The Opening Of The Mouth

[kFoyauextlH]

https://www.getty.edu/research/exhibitions_events/exhibitions/obsidian_mirror/through_the_mirror.html

[kFoyauextlH]

https://youtu.be/zgiqMTjNJ1U?feature=shared

This has a bit of a discussion about a few things which are part of the theme in this thread, even though it could seem to fit in other ones, one of the aspects of engaging and the ways in which one communicates. Transferring information and what carries.

The other threads "What you have" has a theme of identity running through it.

Boethiah (Aid) Khaine (Spear) has to do with a number of things, as they all do, but one of the themes there is about opposites, polemics, exposing oneself through what is being "othered", and what the "other" possesses and really says.

In "Spiritual Imperialism", there was a theme that I was driving at about fallacies, hypocrisy, double standards, among other things, as an exposé on the self and in relation to the spiritual but I'll have to potentially get all that I wrote there moved to my own thread if I'm going to continue building on that line.

All these are meditations. They don't necessarily represent statements about any actuality or stable state, but are meant to be moved through in order to test oneself and put through the trials of thinking about the things brought up and relating one's own beliefs and thinking habits with it.

Each of my threads has a number of nuanced differences that I keep building on, even though the subject matter may seem similar between them, but the angles are supposed to be different.

[kFoyauextlH]

https://www.reddit.com/media?url=https% ... 71f79290d2

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Hathor's sexual side was seen in some short stories. In a cryptic fragment of a Middle Kingdom story, known as "The Tale of the Herdsman", a herdsman encounters a hairy, animal-like goddess in a marsh and reacts with terror. On another day he encounters her as a nude, alluring woman. Most Egyptologists who study this story think this woman is Hathor or a goddess like her, one who can be wild and dangerous or benign and erotic. Thomas Schneider interprets the text as implying that between his two encounters with the goddess the herdsman has done something to pacify her.[44] In "The Contendings of Horus and Set", a New Kingdom short story about the dispute between those two gods, Ra is upset after being insulted by another god, Babi, and lies on his back alone. After some time, Hathor exposes her genitals to Ra, making him laugh and get up again to perform his duties as ruler of the gods. Life and order were thought to be dependent on Ra's activity, and the story implies that Hathor averted the disastrous consequences of his idleness. Her act may have lifted Ra's spirits partly because it sexually aroused him, although why he laughed is not fully understood.[45]

Hathor was praised for her beautiful hair. Egyptian literature contains allusions to a myth not clearly described in any surviving texts, in which Hathor lost a lock of hair that represented her sexual allure. One text compares this loss with Horus's loss of his divine Eye and Set's loss of his testicles during the struggle between the two gods, implying that the loss of Hathor's lock was as catastrophic for her as the maiming of Horus and Set was for them.[46]

Hathor was called "mistress of love", as an extension of her sexual aspect. In the series of love poems from Papyrus Chester Beatty I, from the Twentieth Dynasty (c. 1189–1077 BC), men and women ask Hathor to bring their lovers to them: "I prayed to her [Hathor] and she heard my prayer. She destined my mistress [loved one] for me. And she came of her own free will to see me."[47]
"

https://en.m.wikipedia.org/wiki/Baubo

https://en.m.wikipedia.org/wiki/Anasyrma

https://en.m.wikipedia.org/wiki/Babi_(mythology)

"
The Papyrus Jumilhac describes a mythological conflict between the gods Thoth and Babi. In the story, Babi, depicted as a red dog with yellow eyes, accuses Thoth of theft before the Ennead and the sun god Ra. However, the Ennead rejects the accusation, as they did not witness the alleged crime. When Babi continues to spread rumors about Thoth, the latter retaliates by anointing Babi’s sleeping phallus with his writing reed and casting a spell upon him. This enchantment causes Babi’s p*nis to swell during intercourse, making it impossible for him to separate from his partner. When Babi engages in intercourse with an unnamed female, his p*nis swells, and he becomes trapped. Thoth then convenes the Great and Small Ennead, mocking Babi’s exposed testicles. Ra declares Babi guilty, though the exact nature of his crime remains unclear. As punishment, Babi is handed over to Thoth, who executes him on a sacrificial block. This passage in the papyrus appears to justify the tradition of sacrificing a dog in Thoth’s honor.[7]

