Oh my dear friend, I wanna just to warn your oldness; the dental Implanting is on the way,,, 😄🤣😂😁😀😨🤑
Anyway, I will be get in to under the knife of the dental surgery next week and I have the choice to drink myself!!
God save the animals, I wish you all the best.
We can always be thankful by, I’d say, some few researchers in the Egyptology’s world for their open and honestly investigations in the mystery of the magic Egypt.
via https://egyptophile.blogspot.com/ by Marie Grillot translated from French.
An excellent report about a Legendary Man. by Marie Grillot 🙏💖🙏https://egyptophile.blogspot.com/
The great American Egyptologist Herbert Eustis Winlock was born on February 1, 1884, in Washington DC. He followed brilliant studies in prestigious universities, like Yale or Harvard, from which he graduated. At the age of 22, he undertook his first excavations in Egypt. It is the start of a career, of exceptional quality and richness, punctuated by discoveries that will make ‘date’ in Egyptology.
From 1906 and 1931, he led numerous campaigns there on behalf of the Metropolitan Museum.
In 1907, in Lisht, between Daschour and Meidoum, he made excavations on the site of the pyramid of Amenemhat. He found there, in particular, a magnificent female head in painted wood, with a heavy black wig decorated with touches of gold (it will often be reproduced to symbolize Egyptian beauty).
He then worked on the temple of Hibis in Kharga, then on the palace of Amenophis III in Malgatta, on the west bank of Luxor.
Around 1910, he obtained from Gaston Maspero the concession for the Theban mountain, Gurnet Murai, Assassif (with German Egyptologists) and a sector of Deir el-Bahari (with the French) where he notably cleared part of the temple of Mentouhotep.
Then began twenty years of discoveries and restorations carried out by the “legendary Winlock”.
On October 26, 1912, in Boston’s “Trinity Church”, he married Hélène Chandler from an old family in that city. They will have three children: Frances, William and Barbara. They will share their life between New York, North Haven, an island off the coast of Maine and Egypt.
It is on his own plans that were built in Assassif, between 1912-1914, the magnificent excavation house of the Metropolitan, known today as the “Polish House”.
During the First World War, he returned to the United States; he did not return to Thebes until 1920.
It was at the end of February of that year that, under his direction, the Egyptologists Ambrose Lansing and Harry Burton discovered the tomb of Meketré (TT280). For more than three weeks, 200 fellahs recruited from the village cleaned and cleared the site when, on March 17, one of the workers noticed that small pieces of stone were sliding into a crack in the rock. “We had already looked in so many empty holes, told Mr Winlock, that the news hardly moved me. No matter! I lay on my stomach, slipped the torch into the hole, pressed the button and stuck my eye against the opening. Instantly the electric beam lit up a whole world of four thousand years old! Hundreds of Lilliputians came and went on their business. Several brandishing sticks pushed oxen with spotted coats before them. Others, bracing themselves on their oars, manoeuvring a flotilla of boats. A large ship, the bow in the air was about to sink. ” Objects – as incredible as they are exceptional! – will then be shared between the Met and the Cairo museum.
In 1921, in the tomb of Meseh at Deir el Bahari, he found the “Letters of Heqanakht”, a scribe of the XIIth dynasty: they constitute an exceptional testimony on the life of this period … Agatha Christie will be inspired by elsewhere, in 1944, to write “Death is not an end – Death comes as the end”, signing there his only novel not to take place in the twentieth century.
In 1922 Winlock was among the first to enter the tomb of Tutankhamun. In February, for the opening of the third sealed door, he was in the “happy few”, as Howard Carter himself reports in “The fabulous discovery of the tomb of Tutankhamun”: “Friday the 17th, at two o’clock, those who were to have the privilege of attending the ceremony met at the entrance to the tomb. Lord Carnarvon, Lady Evelyn Herbert, Her Excellency Abd el-Halim Pasha Souleman, Minister of Public Works, Mr Lacau, were present Director-General of the Antiquities Service, Sir William Garstin, Sir Charles Cust, Mr Lythgoe, the Curator of the Department of Egyptian Antiquities at the Metropolitan Museum, Professor Breasted, Dr Alan Gardiner, Mr Winlock, – about twenty people in all “… The relations between Winlock and Carter will prove to be warm and cordial and the American will not fail to support the British, especially in the face of the problems he will encounter in 1924.
