‘Rosemary’s Baby Album’: Legacy of a Classic Diabolical Thriller

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IraLevin.org now presents ‘Rosemary’s Baby Album’ on it’s website, and it is a very special treat for Rosemary Fans!

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Screenshot courtesy of IraLevin.org

The novel ‘Rosemary’s Baby’ by renowned author and playwright Ira Levin has had a wide and abiding impact upon all things thriller, mystery, and horror since it was first published 50 years ago in March 1967. Levin himself said in 2002, “I feel guilty that ‘Rosemary’s Baby’ led to ‘The Exorcist,’ ‘The Omen.’ A whole generation has been exposed, has more belief in Satan. I don’t believe in Satan. And I feel that the strong fundamentalism we have would not be as strong if there hadn’t been so many of these books […] Of course, I didn’t send back any of the royalty checks.” 

In celebration of the 50th Anniversary of this classic diabolical occult thriller, IraLevin.org now presents ‘Rosemary’s Baby Album’ on it’s website, and it is a very special treat for Rosemary Fans! With Ira Levin’s personal archival materials and notes arranged tastefully and many exciting insights into the writer’s creative process.

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Screenshot courtesy of IraLevin.org

Note: #RosemarysBabyAlbum hashtag for easy sharing via social media.

ONLINE FEATURE “ROSEMARY’S BABY ALBUM”CELEBRATES NOVEL’S 50TH ANNIVERSARY WITH UNPRECEDENTED BEHIND-THE-SCENES LOOK AT ITS CREATION, USING AUTHOR IRA LEVIN’S ACTUAL NOTES, DRAFTS AND ARCHIVAL MATERIALS

(New York, March 20, 2018) Ira Levin’s perennial classic “Rosemary’s Baby” turned 50 in 2017, and in celebration of that milestone, IraLevin.org has released “Rosemary’s Baby Album,” a new 28-page online feature which traces the archetypal work’s development using high-resolution scans of Levin’s actual notes, drafts and related ephemera from its writing, starting with the first known setting-down of its premise on a single notepad page, in 1960.

#RosemarysBabyAlbum provides an unprecedented opportunity to peek over Levin’s shoulder, as the author that Stephen King called “the Swiss watchmaker of the suspense novel” conceives and structures his iconic tale – considering, tweaking, or outright rejecting alternate titles, character names and plot trajectories. The album also reveals some fascinating connections between real life, and the world of “Rosemary’s Baby”.

“Rosemary’s Baby Album” can be viewed online now at http://www.iralevin.org

About IraLevin.org: IraLevin.org is the official Ira Levin website, created and maintained by his estate to serve as a comprehensive source of information about his works.

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Screenshot courtesy of IraLevin.org

Levin’s worth as a literary craftsman is exemplified not only in the perpetual in-print status of his novels or the fact that his best-known play, Deathtrap, holds the record as the longest running comedy thriller on Broadway; his competence as a storyteller is also apparent in the adaptation of nearly every one of his novels (and his play Deathtrap) into popular cinematic film versions. Also to be noted are his novels ‘A Kiss Before Dying,’ ‘Sliver,’ and ‘Son of Rosemary’ (a sequel which he dedicated to Mia Farrow who portrayed Rosemary in the now classic horror film version). A few of his novels have even worked their way into our idiomatic language within popular culture – making  The Stepford Wives, The Boys From Brazil and Rosemary’s Baby into a kind of cultural shorthand for ideas represented in these compelling and believable stories.

Unknown-2 copyAnd that is a skill Ira Levin truly had and which lives on in his work: he made the unthinkable into wholly believable parables of modern existence. We step into an Ira Levin novel on firm concrete, with matter-of-fact details both mundane and familiar, yet somehow he cleverly manages to sweep the rug out from under our very feet, so that we lose our balance with an ever increasing sense of panic-dread at the strange and unforeseeable circumstances which draw inevitably tighter around the characters we encounter there. Indeed, it is due in part to the film maker’s close adhesion to the novel – nearly word-for-word – that gives Roman Polanski’s 1968 film version it’s high quality.

images-6 copy 3We may take “Stepford Wives,” “Boys from Brazil” and “Rosemary’s Babies” for granted today because these premises have been lifted from their novel (and cinematic) sources so often – and repeated in any number of various media formats from the plethora of Devil Baby movies to TV comedy sketches – that they have become part of our collective consciousness, and have even developed into tropes of their own! But we shouldn’t forget the origins of these stories and Ira Levin’s ingenuity at placing them so deliberately and carefully packaged on our front doorsteps that we don’t notice the dangers hidden within them until it’s too late (and, by then, you are unable to stop turning the pages)!

Article by H.B. Gardner

#RosemarysBabyAlbum

#RosemarysBaby50thAnniversary 

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‘Angel Heart’ Revisited

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By: H.B.G.

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Angel Heart Poster artwork by Renato Casaro (detail).

Note: ‘Angel Heart’ is a difficult film to discuss without giving away key points of the story and spoiling the plot. This is a film to be relished, so we will simply laud the film here, give our Occult Purport, and hopefully not divulge too much. It’s darkly delicious.

Amongst our many favorite Satanic or Occult themed Horror Films ‘Angel Heart’ (1987), which was released 31 years ago this month, still stands among the best. It’s excellent cast and production and it’s sinister, occult-noir atmosphere – deftly blended with a haunting soundtrack – separates this masterpiece of Diabolical Cinema from the many ham-handed attempts at the Diabolical Horror subgenre. The production is pure movie magic of the highest calibre in our opinion. With a Faustian premise set in 1955’s New York City, and a story that takes us to steamy New Orleans, Angel Heart unsettles us from the very start and then proceeds to take us on a journey into the heart of one man’s personal Darkness and, finally, the discovery of an impending evil carrying a one way ticket to Hell.

The film was adapted from William Hjortsberg’s novel Falling Angel. Hjortsberg also wrote the screenplay for Legend (1985), in which Tim Curry so adeptly brought Darkness to life…

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Tim Curry as Darkness in Legend, 1985.

Like our beloved Rosemary’s Baby’ (1968), there are no overt supernatural occurrences taking place in the story (at least, not perhaps until the very end – and even that is subtle and may be up for interpretation), placing the narrative firmly in reality and from the point of view of an unsuspecting protagonist. Our protagonist is one Harold Angel (wink), a gumshoe detective hired by a Mr Louis Cyphere (wink, wink) – an unusual client with some unsettled business. Harold Angel is sent on a manhunt for ‘Johnny Favorite,’ a famous crooner who’s gone missing since the War (WWII). As our Harry Angel falls deeper into a Black Magic Mystery peopled by corruptible characters of dubious interests and backgrounds, we find ourselves intrigued by the suspicious strands of destiny and danger which draw ever tighter around our detective.

