Gender: Male Location: The sewers of the Big City!
The Goddess of America
The three intellects most involved with the spiritual meaning of America were Washington, Jefferson and Franklin, an example of the wide range of “Masons” at the time. Washington was the Master Mason of the Alexandria 22 lodge, chartered as a Scottish Rite, Royal Arch Temple in the tradition of the French lodges founded by the Chevalier Ramsey. This branch can only be called illuminationist, and its practices and initiations, spiritually, would be more along the lines of what today would be called ceremonial magick. Washington would have felt right at home in a Golden Dawn Temple circa 1900.
Jefferson never officially became a “Mason,” but was involved with some very “Illuminationist” groups in France in the 1780s. We may think of him as the very bright but un-initiated enlightenment era intellect. As such he went his own way, absorbing the various spiritual influences that came his way and creating his “religion” as he went along. Jefferson was most influenced, at this level, by Franklin.
Benjamin Franklin is the complete enlightenment era scientist/philosopher, the man who harnessed lightning, as he was known in London in the 1770s. His connections cover almost all the basics of the occult underground of his era, from Dashwood and the Hellfire Club to the radical Jacobins of pre-revolutionary France. Franklin, much like Dee two hundred years earlier, stood at the juncture of science and philosophy.
All three saw “America” as a kind of magickal future for the human race, when the archetypes that had been mediated by King and Church would be democratically available to all citizens. This would in fact create, if successful, a kind of psychic protection against “tyranny.” No king or demagogue could grab the symbolic current of a freely archetypal democracy and make it subservient to his will.
To that end, the Goddess Columbia was created. The creation of a divine archetype is a very high-level magickal affair that is not undertaken lightly. Yet, that’s just what these three magicians, with help from a few others, actually did.
In the late 18th and early 19th century, a stream of images crystallized the goddess form into “Columbia.” The ideas that animated her can best be seen by her attributes, that is the objects or symbols that are displayed with her. She is most often shown with an eagle, broken chains and pottery, a cornucopia, images of George Washington, a laurel wreath, a liberty pole and cap, a liberty tree, an olive branch, a rattlesnake, a shield and a stone tablet. The statue of Columbia behind the speaker’s chair in the house of representatives is a fine example. In this one we see the Eagle, and on the other side a snake coiled around a Greek column.
[/color=red]Columbia[/color] is not a Greek or Roman goddess, although she borrowed a few attributes when she needed them, but a consciously created god-form archetype inserted into the mass consciousness of the country at its founding. She now stands, 19 feet tall, atop the Capital dome gazing to the west toward the Djed/obelisk of the Washington Monument.
She appears constantly throughout the media
Notice the american flag in the original 1939 variation
Here's the Current Version
They look very similar to this
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Last edited by Classic NES on Aug 10th, 2007 at 10:05 PM
Gender: Male Location: The sewers of the Big City!
Centuries before Lady Freedom topped the U.S. Capitol or the Statue of Liberty dominated New York Harbor, images of women were already widely used to symbolize the traits, virtues and opportunities of the United States of America. Art historians have traced images of America's lady liberty back to the first years of European discovery and invasion, when America--the untamed New World--was symbolized as the Indian Queen, a voluptuous,but stern Native American woman dressed in little more than head feathers. Portrayed sitting astride a giant armadillo or sporting a tomahawk, the Indian Queen represented exoticism, danger and adventure: attributes that 16th- and 17th-century explorers most associated with their new land.
By the age of late colonization, however, the Indian Queen came to be seen as perhaps too savage a symbol for the settlers' new home. She was soon replaced with a tamer, more anglicized American image: the Indian Princess, a tawny, barefoot beauty often guarded by a rattlesnake. Pocahontas, a Native American woman who is said to have saved the life of Virginia's Captain John Smith, serves as one of the most memorable depictions of this Indian Princess. (For a closer look at the appropriation of Pocahontas as American symbol, see John Blackburn, Pocahontas: Icon at the Crossroads of Race and Gender in America). In the 19th century, the "Indian" in the face of the Indian Princess dissolved into a lighter-skinned, more classical image. Her headdress of eagle feathers evolved into ostrich plumes spraying from a bonnet or helmet. The European settlers began to adopt this once-upon-a- time exotic princess as one of their own.
In the years surrounding the American revolution, the image of the Indian Princess began to compete with emblems of the Greek goddess emerging from the European schools of classical art and architecture. "By the late 1790s," folk-art historian Nancy Jo Fox points out, "it was not clear whether a feathered Indian Princess had changed into a Greek goddess or whether a greek goddess had placed feathers or plumes in her hair" (Fox, 5). Alluding to the order and sovereignty of the antique democratic state, the Plumed Greek Goddess represented what the United States, an eager new country, wanted to be. Wrapped in a toga and wearing high-laced sandals, the Plumed Greek Goddess signified a merging of the neoclassical with the new iconography of America. She was sometimes depicted holding a liberty pole, propping up a shield of the United States, standing beside a bust or depiction of George Washington, or offering food to a bald eagle.