In 1941, he devoted a book to “Materials used at the embalming of King Tut-Ankh-Amun”. His work will be based on what he was able to “recover” from the excavations of Davis carried out in 1907 in KV54 (Tut-Ankh-Amun cache).
Herbert Winlock will also update the tomb of Neferhotep (DB316 or TT316), that of Merytamon (DB358), daughter of Queen Ahmès Nefertari, whose cedar sarcophagus is 3.13 m high, and that of Senenmut ( TT71).
After being the director of the Metropolitan Museum’s Egyptian expedition from 1928 to 1932, he was appointed curator of the Egyptian department of the museum, then director, a post he held from 1932 to 1939. He was then director emeritus until his death, January 26, 1950, in Venice, Florida, at the age of 66.
For the anecdote, it should be noted that his death had been announced in the press … as early as 1937, the so-called victim of the curse of Tutankhamun! Thus “Le Figaro” of August 6, 1937, under the title “Victim of All-Ankh-Amon” thus introduced a snippet “Death will occur with fast wings for those who touch the tomb of the pharaoh …” thus concluding “Mr Herbert Winlock died of a sudden illness that doctors were unable to diagnose. ” In fact, it was a stroke, which left him with after-effects but did not cost him his life…
The work carried out by Winlock has always been of high quality, praised and appreciated by the Egyptologists who rubbed shoulders with him, such as William Matthew Flinders Petrie or even Arthur Weigall. His excavation books are very documented. They constitute an extraordinarily rich testimony of the way in which the excavations were carried out at that time.
To understand, to approach the truth, he knew how to use all possible means of investigation: exchange of photos casts between different museums, chemical analyzes, medical studies, radiographic … “This taste for integral investigation led Mr Winlock has multiple discoveries, but, without taking into account the details and additions made to the interpretation of the monuments of Deir el-Bahari, that of art or funeral rites, the author’s investigations throw a bright light on the daily existence of a people whose history he tried to reconstruct. “
sources
The Path to Tutankhamun, Howard Carter, TGH James TPP 1992
Who Was Who inEgyptology, Bierbier, M., London, Egypt Exploration Society
The complete Valley of the Kings, Nicholas Reeves, Richard h. Wilkinson, The American University in Cairo Press, 2002
History of the Valley of the Kings, John Romer, Vernal – Philippe Lebaud 1991
The fabulous discovery of Tutankhamun’s tomb, Howard Carter
” The Journal of Egyptian Archeology “, volume 36, 1950
” Excavations Met Throughout History “, 1870
Michel Laurence, Fabulous discovery in Egypt
Let’s have another break in my work to give a short tribute to a great genius in, I would say, all kind of Arts.
Actually, I didn’t know him from Monty Python’s movies first, I knew him by his fascinating TV series; Medieval Lives.
And of course, his proof of concept has been clearly seen in the Python’s films.
I’ve heard that he has cancer and also Alzheimer and now his death can be a salvation for him but it is surely a great loss for the world of Arts. Our world. 😔
I want just to imagine how he and Graham Chapman make an chaotic in heaven there above 🤗❤
Rest in Peace and thanks for the wonderful and joyful moments in our lives 🙏❤🙏❤🙏❤
Hi lovely friends. It’s a short announcement for my absence today as I must do my duty!
Yes I know that you know it is Saturday and m loveliest day but there is someone who is my loveliest on too; Mila, My granddaughter 😊
And she is one year young now, therefore, I must get to my son’s for the celebration.
Just look at her, how can I ignore this cute girl 😉😊
Have a wonderful Saturday everyone 💖💖
No chance men! You can’t just easily pass by.
This woman makes me crazy! It is not surely something new for the whole world; She can make everybody crazy; even the Nazis. and she was a jew.
Just look at her, into her eyes if you dare as a man; I’d consider myself! Theses eyes are very dangerous for the muscular, if you have heard about infinity well that’s it. I will never stop you to be drown in, but just to know you’d never want to come back again. 😊👽💖
She is really one of the highest human (actually Hu-Woman) as I can remember ever seen in my memories; her eyes are hypnotizing; aren’t they?
