelpie. The murder itself was almost insignificant to me. However since this is the particular scene that you and most of the class wanted me to focus on, I gave it my best shot.
It was very hard to write. Harder than I anticipated and I suffered from quite a bit of writer's block. It was only the hastily approaching deadline, one I gave myself in order to make myself actually write the story, that caused me to sit down and force it out. As is, I am very unsatisfied with the second draft. I don't feel it accurately describes the Kelpies fierce, loyal, and protective love for the girl. But in a moment which these things cause him to act, all he feels is rage. It is only afterward, after the girl begins to visit him again, that he realizes these feelings. He himself is unused to feeling such emotions and as such doesn't recognize them during the scene. I was unsure of how to write is and I can definitely tell it shows.
I know you said that you didn’t like it when people say they preferred their first draft, however I want to explain a bit about it. Although I really enjoyed my original story I agree that it did cover a long span of time, and understand why readers might feel the need for a more focused piece. At first I was thinking that the story would be considered magical realism because it’s magical but takes place in the real world. However I have come to realize that it is less like “A Very Old Man…” and more like “In the Company of Wolves”. I really like the style of a folktale/fairytale type short story, which is indeed meant to teach a lesson and entertain at the same time. It is meant to be told rather than experienced firsthand, which is why I chose third person; and I like the freedom to break rules and jump around in time when it comes to folk tales. However the consensus of the class shows that, that particular style, isn’t what the class wanted; therefore revisions needed to be made.
 I just worry that I didn't choose the correct part/section. However I had more than one reason for choosing this scene. There are only four scenes in which the girl and the kelpie interact with each other directly: their first meeting as a toddler, the death of the boyfriend, when her own son falls in the river, and her death. Out of all of those scenes, the most active one with the most interactions between them, is the boyfriend's death scene.

All in all, I'm dissatisfied with it, this draft, but I know I made the right decision in picking this particular scene. I made sure not to make it graphic or overly detailed in areas that would make readers uncomfortable. I did enjoy writing from his point of view though, as it was just like writing from a vigilante killer's point of view. In this draft the readers don't know that he regularly lures innocents to their deaths. I made only a single reference to his tendency to murder, and I know it can be easily overlooked. I do this because I want to mention his violent and homicidal urges - kelpies are NOT regularly friends of humanity. But, with this in mind, it shows the uniqueness of his love for the girl.
I will say the most disappointing thing about this version of the draft is the ending. It feels to cliche. But I couldn't think of another way to end it and simply went with what came to me. I did actually revise it at least twice during the hour or so after my original completion of it. I sent it to a few friends, one of whom helped me figure out where to add a few more details to make it better.
I would also like to take this time to say thank you to you. Throughout this course I have gotten a better appreciation for realistic fiction. Although it still is not my preferred genre to read or write, by reading my classmates, and soon your own, work I have come to realize that it can actually be quite interesting. Thank you also for your constant supply of patients and willingness to meet with me and help me with my writing – it means a lot. Thank you for helping me grow, and I look forward to seeing you next semester.
Much Love,
Lisa


P.S. I have to disagree with you about music and writing. I find that I usually HAVE to have music in order to write decently. For academic papers I listen to classical singing/opera and for fictional works I make a playlist that matches the characters and feel of the piece I work on. It helps me get into the mind of my characters and I write twice as fast. It acts less as a distraction and as more of a catalyst to my creativity ;)

Kelpie and the Girl rewritten

       I am instantly aware of her presence as she and her boyfriend lay upon my river's shores. I break the water's surface, inspecting the situation; it is unusual for her to come to my waters. It had been seven years since I killed her father, protecting her in a way she never knew - yet inspiring her anger, causing her to swear never to venture near me again. My ears twitched at the memory of the girl's mother begging for my help. My nostrils flared as I briefly remembered dragging the man under the water, and how feeble he was in comparison to my watery domain.
       My precious girl, was laying underneath the boy and I knew what they were doing. I look away and focus my hearing onto the party going on in the house further away to give them privacy until I hear her voice ring out - "No." Instantly I am moving closer to them, my hooves digging into the soft sand beneath my waters and my tail easing my closer to them. The boy is still on top of her, but now she is struggling against him. She makes a cry as his grip tightens around her arms and pin her down. At the sharp sound of her pain a rage settles into my bones and I charge.
      As I move I feel my entire body begin to vibrate. It is always unnerving, changing form. My tail splitting and forming legs, my new toes gripping the sand as I run towards them. My hooves turn into fists and I know that my face is now that of a human's. Usually the transformation is more than a little uncomfortable, but my body is numb as instincts take over. My precious girl, was in danger. The thought of the boy violating her nearly drove me mad as I sprinted at them.
     As I reach them I see that the boy, highly intoxicated , has her pinned down between his legs, one hand holder both of hers above her head and his free hand creeping down to... Not waiting, not thinking, I roar in complete rage and aggression, My new fist gripping the boy by the throat. I had to consciously make sure not to crush his larynx, I didn't want to kill him.... yet. His death would not be so swift. I force myself not to laugh as the pitiful thing's face began to turn red.... then purple.... and his eyes began to turn red as the blood vessels threatened to burst from the pressure building up. 
       I hear her gasp as she takes in her new surroundings. In front of her is a man she has never seen, and I can tell she is terrified. Her body, small - yet still that of a woman's, is stiff and shaking. I don't allow myself to fully take her in, lest she fear that I will take over where I had stopped the boy. I focus my eyes on my soon to be victim. My entire body is hot, my blood that like boiling water as I stare into his brown eyes. He reeks of alcohol, much in the same way that her father had. They both had the same look of realization when they realize that they are no longer the top predator; the familiar look of terror on their face. I smiled coldly, promising pain. I heard her whimper and without looking at her, lest she see the deadly joy and aggression I knew what was coming, I told her "Go back to the party child." She attempted to say something, but fear took her voice. I closed my eyes, forcing down the fiery rage, and bringing my fondness for her to the forefront of my mind. When I opened my eyes I turned to her and our eyes locked.
      As i stare into the girl's amber eyes i am reminded of the first time i saw her. She was but a toddler sitting in her mother's lap, wiggling her way to the edge of the boat, attempting to reach out to me. There was no fear on her innocent face as she smiled at me, begging her mother to let her pet me.