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When Harry met Louis. Curious to know whose portrait that is above De Niro.

Occult Purport

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One traditional French title for this Key is: Force majeure,

Every significant relationship our detective discovers about the missing singer – be it physician, lover, or friend – is tainted with unwholesome or diabolical elements, linking the baneful Johnny Favorite and everyone involved with him to Evil Forces.

This strongly reminds us of The Devil XV Arcana in the Tarot. Johnny Favorite and each of his accomplices are bound to Evil. The chains that bind the demons to the black half-cube (unbalanced energy) pedestal of The Devil are of their own making. They choose to remain at the feet of The Devil (notice how loose the chains are about the demon’s necks in the Tarot card shown – they could choose to leave The Devil if they were not so  enjoying being held under His power). Every “evil” act perpetrated – whether out of addiction (Dr. Fowler), Fear, Greed, Anger, Lust, Vanity or Pride – inflicts another  karmic link in the chains binding these characters to Johnny Favorite (and towards an inevitable and sticky end). Johnny Favorite binds himself to Evil and does what he does out of his own self interests without giving any thought to how it effects those around him (who are likewise bound by their choices to involve themselves with such an unsavory character), or for when it comes time for his own eventual atonement.

eac79530007a85c007c0b6ee764f9d9fInteresting to note here is that a traditional French title for The Devil Tarot key is Force majeure, meaning “superior force”, also known as cas fortuit (French) or casus fortuitus (Latin) “chance occurrence, unavoidable accident”, which is a common clause in contracts that essentially frees both parties from liability or obligation when an extraordinary event or circumstance beyond the control of the parties, such as a war, strike, riot, crime, or an event described by the legal term act of God (hurricane, flood, earthquake, volcanic eruption, etc.), prevents one or both parties from fulfilling their obligations under the contract.

Force Majeure, The Devil tarot card (coloured engraving) Above: Two Devil cards from two different Etteilla style French Tarot decks explicitly state Force Majeure. Silly Mr Etteilla felt the need to renumber this key 14 (among other changes made by the demented wigmaker).

In practice, most force majeure clauses do not excuse a party’s non-performance entirely, but only suspend it for the duration of the force majeure. Hmmm…

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Charlotte Rampling as Madame Krusemark spreads the Tarot in a promo shot.

Read our article: The Details In the Devil – Tarot

Did you know???

When Louis (Robert De Niro) blows salt from his egg onto the restaurant table, Harry Angel (Mickey Rourke) takes a pinch and throws it over his left shoulder. The superstition is that by doing so you blind the devil (or your evil angel). The Left being the “sinister” side where the demon sits.Angel-Heart-Unsung-Films

And… The law firm Winesap and Mackintosh are two types of apples, traditional agents of the Devil tempting mankind. (Even though the fruit of the Tree of the Knowledge of Good and Evil is not identified as an apple in any Bible translation.)

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Mickey Rourke as Harold Angel with Charlotte Rampling as Margaret Krusemark. Angel Heart, 1987.

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Robert De Niro as the deliciously diabolical Mr Cyphere reminds us of a sober and well-dressed satyr who’s just had a manicure.

The poem about Evangeline and her lover, to which everyone refers, is “Evangeline, A Tale of Acadie” (Link: Evangeline) by Henry Wadsworth Longfellow.

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Lisa Bonet is bewitching in Angel Heart.

The line “How terrible is wisdom when it brings no profit to the wise” is drawn from Sophocles“Oedipus The King”. The quote is appropriate as the “final horrific revelation” trope in the story of Oedipus somewhat parallels that in Angel Heart.

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Have one in memory of Toots Sweet…

Twin Sisters Cocktail Recipe: Ingredients: 1/2 oz. light rum 1/2 oz. spiced rum 1 dash lime juice 1 dash Coca-Cola Directions: Shake with ice and strain into shot glass. Best served in a shot glass.

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Sinister Blessings of the limp left hand.

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The original skeleton Key: The Hand of Glory.

Satanic Cinema Sommelier; Our Favorite Devilish Films

An Interview with Ernest Harada: Celebrating 50 years of ‘Rosemary’s Baby’

SUSPIRIA: Dario, De Quincey and the Dark Goddess; Part 1

“The Year One”: A Rededication

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By: H. B. G.

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Hazel Court betrothes herself to Satan as the Lady Juliana in Roger Corman’s The Masque of the Red Death, 1964

We have managed to maintain this WordPress-fueled website for one whole year now. We are delighted at this meager accomplishment by one man. What started off as an obsession with the film Rosemary’s Baby and an intention to make a single blog post delineating the minor characters in it has expanded into a repository for our occult horror obsession – here: Satanic Cinema Sommelier; Our Favorite Devilish Films and on our Devil May Care Facebook page , as well as our Rosemary’s Baby 50th Anniversary Facebook Page.

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Mia Farrow and Victoria Vetri (aka Angela Dorian) in Rosemary’s Baby.

This past year we have, out of our own zeal, interviewed a surviving cast member of Roman Polanski’s film of ‘Rosemary’s Baby’ ( An Interview with Ernest Harada: Celebrating 50 years of ‘Rosemary’s Baby’ ) and have been keeping a correspondence with the actress Victoria Vetri (aka Angela Dorian) who played Terry Gionofrio – the Castevet’s ill-fated houseguest in ‘Rosemary’s Baby’ – from her prison cell in a California Institution, but who is now nearing a release date.

We have never before been a collector of autographs, but 2017 was our year for them due to our commitment to our writing on this site.

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Our Holiday card and an autographed picture from actress Victoria Vetri who is nearing her release from prison.

This month, We rededicate ourselves to this project. So, in the spirit of Rosemary’s Baby (the 50th Anniversary of the Satanic classic film thriller is this year) and “The Year One”:

Black candles are lit, the chalice is filled, and the cross-shaped brand smolders in the brazier…

We remain committed to keeping this site as a means of exploring the diabolical, the occult, and religion (and the things it demonizes) in horror films – and in reality – out of our own pleasure, and as a serious interest in the sway that religion and the mysterious, unseen forces of existence inspire and motivate the minds and hearts of individuals, groups and nations worldwide.

