Mutant Message Down Under

Mutant Message Down Under is a book written by Marlo Morgan. Its a story of western woman who walkabouts with the lost tribe in the Australian outback. Four-month journey gives her insight into the life of this tribe and strikes her with their perception of reality and attitude to many things that surround them.

The narration is told by the author. Marlo Morgan is a 50 years old doctor who comes to Australia to work there for four years as a doctor in the project helping aborigines. Invited to Australia to receive an honor Marlo is greatly surprised with the way this honor is expressed. Instead of prizes and presents, the tribe which consists of about 60 people kidnaps her and makes the member of the tribe to show their life and way of thinking from inside and here the thrilling journey stArts. All Marlos possessions are burnt in the fire as they make absolutely no use in the bush. For a moment my heArt was numb; I took a very deep sigh. I dont know why I didnt shout a protest and immediately run to retrieve everything. But I didnt. (p.25). The tribe chooses her as an envoy to bring their knowledge and secrets to the rest of the world. These people call themselves the real people and live in a much removed area away from the influence of civilization and the rest of the urban world. They called all the rest of the world who didnt follow their way of life mutants who have lost their roots and origins. They called civilized way of life destructive and wanted to help modern people by sharing their experience and beliefs. They live in total peace and harmony with nature and count on their faith in everything. Carry ing nothing but several skins to protect them from cold at night, these people carried no food knowing about the generosity of nature and the ways to feed themselves. For Marlo this journey is a completely new experience and it differs so much from everything she used to know about life. The attitude to beauty and own appearance was a thing that surprised her a lot. It was like walking around inside a capsule with eyeholes. I was always looking out, looking at others, observing how they were relating to what I was doing or what I was saying ... Without a mirror to frighten me back into reality, I could experience feeling beautiful. Obviously I wasnt, but I felt beautiful. The people accepted me as I was. They made me feel included, and unique and wonderful.(p.100). In the end of the journey Marlo comes back to civilization to share her new experience and to fulfill the will of the tribe. But this is not Marlo who stArted the journey four month ago any more. Its a completely another person new and transformed, changed completely by new knowledge. Reading a book we can get the pArt of this knowledge and probably this is the reason of its popularity. Among other observations, Morgan claims to have witnessed miracles of healing and stunning mental telepathy between tribal members. These lost secrets are usual for the members of the tribe but look like the miracles for me. The ceremonies and rituals described in the book gave me a very interesting insight into the world of aborigines and their culture.

The book and the author are very controversial. Marlo states that the book described real events that have happened to her in Australia. But big opposition which consists of scientists, readers and specialists proves it to be a fraud. Even Australian aborigines demanded for several times to declare it to be a fiction and just the mere figment of authors imagination. A lot of surveys couldnt find the tribe mentioned in the book and specialists who study the life of the aborigines of that region find mistakes in the describing their way of life, habits, and beliefs. For example she describes ornaments, musical instruments, cooking utensils, ceremonies, landscape, social relations, clothing and much else which simply do not exist anywhere in the traditional cultures of the Australian continent. Marlo Morgan justifies her unwillingness to uncover the place of the story and the real names by the huger purposes to protect the characters of the narration from the interference of the civilization. Shes even agreed to rank her work to fiction books to protect the privacy of the tribe.

But I t hink that despite this conflict there is a message which is more important than the authenticity of the events described. The outlook described in the book and way of thinking depicted there can become a real eye-opener for many people. The message speaks about human values in general and even if the entire story is just imaginary the problems spotlighted there are real. The book describes a life in harmony with nature and yourself, not burdened with internal and external conflicts and confrontations. The respect and careful attitude to the nature and the world around them these people extend to other people and themselves. The idea of simplicity is repeated during the entire book and is seen as one of the main means to gain the lost tranquility and peace. To perceive the people the way they are, to enjoy the simplest things in life these are the things which can help us to feel the harmony with ourselves first of all and than with the surroundings. We all suffer becaus e we are separated from the whole. Weve lost our roots and only coming back to our true essences (oneness) can make us happy again states the author through the months of her characters. In the book the tribal members use phrases like if its in the highest good of everyone everywhere after a wish or a prayer. Weve almost lost the ability to look around deepened into the routine of everyday life and dont take time to look into ourselves also. These lost skills make modern people unhappy and make them seek happiness in the false or even dangerous things. The people of the tribe state that Mutants no longer have the good digestive system of the Real People. (p.132).

