Dee Finney and Joe Mason

There is no battle I couldn't survive,
feeling like this, feeling alive!

(To hear the sounds click here)

Kali, represented in her destructive
aspect as Chamunda, detail from an
album painting.
Kangra, c. 18th century

(Original Cast Recording of Jekyll and Hyde)

I was told by a 'light being' prior to sleep that I was going to have my buttons pushed in my dreams.  I doubted that my dreams could be effected by such a suggestion, or that dreams could be 'implanted' by an outside source. However, I was proved wrong.  What is even stranger is that Joe and I dreamed about the same subject at the exact same time from two different aspects. I present the dreams first:

1-1-99 - DREAM - Dee - I cannot remember how the dream started, but I was in a huge building with corridors and I wanted to find a bathroom. I ended up in a room where men were standing by their beds in almost full body casts and I knew I was in the wrong place. I wanted to find my own apartment and I was in the hallways and elevators with a variety of extremely short chubby women. I finally found my own place and I wanted to change clothes. I was hunting and hunting for something to wear and couldn't find anything. In my memory, I could remember having the clothes, ...pretty pastel blouses skirts and dresses, etc. But they were all gone. Finally,  I realized my husband had taken them all and I got so angry, I went to find him to accuse him of stealing my clothes. I didn't actually see him, but saw a long lump under the bed covers I assumed was him. I started accusing him of stealing my clothes. I was getting angrier and angrier and I finally said, "Why did you steal all my clothes?" The voice from under the blanket said, "I wanted you to know what it was like to be 'normal'!"  I said, "Since when is it 'normal' not to have more than one blouse and one bra (which I was wearing). I was so angry, I started slamming doors and knocking stuff off cabinets and tables in the kitchen. I opened the door to leave and go out into the dark hallway and then realized I didn't have my keys, my purse, or my shoes. I almost went back to find them, but realized that as angry as I was, my husband could have me locked up in a mental hospital and have them give me a shot to calm me down. I then went out into the dark hallway without anything I needed to feel safe and secure.

I woke up with my chest all hot and burning like I was going to have a heart attack. I was so angry.  It reminded me of all the times I had been angry at him when I was actually married to him back in the old days of the 60's and 70's when I had to beg him to let me buy underwear even though I deserved it because mine were full of holes. I still feel angry when I think of how much under his thumb I had been. (That was the least of it. Believe me!)

As I was laying in bed trying to calm down and thinking about the dream, I heard Joe, who was laying next to me, calling me..."Honey! Wake me up!  Honey! Wake me up!"  This was not the first time Joe had been in a lucid dream he could not wake up from, so I jostled his arm and he woke up instantly.  

This was the nightmare Joe couldn't get out of.

1-1-99 - DREAM - Joe - I was in a house and there was a woman who was doing things. It looked like a normal woman at first but then I seemed to sense that she was in disguise. As I started to see the 'Kali' aspect of the woman, it became more animated with line drawings, changing and transforming from one to another and the pace increased faster and faster. I became determined to find out what this was and expose it, so I concentrated more on it and as I did the scene transformed into a picture on the wall and I was filming it close up from about 3 feet away with a video camera.  I was determined to capture all the information about it.  The room was lit at this time and the picture was bright. The images kept going from one to another very quickly. Then everything started turning dark, the room became darker and darker, and the image became dark blue. The images themselves were lit up like neon in various colors and continued to transform. As the images appeared, they threw out flashes of light through the darkened room. At that point in the dream, it became more frightening and suddenly I was awake in the bedroom like I had awakened from a dream. The room was dark but flashes of light were coming from the wall at the foot of the bed. As the lights flashed on the wall, shadowy images appeared in the same type of transformation as I had been filming in the picture. After a bit, I realized I was still actually dreaming, that I hadn't really woke up. I started yelling to Dee, "Honey! Wake me up! Honey! Wake me up!", and she woke me up.

Dee continues:

A few minutes later, after I was awake, I saw a whole long list of serious subjects I could choose from to make a web page and I didn't want to take any of them, because it meant an extreme amount of research and I already have many pages started I haven't completed yet. A I lay in bed thinking about nothing in particular, waiting for another vision of worthy focus, the word Tamasisk kept coming into my head...exactly what Joe and I both dreamed about last night. Tamasisk means anger and fury.

