Lucas 9

Rex Deux

Resurrection of the Dragons

By Goro Adachi
March 11, 2002

What the...

Very much aware of the symbolic significance of the Salt Lake City Winter Olympic Games as discussed in The Labour of the Sun, I sat down on the night of February 24 to watch its closing ceremony, an openly ritualistic event, to see if there was any 'clue dropping'. Having recognized the existence of an esoteric undercurrent in the opening ceremony, I was curious as to what kind of encoded 'message' might be present in the second 'ritual'. Of course, my view is that reality itself is an encoded message, or a 'game', so this was not anything new; I'm always scanning for clues. But high-impact world events, accidental or not, I have observed, are usually symbolic expressions of important themes that underlie physical phenomena that surround us, hence my special interest in the international event of the Olympics.

As the two gigantic T-Rex's at the Olympic stadium were shown on the TV screen, I inevitably went 'what the...' I mean, these were clearly out of place and, simply, bizarre (not to say scary). Of course, the exoteric justification (= 'excuse') was probably that the general region of Utah has large deposits of dinosaur remains, but still those dinosaurs had almost no apparent relevance to the themes of the ceremony and were just... bizarre. To me, this was a 'Hermetic device' having the function of prompting questions consciously or subconsciously. This, in other words, was potentially a 'clue' planted, again consciously or subconsciously, by some intelligence.

Messianic Resurrection

Later in the show, the dinosaurs were revealed to be operated from behind the walls (not really, but that was the story line) by the Osmond brother and sister singing 'We Are Family!...' By this time, I began to get the gist of the shrouded 'message'. T-Rex's are 'kings', as rex means 'king' and they were certainly the king of dinosaurs. And since the term 'dinosaur' means 'terrible lizard', the T-Rex could easily be considered a 'terrible king', or 'King of terror' a la Quatrain X-72 discussed in previous articles.

Century X-72
L'an mil neuf cens nonante neuf sept mois,
Du ciel viendra vn grand Roy d'effrayeur:
Resusciter le grand Roy d'Angolmois,
Auant apres Mars regner par bon-heur.
The year 1999 seven months,
From the sky will come a great King of terror:
To resurrect the great King of Angolmois,
Before after Mars to reign by good luck

At the Olympic stadium in Salt Lake City, then, the 'King of terror' was symbolically 'resurrected' to accord with my previous interpretation that this quatrain, in conjunction with II-41 etc., relates to the 9/11 event and the Winter Olympic Games. Note that this 'King' of the Olympics could also easily be viewed as the 'King of the Rings' -- as the Games are symbolized by the familiar multi-colored five rings -- which may be rephrased as the 'Lord of the Rings'. And The Lord of the Rings is a phrase very much fresh on people's minds today because of the very popular film by the same title that came out late 2001 after the 9/11 event (it was the first of the trilogy, so it's an on-going project). [Update: the second volume/installment of The Lord of the Rings is titled 'The Two Towers' (!) and the third 'The Return of the King' -- needless to say, the correspondence is incredible.] This curious coincidence is compounded by the fact that, in Greek mythology, it is Prometheus, the provider of fire and a version of Saturn-Osiris, that would be considered the 'lord of the ring', as we read that:

Finally [Hercules] reached the Caucasus Mountains, where Prometheus had been fettered for thirty years... Zeus had long repented of his punishment, because Prometheus had since sent him a kindly warning not to marry Thetis, lest he might beget one greater than himself; and now, when Hercules pleaded for Prometheus's pardon, granted this without demur. Having once, however, condemned him to everlasting punishment, Zeus stipulated that, in order still to appear a prisoner, he must wear a ring made from his chains and set with Caucasian stone - and this was the first ring ever to contain a setting... Mankind now began to wear rings in Prometheus's honour...  (Robert Graves, The Greek Myths, 133.l-m)

This event, remarkably, is said have taken place during Hercules' journey of the '11th labor', i.e. the very labor we have linked to the current world events, including the Olympics (see The Labour of the Sun). Note also that the Salt Lake City Games had a very Promethean official slogan/theme, 'Light the Fire Within'.