And thought the author states that I now have knowledge and understanding that is beyond anything I could have imagined for myself the truths mentioned in the book are not new of course and the echoes of them we can find in many religions of the world. But I think that reminding people one more time about th ere values is not a wasted time and effort since eternal human values have not changed through the centuries of human existence but they can be forgotten or just put one byplay. Not everything must be perceived directly and its understandable that the author doesnt call us to leave our homes and to move to the forests and deserts to find the truth of life and the answers of the questions. Coming back to nature can happen from any place and in any time. The main thing to my mind is to see the natural origins inside of ourselves and remember the inArtificial behavior, thoughts and feelings without pretending and trying to make a good impression. The absolute beauty can be found anywhere and the authors message to my mind is to make us open our eyes and see this beauty around. The style of writing is very simple an d unsophisticated. But if to consider that the story is told not by the professional writer, but by the doctor willing to share with us her incredible experience the imperfection of the style can be forgiven. Good thing about the style is that due to its simplicity the book is very easily read and the main massage isnt lost in the exquisite wording.

In general I liked the book and think despite all the controversies around it its an interesting and developing reading. But there is a thing in the book I didnt like. That is the attitude of the author to the members of the tribe. Her supercilious and haughty attitude to the representations of another race and another type of living make it doubtful sometimes that she herself has internalized the truths she tries to present in the book. The sympathy to the members of the tribe is broken sometimes by the condescending tone of the author. Badly hidden sense of superiority expressed in the phrases like phrases such as half-ca st, half-breed, native, dark skinned natives and cannibals made me feel that Morgan didnt feel that sympathetic to the tribe as she would wish to show.

For me there is not doubt that the book is interesting and can be very cognitive in many fields. It gives interesting facts from the life of aborigines and describes their life from-inside. And what is significant for me the author goes deeper than just a usual depicting of their way of life, customs and traditions, but also penetrates the original system of beliefs of these people. Morgan makes it interesting and easily read but makes think about the eternal problems of humanity and even more it gives the clue from the labyrinth of the human misfortunes and misery. Like all the teaching, the book can only give a hint and to show the way, but the choice if to follow it or not is ours.

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Author:: Aaron SchwArtz
Keywords:: Mutant Message Down Under
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The Love Poetry of John Donne: Part 2 of 3

The scientific framework of Donne's view of love is seen here:

But as all severall soules containe
Mixture of things, they know not what,
Love, these mixt soules, doth mixe againe,
And makes both one, each this and that.

Just as the four elements, earth, air, fire, and water were supposed to combine to form new substances, so two souls mix to form a new unity. The strength and durability of this new unit is dependent upon how well the elements of the two souls are balanced, as we see from these lines from The Good-Morrow:

What ever dyes, was not mixt equally;
It our two loves be one, or, thou and I
Love so alike, that none doe slacken, none can die.

A good example of this state, where two lovers' souls cannot be separated, even when they are physically far apart, is seen in A Valediction: forbidding mourning:

If they be two, they are two so
As stiffe twin encompasses are two,
Thy soule the fixt foot, makes no show To move, but doth, if th'other doe.

The idea of two coming together to form one is very important in Donne's view of love. When a couple find perfect love together they become all-sufficient to one another, forming a world of their own, which has no need of the outside world. This idea is expressed in these lines from The Sunne Rising:

She'is all States, and all Princes, I,
Nothing else is.

Shine here to us, and thou art everywhere;
This bed thy centre is, these walls, thy spheare.

And again it in The Good-Morrow:

For love, all love of other sights controules,
And makes one little roome, an everywhere.

For Donne love transcends all worldly values. As we see in The Canonization, values such as wealth and glory have no place in the world of love.

