SPARTAN GIRL ZEPARA: The Sixteenth Spirit is Zepara or Zepar, otherwise called Zephyr. She is a Great Duchess, and appears in Red Apparel as a Female Spartan Soldier, while her young lithe gymnastic body is naked that be is as her seductively beautiful well toned armour, which to verily glisten golden due to the liberal sprinkling of scented Grecian Olive oil massaged into her skin. Her name is derived from the ancient Greek word Zephyrus, or Zephyros, which means West Wind, that was believed to have resided in a cave on Thrace. Her office is to cause Women to sexually desire her Master, and to bring them together in Love, which she to achieve when to pierce women’s hearts with her Spear to thence lust greatly after her Master. She also makes them barren to birth Not from such passionate couplings for every man is a Warrior protector of Father to a child already born. She also brings vivid visions of ancient Greek History to inform about its Axis-Time Pagan Philosophy in depth, while her insatiable sexual nature although Bisexual is primarily that of a Lesbian orientation; whereupon her Master may find him self within Erotic Visions and Dreams Shape-Shifting into the form of a Woman when to make love to her, let alone that of assuming the guise of a male Spartan Soldier; it is through her Master that Zepara enjoys those women, which she to physically attract to him, while to spectral whisper into his left ear, "You're Frozen, when your Heart's Not Open". She governs 26 Legions of inferior female spirits whom to manifest like her self.
HEAVY METAL DRUMMER CHICK AMDUSIASI: The Sixty-Seventh Spirit is Amdusiasi or Amdusias, otherwise known as Amdukias. She is a great and Strong Duchess whom appears in league with a skeletal Unicorn of band totem; she to manifest as a most beautiful young woman seated behind a set of drums, which she to be madly playing and what little she to wear will be that of a pony Girl harness and boots; sometimes she will be seen as being restrained by constricting bra, tight jeans and chains, which she to break free of, to rip off, as part of her Musical act. As well as the thunderous roar of her drums to be heard one will also hear other musical instruments being played as if she is part of a touring all girl Heavy Metal Goth band whose Unicorn Hunter rehearsal studio is a Dungeon; for if one to listen through the tumult of sound one will hear the female voices of the other band members, but such will not be heard soon or immediately. Her sexual style is passionately forceful whereupon she will besiege her Master with wild and most wanton Erotic Dreams via which she will teach her Master in depth about Music. Her Master will often envision her within dreams to be frequenting a sprawling underground club frequented by Occult practitioners called the 'Succubus Club' whose prerequisite of entry is that one has to be an Adept of the Arcane Arts of Magick. She can raise storms to also cause trees to bend and incline according to her Masters will when she to play her Shamanic Thunder Drums through the Night to Rock and Roll. She gives excellent Female Familiars. She governs 29 Legions of Female Spirits like her self of Musical Inclination.
UNICORN AND VIRGIN NOT SO INNOCENT THROUGH THE LOOKING GLASS
One can imaginately associate Amdusiasi with a Gaelic Banshee of Heavy-Metal Chick who eats Unicorns for Breakfast, Lunch, Desert and for afters, let alone to also snack upon!
The Unicorn is a mythical creature. Strong, wild, and fierce, it was impossible to be tamed by a male. Pliny, the Roman naturalist records it as “a very ferocious beast, similar in the rest of its body to a horse, with the head of a deer, the feet of an elephant, the tail of a boar, a deep, bellowing voice, and a single black horn, two cubits in length, standing out in the middle of its forehead.”
It was traditionally believed that a Virgin Maiden who was naked sitting beneath a tree was the only one whom could catch the delicate Unicorn. The Unicorn, who craves Purity, would be sexually drawn to the Girl and lie down with his Horn within her moistened lap of Virginity to thence deflower. While it slept, the Girl as Hunter could thence capture it. If, however, the Girl was merely pretending to be a Virgin, the Unicorn would verily rip her apart.
The Sexual symbolism pertaining to the Unicorn is far more apparent when to look at the Sexual practices of those ages where the Legend of the Unicorn was very much alive as a Mythic reality, especially that of the Middle-ages to the Victorian era whose sanctimonious Christian orientation of mere surface charade perceived that a Woman should be a chaste Virgin all pure while a Male has to be of Chivalric heart; however, the reality of the situation was entirely different. Sexually-Transmitted-Diseases such as Syphilis were the scourge throughout history right up to the times of the quaint and ever so prim Victorian era where antibiotics were but a dream, whereby many a Male sought out a Virgin in order to avoid being infected by a Sexual plague, hence a Female Virgin most often of youth fair could catch her Unicorn if she was true, but alas she had to make damn sure that the 'Unicorn' was as white as the driven snow of Chivalric intent, which was not always the case for most were but 'Lions' on the prowl seeking only to impregnate!