But here we need to take into consideration the idea of 'family' musically attached to the kingly dinosaurs. A 'royal family' -- was this the implication? Or, since the 'King of terror' has been equated with Osiris (see Labour), was it an allusion more specifically to the messianic family, i.e. the family of Jesus, the biblical Osiris? To use Christian terminology, it was a symbolic 'Second Coming'. This association is intriguing as it has been said that Jesus was crucified on a T-shaped cross (the 'tau') (Christopher Knight, et al, The Hiram Key, pp.241-2), and thus Jesus, the 'King of the Jews', may be described congruently as a 'T-king', that is, 'T-Rex'. And then there is the intriguing fact that the messianic bloodline, signified in medieval literature by the Holy Grail (Sangraal, which can also be translated as 'Blood Royal'), is entangled with the myths of the 'Ring', including The Lord of the Rings:

J. R. R. Tolkien's The Lord of the Rings is one of the most enchanting and successful tales of all time. First issued in the 1950s, this famous trilogy could just as well have emanated from the Dark Ages or medieval times, for it has all the qualities and attributes of the most ancient Grail and Ring traditions.   (Laurence Gardner, Realm of the Ring Lords, p.1)

To express it esoterically, then, it was an allusion to the return of the wounded 'Fisher King', or King Arthur, the medieval Osirian-messianic character who is inseparable form the Grail romances. It is fitting that the Gaelic word uther, from which the name 'Arthur' apparently derives, means 'terrible' (according to Gardner) and Arthur's father was called 'Uther Pendragon' (actually a title) which would mean 'Terrible head of Dragons' (though it has also been translated as 'Wonderful head of Dragons'). The 'terrible dragons' are, of course, clearly evocative of the dinosaurs, the 'terrible lizards'. Traditionally, 'dragons' are associated with kingship and crocodiles/serpents; in ancient Egypt, for example, pharaohs were anointed with the fat of the holy crocodile, or 'Meseh' from which derives the term 'Messiah', i.e. Jesus/Osiris. Correspondingly, Osiris' death is associated with a crocodile in Egyptian tradition (E.A. Wallis Budge, The Gods of the Egyptians, vol.II, p.358).

Deux Dieux

The messianic family, stemming from Davidic royal lineage and the offspring of Jesus and Mary Magdalene (i.e. Sangraal) according to esoteric tradition, is said to carry the title, Rex Deus, meaning 'King of God' (see Marilyn Hopkins, et al, Rex Deus, 2000). Now, it is curious to notice here that the term 'Deus' (God) closely resembles the word for 'two' in various European languages. As Boyd Rice writes:

The Latin word for God, Deus, seems to retain a vestige of the ancient understanding of the dual nature of deity. In many languages, the word denoting "Two" has either a spelling or a sound very similar to the word Deus, for instance, deux, dos, dua, deuce, and so forth. This becomes even more explicit when examining the specific terms some of the countries apply to God. For example, the French Dieu [or its plural form, Dieux] echoes deux (two) very closely, and the Spanish Dios is derived from the word dos by the mere addition of an "I."  (www.dagobertsrevenge.com/articles/undivided.html)

This would then nicely relate to the two T-Rex's of the Olympics and the biblical 'T-Rex', Jesus, being a twin (Judas Thomas/Twin was almost certainly Jesus' twin brother, based on non-canonical sources such as the Acts of Thomas). And, of course, we are reminded here of the twin nature of Hercules, antediluvian pillars, the Sphinx/Horus and such -- underlying all of which is the notion of the Sun/Ark/lion, as explained in The Labour of the Sun. (In terms of Nostradamus -- who, by the way, may well have been a member of 'Rex Deus' -- this motif is potently expressed in our 'two suns' quatrain, II-41.) Indeed, Rex Deus, or the Messianic bloodline, is Davidic which in turn means the bloodline is of the 'lion king' -- as the tribal symbol of King David's, Judah, was the lion. Moreover, the Davidic 'Fisher King' is called in Arthurian literature Anfortas (in fortis) meaning 'in strength', which is also the Latin name for one of the two pillars of the Temple of Jerusalem (i.e. the 'Boaz' pillar). These twin pillars are a version of the antediluvian/Atlantean pillars, the New World version of which was destroyed on 9/11/01. The Catholic theologian Margaret Starbird writes:

The name of this [Boaz] pillar, which is also the name of the ancestor of King David, is a clear and obvious reference to the promises made to the Davidic bloodline, the line of the princes of Judah, that the dominion of its princes would be established forever "in strength," since Judah was the strongest of the twelve sons of Israel's patriarch Jacob. The name Anfortas is thus associated with the broken left pillar of the Temple of Jerusalem, which is symbolic of the broken Davidic succession... [T]he "Fisher King" Anfortas -- that is, the Davidic "Fish-King" Jesus -- can be healed only when the Grail is restored...  (The Woman With the Alabaster Jar, p.86)

The reference to the broken succession/pillar here is interesting as it potentially relates to the fact that the Great Sphinx is missing its 'twin' and also to the darkening of the sun (= lion/sphinx/Fisher King) on the day Jesus/Osiris died as per tradition.