Babi’s offense could have been rape, adultery, or simply excessive sexual indulgence. His partner is referred to as “mnt”, which translates to “someone”, suggesting that her identity is either irrelevant or deliberately concealed.[8] In ancient Egyptian belief, written words held power, so crimes against deities—such as the murder of Osiris—were often described in euphemistic terms.[9] A related inscription in the Temple of Edfu includes a spell to suppress Babi’s sexual virility with a goddess who is paradoxically referred to as both a “God’s Wife” and a woman who abstains from relationships with gods and men. The title “God’s Wife” was used for both priestesses and goddesses associated with the Eye of Ra. A similar mythological motif appears in the Mythological Manual of the Delta, where a goddess is bound and raped by Set while she is holding onto him to prevent his escape.[10]

Another reference to Babi and dogs appears in the Papyrus Geneva. In an episode from Horus' childhood, the goddess Isis warns her son Horus to stay away from Babi, who is roaming the land with 77 dogs. When Horus is bitten on the lower leg by one of Babi’s dogs, Isis instructs him to treat the wound with an unknown plant called Sryw, which had been stored in jars exposed to sunlight. The text seems to serve as a medical guide for dog bites, identifying the patient with Horus himself. The dog is then fed the plant, after which it dies, symbolizing the removal of the venom, while the patient is now able to recover.[11]
"

"
Male canines are the only animals that have a locking bulbus glandis or "bulb" commonly known as the knot, a spherical area of er*ctile tissue at the base of the g*nital region, The knot.[11] During copulation, and only after the male's knot is fully inside the female's v*gina, the bulbus glandis becomes engorged with blood.[1] When the female's vagina subsequently contracts, the knot becomes locked inside the female.[12] This is known as "tying" or "knotting". While characteristic of mating in most canids, the copulatory tie has been reported to be absent[13] or very brief (less than one minute)[14] in the African wild dog, possibly due to the abundance of large predators in its environment.[15]

When the knot is locked into the v*gina by the bulbus glandis (when the stud is "knotted"), thrusting behavior stops and the male will usually lift a leg and swing it over the female's back while turning around. The two stand with their hind ends touching and the knot locked inside the v*gina while ejaculation occurs, decreasing leakage of s*men from the v*gina.[16][17][18] After some time, typically between 2 and 25 minutes[19] (but sometimes longer), the bulbus glandis disengorges, allowing the mates to separate. Virgin dogs can become quite distressed at finding themselves unable to separate during their first copulation, and may try to pull away or run. Dog breeders often suggest it is appropriate for handlers to attempt to calm the mating dogs if they show anxiety once this stage is reached. After mating, the male usually licks his knot and prepuce.[20]
"

https://en.m.wikipedia.org/wiki/Penis_captivus

https://peteralfreybirdingnotebook.blog ... e.html?m=1

https://wanderingthroughwadis.com/2016/ ... n-red-fox/

https://www.petmd.com/dog/breeds/pharaoh-hound

https://www.loupiote.com/photos/pharaoh ... 2764.shtml

https://www.thesprucepets.com/egyptian- ... ds-4796829

https://www.livescience.com/archaeology ... -and-barks

https://static1.thetravelimages.com/wor ... 226228.jpg

The Opening Of The Mouth

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Babi's phallus was sometimes depicted as the "bolt of heaven," suggesting his role in opening and closing the celestial gates
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https://henadology.wordpress.com/theology/netjeru/babi/