We have managed one year with at least one monthly contribution to our site, some are in-depth articles such as our explorations of Suspiria ( SUSPIRIA: In the Eye of the Peacock , SUSPIRIA: Dario, De Quincey and the Dark Goddess; Part 1SUSPIRIA: Dario, De Quincey & the Dark Goddess; Part 2 etc..)

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We were able to get Jessica Harper’s Suspiria autograph with a modest charitable donation to the Houston Food Bank last year.

and Rosemary’s Baby ( ‘Sympathy for the Devil: The Sublime Satanism of ‘Rosemary’s Baby’ , An Interview with Ernest Harada: Celebrating 50 years of ‘Rosemary’s Baby’ , ‘Rosemary’s Baby’ Turns 50 ! ), etc…

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Ernest Harada was very kind to give us an interview as well as autograph a photo for us.

Some other posts are much lighter fare but are hopefully at least entertaining brain candy for the diabolically inclinedAll of Them Witches: A”Who’s Who” in Rosemary’s Baby , Women From Hell: Cinema’s Greatest Ladies from Hades , ‘Rosemary’s Baby’ 2017 Fantasy Remake & Dream Cast.

Indirectly related to all this is the work we started in 2017 with the Arcana Tarot Study Group in Osaka, Japan where we currently reside. This group’s mission is to help spread knowledge of using the Tarot via the medium of English; and to improve the skills of English students via the Tarot, here in Japan.

As a father, husband, teacher, writer, reader, mystic and artist, our energies are rapidly absorbed, day-by-day, by our esoteric interests and the gaping jaws of Time; yet we inevitably find ourselves drawn back to exploring the shadowy realms of occult horror, like a sincere Seeker of Truth…, or a dog to it’s vomit.

“But whatever lies behind the door, there’s nothing much to do,

Angel or Devil, I don’t care,

For in front of that door… is you.”

                                                    – Bowie     ‘My Death’

 

The Details In the Devil – Tarot

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The Red Death prepares to deal some Fate in The Masque of the Red Death, 1964.

By H.B.G.

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A Tarot Death card, from the end credits of The Masque of the Red Death, 1964

Occult: From the Latin meaning hidden or concealed or secret. That which is hidden from view, …or seen only by the few.

A fair number of supernatural, religious, diabolical and occult horror films commonly present occult regalia such as crystal balls, Ouija boards, Tarot cards, magical diagrams, mysterious or forbidden books and all the elements commonly associated with Witchcraft, Voodoo, Black Magic or Satanic ritual. A prime example is Regan MacNeil in The Exorcist plays with a Ouija board which opens her up to demonic possession.

In real life these tropes can trigger – as experience has showed us time and time again – reactions ranging from suspicion to fear, or from derision to curiosity, fascination and even genuine interest. This path opened for us at a tender young age. We got our first printed deck of Tarot cards at age 13 (there was an early attempt at creating our own but the task was quite formidable due to our youth and ignorance) and have a real abiding passion for the Art. Our collection is now around 50 different Tarot packs.

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Many encountering the Tarot cards in person for the first time prove inquisitive. There is a genuine interest in the symbolic imagery – the weird yet somehow strangely familiar hieroglyphic language of the Tarot. The cards first appeared in Medieval Europe and the earliest examples of Tarot cards date back to Northern Italy in the early 1400’s, though their provenance has much earlier origins. Many people have some passing recognition of the cards from either horror films like Dr. Terror’s House of Horrors [1965], or Masque of the Red Death [1964]) or from a unique roommate they knew in college. Others have had a deeply suspicious (i.e. fearful) religious programming inculcated from a young age which, in no uncertain terms, deems such items as Runes, talismans and the Tarot cards as treacherous gateways towards eternal damnation. This idea has been fostered by Hollywood time and again in numerous films and television dramas. Church groups actively work to warn their congregants of the dangers of the Occult. it is their ignorance and misunderstanding of the deeper spiritual mysteries concealed within these divinatory tools that causes such fear.

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The wonderful Peter Cushing spreads the Tarot and deals the fates of men traveling by train in Dr. Terror’s House of Horrors.

For some, the call of the exotic and the taboo can prove both irresistible and upsetting. The twinkle which catches one’s eye can upset the balance of a mind confronted with  the dilemma faced when their firmly held beliefs and religious views are called into question. While trafficking with spirit boards or dabbling with divination can offer a thrill, it can also upset those who find more Truth and Wisdom about themselves than they ever expected, or even guessed, they would discover beneath the veil of mundane life. Whatever preconceived ideas people have of the Tarot cards there is often a dreaded yet curious fascination towards one or two of the 22 Major Arcana “Keys” or “Trumps”: namely XIII DEATH and XV THE DEVIL.

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THE DEVIL from The Aquarian Tarot

A very real Fear of looking into your own shadow-reflection, the darkness within, exists in most people. The Shadow, in psychological terms, is the Ego’s blindspot. Even when one has spent years in spiritual practice, and has done serious meditative work with one’s own psyche, there will always be a risk of being surprised by what lies within the inner abyss of the individual soul. Very, very, few are able to completely transcend the chains of material bondage over which The Devil so delights to lord.

The Shadow, in psychological terms, is the Ego’s blindspot.

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In a manner of speaking, The Devil in the Tarot is one’s own Shadow. Those aspects of our deepest, and most natural or instinctual (dare we say… truest), selves which we hide away from the world – and even from ourselves. All our secret traumas which have been unconsciously repressed. All our unrepentant animal urges and emotional energies we consciously suppress, (yet – to tell the truth – secretly long to exercise). Sometimes a person may seem “possessed” and the “Devil cuts loose”.  We wonder “Whatever could have possessed me?”, and say “The Devil made me do it!” We often cannot accept or even understand our own emotional responses or why we sometimes act in certain ways.

The Tarot Devil usually depicts two people, or satyrs, chained and bound to the Lord of Darkness who stands or squats menacingly above them. But either their chains are of their own making or their collars are at least loose enough to slip off if they chose to do so. But Mardi Gras is fun – though there are good reasons why we cannot have it every day; and some people have difficulty stepping away from the betting table  even when they are about to lose their shirt – or even themselves!!

“The cave you fear to enter holds the treasure you seek.” But it lies buried.

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The Devil is numbered XV = 15 in every Tarot deck. Numerology links 15 to 6 (1+5=6). 6 is The Lovers in the Tarot. The comparisons between The Devil and The Lovers are striking in many Tarot decks. The Lovers are often in an ideal setting and are receiving benediction from an angel on high. The Devil card is like the Shadow version of The Lovers card. The blissful situation has soured or sunk to a lower level. This in itself does not indicate “evil,” however.

