The Gardens of Paradise.

 

Allbright: The Goddess in The Garden.

 

 

"Malachite grew as its fruit;

A grapevine hung down, fair to behold;

Lapis lazuli grew as clusters of grapes;

Fruit grew, dazzling to see.

 

It is indeed a picture worthy of an artist's brush; the description is simple but vivid, without the cloying accumulation of riches which meets one in Arab fiction. Precious gems blend with luscious fruit before our eyes; the rich green mass of malachite looks like the luxuriant cluster of grapes; the dark-blue lapis invites to a feast from the edible delicacy by its side. [The motive of the gem-laden orchard originated in artificial reproduction of fruit trees, with precious stones in place of fruit.]

There are other trees and other gems in the garden, listed in the mutilated lines which follow, but the vine is the centerpiece; in the vineyard sits the nymph Siduri-Sâbîtu, on the throne of the sea, with a veil [The veil implies that she was a virgin.] over her head.."

Albright, W.F. The Goddess of Life and Wisdom, The American Journal of Semitic Languages and Literatures, Vol. XXXVI, No. 4, July 1920. p. 259.

 

Andrew Sinclair:

"In fact, the idea of a Garden of Paradise dated back to the first city-state in Mesopotamia, the Sumerian state of Uruk with its Epic of Gilgamesh, who wandered in the immortal Garden of the Gods, where

stands the Tree,

With trunk of gold, and beautiful to see.

In their captivity in Babylon with its famous hanging gardens, the Jews also learned of the Garden Or Paradise Or of Eden and gave it the Hebrew name pordes. Rabbinic tradition believed that the Garden was the blessed part of Sheol, where the just awaited the resurrection, while the olive branch brought by the dove to Noah on his Ark was plucked from the Garden of Eden, which had survived the Flood."

 

Andrew Sinclair:

"Paradise only meant a walled garden. When Xenophon first put the word paradeisos in the mouth of Socrates, he was making the Athenian sage praise the Persian king for his love of pleasure gardens, "filled with all the fine and good things that the earth wishes to bestow, and in these he himself spends most of his time." The word came from the Persian pairi Or Or "around" and daeza Or "wall." It was translated into Latin as paradisus and first appeared in Middle English in 1175 as a sentence in the Bible, "God ha hine brohte into paradis."

[Sinclair, Andrew, The Sword and The Grail, Century, London, 1993, p.91.]

 

Novak:

"PaRDeS, paradise, is a cipher of the four levels of biblical interpretation in the Jewish system of exegesis. They are: pesgat, the primary sense of the text; remez, the symbolic meaning of certain words of names; drash, the Talmudic point of view, often of a moral nature; sod, literally *secret* , the most allusive level and the one to which kabbalistic interpretations were attached." [Novak, B.C. Giovanni della Miraldola. JWCI, Vol. 45, 1982, Note 93, p.136.]

 

 

An Ecological Interpretation of The Garden of Eden.

 

THE GARDEN - Atalanta Fugiens: Emblem 9,Emblem 27.

 

The Gardens of Dionysos.

The Gardens of VENUS.

Could this be similar to the Gardens of Adonis?

 

Campbell on The Snake in the Garden.

Suares on Garden of Eden.

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A fifth river LETHE is associated with re-incarnation and the Spring of Memory.

 

The Waters of Lethe? What is this drink? "We've got to get back to the Garden." The Walled Garden of the Virgin. The Pelican and the Fountain.

 

Walled Garden of Virgin - IS the Womb and the Fountains of Lethe are Forgetfulness - is - The Dis-membering. The Re-membering takes place at so-called DEATH.

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II.INDIVIDUAL DREAM SYMBOLISM IN RELATION TO ALCHEMY

36.DREAM:

The dreamer drives in a taxi to the Rathausplatz, but it is called the "Marienhof."

I mention this dream only in passing because it shows the feminine nature of the temenos, just as hortus conclusus (enclosed garden) is often used as an image for the Virgin Mary in medieval hymns, and rosa mystica is one of her attributes in the Litany of Loreto (cf. fig.26)." [Jung, Psychology and Alchemy, para. 256 & 257.]

 

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"We are stardust, we are golden, and we've got to get ourselves back to the Garden." Joni Mitchell.

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The Garden, Iron John, pp. 127 - 134.

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The Garden of Zeus, Plotinus, p. 184 - and 'On Love.'

 

THE GARDEN IN PHILOSTRATUS AND THE ODYSSEY.

 

"Canopied with ivy and bryony and grape-vine, this next island claims to be dedicated to Dionysus, but adds that Dionysus is now absent, doubtless revelling somewhere on the mainland, having entrusted to Seilenus the sacred objects of this place; these objects are yonder cymbals lying upside down, and golden mixing bowls overturned, and flutes still warm, and drums lying silent; the west wind seems to lift the fawn-skins from the ground; and there are serpents, some of which are twined about the thyrsi and others, in a drunken sleep, are at the disposal of the Bacchantes for use as girdles.

 

Of the clusters of grapes some are ripe to bursting, some are turning dark, some are still green, and some appear to be budding, since Dionysus has cunningly fixed the seasons of the vines so that he may gather a continuous harvest. The culsters are so abundant that they both hang from the rocks and are suspended over the sea, and birds of both the sea and the land fly up to pluck them; for Dionysus provides the vine for all birds alike except the owl, and this bird alone he drives away from the clusters because it gives man a prejudice against wine."