With wealth your state, your minde with Arts improve,
Take you a course, get you a place,
Observe his honour, or his grace,
Or the Kings reall, or his stamped face< br> Contemplate; what you will, approve,
So you will let me love.

Like love itself, the women to whom Donne's verses are addressed are usually praised in hyperbolic terms. In The Sunne Rising her eyes shine brighter than the sun. And in The Dreame she is praised as a being above the level of angels.

Yet I thought thee
(For thou lov'st truth) an Angell, at first sight,
But when I saw thou saw'st my heart,
And knew'st my thoughts, beyond an Angels art,
When thou knew'st what I dreamt, when thou knew'st when
Excess of joy would wake me, and cam'st then,
I do confesse, it could not chuse but bee
Profane, to thinke thee any thing but thee.

This reverence for woman sometimes leads Donne close to adopting the traditional attitude of the courtly lover, who suffers through being in love with a woman, usually already married, who scorns him. An example of this kind of love is suggested by the references to the symptoms of love in The C anonization:

Alas, alas, who's injur'd by my love?
What merchant ships have my sighs drown'd?
Who saies my teares have overflow'd his ground?
When did my colds a forward spring remove?
When did the heats which my veines fill
Adde one man to the plaguie Bill?

The courtly love ideal, however, is in conflict with Donne's ideal of two well-matched and well-balanced lovers whose souls unite to form one. In the poem Loves Deitie he expresses his contempt for the courtly ideal, which he sees as a corruption of the true nature of love.

I cannot thinke that hee, who then lov'd most,
Sunke so low, as to love one which did scorne,
. . . It cannot bee
Love, till I love her, that loves mee.

Copyright: Ian Mackean
http://www.literature-study-online.com

Ian Mackean runs the sites http://www.literature-study-online.com, which features a substantial collection of Resources and Essays, (and where his site on Short Story Writin g can also be found,) and http://www.Booksmadeintomovies.com. He is the editor of The Essentials of Literature in English post-1914, ISBN 0340882689, which was published by Hodder Arnold in 2005. When not writing about literature or short story writing he is a keen amateur photographer, and has made a site of his photography at http://www.photo-zen.com

Author:: Ian Mackean
Keywords:: Love poetry,John Donne,English literature,British,Sex,Metaphysical poet,Religious poems
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The Museum of Buddhist Art A Rare Collection of Buddha Statues

The Museum of Buddhist Art in Bangkok is reputed to have the biggest collection of Buddha statues, sculptures and figurines based on Buddhist Art work from kingdoms dating back to the 6th century AD. The exhibits reflect the cultural heritage of the various kingdoms in Thailand and neighboring kingdoms as well.

Visitors to the Museum of Buddhist Art are usually advised to stArt their tour in an annex to the main building that houses the Kuan Yin Palace and Museum which displays statues of Kuan Yin, the Goddess of Mercy. The courtyard outside this museum has six miniature wooden palaces housing Chinese deities.

The main theme of the Museum of Buddhist Art, however, is housed in eight rooms upstairs in the main building displaying Buddha statues, sculptures and figurines from the different kingdoms that had an impact on Thai Art and culture.

The various schools of Buddhist Art of each era blended with the previous and added its distinct touch. Detailed explanations are provided for the Buddha statues, their characteristics, different postures and subtle variations in the folds of the robes.

The museum is a useful source of knowledge for the scholar of Buddhist Art and Buddha sculptures. The casual visitor, seeking an overview of an important aspect of Thai culture, would find this museum interesting as well.

Buddhist Art from the various kingdoms displayed in the Museum of Buddhist Art

Dvaravati Art (6th 11th centuries AD)

Dvaravati Art is based on the culture of the United Kingdom of Dvaravati in Nakhon Phahom, Central Thailand established by the Mon from Burma. The Buddhist Art work of this period is based on the Southern India and Sri Lanka models.

Srivijaya Art (7th 14th centuries)

The Srivijaya kingdom covered Sumatra, Java, the Malay Peninsula and Southern Thailand, right up to Surat Thani and Nakhon Sri Thammarat. The Art form from this era had a rich mix of Indian, Khmer, Sri Lanka, Java and Sumatra cultures.

