Anna’s started up a blog, Buddhism and True Blood!
I understand that soon you’ll be able to find all her TB articles there, but to start the ball rolling, she has not one, but two fresh season 4 ones.
Anna’s started up a blog, Buddhism and True Blood!
I understand that soon you’ll be able to find all her TB articles there, but to start the ball rolling, she has not one, but two fresh season 4 ones.
3.12 “Evil is Going On”
Courtesy of Anna
(I’m not opening this post to comments, but keep them coming on the Arcana page.)
by Anna
It seems that on the surface Jesus and Lafayette come from two different traditions, Jesus belonging to the ancient South American-traditions of Mexico and Lafayette linked to the African traditions that his ancestors brought over on the slave ships. Jesus is a follower of Santeria as he recognizes the image of Chango on the altar at Lafayette’s and he also knows about the rituals and sacrifices involved as he tells Lafayette that the Orishas need to be appeased.
When Lafayette and Jesus are playing pool on the wall behind them is a sign which says dos equis.
Apart from its urban slang definition, equis is also the Latin for horses. When an Orisha takes possession of someone they may ‘seize the head’ of a person (or ‘mountthem’ as if they were a horse), and pass on various messages. After offering the Orisha “something else” during the V trip both of them learned things that they didn’t know.
During the V trip we meet two important female figures in Jesus’ life both of whom are curanderas or healers.
Mimi’s oils have saved people from evil.
Cecilia is able to cleanse people’s essences.
The curanderas trace their traditions back to the Toltec and Olmec civilizations which are as old as that of the Druids. Curanderas cure people by working on the spiritual level as well as the physical as there are good and evil powers and evil forces can cause illness. Jesus calls the Virgin of Guadalupe Tonatzin, her name in Nahuatl the language of the Aztecs.
His grandfather, abuelo, on the other hand is a practitioner of the dark arts, a brujo.
Jesus was born in Catemaco renown for sorcery whose practices come from the Toltecs and Mexico is also known for its shamanic tradition. Jesus says of him self that he is the polar opposite of Satan but like Ruby Jean who has been diagnosed as schizophrenic he seems to have two sides to him.
During the V trip Lafayette’s great-great-great-grandmother Mae and her daughter Winnie use magical knowledge brought from Africa.
The role of the conjurer on the plantations was an important one as they were the spiritual leaders of their community and were also often respected by their white masters. Conjuring practices were often used by slaves as a defence against slaveowners and their mystical powers were based on the use of roots, herbs, powders and incantations.
Lafayette’s power would seem to come from Mae and African witchdoctors were also healers who used witchcraft to cure people’s bodies and souls. Skills were passed down through families, and conjurers often had second sight and were known as “two headed.” African traditions form a major part of both Santeria and voodoo, and voodoo’s most well known female conjurer is Marie Laveau.
In theory Tara might be able to access some of the same power as her cousin. It’s also possible that the darkness that runs in the family could be a consequence of the skills and the training being lost, and Lettie and Ruby not being able to use their gifts and channel their latent abilities away from the dark.
Though Lafayette calls Jesus a shaman, it seems to be Lala who has the knowledge of how to travel between the worlds and understands how a V trip “can take you much,much deeper.” It can also connect him with whatever magic and power that he’s got that makes him so attractive to the witches and vampires that Ruby Jean warns him about. Jesus warns Lafayette that all the energy he has can go dark if he lets it, but it’s the trip with Jesus that takes them both to the dark place of the brujo. Lala wakes after the trip and sees assorted dolls talking to him.
It would seem that the good forces want him to come with them
and need him.
but the forces of evil, linked to the images of Jesus’ grandfather, are also trying to get him.
by Anna
The intermediate state of reality is described in terms of brilliant lights and the colours blue, white, yellow, red, and green which are associated with various images that represent aspects of the enlightened mind.
Looking for images which might illustrate this aspect of the intermediate state, the most striking ones I could find came from Laffy and Jesus’s V-trip. So I dug a bit deeper and found another commentary which looks at the Book of the Dead as a manual for a psychedelic experience.