I have actually once noticed her as a genius philosopher but newly I’ve heard about her again in the radio how she made all the Nazi men confused, I’d just thought; there she is; the Goddess. Why not, what have we, humans got less than Gods? In the all holly books it’s written; God made hu-wo-man as reflection her/himself. or as Shakespeare says as Hamlet;
What a piece of work is man, How noble in reason, how infinite in faculty, In form and moving how express and admirable, In action how like an Angel, In apprehension how like a god, The beauty of the world, The paragon of animals. And yet to me, what is this quintessence of dust? Man delights not me; no, nor Woman neither; Hamlet (1599-1602), Act II, Scene 2,)
Anyway, the Women rock, no doubt! here I present a nice article about this magic woman 😊 I hope you’d enjoy 💕🙏💖🙏
Two of the most trenchant and enduring critics of authoritarianism, Hannah Arendt and Theodor Adorno, were also both German Jews who emigrated to the U.S. to escape the Nazis. The Marxist Adorno saw fascist tendencies everywhere in his new country. Decades before Noam Chomsky coined the concept, he argued that all mass media under advanced capitalism served one particular purpose: manufacturing consent.
Arendt landed on a different part of the political spectrum, drawing her philosophy from Aristotle and St. Augustine. Classical democratic ideals and an ethics of moral responsibility informed her belief in the central importance of shared reality in a functioning civil society—of a press that is free not only to publish what it wishes, but to take responsibility for telling the truth, without which democracy becomes impossible.
A press that disseminates half-truths and propaganda, Arendt argued, is not a feature of liberalism but a sign of authoritarian rule. “Totalitarian rulers organize… mass sentiment,” she told French writer Roger Errera in 1974, “and by organizing it articulate it, and by articulating it make the people somehow love it. They were told before, thou should not kill; and they didn’t kill. Now they are told, thou shalt kill; and although they think it’s very difficult to kill, they do it because it’s now part of the code of behavior.”
This breakdown of moral norms, Arendt argued, can occur “the moment we no longer have a free press.” The problem, however, is more complicated than mass media that spreads lies. Echoing ideas developed in her 1951 study The Origins of Totalitarianism, Arendt explained that “lies, by their very nature, have to be changed, and a lying government has constantly to rewrite its own history. On the receiving end you get not only one lie—a lie which you could go on for the rest of your days—but you get a great number of lies, depending on how the political wind blows.”
Bombarded with contradictory and often incredible claims, people become cynical and give up trying to understand anything. “And a people that no longer can believe anything cannot make up its mind. It is deprived not only of its capacity to act but also of its capacity to think and to judge. And with such a people you can then do what you please.” The statement was anything but theoretical. It’s an empirical observation from much recent 20th century history.
Arendt’s thought developed in relation to totalitarian regimes that actively censored, controlled, and micromanaged the press to achieve specific ends. She does not address the current situation in which we find ourselves—though Adorno certainly did: a press controlled not directly by the government but by an increasingly few, and increasingly monolithic and powerful, number of corporations, all with vested interests in policy direction that preserves and expands their influence.
The examples of undue influence multiply. One might consider the recently approved Gannett-Gatehouse merger, which brought together two of the biggest news publishers in the country and may “speed the demise of local news,” as Michael Posner writes at Forbes, thereby further opening the doors for rumor, speculation, and targeted disinformation. But in such a condition, we are not powerless as individuals, Arendt argued, even if the preconditions for a democratic society are undermined.
Though the facts may be confused or obscured, we retain the capacity for moral judgment, for assessing deeper truths about the character of those in power. “In acting and speaking,” she wrote in 1975’s The Human Condition, “men show who they are, reveal actively their unique personal identities…. This disclosure of ‘who’ in contradistinction to ‘what’ somebody is—his qualities, gifts, talents, and shortcomings, which he may display or hide—is implicit in everything somebody says and does.”
Even if democratic institutions let the free press fail, Arendt argued, we each bear a personal responsibility under authoritarian rule to judge and to act—or to refuse—in an ethics predicated on what she called, after Socrates, the “silent dialogue between me and myself.”