We will not be delving deeply into divinatory meanings here, but The Tarot Devil can, at times, be seen as inverting or perverting the divine union of The Lovers into a kind of sick co-dependency, or bondage through materialism. It can also offer us a sense of play, mirth and delicious enjoyment. rapture of the flesh rather than the spirit (but the two are really one, you know).

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THE LOVERS illustrated by Pamela Coleman Smith

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THE DEVIL illustrated by Pamela Coleman Smith

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The Lovers in a Marseilles style deck

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The Devil in the Oswald Wirth Tarot

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STRENGTH card from The Morgan-Greer Tarot.

However, beware of casting out your Devils that you do not lose the best part of yourself, your fundamental creative impulse, your Daemonic genius. As Joseph Campbell said: “The cave you fear to enter holds the treasure you seek.” But it lies buried. We find it beneficial to care for and nurture your inner demons just as one would for wild beasts – cautiously and with close attention and strict guidelines. Just as the woman in The Strength card (Arcana VIII or XI – depending on the deck, which Aleister Crowley re-titled “LUST“) tames the lion with gentle ease.

“Be careful when you cast out your demons that you don’t throw away the best of yourself.”

– Friedrich Nietzsche – Thus Spoke Zarathustra

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LE DIABLE from a Marseilles pattern deck

 

Additionally, The Devil in the Tarot can be an addiction to a habit or condition which has become overpowering and possessive of one’s soul, causing the individual to surrender his free will to the whims of a desire grown monstrous or even poisonous. A common example would be when instead of drinking alcohol the alcohol begins drinking you! Intoxicants, stimulants and sex can be used as rocket fuel to the Divine. They can cause ecstasy and transcendence. As stated in the Kularnavatantra: “One reaches heaven by the very things which may lead to hell.”

“One reaches heaven by the very things which may lead to hell.”

– Kularnavatantra

However, as Kenneth Grant points out in his Introduction to ‘Cults of the Shadow’: “if the sexual energies are not properly controlled and polarized, destruction awaits the practitioner who uses them without fully understanding the formula of the Left Hand Path which is, of all paths, the swiftest and the most dangerous.”

This gives credence to the ancient Tantric dictum: “The knower of truth should go about the world outwardly stupid like a child, a madman or a devil.”

– Mahavakyaratnamala

“The knower of truth should go about the world outwardly stupid like a child, a madman or a devil.”

– Mahavakyaratnamala

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Arcana XIII – Card number 13

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From an 18th century Florentine Minchiate Tarot (Etruria)

Most People dread thinking about their own death . Displaying a picture of The Grim Reaper, or turning over the Death card before their eyes will cause them to wince and whine. People hate to be reminded of their own mortality. In early decks this card is often left unnamed, only the image and the number serves to give it’s meaning.

In horror films, the appearance of the Death card inevitably means something terrible is about to occur. In reality, this card usually indicates a tremendous change to one’s circumstances or a metamorphosis taking place from within one’s soul.

But this is precisely the medieval Latin Christian theory and practice of reflection on mortality, Memento Mori – Remember Death, especially as a means of considering the vanity of earthly life and the transient nature of all earthly goods and pursuits. In our shallow, materialistic culture of today, which celebrates and promotes youth and beauty and shuns acknowledgement of  the aged and our inevitable end of existence, we seem to fear and try to fight off Death as something hateful and bad.

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ARCANA XIII from Jodorowsky’s  restored Marseilles pattern deck.

When one is capable of not only accepting the inevitable disintegration of one’s own organism but to even fully embrace it – and thereby to even more fully live, then we have to ask the question…

“O death, where is thy victory? O death, where is thy sting?”

“O death, where is thy victory? O death, where is thy sting?”

1 Corinthians 15:55

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DEATH tramples upon King, Pope, Maiden and child in the Tarot illustrated by Pamela Coleman Smith for the Rider-Smith deck.

Here is an instructional video we made for our Arcana Tarot Study Group here in Osaka, Japan. @ArcanaTarotOsaka on Facebook.

Click on link below for youtube video…

How to read the Tarot: Celtic Cross spread

 

‘Rosemary’s Baby’ Japanese souvenir book

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Front cover

As fans of the classic satanic thriller ‘Rosemary’s Baby’ we like to keep our eyes peeled for anything related to the novel or film. Unfortunately, film studios didn’t really think to capitalize on their productions with related merchandise until the mid-seventies; so other than the novel in it’s various forms (hardcover and paperback) and the video releases, we are left with very little official Rosemary’s Baby memorabilia to collect. One item that did not escape our dark-adapted eye is the Japanese souvenir book. These books are commonly sold in all Japanese movie theaters even today, but for some reason have not become widely available in other countries or languages. Filled with pictures, actor profiles, anecdotes and other production related topics, these souvenir books are highly prized by film fans.

Read our Devil In the Details article…

A Japanese view of ‘Rosemary’s Baby’

Here we will share images from this 22 page souvenir book we ordered through Amazon Japan. Although the film was released in 1969 in Japan, there is a 1985 Paramount Pictures Corporation copyright on the back cover, which leads us to think that the film ‘Rozumaree-no Akachan’ (in Japanese) had a re-release in Japan in the mid-eighties. Although we have a native Japanese translator on premises here at Devil In the Details,  a full translation would be tedious and largely redundant. When we do find interesting bits we will be sure to share them on our Rosemary’s Baby 50th Anniversary Facebook page . Enjoy!

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This section discusses how Polanski’s films carry the theme of isolation even when surrounded by people as evidenced in his other films like Knife in the Water and Repulsion.

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Polanski’s head is circled here so as not to confuse him with the man next to him (who we believe is a cameraman).

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Mia Farrow holds a sign that says “WARDROBE” and a number beneath it.

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Read our Devil In the Details…

An Interview with Ernest Harada: Celebrating 50 years of ‘Rosemary’s Baby’

to find out what it was like on the set of Rosemary’s Baby from someone who was there!

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Back cover

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SUSPIRIA: Dario, De Quincey & the Dark Goddess, Part 3

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By H. B. G.

As we seek for the Devil In the Details in the final part of this article on SUSPIRIA, we reach an apotheosis on our meditations upon the  sublime darkness of The Three Mothers

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The Latin phrase sub rosa means “under the rose”, and is used in English to denote secrecy or confidentiality. The rose as a symbol of secrecy and the occult has an ancient history. Jessica Harper, sub rosa, in Suspiria, 1977.