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Babi
(Also Baba, Bebon) A God depicted as a baboon, often with a prominent phallus. In the Pyramid Texts the door-bolt of the sky is referred to as “the phallus of Babi” (utterance 313), and the king identifies himself with Babi, “Lord of the night sky, Bull of the baboons” (320; similarly in spell 668 of the Coffin Texts, “To become Babi in the realm of the dead”) but also requires protection from Babi, as in utterance 549: “Get back, Babi, red of ear and purple of hindquarters!” In this spell it is said that Babi has stolen a portion of sacrificial meat allotted to an unspecified Goddess. Babi (like Seth) expresses the qualities of vigor and sexual potency in the fullness of their ambivalence, always testing any established limits whether social or natural. In the Coffin Texts the deceased says “I am the phallus of Babi” (822) and “my protection is Babi” (945), and in spell 359 “I am Babi, the eldest son of Osiris.” Babi is also mentioned as “having power over water” as “the oar of Re,” probably a phallic reference. The phallus of Babi, “which creates children and begets calves” is the mast of the netherworld ferry-boat in spell 397, and several other parts of the boat are identified with him in 398. Once again, however, Babi is ambivalent; for his phallus is also the mast of the boat of the netherworld fishermen who threaten the deceased with their nets (473); however this boat is given a positive value in the course of this spell insofar as the deceased is to be a passenger on it. The boat itself, then, of which Babi is an integral part, can either be a trap or a conveyance, depending upon the mode in which one engages it, hence the importance in these ‘boat’ spells of knowing the names of each of the boat’s parts, which form a system of divine identifications that make of the boat a model of the cosmos.

Another instance of Babi’s ambivalence is his seeming potential to cause symbolic impotence, which is implied by the reference in spell 548, a spell against being ferried to the east (indicating perhaps counter-solar motion) or “dying again in the realm of the dead,” to the phallus of Re “which goes awry for him in uproar, the inertness of which comes into being through Babi.” In the version of this spell appearing in the Book of the Dead, however (93), it seems as if the phallus of Re, which is “more active than he [Re] when passionate,” transforms Re’s “torpidity” into “that of Babi,” implying either that Re borrows Babi’s potency and therefore renders him ‘torpid’ instead, or that Re becomes no longer torpid, and thus like Babi. The deceased, at any rate, identifies with this purely phallic power in order to “grow more powerful thereby than the Powerful,” so as to threaten that if any harm comes to him/her “then this phallus of Re shall swallow the head of Osiris.” This is another instance in which the deceased, generally identified in the Book of the Dead with Osiris, identifies with forces transcending the passive aspect of Osiris. Naturally the phallus of the deceased is that of Babi in spell 576 of the Coffin Texts, a spell to charge an amulet that empowers the deceased to copulate in the other world. The reference to “Babi of the horizon” in 581 perhaps identifies Babi as chief of the baboons who are traditionally depicted greeting the sun at its dawning, or identifies Babi’s erection with this dawning, or simply applies his strength to this task. In spell 682 the deceased is “the Watcher who goes forth from food-offerings, Babi who goes forth from the Castle,” Babi perhaps being a symbol of the power of the Gods to enforce their will. In the Book of the Dead, Babi is a member, along with Shu, Re and Osiris of “the great Council that is in Naref,” a tribunal before which Thoth defends the deceased against his/her “enemies” (18). In spell 63 Babi is “first son of Osiris, whom every God united to himself,” as at Coffin Texts 359 where Babi “assembled every God,” presumably because his phallic potency is common to all the Gods. And yet the deceased must still ensure (spell 125) that the Gods “rescue me from Babi, who lives on the entrails of the elders, on this day of the great accounting.” Thus the texts are remarkably consistent in their depiction of Babi as a force of sheer natural vitality whose disposition toward one is wholly dependent upon one’s ability to correctly harness it.
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cornelioustreat888
•
3y ago
Yes. The enzymes in saliva turn white fur a rusty pinkish colour.


Upvote
65

Downvote

Rigelx6484
•
3y ago
Summertime, more panting, more saliva.
"

"
Babi





Virility God

In Egyptian mythology, Babi was the deification of the baboon, one of the main animals present in Egypt, and it is thought that from his name we get the word baboon. His name is usually translated as Bull of the baboons, and roughly means Alpha male of all baboons, i.e. chief of the baboons.

Since Baboons exhibit many human characteristics, it was believed in early times, at least since the Predynastic Period, that they were deceased ancestors. In particular, the alpha males were identified as deceased rulers, referred to as the great white one (Hez-ur in Egyptian), since Hamadryas baboon (the species prevalent in Egypt) alpha males have a notable light grey streak. For example, Narmer is depicted in some images as having transformed into a baboon.

