Spirits that "stick" to people

The so-called Spirit Attachment is one of the oldest forms of possession by which an entity manages to be "stuck" to a living person, establishing a parasitic relationship from there; something that we had already talked about when studying the worms, larvae and parasites of the astral plane.

Technically we speak here of possession although not necessarily demonic, and not even malignant.

While most of the spirits that adhere to living persons are, in reality, non-human beings on the astral plane, there is also another type of less pernicious attachments.

The traditions and old beliefs, on the other hand, maintain that this type of tie with a spirit occurs immediately after the death of someone who does not achieve an adequate transit towards the beyond, being subject to the plane of the Kamaloka, or Plane of Desire.

These beings, still attached to the physical world due to a strong confusion and, above all, to unresolved emotional issues, as happens to most suicides, manage to stay close to the people they met in life and, in certain cases , being "stuck" to them for a considerable time.

Others hold that spiritual attachments are performed at random, when the spirit does not possess enough skill to get close to their loved ones, but instead gets any guest, of course, conveniently vulnerable.

The symptoms are always the same: sudden changes in behavior, style of dress, manners, manner of speaking and habits, among them, the appearance of sudden addictions.

The victims usually fall into deep depressions, and even manifest suicidal drives. Others, however, reveal signs of sudden multiple personality disorders. In any case, the severity of the symptoms depends on how strongly the spirit "sticks"; that is, how deep it can be established in the consciousness of its host.

Of course we speak here of the most obvious cases. There are others, however, much more subtle. In fact, many people do not even suspect that they have a spirit "stuck" on their backs.

The so-called Forms of Thought can go unnoticed for a certain time, although their existence is short and they do not possess a high degree of intelligence.

Remember that, in short, the latter are not spirits or non-human creatures, but intense thoughts, almost always dark, that manage to assume a certain degree of density and autonomy.

In short, the Forms of Thought are a fleeting but very hard species of psychic entities, independent of their origin and that develop an autonomous existence. In many cases they do not come from abroad, but we ourselves take charge of forging them.

The psychologist Carl Jung, no less, suggests that these entities are born, grow and dissolve constantly in our psyche; almost always the product of some strong sense of guilt.

We are not here in front of anything supernatural, but within the extraordinary fauna of our psyche.

Carl Jung offers us an example of how a Form of Thought is born and established in the psyche of someone:

A child draws on the wall and his mother, of course, punishes him; not without first clarifying that he should not behave like a fool and destroy things in the house. The child, defeated, translates these warnings into his unconscious. But the unconscious can not think or reason in negative terms, so a "positive form" of punishment is established there: I am a fool who destroys things.

Repeat this dynamic for a long time and these forms of thought will be tied forever in the psyche. Fortunately, it also works the other way around. If the stimuli are positive, they will remain so in the unconscious.

Most of the works of black magic are based on these Forms of Thought, only that it is not the individual who forms them, but the magician or sorcerer who manages to install them in his mind.

All the esoteric paraphernalia has as its object to make the human mind "form" a thought strong enough to really exist and act according to the impulse that gave it life.

But spirits rarely operate that way.

They do not possess the strength or the determination to "stick" to the shoulders of someone in particular, but rather the cunning to find a suitable and easy to own guest. The abuse of alcohol and drugs destroys the defenses of our mind and allows, in certain cases, that the spirits get to "stick" to our aura.

Most of the shamanic rites follow the same principle, only that here the shaman controls the situation, that is, it is he who seeks a particular type of spirit and orders him to "stick" to his aura in order to obtain knowledge or solutions for a particular problem.

With regard to this last possibility, the anthropologist Mircea Eliade wrote a remarkable study entitled: Shamanism, which analyzes practically all the ways in which a spirit can "stick" to a living person, or even to an inert object.

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Little Red Riding Hood: the real story

Of all the folk tales that the Middle Ages has bequeathed to us, and even further back, that of Little Red Riding Hood is that it has suffered the most severe mutilations from commentators, compilers and, of course, the icy and abstruse Walt Disney.

The story, until the scene where the wolf is dressed in the clothes of the grandmother, is more or less the same as the medieval children knew. The differences are given from this point. But first let's review a bit of history.