All combined, we can derive the symbolic implication that the two towering T-Rex's signified the resurrection of the messianic king, or Osiris-Horus, the fall of which was earlier expressed by the destruction of the WTC twin towers on 9/11.

Proof of the Vikings

Let's take a look at Quatrain VI-97 which I have repeatedly correlated with the world events of our own time including the 9/11 attacks.

Century VI-97
Cinq & quarante degrez ciel bruslera
Feu approcher de la grand cite' neuue
Instant grand flamme esparse sautera
Quand on voudra des Normans faire preuue.
Forty five [or 'five and forty'] degrees the sky will burn,
Fire to approach the great new city
In an instant a great scattered flame will leap up,
When they want to have proof of the Normans.

This quatrain's relevance to 9/11 and related events can be summarized as follows. First, 'five and forty' (cinq & quarante) of Line 1, if interpreted as 40.5, would correspond to the latitude of New York City where the WTC towers stood. And NYC is insinuated by Line 2 mentioning 'the great new city'. The abundant references to burning fire, needless to say, evoke the burning towers still hauntingly fresh on our mind. (The "great scattered flame" is actually even evocative of the grand firework show of the Olympic ceremonies.) What is most remarkable, however, is the implication of Line 4: 'When one will want to want proof of the Normans'.

"Normans" is essentially another name for the Vikings (or 'Norsemen'). "Viking," in turn, was the name given to the twin space probes NASA sent to Mars in 1976 (Viking 1 & 2). This Viking mission made the very first successful landing on the Red Planet and, more significantly, it gave us the first pictures of the potentially artificial "monuments of Mars" at Cydonia, an issue still very much controversial and relevant today. This association is particularly important here because the Cydonia region of the 'fire planet' is situated approximately at 5°W. 40°N. -- that is, "five and forty"! The 'monuments' themselves are located on latitude 40.5-41°N., which happens to be the very latitude of NYC _and_ Salt Lake City! As if these weren't enough, the most prominent features of the Cydonia complex are the popular 'Face' and the geometrically sound 'D&M Pyramid'. The 'Face', as revealed/confirmed in 2001, is of dual nature, having a hominid side and a leonine side, just as does the Sphinx (= sun, Hercules, 'Fisher King') which has a body of the lion and a head of man. (The connection between the two is corroborated by the fact that the tangent of Cydonia's latitude equals the cosine of the latitude of Giza/Sphinx, both equaling e/pi.) The partially collapsed 'D&M Pyramid', on the other hand, is pentagonal -- echoed by the U.S. Pentagon partially destroyed in the 9/11 attacks.

Line 4, 'When one will want to have proof of the [Vikings]', then, would have the implication of people wanting to know the truth about Cydonia and/or more generally about the existence of life on Mars. And, sure enough, presently around the turn of the millennium we are rapidly getting more evidence indicative of the existence of past/present life, as well as intelligently designed structures, on the Red Planet. (Most recently, the Mars Odyssey spacecraft gave us, on 3/1/02, more evidence of water on Mars, more pictures of strikingly artificial-looking features, and amazing confirmation of Richard Hoagland's 'Mars Tidal Model' which I consider a brilliant piece of work.)