The next day on 1-2-99, I again had dreams and visions about the same subject.  The lucid dream consisted of myself picking up tiles that were colored pink and gray marble rectangles. They were labeled Tamasisk. I didn't touch any of them with my hands, but used a tool like a nail or something long like a nail and moved it from one spot where it was by itself and built a wall-like panel of 54 tiles together. They were 9 high and 6 wide. (I don't yet know the significance of the number of tiles)

(The Esoteric Alphanumerical meaning of 54 is LOVE. )

Not knowing the significance of what I was doing, I got tired of moving the tiles because it's boring even in the dream state doing repetitive things when there are no people or conversations involved, so I opened my eyes before it was done and rolled over in bed. When I did that, a voice in my head said, "Can't you even finish?" I came to the realization that this was a special project and even though I had rolled over in bed with my eyes open, when I closed them again, I could still see the rectangular tiles and finished moving the last four even though I didn't feel like it. It felt like a duty at that point.

I then fell asleep and had a couple dreams about cleaning the floors in my Father's mansion in which my Father provided the tools. There was a lot to do because the children had played alone in the house while my Mother and I had been away on an errand. It was a mess when we got back. A woman who lived there, who I think was named Ida (she looked like my aunt...a short chubby woman) came home from her vacation and was upset because the floors were a mess. I apologized, and we took the brooms my Father provided and swept out straw that the donkey outside had been using for bedding, and I vacuumed up the dust from around the edges with a small vacuum cleaner head on a long snake-like wand which vacuumed and polished at the same time. Kevin from "One Life to Live" TV show came to help and showed me how to give the floor a high polish using a dry string mop.

After I woke up from the dream, I was still extremely groggy, so I lay in bed thinking about the dream.

Again I started to see the Tamasisk tiles. Above the tiles appeared the name Coultrane.

A voice then said, "There are 19,000 co-creators."

The voice then said, "The co-creators are on the side like an island, and the island is Greek."

He then said, "Joe and you are a good team, and you are doing a good job."  I said, "Thank you!'  My state of alertness came instantly awake and I got up for the day, knowing that was all the information I was going to get.

Chinnamasta, representing Devi in her destructive and
creative aspects. She is flanked by her two yoginis, Dakini
and Varnini. Under her Rati and Kama, the female and male
principles, depict the transcendence of the phenomenal
world and the abolition of the experience of duality.

Rajasthan, c. 18th century.


One of the most terrifying aspects of Prakriti are violent emotional expressions. Tantra's basic basic philosophy is based on a dualism, and the terrifying image projects the negative aspect of the creative life-force. In the creative aspect, Sakti appears as an enchantress. In her negative aspect she is demystified and transformed. The image has a naked intensity, so fierce that the incommunicable ceases to be a mystery. Kali, one of the most important tantric Dasamahavidyas, in her negative aspect appears as a conglomeration of terrifying elements. Kali is the symbol of the active cosmic power of eternal time (Kala) and in this aspect she signifies annihilation: through death or destruction creation, the seed of life, emerges. Just as the destruction of the seed leads to the birth of the tree, so disintegration is a normal and necessary step of nature moving towards further progress or unfolding. Kali is the embodiment of creation, preservation, and annihilation. She inspires awe and love at the same time. As a disintegrating tendency, Kali is represented in black, so all names and forms disappear into her' (Mahanirvana Tantra) The density of blackness is also identified with the massive, compact, unmixed, Pure Consciousness. In Tantric hymns to the goddess Kali, she is described as 'digambari' garbed in space - in her nakedness, she is free from all covering of illusion. She is full-breasted, her motherhood a ceaseless creation denoting preservation. Her disheveled hair, 'elokeshi', forms a curtain of death which surrounds life with mystery. Her garland of fifty human heads, each representing one of the fifty letters of the sanskrit alphabet, symbolizes the repository of power and knowledge; the letters are nuclear sound-elements symbolizing the power of mantras. She wears the 'girdle of human hand': hands are the principal instruments of work and so they signify the action of karma or accumulated deeds to be enjoyed in subsequent births, constantly reminding one that ultimate freedom is conditioned by the fruits of one's action.

Kali, annihilation aspect of Sakti, standing on Rati and Kama,
who personify the primordial desire which gives rise to all creation.
The garland of human heads symbolizes wisdom and power. Her
blood-red tongue signifies the power of Raja-guna, the kinetic force
which gives impetus to all activities. The sacrificial sword and the
severed head are the symbols of dissolution and annihilation directing
the Sadhaka to shed his 'ego sense'. The girdle of severed hands signifies
one's Karma, action.

