Tag Archives: blood

Groking the Goose

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The Goose girl

As a child, one of my favorite stories was The Goose GirlGruesome as it may seem, the character I loved best and remember most clearly is the faithful horse Falada, whose head gets chopped off.  Even in death he remaines a faithful helpmeet.  Of course, Falada was a magical horse and the magic was always my favorite part.  I also liked stories with blood in them.  I think there may be arcane bits of knowledge we’re born with or are privy to through the collective unconscious.  Or maybe, the deep knowledge of blood mysteries is part of a woman’s heritage, encoded in her DNA from birth.  The magic associated with blood runs like a red thread through fairy tales and myth.  In The Goose Girl the mother pierces her finger and lets three drops of blood fall on a handkerchief which she gives to her departing daughter as a magic talisman.

Then, there’s geese.  Geese have always been great favorites of mine – possibly because I liked this story so much and read it so often.  In ancient Egypt the goose was thought to have laid the primordial cosmic egg, but also to have hatched from it as the sun.  Geb the Earth god was sometimes called The Great Cackler!  (Egyptian mythology is terribly confusing – mostly because we don’t know enough and try to interpret things according to current cultural sensibilities.)  In north Africa it is still (4,500 years later!) customary to sacrifice a solar goose at the solstice.

Egyptian Geese

In Rome a sacred flock of geese lived in the grounds of Juno’s temple.  Their duty was to raise an alarm if and when the city was attacked.  Indeed, in 390 C.E. they did foil a stealthy night raid by enemy Gauls.  To this day people use geese to protect their property.  In my collage a large goose stands behind the girl in a protective stance.  It “has her back.”

Obviously, geese represent return journeys and thus the “heroine/hero’s journey” of Campbell fame.  The journey for the quest of self includes leaving home, descending into the dark, facing one’s demons and returning to the community with a treasure.  The Goose Girl story follows this formula, taking our heroine through an initiation from childhood to adulthood.  Like so many of these stories, this one served me well.  The Goose Girl taught me to value courage, perseverance, and ingenuity.  I wanted to make them my own.

I didn’t realize how much she meant to me until years later, well into my fourth decade, I encountered a terracotta sculpture called Gaia Goose Girl.  I wish I knew the name of the sculptress.  Her goose girl was a near life-size figure of a lovely young woman with a face full of strength and character accompanied by a goose.  Seeing it brought back every feeling of identification, love and longing I felt when first reading this tale.  That kind of experience is what makes art so important.  The art piece acts like a catalyst, constellating a host of amorphous feelings and associations in a way that captures both memory and significance, but at the same time, allows new insights to unfold.Goose GirlGöttingen_Gänseliesel_März06

My sculptress is not the only one to find inspiration in the goose girl. In Göttingen town, famous for its old university (Georgia Augusta, or “Georg-August-Universität”), which was founded in 1737 stands a decorative fountain whose main figure is called the Gänseliesel (Goose Girl).  On the day they are awarded their doctorate degrees, students are drawn in handcarts from the Great Hall of the university to the Gänseliesel-Fountain in front of the Old Town Hall.  There they have to climb the fountain and kiss the statue of the Gänseliesel. This practice is actually forbidden, but the law is not enforced. She is considered the most kissed girl in the world.  The students remind me of Little Conrad (Kürdchen) in our story.

Most interesting, in light of the conjunction of horse and geese in our story, is a report by Vasily Vasilievich Radlov that in the Altai mountains (mountain range in East-Central Asia, where Russia, China, Mongolia and Kazakhstan come together), after the ritual sacrifice of a horse, the shaman ascends on the back of a goose in pursuit of its soul.

All the bits and pieces, hints and allegations are what truly fascinate me about these tales.  This story has everything – wise elders, a nefarious villainess, a faithful spirit guide, a sacrifice, a mistaken identity, importunate young men, a charming prince, restoration and retribution, but other fairy tales are often thin on plot and sometimes appear simplistic on the surface.  However, no matter how simple, the  tale usually contains a detail or two rich in association and resonant with meaning.  For me, it isn’t so much about deciphering that meaning as relishing its presence.  It’s the ambiance of the stories that make them so endlessly fascinating.  The grok is everything.

goosetrack

Those Bloody Shoes

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Those Bloody Shoes 3I must confess the reason I pushed for the Grimm version of Cinderella was the bloody shoes.  Cinderella’s slipper differentiates it from all other “rags to riches” stories.  It’s importance is heightened in the Grimm version by the dreadful acts of the two step-sisters as they actually slice off parts of their body in order to cram their feet into those shoes.

Shoes are fascinating symbols in themselves.  They represent ownership.  In ancient times the Irish sealed a real estate deal by taking off their shoes and handing them to the buyer.  New land was claimed by setting ones shoes on the property.  In Cinderella, the Prince was setting out to claim ownership of Cinderella, but he needed both shoes to do so.  On the other hand Cinderella was claiming the palace as her own by leaving a shoe there.  The missing slipper also underscores Cinderella’s ambiguity in the household.   She is the rightful heir of her father’s estate, but cannot claim her birthright.