***

"Sure sweetie," the father said through his chuckles watching her reaching out to me, "But let's get to the shore first." He was a proud man, but I could smell the impurity of alcohol in his blood. The mother had a tight smile on her face, holding her daughter firmly. So this is the American she left Scotland for? I thought to myself in disgust. My keen eyes could detect a bruise on the the young woman's right cheek, underneath a layer of whatever facepaint she had applied to hide it. I felt a slow anger begin to dwell in my stomach. Turning my gaze back to the wiggling child, i could see no signs of harm. instead the father only smiled, although the smile fell a bit when he caught sight of his young wife's stern face.

"No." She said firmly. She turned the child to face her, holding the little face in both hands.  "You must never pet the black horse in the water. Kelpies are not nice." She looked deeply into the little pools of amber on the now pouting face, eyes that matched her own. She released the girl  satisfied that the child understood. The husband on the other hand, did not.

"What's the big deal?" He asked, his tone held slight irritation. My instincts told me his aggression was rising, mine began to match his. Although the young woman had abandoned her childhood home for this man, she had returned; returned to the home and returned to me. I felt heat rise into my eyes as i poised right behind him, ready to strike if he did. Unbeknownst to anyone on the canoe, beside the child who only smiled up at me, the wife spoke up. 

"When my father bought this land, he was told it was cursed," she said, her voice wavering, but continuing on. Although she could not see me, i had no doubt she could sense my presence, having felt it for the majority of her life. "Over twenty people had drowned in the river that ran across the property and no would go near it. So my parent being as superstitious as they were, did research and came to believe a Kelpie guarded the area." Her voice grew stronger, her eyes daring to leave her husband's face and look for me in the water's surface. She was looking to me for protection... I would give it if she only asked. 

"What is a Kelpie?" The husband asked, his tone implying she was foolish to believe in whater it was. Your worst nightmare, I thought in response. 

"Its a nature spirit.... a faerie of sorts." The husband snorted, interrupting her, but she continued on. Although it was clear she feared the man, "They appear as black horses and live in lakes or rivers. They are known drown people and eat them." At that the husband laughed outright, seeming unaware that his toddler was staring past him intently, smiling at the dark creature directly behind her father.

"Faeries? Don't tell me you believe in the-" He grunted as i bit one of the oars, almost ripping it from his grasp.  "Must have hit a rock...." He muttered. He looked at the alarm on hi wife's face. "What?"

"Don't disrespect them. My family owns this land, as such the kelpie is less inclined to harm us... but if you insult it then-" 

"Nothing." The husband cut her off, seemingly fed up with the conversation. Again, my aggression surged when i saw her flinch. His gaze was then drawn to the beautiful child as she tugged her mother's sleeve and pointed to me.

"The horsey is right behind daddy!" she said, scooting closer to her father, and raising her arms outstretched to me. I had half a mind to lower my head, to nozzle her small hand. Instead reveled in the fear etched in the the mother's and the shudder that ran through the pretentious man's body. They made it back to shore, with me right behind them, soaking up the precious smiles of the child. 