Kangra, Himachal Pradesh, c. 18th century.

Her three eyes govern the three forces of creation, preservation, and destruction. Her white teeth, symbolic of Sattva, the translucent intelligence stuff, suppress her lolling tongue which is red, indicative of Rajas, a determinate level of existence leading downwards to Tamas, inertia. Kali has four hands: one left hand holds a severed head, indicating destruction and the other carries the sword of physical extermination, with which she cuts the thread of bondage. Her two right hands dispel fear and exhort to spiritual strength. She is the changeless, unlimited primordial power (adyasakti) acting in the great drama awakening the unmanifested Siva, a passive onlooker. Their inseparable union reflects non-duality.

The image of a wrathful appearance can agitate the eye and transport the spectator to a supernatural world. From an aesthetic point of view they suggest a flight from reality and an awareness of a profoundly different world: the poignant, restless and aggressive. These images unveil reality so that it is stripped bare, and have the same mind-altering capability to induce extra-ordinary experience which arouses intense inward states of rich spiritual content. Their most characteristic feature is that of images which seem to have sprung from anon-rational source but nevertheless have a rational basis within defined limits.

For example, Chinnamasta, the beheaded goddess, holds her severed head; apart from its symbolic meaning, the dismemberment of the body ought not to be confused with actual distortion: the image is not dissociated from its meaning, which underlies and generates the image; where dislocation appears it is to heighten visual impact.

The terrifying aspects of these images are completely dispelled in the tantric asana forms in both sculpture and painting. In art we are confronted with an ecstasy of joy in all its plastic possibilities. These united male and female figures are drawn together in creative force towards the awakening of the inner spirit, new dynamic asana-forms. Filled with ecstatic conviction, they are no longer torn between the contradiction of life and social existence.

The interlocking figures represent the antinomic principles; they are symbols of transcendent union, which do not in any way convey the gross sexual intercourse depicted, which illustrates an earth-bound level of existence.

Terrifying images arouse 'tamasisk' the quality allied to the emotion of fury and awesomeness, diametrically opposed to these are silence and compassion, associated with sattiva, the quality of purity.


The four ages of the Hindu chronology contain a far more philosophical idea than appears on the surface. It defines them according to both the psychological or mental, and the physical stages of man during their period. Krita-yuga, the golden age, the "age of joy," or spiritual innocence of man; Treta-yuga, the age of silver, or that of fire- the period of supremacy of man and of the giants and of the sons of God; Dwapara-yuga - the age of bronze - a mixture already of purity and impurity (spirit and matter), the age of doubt; and at lat our own, the Kali-yuga, or age of iron, of darkness, misery, and sorrow. In this age, Vishnu had to incarnate himself in Krishna, in order to save humanity from the goddess Kali, consort of Siva, the all-annihilating - the goddess of death, destruction, and human misery. Kali is the best emblem to represent the "fall of man"; the falling of spirit into the degradation of matter, with all its terrific results. We have to rid ourselves of Kali before we can ever reach Moksha or Nirvana, the abode of blessed Peace and Spirit.

With that in mind, remember that after the Kali-yuga, we will again be entering into the next golden age of Krita-yuga.

The Hindu Calendar

The Hindu Calendar in Brief

According to Helena Blavatsky in her book "Isis Unveiled" on page 443 - Vol II, she states: The exoteric plan of the Bible was made to answer also to four ages. Thus, they reckon the Golden Age from Adam to Abraham; the silver, from Abraham to David; copper, from David to the Captivity; thence-forward, the iron. but the secret computation is quite different, and does not vary at all from the zodiacal calculations of the Brahmans. We are in the Iron Age, or Kali-Yuga, but it began with Noah, the mythical ancestor of our race.

Noah, or Nuah, like all the euhemerized manifestations of the Un-revealed One - Svayambhuva (from Svayambhu) - was androgyne. Thus, in some instances, he belonged to the purely feminine triad of the Chaldeans, known as "nuah, the universal Mother." Every male triad had its feminine counterpart, one in three, like the former. It was the passive complement of the active principle, its reflection. In India, the male Trimurti is reproduce in the Sakti-trimurti, the feminine; and in Chaldea, Ana, belita, and Davkina answered to Anu, Bel, Nuah. The former three resumed in one - Belita, were called:

"Sovereign goddess, lady of the nether abyss, mother of gods, queen of the earth, queen of fecundity."