As it turns out, the 'Norman/Viking' reference also nicely brings together 9/11 and 'Rex Deus' as we learn that the Viking leader, Rollo (Hrolf), came to France and obtained Normandy (becoming the first Duke of Normandy) in _911_ AD. And Rollo, interestingly enough, was genealogically linked to the 'Rex Deus' clan:

[Rollo] extended his lands by conquest and his influence by alliance and marriage with the leading aristocratic families of the time. He sought to establish strong bonds with the local aristocracy and, in particular, matrimonial links with dynasties of the Rex Deus tradition, such as the families of Chaumont, Gisors, d'Evreaux, Blois, the Counts of Champagne and the ruling House of Flanders, whose younger sons were the Counts of Boulogne. Was he [Rollo himself] also Rex Deux, from a family outside the confines of early Christian Europe?  (Hopkins, et al, Rex Deus, p.107)

From this angle, the phrase 'When one will want to have proof of the Normans' would come to mean 'when people become aware, and want proof/'resurrection', of 'Rex Deus' or the 'Grail'/messianic bloodline -- that is, our own time.

Now, the 'resurrection' of this hidden bloodline/tradition would also imply the fall of the Church as its existence today is the result of the Roman Empire 'hijacking' the 'Fisher King' tradition. The Catholic Church or Papacy, in other words, is just a poser on the throne with no legitimacy what so ever. The 'king' is naked and the people have been too conditioned and timid to openly acknowledge this awkward fact. When the true 'Fisher King' is publicly acknowledged, therefore, it would automatically leave the Church and its manipulative doctrine nowhere to go but down. This situation brings us back to Quatrain II-41, the 'two suns' prophecy already applied to the current events, the last line of which indicates the fall/shift of the papacy: "When the great pontiff changes his abode."

In The Labour of the Sun was discussed how Quatrain II-41 pertains to 9/11, the 'King of terror' (Fisher King), and the inevitable end of the reign of Pope John Paul II, the 'Labor of the Sun' pope, in the near future. Since writing the article, it came to my attention that there is one particular date that may be seen as a window through which the smoldering archetypal story line could potentially manifest itself physically because of intense symbolic convergence. The date in question is May 1st -- i.e. 'May Day'. First, notice that just as the date '9-11' numerically had the implication of emergency ('911' being the emergency phone number), 'May Day' is similarly the international radiotelephone code used for indicating trouble and requesting help. Second, in Europe May Day is Labor Day which in the United States is celebrated in September (the month of 9/11) -- 'labor' being a code word for Pope JPII, as well as Hercules' 11th Labor that has been found to closely relate to 9/11 and Prometheus along with his fire and ring. May Day, in fact, is also the festival of Belenus, the Celtic god of fire and the sun, and a pagan festival of rebirth and renewal. The first day of May, therefore, is a time with strong 9/11 resonance and particularly relevant to the 'Labor of the Sun', i.e. Pope JPII, though I am not ready to predict that the papacy will actually suffer a loss on that date.

Echoes of Lost Paradise

Dinosaurs, the kings of the earth at the time, were suddenly wiped out about 65 million years ago. Rocks from outer space, it is often theorized, hit the earth and devastated all life upon the surface. Quite recently, Tom Van Flandern (formerly the Chief of the Celestial Mechanics Branch of the U.S. Naval Observatory) put forward the theory that it was the 'explosion' of what he calls 'Planet V' between Earth's orbit and the Asteroid Belt (which is the remnant of the theoretical 'Planet K' that exploded about 250 million years ago) that caused the extinction of the dinosaurs. The planet Mars, in this radical model, was formerly a satellite of Planet V that survived the catastrophe and became an independent planet. Richard Hoagland's more recent 'Mars Tidal Model' was an extension of Flandern's 'Exploded Planet Hypothesis', and so the new data from the Mars Odyssey probe just released 3/1/02 that dramatically corroborated Hoagland's theory was also confirmatory evidence for Flandern's. By inference, then, it may be postulated that those dinosaurs -- analogous to the 'King of terror', 'Fisher King', etc. -- and the Red Planet have an inseparable historical connection.

The reader may recall that I have previously stressed the intense correlation that exists between the 9/11-related events and the destruction of the antediluvian world, 'Atlantis', in connection with Mars/Cydonia. Here, then, we have the implication that there also is  a link between the prehistoric 'dragons' and Atlantis. Remarkably, this strange association actually resonates well with the fact that in ancient traditions the angelic wisdom-providers of the antediluvian paradise, including Osiris, are usually associated with the serpent, i.e. 'dragons'. The coherence is intensified when it is added that the essence of Osiris was equated in ancient Egyptian theology with the Benben Stone (the capstone of the pyramid/obelisk) which in turn was, or represented, a meteorite -- i.e. a rock from outer space (Planet V). Correspondingly, we may recall that, in Mystery, Babylon the Great, the antediluvian tower (Babel) and the Osirian 'fallen angels' (Nephilim) were found to be the embodiment of a heavenly stone. And to top it off, the Nephilim were 'fallen ones' (as in fallen meteorites), and were also called awwin denoting 'serpents' (as in dragons/dinosaurs) and gibborim meaning 'strong ones' (as in Davidic 'Fisher Kings'). The messianic association is echoed strongly by the Holy Grail/Blood Royal: in Wolfram von Eschenbach's Parzival from around 1200, the Grail is called lapsit exillis which, as lapis ex caelis, means 'stone from the heavens'!