The first compiler to rescue the story of Little Red Riding Hood was Charles Perrault, who included it in his anthology of popular stories in 1697. Contrary to what happens with other traditional stories, such as Sleeping Beauty or Hansel and Gretel, Little Red Riding Hood was not a story very widespread in Europe. Moreover, it was known in a fairly closed area, ranging from the north of the Alps to the Loire region. In 1812 the Brothers Grimm rewrote history, especially the end, and that is the version that is known today; a version, incidentally, very different from the real Red Riding Hood.

It is not surprising that the Brothers Grimm have modified the original story, the strange thing is that they have been based on a dark work by Ludwig Tieck called Life and Death of the Little Red Riding Hood (Leben und Tod des kleinen Rotkäppchen); tragedy that includes the presence of the woodcutter, absent in the popular story.

Perhaps not to scare away the fearful parents of the early nineteenth century, the Brothers Grimm eliminated all the erotic elements of the story and planted a happy ending, in addition to sweeping everything that does not support the purity and innocence of Little Red Riding Hood. The summary: the end of the story in the version of Jabob and Wilhelm Grimm are saved absolutely all, except the wolf, of course; whose guts are opened by the skillful woodcutter, returning the grandmother to her daily routine.

Let's go to an analysis of the story.

According to Aarne-Thompson's classification of folktales, Little Red Riding Hood enters the category 333, that is, stories that present a supernatural opponent. It is important that we erase from our minds the idea that folktales served as a warning to children about the dangers of the forest, for that a good reprimand was enough. Folk tales have another function, much more important for the people than the peoples have understood. As we see it today, the protagonist of Little Red Riding Hood is, clearly, Little Red Riding Hood, but this is not the case. The mistake, if you can call it that, is Disney's insistence on achieving children's empathy with history. Essentially, Little Red Riding Hood is an important character, a trigger through which the real tragedy happens, but by no means is it the only one. There are even very old versions in which it is mentioned in passing, like that traditional Italian tale called La finta nona, that is, La Falsa Abuela, in which case the young Little Red Riding Hood is an almost decorative element.

The true story of Little Red Riding Hood holds two central elements:

1) The taboo of cannibalism.

2) The embers of the old Nordic religion.

Little Red Riding Hood, Rotkäppchen, Little Red Cap, Le Petit Chaperon Rouge, Little Red Riding Hood, are variables of this trigger. If we had access to some extravagant time machine, and we could witness the storyline of Little Red Riding Hood first-hand, we would hear a completely different story from the one we know. There, the wolf would swallow the old woman, as she does today, but leave on the table a juicy banquet made with the flesh and blood of the grandmother, which the innocent Little Red Riding Hood devours voraciously, perhaps intuiting its illicit origin. Then, dressed in the clothes of the occide, and after a dialogue with many variants, the wolf would pass to taste the trembling flesh of Little Red Riding Hood; moment in which a hunter, who hears the heartrending cries of the young woman, enters the room, kills the wolf and opens the stomach with a knife, returning the young woman to the world of the living.

Now, this death and rebirth of Little Red Riding Hood speaks to us about something very old in the human race: the rite of initiation.

Little Red Riding Hood in the forest, in the house and in the stomach of the wolf, are symbols of the three phases of initiation into adulthood; by which a girl leaves her home-mother, community, civilization-runs through a wilderness-the forest-faces the most sinister of the human heart-cannibalism, anthropophagy-and defeats the worst of the enemies in the womb of the wolf - death.

But in addition to pointing out these archetypal topics, Little Red Riding Hood also symbolizes the awakening of sexuality. Their red clothing testifies to the beginnings of sexual maturity, and the wolf, anthropomorphized to soften the devastating effects of this transit, is perhaps a symbol of wild sex, of primitive sexuality, while the hunter, on the other hand, represents sex within civilization, that is, within a functional marriage to society; whose ultimate goal is to procreate, and not the idle release of the instincts.

