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Ah! Leave the gold, wealth and land

Says the Inca King...;

In Spain, they leave the bustling streets,

For sail to Peruvian shores;

The murmur of the gold is sweet,

It glows and glistens like the sun

A mountain of gold, or the grave

Awaits the human, Inca-god...!

Spaniards sing their songs of victory

Where breaks the green Peruvian sea;

Who now, worships the Inca King (?)

Guarded behind prisons doors--?

They chatter about his golden rings

They watch the winds cross the shores...

They count the days that idle by,

For gold they worship and will die.

Envoy.

Another spring will never pass,

Swallowed up by death, and death--

The Spanish voices combine--:

Will kill the Inca-King in time;

Before the gold arrives I fear...

It all will be hidden low, low

In the hollow of the earth, in the

Moonlit tunnels of Peru!...

#731 6/13/2005

Just a Note: Ricardo Palma has been some of my inspiration to a high degree on the traditions of Peru; as I have tried to put some into poetic verse. The Inca in general has been an ongoing theme I seem to like within my Peruvian poetry, and several characters surrounding them, and locations, such as the Andes, Cuzco, Huancayo, Lima: all in Peru of course; with such names as: Francisco Pizarro, and Bolivar, Atahualpa [Inca King]; Titu-Atauchi, his brother. Dona Veronica Aristizabal.

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There is much debate as to what is appropriate to use in sharing time. The church emphasizes that the items used should generally be produced by the church. However let's not get lost in the policy and lose sight of the principle behind it. The principle behind these guidelines are thrift, teaching pure doctrine, and keeping the program simple. I don't think that if you decide to use materials that are not church produced by the church or other LDS primary art you are going to lead the children astray. However, we should try to stick to the guidelines the church gives us and when the spirit tells us to try something else we go for it.

The best thing to do to follow this guideline is make sure you check the church's website, your ward meeting house library, your primary closet and the distribution center (if you have one nearby). This will help you be able to select the right artwork without digging too far into your own pockets. Being thrifty helps everyone.

When you select a piece of LDS primary art, you should choose art that will bring the spirit, and the best way to bring the spirit is by teaching true doctrine. You might also ask yourself if the piece of artwork is really needed or if you could use another example. It is similar to the council the church gives to those serving a mission. They recommend only using scriptures to bring the spirit into the discussion and not to prove a point. Many missionaries will show scriptures from the Bible trying to prove that the church is true. Let's not do the same thing with the artwork we show and use it to bring the spirit and not prove a point.

The LDS church also encourages us to keep thing simple, probably for more reasons than one. Keeping things simple allows for the spirit to teach instead of the art. We should prepare content in the lessons that will help us be guided by the spirit.

Is that to say that you should not use other artwork or media that is not produced by the church? The answer is no, we can use many examples, art and other media. We just need to begin with what the church offers to start, and if the spirit dictates we can use other things. We can use other things if the purpose of using them is to bring the spirit into our sharing time. The most important thing to remember is your intent. If you question whether a piece of LDS primary art is appropriate or not you should consult with your primary president and ward bishopric. The best thing you can do for your primary is look for ways to bring the spirit into your meeting and everything else will fall into place as you are prayerful.

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Prelude to the Green Knight: "Sir Gawain and the Ghost of the Green Knight," is a unique tale of romance, tragedy, in the Dark Ages, taking place at Camelot. It is a dramatic Epic poem, done in three styles: narration for explanation, poetic verse for emotions and rhythm, and dramatics for dialogue. It is out of the ordinary, for it involves a sage that starts in Atlantis, and blends into Troy, Rome and onto England. The Green Knight is the main character in this tale, as Florencia and Gawain, become supporting actors, sort of. The quest is not a quest, until the Green Knight meets Florencia at her birthday party, the King, King Arthur is giving for his niece. Gawain, is her protector, and the King's right hand man. The ending is potent, and will live on within the hearts of those who love such romance and adventures of Medieval Europe.

Dramatis Personnel

(Or Characters of the Story)

The Green Knight--spirit and Flesh

Florencia--Niece to King Arthur

Sir Gawain--King Arthur's beloved Knight

Flu--the Boy Soldier

Phrygian--King OF Atlantis

Ais--Queen of Atlantis

Queen Guinevere--of Camelot

Agaliarept, the Henchman of Hell

The Ten-winged Dark Seraph

An Epic in Poetic Form

Impression:

A Tale of the Green Knight

1: We come now to the grand story of the Green Knight

(or at least one of his life long adventures; and origins),

for I sense there were scores of, spirits and flesh

that made the Green Knight what he was,

and I do hope I can tell the tale as it truly was.

Let me say, his fame started shortly after

his name was changed to the Green Knight

--prior to his legendary plight with King Arthur;

hence, then called Bercilak de Hautesert.