According to this commentary, the first state of the Bardo is an experience of things as they are, free of ego and of concepts. The second state is where the rational mind tries to make sense of the experience, and the final state is the re-entry into normal consciousness.
In the Bardo Thodol, the first set of visions during the intermediate state show the peaceful deities, and the second set of visions, their wrathful aspects. Each vision gives someone a chance to gain some insight.
All the images or hallucinations that manifest during the Bardos are based on the iconography that people are familiar with. The visions that are shown during most of the V-trip seem to be the product of Jesus’s mind, based on people and religious images that he is has known.
At first Jesus is pictured as the one in front who is leading the journey. Laffy is often shown as a guide, grounding Jesus through touch or by massaging his head. This changes half way through when they become connected, speak in each other’s voice, and start to be pictured side by side. Towards the end of the journey, it is Jesus who has his hand on Laffy’s shoulder.
After a series of flashing lights that could be seen as representing the Clear Light of experience of the first state, Jesus & Laffy enter into the next state.
The Intermediate State
Throughout the trip there are flashes of light which could be seen as moments of insight, and Laffy & Jesus experience a display of sound, light, and colour.
The dazzling blue light represents all-encompassing wisdom, which cuts through ignorance and delusion.
Brilliant white light represents mirror-like wisdom and universal kindness.
Yellow light represents the wisdom of equality and harmony.
Red light represents dicriminating wisdom and compassion.
The appearance of green represents the wisdom of all-accomplishing action and fearlessness, and bright green can be seen during the yellow and red stages. Finally all the colors appear together.
There is a marked change after this scene as Laffy and Jesus become more connected and a more nightmarish part of the journey begins. The same colors appear but the images associated with them are much darker, and there are also flashing sequences of the five colors.The final image is of Jesus’s grandfather ‘who had big plans for him,’ and at that point, Laffy returns to ‘normal’ consciousness.
The title of the episode is ‘I Smell a Rat.’
By Anna
This is dedicated to AB for reminding me of the Wheel of Life and to everyone who encouraged me to explore the Buddhist theme. I’ve tried to simplify things, and I’m not enlightened, so all the mistakes are mine!
It seems to make sense when trying to bring all the different Buddhist threads together to start with the whole idea of death and rebirth. The idea of reincarnation is fundamental to Buddhism even through there are differences between the two main schools.
Since Tibetan Buddhism is the most visually iconic of the schools, I’ll base most of what I write on the interpretation found in the Bardo Thodol but will try to find a middle way.
One aspect of the Tibetan Book of the Dead is that it is a manual for ensuring that someone who has died is helped through prayers and advice to be reborn in the best situation possible. The prayers are recited as a guide to helping the departed through the dreamworld of the intermediate state between death and birth.
Another way of looking at it is that we die (change) from moment to moment and from experience to experience and through awareness of the processes involved we are able to avoid negative situations and allow more positive ones to arise.
When someone dies there are three stages: the moment of death, the intermediate state, and the journey towards rebirth. At each of the stages there is a chance for someone to reach enlightenment or be reborn in favourable circumstances.
I Will Rise Up
When reading the descriptions and commentaries I was struck by the similarities between the scene of Godric meeting the sun and someone who achieves enlightenment at the moment of death and who is able to come back to guide and help people according to their needs.
The ideal way of dying is to approach the moment of death letting go of all attachments and free of all cares and concerns. A dying person is advised to gaze into the sky in front of them at the moment of their death and flow into the light.
If they have attained realisation during their lifetime, death is the ultimate liberation. They will be able to flow into to this luminosity and attain enlightenment. One of the signs that this has taken place is that the body will glow radiantly and its shine will not fade for some time.
If anyone would like it Parts 2 & 3 could follow looking at the intermediate states and the stages of rebirth into the six realms.
by Anna Tsogyal
Since there have been some rumours that Alan Ball is interested in Buddhism it seemed that it might be a good idea to have a look at some of the True Blood symbolism from a Tibetan Buddhist point of view.