Khmer Art (11th - 19th centuries)

From 6th 14th centuries, the Khmer Empire in Cambodia ruled over Laos and northeastern Thailand (Isarn). Khmer Art was to have an enduring legacy on Buddhist Art work for centuries to come.

Burmese Art (11th - 19th centuries)

Burmese Art evolved from the various ethnic groups in the ancient Burmese kingdom of Pagan. The Burmese, Mon, Arakan, Tai-yai kingdoms developed Buddhist Art during their respe ctive reigns. All these groups had an influence on Thai Art.

Sukhothai Art (13th 15th centuries)

Art flourished in the Sukhothai Kingdom under the reign of King Ramkhamhaeng. Classic Sukhothai Art soon emerged from the Khmer influence and established its unique style.

Ayuthaya Art (1350 1767)

The exhibits on Ayuthaya Art in the Museum of Buddhist Art represents the longest period in Thai Art. Pre-Ayuthaya Art was a combination of Khmer Art of the Bayon period (the Bayon temples in Cambodia) and Dvaravati Art, a mixture which was known as U Thong Art.

The establishment of Ayuthaya produced a blend of Khmer and Sukhothai styles which gradually evolved into its own distinctive character in the 16th century.

Lanna Art (13th - 20th centuries)

The Lanna kingdom (Land of a M illion Fields) was established by King Mengrai in northern Thailand in 1296. Pure Lanna Art developed when the kingdom was independent. Lanna came under Burmese rule and later under Thai rule. The Buddha statues during these periods had their subtle differences.

Lan Xang Art (14th 18th centuries)

The Lan Xang kingdom (Land of a Million Elephants) was founded by King Fah Ngum in the 14th century after the fall of Sukhothai. The kingdom covered present day Laos and pArts of nor theastern Thailand. King Fah Ngum made Buddhism the state religion and so began an Art form that also left its mark on Buddhist Art.

Thonburi Art (1767 1782)

Thonburi Art had a brief period as the kingdom lasted for only 15 years.

Rattanakosin Art (1782 present)

What followed was Rattanakosin Art of the modern Bangkok era. The Buddha statues and sculptures during the reign of the Chakri Kings developed a distinct identity of their own.

The other eight rooms in the Museum of Buddhist Art are not directly related to the central theme but are equally interesting. These cover Artifacts from the pre-historic Ban Chiang cult ure, Yao paintings, stone sculptures.

An unusual set of exhibits in this museum is the room displaying statues of Jesus Christ and Mother Mary, a reflection of the religious tolerance in Buddhist society.

The Museum of Buddhist Art embodies not just the Art and culture evolved for more than a millennium through the rise and fall of several kingdoms. It symbolizes the philosophy of moderation and tolerance, values that serve as a beacon of light in these troubled times.

For more Bangkok Museums.

The Museum of Buddhist Art first appeared in Tour Bangkok Legacies a historical travel site on people, places and events that left their mark in the landscape of Bangkok.

The author Eric Lim, a free-lance writer, lives in Bangkok Thailand.

Author:: Eric Lim
Keywords:: Museum of Buddhist Art, Buddhist Art work, Buddha statues, Buddha sculpture, Buddha figurines
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Stopping African Killer Bee Colonies from Swarming Worth the Effort?

Is it worth the effort to stop African Killer Bees from swarming and killing humans? Each year there are hundreds of attacks World Wide. Some say we should train the bees to help us rid the world of international terrorism and sting the bad guys to death. Others fear for their lives knowing if large colonies of bees are around they might attack them.

This subject has been of concern and it was brought up at a recently online think tank discussion as a problem, which needed their attention. One online think tank member Warren States; African killer bees are indeed worth someone's energy; the chemical folks have been driven back by the environmentalists. To figure out what physical dependencies they have when they act as a single entity in the swarm seems like a worthy effort.