Since baboons were considered to be the dead, Babi was viewed as an underworld deity. Baboons are extremely aggressive, and omnivorous, and so Babi was viewed as being very bloodthirsty, and living on entrails.

Consequently, he was viewed as devouring the souls of the unrighteous after they had been weighed against Ma'at (the concept of truth/order), and was thus said to stand by a lake of fire, representing destruction. Since this judging of righteousness was an important part of the underworld, Babi was said to be the first born son of Osiris, the god of the dead amongst the same areas as Babi was believed in.

Baboons also have noticeably high sex drives, in addition to their high level of genital marking, and so Babi was considered the god of virility of the dead. He was usually portrayed with an erection, and due to the association with the judging of souls, was sometimes depicted as using it as the mast of the ferry which conveyed the righteous to Aaru, a series of islands. Babi was also prayed to, in order to ensure that an individual would not suffer from impotence after death.
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https://hakes-www.s3.us-east-005.backbl ... 22_1_4.jpg

https://americanhistory.si.edu/sites/de ... k=Kf7jMdnj

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Clifford is a male red dog whose appearance, disposition and behavior are based on a giant dog.[6] The depiction of Clifford's size is inconsistent.[a] The character's name is based on the imaginary childhood friend of Norman Bridwell's wife, Norma Bridwell.[7] Bridwell originally wanted to name the dog "Tiny", but his wife persuaded him that "Clifford" was better.[8] Clifford's pet owner is Emily Elizabeth. Clifford has a mother, two brothers, and two sisters, all of whom are normal-sized dogs. Clifford was originally the runt of the litter, seemingly fated to be small and sick, but grew to an enormous size apparently due to Emily Elizabeth's love and care. Clifford's character was created when a Harper & Row editor advised Bridwell to write a story to go along with one of his pictures. Bridwell recalls she picked out his sketch of a baby girl with a horse-sized bloodhound, and casually said, "There might be a story in this" because there always was one.[6]
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https://dn790009.ca.archive.org/0/items ... hology.pdf

"
. In a tale from the Greco-Roman Period, a magician makes two wax baboons
come to life and write down thirty-five good stories and thirty-five bad stories.
A baboon was often shown sitting on top of the scales in which the hearts
of the dead were weighed against the feather symbol of truth. This baboon was
sometimes identified with Thoth, the recorder of divine judgments, and some-
times with Khonsu, “who eats the hearts of the dead.” Four baboons with
scorching breath guarded the Lake of Fire in the underworld, where they judged
the rich and the poor alike. It was in the form of a baboon that Thoth traveled
through the Nubian desert in search of the fiery daughter of the sun god.
The eight baboons of the horizon were associated with solar worship. These
baboons (sometimes reduced to four or two) were shown standing on their hind
legs and raising their front paws to greet the rising sun. “The baboons, the souls
of the east, praise you when they call out to you at the appearance of your sun
disk.” The baboons were sometimes equated with the eight Heh gods who held
up the sky. The separation of earth and sky so that the first sunrise could take
place was one of the most important episodes in the Egyptian creation story.
This cosmic event was repeated each dawn.
Wild baboons do stretch and chatter when waking up and moving off at
first light. This was interpreted as singing and dancing for the sun god Ra, so ba-
boons were thought to be the first creatures to pay proper religious observances.
Baboons were kept as sacred animals in several Egyptian temples. There was a
belief reported by some Classical writers that the most learned Egyptian priests
understood the secret language of baboons. This was thought to be the natural
language of true religion.
"