***
      That child was no longer smiling now. Her eyes now resembled that of her mother's eyes from that day past; wide and fearful. I yearn for those sweet times of hearing her laughter and receiving the smiles. She didn't understand the death of her father, so she blamed me and left me. The days of hearing her talk outloud to the river, not seeing me but knowing I was present, had ended with that accursed man's life. Now for the first time since she was little more than an infant, she was seeing me. I can see my reflection in her amber pools; as far as humans go I would not be considered unattractive. I have a strong jaw, deep blue eyes that on more than one occasion had helped me to lead unsuspecting women into the watery depths, and a mane of thick wavy black hair - black as the kelp she use to play in as a child.
      To my surprise I see realization dawn on her beautiful face. Her body instantly relaxes as she realizes that I am not a threat to her. Although she strains to keep her eyes on my face, trying to avoid my naked form, I can see relief begin to set in.
     "K-Kelpie?" She says, her voice little more than a whisper. This is the first time in seven years that she has addressed me. If i were in my original form my ears would have twitched with the pleasant sound of it. Instead, I give her a gentle smile and incline my head. Being recognized so quickly meant that she had not forgotten me, nor banished me from her thoughts the way she had threatened to seven years ago. My lip curled a bit as pride surges through my chest. Her eyes widen, shock and awe are clear. There were no more traces of fear, and I am puzzled at feeling pleased about it. She is the only human to dare be so close to me and feel no fear. She is the only human that need never fear me, this I know for fact. I mourned her parting those years ago, unlike when her mother left I never felt anger toward her. But just as with her mother, I have always been ready to receive her back into my protecting power. There was no doubt in my mind that after this night, I would have my precious child again.
      "Go back to the party child." I command, my voice firm but not threatening. She needn't see the punishment the boy knew i would be giving. Seeing her hesitate, she was looking between the wretched thing in my grip, who was starting to gasp as my grip slowly tightened, and back to me. She knew what was about to happen and as kind hearted as she is, I wonder if she is going to try to bargain for his life. Fighting the urge to end his life now with a simple flex of my fist, I hardened my eyes ending the dance hers had just been making. Once again our eyes were locked and I repeated the order.  Nodding, she shrank back, looking at my soon to be toy and to my surprise her own eyes mirrored mine - hard and unfeeling. With one last look to me, she turned and began to walk away.
       "Make it hurt." I was shocked as i heard her gentle voice whisper as her form retreated back to the loud music and dancing teenagers. Again, pride made its way through me. I had never seen her look as strong as she did in that moment, straightening her disheveled clothes and no longer the fearful victim, she had just commanded a kelpie. In any other human, I would have taken them beneath the water for the disrespect, but since the order comes from her lips, I can deny her nothing. The boy would die and it would be excruciating. More fun for me. 
          As soon as I could no longer see her, I returned my attention to the boy. I smile in satisfaction as he begins to cry and whimper like the pathetic quim he is. With a cruel but peaceful look, I easily break his leg and let him drop to the sand. I glance back at the party, pausing only long enough to make sure no one could hear his cries of pain. Then I slowly allow myself to transform back into my equestrian form before his eyes, his screams or terror are music to my ears. He turns and tries to crawl away before I sink my teeth into his shoulder and drag him into the cold crystal water of my river.
        His screams are cut off and turn into a beautiful cascade of bubbles. He wriggles in the water, and the terror is etched into his face. For a moment I debate letting him drown first, but think back to the request my precious girl made and decide to make him suffer. Pressing my forehead to his, I look him in the eyes before I grip his cheek in my teeth and begin to tear his skin from his skull. The pleasant taste of blood floods the water immediately surrounding us and all is red.


     They found his body two days later, farther down the river. The coroner claimed it a drowning caused by his intoxication and a possible fall into the river, although all were puzzled at what kind of animal had been eating him. I was pleased with my work, his carcass now matched the ugliness and contempt I felt for him. It wasn't long after that, my precious girl began to visit my river again. Like her ancestors before her, whom had struck a deal with me when they first settled into my territory, she was considered cursed by her peers. Her loneliness drove her back to me; and although I have yet to let her see me again, she continues to come and share her life with me. Our relationship started when she was but a wee babe, a curious fondness connecting the two of us blossomed. Then one death separated us. It is only fitting that another death should drive us back together, our new relationship only just beginning. 

Thursday, December 1, 2016

OGSD *updated

okay so heres where we are....

  1. Frankl Paper - Due at 10am
  2. Do the PE workout thing.. ew.. due Thurs
  3. Study for PE test 
  4. Read Bast Research and draw up an outline
  5. Fill in putline - write Bast paper - Due Dec 5
  6. Write Essay of Place - Due Dec 8th
  7. Write Kelpie short story - Due Dec 8th
Alright....

now to add:


  • Do Spanish review... due tomorrow....... oops - Exam on the 7th @ 5 - 7:30
  • Study for Psych Exam - exam on the 9th @ 8-10:30
  • Mak study guide for Bunger - due by the 9th - Exam on the 12th @ 11-1:30

Bast part 3

Original:

Her cult center at Bubastis in Lower Egypt became one of the richest and most luxuriant cities in Egypt as people from all over the country traveled there to pay their respects to the goddess and have the bodies of their dead cats interred in the city.
The goddess's popularity grew over time and in the Late Period and Graeco-Romantimes she enjoyed great status. The main cult centre of this deity was the city of Bubastis - Tell Basta - in the eastern Delta, and although only the outlines of the temple of Bastet now remain, Herodotus visited the site in the 5th century BC and praised it for its magnificence. The festival of Bastet was also described by Herodotus The people of Egypt came annually to the great festival of Bastet at Bubastis which was one of the most lavish and popular events of the year. Geraldine Pinch, citing Herodotus, claims, "women were freed from all constraints during the annual festival at Bubastis. They celebrated the festival of the goddess by drinking, dancing, making music, and displaying their genitals" (116). This "raising of the skirts" by the women, described by Herodotus, had as much to do with freedom from social constraints as it did with the fertility associated with the goddess. As with many of the other festivals throughout Egypt, Bastet's celebration was a time to cast aside inhibitions much in the way modern revelers do in Europe during Carnivale or in the United States at Mardi Gras. Herodotus presents a vivid picture of the people traveling to Bubastis for the festival:
When the people are on their way to Bubastis, they go by river, a great number in every boat, men and women together. Some of the women make a noise with rattles, others play flutes all the way, while the rest of the women, and the men, sing and clap their hands. As they travel by river to Bubastis, whenever they come near any other town they bring their boat near the bank; then some of the women do as I have said, while some shout mockery of the women of the town; others dance, and others stand up and lift their skirts. They do this whenever they come alongside any riverside town. But when they have reached Bubastis, they make a festival with great sacrifices, and more wine is drunk at this feast than in the whole year besides. It is customary for men and women (but not children) to assemble there to the number of seven hundred thousand, as the people of the place say (Histories, Book II.60).
Although Herodotus claims that this festival outstripped all others in magnificence and excess, in reality there were many festivals celebrating many gods which could claim the same. The popularity of this goddess, however, made her celebration of particular significance. In the passage above, Herodotus makes note of how the women in the boats mocked those on shore and this would have been done to encourage them to leave off their daily tasks and join the celebration of the great goddess.

