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Two Days at Honeystreet: a New Song Emerging!
By Michelle Jennings
As a sequence, both the ‘finished ‘ and ‘unfinished’ symphonies of
Honeystreet (2), Nr Alton Barnes, Wiltshire. Reported 4th
July have significant and very important messages for the world
in these crucial times. The symbolism of this crop circle, in modern
format, gives reference to Neolithic Egyptian and European cultures,
Mayan and Hopi cultures, medieval cultures of Europe and the
universal symbolism of numbers and geometric shapes. The numbers 4,
5, and 16 are particularly significant as symbols here. The Vesica
Piscis with its historical significance is represented as well. A
‘tower’ shape appears at one of the five meetings of the five
‘petals’ around the main circle. Two shapes that seem to make the
whole image ‘new’ are: the ‘feathers’ coming out of the vesica
piscis, and the ‘bent arms’ at the opposite end of the vesica piscis.
An ancient Egyptian cartouche form contains the three elements
making up the ‘new shape’.
The circle
is the initial setting of the action described by this formation.
This event is happening within the Universe, the Container of Life,
the Great Mother. In the second part of the sequence, the circle
perimeter expands into a five-petaled flower or ‘cinquefoil’. Many
flowers take this shape; the rose and apple are two well-known
flowers in this category. They are associated with the worship of
the Great Goddess and Her more recent descendant, Mary. The
cinquefoil also represents Venus, and so becomes a symbol for the
secrets of sexual love. As an interior design element, it conveys
the presence of hidden meanings. (Walker 66) The ancient Creative
Initiative begins to reveal Herself beyond the Primal Containing
Mother quality.
The path of planet Venus over 8 years resembles the five-petalled
flowers of the Rosaceae family.
The
cartouche forms are the next challenge for our understanding. The
cartouche is “an oval or oblong figure in ancient Egyptian
hieroglyphics that encloses characters expressing the names or
epithets of royal or divine personages”.
(
http://www.thefreedictionary.com/cartouche ) Who is this
personage? And what is She/He trying to tell us? The answer must be
in the inside design.
Within each
cartouche we find: a central Vesica Piscis, on one end of which is
a shape resembling upheld and bent arms, at the other end we see an
arrangement that could be seen as a feathered headdress. The Vesica
Piscis has appeared in crop circles from early on in the 20th
and 21st century phenomenon of crop circles. It is an
“ancient worldwide synonym for the yoni or vulva. It stood for the
feminine creative force, the Mother-spirit that gave birth to the
world and the gods.” (Walker 16)
The Vesica Piscis, as symbol of the generative power of the Goddess,
in seed-like patterns, and as the mandorla in Christian symbolism
The upheld
arms motif is often found in Neolithic sculptures and pottery
depicting the Goddess as the fertile, nurturing life force.
Minoan rising young Earth Mother (c. 1350 B.C.), Egyptian funerary
figure (3500 B.C.), and figure from funerary urn – checkerboard
symbolizes life-giving waters (Knossos 900 B.C.)
Bent arms,
with the beginning of a spiral look is less often found, but exists
on some ancient sarcophagi. In these depictions, the arms belong to
dancing women figures whose other symbolic attributes associate them
with the Goddess (i.e. the double axe/butterfly belt, earrings, male
consorts). The rituals of death include the allusion to beginnings
and celebration in these images.
The female figures at the top have male companions, representing the
sacred marriage (NW Bulgaria c. 4500 B.C.). The lower group of
dancers was painted on a
sarcophagus (Boeotia 14the cent. B.C.)
The
feathered headdress can be found in similar arrangement and form in
some Mayan images depicting chieftains. The obvious association with
the bird also references the Great Goddess as nurturer as well as
receiver into the afterlife.
An ancient Bird Goddess seal (Crete c. 1500 B.C.) has feathers
looking remarkably like the headdresses of the Son of Pacal Votan
(left) on a relief at the Temple of the Cross, and a chieftain in an
illustration of a procession (right) from Mayan Records.
When we
consider the three elements within each cartouche, we can understand
that the divinity they designate is a Creative Force (vesica piscis);
She/He can be associated with the powers of Life and Death (arms and
bird reference); She/He is a Ruler (feathered headdress). This Being
encompasses these powers and titles from the beginning of Time
remembered and Before, as is hinted at by the references to
different ages of human existence. She/He is also designated as
active in our time by this new looking combination of symbols in the
formation.