So we now have entangled themes involving dinosaurs, Exploded Planet Hypothesis, Mars, Atlantis, heavenly stone, messianic tradition... What does this all mean? While I have my own hypotheses, it is wise at this time to just wonder about it rather than force a shortsighted and linearly conceived conclusion out of the partially disjointed pieces of the puzzle. I have faith in the idea of 'if you ask, the answer will come'. This appears to be how the 'game' is played 'down here'. Truth requires patience, and patience here requires unwavering respect for truth.

Foreshadowing

I'd like to end this article by pointing out that the next Winter Olympic Games (2006) will be held in Turin, Italy. Turin is the home of the single most important and controversial relic associated with Jesus -- the Shroud of Turin, the linen cloth in which Jesus was supposedly wrapped after the crucifixion. On the Shroud is seen, somehow, a seemingly photographic image of Jesus. While ostensibly a Christian relic, the Shroud has much to do with the esoteric 'underground' tradition that aligns with the 'Fisher King' rather than with Pauline counterfeit Christianity headed by the Papacy. Indeed, the Shroud first surfaced soon after the suppression of the medieval warrior-monks, the Knights Templar, who were accused, among other things, of worshipping a strange head -- which may well have been the head portion of the Shroud. The first known owner of the relic, Geoffrey de Charney, is in fact thought to be the nephew of Geoffroi de Charney, the Templar preceptor of Normandy who was burned to death with Jacques de Molay, the last Templar Grand Master. And some have theorized, with good reason, that the Shroud was actually created by Leonardo Da Vinci who has been claimed to have been Grand Master of the Priory of Sion, supposedly the parental organization behind the Templar order (see Lynn Picknett, et al, Turin Shroud). The Priory of Sion, extensively discussed in the groundbreaking book Holy Blood, Holy Grail (1982), is practically analogous, or attached, to 'Rex Deus'. This combined with the fact that the Templar knights in the Grail lore are depicted as the guardians of the Holy Grail/Blood Royal which, in theory (based on "heretical" traditions), stemmed from the dynastic 'Sacred Marriage' between Jesus and Mary Magdalene, it may be inferred that the Shroud is in a sense a form of the Grail which in turn represents the hidden messianic succession.

Is it just a coincidence that Turin, the very place where this 'Rex Dues' relic rests, has been selected for the next Winter Olympics? Perhaps. But consider the following. Turin is at latitude 45°N. so as to echo the opening line of the 'Olympic/Martian quatrain', VI-97 ('Forty five degrees the sky will burn'). The last line of the same quatrain, 'When they want to have proof of the Normans', may also now denote 'when people want to find out the truth about the origin of Christianity, about the suppressed messianic legacy, and about the true nature of the Turin Shroud which was first possessed, as far as we know, by the 'Normans' (i.e. the Templar Master of Normandy). The Shroud even resonates with 9/11. The relic, as well as Leonardo/Priory of Sion, is associated with John the Baptist as it is, for example, kept at the Cathedral of St. John the Baptist in Turin. And the saint's birthday was celebrated on the summer solstice just as the date 9/11 corresponded in the early Christian times to the original summer solstice day of the ancient Egyptian calendar.

Also, the demonstrated Martian/Cydonian nature of Quatrain VI-97 incites the thought that the head imprinted on the Shroud might relate to the more or less similar-looking 'Face on Mars'. This is clearly a silly notion -- except there are various clues that are supportive of it. This leads into an area that overlaps my 'other' research that I do not want to discuss yet. But I'll just mention two curious coincidences: the Shroud is called sydoine/sindone/sindon in other languages ('Cydonia' anyone?), and John the Baptist was decapitated and his severed head became an object/idea of great esoteric importance. This is only a small hint. I don't want to open Pandora's Box yet... :) But I will say that Mars/Cydonia anomalies and the Grail-Ark-Shroud-Fisher King theme are to merge in a startlingly direct and elegant way.