Surely, although there are bigger problems and the bees do provide plentiful pollination services to crops. Another think tank member was unconcerned about the few number of attacks world w ide and stated; Too me, well I just like to study efficiency, battle tactics and I love winning and therefore it makes sense to look at who is winning and why? Thus how do the bees do it is of value indeed. And in studying that we maybe able to figure out a way to stop them, steer them or defeat a swarm in a military battle if it becomes necessary. There appears to be a component of battle tactics, as well as finding and securing a way to exploit weakness in here.

It seems people study bee colonies and swarms for many reasons, some to better understand the strategy and some to help people. But it is good to know at least one online think tank is attempting to get to the bottom of this issue as it sorts through these incredible creatures and their swarming techniques to solve problems and protect people. Consider all this in 2006.

Lance Winslow

Author:: Lance Winslow
Keywords:: Stopping, African Killer Bee Colonies from Swarming, Worth the Effort
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William Aloysius Keleher Papers

The William Aloysisus Keleher Papers have, more or less, covered almost all the memorable events and celebrations of William Aloysius Keleher and his family, ranging from 1914 to 1999. The main source of this information was William himself. Therefore, it is pretty safe to opine that the papers are authentic, and does not contain any false information whatsoever.

The collection contained different kind of materials belonging to the history of New Mexico. William A. Keleher, a historian himself, conducted extensive research on the territorial era of the state and came up with impressive findings. As a high profile citizen of the state in his time, William A. Kelehers sincere efforts and deeds helped shape the modern condition of the particular area. A big chunk of the documents pertaining to his research, career and various interests have been included in this impressive collection. The collection is tagged as MSS 742 BC and it comes in 40 boxes that are just over twenty five cubic feet. The languages used were English and Spanish.

Regarding the restrictions, it has been mentioned that the collection is open to all for research purposes. However, the copy restrictions are a little stringent. Only limited duplication of the manuscript and print materials are permitted for research. The Keleher family still owns every right to the writings of W.A. Keleher and his successors. For all copyright compliance, the user and researcher will be held responsible.

The collection mainly includes documents engendered or gathered by William A. Keleher and his predecessors/successors. A big chunk of the material belongs to his business and civil activities in Albuquerque, New Mexico. The W.A. Keleher collection is categorized into two series, 1) W.A. Keleher papers and 2) Keleher Family Papers.

The literary works within the William A. Keleher papers include edited manuscripts, related materials, drafts/revisions and correspondence with publishers regarding editing tasks. The sub-series include documents like s crapbooks, newspaper clippings, drafts, invoice etc. that were related to William A. Kelehers literary works. The files have important information from the highly acclaimed Keleher books (Violence in Lincoln County, Memoirs, The Fabulous Frontier etc).

There are also miscellaneous short writings and speeches in the collection: William A. Keleher not only made his point of view known through his full length manuscripts, but also through the short writings and s peeches. Being the golden son of New Mexico, he used to speak for groups throughout the state on a regular basis. The topics that were involved in the discourse ranged from historical issues to patriotism. His short-length writings included lengthier essays and newspaper articles, several of which were directly related to New Mexico history.

The Keleher Family Papers divulge information about Loretta Barrett (William A. Kelehers second wife) and their four sons (Thomas, John, Michael and Will). Furthermore, information about William A. Kelehers parents, siblings and other relatives are also found there. The materials include clippings, correspondence and genealogy information on the Keleher and Barrett families. Special invitation cards give us a brief idea about the social lifestyle in Albuquerque, New Mexico. The Kelehers level of participation in the community and affiliation with elite citizens from 1950 to 1990 are also known from there. The Keleher Family Papers confirm that the family owns several properties in the Albuquerque area, most notably Mandell Business Addition, Buena Vista Addition and Huning Castle Addition.

The William A. Keleher papers are indeed an asset. Not only to the family members, researchers or historians, but also to the state since William A. Keleher was inextricably related to Albuquerque, New Mexico all his life. The papers have opened new dimensions to the historian, who will now be able to unearth invaluable information regarding Keleher and early 1900s history, social culture, lifestyle etc. The papers have faithfully served as a solid proof of W.A. Kelehers outstanding deeds and achievements. Not only that, they have revealed many interesting facts about New Mexico, hundred years back. In a nutshell, the William Aloysius Keleher Papers have been a resourceful collection that helped researchers to get a better understanding of the person, his family and New Mexico about a hundred years ago. It is really a matter of great surprise how the papers have managed to remain in tact after hundreds of years.