Read Arendt’s full passage on the free press and truth below:
The moment we no longer have a free press, anything can happen. What makes it possible for a totalitarian or any other dictatorship to rule is that people are not informed; how can you have an opinion if you are not informed? If everybody always lies to you, the consequence is not that you believe the lies, but rather that nobody believes anything any longer. This is because lies, by their very nature, have to be changed, and a lying government has constantly to rewrite its own history. On the receiving end you get not only one lie—a lie which you could go on for the rest of your days—but you get a great number of lies, depending on how the political wind blows. And a people that no longer can believe anything cannot make up its mind. It is deprived not only of its capacity to act but also of its capacity to think and to judge. And with such a people you can then do what you please.
via Michio Kakutani
Related Content:
Hannah Arendt on “Personal Responsibility Under Dictatorship:” Better to Suffer Than Collaborate
Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Here please allow me to introduce a fascinating book by a great Psychologist and Jungian analyst Jeffrey Raff PhD; Let’s have a look at the feminine aspect of the Divine 🤗🙏💖
Author of the acclaimed Jung and the Alchemical Imagination, Jeffrey Raff continues his teachings in psychoidal alchemy with an in-depth look at the feminine aspect of the divine. Sophia is, in the esoteric teachings, the embodiment of Wisdom, the matrix from which God arose, and God’s heavenly consort and mirror. But, as Raff explains, she suffered a fall from this exalted state, corresponding to the obscuration of the feminine archetype in the patriarchal world. Without Sophia, God is not whole. It is our task to work with imagination to reunite Sophia and God. Raff explains the difference between fantasy, a product of the ego, and imagination, which comes from the soul. More importantly, he brings Sophia to life through a vivid analysis of an 800-year-old text,* The Aurora Consurgens*, as well as his personal experience with Sophia and active imagination. This process empowers us to become whole and realize our innate drive to unite with the divine. via Introduction: The Wedding of Sophia The Divine Feminine in Psychoidal Alchemy by Jeffrey Raff series Jung on the Hudson Books
with a little help by C.G. Jung: Healing Descent https://www.facebook.com/CarlJungIndividuation/?__tn__=%2CdkCH-R-R&eid=ARBY8hIPDjOEsDT4mpUxeM3zyUcpHX_lJi2SHTAR7Hi99ZztubdzXiHnEBhPb4v0NUAMibSxvYlbBB_q&hc_ref=ARRX0JOoYaXOWrr7z_wfjhVHHOaX8rk59x8x48RsRd2hgOk6L2AmmpmysHscL7AIjKs&fref=nf&hc_location=group
And with my best thanks to the main admin; Craig Nelson 🙏💖
“I love them that love me”, Sophia, goddess of the collective unconscious, goddess of the lumen naturae; (‘For starting is a commitment & broken commitments are never healthy’):
“Here it is Sophia speaking as she promises to love any who come to her in love, and the ‘proof of love is the display of the work.’ Those who love do the work. Those who do the work do so for love. Anyone who has even imagined working with [inner] figures or penetrating the mysteries of union with such figures knows that success requires not only grace, but also the greatest of efforts. Thomas also quotes King Alphonsus, who said, ‘This is a true friend who deserteth thee not when all the world faileth thee.’ Such is the devotion required of us when we do [inner] alchemy, for as I have shown, there are few in our world who take spirit seriously, and even fewer who love and work with figures of the [inner world]. As Sophia earlier complained, all desert her and the wisdom of the world denies the existence of Wisdom itself, so that it takes a brave soul to buck collective opinion and do this work. Moreover, it takes sacrifice, for not only does the work require time and energy, it demands that the alchemist forbear control and learn to let the visionary world direct his or her every step. The alchemist does not control the process, nor can he or she direct it to his or her own goals. Instead, God and Sophia have their own agenda: union with each other, and nothing less than that suffices. If necessary, the alchemist must give up his or her own plans and ambitions to seek the goal of the coniunctio: ‘All that a man hath will he give for his soul, that is for this stone.’ This is not a work for the weak-willed or the faint of heart; we must be willing to give up everything for the sake of the Stone or we shall most likely fail. It is very popular these days to emphasize the need for grace, and it is true that we need the help of the inner.. entities to perform this work. Yet, as Sophia said, those that love her, she loves, and love is in the work. We must win the love of Sophia and of the [inner partner] by doing the necessary work, for though they both love from the beginning, they neither can nor will give themselves away cheaply. In my years of teaching, I have witnessed many students drop out and give up the work when the going got tough. Somehow they, and many like them, assume that good intention is the same as accomplishment, or that the spirits owe them something. The work is hard, the rewards are great, but only love supplies the courage and the dedication to see the work through the difficult times. As Thomas concludes, ‘For he who soweth sparingly shall also reap sparingly; and he who is not a partaker of the sufferings shall not be of the consolation.’”