The Quest for the Grail is an interplanetary saga.

[Back to main page]

http://www.goroadachi.com/etemenanki/rex-deux.htm

Juno (mitología)

De Wikipedia, la enciclopedia libre

 

Saltar a: navegación, búsqueda

Para otros usos de este término, véase Juno.

Estatua de Juno en el Museo del Louvre.

Júpiter y Juno de James Barry (1773).

En la mitología romana Juno era una diosa, equivalente a la Hera griega, diosa del matrimonio y reina de los dioses. Hija de Saturno y Ops, y hermana y esposa de Júpiter, con el que tuvo dos hijos, Marte y Vulcano y una hija, Lucina. Juno fue una deidad mayor de la religión romana y formó parte, junto a Júpiter y Minerva, de la Tríada Capitolina, un importante culto romano.

Índice  [ocultar]  1 Etimología y origen 2 Epítetos y funciones 3 Culto 4 Referencias literarias 5 Odio de Juno a Eneas 6 Notas 7 Enlaces externos

[editar] Etimología y origen

Hay una probable etimología para Juno en la raíz protoindoeuropa *yeu-, ‘fuerza vital’. Aunque tal derivación podría ser consistente con un origen como Diosa Madre, es más probable que esta raíz se usara en el mismo sentido que otras palabras latinas derivadas de ella, como iuvenis (‘hombre joven’, con derivados tales como «juvenil» o «rejuvenecer»), lo que implicaría que la naturaleza de Juno anterior al sincretismo de la mitología grecorromana era más cercana a la Diana como diosa doncella de los nacimientos o la partería. Sin embargo, la absorción romana del mito griego reemplazó características primitivas de Juno con otras de Hera, extendiendo su dominio del nacimiento al matrimonio y promocionándola al papel de esposa de Júpiter y reina de los dioses. También podía arrojar rayos como éste.^[1]

También existe la posibilidad, por inmediatez geográfica, de una influencia etrusca. La equivalente etrusca de Juno era Uni. Es probable que una de estas diosas se inspirase en la otra, pero no está claro en qué dirección. Aunque actualmente hay más apoyo a la teoría de que Uni derivó de Juno, si fuera al revés, el nombre de Juno no podría tener un vínculo protoindoeuropeo con *yeu- y su raíz semántica permanecería ambigua. Hay algún apoyo a la teoría de que Uni fuese la original: Livio afirma^[2] que Juno era una diosa etrusca de Veyes que fue ceremonialmente adoptada por el panteón romano cuando la ciudad fue saqueada en el 396 a. C.

[editar] Epítetos y funciones

Incluso más que otras deidades romanas mayores, Juno ostentó un gran número de epítetos significativos y variados, nombre y títulos que representaban diversos aspectos y papeles de la diosa.

De acuerdo con su papel central como diosa del matrimonio, recibía los siguientes títulos:

• Interduca, ‘la que lleva a la novia al matrimonio’
• Domiduca, ‘la que lleva a la novia a su nuevo hogar’
• Cinxia, ‘la que pierde la faja de la novia’

Si bien muchos otros de sus epítetos tienen mucha menos relación temática:

• Regina (‘la reina’), aspecto por el que fue nombrada en el Templo de Júpiter como parte de la Tríada Capitolina, enfatizando que el papel de la diosa como esposa de Júpiter y reina de los dioses era el más importante en ese contexto. También había templos a Juno Regina en el monte Aventino, en el Circo Flaminio y en la zona que se convertiría en el Porticus Octaviae.
• Moneta, como protectora de las riquezas del Imperio romano. La etimología de este epíteto es controvertida, pudiendo derivar de mons, ‘monte’, por estar uno de sus templos en la colina Capitolina o de monere, ‘avisar’, por el aviso que dio a los romanos para evitar el ataque de los galos.
• Lucina (‘la que trae niños a la luz’) y Lucetia (‘la que trae luz’), cuando ayudaba en los partos.
• Pomona (‘de la fruta’).
• Pronuba (‘matrona de honor’).
• Ossipagina (‘la que moldea los huesos’ o ‘la que fortalece los huesos’)

Sin embargo, algunos de estos títulos pueden haber sido inventados como descripciones poéticas y puede que realmente no hayan sido usados en el culto a Juno.

