Will you walk with us in the forest? It lies in the green place, the emerald light within your heart. Gaia’s every stem of grass, unfolded leaf and river reed grows there, in your heart’s garden, where Eden forever blooms. And in its centre your Tree, the Tree of all Life, with its arms in the light of Source, its roots in the fourfold cross, the neverending Lifestream. Tend your Tree, water it with love, lay your hands of kindness upon its trunk, rest your cheek on its skin and feel the sacred spirit, the breath of Source, run through, to you, from you, as you. As One. We are the Life Eternal. ~ the ‘Green Men’
Gaia is calling her pillars to stand in peace, light and balance, deeper with her than we’ve gone before. We’ve talked a lot about the return of the Divine Feminine in other posts. Now let’s focus with the Divine Masculine, which for this post will be in the company of the Green Men, the kings of the forest, for there have been and are many, and their spirit and energy flows in the Life force of nature, in the flow of Source, in the DNA and RNA of all living beings.
We’ll approach this theme of the Divine Masculine through the perspective of our Oversoul (Ashurana’Ra) and particular soul expressions connected with Gaia, within the wider stream of Divine Masculine Presence(s) supporting the Earth’s blossoming. You may have already read of Ashura in other Heart Star posts, who in his 5D soul-form Arnap was for a while guiding the lightship Shem Arua, and now the Meri’Ashar. He’s remembered by several names on Earth, through the flow of the White Ray and its overlighting consciousness, Archangel Gabriel, one of them being Ashur, ‘god’ of the ancient Assyrians. Through the divine conception/life-creating aspect of the White Ray, he also came through ‘Cernunnos’, Celtic god of the forest, in northwestern Europe, called the ‘horned king’, depicted with reindeer antlers on his head, and connected with the metaphysical White Stag.
The Horned King of the Forest, divine masculine essence of Life, conception, growth, fertility, renewal and resurrection. Image: Artist unknown.
We’ll state here that Cernunnos is not, nor ever was, Satan, and later conflations of of the antlered king of the forest – masculine counterpart of the Mother Goddess – with the devil, came from the same Source-disconnected dominating drive that saw the devolved priesthood of Ashur and similar in that region (and others) suppress and erase the Mother side of Source, the Asherah, from temples and texts, converting Ashur’s memory into a god of war…from angelic guaridan of Asherah, the ‘Mother’ energy within the Tree of Life. Such have been the twists of perception for eons, now being subtly called to unravel and realign to Love.
Ashur protects the Asherah (Mother Tree/God’s Wife), holding the Bow & Lily-tipped arrow of immaculate conception.
In Lights in the Sky Part Four we shared some perspective on Ashur, the Alpha Centaurians, and the incoming energies of the Bull (Aldebaran/Taurus, grounding of red life force energies), Ashur’s depiction as a winged bull, and how ancient cultures described the Centaurus constellation as a bull, later as a centaur. In January 2015, Ashura’s face appeared in the cloud portrait below, with curved horns on his head (also can be seen as number 3/trinity energy) and a pink butterfly in front of his mouth. I’ll come back to the butterfly later in this post.
Ashura and pink butterfly, photo taken Jan. 23, 2015, Perth hills, Western Australia.
The ‘rolled crescent’ type horns in this photo carry the vibration of the Bow or Arch of the Mother, through which flies the arrow of Inception/immaculate conception. Also, they form a double horseshoe, and the horseshoe represents Centaurus, and the deepening of Mother’s Bow before the arrow of Life is loosed. The horned king took the form of a deer in the Celtic pantheon, represented by Cernunnos, seen below on a panel of the Gundestrup Cauldron, gripping a horned serpent in one hand and a torc (horseshoe-shaped necklet) in the other, in the recurring symbolism of the crescent, below the head of a reindeer.
Gundestrup Cauldron, 200BC-300AD, Museum of Denmark, Copenhagen.
Cernunnos panel, Gundestrup Cauldron.
Like the Irminsul pillar of the Germanic god Tyr (Thor, a Procyon soul aspect of Archangel Michael) – with its double fronded ‘branches’ reminiscent of depictions of Asherah as a two-fronded palm tree – the antlers of Cernunnos connected heaven and earth. Feel also into the deer as an animal connected to (and representing) the energy of the Angelic soul streams, and on a subtle level, antlers as a conduit of divine light, earthed through the animal form.
Irminsul pillar, artist unknown.
The tines of the antlers, like a tree’s crowning branches, conducted light from the heavens through the head and body of the king(s) of the forest into the Earth and sparked it with life, the green teeming growth of the plant world, Gaia’s ‘fingers’. Thus he became known also as the Green Man, the essence of sacred masculine fertility, seeding of Light. Father-Mother merged energies of Source, conducting Light-in-Life, spirit-in-matter. Pure united form of essence and body, the Ascended state of light-embodiment. The deer was seen & felt by many ancient cultures as a creature that crossed dimensions, and nowhere is this clearer than in myths of the White Stag or White Hart.