One of the most infamous eras of Prostitution was that of Victorian Age. Sims (1910) cited Babylonian Temple Prostitution as equivalent to the plight of Girls at the turn of the 20th century; as in all times the poor Working Class street children of the Victorian age urchins often survived by thievery and most especially by that of Prostitution although not all were of the poorer classes; “Of nearly 2,600 Prostitutes arrested in Paris 1,500 were minors”.
American traders on the West Coast purchased small Chinese Girls and young American Girls to resell by the evening. Rush wrote about the fate of many young English Girls: “There were never enough ‘voluntary Prostitutes’ to meet the voracious Victorian demand for young Virgin Girls.
Consequently, enterprising entrepreneurs established a system of obtaining ‘involuntary Prostitutes’ Men who wanted Sex with little Girls were prepared to pay a good price, and a standard pricing system brought about twenty pounds for healthy Working-Class Girls between the ages of Fourteen and Eighteen, a hundred pounds for a Middle-Class Girl of the same age; and as much as four hundred pounds for a Child from the Upper-Class under age Twelve;“ (Rush 1980, p.64).
“The pain of rape for young Girls was never a reason to limit Sexual activity with them; as Rush (1980, pps. 60-61) indicated, “Pain became an essential ingredient for pleasurable Sex, and since the defloration of very young Virgins can be excruciating, Victorians were obsessed with a ‘Defloration Mania.’ The screams of children became indispensable, shrill torture was the ‘essence of delight’ and many gentlemen would not silence a single note.”
Such a process netted the child into permanent prostitution. The result is that in nine cases out of ten, or ninety-nine out of a hundred, the child, who is usually under fifteen, frightened and friendless, her head aching and full of pain and horror, gives up all hope, and in a week she is one of the attractions of the house.” (quoted in Edholm, 1893, p.20).
As late as the 1900s some people still believed that venereal disease could be cured “by means of sexual intercourse with children” (Eliade, sited in deMause, 1982, p.58) but many child Prostitutes were syphilitic by age eighteen (Rush, 1980).
The Brothels of 1875 - Mary Jeffries ran the most exclusive brothel in the Victorian Era. Her chief assistant was a Mrs. Travers. She kidnapped children by offering to watch them while the parents went to gather luggage or buy tickets.
Jeifries catered to Nobility. “There was no form of Sexual vice for which this murderess did not cater” (Terrot, 1960, p.91). Stead (Tenot, 1960, p.54), writing for the Pall Mall Gazette, described one of her houses, “Flogging or birching goes on in Brothels to a much greater degree than is generally believed. One of Mrs. Jeffrles’ rooms was fitted up like a torture chamber... There were rings in the ceiling for hanging Women and Children up by the wrists, ladders for strapping them down at any angle, as well as the ordinary stretcher to which the victim is fastened so as to be unable to move. The instruments of flagellation included the ordinary birch, whips, holly branches and wire-thonged cat-o’-nine-tails.”
Every once in a while the plight of child Prostitutes catches and momentarily holds the public awareness and consciousness of the Victorian psyche to perceive the rot behind their all too prim and proper facades. The Victorians were caught out by perceptive reporters like Stead (Rush, 1980), and books such as 'Trafficking in Young Girls' or 'War on the White Slave Trade' (Sims, 1910) and 'Traffic in Girls' and Florence Crittenton 'Missions' (Edholm, 1893). Ennew 1986) pointed out “that during the Victorian era the up-swell of public sentiment and awareness for the Sexual plight of children, coexisting with their exploitation, supports the contention that the present level of concern and activity regarding child Prostitution is not unprecedented. However, left unsaid about these waves of consciousness is the entire ocean of blame for the victim surging behind it.”
One can look back in hindsight and be all judgemental, but one has to keep in mind that the Working Class backstreets of smog laden Victorian London let alone that of many a European city and those in the Americas and elsewhere often revealed great social deprivation, whose alleyways were often littered with those who had died due to their impoverished conditions, many of whom were children, for the Poor could not afford their burial and when found, to be verily collected and thence buried in secret within unmarked pits. The industrial age brought about progress but its bristling factories spewing out sulphurous smoke over the land were often populated by Working-Class children whose short lifespan knew only soul grinding toil while others as young as five were utilised as chimney sweeps, whom often died of cancerous sores as a consequence.
