The Truth About Cinderella

(Conspiracy Nation, 11/18/07) – John Amos Komensky (1592-1670) wrote a book, included, until 1820, in the list of “dangerous and forbidden books.” In “The Labyrinth of the World and the Paradise of the Heart,” Falsehood blinds the Pilgrim to true reality. Then, while journeying beyond the labyrinth of this world, the Pilgrim beholds a clock. “I beheld,” he relates, “the world before me as a vast clock work... [The clockwork] had thousands, nay, thousands of thousands, of larger and smaller columns, wheels, hooks, teeth, dents, and all these moved and worked together... In the middle of all stood the largest, principle, yet invisible wheel; from it the various motions of the others proceeded in some unfathomable manner. For the power of the wheel penetrated through all things, and directed everything.”

What “previously had appeared to be but Chaos,” describes Harold Bayley, “falls into a rhythmic, well-ordered system.” (The Lost Language Of Symbolism. Originally published 1912. Republished by Dover, 2006. ISBN: 0-486-44787-1)

There are thousands of variations of the Cinderella story. (Wikipedia, Nov. 14, 2007. http://en.wikipedia.org/wiki/Cinderella). The challenge is to see the overall “vast clock work” and not be blinded by any particular “hooks, teeth, or dents.”

Ishtar (Isis) descended into the under-world. She stooped from Her heavenly estate. Allatu, Queen of the under-world, raged with hatred at her unwelcome visitor. Ishtar could enter only on condition She relinquish her queenly apparel. Allatu is, in other words, the Evil Step-mother. Cinderella wears rags because she has relinquished her former noble apparel.

Sol-Om-On is the thrice-great Sun. (Sol (Latin) – Om (Hindu) – On (Egyptian)). An Osirian temple chant was handed down by oral tradition. It was eventually written down by a Syrian scribe. Bearing the title, “Song Of Solomon,” it is a mutation of an Invocation to Osiris. E.g., “My beloved had withdrawn himself and was gone.” vs. “I am prevented from beholding thee, O An [Sungod]!”

Solomon (the Prince) courts the Shulammite maid. She seeks him, but finds him not. She descends, and searches for him in the city. The watchmen (Cinderella's step-sisters) “found me, as they went about in the city; they beat me, they wounded me, they took away my mantle...” (Song of Solomon, 5: 7). They took away her mantle (Cinderella's fine clothes) and dressed her in rags.

Bayley (op. cit.) describes the Shulammite maid as “smitten, wounded, and despised, yet the daughter of a prince, and beautifully shod.” Cinderella wore glass slippers; she was “beautifully shod.”

“But to appreciate The Song Of Solomon in the fulness of its symbolism one must consult not only mythology and philology, but also fairy-tales, which, in many cases, are mythology still living.” (Ibid.)

An almost universal feature of the Cinderella story is that she sits by the stove and blackens her face with soot or ashes. (Ibid.) “I am very dark, but comely,” says the Bride of The Song Of Solomon. Isis is sometimes shown as black. Myth “was obviously once Fairy-tale, and what is often supposed to be mere Fairy-tale proves in many instances to be unsuspected Theology.” (Ibid.) Bayley intuits Cinderella's smearing with ashes is probably meaningful, yet he cannot guess the symbolism.

Cinder-ella has as counterpart Sind-bad. Their common root is the Old Norse word, “Sindra,” which means “to sparkle, to throw out sparks.”

The name “Isis”, originally “Ish-Ish,” was Egyptian for “Light-Light.” From it derives “isse” and “esse”. Derivations of “isse” are found in “Ulysses” and “Odysseus.” Various ambiguities such as “issi”, “ysse”, “isse”, and “issa” relate to “esse”, the Latin verb “to be.” From “esse” comes the word “essence”, synonym for “the light within.”

The language of Finland “abounds in Chaldean survivals,” such as the Finnish suffix “tar,” meaning “the daughter of.” (Bayley, op. cit.) “Is” or “Ish” meant Lux, the light. Ish-Tar resolves into “Daughter of Light.” Besides Cinderella, Ishtar has been identified with the biblical Esther.

“Issa” is also found in El-Izza-Beth (the House of the Light of God) and in Is-Ra-El (the Light of Ra, the First Cause).

Cinderella is dressed in rags. Her former noble rainment is forgotten. Her father seems to allow her ill-treatment. “There was a time,” writes Plato, “when we were not yet sunk into this 'tomb' which now we bear about with us and call it 'body,' bound fast (to it) like oyster (to its shell).” (qtd. in Bayley, op. cit.) Cinderella is a pearl, but does not remember. Then something, the “fairy Godmother”, whispers, “It is not so.” Komensky's Pilgrim takes off the spectacles (rags) given to him by his guide Falsehood. In their place, the Pilgrim puts on the “Holy Spectacles,” enabling him to see truly.

A drama from the early 20^th-century, “Chanticler,” repeats this theme of the inner spark. His illusions shattered, his message ridiculed, Chanticler “yet rises above despair; nay, in his hour of despair he is stronger than ever...” (Ibid.) Ishtar (Cinderella), nude and without power (dressed in rags), is brought before Queen Allatu (Evil Step-mother). The raging Allatu strikes Ishtar “with all manner of blights and diseases.” But Ishtar (Cinderella) “was not left forever in the clutches of Allatu.” (Ibid.)

Language has been called “a dictionary of faded metaphors.” Hitherto-uninterpreted printers' marks and paper-marks, in fact hieroglyphics, disclose how Cathar heresies, nominally stamped out by the Papacy, continued to be passed on. The common people continued to transmit “fairy tales” (powerful myths) to their offspring. Secret organizations among the paper-making workmen circulated Gnostic symbols right under the very noses of the Inquisitors. Yet, “[a]lthough etymologists are agreed that language is fossil poetry and that the creation of every word was originally a poem embodying a bold metaphor or a bright conception, it is quite unrealised how close and intimate a relation exists between symbolism and philology.”

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