Herodotus is the primary source for information on the cult of Bastet and, unfortunately, does not go into great detail on the particulars of her worship. It seems both men and women served as her clergy and, as with the other Egyptian deities, her temple at Bubastis was the focal point of the city providing services ranging from medical attention to counseling to food distribution. Herodotus describes this temple:
Save for the entrance, it stands on an island; two separate channels approach it from the Nile, and after coming up to the entry of the temple, they run round it on opposite sides; each of them a hundred feet wide, and overshadowed by trees. The temple is in the midst of the city, the whole circuit of which commands a view down into it; for the city's level has been raised, but that of the temple has been left as it was from the first, so that it can be seen into from without. A stone wall, carven with figures, runs round it; within is a grove of very tall trees growing round a great shrine, wherein is the image of the goddess; the temple is a square, each side measuring a furlong. A road, paved with stone, of about three furlongs' length leads to the entrance, running eastward through the market place, towards the temple of Hermes; this road is about 400 feet wide, and bordered by trees reaching to heaven. (Histories, II.138).

The popularity of Bastet grew from her role as protector of women and the household. As noted, she was as popular among men as women in that every man had a mother, sister, girlfriend, wife, or daughter who benefited from the care Bastet provided. Further, women in Egypt were held in high regard and had almost equal rights which almost guaranteed a goddess who protected women and presided over women's secrets an especially high standing. Cats were also greatly prized in Egypt as they kept homes free of vermin (and so controlled diseases), protected the crops from unwanted animals, and provided their owners with fairly maintenance-free company. When Herodotus went to Bubastis he wrote extensively about the cult. Turner and Bateson suggest that the status of the cat was roughly equivalent to that of the cow in modern India. The death of a cat might leave a family in great mourning and those who could would have them embalmed or buried in cat cemeteries – pointing to the great prevalence of the cult of Bastet. One of the most important aspects of Bastet's festival was the delivery of mummified cats to her temple. When the temple was excavated in 1887 and 1889 CE over 300,000 mummified cats were found. Wilkinson, commenting on her universal popularity, writes:
Amulets of cats and litters of kittens were popular New Year gifts, and the name of Bastet was often inscribed on small ceremonial `New Year flasks', probably to evoke the goddess as a bestower of fertility and because Bastet, like other lioness goddesses, was viewed as a protective deity able to counter the darker forces associated with the `Demon Days' at the end of the Egyptian year (178).
Bastet was so popular that, in 525 BCE, when Cambyses II of Persia invaded Egypt, he made use of the goddess to force the Egyptian's surrender. Knowing of their great love for animals, and cats especially, he had his soldiers paint the image of Bastet on their shields and then arranged all the animals that could be found and drove them before the army toward the pivotal city of Pelusium. The Egyptians refused to fight for fear of harming the animals and offending Bastet and so surrendered. The historian Polyaenus (2nd century CE) writes how, after his victory, Cambyses II hurled cats from a bag into the Egyptian's faces in scorn that they would surrender their city for animals. The Egyptians were undeterred in their veneration of the cat and their worship of Bastet, however.  Her status as one of the most popular and potent deities continued throughout the remainder of Egypt's history and on into the era of the Roman Empire until, like the other gods, she was eclipsed by the rise of Christianity.  ((Mark,2016))

Incense offerings were made on a daily basis and scent played such an important part in temples, daily life and magical rituals. Only priests, priestesses and royalty were allowed inside temples. Ordinary Egyptians worshipped and made offerings at small shrines in their homes. A statue of the goddess Bastet might have been placed on the altar table and ancient Egyptians prayed and gave offerings to the god whilst kneeling on a reed mat. (Alchin, 2015)
---------------------------------------------------
Her cult centered at Bubastis in Lower Egypt became one of the richest and most luxuriant cities in Egypt as people from all over the country traveled there to pay their respects to the goddess and have the bodies of their dead cats interred in the city. Although Little of the temple remains today, when Herodotus visited it in the 5th century he was awed and spoke of its magnificence. While there he observed the Annual Festival of Bastet. People from all over Egypt came to the festival which was one of the most exuberant events of the year. Geraldine Pinch, citing Herodotus, claims, "women were freed from all constraints during the annual festival at Bubastis. They celebrated the festival of the goddess by drinking, dancing, making music, and displaying their genitals". This "raising of the skirts" by the women, described by Herodotus, had as much to do with freedom from social constraints as it did with the fertility associated with the goddess; also one of the reasons that Bast was latter associated with pleasure and sexuality. As with many of the other festivals throughout Egypt, Bastet's celebration was a time to cast aside inhibitions in a similar way poeple in Europe do in times of Carnival and Mardi Gras in America. Herodotus presents a vivid picture of the people traveling to Bubastis for the festival:
When the people are on their way to Bubastis, they go by river, a great number in every boat, men and women together. Some of the women make a noise with rattles, others play flutes all the way, while the rest of the women, and the men, sing and clap their hands. As they travel to Bubastis, whenever they come near any other town they bring their boat near the bank; then some of the women do as I have said, while some shout mockery of the women of the town; others dance, and others stand up and lift their skirts. They do this whenever they come alongside any riverside town. But when they have reached Bubastis, they make a festival with great sacrifices, and more wine is drunk at this feast than in the whole year besides. It is customary for men and women (but not children) to assemble there to the number of seven hundred thousand, as the people of the place say (Histories, Book II.60). PUT THIS INDENTED
Although he said this festival outdid all others, the same could be said about any other festival put on by any other gods' worshippers - but it clearly left an impression on him. The popularity of this goddess, however, made her celebration of particular significance. Although as Herodotus says the women mock the other women on the shore, they do this not out of malice, but rather to encourage them to join in the celebration of their beloved goddess.