“Who dares misery love

and hug the form of Death?

Dance in Destruction’s dance

To him the Mother comes.”

Kali the Mother (poem) by Swami Vivekananda

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Kali by Raja Ravi Varma. The goddess Kali; naked, black and terrible as the dread realities of life and death.

In Part 1 we saw how Thomas De Quincey, in his exceptional work: ‘Levana and Our Ladies of Sorrow’  (a part of his ‘Suspiria de Profundis’ (1845) which gave the name to Dario Argento’s cinematic masterpiece – Suspiria) was able to personify those forces “that incarnate themselves in all individual sufferings of man’s heart;” in the form of The Three Mothers: Mater Suspiriorum – the Mother of Sighs, Mater Lachrymarum – the Mother of Tears, and Mater Tenebrarum – the Mother of Darkness. These powers which afflict every human – sighs, tears, and darkness – were seen by De Quincey as existential conditions which are  a commission from God “to plague the human heart until they have unfolded the capacities of the spirit.”

In Part 2 we noted how this dark, mythic, feminine trinity has an ancient pedigree tied to Witchcraft and goddesses extending back to ancient times. Some of these occult elements have slipped, deliberately or by fortune, into Argento’s Three Mothers trilogy, as well as in other horror tales and films.

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Another diabolical feminine trinity and example of unholy motherhood and the shadowy feminine: The Brides of Dracula. Dracula, 1931. In the novel, the brides are offered a wailing infant by their dark master in order to appease their bloodlust. The Shadow side of the Mother as devourer of her own young.

Dracula: Bram Stoker's Dracula

The Brides of Dracula subject Jonathan Harker (Keanu Reeves) to a Left-Hand Path spiritual  experience in Bram Stoker’s Dracula. The Bride on the left, like the Gorgon, the Furies and sometimes Hecate, has serpents wreathed in her hair. The offering of a babe by Dracula (literally: The Dragon) to the three brides (in lieu of Jonathan Harker) is included in this 1992 film version.

 

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“The 3 Beggars”Grief, Pain & Despair – in Lars Van Trier’s Antichrist, 2009. There is a discernible resonance with The Three Mothers motif and the darker aspects of Mother Nature in this film.

Besides inspiring SUSPIRIA’s creator Dario Argento with an excellent trope for his Three Mothers trilogy, we also discover in De Quincey’s Suspiria de Profundis an ancient and profound spiritual truth: “that mighty system of central forces hidden in the deep bosom of human life, which by passion, by strife, by temptation, by the energies of resistance, works for ever upon children – resting not day or night,…” In our development towards adulthood, and with the complicity of goddess Levana, these forces – sighs, tears and darkness, or “The Three Mothers” – work upon each of us at the core of our being, our psyche. That part which forever looks for succor, strength and understanding in the face of adversity experienced in the inevitable crises of human existence.

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Udo Kier and Jessica Harper in Suspiria. 1977.

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Udo Kier in Mother of Tears, 2007.

Seeking succor or understanding in The Three Mothers trilogy often leads to a conversation with the wonderfully talented Udo Kier or Daria Nicolodi.

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Leigh McCloskey and Daria Nicolodi in Inferno. 1980.

Now, when seeking for the Devil In the Details in occult themed horror films, adversity, or the idea of an Adversary, logically leads us to Satan, which is Hebrew: שָּׂטָן‎‎ satan, meaning “enemy” or “adversary.” Any thing which opposes us, or which we fear, or that seduces and leads astray from the Right Hand Path laid out by the traditionally accepted social structures in which one lives, whatever operates as an energy of resistance is exactly what bedevils us. But when we view adversity through the lens of De Quincey’s opium induced revelations in Levana and Our Ladies of Sorrow,  the words of Prof. Brené Brown ring true: “The dark does not destroy the light; it defines it.”

Will Tears, Sighs and Darkness crush us? Or, will the opposing forces necessitate an “unfolding of the capacities of the spirit”?

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Mater Lachrymarum (Moran Atias) has a taste for tears and fears. Mother of Tears, 2007.

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Our Lady of Sorrows

Will Tears, Sighs and Darkness crush us? Or, will the opposing forces necessitate an “unfolding of the capacities of the spirit”? Embracing Darkness, tasting our own tears – and the tears of the world. Confronting the Shadow within oneself, and in the outer world in which we walk and work, is required for growth – individually and as a society. As spiritual beings are we not defined by our limitations? Moreover, are we not obliged to ever continue expanding beyond our own limits? Are we not forced to evolve from our narrow or outmoded ways of thought? The Adversary provides the resistance that encourages growth and renewal in the courageous heart and mentally stable. This is what we see happen with the protagonists of the three films in Argento’s Three Mothers trilogy.

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Kali as Devouring Mother

To regress or stagnate for too long is to resist the vital urge to progress, blossom and create, and ultimately to cease living. Life, in all it’s dreary and miserable circumstances, challenges us to transcend our boundaries and to take our path (inwards and outwards) towards the next level. We soon learned that Death and Renewal are the name of the game of life which sets out to devour you – body and soul.

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Inferno, 1980

There are three keys to understanding The Three Mothers, as we learn in the introduction of Inferno…

The first Key: The area around the location of the houses of The Three Mothers becomes blighted and are places of death. There is a miasma around their houses like a sickly-sweet smell. The smell of death and decay. As beings existing in conditioned material existence,  (i.e. the body is my house of flesh), death is certain; it’s odor may be disregarded but never extinguished. These jars of clay we inhabit reek of the earth and are short-lived. This odor is the ever-present knowledge of our own mortality.

The Second Key: The name and the portrait of the Mother residing in each house is to be found in the cellar. That is to say, behind the outward facade of the personas we parade about in the daylight world, the presence of Sighs, Tears and Darkness often remain below the surface – unacknowledged, in the basement of the subconscious where the monsters dwell. But these demons may be awakened and summoned under strange circumstances or by forbidden or occult methods, like De Quincey’s opium.

The Third Key: Is to be found beneath the soles of your shoes; that is, where you stand at any given moment of your life. For we are ever standing at the crossroads of Hekate, of past,  present and future, left or right or forwards. Wherever or whenever we find ourselves we are always confronted by a choice of direction, where to go and how we spend our limited amount of time as embodied creatures on earth.

Time is short. The ticking of a clock is the steady footsteps of an assassin approaching.