These psychological and anthropological interpretations are rigorously true, but behind Little Red Riding Hood lies a perhaps more transcendental motive, and one that exceeds regional considerations on sex and adulthood. If we were to ride on that imaginary time machine, and retrocediésemos further, leaving behind the Middle Ages, we would see that the story of Little Red Riding Hood retains elements of Norse religion, hidden but clearly recognizable by the scholar-and lover of mythology Nordic.

The transition in the belly of an animal is a classic motif. We see it even in the biblical story of Jonah and the whale. The belly is, as we have said, an area of ​​transition, but doubly symbolic, since we all come from a womb and there we will go - the grave, belly of the world. Being swallowed by an animal is a return to intrauterine life, perfect and idealized life, but with a new, allegorical sense, perhaps, for which this new belly nourishes a completely different awakening. Life in the wild womb proposes a latent state, by which the individual will emerge changed. It will no longer be the same, like Little Red Riding Hood, which emerges from the belly of the wolf turned into a woman.

In the Norse narrative of Þrymskviða we see that the giant Þrym steals the hammer of Thor, called Mjolnir, for whose rescue he asks for the hand of the goddess Freyja (whose name is preserved in the word Friday Friday, or Freyja's day). Thor, scandalized, weaves a stratagem: he dresses in Freyja's bridal costume and tricks the giant. The dialogue between Thor and Þryms is textually identical to that of Little Red Riding Hood with the wolf, which throws a diffuse light on the true genital identity of the girl.

Going further back, crossing the dark tides of time, we could say that the story of Little Red Riding Hood also preserves elements of the solar myth. The grandmother represents the sunset, the dying light of twilight devoured by the darkness of the night -the wolf-, and the young woman symbolizes the light of dawn, which emerges from the wolf's belly like the sun that tears the veils of the night. Mythologically speaking, the wolf would be nothing less than Skoll, that huge wolf of the Norse tradition, whose destiny is to devour the sun in the battle of Ragnarok, or Fenrir, that wolf with iron jaws that falls in the apocalypse under the implacable hammer of Thor.

It is curious how mythology is diluted in popular tradition, lost and reborn under a new conception. A gigantic wolf turns into a petty lycanthrope, the God of the Hammer, quick for anger and friendship, becomes a poacher in the forests of France, and the new world, regenerated, free from the harassment of demons and ice giants, it mutates in the delicate and ambiguous forms of a girl, who, like the reddish light of dawn, adorns her head with the color of the rising sky.

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The Bouba Kiki effect

The dark side of psychology is often illuminated by sporadic playful beams. Today we are going to propose to you a small experiment, of course, innocuous; for which we are going to request the collaboration of all the readers.

It is not necessary to really strive; just observe and decide based on a premise. Do you see the image that heads the article? They are two abstract figures without any concrete meaning. The experiment consists in assigning a name to each of them. I am afraid that this exercise there is no space for creativity. I am going to give you two names and you, privately, must decide which name corresponds to each figure.

Which of these figures is Bouba and which is Kiki?

We give them a few seconds to baptize the images with their corresponding names. Remember, there is no right or wrong answer.

Enough? Well, what you have just done is a very brief linguistic-cognitive experiment called the Bouba / Kiki effect, created by the psychologist Wolfgang Köhler in 1929.

This scientist discovered that 95% of the subjects who participated in the experiment assigned the image of the right the name Bouba, and Kiki to the one on the left, although Köhler used the names Baluba and Takete.

That first exercise was carried out in Tenerife, but it was reproduced in many countries, changing slightly the physiognomy of the names; for example, Baluba was also called Bouba and Maluma in experiments performed by the neurologist Vilayanur S. Ramachandran and Edward Hubbard, and Takete was renamed Kiki.

Apparently, the experiments done with English speakers showed an even higher percentage than those practiced with Spanish-speaking people. 98% of the subjects investigated assigned the name Bouba to the rounded shape, and Kiki to the pointy. The conclusion of the experiment suggests that the human brain constructs abstract properties of forms; assigning sharp sounds when they are sharp, while rounded sounds seem to demand softer sounds from our creativity.

The experiment was also reproduced in children of two years, unable to read, with the same results and percentages found in adults.