As the primordial humidity, whence proceeded all, Belita is Tiamat, or the sea, the mother of the city of Erech (the great Chaldean necropolis), therefore an infernal goddess. In the world of stars and planets, she is known as Ishtar or Astoreth. Hence, she is identical wtih Venus, and every other Queen of Heaven, to whom cakes and buns were offered in sacrifice, and , as all the archaeologists know, with Eve, the mother of all that live, and with Mary.

Joe Mason states, "One of the ideas in my essay was that the harlot of Rev. 17 has the same meaning as Kali in the eastern traditions. We are nearing the end of the Kali-Yuga, the Age of Iron, and will return to the Age of Gold. The four metals associated with the "frightening image" dream of Nebuchadnezzar are the same in the Hindu chronology. Kali is thrown down at the end of the cycle. Kali (the harlot) represents karma or judgment, and it is this "beast" that is thrown down at the end of the cycle, as indicated by Rev. 17:11. It seems to be the "Swallower" of the Egyptians, an "eighth that belongs to the seven." The harlot symbolism seems to mean that we "pay" for the "fornication," meaning the duality bond in the time cycle. We "kings" of the earth give over our "royal power" to the beast until the words of God are fulfilled. (Rev. 17:11) Kali wears a girdle of severed human hands. As the instruments of our works, it indicates the karmic function. Kali invokes "tamasisk," emotions of fury, which corresponds to being drunk on the wine of the harlot. The 12 stars of Rev. 12, and the New Jerusalem fit with the idea of the Heart chakra level, which has twelve petals on the lotus, with a Star of David inside.

Century X-74 says, "The year of the great seventh number accomplished, it will appear at the time of the games of slaughter, not far from the age of the great millennium, when the dead will come out of their graves." In 1993, two individuals at the same work place told me that they had recurring dreams of dead people in coffins, including their own fathers, speaking to them. Their fathers are alive in real life. I believe the context of this is spelled out in Revelation 3:1,2, ". ..you have the name of being alive, and you are dead. Awake, and strengthen what remains and is on the point of death, . . ."

In Ezekiel 9:2, six men came from the north upper gate, with weapons for "slaughter." With them was a seventh man, clothed in linen, with a writing case at his side. The seventh man marks the foreheads of those who will not be slain.

This type of symbolism goes way, way back. The original meaning was a purification process, after which one is pardoned. The Kali-Yuga is an age of "death or destruction creation," and is equated to a seed growing into a plant. The seed is destroyed in the process of the plant's growth.

It relates to the second remote viewer's perception "that there were subspace and physical beings who were watching something big and vast in a contented and pleased way. They were working to finish an important project. The project was enjoyable, almost like playing."

The Lion in Century III-52 is also of much interest. I believe it is related to "the kings of the earth" in Revelation. In the cycle ruled by the "harlot," which I believe is related to Kali, the kings fornicate with the harlot and become drunk on her wine. This seems to refer to anger. Kali is said to evoke "tamasisk," meaning anger. When the New Jerusalem comes in Rev. 21, the kings of the earth bring their glory into it. There is no longer a need of sun and moon for light.

Rev. 3:11 says to "hold fast to what you have, so that no one may seize your crown." In The Gospel of Thomas, saying 7, Jesus says, "Lucky is the lion that the human will eat, so that the lion becomes human. And foul is the human that the lion will eat, and the lion still will become human." The film, "The Lion King," seems to carry symbolism about the cycle of time, and has a correspondence with the Egyptian myths. "Scar" is the evil brother who slays the father lion, which is similar to Typhon-Set killing his brother, Osiris. According to Blavatsky, the story of Cain and Able was adopted from that story. The scar on the eye of the evil lion may hint at the mark of Cain. The young lion corresponds to Horus. He returns to the desolated kingdom and defeats the evil uncle in the final battle. Then the rains come, greening the earth again. The line in Century III-17, "When the monarch will chase his nephew," could refer to Typhon-Set as the King in charge, and his nephew, Horus, the rightful King. In "The Lion King," the young lion is chased away by Scar. The symbolism, I believe, is saying something about our time cycle in a symbolic way, and new ideas are coming in inspired stories, as well as dreams, and other ways.

The Hopi say that the Sacred Symbols will be newly understood, in the time of purification. A "twin" departed long ago, who is called Pahana, which translates into "white man." He is expected to return soon, carrying the cross and the swastika, as the symbols of the feminine and masculine energies. Interestingly, Quetzalcoatl was also a white man who departed by sea, promising to return.