Mater Tenebrarum states at the conclusion of Inferno…

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Veronica Lazar, Inferno, 1980, as Mater Tenebrarum

Mater Tenebrarum: “Your journey has come to an end. Everything around you will become dark, and someone will take your hand. You’ll be pleased, not unhappy. You’ll enjoy moments of incredible brightness. You think it’s magic. No, I’m not a magician. Now we have to hurry because we still have to pass through a number of strange phases in your change. You were looking for me, just like your sister. This is what you wanted. I’m coming to get you!”

Mark: “Tell me who you are!”

Mater Tenebrarum: “The Three Mothers. Haven’t you understood? Mater Tenebrarum! Mater Lachrymarum! Mater Suspiriorum! But men call us by a single name; a name which strikes fear into everyone’s heart. They call us DEATH! DEATH!”

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Through a mirror darkly. Mater Tenebrarum reflects our greatest fear.

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Death and renewal is the specific work of the Dark Goddess. Death of the outworn habits, or ways of thinking or acting, which constrict or no longer serve us along our chosen paths.

As beautifully expressed by the soul journeying in the afterlife in The Egyptian Book of the Dead:

“I am a long lived serpent; I pass the night and am reborn every day. I am a snake which is in the limits of the earth; I pass the night and am reborn, renewed and rejuvenated every day.” 

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“Mother of the Gods,” Coatlicue, “She of the Serpent Skirt,” a 2.7 metre (8.9 ft) tall statue discovered in Mexico City in 1790. Europeans regarded the statue as a horrible, deformed monster. Mexican Indians on the other hand began to worship it, visiting it with candles and adorning it with flowers. To prevent this, the statue was buried in the patio of the University of Mexico where it could not be seen. Note the garland of severed hands, hearts and skull and compare with the Indian goddess Kali who is similarly adorned. Her head is severed and two serpent heads are emerging and uniting, merging the dual streams of existence. Compare to Kundalini-Shakti, Chinnamasta, et al.

“Gods suppressed become devils, and often it is these devils whom we first encounter when we turn inward.”

– Joseph Campbell

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Three keys are given in Argento’s Inferno, 1980

Reject, Explode, Explore, Unlearn

We mentioned in Part 2 that the snake is a symbol of the Gnostic witch goddess Hecate, whose affinity with the Three Mothers we elucidated. As a symbol, the serpent (or magnified as the dragon) plays an integral part in occultism and is also often associated with other female deities and demonesses acquainted with the chthonic – or cosmic – powers of transformative darkness from various Pagan cultures: Tiamat, Lilith, Lamia, Ceto, Medusa, Kali, Coatlicue, et al.

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Albert-Joseph Penot, Bat woman, 1890. Our image of Lilith.

These goddesses are usually depicted with fierce or horrific embodiments and attributes – often embellished by serpent imagery. The lesson expressed here through all times and cultures is that of transformation. Death and renewal come when we confront our fears and desires and learn to dance with the Shadow.

 

 

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Athena, goddess of wisdom, bearing the Gorgon head on her breastplate (heart chakra) and the owl – a creature with the ability to see in darkness – in her left hand, oversees the rebirth of the hero Jason from the mouth of the devouring serpent- dragon.

A serpent sheds it’s skin when it has become worn out.

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From cloudy husk to renewed beauty.

Just as the moon sheds it’s shadow every month…

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“…we still have to pass through a number of strange phases in your change.” From darkness into light and back around again.

Or a duckling chick outgrows it’s egg.

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It is neccesary to destroy the old form in order to release the new. Ducks and geese take part in the three elemental realms of land, water and air.

“Every act of creation is first an act of destruction.”

~ Pablo Picasso

The Dark Goddess resides at the crossroads of transformation.

Offer your sighs, tears and darkness at her altar and be transformed.

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Bengali cult image of Kali

Sex & Death

These are some esoteric icons of Our Ladies of Darkness

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Chinnamasta is a Tantric goddess par excellence.  artist: Daniel Corcuera Nekronikon Temple

When it comes to Dark Goddesses and horror, Indian culture has exhibited some of the most profound examples of the terrible feminine divine. Kali is a goddess widely worshipped. Her name means “The Force of Time,” and “The Black One;” for Time births, sustains and devours all. This Dark Goddess has various forms and avatars. One which bears relevancy here is a triple formed icon: Chinnamasta, the Beheaded Goddess, who is 3 goddesses in 1.

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Chinnamasta: A triple goddess, empowered by the primal, foundational sexual energy which is the cause of existence, decapitates herself in order to nourish her two companions (the dual forces of existence personified) with her own blood, and herself as well. The incessant recycling flow of life. Here the goddesses carry shears like Atropos of The Fates.

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The Mother of Darkness demands blood in Inferno, 1980.

In a profound act of self sacrifice we see Chinnamasta decapitate herself. Three streams of blood spout from her neck to nourish her two handmaidens, Varnini and Dakini. The third stream reaches the goddess’s own mouth to be consumed by her own severed head. She stands upon Kama, the god of eros, embraced by his female companion, Rati, who takes the female superior position. This is a mystical truth as a metaphorical image of the sublime horror of life feeding upon death, with sex (and re-birth) and death as the doorways between the worlds.

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Her mantra is: “I bow to Chinnamasta; She who is the Sacrifice, the Sacrificer, and the Receiver of the Sacrifice. May She liberate all beings.” Chinnamasta, Calcutta Art Studio lithograph, c. 1885

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“She” takes the assertive posture in this film.

Sex, death, transformation… these are the keys of the Dark Goddess, The Dark Mother. While it may seem that we have strayed far from Suspiria, we have managed, by reading the occult symbols and looking at myths, to obtain some spiritual insight from an occult horror film series. If it is not obvious at first, even to the film makers, it is for the simple reason that “the occult” literally means what is “hidden” or secret, even when it is a plain and open secret. Something which the rational mind often pushes into shadowy corners. Sex and death, sorrows and tears, sighs and darkness are an inevitable part of conditioned (physical) human existence, but their wisdom is “sub rosa.”

We are all limited by time, which restricts us to these material conditions. We can fear and be disturbed by these forces, but we can also permit them to transform us and teach us profound truths.

Sex and death, sorrows and tears, sighs and darkness are an inevitable part of conditioned human existence.