This simple experiment that they have just done offers a powerful point of investigation for the study of the evolution of language, since it proves that words are never arbitrary, that is to say, that we do not create names and words in a random way, but rather "baptize" "We do an object by using its characteristics and especially the impressions that provoke us.

We might think that in the night of time, when a man (or a woman) tried to communicate with another being using a coherent succession of sounds to which they assigned a particular meaning, it would not really be such an extraordinary event. The truly formidable thing was that his listener, who did not know the rules that his interlocutor had created, managed to understand what he was saying, and above all accepted those sounds as their own and correct.

This acceptance that certain sounds can mean, for example, moon; perhaps it has to do less with a conciliatory agreement than with the recognition of the moon in those same sounds.

Science, at least in this sense, seems to support the foundations of all mythologies. Man never invented words, but "translated" what he saw and felt using his own range of sounds, by the way, finite, but that is never arbitrary and much less random.

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Art Classical Poetry II

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Art Classical Poetry I

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"The Swan Lake" 500 Words Story III

Prince Siegfried arrives at his 21st birthday celebration on the palace courtyards to find all of the royal families and townspeople dancing and celebrating, while the young girls are anxiously seeking his attention. During the exquisite celebration, his mother gives him crossbow and informs him that because he is of age now, his marriage will be arranged quickly. Hit with the sudden realization of his future responsibilities, he takes his crossbow and makes up to the woods with his hunting buddies.

Getting ahead of the group, Prince Siegfried finds himself a peaceful spot by an enchanted lake where swans gently float across its surface. While Siegfried watches, I spotted the most beautiful swan with a crown on its head. His buddies soon catch up, but he orders them to leave so he can be by himself. As dusk falls, the swan with the crown turns into the most beautiful young woman he has ever seen. Her name is Odette, the Swan Queen. She informs the young prince that an evil sorcerer, Von Rothbart, who so happened to be disguised as Prince Siegfried's mentor, has turned her and the other girls into swans and that the lake was formed by the tears of their parents' weeping. She tells him that the only way the spell could be broken is if a man, pure in heart, pledges his love to her. The Prince, about to confess his love for her, is quickly interrupted by the evil sorcerer. He takes Odette from Prince Siegfried's embrace and commands all of the swan maidens to dance on the lake and its shore so that the prince can not chase them. Prince Siegfried is left alone on the shore of Swan Lake.

The next day at the formal celebration in the Royal Hall, Prince Siegfried is presented with many prospective princesses. Although the princesses are worthy of his attention, I can not stop thinking about Odette. His mother commands him to choose a bride, but he can not. For the mean time, I have met his mother's request by at least dancing with them. While the prince is dancing, trumpets announce the arrival of Von Rothbart. He brings his daughter, Odile, on whom I have cast spell to appear as Odette. The prince is captivated by her beauty as he dances with the imposter. Unbeknownst to Prince Siegfried, the true Odette is watching him from a window. The prince soon confesses his love to Odile, thinking that she is Odette. To Odette's horror, she flees into the night. Prince Siegfried sees the real Odette fleeing from the window and realizes his mistake. Upon his realization, Von Rothbart reveals to the prince the true appearance of his daughter Odile. Prince Siegfried quickly leaves the party and chases after Odette.

Odette has fled back to the lake and joined the rest of the girls in sadness. Prince Siegfried finds them gathered at the shore consoling each other. I have explained to Odette the trickery of Von Rothbart and she grants him her forgiveness. It is not long before when Von Rothbart and Odile appear in their evil, un-human, somewhat bird like forms. Von Rothbart tells the prince that he must stick to his word and marry his daughter. A fight quickly follows. Prince Siegfried tells Von Rothbart that he would rather be with Odette than to Marry Odile. He then takes Odette's hand and together they jump into the lake. The spell is broken and the remaining swans turn back into humans. They quickly drive Von Rothbart and Odile into the water where they, too, drown. The girls watch the spirits of Prince Siegfried and Odette ascend into the heavens above Swan Lake.

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Five Reasons to Push Past your Comfort Zone

If you want to live your purpose, the first thing you should do is leave your comfort zone ...