In the times of King Arthur, two stories emerged

of the Green Knight, thereafter a third tale emerged

placing him in the Crusades, and becoming respected

by the notorious Saladin the Great,

(Muslim leader of his day), and marrying

a peasant woman from Glastonbury.

2: Much of the Green Knight's story and glory is in being

a warrior, and from the forth to twelfth centuries

one can see this plainly. And as we look deeper

into his surroundings, he is interwoven with

Celtic Mythology, and maybe with a touch of modern

day Anglo-French: with a background in Arthurian legend,

where it was incorporated with the "Conte del Graal,"

For the Green Knight carried a Danish Axe did he not?

And he was beheaded was he not? And he lived

thereafter, did he not? And his skin, horse and all

his garments were of a ghostly green, were they not?

3: I take it he may have been married between

one to three times, that is, depending on whose tales

one needs to read and wishes to believe,

for they date back prior to the Fourteenth Century, AD

Both King Arthur and the Green Knight are confusing

figures to say the least, perhaps both of British-Roman

origins, so it would seem, so it must be. As well as,

Camelot, the castle of controversial issues; likewise,

the Round Table, which it is said, still exists.

I actually went to Glastonbury and visited

King Arthur's grave, if indeed it was his grave.

I do believe we must have a lot of faith in these fables,

and there is a tinge of testimony for King Arthur

and the Green Knight's existence. And so now

we shall go onto the next stage of this story.

The Green Knight

Recounted

The Crusades of Asia

12th Century

4: So you see we have had a figure of a huge

knight, a symbol of bravery also--and of a

ghostly persona. One who lives and dies and lives

again, and seems to reach beyond his original roots,

and comes to life in the fifth century England,

and resurfaces in the 12th century Crusades.

But I have found out it goes much deeper than that.

And he was more than what he says. Let me explain:

he was I do deem, a tester of the Knight's,

of their times, as Arthurian text would put it,

and perhaps J.R.R. Tolkien, in the case of

Syr. Gawayne, and his translation (1925): and other

translators of the tales of the Green Knight,

such as Jessie L. Western, and W.A. Neilson,

all quite skillful in their versions (1999). And for the most

part these paraphrases are well needed, practical,

in modern English from Middle English, which has

produced a readable medieval past, in fiction.

5: Now we must really touch on the Ghost of the

Green Knight before we get into the really story,

which is, in its end form,

"The Monologue of Florencia."

I dare say, but I will, if a man can seize his

head in his hands, after decapitation

(as it was done by Sir. Gawain) he is nothing

less than a ghost, and perhaps a little more.

And then, talk to his decapitator. What kind

of man can stand before another and do that,

with green skin to his bones. And so in this

case we eliminate all the possibilities and get

right down to the facts, he is more than he seems,

and for a good reason, and I shall tell you that

story for posterity sake in a moment.

6: Sir Gawain beheaded the Green Knight, by allowing

him to take the first swing with an axe, but in return,

he would have to meet the Green Knight again, and let

him have his turn. Quite a test for a night is it not.

And would Gawain be true to his honor? These of course

were the testing tools of the Green Knight. And is not

a reputation for a Knight above all other

things that were perhaps the main matter in the

back of the Green Knight's mind.

7: Well, to indulge you a tinge more into this story's

past, told many times, but not like this...Gawain did

return to the Chapel where the Green Knight was, one

year later (for he had seen him prior to this, with

Florencia), and now bowed his head to be cut off

by none other than the Green Knight. But Gawain

was no fool, he but a special metal strap around

his neck to protect it, yet, he still get a wound,

but he got to walk away with his head and nick

firmly attached, and his honor intact.

Yes indeed, Gawain did a very shrewd thing. On the

other hand, the Green Knight used his wit and

wisdom to test the Knight's integrity, almost

devilish, almost likened to Satan himself who testing

Christ on a Mountain top. But then the Green Knight,

he believed I suppose, as Mark Twain once said:

"A virtue is not a virtue until tested under fire."

8: So now I will tell you with all sincerity, I believe

this next story, sketch or call it tale, as much

as I believe all the other tales of the Green Knight:

this one although needs your undivided

attention, and it is not like the others, a

medieval romance, rather it is beyond that.

The Story

From its Original Roots

King of Atlantis 10,666 BC

9: When Atlantis fell (sunk into the Atlantic)) 9600 BC))

about four-hundred years before King Phrygian,

of Atlantis, whom lived in the palace at the

Port of Poseidonia, had printed a journal--

one of treachery with the demonic

Netherworld (Hell, itself). His kingdom was somewhat

fashioned by the underworld you could say, perhaps

that is why God Almighty, destroyed it. At that

time the High Priest, Xandore was killed and possessed

by the infamous figure, friend and foe,

know in Hell, as Agaliarept, the Henchman.