 

The Editor of the Loeb edition of Philostratus says:

"The author is influenced by Homer's description of the gardens of Alcinous. This is the section in The Odyssey:

 

"Outside the courtyard but stretching close up to the gates, and with a hedge running down on either side, lies a large orchard of four acres, where trees hang their greenery on high, the pear and the pomegranate, the apple with its glossy burden, the sweet fig and the luxuriant olive."

 

[Homer, The Odyssey, Trans. E.V.Rieu, Penguin Books, 1980, Book 7, 125ff. .]

 

DREAM GARDENS

 

Dream Gardens, with snakes and squirrels.

Garden - SEARCH IN TOTAL:

 

Once, a huge serpent passed through The Garden.

Many years later, in another Dream, this same serpent appeared, slain and cut into pieces.

Another dream of a serpent trying to eat, or digest.

A dream in Turin: A Garden I am busy watering. (Weetwood Road again) - pruning a bush - I `feel' a snake is near - and see a black shadow or silhouette dropping from the foliage. It is a silver snake and it speaks to me - and I feed it with itself, bits of itself, chopped up. This chopped up serpent appeared a day later, in a horror film based on Edgar Allen Poe, which I saw on TV.

In Amsterdam, on May 18th 1985, the serpent appeared again, with skin that it had sloughed off, in the midst of the fecund grapes, the vines growing amongst the branches of a guava tree. Once again, the site is The Garden of Weetwood Road.

This snake is the Uroboros.In the Leiden papyrus known as `The Gold Making of Cleopatra" - we see the Uroboros eating its own tail. This serpent is half light and half dark, i.e. YIN and YANG, and is inscribed `ONE IS ALL'Thus the connection with ALEPH - ONE (Number 1, Arcanum 1 - The Magus), and Mercury.

The Magus wears the Uroboros as a belt.

 

The Serpent is the Tree. This is the Mystery.

The reference to Serpents in Matthew 10:16:

That Garden, the scene of so many profound dreams (see the Dream Book), all of a Dionysian Texture, and always inhabited by the Sacred Serpent; was the site of a fecundity activated by the proximity to a border fence - borders and frontiers are ruled by Pluto. I would eventually cross that corrugated Iron Fence into the Spendours of India, the alchemical maze of the Tarot; the Diamond Light of Tibetan Buddhism, and the ancient Dust of Egypt.

Two dreams of snakes in one week. Snake bites Elephant - elephant keels over in slow motion and dies. Snake enters body of elephant through genital orifice. Second: I'm moving into a new house - then to the garden - where squirrels are on the rocks - I see a grey snake which devours the squirrels - with a big shlurp.Awoke after both dreams in a high state of energy.

 

1994 - 20th Feb, Sun. or thereabout:

The most wonderful dream of a garden again, with three chameleons, and a brown snake with horns on its skin. I made friends with the chameleons and "tamed" the largest. It enjoyed being tickled and scratched.Then there was also another beautiful shoreline, coastal and some boys.I arrived at a party as the figurehead in a ship.

 

September, 1994 - Then is an old wooden shed, that we demolish. In the darkness of the collapsed wood I sense a snake. And then it appears and disappears in the garden. It is enormous.

 

Parpola, Simo, "The Assyrian Tree of Life: Tracing the Origins of Jewish Monotheism and Greek Philosophy," Journal of Near Eastern Studies, Vol. 52, No. 3 (July 1993), pp. 193.

 

Tablet IX (Mummu): penetration into the Garden of Knowledge (see n. 124);

 

124 Tablet IX corresponds to the Sefirah Daat (Knowledge), which in the psychological Tree represents the gate to supernal knowledge, "the point where identity vanishes in the void of Cosmic consciousness before union with Keter" (Halevi, Tree of Life, p. 47: cf. ibid., pp. 42 and 158); passing through it is sometimes compared to spiritual death (Poncé. Kabbalah, p. 206). The revelation of supernal knowledge, on the other hand, is described "in Jewish classical texts as a tremendous eschatological event, when the sun will shine with an overwhelming light. The act of acquiring supernal knowledge involves a change in both the known and the knower; it is presented as a active event, or penetration" (Idel. Kabbalah, p. 228). Compare this with the penetration of Gilgamesh through the dark passage of the cosmic mountain guarded by the Scorpion man and woman and his emergence to the dazzling sunlight on the other side. The beautiful jewel garden he finds there is the Garden of Knowledge: it corresponds to the "garden of God" of Ezek. 28:12 ff. associated with wisdom, perfection, and blamelessness, and "adorned with gems of every kind: sardin and chrysolite and jade, topaz, carnelian and green jasper, sapphire, purple garnet and green felspar." On the association of the Sefirot with jewels and translucent colored glass vessels, see nn. 47 and 55 above, and see also Ponce, Kabbalah, p. 103. and Idel, Kabbalah, pp. 104 ff.; for a Neo-Assyrian seal scene showing the scorpion man and woman as guardians of the Tree, see Danthine. Palmier-dattier, fig. 354. See also n. 97 above on the passage in Bahir comparing the Sefirotic pleroma to a garden.