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Hathor was called the Foremost One in the Barque of
Millions because she stood in the prow of the solar barque leading its defense
against the chaos serpent Apophis. Ra sent his Eye to punish the rebellious de-
scendants of the humans who had been created from the tears of the Eye (see
“The Creation of Humanity” and “The Destruction of Humanity” under
“Linear Time” in “Mythical Time Lines”). In her savage lion form, the Eye had
to be rendered drunk before she could return to the heavens as beautiful, gra-
cious Hathor.
The Distant Goddess who abandoned Ra to live in feline form in the deserts
beyond Egypt could also be named as Hathor. This identification came relatively
late, but Hathor had long been regarded as the goddess of foreign lands and their
products. When the Distant Goddess returned, she brought the inundation with
her, but she had to be pacified with music, dancing, feasting, and drunkenness.
This was the mythical justification for the wild, ecstatic elements in Hathor’s
cult. It was proper for the whole of creation to rejoice when Hathor appeared
again in all her radiant beauty and joined forces with her father.
The union of Hathor and the creator could be thought of in sexual terms or,
more abstractly, as a merging of the creator with his own active power. Hathor
was the goddess who personified both the hand that made Atum ejaculate and
the divine “seed” itself. As the female creative principle, she could be the most
seductive and alluring of deities. This erotic side of her nature made Hathor the
patroness of lovers in Egyptian poetry and justified the Greeks in identifying her
with Aphrodite.
In the Contendings of Horus and Seth, the sun god Pre (Ra) becomes angry
when he is insulted by the baboon god Babi and lies down on his back. This im-
plies that the creator sun god was sinking back into the inert state that would
mean the end of the world. Hathor, Lady of the Southern Sycamore, visits her
father Pre and shows him her genitals. He immediately laughs, gets up, and
goes back to administering maat (justice). Hathor has aroused the sun god and
driven away his evil mood.
The Underworld Books present Ra and his daughter in less human terms.
As the goddess of the West, Hathor welcomes the setting sun into her out-
stretched arms. For both gods and people, Hathor eased the transition from
death to new life. The time and manner of a person’s death was decreed by a
sevenfold form of Hathor. As Lady of the Necropolis, she opened the gates of
the underworld. As a tree goddess, she revived the newly dead with shade, air,
water, and food. The spirits of the dead could imbibe eternal life from the milk
of the seven Hathor cows.
The Coffin Texts and the Book of the Dead have spells to help the deceased
live forever as a follower of Hathor. In a Late Period story, Hathor rules the un-
derworld, emerging to punish those who behave unjustly on earth. By the
Greco-Roman Period, dead women in the afterlife identified themselves with
Hathor instead of Osiris. It was only after Isis took over many of her attributes
that Hathor lost her place as the most important of Egyptian goddesses.
"

[kFoyauextlH]

https://m.youtube.com/watch?v=JmtBnwlhx ... ure=shared

"
Well, everything seems to be going really well with these, for me anyway, I got Mephisto! I was annoyed that they were threatening not to release it and I wouldn't likely have been able to get it if it was connected to that silly thing they wanted to attach it to, so I'm really happy that they released this. I'd probably like a bunch of similar characters, big bosses, even things from Dungeons & Dragons which they have a license to but have not produced things like they could, which should look more like this Mephisto character. If they created high quality Baldur's Gate 3 stuff, unless that license connects to some other company, that would be great. People panned The Acolyte but still liked the villain called "The Stranger" or something, and the toy of that villain was in high demand and sold out rapidly everywhere when available. I got it too as it is a useful and versatile figure that could fit in a number of settings, and I liked the design enough too and i'm always looking for cool villains.

People also bought out Emma Frost immediately, from the 97 series, but the others are of less interest to many people in comparison to that one apparently.

I don't know why it isn't just extremely clear to these companies what people buying like and want, they act like it is a big mystery, but it shouldn't be, collectors of our age group tend to like certain things, mainly "bad*ss" villains and s*xy powerful fit female figure that look powerful and it is almost like a d*minatrix thing since many times these figures are being lived through by the people buying them, they are things we could imagine wanting to be or to fight, to play as in a video game or what would make for a cool boss that we think looks good and is fun and enjoyable to see in action.

Even if they want to make other kinds of characters, if they up their attractiveness, s*xiness, and cool features and things they can have, like costume elements, whether male or female, I think that people like me will be interested in collecting symbols of strength and beauty, because that is what it might be coming down to, as I really tend to avoid stuff that I think is bland, boring, weak, ugly, with no sense of vivid energy and vitality, because what I'm looking for is a boost and an association with health, strength, beauty, and power. Toys and "roleplaying" are closely linked for me, and the toys are for me "roles" that I'd be happy to play as my playing them or as them would make me feel some of their apparent qualities.