Although Herodotus is the main source for information on the cult and worship of Bast he did not give any particular detail to the finer workings of her worship and ritual (Mark,2016). It is assumed that Incense offerings were made on a daily basis as scent played such an important part in temples, daily life and magical rituals at that time. "Only priests, priestesses and royalty were allowed inside temples. Ordinary Egyptians worshipped and made offerings at small shrines in their homes. A statue of the goddess Bastet might have been placed on the altar table and the Egyptians prayed and gave offerings to the god whilst kneeling" (Alchin, 2015). It is known that both men and women worshiped her and served as her priests/priestesses and that her temple served many purposes; it acted as a clinic, counseling center, and was even used for food distribution. Herodotus describes this temple:
Save for the entrance, it stands on an island; two separate channels approach it from the Nile, and after coming up to the entry of the temple, they run round it on opposite sides; each of them a hundred feet wide, and overshadowed by trees. The temple is in the midst of the city, the whole circuit of which commands a view down into it; for the city's level has been raised, but that of the temple has been left as it was from the first, so that it can be seen into from without. A stone wall, carven with figures, runs round it; within is a grove of very tall trees growing round a great shrine, wherein is the image of the goddess; the temple is a square, each side measuring a furlong. A road, paved with stone, of about three furlongs' length leads to the entrance, running eastward through the market place, towards the temple of Hermes; this road is about 400 feet wide, and bordered by trees reaching to heaven. (Histories, II.138). (Mark,2016)
Her populariy
The majority of Bast's popularity came from her role as the protector of women. She was honored by both women, whom she protected, but also by men because "every man had a mother, sister, girlfriend, wife, or daughter who benefited from the care Bastet provided." This was also because Women were held in high esteem in Egypt. They had nearly all the same rights as men - meaning that a goddess wou protected them and their secrets would be held in equally high esteem. Cats were honored as well, because they protected the home from pests which controlled disease and also the crops. They also served as companions, who did not require much care, being very independent animals.It is suggested that cats held such a sacred place that they are equal to the venerated cow in India in modern times. Cats were so loved that the death of a cat might leave a family in mourning. They would show this by shaving off their eyebrows and the mourning would last until their hair grew back. Those that could, embalmed or mummified their cats and had them buried in special cemeteries. In fact, one of the important parts of Bastet's festival was the bringing mummified cats to her temple. When it was excavated at least in 1887 300,000 mummified cats were found.

However, Bast's popularity was used against the Egyptians in 525 BC by Cambyses II, the ruler of Persia. He knew of the people's love for Bast and her sacred animal, so he had his soldier paint her likeness on their shields. He also ordered as many cats to be rounded up and captured as possible. When the fight was about to start he had all the creatures released. The Egyptians surrendered rather than risking the wrath of Bast should they harm one of the cats by accident in the struggle. After winning the victory Cambyses II mocked the people by throwing cats out of a bag at them and scorned them for giving up their city over an animal. Despite this, the Egyptians never gave up their love and worship of Bast and the honoring of the cats that served her. It wasn't until the time of Rome and Christianity did Bast's cult dwindle and die out.(Mark,2016)


Bast Part 2


From Protection to Pleasure
Bast is a most complex goddess. At first she was seen in an avenging light, as a punisher of wickedness and a protector of the innocent. She was portrayed with the head of a lioness, much like Sekhmet. Over time as Sekhmet was portrayed more aggressivley, Bast's image softened. However, this did not erase her ferocity. " Scholar Geraldine Pinch writes:
From the Pyramid Texts onward, Bastet has a double aspect of nurturing mother and terrifying avenger. It is the demonic aspect that mainly features in the Coffin Texts and the Book of the Dead and in medical spells. The "slaughterers of Bastet" were said to inflict plague and other disasters on humanity. One spell advises pretending to be the 'son of Bastet' in order to avoid catching the plague (Mark,2016)."
Although she was greatly loved and honored, she was equally feared as two of her titles show, she was known as The Lady of Dread and The Lady of Slaughter. However as Lower Egypt began to lose in the wars against Upper Egypt she began to decrease in ferocity. When the two Egyptian Kingdoms came together, many similar deities were merged, like the kingdoms themselves. Bast being protector of lower Egypt and Sekhmet being the protector of the upper kingdom, the two were both so substantial that both were retained. However one or the other would be required to change, Bast was the subject of that change. Thus, by the Middle Kingdom she came to be regarded as a domestic cat rather than a lioness. Occasionally, however, she was depicted holding a lioness mask, hinting at her potential ferocity.

Bast's association as a defender of the wronged carried over onto her son Maahes, the protector of the innocent, who is shown as a lion-headed man carrying a long knife.
Bast is closely associated with Ra's cat form, Mau. Mau is most often depicted killing Aophis with a knife in her paw, cutting off his head. It is this iconic portrayal of Mau that Bastet is sometimes shown to replicate. As time continued and Bast began to take on the form of a domestic cat rather than a lioness, she began to be seen as a familial companion. She is sometimes rendered in art with a litter of kittens at her feet but her most popular depiction is of a sitting cat facing what lays ahead (Mark,2016).