The swastika is also a symbol of Shiva and Kali, the Destroyer god and goddess. About seven years ago, I saw a counterclockwise swastika in a dream. Energy was flowing out from the center into the arms. A voice said, "These are the forces going out from the center to experience negative manifested events, in order to learn. It is generally square, and you circle counterclockwise." In the following months, I learned that the swastika is a very ancient symbol.

It was said that when it is going clockwise, or east, it is a symbol of good luck.

About two years ago, my friend, Paul, wrote to me, saying that he had been having "twin theme" dreams. In one of them, he was at Twin Lakes in Minnesota. I wrote back to him, telling of various twins in mythology. I mentioned the Gemini Twins, Castor and Pollux, and how they were the protectors of sailers and ships. I mentioned that St. Paul once sailed on a ship called the Castor and Pollux. (Acts 28:11).

I recalled that Minnesota also has the Twins baseball team, and the Twin Cities of Minneapolis AND ST. PAUL! It was very curious that the name St. Paul came to me at that time. I looked up some names in the dictionary. The twin city was named after Minnehaha Falls and the Greek word for "city." Minnehaha was the girl Hiawatha married in Longfellow's, "Song of Hiawatha."

It all seemed to fit so well. The Twin Cities could symbolize the Red-Man/White-Man mix, in the Great Change.

When I got online near the end of 1996, I did a search for Hopi legends. I clicked on one of the links, and came to an article by David Yarrow. He tells an amazing story that happened over a period of years. Almost everything seemed related to material I had gathered. David and I started communicating via e-mail, and later I called him on the telephone. We had a very long talk, and I was amazed again. When I mentioned that some of his story involved the city of Minneapolis, he immediately started telling me the same symbolic story I was about to tell him.

He also said that the city was located above two great plates in the earth that come together, and that Hiawatha was sent by the legendary "Peacemaker" of the eastern tribes, as a messenger.

The story of Castor and Pollux, I think, has important symbolism. Pollux was fathered by Zeus, while Castor was born to the same mother, a Queen, in the normal way. Therefore, Pollux was immortal, and his brother was mortal. After many adventures, Castor was killed in a battle.

Pollux prayed so fervently, that Zeus allowed him to share his immortality with his brother. But, they would have to spend half of their time in Heavenly Olympus, and the other half in Hades. In one of the myths, they go back and forth together. In another they change places, so that they are eternally separated, and never together.

Although I have never been a Christian, I have had many coincidences with various parts of the Bible. It's too long to tell fully here, but one of my dreams seemed to be related to the story of Judah and Tamar in Genesis 38. It's a very strange tale, but to me, it contains important symbolism. Tamar was married to Judah's oldest son, who was killed by "God." She married the second son, and he was also killed. She was promised to the third son, but Judah delayed the marriage. Tamar devised a plan. She dressed up as a harlot, and propositioned the unsuspecting Judah into having sex for a price. From the union was born a pair of twins, in a strange, breech birth. A hand came out of the womb first. The midwife tied a red thread on the hand, and then the hand pulled back into the womb. Then, the other child, the one without the thread, was born first.

The first born son, Perez, is listed in the chronology in the first part of Matthew. His descendants include Kings David and Solomon, and finally Joseph, the father of Jesus. Some say God was the father, but I do believe that is symbolic.

The "harlot" symbolism is very important here. In the battle of Jericho, Joshua and his troops are helped by a harlot, who lived with her family in the walls. In Revelation 17, the great harlot of Babylon is seated upon many waters, which are peoples and nations, that is, everyone. Judah is related symbolically to the lion, and to being the ruler, or king. (see Genesis 49:9,10). He stoops down, couched as a lion, and as a lioness, i.e., like a sphinx. The scepter, the ruler's staff, will not depart from between his feet, until he comes to whom it belongs.

All of this, I do believe, is related symbolically to parts of Revelation. In Revelation 17, the kings of the earth fornicate with the harlot, and become drunk on her wine. They give over their "royal power" (king-ship) to the beast, until the words of God are fulfilled. When The New Jerusalem comes, the kings of the earth bring their glory into it. (Rev. 21:24).

The wine of the harlot is also the cup of staggering, and the fury of God's wrath. Some seem to take this as meaning that God is angry with mankind. I think not. It seems to mean we have been given this male/aggressive, negative attribute to deal with and to overcome. In Revelation 12, it is said that Michael and his angels were defeated in the war in heaven. The dragon/serpent/Devil/Satan and his angels were thrown down to earth. The earth came to help the woman with child, by swallowing the river which poured out of the mouth of the dragon.