[editar] Culto

El 1 de marzo de cada año, las mujeres celebraban unas fiestas en honor de Juno llamadas Matronalia. Otras fiestas en su honor, las Nonas Caprotinas, se celebraban el 7 de julio. Muchos consideraban el mes de junio, que toma su nombre de Juno, patrona del matrimonio, el más favorable para casarse. Los Calendas de cada mes también estaban consagrados a esta diosa, que tenía fiestas el 1 de julio y el 13 de septiembre.

Juno tenía en ocasiones un carácter guerrero que se hacía aparente en sus ropas. A menudo aparecía armada y llevando una capa de piel de cabra, que era la prenda preferida por los soldados romanos en campaña. Este aspecto guerrero fue asimilado de la diosa griega Atenea, cuya piel de cabra recibía el nombre de égida.

[editar] Referencias literarias

Quizá la más prominente aparición de Juno en la literatura romana sea como principal fuerza antagonista en la Eneida de Virgilio, donde se la presenta como una cruel y salvaje diosa determinada a ayudar primero a Dido y luego a Turno y los rútulos contra el intento de Eneas de hallar una nueva Troya en Italia. Ha habido algunas especulaciones (como las de Mauro Honorato Servio, un antiguo comentarista sobre la Eneida) de que quizá se trate de una fusión de Hera con la diosa de las tormentas cartaginesa Tanit en algunos de los aspectos de su retrato en la obra.

Juno es mencionada en La Tempestad de Shakespeare junto con Ceres e Iris.

Juno en la Eneida

[editar] Odio de Juno a Eneas

Juno, odiaba a los troyanos porque su marido la había engañado con Ganimedes, un príncipe troyano y lo había convertido en el copero de los dioses. También los odiaba por el Juicio de Paris, un joven troyano que eligió a Venus como la más hermosa en vez de a ella.

Es por eso, que quiere impedir que Eneas funde una nueva Troya en Italia, después de su destrucción. Para impedirlo va a Eolia y le pide a Eolo, dios de los vientos que los mueva en contra de Eneas y hace que lleguen a Cartago. Luego, Neptuno hace que las aguas se calmen por haber provocado olas sin su indicación.

Mientras los troyanos estaba en Cartago, tierra donde reinaba Dido, Juno hace un pacto con Venus diciendo que tenían un objetivo en común: que Eneas reinase Cartago con Dido. Venus sabía que ese no era el destino de Eneas, pero la engaña. Venus ya había hecho que Cupido enamore a Dido de Eneas, para que ella no lo traicione. Es así que acepta el pacto con Juno y deja que ésta organice una tormenta donde Eneas y Dido deban dormir bajo el mismo techo y contraigan matrimonio.

Mercurio, enviado por Júpiter le recuerda que ese no es su destino, entonces decide partir. Juno, dándose cuenta de que se había roto su pacto envía a Iris a quemar la flota de Eneas. Finalmente, pueden llegar al Lacio y enfurecida Juno, desea desatar la guerra ya prevista entre latinos y troyanos. Es por eso que envió a las deidades del infierno para que convenzan a Amata de que por culpa de Eneas Turno no iba a poder ser su yerno y a Turno lo invade Furia para que quiera tomar venganza. Juno abre las puertas de la guerra y ésta comienza. Luego, Juno y Júpiter pactan que ella no intervendrá más, así como tampoco Venus para ayudar a ninguno de los héroes, que retrasará la muerte de Turno pero no cambiará el destino de la guerra. Sin embargo, Juno le pide a Jaturna, hermana de Turno que rompa el pacto y ayude a su hermano. Finalmente se da cuenta de que no puede hacer nada para impedir el destino marcado por los hados, entonces pide que los latinos mantengan su nombre, sus trajes y su idioma y que desaparezca el nombre de Troya. Júpiter concede su deseo para que deje de molestar a los troyanos y dice que solo agregará dioses y culto.

http://es.wikipedia.org/wiki/Juno_(mitolog%C3%ADa)

Tranquilos, que nadie se asuste... no vamos a sufrir una invasión de demonios del averno (al menos eso espero ). Me he permitido la licencia de usar ese titular por un motivo concreto. Hoy, 21 de junio, es la fecha en el hemisferio norte (en el sur ocurre al contrario) del solsticio de verano. Arranca oficialmente la estación más calurosa del año y hoy el día tiene más horas de luz que ningún otro.