This portrayal of her with kittens was not unreasonable; domestic cats were seen as more kind and protective of their offspring - which left Bast regarded as a good mother. This explained why she was sometimes shown to have a litter of kittens at her feet, and leading her to become a fertility symbol. This particular image of her was depicted on amulets worn by women who sought to become pregnant; the number of children desired would be the same number of kittens at the foot of the goddess (Lady,2012). Another softer aspect that was added to her image was the addition of the sistrum. This is a musical instrument that is associated with the goddess Hathor. Hathor herself underwent a dramatic change - she was once the blood thirst goddess Sekhmet. While Bast was a more avenging and protective deity in her foercity , Sekhment was the punishers, having been sent by Ra to destroy humanity for it's sins. Sekhmet's change was a total flip from enemy to friend, while in Bastet's case she became more mild, yet she never lost her edge and was no less dangerous to those who broke the law or abused others (Mark,2016).

How did this fierce protectress become associated and known as a goddess of pleasure?
one of the oldest versions her name was Pasht, as stated earlier in the paper. From this, the word Passion is derived. She is also connected and tied with perfume and perfume jars, through her own name's assumed meaning and through her son. She has been portrayed with having three husbands and many sexual partners; her rituals held for healing, protection, and fertility, were done in which her priestesses would dance in an erotic way; thus leading her to be associated with sensual pleasure, song and dance. Song and dance also is important to her festival. 
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The main source of information about the Bast cult comes from Herodotus who visited Bubastis around 450 BC during the heyday of the cult.  
From Protection to Pleasure
She was first represented as a woman with the head of a lioness and closely associated with the goddess Sekhmet but, as that deity's iconography depicted her as increasingly aggressive, Bastet's images softened over time to present more of a daily companion and helper than her earlier forms as savage avenger. Scholar Geraldine Pinch writes:
From the Pyramid Texts onward, Bastet has a double aspect of nurturing mother and terrifying avenger. It is the demonic aspect that mainly features in the Coffin Texts and the Book of the Dead and in medical spells. The "slaughterers of Bastet" were said to inflict plague and other disasters on humanity. One spell advises pretending to be the 'son of Bastet' in order to avoid catching the plague (115).
Although she was greatly venerated, she was equally feared as two of her titles demonstrate: The Lady of Dread and The Lady of Slaughter. She is associated with both Mau, the divine cat who is an aspect of Ra, and with Mafdet, goddess of justice and the first feline deity in Egyptian history. Both Bastet and Sekhment took their early forms as feline defenders of the innocent, avengers of the wronged, from Mafdet. This association was carried on in depictions of Bastet's son Maahes, protector of the innocent, who is shown as a lion-headed man carrying a long knife or as a lion.
In Bastet's association with Mau, she is sometimes seen destroying the enemy of Ra, Apophis, by slicing off his head with a knife in her paw; an image Mau is best known by. In time, as Bastet became more of a familial companion, she lost all trace of her lionine form, and was regularly depicted as a house cat or a woman with the head of a cat often holding a sistrum. She is sometimes rendered in art with a litter of kittens at her feet but her most popular depiction is of a sitting cat gazing ahead.

Bastet appears early in the 3rd millenium BCE in her form as an avenging lioness in Lower Egypt. By the time of the Pyramid Texts (c. 2400-2300 BCE) she was associated with the king of Egypt as his nursemaid in youth and protector as he grew. In the later Coffin Texts (c. 2134-2040 BCE) she retains this role but is also seen as a protector of the dead. The scholar Richard H. Wilkinson comments on this:
In her earliest known form, as depicted on stone vessels of the 2nd dynasty, Bastet was represented as a woman with the maneless head of a lioness. The iconography of the goddess changed, however, perhaps as her nature began to be viewed as milder than that of other lioness deities (178).
Her cult center at Bubastis in Lower Egypt became one of the richest and most luxuriant cities in Egypt as people from all over the country traveled there to pay their respects to the goddess and have the bodies of their dead cats interred in the city. Her iconography borrowed from the earlier goddess Mafdet and also from Hathor, a goddess associated with Sekhmet who was also closely linked to Bastet. The appearance of the sistrum in Bastet's hand in some statues is a clear link to Hathor who is traditionally seen carrying the instrument. Hathor is another goddess who underwent a dramatic change from bloodthirsty destroyer to gentle friend of humanity as she was originally the lioness deity Sekhmet whom Ra sent to earth to destroy humans for their sins. In Bastet's case, although she became more mild, she was no less dangerous to those who broke the law or abused others. (Mark,2016)

during the Twenty-second dynasty c.945-715 BC, Bastet worship changed to being a major cat deity (as opposed to a lioness deity). With the unification of the two Egypts, many similar deities were merged into one or the other, the significance of Bast and Sekhmet, to the regional cultures that merged, resulted in a retention of both, necessitating a change to one or the other. During later dynasties, Bast was assigned a lesser role in the pantheon, but retained.
Lower Egypt’s loss in the wars between Upper and Lower Egypt led to a decrease in the ferocity of Bast. Thus, by the Middle Kingdom she came to be regarded as a domestic cat rather than a lioness. Occasionally, however, she was depicted holding a lioness mask, hinting at her potential ferocity.
Because domestic cats tend to be tender and protective of their offspring, Bast also was regarded as a good mother, and she was sometimes depicted with numerous kittens. Consequently, a woman who wanted children sometimes wore an amulet showing the goddess with kittens, the number of which indicated her own desired number of children. (Lady,2012)
For starters, one of the oldest versions of the goddess Bast was known by the name 'Pasht', from which our word passion was derived. (And from which the English term "Puss" may have arisen.)
Her name itself shares the hieroglyph of a bas-jar, a large pottery jar, usually filled with expensive perfume, a valuable commodity in a hot climate. Indeed, her son Nefertem, a sun god, became the Egyptian god of alchemy and perfumes.
It's not surprising she had a reputation, since she herself had three husbands and was acknowledged as a sexual partner of every god and goddess (explaining her association with lesbians, although bisexuality would be a more accurate description of her nature).
The rituals performed in her temples, designed for healing, protection, and insuring fertility, were decidedly sensual, full of music and dancing The priestesses of Bast, dressed in "her color" which was red, and were the first "strippers", famous for their erotic dancing.
Many festivals were held in her honor, and they tended to be quite rowdy affairs. During the major festival, thousands of men and women (children weren't invited) traveled on barges down the river to Baubastis, drinking and partying mightily.