Hasbro makes enough money to be totally unconcerned by consumer psychology, but if they paid attention to these things or were repeatedly encouraged towards certain things and discouraged from others, they might take a hint finally.

I don't know if they have some other demographic they are catering to, but I buy a whole lot, so I kind of doubt that there is some other group besides people like me who buy as much of these.

It is a lie that females don't sell, it is just that males are the buyers and we want certain things and have no reason to feel all that interested in some boring female figure, but look how that one Wonder Woman type figure by Marvel Legends sold out entirely, and Emma Frost has always been in high demand, and that we wanted an even more adult version of the Goblin Queen, and how McFarlane's s*xiest Wonder Woman sold out, and Power Girl and Super Girl even and Starfire. Duh! Why the heck can't they just face the facts?

Also, the Japanese don't seem to het it either, they are going in another direction with various visual f*t*sh*s and are jacking up the prices sometimes too, but we often have girlfriends and wives and people coming to our homes, we can not put that stuff up even if we like it, we can't buy those, so they are narrowing down who can buy those, plus we aren't asking to "inhabit" 3d p*r*ography, and the characters that I still prefer and buy from them are the ones that seem to have the most charisma and vitality, so that they can represent heightened forms of things I want, and so that they can be excused as forms of our partner too.

We want to see strong, s*xy, healthy, idealized forms of ourselves at our very best, and what we would desire in another too, and things we can try to be like or take from, models showing model behaviour.

I also want things that can suitably represent characters from all my favorite franchises, for example the Agent Venom human head sculpt of Flash Thompson seemed to work well as a Resident Evil character too and could work for other things also, like someone from Silent Hill possibly also, so that makes it very useful to me. Covergirl from the Classified series can work in a Star Wars setting also for example, but the most important deciding factor for me is how their faces look and their costumes look, so how beautiful and how versatile the pieces given can be, how many possible things they could represent or be used for, which makes the prices more justified for me. If the face looks bad to me or the body looks bad or the shape is weird and unpleasant, I can easily reject it and they've lost a potential sale from the rare sort of person who would buy any of this stuff at all in the first place!
"

https://www.researchgate.net/publicatio ... h_on_myths

I'm reading that along with the book it is referring to, but in knew of my threads or a new one I'll make, I'm considering writing out a "user's experience" of how I think some of these things work upon the mind, or my mind at least, which is what that comment above was describing also, related to toys, statues, and avatars in games or other forms like used on forums.

"
Anyone concerned with the interpretation and function of myths will time and again stumble across a very specific bibliographical hint: Paul Veyne,
"Did the Greeks believe in their Myths?" With such a provocative and witty title, the reader expects on the one hand expert guidance and enlightenment
about the dazzling phenomenon of myths and their varied perception already in the time of the ancient Greeks, but on the other hand also a pleasurable
and witty essay on the subject, the reading of which is pure joy. Some literature recommends this writing in this sense, which is obviously intended to
demonstrate the education and erudition of the person making the recommendation.
But the further one reads into this booklet, the more disappointed the reader becomes. It is not the expected instructive reading pleasure, but – o horror!
– the declaration of a postmodern, anti-rationalist and even anti-humanist hardcore ideology. The actual subject of the book, the myths of the ancient
Greeks, apparently serves merely as a backdrop for the manifestation of this ideology, and is brutally subordinated to it. One has rarely read so much
nonsense about antiquity as here. And all toenails roll up for the philosophically educated.
From the fact that this booklet is repeatedly "dragged along" in the bibliographical references on the subject of mythology, although practically no
author refers to Veyne's actual statements, one can see that very few have read it, and that the booklet is cited only because of its beautiful and
interesting title, and perhaps because the author is given a certain reputation without knowing anything more about him. So far, there seem to be only
very brief reviews that take a critical look at this booklet. For example, the clearly negative review by Simon Goldhill of King's College, Cambridge, in
"The Classical Review" of 1990. So it is time for a thorough review.
"