Jeffery Raff, Wedding of Sophia
(I replaced with ‘inner’ Raff’s use of the term ‘psychoidal’ or ‘ally’, only because those terms are an education unto themselves. By those terms Raff refers to the highest levels achieved in Alchemy, that of the relationship with the ‘outer Stone’, one that truly exists, but outside the psyche, a quasi spiritual/physical entity similar to an angel or Carlos Castaneda’s “Don Juan”.)
https://www.amazon.com/Wedding-Sophia-Feminine-Psychoidal-Alchemy/dp/0892540664
I’d call it; The Origin! When I look at this Mask, I find how real is it just to show the expression of an ancient face.
By Marie Grillot with great thanks and also sincerely to Marc Chartier
via; https://egyptophile.blogspot.com/ translated from French.
This mummy mask is made of painted wood and cardboard. It represents a character with fine features, noble appearance. A magnificent wig “on the back”, textured in relief, advantageously frames her face. The finely braided hair covers most of the forehead and leaves in a gradient towards the shoulders. Two thick strands braided in a more “loose” way are brought along the neck and fall on each side in a completely balanced way. Only the lower part of the pierced ear lobe remains visible. The hairstyle is adorned with a large floral band, which blossoms in warm brown tones drawing towards red.
The face, treated in this same colour is perfectly symmetrical and rather round. The eyebrows, very long and arched, are painted black. The almond-shaped eyes are stretched, and the iris, round and black, stands out against the white of the luminous eye. The line of the eye-shadow extends to the hair. The nose, well-drawn, is of good proportions. The mouth with hemmed lips is closed.
The neck is decorated with a magnificent ousekh (Usekh or Wesekh) necklace. It alternates a substantial number of rows – more or less wide – of blue, green, red pearls, all in a sumptuous and dazzling “roundness” of tones… It should be noted that during the Ramesside period, “the frame cardboard masks have changed: the rear panel has disappeared and the masks consist of a shell protecting only the head and a rounded and extended front panel “.
This 48 cm high mask, dating from the 19th dynasty, comes from the tomb of Sennedjem in Deir el-Medineh. This village, which in ancient times was called “Set Maât her imenty Ouaset” (the “Place of Maât (Truth) in the West of Thebes”) was founded at the beginning of the 18th dynasty under the reign of Thutmosis Iᵉʳ. Surrounded by high walls, extended and enlarged several times, notably under the reigns of Thutmosis III and the first Ramessides, it housed the community of artisans who worked on the excavation and decoration of the eternity homes of the Valley of the Kings and the Valley of the Queens. For almost 500 years, “between 40 to 120 households” lived there in stone houses covered with a palm leaf roof, also have places of worship and their own necropolis.
The tomb of Sennedjem – which will be referenced TT1 – was discovered in January 1886 by ‘gournawis’.: Indeed, “in 1886, Salam Abu Duhi, a villager from Gournah, was granted a concession in an area of Deir el-Medineh close to his home. After only a few days of excavations, Salam and three of his friends made a discovery spectacular: at the bottom of a still unexplored burial well, they found a wooden door whose ancient seals were intact. Salam immediately informed Maspero, who happened to be in Luxor for his annual inspection visit. ” (Hidden treasures of Egypt, Zahi Hawass (!) ).
Gaston Maspero’s correspondence with his wife Louise (Gaston Maspero – Letters from Egypt) gives us the extraordinary “live” adventure. So the great Egyptologist wrote to her on February 2, 1886: “They come to get me to go to the mountains: a tomb that we have been working on for eight days has finally been opened. It is a virgin!
