My dear friends, as I use and abuse 😉 my free time on Saturdays, trying to do my lovely work; writing, to tell you the story of a permanent fight for freedom which has been going on in certain countries since eternal date.

Actually a wonderful genius friend of mine (as I’m proud to mention it) yassy https://yassy66.wordpress.com/ brought me to this idea, or better to say she had thrown me in my past when I was in Iran and working as Journalist and an actor in theaters.

That is the question; where are the flowers gone?

It is surely not a usual knowing in the western countries in which, the human rights have been “at least” written and mentioned in their constitution, having any full comprehensive idea about what really happened to the people in the countries with a dictatorship regimes, and especially the thinker ones, the chosen ones?!

I can still remember about the Shah’s regime how my father was under observation because of his favour for Mosaddegh (the Prime minster in the ’50s who stood against the young Shah’s favorite’s position. https://en.wikipedia.org/wiki/Mohammad_Mosaddegh

And also about the so-called Tehran Spring in 1979 during the revolution. In that time my brother and me, we were working with the newspapers, he was writing and I was photographing.

It was a wonderful time in my life, you might not believe it; full of enthusiasm and excitement and creations.

In this time, thanks to the (at least) short time of freedom, we have known many artists in different categories, like movies. One of them was Costa Gavras, https://en.wikipedia.org/wiki/Costa-Gavras

A wonderful director and a great creator, and when we have watched his works, we have just thought; look! the bloody regime showed already the situation on our streets in a movie. It’s because, the Gavras’s movies based on the countries which were under pressure, as we felt in Iran exactly the same. But they never understood this and we have enjoyed it at least in the way of having sympathy.

Here I’d like to share with you my friends, two of his masterworks, of course with the music work of another master; Mikis Theodorakis https://en.wikipedia.org/wiki/Mikis_Theodorakis which goes under the skin I bet!

The first one which we had seen in the movie was the film; Z https://en.wikipedia.org/wiki/Z_(1969_film) and it describes exactly the situation in Iran on the very same date. We were the freedom seekers and the opposites were the regime’s hiring legionnaires.

I tell you; it will never be the same when, you have once experienced it.

now let’s enjoy the scene of the Master-works.

The interesting issue in the both movies Yves Montand plays the first role, once as a good man and the next as a bad man 😉 https://en.wikipedia.org/wiki/Yves_Montand

at least but not last; there are always a sad final for the all stories. ❤ ❤

Quote; The regimes come and go, but the police stays for ever…

There’s hardly any doubt that these masters of satire are known for many. Their works were not only comedies for making the people laugh, but they have also lessons in their humourful satires which we’d learn a lot by them. like this scene;

I love them! And I love how they take their memorial ceremonies on each lost friends, like Graham Chapman who left the group and this Earth after singing this song; Christmas in Heaven in the movie; Meaning of Life. (in heaven every day is Christmas) 🙏💖

via; http://www.openculture.com/

The British comedian Graham Chapman delighted in offending people. As a writer and actor with the legendary Monty Python troupe, he pushed against the boundaries of propriety and good taste. When his writing partner John Cleese proposed doing a sketch on a disgruntled man returning a defective toaster to a shop, Chapman thought: Broken toaster? Why not a dead parrot? And in one particularly outrageous sketch written by Chapman and Cleese in 1970,  Chapman plays an undertaker and Cleese plays a customer who has just rung a bell at the front desk:

“What can I do for you, squire?” says Chapman.

“Um, well, I wonder if you can help me,” says Cleese. “You see, my mother has just died.”

“Ah, well, we can ‘elp you. We deal with stiffs,” says Chapman. “There are three things we can do with your mother. We can burn her, bury her, or dump her.”

“Dump her?”

“Dump her in the Thames.”

“What?”

“Oh, did you like her?”

“Yes!”

“Oh well, we won’t dump her, then,” says Chapman. “Well, what do you think? We can bury her or burn her.”

“Which would you recommend?”

“Well, they’re both nasty.”

From there, Chapman goes on to explain in the most graphic detail the unpleasant aspects of either choice before offering another option: cannibalism. At that point (in keeping with the script) outraged members of the studio audience rush onto the stage and put a stop to the sketch.