In the United States' youngest years, images of the Plumed Greek Goddess or the Indian Princess soon shared space, and at times meshed with, slightly different versions of the female figure of freedom. Columbia, sometimes considered the feminine counterpart to Christopher Columbus, emerged as yet another icon for the United States. Dressed in classical robes, but with a kinder face than the Plumed Greek Goddess, Columbia did not appear with plumed ostrich feathers, nor bows and arrows. But the liberty cap and pole almost always accompanied her, and the stars and stripes of America could be found on her dress or cap.
With so many varying forms of the lady liberty, it is no wonder that artists began to mix traits from the Indian Princess, the Plumed Greek Goddess and Columbia. Other figures merged with these images as well, especially the Greek representations of the Goddess of Wisdom (Minerva) and the Goddess of Liberty. The Goddess of Liberty, in fact, became "so intimately identified with the American cause as in effect to become Americanized.... we have either Liberty representing the United States or the United States interpreted as Liberty" (Fleming, 56). This Lady Liberty is, by many accounts, the most frequently portrayed of the four American personifications. With her hair flowing behind her, carrying the liberty pole or draped in classical garb, Lady Liberty became the emblem of choice for the U.S. cent and half- cent coins. A plaster statue of Liberty and the Eagle even stands above and behind the speaker's chair in the House of Representatives.
Today, representations of lady liberty blend and borrow from each of these images. The Statue of Liberty has been described by historian Marvin Trachtenberg as a "synthomorphosis" of forms, a term that aptly describes the way both the New York statue and Lady Freedom atop the U.S. Capitol were formed. Both statues include variations of headdresses, props and clothing: The Statue of Liberty is crowned with a helmet of sun-ray spikes, an allusion to the headgear of the Colossus of Rhodes, a monument to the Sun-God Helios standing astride a Greek harbor, which is said to be one of the key influences on the New York statue. The Statue of Liberty's gown folds around her like a classical Greek toga; the torch in her hand gestures back to images of Liberty holding out an offering to the Bald Eagle. Lady Freedom wears a helmet of plumed feathers, and looks, from a distance, like an Indian warrior. A circle of stars, similar to Columbia's accessories, rings her head. She holds a laurel wreath and shield in her left hand, while carrying a sword with her right.
Analyzing these two statues in particular, and understanding them within the context of the symbols they both carry, an interesting question emerges: Why were these particular signifiers chosen? Why is Lady Freedom crowned with a helmet instead of a liberty cap? Why does the Statue of Liberty carry a stone tablet and torch instead of a sword or shield? As historians have begun to uncover the context and pressure under which Lady Freedom and the Statue of Liberty were designed, deeper meanings behind these two statues begin to unfold--and their multiple layers of political, social and aesthetic meanings start to take shape.
From Wiki:
Lyrics:
Hail Columbia, happy land!
Hail, ye heroes, heav'n-born band,
Who fought and bled in freedom's cause,
Who fought and bled in freedom's cause,
And when the storm of war was gone
Enjoy'd the peace your valor won.
Let independence be our boast,
Ever mindful what it cost;
Ever grateful for the prize,
Let its altar reach the skies.
Chorus
Firm, united let us be,
Rallying round our liberty,
As a band of brothers joined,
Peace and safety we shall find.
Immortal patriots, rise once more,
Defend your rights, defend your shore!
Let no rude foe, with impious hand,
Let no rude foe, with impious hand,
Invade the shrine where sacred lies
Of toil and blood, the well-earned prize,
While off'ring peace, sincere and just,
In Heaven's we place a manly trust,
That truth and justice will prevail,
And every scheme of bondage fail.
Chorus
Firm, united let us be,
Rallying round our liberty,
As a band of brothers joined,
Peace and safety we shall find.
Behold the chief who now commands,
Once more to serve his country stands.
The rock on which the storm will break,
The rock on which the storm will break,
But armed in virtue, firm, and true,
His hopes are fixed on Heav'n and you.
When hope was sinking in dismay,
When glooms obscured Columbia's day,
His steady mind, from changes free,
Resolved on death or liberty.
Chorus
Firm, united let us be,
Rallying round our liberty,
As a band of brothers joined,
Peace and safety we shall find.
Sound, sound the trump of fame,
Let Washington's great fame
Ring through the world with loud applause,
Ring through the world with loud applause,
Let ev'ry clime to freedom dear,
Listen with a joyful ear,
With equal skill, with God-like pow'r
He governs in the fearful hour
Of horrid war, or guides with ease
The happier time of honest peace.
Chorus
Firm, united let us be,
Rallying round our liberty,
As a band of brothers joined,
Peace and safety we shall find.
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Last edited by Classic NES on Aug 10th, 2007 at 10:20 PM
Gender: Male Location: The sewers of the Big City!
About this picture, notice how the capitol building is glowing with some majestic light. Columbia is seated right on top of the Capital house in real life.
Also, note that columbia is a virgin goddess. . .similar to how Wonder Woman is a virgin. The schncronicty's are so painful obvious.
Last edited by Classic NES on Sep 25th, 2007 at 04:30 PM
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Aug 10th, 2007 09:54 PM