Were these symbols which we’ve examined in this 3 part article used consciously by the filmmakers in bringing these vivid nightmares to the silver screen? Perhaps a few. More likely it is the work of the disturbed, or exalted, human imagination that summons these iconic accoutrements and archetypes forth from the shadows of the subconscious. What we do know is that both Thomas De Quincey’s ‘Suspiria de Profundis,’ and Dario Argento’s Three Mothers Trilogy, whether consciously or unconsciously, have tapped into something primal and eternal, with the ability to evoke humankind’s primal fears at their deepest level… sub rosa.

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The Night of Enitharmon’s Joy, often referred as The Triple Hecate or simply Hecate, is a 1795 work of art by the English artist and poet William Blake

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Indian Yogini with ever-blossoming lotus for head.          stone sculpture

Sub Rosa

If you enjoyed this 3-part article on Suspiria and the Dark Goddess, please feel free to like, share, comment and view our other projects here at Devil In the Details. We hope to have more things of interest in the near future.

Finally, we leave you with these images of the  Headless Yogini, or Flowering or Blossoming Yogini. The ever-blossoming and expansion of cosmic consciousness firmly rooted in the physical plane.

May you break open and blossom to unfold the capacities of your spirit.

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This is a Yogini inspired by Lajja Gauri iconography that was made in Orissa and that is now at the Yogini Temple of Purnima  in Villa de Leyva, Colombia. More info is available at……………. Via Facebook @yoginisoracle

SUSPIRIA: Dario, De Quincey & the Dark Goddess; Part 2

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By H.B.G.

In Part 2, We continue to think way too much about Suspiria, witchcraft and The Three Mothers

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Jessica Harper, Alida Valli and Joan Bennett in SUSPIRIA, 1977

In Part 1 of this article we mentioned how the sensitive and melancholy Romantic Era essayist Thomas De Quincey channeled the concept of The Three Mothers (used later by Dario Argento in his Three Mothers Trilogy) through his own opium expanded brain in his work Levana and Our Ladies of Sorrow, where he named them as Mater Lachrymarum, Mater Suspiriorum and Mater Tenebrarum. We also introduced The Three Mothers and hinted at their associations with a deeper layer of mythic origins. Patience please as we prepare to dive deep into the Inferno and take a deeper look at The Devil in the Details…

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Dario Argento plagued by Demons? Or, ‘Orestes Pursued by the 3 Furies,’ by William-Adolphe Bouguereau. The Furies/Erinyes share many attributes with Hekate (triplicity, the underworld, torches and serpents). Much of The Three Mothers may be seen in their relentless pursuit to torment their victims.

The Trine

The Three Mothers in Suspiria (1977), Inferno (1980), and Mother of Tears (2007) are a dark feminine trinity akin to female triads known throughout world mythology, literature and religion who are directly referenced in Suspiria’s sequels: The Fates (the Moirai, The Parcae), The Muses, The Graces, The Graeae, The Morrígan, The Sirens, The Norns, The Erinyes/Furies, The Harpies  and The Gorgons. Also there are The Three Witches from Shakespeare’s Macbeth, 3 Fairy Godmothers in folktales,  The Three Marys at the Empty Tomb  in Christian tradition, as well as the Tridevi in Hinduism.

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The Three Mothers, each sister bares her right breast. East France, late Roman period.

Interestingly, in direct relation to Suspiria and the Frieburg region of Germany, there was a female trinity worshipped in Germanic  and Celtic regions of pre-Christian Roman Europe commonly referred to as  The Matres or Matronae.  (The Mothers or The Matrons). Data on the widespread cult of The Three Mothers, or Matres, is limited as their cult was viciously suppressed by the incursion of Christianity; but they often appear together in surviving votive shrines, occasionally each one bearing her right breast as in the shrine pictured above. But that’s a small detail which hardly relates to Dario Argento’s Three Mothers Trilogy, ….right?

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The Mother of Tears, aka La Terze Madre (The Third Mother in Argento’s native Italian). Right breast bared.

Uncanny coincidence, innit?

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From the very start of SUSPIRIA we are situated in the fairy tale world of  The Black Forest. Note the poster at left as Suzy Bannion (Jessica Harper) steps from the airport terminal.

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Shrine to The Three Mothers,                     2nd century, Germany

 

The Black Forest near Freiburg Germany seems an appropriate location for the story in Suspiria. It is often associated with the Brothers Grimm fairy tales and is not far from known sanctuary sites to the Three Matres or Matronae. 

“Matronae altars include an abundance of floral and faunal symbols, such as trees, branches and flowers, birds perched in branches, cornucopias, goats, snakes wound around tree trunks, and scenes of sacrifice. All these suggest strong fertility and chthonic connections.”

– ‘The Cult of The Matronae In the Roman Rhineland’ by Alex G. Garman

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In case you missed it, we are reminded we are in The Black Forest as Suzy leaves the airport and enters the dark stormy night which begins her harrowing journey. Note poster at right, placing us firmly in the fairy tale realm of the supernatural.

“The altars show the Matronae holding fruit, bread, money, and in one case spinning material.” The abundance and wealth symbolism is obvious. The spinning material perhaps links them directly to the power of The Three Fates: Clotho spun the “thread” of human fate, Lachesis dispensed it, and Atropos cut the thread, thus determining the moment of death for each individual. 

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“If the Fates allow…” The Three Fates by Paul Thumann. In center is Clotho (as Maiden) spinning the thread of life, at right is Lachesis (as Mother) who dispenses it, at left is grim Atropos (as Crone) with her shears ready to snip the thread of life.

Triplicity is a common motif in myth and magic…

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The Norns in Norse mythology are female beings who rule the destiny of gods and men. (Artist uncertain. Please enlighten us.)

De Quincey traversed oceans of deepest darkness in his explication of Levana and our Ladies of Sorrow.

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The funereal Three Marys appear at the empty sepulcher in Christian tradition. Group of sculptures by the sculptor Juan Jose Quiros, Elche, Province of Alicante, Spain. Compare with the image below.

Interesting to note how the birth of Christ was attended by 3 Wise Men, whereas his death/resurrection (re-birth?) was attended by 3 women, or funereal midwives. We are reminded of the European fairy tales, like Sleeping Beauty, (in which a spinning wheel figures) and legends  like King Arthur, where births and deaths are attended by 3 fairy godmothers or three women of power.

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Detail from Altar to the Matronae Aufaniae dedicated by Q. Vettius Severus, 164 CE. Rheinisches Landesmuseum, Bonn, Germany.

An unconscious memory seems to have taken hold upon the European mind from the earliest days of human spiritual culture which is echoed throughout art and literature.