Chapman and Cleese had been close friends since their student days at Cambridge University, and when Chapman died of cancer at the age of 48 on October 4, 1989, Cleese was at his bedside. Out of respect for Chapman’s family, the members of Monty Python decided to stay away from his private funeral and avoid a media circus. Instead, they gathered for a memorial service on October 6, 1989 in the Great Hall at St. Bartholomew’s Hospital in London. When Cleese delivered his eulogy for Chapman, he recalled his friend’s irreverence: “Anything for him, but mindless good taste.” So Cleese did his best to make his old friend proud. His off-color but heartfelt eulogy that evening has become a part of Monty Python lore, and you can watch it above. To see a longer clip, with moving words from Michael Palin and a sing-along of “Always Look on the Bright Side of Life” led by Eric Idle, watch below:

Original: http://John Cleese’s Eulogy for Monty Python’s Graham Chapman: ‘Good Riddance, the Free-Loading Bastard, I Hope He Fries’

Become like the Serpent before the devil, the quintessence of everything serpent-like, come over you!

That is the master teaching of the Master of balance; We should be aware of our dark-side, become a part of it to keep the balance there-between.

Here is a brilliant article about Dr Jung’s description of his Gnostic Ring;

by Moe | Carl Jung Archive, Meaning of Symbols

“The serpent is the age-old representative of the lower worlds, of the belly with its contents and the intestines.” – Carl Jung

This picture below is the personal ring of the Great Modern Swiss Gnostic, Carl Jung. The image on his ring is of the deity known as Chnoubis.

Jung himself describes the ring in C.G. Jung Speaking: Interviews and Encounters. W.McGuire and R.F.C. Hull page 468:

“It is Egyptian. Here the serpent is carved, which symbolizes Christ. Above it, the face of a woman; below the number 8, which is the symbol of the Infinite, of the Labyrinth, and the Road to the Unconscious. I have changed one or two things on the ring so that the symbol will be Christian. All these symbols are absolutely alive within me, and each one of them creates a reaction within my soul.”

A close up of his ring can be found below.

Here is a close up image of the front and back of Jung’s ring below. (Int-Private Coll._Ex-C. G. Jung_s.n.)

This image on the back appears to be of a dog.

Jung had commented on his ring in C.G. Jung, Visions;

“I have a Gnostic ring which is over two thousand years old-a symbol on the inside indicates that it is pre-Christian-and the snake engraved upon it is not hooded, it is more like the coluber natrix, the ordinary water snake which is found here as well as in more southern countries. In inland meadows it is grey, but near the water, it is a very elegant long black snake with yellow moon spots behind the ears, occasionally reaching a length of one meter fifty and quite thick.”

Karl Kerenyi said Jung, who wore the ring almost constantly for 35 years, wore it because he regarded himself as the pope of the gnostics. Barbara Hannah said he wore it to remind himself of personality number two.

“The serpent is an adversary and a symbol of enmity, but also a wise bridge that connects right and left through longing, much needed by our life.” (247)

“Why did I behave as if that serpent were my soul? Only, it seems, because my soul was a serpent…. Serpents are wise, and I wanted my serpent soul to communicate her wisdom to me.” (318) (This comment comes after a long dialogue in active imagination with a great iridescent snake coiled atop a red rock.)

“I have united with the serpent of the beyond. I have accepted everything beyond into myself.” (322)

“If I had not become like the serpent, the devil, the quintessence of everything serpentlike, would have held this bit of power over me. This would have given the devil a grip and he would have forced me to make a pact with him just as he also cunningly deceived Faust. But I forestalled him by uniting myself with the serpent, just as a man unites with a woman.” (322)

“The daimon of sexuality approaches our soul as a serpent.” (353)

Perhaps the commonest dream symbol of transcendence is the snake, as represented by the therapeutic symbol of the Roman god of medicine Aesclepius, which has survived to modern times as a sign of the medical profession. This was originally a nonpoisonous tree snake; as we see it, coiled around the staff of the healing god, it seems to embody a kind of mediation between earth and heaven. — Carl Jung, Man and His Symbols, page 153

via; https://gnosticwarrior.com/

🙏❤🙏🙏

Just be aware 🙏❤🙏