THE ORIGIN OF THE ‘CAROL’

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ABOVE, RADHA AND KRISHNA ARE IN THE CENTER OF THEIR SACRED CIRCLE DANCE.

SRI KRISHNA PLAYS HIS FLUTE . HE IS HELIOS CHORU-AULOS WHO LEADS THE CHORUS CIRCLE (KYKLOS = CHAKRA) DANCE WITH HIS FLUTE (AULOS).  THE LATE ENGLISH TERM ‘CAROL’ IS DERIVED FROM CHORAULES. ( SEE ‘CAROL’ PAGE 93,  “ETYMOLOGICAL DICTIONARY OF THE ENGLISH LANGUAGE” BY W.W. SKEAT, OXFORD UNIVERSITY PRESS, 1983 IMPRESSION)

THE EXPANSIONS OF RADHA AND KRISHNA DANCE AROUND THEM.  THIS DANCE IS OUTSIDE THE WALLS OF THE VAIKUNTHA PALACES IN MANY VAISHNAVA ICONS.  IN THE VAIKUNTHAS,  RADHA AND KRISHNA ARE WORSHIPED IN AWE AND REVERENCE IN THEIR FORMS AS THE QUEEN AND KING OF ALL THE HEAVENS.  THIS ROYAL WORSHIP IS NOT CONSIDERED THE HIGHEST OR MOST INTIMATE WORSHIP OF GOD AND HIS FEMININE SHAKTI (HEBREW SHEKINAH).

IT IS IN THE GARDEN OF PARA DESHA / PARDES  (HEBREW) / PARADISE THAT KRISHNA AND BALARAMA DANCE WITH RADHA AND THE GOPIS.   IN THE ICONOGRAPHIC TRADITION WHICH DEPICTS SEVERAL PLACES IN THE SAME SACRED PAINTING OR DRAWING, ETC. THE VAIKUNTHAS WILL BE REPRESENTED BY A GLORIOUS SELF-EFFULGENT PALACE, INDICATING THE LORD’S OPULENT PRESENCE AND WORSHIP THERE AS LAKSHMI-NARAYANA.   KEEP THIS IN MIND WHEN VIEWING FRA ANGELICO’S “LAST JUDGEMENT” (SECOND PICTURE BELOW).


THIS IS A VERY LATE TRADITIONAL DEPICTION OF THE CIRCLE DANCE OF APOLLO (GOPALA) AND THE MUSES ON MOUNT PARNASSUS.  SCHOLARS KNOW THAT THIS IS DERIVED FROM THE MUCH EARLIER TRADITION OF HELIOS.   THE CIRCLE DANCE WAS ORIGINALLY THE SACRED DANCE OF HELIOS.  THE BELOVED OF HELIOS WAS RHODE.  HE WAS THE MEGHISTOS KOUROS, AND SHE WAS KORE.  THEIRS’  WERE THE ORIGINAL AND GREATEST ETERNAL FORMS OFYOUTH AND BEAUTY.  THE KOUROI WERE HIS ‘EXPANSIONS’ OR EMANATIONS, AND THE KORAE WERE HER’S. SHE WAS NYMPHIA, AND HER ‘MAIDENS’ WERE THE NYMPHS.  SHE WAS THE ORIGIN OF WISDOM, GRACE, BEAUTY ETC. AND AS SUCH, ALL OF THE MUSES, CHARITIES, GRACES, HORAE / SEASONS, NYMPHS, NYADS, FLOWERS,  STARS, WERE HER ‘EXPANSIONS’ OR VARIAGATED MANIFESTATIONS AND INCARNATIONS.

IN THIS LATE PICTURE, THERE ARE NINE MUSES, NO MASCULINE EXPANSIONS, AND THE LORD IS NO LONGER IN THE CENTER WITH HIS PRIMARY SHAKTI RHODA.


