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Legolas Prince of Mirkwood

 

Orlando Bloom Star Menu

 

 

Elf-Esteem

 

Orion's Belt 22 ° – 24 ° Gemini -- The Three Hunters

One of the most obvious features people see in the sky is the three stars that form the "belt" across the middle of Orion. These powerful forces are exactly trine Orlando Bloom's radix Ascendant @ 21° Aquarius 32' - they give strength, energy, industry, organizing abilities, notoriety, good fortune, lasting happiness, a sharp mind and a good memory. Legacies, gravity and austerity.

Curtiss states, “Orion is represented in mythology as a giant with a girdle, a sword, a lion’s skin and a club, while his Dog Sirius follows him and the Pleiades fly before him. Orion here represents man in pursuit of the higher attainments of the spiritual senses. He is indeed a giant girded with strength.

A girdle is a symbol of a priestly office. Thus, when Aaron and his son were anointed as priests [Exodus, xxxix, 29] they received the girdle of linen thread of 3 colors, blue, purple and scarlet, as does the Brahmin boy in India today when initiated into his caste.

“As the Celtic word for a Belt is ‘Crios,’ so the Celtic name for Christ is ‘Crios-d,’ meaning ‘Belt-God.’ This Belt names all Druids, who were identified with the Sun and his continuous activity. All words like Belt, Gir-th, Ban-d and Gir-d name the same daily orbit of the sun, which in the picture-language costume of the Druids was the Gilded Belt.” The girdle is also a covenant of strength and represents the current of spiritual force which circles around man’s body just below the breasts. Thus Isaiah says: “I will clothe him with thy robe, and strengthen him with thy girdle.” [xxii, 21]

Mintaka, the westernmost star in the belt, comes from the Arabic word for "belt", Alnilam, the center star in the belt, means "a belt of pearls" and Alnitak, the eastern-most star, means the girdle.

 

In the second chapter of THE LORD OF THE RINGS trilogy, Orlando Bloom
returns as the Elven warrior whose grace and good looks have fans entranced.


In case you missed Michele Hatty's USA article, here is the interview
as printed in USA WEEKEND * Dec 6-8, 2002, for the premiere of
THE TWO TOWERS in both the UK and USA.

 

 

 

The Hobbit Movie
Peter Jackson
Facebook Page
Super Numbers 11-22-33

I Need A Hero A vid about Legolas (our hero) Song: Holding out for Hero
by Bonnie Tyler.
time: 4:41

 

 

 

Video Movie DVD List

Click golden arrows and peacock quiver to read Orlando Bloom
Star Chart for January 13, 1977 [Canterbury, England]
Orli's Sun @ 23+ Capricorn exactly conjuncts The Peacock Constellation.
His Pallas Athena @ 29 Leo perfectly conjuncts The Royal Star, Regulus,
(owns powerful status as Alpha Star in the constellation Leo, The Lion.)
OB made a name for himself as expert archer Elf-Prince Legolas in
J. R. R. Tolkien's epic poem The Lord of The Rings. Prince Paris of Troy
a character running against the bent of Orli's nature - a challenge for any actor.

Beauty is in the eye of the beholder - an alchemist must have said that. KINGDOM OF HEAVEN recalls the echo of the H. Rider-Haggard masterpiece, SHE - written for adults and filmed for an audience with subtle discrimination. If you understand the principle of self-undoing the story can be read on several deeper pages of the human psyche. Similar to the idea of higher octave discovery, KINGDOM does not use the traditional method of addition, increase, or "building up", but rather remains true to the underlying metaphysical theme of "shedding" exterior illusions, employing the "monastic" approach to surrender and renunciation.

KINGDOM OF HEAVEN, for example, escaped the investigative eye of several critics who often refer to alchemy in their reviews. This phenomenon is the same as a primary reading of Genesis vs a neurosurgeon, scanning the same text and offering an interpretation based on years of medical experience. If a grade school student tries to explain Genesis, the level of information is in the neighborhood of an amusing story, but probably superficial. The neurosurgeon will tell you how to open up all the energy centers in the human anatomy.

Ridley Scott directed William Monahan's compelling script for an "over 30" audience rather than stick to the usual emphasis on the action shot.
Alchemy is about precise subtraction - not addition. Begin with a mass that equals 100% metal content. Heat the metal ball to melt down, so the various metals flow into the containers designated for liquid ore at each temperature.
Since we assume Balain was both a blacksmith and whitesmith from the script, all the metals separated from the original mass would suggest a process that "took away" from the "log jam" in Jerusalem. The operation would leave about 30%, or less, of the initial metal mass once the story enters the third act. Alchemy is not about embellishment, ornamentation, or acquisition. Alchemy [intellectual, spiritual, and cosmic] is the basic game plan that illustrates the art of precise thought, when the alchemist must excise dross from pure, or sought, ore. As each metal in the massive composition melts [at its own temperature] the liquid ore flows into a separate container, where it can cool and be put to good use, just as the characters in KINGDOM are sorted out. The process of identification, clearance, and measurement of each metal residing in the original composite ball is a lot of the ground covered on the journey of self-discovery, infused in the development of this sweeping film.