Although it's, well, comfortable, staying there can squash the dreams of anyone looking to pursue their passion. Especially if you want to succeed independently, choosing comfort over hard work will most certainly land you back in the rat race.

Obviously, it's good to stop once and a while to rest so you do not burn out. Everything has its place and time; but spending too much time resting will effectively prevent you from working hard or succeeding.

The following are five reasons to get out of your comfort zone before it's too late.

1 - Staying comfortable has never gotten anyone from anywhere

This is especially important for independent artists and creators.

If you want to be good enough at your craft for people to support it, you must do it. A lot. Nonstop. It sounds daunting, but if you really enjoy what you do, every second will be worth it.

You'll feel exhausted most of the time, but at least you'll have that energy into something worthy.

At some point, the couch will call your name. Rest will start to sound nice, and you might tell yourself you've earned it by getting as far as you have.

Do not give in. Keep working and improving at your craft, and eventually, you'll be thousands ahead of those who stopped working early every day.

Artist and game developer Lorne Lanning has said that the only people who create truly remarkable things are those who work ridiculously hard every day (and most nights). This is how they create works they know will resonate with people.

If you're willing to push yourself, you can too.

2 - You can discover your gift by leaving your comfort zone

If you're looking for something that can give meaning to your life, the best way to find it is to get up and start searching.

Figure out what ignites that flame in your mind and heart, and instead of settling with the first thing you find, be sure to choose something real, graspable, and meaningful.

Once you have, be careful not to retreat into comfortable territory.

Far from over, the work has just begun ...

Chances are slim you'll find what you love by lying in bed all day or find success with a lackluster effort. Once you know what you want to do, try pouring your heart and soul into it for more than just a few hours.

It'll be difficult, but you'll uncover ideas and inspiration you never thought you had.

3 - Once you're out of your comfort zone, you can use your gift to help people

If you work hard at your craft, you will find at least a few ways you can use it to help others.

You can use financial success to help the less fortunate and show that the world is not all cold-hearted. Or, depending on the level of influence you gain along the way, you can raise awareness of important issues in society.

You can also help those who share your passion.

If you paint, for example, you can teach and inspire new artists in your downtime. If you make videos, you can show new creators how to create quality content and build an audience. Or, that extra time you spend on a painting, video, article, or song might give it the depth and power to reach someone who really needs it.

As we covered (and will cover more later), you'll never know what you can do if you do not try.

4 - Leaving your comfort zone brings a sense of accomplishment

This point is not too exciting, but the sense of accomplishment you feel from being dedicated to what you love is far worth the comfort you sacrifice.

It's the best feeling in the world to not just enjoy something, but to live for it. When you start to accomplish things with it, you'll feel like a superhero.

Dedication brings countless rewards, and if you're 100% onboard, your first few successes will drive you to work harder and achieve more. If you're not, your mind will see success as a reason to stop and relax. This would be the beginning of the end.

Instead of letting it make you lazy, let the "high" you feel from your initial accomplishments drive you to chase your passion vigorously.

5 - You'll never know what you can achieve if you stay comfortable

This is like the second point, but it's worth asking:

Would you regret it if you lived your whole life comfortably, never chasing your dreams like an idealistic madman?

This is a tragic reality for many people, who never do what they love because it's hard work or they convince themselves success is impossible.

Being complacent about your potential for accomplishment is just another way of staying comfortable. Do not be complacent or afraid to struggle. Embrace that struggle and let it drive you.

You only have less than a hundred years on Earth.

• Why not fill them with the most meaningful pursuits possible?

• Why do you accept a life handed to you by some CEO who gets rich from the masses' unwillingness to live for themselves?

Instead of living for the American dream - the comfortable choice - follow your dreams. They matter...

Conclusion

If you love what you do, the work will come naturally.

Striving harder and staying far away from your comfort zone will help, and the more you enjoy what you do, the easier it will be to find inspiration and spend long hours honing your craft.

Staying comfortable will most certainly lead to failure, so no matter how much you love that comfortable space that zaps the potential out of its inhabitants, let go of it and let a life of purpose take its place.

Try to motivate yourself when you would rather rest and remember that the point of all this is to do what you love.

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