It is a tomb of the XXth dynasty: the wooden door is still in place, and there have already been eleven mummies. “He continued his story on February 3:” The vault is approximately 5 m long by 3 wide. It is vaulted, with a very low vault and painted in the most vivid colours; unfortunately, the paintings and texts are only extracted from the book of the dead. It was filled to the top with coffins and objects: eight adult mummies, two children’s mummies … The mummies are superb, of a beautiful red varnish with very neat representations. ”
Finally, this “family” tomb will turn out to contain twenty bodies: “Nine of them had very beautiful anthropoid coffins, single or double, finely painted and varnished. These are Sennedjem, his wife Iyneferti, his son Khonsou and his wife Tamaket, his other children Parahotep, Taashsen, Ramose, Isis and finally, a little girl named Hathor. Rich funerary furniture accompanied them. ”
Eduard Toda y Güell, consul general of Spain in Egypt from 1884 to 1886, a friend of Maspero’s, was given the important task of clearing the grave. In the “Bulletin of the French Society of Egyptology” – 1988, Josep Padro reports: “In three days and with seven workers, (Toda) completely searched the tomb and carried out the transfer of its contents onboard the ‘Boulaq’, the vessel of the Antiquities service. Once the transfer was completed, (he) drew up an inventory of the funeral furniture on the boat, with the objects collected and the mummies before his eyes. Toda also took 15 photos himself in the tomb, with the technical assistance of Insinger, which are engraved after the plates which illustrate his memoir; and he copied and translated the hieroglyphic texts, with the help of (Urbain)Bouriant. ”
As for Gaston Maspero, he made a point of clarifying: “It goes without saying that we bought the fellahs half of their money: it cost us 46 guineas. Once we have chosen all that is good for the museum, the sale of mummies and superfluous objects will bring us at least 60 guineas, maybe eighty, who will go to the excavations of Luxor and the Sphinx. It will have been a good deal in all ways, good from the point of view scientific, since it gave us monuments of which we had no specimen, good from the financial point of view, since not only the objects will end up costing us nothing, but, that we will have earned enough money to practice new excavations. ”
This is how objects from the tomb which, in a way, “duplicated” were offered for sale. The Metropolitan Museum of Art, which then constituted its collection of Egyptian antiquities, showed great interest.
So, among the artefacts that went to New York, was this mask, this Khonsu. It has since been exposed there under the reference 86.1.4.
The eternity home of Sennedjem is one of those open to the public in Deir el-Medineh. It is particularly renowned for the beauty of the colourful and particularly well-preserved scenes that adorn its walls.
Sources:
” Mummy Mask of Khonsu ” (MET)
Gaston Maspero, Letters from Egypt, correspondence with Louise Maspero, Elizabeth David, Seuil, 2003
” Deir al-Medina ” (IFAO)
Hidden Treasures of Egypt, Zahi Hawass
Pharaoh Artists Louvre, NMR, 2002
” Eduard Toda, pioneer of Spanish Egyptology “
” Details of two mummies from the former collection Toda “
” Deir el-Medina, Tomb TT1, Sennedjem “
Josep Padro, “the French Society of Egyptology Bulletin” – 1988, No. 113, pp. 32-45
” An Artisan’s Tomb in New Kingdom Egypt ,” Catharine H. Roehrig, Department of Egyptian Art, The Metropolitan Museum of Art, october 2004
” Life Along the Nile: Three Egyptians of Ancient Thebes “: The Metropolitan Museum of Art Bulletin, v. 60, no. 1 (Summer 2002), Roehrig, Catharine H. (2002)
The tomb-builders of the pharaohs , Morris Bierbrier
” Current Research in Egyptology ” 17, Julia Chyla Karolina Rosińska-Balik, Joanna Debowska-Ludwin
I wish you all a happy, healthy & peaceful new year at first. 🤗💖
I know this title above is from one of the greatest novels in history by Jane Austen. But I’ve dared to use it here because it is a weak point in human history.
I humbly confess that I began this 2020 with some negative feeling, though, I must say it has nothing to do with the Sylvester and celebration etc. It went all in a wonderfully calm way; I have just no new idea about the human!
I have always been a humble man and I know that I don’t know. But I think that it is the most important issue; we must be honest to our own heart and with this, we can acknowledge more and more the existence of the truth.
But as I look forward to the new year I can only see another year with all the same people drowned in their same stupidity and foolishness as the years before. Sorry for that, I never want to spoil your mood in this very beginning of the brand new year; I just wanted to open my heart.
And of course, to share this brilliant article (I’m happy there are some to write about this) with you my adorable friends.
Waiting and hoping for a resolution.💖🙏🤗🙏💖
Your visions will become clear only when you can look into your own heart. Who looks outside, dreams; who looks inside, awakes. – C.G. Jung
https://www.culturecollective.org/beyond/
lampmagician 
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