He was a brave beast in his own right, devious

as such are, psychotic as any other demon,

and renowned in the netherworld for his prowess

in weaving Atlantis into its internal chaotic doom

(or moral downfall). One night he slept with the

King's wife, Ais. Oh, not with his blessings--but

by threat: hence, he crept into his bed, as the

king moved over, and whom he had sedated

her during dinner, thus, she slept soundless

throughout the ordeal, as the Henchman, seduced

her, hour after hour, in a lustful frenzy.

Ais, not knowing much pertaining to what she

had endured, and considered now a nightmare,

only acknowledge, she had raw and aching thighs.

Agaliarept, the Henchman of Hell

10: The Deception

Shortly after the king was murdered in his garden,

so the ancient scrolls have indicate--just how

is uncertain--but the best I can piece it together

is as follows: Phrygian some twenty-years older

than the Queen, Queen Ais still quite young, were having

lunch as often they did in the Garden of Poseidon,

within their palace grounds by the seaport--there,

hidden in the distance was a figure in the garden,

hunched down behind some shrubbery; some have

said it was the High Priest, and I do believe it to be,

for he had the utmost motive, Ais--his lustful dream.

But perhaps it could have been someone else,

nonetheless, the king choked on food, as it was written

down by Anases, the scribe: Anases whom was

present in the palace during those far off days,

and it was his duty to write down everything, whatever

he witnessed, heard, or could verify--to be put

onto scrolls (known as The Codex Scrolls).

11: In any case, what took place was that he either had a

allergic reaction, or got a bone caught in between

his windpipe or whatever, but he could not breathe,

and died--died in a development, fighting for air;

Ais being too afraid to leave his side, lest someone

come and kill him with a dagger or sword--remained.

And the wealth of the realm of course went to Ais.

12: In the underworld, in Hell itself, days are not

normal days as on earth, nor are weeks, months or years.

That is to say, days in Hell, can be months or years,

depending on actions and reactions. Nights are

long, so I've heard, and like in Heaven or in

any Army on earth, there is a hierarchy--

in hell, there is a pecking order, I say this because

I do not know the time period in my next paragraph,

but it was not years, rather days, weeks or months,

I tend to think it was perhaps twenty-months,

earth time, a few days or hours, Hell time.

13: Anyhow, in time, Ais was confronted by her dead

husband to join her in Hell, saying in so many

words: if you join me, Beelzebub, the King of

Demons promised me a high position (the forth

in command). Her love and devotion for him

was unconditional, and she followed him to the

innards of Hell, but while in the waters of Hades,

Hell's river of sorts, he pushed Otis, the row man

over the edge of the vessel and as legend says,

they sailed around the gulf for 1000-years

(before he was caught).

14: Now you might be saying: what does all this have to

do with the Green Knight? A lot, but first we have to

shift back to the sinking of Atlantis. Ais had a child,

a hybrid (a crossbreed), a giant of a soul, one third

man, two thirds superhuman. His skin was pale

and the older he got, greener. Agaliarept, took the

matter of the child birth more serious, he was proud,

almost, and at time he was, boastful, he considered

him his son, and in time to be the leader of the

Archkingdom of Atlantis, Bercilak, escaped the

upheavals of 9600 BC, then what took place was this:

the human residue of Atlantis escaped to its satellite

countries, the isles of England, Crete, and inland,

Egypt and Troy. At this time, the Mound known as the Tor

had already existed for some thirty-thousand years,

next to Glastonbury, England, where King Arthur

would be buried.

The Tor of Avalon I Glastonbury

AD 450

The Agreement and the Ten-winged
Dark Seraph

The Ten-winged Dark Seraph

15: Agaliarept, was called back to Hell's area,

by the Ten-winged Creature, the Dark Seraph

of doom, whom was superior in authority to Beelzebub;

Agaliarept was reluctant, and so he asked for a pact,

and it was granted; it was that his son be given life...

to the closing stages of living time--accordingly, he

would return to the Great Walls of Hell, without protest.

It was strife and sadness that overtook him. But sealed

in black blood, it was unforgiving should he break the bound.

(And so it was that he becomes ghost and flesh, as one.)

16: Hence, he would join in a long series of wars,

the Green Knight, as he would be know in due time--:

first he fought at Kish, for Gilgamesh; next,

at the great siege of Troy, for Paris, prudently;

with the Greeks, 400 BC, at Athens; and

under the banner of Rome, during the republic,

and for Pompey, until he lost his way, and life; and

even the Inca Kings of Peru, prior to Atahualpa.

It was the fifty century AD, although, when his name

would preced him, as flesh and spirit, in the British Isles.

At this time, King Arthur and his renowned Knights

sparked an interest in his life, especially, Syr Gawayne;

like he, Arthur and Gawayne, were marvels in battle.

Interlude

17: (Narrator)

Now my just reader, you must listen closely, and

I will tell it as it was told to me, and it is fixed truth,

linked to a scroll of a scribe and seer, long before Arthur,

for he saw it all in the dark magical waters in his den

(and then, it came to pass, unwritten until now.)

Dedicated to Brynna Siluk

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