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Peter von Cornelius – The Three Marys at the Tomb. Bearing jars of unguents for mortuary duties. Women in the ancient world often oversaw the preparation of the corpse as well as tending to sickness and childbirth, linking them with the powers of The Fates.

The ‘INFERNO’ of HECATE

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“Hekate” by Maximilian Pirner (1901).  A singular work depicting the three-formed goddess soaring and twisting round through the night sky of the waning moon. In her multiple hands are key, torch, dagger, and what may be serpents or cords for binding.

One goddess we can easily associate (though not completely identify) with Suspiria‘s terrifying Three Mothers is Hecate, (or Hekate), of the Greeks and Romans, famous for her associations with witchcraft, the moon, magic, crossroads, doorways and thresholds,  necromancy, childbirth, ghosts and unclean lunar rites of sacrifice and expiation, having magical, protective or apotropaic qualities. In the post-Christian writings of the Chaldean Oracles (2nd–3rd century CE) she was regarded with (some) rulership over the three worlds of earth, sea and sky – or heaven, earth and underworld – as well as a more universal role as Saviour (Soteira), Mother of Angels and the Cosmic World Soul. She was also lauded as Kourotrophos (nurse of children), Chthonia (of the earth/underworld), and as Phosphoros,  and Lampadephoros (bringing or bearing light). Black animals, dogs in particular, were her preferred sacrificial animal.

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Midnight sacrifice at the crossroads. Suspiria, 1977

Often referred to as Queen of the Witches or Queen of Hell (the Underworld), Hecate is an ancient goddess portrayed in classical literature as haunting crossroads and cemeteries, where she presided over uncanny midnight rites, with her dreadful nocturnal approach heralded by howling dogs. She was attended by a train of torch bearing nymphs from the underworld (the Lampades) who were said to cause madness, along with the ghosts of those unquiet dead who met their ends by suicide, murder or other sudden tragedy, or those who died without receiving the proper funeral rites.

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Ghoulish, phosphorescent, unquiet dead – a victim of black magic (note the pins stuck in the eyes and the “pinning” of the wrists (in sacrilegious imitation of Christ) of Sarah (Stefania Cassini) the victim – definitely a member of Hecate’s tribe. Suspiria, 1977.

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“Her head, turreted like that of Cybèle,” as De Quincey describes Mater Tenebrarum.                 An ancient statue of torch-bearing Hecate who also often appears with turreted head – linking her as The World Tree. This one adorned with lunar crescent. 3rd century A.D. on display in the Antalya Museum, Turkey.

Hekate’s common significant identifying attributes, other than her triplicity, are torches, keys, daggers, serpents, and cords/rope or scourges/whips. As “Holder of the Keys,” (Kleidotrophos) we see a definite connection to the Three Mothers as imagined by De Quincey as he describes Mater Lachrymarum and Mater Suspiriorum as keybearers (see Part 1 of this article). Her turreted crown, “like that of the goddess Cybele,” as De Quincey describes Mater Tenebrarum, symbolizes her jurisdiction – (Mother goddess as hypostasis of the World Tree) – over the heavens, earth and underworld, thus giving her triple power over the crossroads of the three worlds. She is also strongly identified or equated with the lunar goddess Artemis / Diana, as Diana Lucifera, She Who Brings Light. She is a popular goddess amongst modern Witches, Wiccans and Pagans.

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The goddess Hecate wielding daggers, scourges and torches and flanked by serpents.               From an engraved Roman gem

In Inferno (1980) the second film in Dario Argento’s Three Mothers Trilogy, the film opens with lingering shots of some common symbols of Hecate, the Greek and Roman goddess of witchcraft.

We see a dagger, 3 keys attached to an ornamental coral snake (venomous – “Red touch yellow, kill a fellow.”), as well as a book of arcane knowledge.

The character Rose Elliot (acted by Irene Miracle – what a magical name!) in Inferno has a natural inclination towards the occult as her taste in literature and jewelry indicate (notice her Eye of Wisdom necklace). Just before Rose dives into the submerged underground ballroom, she uses a lighter to illuminate her way through the darkened cellar; the torch is a common attribute wielded by night wandering Hecate.

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Rose Eliot (Irene Miracle) descends into the unconscious fear of the dark… only to be submerged in terror in Dario Argento’s Inferno.

This is the spirit venturing into the darkness of the Underworld. Indeed, it is her serpent ornamented keychain which drops into the aqueous subterranean realm of Mater Tenebrarum, the deep subconscious world of nightmares, thereby “unlocking” the way towards her fateful encounter with the supernatural. Her passage (initiation) into the Mysteries is a submersion into the womb-realm of the Dark Mother (Mater Tenebrarum) herself!

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She attains the keys to occult wisdom by diving deep into the darkness. Serpent keychain – Serpent = Wisdom. The keys are to her own apartment within the House of Mater Tenebrarum, a true Temple of Darkness.

But perhaps her fate was already sealed from the moment she used the blade (symbol of Hecate) to unseal the first pages of the book The Three Mothers by Varelli; her curiosity unlocking forbidden secrets better left unknown. A type of premature C-Section made by a fledgling Handmaid of Darkness to birth herself – her own self-initiation – to the sacrificial mysteries of a sudden, terrifying death, thereby joining her spirit to the hordes of Hecate.

 

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Hecate Triformis with scourge, key, cords, and torch, articles such as any professional midwife or witch may carry.

As a liminal goddess of crossroads and threshold guardian between the realm of the living and the dead, the mysterious accouterments of Hekate could serve purposes both mystical and practical. Symbolic tools of powers required, perhaps, for lighting the way along midnight excursions into restricted chambers of difficult childbirth, illness in extremis, death, or other health crises, such as wise women, herbalists or poisoners, midwives, abortionists or morticians (any of which may be labeled “witches”) may have required.

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Hecate Triformis (another view of the statue above?) bearing torches, rope and dagger.

In the ancient world, the maternal and infant mortality rate, and other complications surrounding childbirth, was astronomical compared with our relatively safe and routine procedures today. Childhood death, amongst other pitiable or sorrowful themes, is a discernible motif in De Quincey’s somber writings.

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Ad for the final installment of Dario Argento’s Three Mothers Trilogy.

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“The Moon – Goddess of Mystery” ~ by Emily Balivet

Join us next month for the third and final part of this article where we will complete our analysis of The Three Mothers in Argento’s Trilogy.

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The Three Graces are the light side of the Trine. Goddesses associated with Charm, Beauty and Creativity; or Faith, Hope and Charity.