Keleher authored some of the premier works on the Southwest: Maxwell Land Grant,1942; Fabulous Frontier, 1945; Turmoil in New Mexico, 1846-1968, 1952;Violence in Lincoln County, 1957; and Memoirs 1969. and New Mexicans IKnew. Purchase the Books of William Keleher in .pdf format online at http://www.williamKeleher.com

Author:: William Keleher
Keywords:: Keleher, William Keleher : Seven Generations in America, Eight Generations in America
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Masking European Animism

The ancient peoples of Europe were more fond of Masks and religious Ritual than you would suspect if you saw Europeans today. Mask wearing and Shamanism was part and parcel of everyday life in ancient Western European tradition, say researchers.

There are stories abound about African and North American tribal shamans but not a lot is known about ancient European peoples involvement with masked Ritual or the practice of magic. That is why finding out about similarities between the ideas behind Masks from around the world and those originating from European soil, is a discovery of intriguing and real beliefs.

The less obvious link of European societies with Shamanism or religious Ritual than for instance the North American native Indian customs or magic activity in the past is due to the more sa nitised way Europe has developed because of church interference in peoples lives. The church dominance virtually stamped out any pagan Ritual.

It was not until after 1960, when the Americans experienced a revival of the interest in Shamanism, that much has become known about the European version of the practice of magic and mask wearing. There is more verifyable information about the true roots of Western European civilisation than initially suspected.

The spirit if not the exact practise of Shamanism has been passed on through Europe's generations, one authority on the subject, Leigh Ann Hussey, believes. The earliest recordings of ceremonies involving Masks were found in the caves of the Trois Freres (Three Brothers) in France where paintings of a Paleolithic scene depicting European animism of the first order. Ian Bracegirdle, a mask expert, describes the cave: A central figure stands wearing the head and antlers of a deer. He stands, shaman like, surrounded b y animals.

Animals that are important to the culture he represents. Some of the animals no longer exist in this area. Ibex, reindeer, bison, stag and horses. The shaman, for that is what he seems to be, stands, a human figure amongst the potential food. It is believed that the paleolithic cave served as a place where hunters were initiated. The sorceror or shaman was symbol to sympathetic magic. He wore ears and horns of a stag, the eyes and beak of an owl, the bearded face of an old man, the tail of a wolf, the paws of a bear and the legs of a dancing shaman. He stood in front of painted hunting murals. The Shaman served as mediator between humans and their venerated animal kin.

This is pretty much the best evidence in tangible form that we have of our ancestors animistic beliefs. It dates back 10,000 years and is accompanied by an abundance of myths and stories showing our ancestors had plenty of similar ideas. A close analogy exists in the stories of Kernunnos , forest god of the later Celts. The Masks express animism to some extent.

His information is confirmed by Ms Hussey, who went on a hunt in European Shamanism and found when she examined ancient sources, that she did not need to borrow from other traditions. It is clear that tribal Europe had as strong a shamanic tradition as, for example, any of the American Indian tribes, she said.

Summing up the general symbolism that unites Masks from around the globe, Bracegirdle says that there are many striking similarities between the ancient cultures of the Pacific West Coast of North America and the tribal traditions of Africa. Symbols that all these cultures share are relating to fertility, the hunted animal, ancestors, initiation into rites, circumcision, cannibalism real and symbolic, healing and cr ossing over into the spirit world for guidance and healing powers or to appease the gods or ancestors are the accompanying ideas behind Masks.

Not a lot has been passed on from generation to generation in any much recognisable form or shape, but among the most powerful links is the seasonal nature of many traditions we still know about. In the UK, the Green man and the Hobby horse are two potent examples. To me there is a tremendous link which is bound up with the very nature of the people we are and how we have developed. Our formative roots live in our societies now, believes Bracegirdle.