Wednesday, November 30, 2016

Bast Part 1

I'm going to past and edit each section and then put it back in the paper... so here we go... part 1.


Her name was originally Pasht (Bast...,2016) and then B'sst which became Ubaste, then Bast, then Bastet; the meaning of this name is not known or, at least, not universally agreed upon. Geraldine Pinch claims that "her name probably means She of the Ointment Jar" as she was associated with protection and protective ointments (115). The Greeks associated her closely with their goddess Artemis and believed that, as Artemis had a twin brother (Apollo) so should Bast. They associated Apollo with Horus, the son of Isis(Heru-sa-Aset) and so called the goddess known as Bast ba'Aset (Soul of Isis) which would be the literal translation of her name with the addition of the second 'T' to denote the feminine (Aset being among the Egyptian names for Isis).
Bastet, however, was also sometimes linked with the god of perfume and sweet smells, Nefertum, who was thought to be her son and this further links the meaning of her name to the ointment jar. The most obvious understanding would be that, originally, the name meant something like She of the Ointment Jar (Ubaste) and the Greeks changed the meaning to Soul of Isis as they associated her with the most popular goddess in Egypt. Even so, scholars have come to no agreement on the meaning of her name.  (Mark,2016)

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There has been much debate on Bastet's name over the years. In its original spelling it would have been pronounced as Ubaste. Many scholars have debated her name, the original most likely meaning would have been "She of the Ointment Jar", which made sense as she was known to protect different ointments and perfumes over the years. She also guarded the Jar in which Ra's enemy Apophis was said to have been locked away in. She was also linked to the god of sweet smells and perfume, Nefertum, who was said to be her son. This further goes to support that translation of her name. However, once the Greeks came into the picture they began to associate her with Artimis, who had a twin brother - Apollo whom they associated with Horus. Because of this they tried to say that Bast and Horus were connected, so for the first of many, her name was changed. She became known as ba'Aset, which means "Soul of Isis". (Mark,2016) A later change to her name would be when her position as Lower Egypt's protector led to her being connected to "the more substantial goddess Mut, whose cult had risen to power with that of Amun, and eventually being syncretized with her as Mut-Wadjet-Bast (Lady,2012)."

one of the oldest versions of the goddess Bast was known by the name 'Pasht', from which our word passion was derived. (Bast...,2016)

Frankl

Viktor Frankl
Viktor Emil Frankl, M.D., Ph.D. was Professor of Neurology and Psychiatry at the University of Vienna Medical School. Frankl held lectures at 209 universities on all 5 continents. He was Visiting Professor at Harvard and at universities in Pittsburgh, San Diego and Dallas. The U.S. International University in California installed a special chair for logotherapy - this is the psychotherapeutic school founded by Frankl, often called the "Third Viennese School" (after Freud's psychoanalysis and Adler's individual psychology.) He received 29 honorary doctorates from universities in all parts of the world. 

Frankl was a Neurologist and psychiatrist as well as the Founder of Logotherapy and Existential Analysis. He is also a holocaust survivor - during World War II he spent 3 years in various concentration camps, including Theresienstadt, Auschwitz, and Dachau. 

Frankl authored 39 books which to date (2016) have been published in 48 languages. His last two books are "Man's Search for Ultimate Meaning" and "Viktor Frankl - Recollections", both published in 1997. Up to 1997 the book "Man's Search for Meaning" had sold over nine million copies in the USA alone. 
(Vesly,2016)

Phenomenology
t The science of phenomena as distinct from that of the nature of being.
  • - an approach that concentrates on the study of consciousness and the objects of direct experience.
used with Existential Analysis.


Existentialism
Existential Analysis can be defined as a phenomenological and person-oriented psychotherapy, with the aim of leading the person to (mentally and emotionally) free experiences, to facilitate authentic decisions and to bring about a truly responsible way of dealing with life and the world. Thus, Existential Analysis can be applied in cases of psychosocial, psychosomatic and psychological caused disorder in experience and behaviour.
The psychotherapeutic process takes place via phenomenological analysis of the emotions as the centre of experiences. Biographical work and empathic listening by the therapist contribute to an improvement in emotional understanding and accessibility.
Existential Analysis was conceived by Viktor E. Frankl in the 1930s as an anthropological theory of an existential school of psychotherapy. At the same time Frankl developed “Logotherapy” as a meaning-oriented form of counselling and treatment. (Existential...,2016)
Logotherapy teaches that it is not we who can ask life, "WHY, WHY, WHY...?" Rather, it is Life, who is the questioner. We have to respond to Life's questions! We answer to Life by listening for discernment of the meaning of the moment; then, by making responsible decisions within our available area of freedom. Our choices will be based on our values and guidance received from the voice of our conscience. 