It is no
accident or mistake that the formation began as an unfinished work
with four parts completed. According to the Hopi Prophecies (http://www.welcomehome.org/rainbow/prophecy/hopi1.html
), we are presently living in the end times of the Fourth World. The
Honeystreet crop formation brings this to our attention and informs
us that there is still more to come. Four signifies: order,
wholeness, totality, the Earth, measurement, justice, natural
cycles, stability. It is the completion of material life on Earth,
a stable foundation for further development. “Four is the ray of
measure, the alignment with natural cycles. It is the square, the
base of the pyramid, the solid foundation that unifies the lines of
directional force. Four is the diamond asking you to utilize tools
of discrimination.” (Spilsbury 138)
Four also
appears as the ‘tower’ design on the outside of the circle, embedded
in the five-lobed cinquefoil. The tower shape reinforces the above
meanings of four. Some actual ancient towers give us the sense that
this fourth world of matter where humanity arranges and measures,
and constructs to make order and systems is a preparation for yet
another stage. José Arguelles notes the comparison of the King’s
Chamber at Giza to the tower of the Winds at Palenque. Both have
four stages. Both are part of a funerary complex. Is it necessary to
die to (to surrender to) the greater purpose of our lives in order
to enter the New Fifth World? And what does that really mean?
“It is most significant that, architecturally, the Tower facing the
Pyramid enclosing the tomb [of Pacal Votan] bears a strong formal
resemblance to the Kings’ Chamber in the Great Pyramid. Both the
Tower and the King’s Chamber possess four levels rising above a high
foundation or coffer. In any case, the tower represents the
aspiration enclosing mortality, while the confusion concerning it is
our failure to understand our inherent deathlessness or
immortality.” (Arguelles 79)
The Temple
of the Sun at Palenque also evokes the sense of four stages
(platforms) preceding the final fifth stage represented by the
Temple complex on top. The dot above the four stage tower in the
crop design could correspond to the Sun Temple in Palenque as well
as to the Sun of the Fifth World of the Hopi Prophecy. Did the
Egyptians and Maya know that all our life efforts, accumulations and
lessons, represented by the four stage towers are the preparation
for another stage of existence?
Temple of the Sun, Palenque with the four stages before the Temple
level.
All five
cartouches form the pattern of a pentagon within the circle. Five is
found as the number of interior ‘cartouche’ parts in the finished
design, as the five ‘petals’ that appeared outside the circle, and
as the number of ‘dots’ outside the cinquefoil. It is present at
the interior of the design and on the outer limits of the design.
Five represents the human microcosm. “It symbolizes the whole, the
quincunx being the number of the centre and the meeting-point of
heaven and earth and the four cardinal points plus the centre. It is
also the Godhead as the Central Creator of the four great forces.”
Five is the marriage number of the hieros gamos, the sacred union of
the Masculine and the Feminine energies. When pointing upwards, the
five-pointed star (that can be derived from the pentagon) represents
integral individuality. (Cooper 116) In this formation the pentagon,
when seen with the tower at the top, is pointing upwards. Five
represents the manifestation of humanity in full maturity of both
physical and spiritual development, and it symbolizes the centre,
the heart’s infusion of matter with spirit. It is the Mayan symbol
for perfection.
Is the
destiny and purpose of humanity to be the vehicle by which matter is
spiritualized? Is this the beginning of the Fifth World prophesized
by the Hopi? And what is to be expected if this is so?
Given the
context, which is a movement from within, a letting go or dying
(hinted at by the arm references and the bird goddess references) of
old ways and the old consciousness to make way for a new birth
(hinted at by the vesica piscis as origin of beginnings), we also
receive some direction for how we can work with this Great Change.
The key to some of the activity humanity must undertake at this
point in time, and in the context of moving from the Fourth World to
the Fifth World lies with the Tower figure at the top of the crop
circle.
Above are three versions of the Tower card, Number 16, of the Major
Arcana of the Tarot. The Dove and Rays in the first, the red, white
and blue dots in the second and the small yellow blobs in the third
images all indicate that there is a good outcome indicated in spite
of the drastic scenes.
In the
tradition of the Tarot, the Major Arcana XVI, The Tower, has a
powerful message for all of us. Because the tower is the only
man-made structure in the Major Arcana of the Tarot, it represents
the organizations, systems, structures, institutions, ideas and
material accumulation of human activity and thought. As reflection
and validation of the ego, these institutions and thought forms
might cause humanity to forget to honor their original relationship
with the Creator. Also, any clinging to achievements that are
completed and have lost their relevance must be cleared away to make
room for the new ways. The lightning ensures that clearing away if
it is not done voluntarily. In this card, we see the necessity of
surrender to the greater movement of Life and its powerful
dictates. If we remain in the restrictive tower of predefined
reality, then we are in for some difficult times. If we put aside
our interest in maintaining old and spent attitudes and approaches
and allow for expansion and variation of what we know, then the
tower card indicates a breakthrough of cosmic consciousness that
will enable us to build anew. This rebuilt tower could be seen as
shown to us lodged in the beautiful cosmic flower of the Fifth World
in this Honeystreet formation.