 

If you're looking for correct metaphysical formulae and an ideal, surgical approach to the subject of religious complexity, Ridley Scott delivers the goods. Remember that Gabriel, the Angel of the Annunciation, the Guardian of the prophet Daniel, and the Intelligence who dictated the Koran to Mohammed, protects all three religions that claim Jerusalem.

Orlando Bloon as Balian [see review of the movie here] Example: Los Angeles Times Kenneth Turan
"Scott and company have gotten so accomplished at re-creating history that the results have a welcome offhanded quality, making them spectacular without seeming to be showing off."

Bloom in Ridley Scott's Kingdom of Heaven - History of the character Balian

 

 

The Number Ten

Number Ten is the number of completeness for it contains all the digets or creations and returns them once more to unity. In it we again meet the circle of unmanifested force with which we started.

In Ten, the circle is no longer a chaos of undifferentiated matter, but now has expressed itself in the perfection of nature and man. The initiated man now stands as a responsible co-worker with the Divine while working through the numbers, God guided. Now, man stands matured in his experiences and wisdom to create from the materials given him. He must now accomplish for himself.

According to the Kabbalistic meaning of each number, we have an unusual conception of the cycle of the ten and what it should mean to man’s unfoldment. In number one, which they call the Crown, Spirit descends into matter and offers to man a crown of life, but he can attain this crown only as he unfolds and manifests the qualities expressed in each digit. Two is Wisdom; Three, understanding; Four, Mercy; Five, Strength; Six, Beauty; Seven is Victory; Eight is Splendor; and Nine is Foundation.

The Books of Hermes are the oldest repositories of numerical symbology. In them, we find that Number Ten is the mother of the soul, life, all being united.

We must train our minds to realize that we have within the circle of our aura just those forces whose manifestation is needed for our unfoldment. We have the creative power of thought and will. We can and must bring into being that which we need both for the physical conditions and for our spiritual perfection.

We are told to grow as the flower grows. This means that as we evolve through the nine digits, we are to create around ourselves an aura comparable to the circle in the ten and realize that our real self is the dot within the aura which must bring all its potentialities into manifestation by the time number ten is reached.

 

                                         

 

The Sidhe

Of all the beings in the Irish mythological world the Sidhe are, apparently the oldest and the most distinctive. Beside them in literature and general renown all other beings sink into insignificance. A belief in them formerly dominated the whole of Irish life. The Sidhe or Tuatha De Danann were a people like ourselves who inhabited the hills—not as a rule the highest and most salient eminences, but I think more usually the pleasant undulating slopes or gentle hill-sides—and who lived there a life of their own, marrying or giving in marriage, banqueting or making war, and leading there just as real a life as is our own. All Irish literature, particularly perhaps the ‘Colloquy of the Ancients’ (Agallamh na Senórach) abounds with reference to them. To inquire how the Irish originally came by their belief in these beings, the Sidhe or Tuatha De Danann, is to raise a question which cannot be answered, any more than one can answer the question, Where did the Romans obtain their belief in Bacchus and the fauns, or the Greeks their own belief in the beings of Olympus?

But granting such belief to have been indigenous to the Irish, as it certainly seems to have been, then the tall, handsome fairies of Ben Bulbin and the Sligo district, about whom Mr. Wentz tells us so much interesting matter, might be accounted for as being a continuation of the tradition of the ancient Gaels, or a piece of heredity inherent in the folk-imagination. I mean, in other words, that the tradition about these handsome dwellers within the hill-sides having been handed down for ages, and having been perhaps exceptionally well preserved in those districts, people saw just what they had always been told existed, or, if I may so put it, they saw what they expected to see.

Fin Bheara, the King of the Connacht Fairies in Cnoc Meadha (or Castlehacket) in the County Galway, his Queen Nuala, and all the beautiful forms seen by Mr. Wentz’s seer-witness, all the banshees and all the human figures, white women, and so forth, who are seen in raths and moats and on hill-sides, are the direct descendants, so to speak, of the Tuatha De Danann or the Sidhe. Of this, I think, there can be no doubt whatever.

But then how are we to account for the little red-dressed men and women and the leprechauns? Yet, are they any more wonderful than the pygmies of classic tradition? Is not the Mermaid to be found in Greece, and is not the Lorelei as Germanic as the Kelpy is Caledonian. If we grant that all these are creatures of primitive folk-belief, then how they come to be so ceases to be a Celtic problem, it becomes a world problem. But granted, as I say, that they were all creatures of primitive folk-belief, then their occasional appearances, or the belief in such, may be accounted for in exactly the same way as I have suggested to be possible in the case of the Ben Bulbin fairies.

-W. Y. Evans Wentz, The Fairy-Faith in Celtic Countries

 

                                         

 

Legolas display from The Two Towers Exhibit in Toronto 2002 here
The costume of Legolas Greenleaf, son of Thranduíl of Mirkwood
Legolas at Natural Neutrals

 

 

 

 



Click Balian for review of KINGDOM OF HEAVEN


There is a certain scale that's inevitable
in films of this sort, and Scott does it better
than anybody. Even so, I enjoyed the dialogue
and plot more than the action.
- Roger Ebert


 

10 Forward Star Trek galley, Colour Us Inn, Indiana Jones Menu, Innholders' Company, It's All In The Sauce, Jupiter Table, magic spice, Mercury Table, Oracle's Lab, shrmx, smoothie, star inn -Star Wars, tangerine, vittles

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