The links to ancient beliefs can also be found in many European languages. When we say in English that we are going berserk, we even directly refer to the shamanic state of extasy. The adjective comes from the noun berserker, or berserk, the Old Norse for wild warriors or champions. Ber referring to bear and serkr to shirt or coat.

These berserkers became frenzied in bat tle, howling like animals, foaming at the mouth, and biting the edges of their iron shields as if they acted in a Nike commercial. Berserker is first recorded in English in the early 19th century, long after these wild warriors ceased to exist. This is illustrative of how the tradition seemingly interrupted, still lived on.

Similar Bear Doctors stories have been found among California tribes. In some cases, the Berserkr or Ulfserkr would even eat the heart of the bear or wolf to gain its power. Another feast of hearts occurs in the seir trance, as described above.

Not a lot was known about Western Shamanism until it hit the limelight in the 1960 and the undoubted expert in the field is the late Mircea Eliade, a religion historian who taught at the Sorborme in Paris and later at the University of Chicago.

He described Shamanism, or witchcraft as it is referred to also, as not a religion but more as a technique. Shamanism, he says, is not strictly medicine me n/women, magicians, or healers. This is the conclusion of extensive studies of the phenomenon around the world in his book Shamanism: Archaic Techniques of Ecstasy.

He believes that shamans are not the same as priests; they may have coexisted with priests or even have fulfilled priestly functions as well as shamanic ones. A shaman was more a mystic than a priest or a minister. A shaman was not possessed, as many people now believe, says Eliade. Neither was the shaman a medium or trance channeler. Shamans control the spirit beings with whom they work, or at least they do not surrender to them. Like a medium or channeler, a shaman may appear unconscious when working, but upon returning, the shaman can tell where he or she has gone, he says.

The shaman is not the instrument of the spirits. Traditional shamans cure people through their trances, accompany the souls of the dead to the Otherworld, and communicate with the gods. This small mystical elite not only directs the community's religious life but, as it were, guards its 'soul.

Modern day processions where you can still see old Masks being worn include processions in which giants and witches are displayed. These and other masquerades are among the more powerful tangible links we still have to ancient witchcraft Ritual.

In well known childrens stories and folklore narrative, the links are also obvious. Dragons for instance are examples creatures pervading every alley you can imagine of old folklore and mythology, straight into modern times stories. Descriptions of the beast's benevolence vary from the playful Puff (of Peter Yarrow's song) to the sinister Smaug in J.R.R. Tolkien's The Hobbit. Babylonian legends portray the Queen of Darkness as a multi-headed dragon - Tiamat. Walt Disney's Sleeping Beauty features a battle between Prince Phillip and the evil Maleficent about a curse than can only be broken by three fairies. Likewise, the Germanic myth Die Nibelungen climaxe s with the battle between Siegfried and the giant Fafnir, who has transformed himself into a dragon in an effort to become more frightening.

Our reaction to the physical characteristics of the dragon is another element that we share with and which connects us to our ancestors. Around the world the beasts are typically depicted as huge lizards, larger than elephants on average. Long fangs are generally accepted as are twin horns of varying length. Western cultures generally include large bat-like wings giving the dragon the capability of flight. But eastern dragons, usually wingless, use a more magical means of flying. Eastern dragons also tend to be more snake-like in nature, albeit with front and rear legs.

Angelique van Engelen is a freelance content writer living in Amsterdam, the Netherlands. She runs http://www.contentClix.com, a copywriting website. She also contributes to a blog http://clixyPlays.blogspot.com

Author:: Angelique Van Engelen
Keyw ords:: European animism, Paganism, Masks, mask wearing, Ritual, Shamanism, Indian, church dominance
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Literature is Timeless: Canterbury Tales

Good Literature is ageless, timeless, and is free to cross all the borders. Obsessions, feelings, fear, are universal and common for all the humans in the world.