Life was very short, especially for those who were of the poor Working-Classes; if however one was of the Middle-Class like that of Alice Liddell’s family, ones life-expectancy was somewhat more prolonged to even be privileged enough to have the time to read a book should ones parents to have had the financial wherewithal to employ an informing Governess and Nurse or to send one to Boarding-school, while the few of the elite Upper-Class could happily indulge themselves in reading Lewis Carroll’s Alice’s Adventures ‘Through the Looking Glass’ to thence wonder about ‘Unicorns’ for most below said class were often than not quite illiterate.
The age of Sexual and Marriageable consent in 1885 was 13yrs old, while prior it was as young as 12 whence the preamble of courting happened earlier; but then life expectancy for the majority of the Working-Class was that of age 30 if one was lucky, while those of the educated Middle-Classes and Upper-Classes could in many cases live to ripe old ages so as to intellectualise about needed reforms. Giving birth to Victorian Children was a very risky business whereby there were numerous cases of women dying while in childbirth for there were not many hospitals if any employing the necessary medically skilled technicians so as to cater for their needs, especially if one was poor, more so if one had been afflicted by a Sexually-Transmitted-Disease; in other words, behind the very thin veneer of Victorian Christian Morality and that of its so called Civilising Industrial progress one to find a far more brutal reality where 'Virgin Girls' and 'Horned Unicorns' take on another meaning not so Innocent.
Whence to perceive anew Lewis Carroll’s 'Alice's' Adventures ‘Through The Looking Glass’ of 'Unicorn':
“when his eye happened to fall upon Alice: he turned round rather instantly, and stood for some time looking at her with an air of the deepest disgust. ’What–is–this?’ he said at last. ’This is a child!’ Haigha replied eagerly, coming in front of Alice to introduce her, and spreading out both his hands towards her in an Anglo-Saxon attitude. ’We only found it to-day. It’s as large as life, and twice as natural!’ ’I always thought hey were fabulous monsters!’ said the Unicorn. ’Is it alive?’ ’It can talk,’ said Haigha, solemnly. The Unicorn looked dreamily at Alice, and said ’Talk, child. ’Alice could not help her lips curling up into a smile as she began: ’Do you know, I always thought Unicorns were fabulous monsters, too! I never saw one alive before!’ ’Well, now that we HAVE seen each other,’ said the Unicorn, ’if you’ll believe in me, I’ll believe in you. Is that a bargain?’ ‘Yes’, if you like,’ said Alice.”
The Unicorn always thought that Little Girls as being fabulous “Monsters”, hence not to perceive ‘Alice’ as being a sweet Innocent Virgin, while Alice had always thought that ‘Horned’ Unicorns’ were fabulous “Monsters” in turn and when both to have perceived each other in the ‘Flesh’ they made a bargain to believe in each other!
As for Heraldry: Under kilt the Scottish Highlander wore not a traditional stitch at all to swing whose legend of a Unicorn like creature, the 'Baiste-na-scoghaigh of Sky', was perceived as a great, lumbering one ‘Horned’ Beast', which appears to have been the primary inspiration for the Heraldic Unicorn of Scotland, rather than that of the graceful creature of usual Anglo-Saxon perception that be blinded by swinging Gaelic sporran.
One to wonder if Queen Victoria had fetid night born fantasies about a 'Horned Unicorn' standing erect very much Gaelic fighting her German Lion so as to win a quick touch of her Crown while all around the smog of London did choke the Hymen ripped screams of many a Little Girl of Brothel waif as Alice Liddell dreamt of her own Unicorn under cover.
"However"
When to Druidic whisper of other branch to Sing
Cutting Rune to beat of Drum ridden;
A Rune revealing 'Mare' of Night flight
Forehead Sight of Singular-Eyed Seer
Going Spiral into and through Hymen Veil of Naked Dream;
Thence in the riding one becomes the skeletal Horse
Knowing of World-Tree Travelling to go,
To which the 'Mare' be tethered
POP STAR DECARABIA: The Sixty-Ninth Spirit is Decarabia; she is a Great Marchioness. She initially appears in the form of a Star in a Pentacle at first; but after, at the command of the Exorcist, she puts on the form of a beautiful young woman whom manifests as a Pop-Star playing a Guitar. Her office is to discover the virtues of Birds wherefore to sing as a Bird of Paradise from out of an Arabian Harem as well as to procure precious stones for her Master, which will appear out of thin air as Philosophical Gems of Aquarian Age Lyrical Wisdom. One will notice Humming Birds attending upon her, which will be seen to be partaking of the nectar moistness of her sopping wet aroused sex as she plays her Guitar. She can make the similitude of all kinds of Birds to fly before the Exorcist, singing and drinking as natural Birds do, which will thence transform into ravishingly attractive young Women, appearing as wild and wanton groupies within her Masters Visions and Dreams whom will verily drag him into orgiastic couplings; such Birds will thence be revealed as being the Spirits of Women her Master to then meet in the flesh under circumstances of Synchronicity. Dacarabia will induce the most Erotic scenarios of Oasis Moon lit purple Dreams, whence her Master will find himself in strange Hotel rooms to feel as if it be after a hot Concert within which she will salaciously mount him often and when doing so to passionately teach him the language of the Birds; if so desired she will also bestow upon her Master the ability to play a Guitar and that of never fearing the Reaper. Sometimes she to appear with Amdusiasi; she governs 30 Legions of Female Groupie Spirits.