The lack of meaning in life results in an existential vacuum (Foord,2016)

Logotherapy
It is a method of counselling or helping in the quest for meaning.
The practical application of logotherapy as a meaning-oriented form of counselling and treatment consists primarily in assisting people who are not (yet) ill, but who suffer from a sense of loss of existential orientation. Thus, logotherapy is widely applicable in psychological, psychohygenic, social, preventive, caring, educational and pastoral fields. It contributes to the prophylaxis of disorders and to the prevention and treatment of feelings of meaninglessness and emptiness (“existential vacuum”). Its aim is to enhance the individual experience of meaning by leading to a freely chosen responsibility (“individual responsibility”).
Existential Analysis and Logotherapy consist of roughly a dozen specific methods and techniques to realise this conception. Leading a meaningful life means doing what one has sensed and recognized as being valuable. (Existential...,2016)

Basic assumptions of logotherapy: 

1. Life has meaning under all circumstances.
2. People have a will to meaning.
3. People have freedom under all circumstances to activate the will to meaning and to find meaning. (Foord,2016)

Tragic Triad
The tragic triad is a term used in logotherapy, coined by Dr. Viktor Frankl. The tragic triad refers to three experiences which often lead to existential crisis/existential vacuum:  guilt, suffering or death.


Religion
"You see,” he added, “I don’t shy away, I don’t feel debased or humiliated if someone suspects that I’m a religious person for myself . . . . If you call ‘religious’ a man who believes in what I call a Supermeaning, a meaning so comprehensive that you can no longer grasp it, get hold of it in rational intellectual terminology, then one should feel free to call me religious, really. And actually, I have come to define religion as an expression, a manifestation, of not only man’s will to meaning, but of man’s longing for an ultimate meaning, that is to say a meaning that is so comprehensive that it is no longer comprehensible . . . But it becomes a matter of believing rather than thinking, of faith rather than intellect. The positing of a supermeaning that evades mere rational grasp is one of the main tenets of logotherapy, after all. And a religious person may identify Supermeaning as something paralleling a Superbeing, and this Superbeing we would call God.” ("God in...,2010)

Conscience
The concept of conscience is at the heart of Logotherapy, the mechanism which enables a person to become attuned to that which is the “main concern” of a human being: meaning. It is to be distinguished from the Freudian concept of the superego, a dimension within the structure of the personality that is an amalgam of all the moralizing forces in a persons’ life, be they the person’s religious or ethical upbringing, and/or societal norms and mores. The superego, fully installed within the personality, exerts itself upon the ego to prevent the self from fulfilling drives that originate in the id, thereby bringing the self in line with these rules that have been “stored” there. The conventional wisdom refers to the superego as conscience, and therefore it is difficult to articulate Frankl’s idea of conscience without first teasing the concepts of “superego” and “conscience” apart, and establishing first that these concepts are not synonymous. 
Frankl elsewhere makes clear that superego and conscience cannot be the same item, since there are occasions where a person, following the dictates of his or her conscience, has to take a stand against the moral messages of his or her superego, and actually betray his or her superego in order to obey his or her conscience.  (Conscience Defined,2010)



Love
"Love is the only way to grasp another human being in the innermost core of his personality.  No one can become fully aware of the essence of another human being unless he loves him.  by his love he is enabled to see the essential traits and features of the beloved person; and even more, he sees that which is potential in him, which is not yet actualized but yet ought to be actualized.  Furthermore, by his love, the loving person enables the beloved person to actualize these potentialities.  By making him aware of what he can be and of what he should become, he makes these potentialities come true..."  (Frankl,2006)
When we experience something—such as goodness, truth, or beauty, to use Frankl’s examples—we bring ourselves into relationship with that thing. The goodness, truth, and beauty that we see around us enter into us, and become a part of us. We are engaged with them, and they are engaged with us in their own way.
And of course, when we experience another human being we enter into a relationship with him or her. Frankl writes that the only way to grasp other human beings as they truly are at their innermost core is to love them. In Frankl’s psychotherapeutic system of “logotherapy,” love is as fundamental and powerful a force in human life as are the drives for sex and power.
Love, together with awareness and understanding, is what brings us into relationship with the people and things around us. In essence, love is relationship. - Essentially Love is one of the things that gives us meaning in life. (Woofenden,2016)




"Conscience Defined." Viktor Frankl's Logotherapy. Wordpress, 25 June 2010. Web. Nov. 2016.
 Existential Analysis Society of Canada. "What Is Existential Analysis? | Existential Analysis Canada." Existential Analysis Canada RSS. Wordpress, n.d. Web. Nov. 2016.
Foord, Michael. "INTRODUCTION TO VIKTOR FRANKL'S LOGOTHERAPY." Introduction to Logotherapy and Viktor Frankl. N.p., n.d. Web. Nov. 2016.
Frankl, Viktor E. Man's Search for Meaning. Boston: Beacon, 2006. 111-15.Web.Nov.2016
"God in Viktor Frankl's Logotherapy 1995." Interview by Mathew Sculley. OneDaring Jew. Wordpress, 27 May 2010. Web. Nov. 2016.
Vesly, K. "VIKTOR FRANKL INSTITUT. Life and Work." VIKTOR FRANKL INSTITUT. Life and Work. IMAGNO, n.d. Web. Nov. 2016.
Woofenden, Lee. "Viktor Frankl on Meaning through Relationship: It’s All About Love and Understanding." Spiritual Insights for Everyday Life. Wordpress, 12 Dec. 2013. Web. Nov. 2016.