There’s a great Tibetan image called the Wheel of Life that sums all the emotions and attitudes that lead to suffering.
The outer rim shows the cycle that leads from ignorance to old age and death.
The spokes of the wheel divide it into six different worlds.
In the middle circle or hub of the wheel are three animals.
The cock represents greed, the snake hatred, and the pig ignorance.
These three animals sum up the negative emotions that cause suffering and their symbols can been found in True Blood as an image on a wall, on a poster or even as someone’s name.
The cock of greed means that people are driven by lust and desire.
The pig means ignorance, the inability to see the truth about people or situations.
The snake drives people through hatred and anger to do evil things.
It’s possible that these animals could sum up the main driving forces behind each season, the cock Season 1, the pig Season 2, and the snake Season 3.
For Sookie this could mean that in Season 1 she is driven by her lust for Bill, in Season 2 by her ignorance about his true motives, and in Season 3 her anger and hatred leads her to stake Lorena.
As long as she is trapped by these negative emotions she will continue to suffer.
There is a way out of this continual round of the wheel but she would need to change her life style and develop some wisdom and awareness.
Not Just a Pretty Face
by anna tsogyal
When I first saw this image of Talbot I wasn’t sure who it reminded me of, and then I remembered this from Derek Jarman’s film, Carravagio. A younger version perhaps?
Caravaggio was a 16th century Italian painter, born in Milan, who spent some time in Rome where he painted A Boy with a Basket of Fruit, on which the still from Jarman’s picture is based. There has been some controversy about whether Caravaggio was gay or bisexual; however he did become something of a gay icon, which would have appealed to Jarman who was both a painter and film director.
The fruit in this painting is not perfect, some of the leaves are blemished or diseased which seems to be unusual as most painters of the time idealised whatever they painted. Caravaggio painted other naturalistic still lifes, and the table decorations in Russell Edgington’s mansion have centrepieces of flowers and fruit that look as if they were inspired by a still life painting.
Connections have been drawn between Russell as the Celtic god, Lugus, and Talbot as his companion, Rosmerta, so I’d like to add another tale to the mix. It seems that Julius Caesar was responsible for connecting Lugus to Hermes, and others have included Lugh and Llew Law Gyffes as counterparts as well. The Welsh Llew Law Gyffes doesn’t seem to have as many parallels but there is an interesting story about him in the Mabinogion. He was forbidden to take a human wife so a woman called Blodwyn was created for him out of flowers.
We’ve already learnt from Alan Ball and Daniel Minahan’s Frenzy commentary that they took some of their inspiration for Queen Sophie Anne’s palace from Pasolini’s controversial film Salò which is an examination of the abuse of power.
Since one of the themes this season is political extremism, it seemed to be worth looking at other Italian and European films which might have provided some kind of inspiration, conscious or unconscious.
Pasolini was closely linked with the neo-realist school of Italian cinema and one of the subjects of neo-realist films was Italian fascism. The neo-realist directors included Bernardo Bertolucci whose film, The Conformist, was a exploration of the mentality of those who became fascist and the possible causes of their involvement.
The Conformist tells the story of Marcello, a young man living in Italy at the time of Mussolini, who is desperate to create the illusion of normality by rejecting his past, which includes a homosexual incident with the family chauffeur and a murder. Marcello joins the Fascist Party and his attempt to conform to society’s expectations includes marriage and later, on the orders of the Party, the murder of an anti-fascist professor. His story is told mostly in flashbacks and on occasion even those flashbacks have flashbacks. After the fall of the fascist regime Marcello is prepared to accuse others of his own actions to save his own skin in another attempt to conform.
The illusion of normality sounds to me a bit like mainstreaming and the flashbacks and the unsavoury past of the young man in question also reminded me of how the writers are telling Bill’s story. Both characters use the veneer of civility to hide their inner selves. Marcello uses the conventions of bourgeois society, and Bill the manners of a Southern gentleman.
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