White Stag, promotional poster art for the movie, Harry Potter & the Deathly Hallows Part II, image courtesy Warner Bros.
Cultures all around the world have associated white animals with the spirit world, prophecies of renewal of life, ‘good luck’, benevolent magic, enlightenment, the return of light to Earth. But the White Stag, more than any, is the animal extension of the Tree of Life and the forest king, the Green Man, Gaia’s husband and champion. The old myths of many civilizations are alive and well in the collective unconscious, where the rebirth of Love is known, albeit subconsciously, and can be seen expressed through the Arts now. Let’s take a look at how the symbolism of the White Stag appears in three fantasy books/recent movies; The Hobbit, the Harry Potter series, and Snow White & the Huntsman. Broadly speaking, the fantasy genre takes unresolved shadows from the collective past/present and projects them into an alternate world, stripped of mundane ‘real world’ situations or contraints, in order to expose and resolve them. (Science fiction, on the other hand, projects current hopes, wishes and fears into imagined/predicted futures, but we’ll leave that for another post, in terms of star family’s return). Both fantasy and science fiction can have strong precognitive energies, and some are indirectlyunconsciously or directly channelled or guided (such as the original Star Trek series).
The White Stag appears most overtly as a higher dimensional embodiment of Life in Snow White & the Huntsman. Snow White escapes from her evil stepmother into the Dark Forest, which like the rest of the blighted land, is diseased and deadly. She first encounters a savage troll.
Snow White calms the horned troll – primeval brute force – in Snow White & the Huntsman, image courtesy Universal pictures.
But in her presence, this great troll horned with tree branches, a defender of the earth maddened by human aggression, becomes calm and trusting. For ‘Snow White’, like the white animals, is herself aligned in her pure innocence with the higher dimensional world – and was already marked as a ‘daughter of the Goddess’, when she escaped her stepmother (the distorted, self-consuming feminine) on a white mare, which in Celtic symbology was a form of the Mother Goddess, Epona.
Snow White is saved by a white mare, who perishes in the Dark Forest (ie; the Mother is weakened) but is ‘resurrected’ when Snow White later rides a white horse to victory. Image courtesy Universal Pictures.
Her flight into the Dark Forest takes her into its living green heart, which she is told is the Sanctuary, the ‘world of the fairies’. In the Sanctuary, light still shines through a lush Eden. There she meets the White Stag at the foot of a huge old tree, that has a look of Yggdrasil, the World Tree of Norse myths, the Ash Tree that bridges the nine realms/dimensions (feel into the energy of the names Asherah, Ashura, Ashtar, Ashima etc) from which the god Odin hung to gain wisdom and access to all the realms.
Snow White meets the White Stag in the Sanctuary, image courtesy Universal Pictures.
The Stag bows his head, with its antlers made of great tree branches, and blesses her, in recognition of her Life force.
The White Stag blesses Snow White. Image courtesy Universal Pictures.
A soldier of the evil queen shoots an arrow into the Stag, but as a being of the ‘otherworld’ he dematerializes in a higher dimensional shift instead of dying (his form dissolves into a flock of ascending white birds or leaves). The soldier represents the masculine ego-self disconnected from Source, at war with the Divine Masculine, unable to ‘recognize’ the higher frequency of the same energy. This theme of misrecognition/separation also appears in The Hobbit: The Desolation of Smaug. The White Stag scene isn’t in the cinema release, only in the extended version, which included this scene from the original book by J.R.R. Tolkien.
The White Stag appears in the dark forest of Mirkwood, in The Hobbit: The Desolation of Smaug, extended DVD version, image courtesy New Line Cinema/MGM.
Again, the White Stag scene appears in a dark, diseased forest, Mirkwood – that had once been Greenwood the Great. But in Middle Earth, over which the shadow of greed, control and domination by fallen gods and their minions has settled, the King of the Forest – here portrayed by the elf-king Thranduil – has dropped from his higher vibration into egoic pride, judgement and defensiveness. So when the dwarf Thorin Oakenshield (whose greed for gold strips him of his ‘honour’ and ultimately, his life) shoots an arrow at the White Stag instead of showing trust and following it, he loses the favour of the elf king, and never regains it. That King Thranduil is an elfin version of the Horned King is clear in his crown, which resembles tiny antlers bound with leaves and berries (he has not completely ‘fallen’, and is still fruitful, his son being Legolas Greenleaf).
King Thranduil’s crown of tiny antlers; a diminished, semi-fallen Woodland King. Image from The Desolation of Smaug, courtesy New Line Cinema/MGM.
He rides an elk, with a majestic spread of antlers, a sign that his power, potency and wholesome connection to the earth is not yet lost, but he is a wounded king in retreat, sealed away in an underground realm, only venturing forth in greed and material desire.
Thranduil, riding his elk, stays his hand and spares his troops from war. The Hobbit: An Unexpected Journey, image courtesy New Line Cinema/MGM.