Shoes are also sexual in nature.  Think of the vaguely phallic shape of the foot  slipping snugly into a well-fitting shoe and you get the idea.  Hence, the shoe fetish.  High heels and the outlawed art of foot-binding are both examples of the perception of the foot as a sexual  symbol.  Both involve suffering pain and physical humiliation.  The self-mutilation of the step-sisters is shocking not because it presents us with an alien idea, but because we so easily understand it.  Consider that some women pay thousands of dollars for a pair of shoes.  This story speaks directly to the desperation inherent in the competition for attention from powerful men and women.  The shoes send a sexual  message of availability.  It’s why they’re called “F***- me-shoes.”

Cinderella, like many stories starring a maiden, contains coded warnings, comments or instructions for young women.  Whenever you find young women and blood together in a story it refers in some way to menstruation and/or the breaking of the hymen.  Blood is one of humanity’s most potent  and complicated symbols because it stands for both death and life.  It is a sacred fluid full of spiritual and magical abilities; Odysseus uses it to speak to the dead, Abel’s blood cries out from the ground to the Lord.  In our story the birds speak for the blood.

Oaths sworn in blood are considered binding for all time.  The step-sisters shed their blood to seal a falsehood.  The consequences are bound to be dire and they are.

The bloody shoes may presage the tearing of Cinderella’s hymen once the Prince takes possession of her.   Yet the tearing is a necessary precursor to both pleasure and reproduction.  The blood in this story represents lifeblood, women’s blood.  Perhaps, that’s why the step-sisters are blinded rather than killed in punishment for their cruelty and deception.

Because of the blood, I wanted to make my collage red.  The red on red on red motive symbolizes the layers of meaning inherent in red blood and in the color red itself.  It is difficult to see into them, just as it’s difficult to untangle the various disparate yet connected strands of love, property, individualism, family, truth and lies that make up the tapestry of this story.  The shoes are bleeding for all the literal and metaphoric reasons stated above. I set them in a border of flowers because this is a maiden story.  It speaks of women’s mysteries and women’s doings and women’s solutions.

On the Way to the Wedding

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On the Way to the Wedding

On the Way to the Wedding

Last month we had a spare story where we had to delve and dive for meanings, this month with Pandora’s Box we have a story rich with store-bought meanings, some of them diametrically opposed.  I’m very curious about what will fly out as we unpack the story and shake out the wrinkles.

I’ve been fascinated by Pandora since I was a little girl, hearing the story for the first time.  I’ve thought of Pandora as very young ever since.  No doubt I identified so strongly with her because I too was a child filled with insatiable curiosity.  From the very first time I raised my hand in class to ask a question  it marked me as different.  Being an Army brat, I changed schools the way other girls changed clothes.   There were plenty of opportunities for fresh starts in new environments; besides my mama didn’t raise dummies – I knew perfectly well  if I wanted to fit in, or at the very least escape notice, I should throttle that insistent inquisitive other who  kept shoving my arm up and flapping my hand around.  But I couldn’t.  Just like Pandora, I had to keep opening the box and suffering the consequences.

It certainly didn’t escape my attention that Pandora and Eve had a lot in common; both being ‘first women’ blamed unfairly for letting mankind’s ills loose upon the world.  From the get-go I got how unfair that was.

Pandora is the dummling, the Fool, the innocent setting out on a journey for which she is totally unprepared.  She hasn’t even had the benefit of a childhood with all its lessons of separation and betrayal to toughen her up.  Zeus has ordered her freshly made and sent her like a time bomb into the world.  So, she isn’t just my little girl suffering the normal slings and arrows of childhood, she is also every child used and abused by adults for their own ends.

In this first collage we see young naïve Pandora carrying all the gifts the gods have showered upon her neatly packed in a basket, on her way to her new home. She rides on top of the hope chest of a bride and her path is strewn with celebratory flowers.  Behind her hovers the shadow of the woman she has already, unbeknownst to her and without her consent, become – a sexual object to be bought and sold by men and gods in games of power.  At this moment though, she is still unaware of her fate; still seeing the world as freshly painted just for her.

Painted red – to stand for marriage (China, India), sacrifice (blood, virginity), fire (Prometheus), hidden knowledge (alchemy) and the “uncontrolled lust for power leading to self-absorption and hatred” (Zeus).  This particular shade of red symbolizes “yang” the masculine life force.  You  see it reiterated in this collage, emphasizing the imbalance of yin and yang. (See previous post March 25)

The story begins with the sibling rivalry between Zeus and his brother Prometheus, which leads to the theft of fire for mankind, resulting in Zeus’s commissioning Pandora from the (male)smith Hephaestus before giving her to another brother Epimetheus as his bride.  Perhaps the evils hidden in Pandora’s box will emerge out of this gross imbalance between feminine and masculine elements rather than the curiosity of Pandora.