Finally, the
feathers on each cartouche are different in number. If the first
cartouche is considered to be the one SE of the ‘tower’, then the
number of feathers in each are, respectively: One: 13, Two: 13,
Three: 14, Four: 14, Five: 15. I did not consider the numbers that
important until I examined Tommy Borms diagram. In his version, each
group contains 16 feathers. This was the first number I considered
and found that in the Mayan system, 16 is named Cib and stands for
Cosmic Consciousness among other supporting ideas. When I noticed
the numbers in the photographs did not coincide to Tommy’s, I found
the pattern of 13,13,14,14,15. Perhaps the sequence of numbers
represents different stages and their characteristics in evolution
of consciousness, and Tommy’s version is a completion of that
sequence. If we want to look at it that way, then: 13 is Ben –
courage, compassion; 14 is Ix – alignment with divine will; 15 is
Men – global consciousness. Whether these were deliberately placed
in the formation and whether Tommy Borms’ diagram was anticipated,
the numbers add up, so to speak. Some good advice for us humans! The
sequence, when used with the meanings, makes sense in terms of
development of a mature conscious existence. Courage and compassion
(Ben) facilitate alignment with divine will (Ix) that, in turn,
supports global consciousness (Men). Cosmic Consciousness (Cib) is
then the quantum leap made into a Fifth level of Human Being.
All in all,
the crop formation that began on July 4th and finished
July 5th (?) has given us a clear message about the need
for transformation, who/what is initiating it, and what its goal is.
The material
world, our living space, has been weighed and measured by the human
race for millennia, but to what purpose? We are yet found wanting.
What is the missing element? In the hint of the number five we have
it. The Fifth Element has to do with the centre, the heart and the
union of opposites (male/female, material/spiritual, light/dark,
etc.). This new element imbues all matter and life on the planet
with a spiritual energy; it vindicates human effort and undertaking
by making them the vehicles by which the spiritualization of matter
is accomplished. This is conditional on our acceptance of the role
and on our will to be open to the unknown Will of the Universe. The
four square world of matter, now easily organized and manipulated by
humanity, must be approached and treated with LOVE. This is what
will bring about the positive future for us all. Our acceptance of
the role of assistant transformer is reflected by choices we make
each day, as the tower message suggests.
If the
Universe could speak to us with words as well as crop circles,
imagine that it might want to say something like this:
Stand in
yourself.
You are My
creatures, My children.
Your minds
are fields for My revelations.
This is your
joy;
This is your
pleasure and life:
My love for
you in all circumstances.
It is
creative; it is transformative.
You are My
children,
My beloved.
Open to this
reality.
It is new
and unknown.
Your faith
and openness are required.
I am the
quantum generator.
My love is
Supreme.
It is the
rule and the ruling factor.
To be open
in faith to this is your fulfillment and your life.
Your freedom
is My will.
Your choice
belongs to you alone.
Love is My
invitation.
And so the
Song Begins…
Michelle
Jennings
Sources:
Arguelles, José. The Mayan Factor: Path Beyond Technology.
Bear & Co. Rochester, VT. 1996.
Cooper, J.C. An Illustrated Encyclopaedia of Traditional Symbols.
Thames & Hudson. London. 1978.
Coulter, Laurie. Secrets in Stone. Little, Brown & Co.
Boston. 2001.
Gimbutas, Marija. The Language of the Goddess. Thames &
Hudson. New York. 2001.
Gray, Eden. The Complete Guide to the Tarot. Crown
Publishers, Inc. New York.1972.
Henderson, J.H. The World of the Ancient Maya. Cornell
University Press. Ithaca. 1981.
Sacred Symbols.
Robert Adkinson, ed. Thames & Hudson, Ltd. London. 2009.
Sharman-Burke, J. & Liz Greene. The Mythic Tarot. Methuen
Publications. Toronto.1986.
Spilsbury, Ariel & Michael Bryner. The Mayan Oracle. Bear &
Co. Rochester, VT. 1992.
Walker, B. The Woman’s Dictionary of Symbols & Sacred Objects.
Castle Books. Edison, NJ. 1988.
http://www.talariaenterprises.com/products_lg/tal034.html
http://www.thefreedictionary.com/cartouche
http://www.hedgedruid.com/tag/morning-star/
http://symboldictionary.net/?p=1510
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