Thorin too is heir to an underground realm, but has gone too far into ego-mind desires to reclaim it. As his kindred dwarves say, he has been ‘driven mad by dragon-sickness’. Can you see/feel the metaphors at work in these films? Let’s go deeper underground, to the ‘realms of faerie’, for the hidden elven strongholds of Tolkien’s Middle Earth are an echo of the real higher dimensional Inner Earth world of Agartha. And in that dimension, we find another sacrificial Green Man of ancient days, the ‘father god’ of Egypt, Osiris.
Painting of Osiris, tomb of Nefertari, 1295-1253BC.
In the myths, Osiris was killed by his jealous ‘brother’ Set, but the fourteen scattered pieces of his body were found by Isis and Anubis, and Osiris was resurrected – as a king of the Underworld, symbolizing his dwelling-place in the higher dimensional world of Inner Earth. The myths are metaphors; feel deep into the resurrection of Osiris. Only one of his body parts could not be found, his penis (loss of seed/reproduction/DNA). So Anubis fashioned one of gold (golden light, the golden frequency of divine-aligned creation), from which Isis conceived a child, Horus, in a form of immaculate conception – that brings us back full circle to Ashur and the three-petalled ‘Trinity Lily’ of his arrow…..and Cernunnos, whose essence is One with the Tree of Source, and sparks Life.
The White Stag, projection of Thranduil’s essence, The Desolation of Smaug.
Of the three movies I mentioned, there is one left to look at, and Harry Potter is an especially Osiran – and Christlike – character. Harry, pitted from infancy against a dark power that seeks world domination, when put in a life or death situation produces a ‘patronus charm’, a shielding attribute, or extension of his soul/essence – which for Harry takes the form of a White Stag. His Stag, as in the two previous films, appears in a dark and perilous forest, in this case the Forbidden Forest, in the Hogwarts School grounds. Like Mirkwood, the Forbidden Forest is overrun by giant spiders and all evil energies take refuge there. Centaurs, once wise beings, run wild and dangerous. But like Snow White in the Old Forest, Harry is befriended by magical creatures, including the centaurs – and his White Stag connection signals him as a bringer of Life, renewal and resurrection in a darkened world.
Harry Potter’s White Stag patronus charm, in the Forbidden Forest, image courtesy Warner Bros films.
Indeed, after being ‘killed’, Harry finds himself in King’s Cross station and his life is restored, as his task is not yet completed. In each of these books/films, Love ultimately prevails, pure unconditional Love. And in each film, the pathway to restoration/rebirth is delayed and resisted by the war of the disconnected ego masculine against the Divine Masculine.
In the ‘real world’ of 3D ill-us-ion, that war has suppressed the feminine, to the extent that in some parts of the world today, girls and women still live in peril, with limited options, because of their gender. This 3D planet, an extension of Gaia’s consciousness, is in deep stress from industrialization and overconsumption by a human population that needs to transition from caterpillar to butterfly stage rapidly. And as if time has collapsed, amid the chaos of Iraq, Islamic State members last week took sledgehammers to Ashur’s winged bulls in the Mosul Museum and bulldozed the ancient Assyrian capital, Nineveh. How symbolic. We know as 5D presses in more deeply, those who push against it and cling to old ego structures and belief templates are liable to crack. So, dear friends, will you focus steadfastly with us on anchoring unconditional Love in this field, in whatever way feels best to you, and let ‘all the rest’ go now?
If you read this previous post about the Pink Star exercise, here is an extension now from Ashura, using the visualization of Pink Butterfly.
Ashura’s pink butterfly.
Put your being within a Golden Apple of light, centre through its axis with Source and anchor with Gaia’s crystalline, immutable core. From my breath comes to you, dear souls, this pink butterfly of Love. Only Love. Open you heart and let this butterfly settle within it. Feel its softness, its lightness of being, within your heart, made soft and light by your allowing. We of the Green ask you now, breathe in the green Life, blow it through your field. Expand it to all living beings, speak such blessing and praise that make your heart ring its true Golden Tone. Then focus with stillness into your heart, and feel only the One. Love IS Life. We are close by you, in the curve, in the golden we meet.
In the next post we’ll focus on DNA and RNA, and the upcoming March-April ‘twin pillar’ dates. For now, attune to the II-II energy of these twin pairs, Solar Eclipse-Equinox March 20-21 and Lunar Eclipse-Easter April 4-5 – and the space between. Through Rose in the Green, land the Golden.
With eternal love and thanks to beloved Ashura, all the Green Men of Love and Life, and all beings who cherish the Light of Source. Thank you also to Alpha Centaurian star brothers and sisters and light beings of many origins and dimensions, who continue their work with anchoring higher dimensional spheres of light around the planet.
Alpha Centaurian captain Je’errene’on looks through a green light ‘porthole’, photo taken Feb. 24, 2015.
With Love, Peace & Joy to All,