LIONESS THROUGH THE LOOKING GLASS PENTAGRAM
One can imaginatively perceive Decarbia as a Pop ‘Star’ whose frantic Predatory energy is that of a ‘Lioness’ on speed chasing after ‘Unicorns’ to verily hunt down to ravish within many a Night Club.
Ishtar is a Goddess of Fertility, Love, War and especially Sex. In the Babylonian pantheon, Ishtar "was the divine personification of the planet Venus", which was symbolically represented by the 'Pentagram' whose shining Star can be seen at Dawn and when Inverse at Dusk. Ishtar was above all associated with Sexuality; her cult involved ‘Sacred Prostitution’. The Holy city of Ishtar was Erech, which was called the "Town of the Sacred Courtesans:" and she herself was the "Courtesan of the Gods". Ishtar had many lovers; however, as Guirand notes, “woe to him whom Ishtar had honoured!” The fickle Goddess treated her passing lovers cruelly, and the unhappy wretches usually paid dearly for the favours heaped on them. Animals, enslaved by love, lost their native vigour: they fell into traps laid by men or were domesticated by them. 'Thou has loved the Lion, mighty in strength', says the hero Gilgamesh to Ishtar, 'and thou hast dug for him seven and seven pits! Thou hast loved the Steed, proud in battle, and destined him for the halter, the goad and the whip.' Even for the Gods Ishtar's love was fatal. In her youth the Goddess had loved Tammuz, God of the harvest, and — if one is to believe Gilgamesh - this love caused the death of Tammuz. Ishtar was the daughter of Sin or Anu. She was particularly worshiped at Nineveh and Arbela (Erbil).
Ishtar was often represented riding a Lion, which was sacred to her due to her very Feline and predatory temperament whose characteristics are very much the same as that of the Norse Goddess Freyja, whom was known to the Saxons as Freo; both Ishtar and Freyja rode the backs of Cats. Freyja in particular was called the Mistress of Cats and for very good reason, whose association with the Feline may well go back to a time when Lionesses let alone that of Sabre-Toothed Tigers roamed ancient Europe.
The Male Lion is obviously highly distinctive and easily recognized by its mane, which is one of the most widely recognized Totemic animal symbols in human culture; however, the Male Lion is usually associated with kingship within primarily urban patriarchal cultures, which have skirted over the issue that it isn’t really the Male Lions whom rule over their Prides. The Male Lion has been depicted extensively in literature, in sculptures, in paintings, on national flags, and in contemporary films and literature such as ‘The Lion, The Witch and the Wardrobe’ by C.S Lewis for example whose Lion alludes to Christ. The image of the Male Lion is extensively used in heraldry, even when the Female Lion is intended, for it is the Lioness, which has been historically recognized as being the pinnacle of Hunting Prowess from the earliest of human writings and graphic representations. The Lionesses are the Hunters for their pride whom capture their prey with precise and complex teamwork. Each Lioness develops specific skills for her role in the Hunting techniques used by her pride and, generally, assumes that role during most Hunts. Depictions of Lionesses Hunting in groups have existed from the Upper Paleolithic period, with carvings and paintings from the Lascaux and Chauvet Caves.
Members of human cultures living among Lions in natural habitats have deeply observed and understood this characteristic whereby to have chosen the Lioness as representing their most Ferocious War deities and Warriors, often naming their Male rulers as her “Son”. Examples drawn from the earliest of written records include the Egyptian pantheon deities of Sekhmet, Bast, Menhit, and Tefnut, and these deities may have had precursors in Nubia and Lybia. Other Egyptian deities are quite complex and assume aspects that may include one as a Lioness headed human or a Lioness in specific roles. Many ancient images, which were initially perceived by Patriarchal inclined Archaeologists to represent Fierce, large Feline animals described as Leopards and Panthers reveal their true identity as Lionesses when the tail is examined. The characteristic tuft at the tip of tail only belongs to Lionesses should there be no mane - no matter what they are called by modern interpreters. The presence of spots may not differentiate them either, since young Lions often have spots in a rosette pattern, the tail must be examined to exclude the Lioness from many mislabelled images while the Lion utilised in Heraldic Coats of Arms takes on another meaning.