Como ya comentamos en el blog en su momento, los antiguos romanos contaban entre su nutrido panteón de dioses con la figura de Jano (Janus en latín), el dios de los solsticios. Era también el dios de las puertas, de todos los inicios y de los finales. Poseía una rica iconografía –de la que algún día hablaremos más a fondo–, en la que lo más destacado era su representación con dos rostros, cada uno de ellos mirando en direcciones opuestas. De ahí que se le denomine también como Jano bifronte.

En lo que respecta a la temática de este blog, lo que más nos interesa de él es que los collegia fabrorum (las cofradías de constructores romanos) le rindieron una devoción especial, siendo su patrón.

Como decía más arriba, se consideraba a Jano el dios de los solsticios, las «puertas solsticiales» o «puertas del cielo». Así, el solsticio de verano era llamado janua inferni, la "puerta del infierno" o de los hombres, y el solsticio de invierno, janua coeli, la "puerta de los dioses". Además de patrón de los constructores, Jano era para los romanos el dios de la iniciación a los misterios. Era la «puerta», no sólo solsticial, sino también iniciática.

Esta devoción se transmitió a los canteros medievales y pasó a la iconografía y la religión cristiana bajo el culto a los dos «san Juan»: el Bautista, que tiene su festividad el 24 de junio (solsticio de verano), y el Evangelista, que tiene su festividad el 27 de diciembre (solsticio de invierno). Hay casos muy significativos en este sentido, en los que esta pervivencia es evidente. Jean Hani, profesor emérito en la Universidad de Amiens, menciona un notable ejemplo en la basílica francesa de Saint-Remi, en Reims: «En una vidriera aparece un único san Juan, que engloba en una sola figura al Precursor y al Evangelista, fusión subrayada por la presencia, sobre la cabeza, de dos girasoles (los dos solsticios) dirigidos en sentido opuesto: una especie de Jano cristiano, en suma».

No es el único caso. Otro día hablaremos de la presencia de zodiacos en iglesias y catedrales medievales. Hoy es suficiente con comentar que junto a algunos de estos zodiacos, generalmente esculpidos en las fachadas de los templos, y a ambos lados de Cristo, aparecen en ocasiones los "dos Juanes". Están marcando, de este modo, las fechas de los solsticios. ¿Qué simboliza esto? Como bien explica de nuevo Hani:

Del mismo modo que ellos ‘abren’ los dos períodos de la historia marcados por las dos venidas del Salvador, igualmente, en el plano cósmico, ‘abren’ las dos fases del ciclo anual, símbolo reducido del ciclo universal del tiempo y la historia; y en esta función, han reemplazado, desdoblándolo por así decirlo, al Jano bifronte, del que los Collegia fabrorum, antepasados de los constructores de catedrales, celebraban la fiesta en los dos solsticios.

Además, la división en la janua inferni y la janua coeli aparece también en algunas representaciones medievales del Juicio Final, en las que se divide la escena en dos partes: por un lado, los condenados que van al infierno –descienden, igual que el Sol a partir del solsticio de verano, o janua inferni– y, por otro, aquellos que se salvan –ascienden, al igual que el Sol tras el solsticio de invierno, o janua coeli.

En los templos medievales las representaciones de Jano son bastante habituales –además de los casos mencionados–, sobre todo en los zodiacos. Os pongo las imágenes de varios ejemplos. La primera corresponde a una representación del dios existente en la catedral de Amiens, en una serie de los trabajos de los meses. La segunda y la tercera proceden de la catedral de Chartres, también en Francia. En ésta última imagen Jano –aunque no se aprecia en la fotografía– está rodeado de símbolos del zodiaco.

Por supuesto, y como algunos de vosotros ya habréis adivinado, este culto a Jano, y más tarde a los «dos san Juan» en las logias medievales, se conserva en la masonería actual, pues tanto las fiestas solsticiales como los dos «Juanes» tienen gran importancia.·.

Eso es todo. ¡Feliz solsticio! y ¡Feliz noche de San Juan el sábado! (ojito con las hogueras)