When I first read this about five years ago, I felt it was related to one of my dreams. In the dream, I saw a crop formation that had appeared the same week that Iraq (ancient Babylon) invaded Kuwait. It looked somewhat like a swastika, but also like a bird, with a triangular tail. It reminded me of the American eagle on our national seal, looking to the left, toward the arrows of war. In my dream, energy was flowing down the triangular tail. A voice said, "The garbage is discharged here on earth."

In early 1993, I had a string of amazing dream-coincidences. Part of it involved a book called, "The Tantric Way." Kali, of the eastern religions, seems to have the very same meaning as the harlot of Revelation 17. One of the depictions is the book, shows the dark-skinned Kali seated upon a reclining, copulating couple. The male is dark blue, wears a crown, and is on the bottom.

A white-skinned female is on top of him. This is similar to the kings of the earth fornicating with the harlot, or a daughter of the harlot. Kali holds scissors in her hand, which I believe symbolizes the cutting or dividing force, i.e., like the "Babylon" symbolism.

From dreams, I had made the interpretation that the harlot also represents karma or judgment. I believe we have more to learn about the meaning of this. It seems to be more of a learning experience, than a reward/punishment system. The "fornication" with the harlot or daughters of the harlot, seems to represent a duality bond in the time cycle. The symbolism means we "pay" for the "sex," meaning karma.

Kali wears a girdle of severed human hands. As the instruments of our works, this indicates the karmic function. Kali evokes the feeling of "tamasisk," which means fury. It seems to have the very same meaning as the wine of the harlot. I found it interesting that tamasisk and Tamar are similar words.

Near the end of September 1993, I sent an essay about some of these ideas to John Crowe, of the Cosminar organization in Sussex, England. Two weeks later, the Bythorn Mandala crop formation appeared. It was VERY similar to a yantra to Kali, depicted in "The Tantric Way."

The five-pointed star inside the pattern, had two points facing North. According to Blavatsky, such a star, with two points, or horns, pointing upward, is an esoteric symbol of the Kali-Yuga time cycle, also known as the Age of Iron.

Getting back to the dog/wolf symbolism, I believe it can be related symbolically to this fury/anger symbolism. In the time cycle, which I believe is related to the lower three chakras, the negative side of the dog/wolf is the condition. The change is a leap to the heart chakra level, and the "virgin birth" of the spiritual man out to the animal man. This is the transmutation of the warring attribute, sometimes symbolized by the white dog or wolf.

In my article about Revelation 11:11, I explained some of the symbolism indicating humanity's leap to the heart chakra level of consciousness evolution.

There are many other things I could add, but this e-mail is starting to become a book, so I'll just mention a few more things.

In the Babylonian myths, the father and mother gods produced a son, Bel (Lord) Marduke, to do battle with the evil goddess. He blew an evil wind into her mouth, to hold it open, then fired in an arrow, which killed her. From the body of the evil goddess, he created the world. He brought order out of chaos. Marduke also chased down the Storm Bird, Zu, who had stolen the tablets with the fates of men, and retrieved them. This battle that began before the creation of the world, seems to be related to our battle in the cycle of time. A "storm" can also be symbolic of anger or fury.

Another pair of twins in the Bible are Esau and Jacob. Esau, who was born first, was red and hairy. Jacob tricked Esau into giving up his inheritance in a strange way, involving a bowl of red beans. Jacob fathered 12 sons, who are related to the twelve tribes of Israel, and probably to the Zodiac signs. According to Blavatsky, the story follows the symbolism of the Egyptian myth of Osiris, who was killed by his brother, Typhon-Set (or Typhon-Seth). The story of Cain and Able is also similar. In Egyptian beliefs, Typhon-Set, who was red in color, represented the opponent force. It was more laughable than fearful or evil. Blavatsky said that Typhon-Set became "Satan" to later religions, and that the word came from "satin," which meant "opponent."

As I see it, our feminine aspect can be symbolized by the daughter of the harlot in the time cycle.

In the Great Change, the aspect becomes the Holy Spirit. The Mother Goddess is also shown symbolically to change, or be replaced. In Revelation, the harlot is replaced by The Woman With Child in Revelation 12.


Tantric Gods and Goddesses

Fury, Mother Mary, and the Earthchanges

The Time of Trouble - Book of Daniel

The Complexities of Time

Oshun - Goddess of Love

Exotic India Art