One has the Totemic Lion and a Unicorn as heraldic supporters upon the Royal coat of arms belonging to the United Kingdom; In the Scottish version of the Coat of Arms the two Totem animals have switched their places and both are depicted Crowned; The Lion stands for England and the Unicorn for Scotland and are time-honoured symbols of the United Kingdom. The combination of both Lion and Unicorn dates back to the 1603 accession of James I of England who was already James VI of Scotland.
The notorious rivalry between the Lion of Anglo-Saxon England and the Unicorn of Gaelic Scotland was translated into a famous nursery rhyme:
The Lion and the Unicorn were fighting for the crown
The Lion beat the Unicorn all around the town.
Some gave them white bread, and some gave them brown;
Some gave them plum cake and drummed them out of town.
This rhyme was played upon by Lewis Carroll, whom incorporated them as characters into his book of Alice adventure ‘Through the Looking-Glass’. The Crown that Carroll’s Lion and the Unicorn are fighting for in ‘Through the Looking Glass' belongs to the White King, which, given that the Lion and the Unicorn are both fighting on the same team of White side Chessboard, makes their rivalry all the more absurd, which clearly alludes to the United Kingdoms own age old internal disputes between the Anglo-Saxon’s and the Gaels whose conflicts were fanned on by the Holy Church of Rome's Imperial influence, which always utilised the tactics of Divide and Conquer that a Queen Boudicca would have known all too well.
Carroll subverts the traditional view of a Male Lion being alert and calculating by making his version of the Machismo Lion as being slow and rather dim-witted, although clearly the better fighter, which no doubt alludes to the fact that it is not the Male Lion who rules the Pride for it was always that of the fearsome ‘Female Lioness’ whom had the ‘Star’ role. When looking at the British Monarchy one will find that the most prominent of Monarchs were Queen Elizabeth the 1st (whose nickname by the way was the Cat) and Queen Victoria, while prior of age one had raging Queen Boudicca whom ruled over the principle key-times in British history; as for the Male Monarchs, one in particular stands out who was Richard the Lion-Heart, however his reign had more to do with Crusading in the Middle-East warring over bloody Holy-Land Gold, which actually didn’t get him anywhere apart from being immortalised in Hollywood movies riding the back of Robin in the Hood!
The role of the Unicorn is likewise reversed by Carroll whence his Unicorn of 'Erect Horn' sees Alice as a "Monster", though he promises to start believing in her if she believes in him, which has more to do with the Unicorn seeing Alice as not being a pristine Virgin all Innocent. In Medieval Christian times to that of the Puritanical Victorian era the Unicorn had deeply ‘Sexual’ connotations, which were glossed over while the Lioness was masked by her Patriarchal counterpart of Lion whom nullified her shining Star of Venus.
Sir John Tenniel's illustrations for 'Through The Looking Glass' caricatures Benjamin Disraeli as the Unicorn, and William Ewart Gladstone as the Lion, alluding to the pair's frequent parliamentary battles in regards to numerous reforms of changing age, although there is no evidence that this was ever Carroll's intention, which had more to do with the Tenniels own Politics at the time and that of an overall ingrained Patriarchal perspective of an era even though ruled over by a 'Lioness' of Queen Victoria.
At the Mundane level of hindsight one could construe that Carroll was possibly referring to Queen Victoria of 'Crown' being caught between a Gaelic 'Unicorn' of John Brown shadowy affair and that of her blissfully unaware husband Prince Albert of Saxe-Coburg and Gotha 'Lion'.
One will find that Feline Ishtar tethers both ‘Lion’ and ‘Unicorn’ to her wiles, as Gilgamesh related: 'Thou has loved the 'Lion', mighty in strength', says the hero Gilgamesh to Ishtar, and thou hast dug for him seven and seven pits! Thou hast loved the 'Steed', proud in battle, and destined him for the halter, the goad and the whip.' Who then is standing between a 'Lion' and 'Unicorn' other than that of an 'Alice' smiling winsomely as a seducing Ishtar holding her pet Kitten as the Lolita 'Mistress of Cheshire Pussy Cats' looking very much like a sultry 'Freyja' of Elder British Goddess whose Star is the 'Pentagram' of Venus.