ABOVE IS THE LAST JUDGEMENT BY FRA ANGELICO. AT THE LORD’S RIGHT HAND, THE SAVED ENTER ETERNITY.  WHILE SOME ARE ENTERING THE SELF-EFFULGENT CITY OF THE HEAVENLY JERUSALEM TO WORSHIP THEIR LORD IN AWE AND REVERENCE, OTHERS (SIGNIFICANTLY CONSECRATED VIRGINS / VOWED RELIGIOUS SUCH AS PRIESTS, MONKS AND NUNS) ARE DIRECTLY ENTERING THE DANCE OF DIVINE LOVE IN THE GARDEN OF PARADISE. REMEMBER THAT ON THE CROSS JESUS SAID TO THE SURRENDERED THIEF ” AMEN I SAY TO YOU THAT THIS DAY YOU WILL BE WITH ME IN PARADISE” (NEW TESTAMENT LUKE CHAPTER 23 VERSE 43).  NOTE THAT THE CIRCLE ALTERNATES A SOUL AND A HALOED ANGEL, AND THAT THERE IS A MYSTERIOUS HOLE IN THE GROUND NEXT TO WHAT MAY BE A ROSE BUSH AND ANOTHER SYMBOLIC PLANT IN THE INTERIOR OF THE CIRCLE.   THE HOLE IS SIMILAR TO WAYS THAT MUSLIM ART HAS INDICATED THE PRESENCE OF THE PROPHET OR DIVINE BEINGS.  IT IS A WAY OF VISUALLY SAYING ‘THERE IS SOMEONE HERE BUT THEY CANNOT BE DEPICTED’.  THE PLANTS AND HOLE INDICATE A DIVINE PRESENCE, WHICH IS CLEARLY CONSIDERED TO BE TOO SACRED TO DEPICT.

GOD WILLING, IN FUTURE POSTS I HOPE TO GO INTO THE HISTORY OF THE ANGELS’ ‘PARADISE ROUND’ IN CATHOLIC TRADITION.


Oh Hanukkah, oh Hanukkah,
Come light the Menorah, let’s have a party,
We’ll all dance the Hora.

 

THE HISTORY OF THE JEWISH SACRED CIRCLE DANCE, THE CHOL (MACHOL) , KARA OR RAQAD IS PART OF THIS WHOLE SACRED TRADITION. IN THE ABOVE VERSE AND PICTURE WE SEE THAT THE SACRED HORA DANCE OF THE GOD OF ISRAEL IS STILL A JOYFUL, POPULAR FORM OF WORSHIP FOR THE JEWISH PEOPLE.

WHEN THE JEWS REGAINED THE TEMPLE MOUNT DURING THE WAR, THEY WENT IS MASSES TO DANCE THERE, AND DANCED THE SACRED HORA BENEATH THE ‘WAILING WALL’  ECSTATICALLY FOR DAYS.


ROMANIAN FOLK DANCE II.
Hora martjisorului – Hora staccato – La udat si Hora in jurul vedrei

 

THE HORA HAS OF COURSE SURVIVED THROUGHOUT EUROPE, IN BOTH PAGAN AND CATHOLIC FORMS.  THERE HAVE BEEN SOME VERY DETAILED STUDIES DONE ON THE ‘CAROL’ / CHORUS OR CIRCLE DANCES OF EUROPE.


EVEN IN ISLAM, THE HORAE, OR KORAE EXPANSIONS OF RHODA ARE REMEMBERED AS THE HOURIS, THE VIRGINS OF PARADISE.  HOWEVER, THE QURANIC TRADITION HAS REVERSED THE TRADITIONAL THEOLOGY IN WHICH THE SOUL (PSYCHE) IS FEMININE IN THE RASA LILA, AS THE ‘BRIDE’ OR BELOVED OF GOD.  THUS MUSLIMS OFTEN BELIEVE THAT THEIR REWARD FOR A CONTROLLED, DISCIPLINED LIFE HERE WILL BE SEXUALLY ENJOYING THE HOURIS OF PARADISE !  THE RASA DANCE OF THE KORAE IN ARAB TRADITION HAS BECOME THE RAQS DANCE OF SEDUCTION AND FERTILITY.   SOME MUSLIM RAQS DANCERS ARE NOW TRYING TO RECOVER THE SACRED ELEMENTS OF THEIR ANCIENT TRADITIONS.

 

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About Collected Works of Sri Bhakti Ananda Goswami

This site is a repository of the written work of Bhakti Ananda Goswami managed by one of his students, Vrndavan Brannon Parker. Bhakti Ananda Goswami is a practicing Catholic Hermit under private vows, and a Vedic Monk in the Brahma-Madhva-Gaudiya-Vaishnava Lineage Tridanda Sannyasi and Siksha (Instructing) Master. His research provides the evidence proving that at the ultimate source there is only One Religion and Divinity yet there are multiple expressions of that religion and Divinity. Read the various collected articles on this site revealing that ancient Humanity was highly evolved and motivated by transcendent and life affirming impulses leading to High Civilization. (Please Note that this site is not maintained and updated by Bhakti Ananda Goswami himself but is managed by one of his students. Though he does scan the site he is not always able to respond to messages or comments.)

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