An early example of the effect of culture upon Literature can be seen in Geoffrey Chaucers Canterbury Tales. Chaucers many activities in the fourteenth century as auditor, justice of the peace and knight of the shire brought him into association with the ruling classes. A member of King Edwards personal household, Chaucer would have been influenced on his diplomatic missions by the cultures of Spain, France and Italy. As poet and author, these cultural opportunities must have inspired Chaucer. He wrote lyrical poetry modelled on the famous French and Italian poets. Troiluss song in Troilus and Criseyde is reportedly Chaucers translation of P etrarchs sonnet. Canterbury Tales observes society and the culture of Chaucers epoch, satirising religion and the class system by illustrating stereotypical individuals, often inverting their roles within society. Chaucers middle class youth amongst the mercantile atmosphere of Londons Vintry to his elevated position amongst aristocracy gave him an insight into the class structural system. Gaining ideas from Gower and Boccaccios Tales. Chaucer also drew from the culture around him; The honourable and moral, chivalrous, wealthy knight emphasises the ruling classes impression of themselves, the ironic Pardonners Tale, the ridiculed Prioress and the poor Ploughman, who represents the lower classes. The Wife of Baths tale presents us with women who are either pristine and virginal, so pure that they are unattainable or cunning and deceitful. The experienced Wife of Bath boasts of her five husbands, pointing out that happiest marriages are where the wife is the boss and that women should have mastery over their husbands, presenting early feminist points of view.

During the difficult journey into the heart of the jungle, Conrad presents the horror, which lies beneath the surface of King Leopold IIs Congo Free State. The Literature has been produced because of the actual historical occurrences and Conrads view that social opinion was lacking, therefore, the novel is a product of its context, communicating the exploitation, imperialistic rule and colonialism. Throughout this novel, we can identify the racist language, descriptions and the inevitability of hierarchal systems being set in place. Chinua Achebe called Conrad a thoroughgoing racist. Conrad fashioned his historical findings into a novel, entwining albeit racist views of African culture and historical facts, highlighting not only slavery and colonialism but also race and feminist issues. The story focuses on white male dominators experience rather than the colonised tribes. Conrad presents his picture of imperialism, a white man in such unexpected elegance of get-up a high, starched collar, white cuffs a clean necktie under a green-lined parasol held in a big white hand, represents an unsoiled and pure culture and symbolises power and superiority over black natives, who are presented as faceless and speechless, black shapes crouched, lay, sat between the trees clinging to the earth. Chinua Achebe criticised Conrad for his account in the Congo, calling him a traveller with a closed mind, blinkered by his European views of Africans. Conrads descriptions of the natives as niggers, coupled with his inability to give them a l anguage raises questions of racism. The edge of a black and incomprehensible frenzy, infers that the natives are unintelligible.

The novel is full of ambiguities; everything in the novel is cloaked in darkness, mist, fog or gloom, symbolising the inability to see creates a distortion. The river, described as a snake symbolises deceit and cunning and the underhand activities of the colonisers, the exploiters. Heart of Darkness offers a powerful condemnation of hypocritical operations of imperialism that can be explored throughout the novel with inefficient scenes of bureaucracy and prominent scenes of torture and cruelty. The Manager tortures a native boy for allegedly starting a fire. The Company describe their business as trade yet it becomes clear that Kurtz rules with violence, intimidation and force. In the treatment of natives, Marlow describes; Black shapes crouched in all attitudes of pain fed on unfamiliar food, they sickened, became inefficient, and were the n allowed to crawl away and rest, with the knowledge of history, it is clear these men were left to die.

Some of the key purposes of Literature, to entertain, inform, instruct, recommend opinions, make us think or choose and even to uplift society are in force within societys everyday culture. Literature is more than words on a page, it can present scientific development and exploration and represent amongst others, social, historical, political, feminist and religious views. Literature is a product of culture and is therefore a part of historical culture. Literature is affected by rules of past and present cultural trends. Culture is affected by past and present Literature. Literature allows the presentation of culture at a given time and therefore, is part of cultural history.

Mary Anne Winslow is a member of Essay Writing Servicecounselling department team and a dissertation writing consultant. Contact her to get free counselling on custom essay writing.

Author:: Mary Anne Winslow
Keywords:: Literature, Canterbury, Tales
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