The Rose of Sarai

Sharon is a level fertile plain between Jaffa and Mount Carmel in Israel. In Hebrew the name derives from Sharai, a princess, from whence are derived Sarai and Sarah, which again were ritual offices in Judaism.

With regard to the word rose, some dispute exists over exactly what that means and those who are authorities on the subject describe it as:

i)   a crocus

ii)  a polyanthus

iii) a narcissus

iv) a cistus

However, if you consult a gardening encyclopaedia you will find that the rose of Sharon is described as the hypericum or St. John’s Wort which, interestingly enough, produces a red dye and is related to the cistus.

It is likely that in order to be described as a rose in the European translation of the Jewish bible, it would have had to have looked something like a rose, and in keeping with such an identification the cistus comes quite close in its foliate resemblance to the western, red and white Plantagenet rose, which we found growing unabated around Janet March’s well in Carterhaugh Forest. Furthermore the cistus is called the Rock Rose in Southern Europe and North Africa.

The cistus is white with deep, blood red blotches, like the dappling of menstrual blood. The cistus belongs to the family cistacea and is also known as the gum cistus whose botanical genus is ladanifer from which is obtained laudanum, the dream-bestowing prize of poets and visionaries across Europe and the Middle-East, including Thomas de Quincy who, having taken it, were transported into the darkest, most terrifying realms of the Underworld or the highest reaches of Heaven, both being the deepest recesses of their own psyches.

Sheba, as the Lily of the (Nile) Valley, the nymphaea lotus and the the rose of Sharon: the ladanifer, was being likened unto a living, narcotic pharmacopoeia. As neither of these plants grow in Northern Europe, we have contented ourselves with the nearest familiar symbols, those being the virginal Fleur de Lys and the Plantagenet or English Rose.

The Rose represents therefore the magical menstrual flow of Solomon’s beloved, whilst the name Sharon or Sarah means princess. The Rose of Sharon is therefore the Royal Blood, the Sang Real; and the San Graal, the Holy Blood of the Holy Grail or rosi-crucis. As the Latin Ros-Sara or rosary which is devoted to the Virgin Mary, the pure white Lily, which itself is the "dew of the princess" (OED).

The word Rose in Germanic means Horse, from Hros, a deity who is identifiable with the goddesses Rhiannon and Epona, who were symbolized by the white mare and immortalized in chalk, hill carvings across Britain.

By a lucky stroke of fate, or under the power of "the single poetic theme", as Robert Graves would have it, The Hros, like Slepnir (Yggdrasil), Rhiannon, Epona (and the Hindu Breghi Moru) were the goddesses who conducted the King to the Otherworld and to the goal of sovereignty.

This was exactly the job of Sheba, the Rose of Sharon, and all the other watery nymphettes in history. So the Rose of Sharon, whilst referring to the flower of the royal menses, also refers to the function of that fluid as a method of transport to the otherworld.

Again death is implied by Hros because Epona and Rhiannon, but especially Slepnir, are symbols of the white draped funeral byre carried by four men who, like Slepnir, have eight legs.

Slepnir, the white horse of Odin is Rhiannon, the elven mount of the Welsh Arawn or Death, the grim reaper who (like Jesus * who "brings a sword to separate the quick from the dead") scythes the spirit from the flesh. Arawn, Lord of Annwn, in the story of ’Pwyll Lord of Dyfed’, leads a pack of red-eared, red-eyed hounds in the hunt for the red-eyed white hind, who is the virgin, elven princess who, like in the stories of Odin or Hearne the Hunter and the Wild Hunt for elf women at Samhain, is the source of truth.
 

* The image of Jesus as the grim reaper or Repha’im is consistent with his cultic role in the Egyptian mysteries. Significantly the verse that this passage is taken from refers to Jesus as coming with a sword, the spirit or Torah, to separate the "quick" - the divine, Immortal spirit, from the dead - the material soul or "dead flesh" of the unregenerate mind created from the "flesh" of mortal experience. In vampirism the process of awakening the cerebral centers is called "the quickening".

 

In Indian love poetry the vulva has been referred to as "the footprint of the deer" and we may equate both the Hind and the Hros respectively with the physical and spiritual aspects of the Virgin.

The Hart or properly the hind in the thicket, so beloved of Graves, is the poetic truth hidden by the pubis, like the tangle of thorns that hides the castle, the enclosed fastness of the princess’s virginity in Sleeping Beauty.

Rapunzel’s tower, her inaccessibility, is likewise a symbol of the princess’s virginity. The hounds of Arawn, Odin and Hearne, consistently in all these stories, represent the retinue of elf nobles who, in later times, were mimicked in the Wild Hunt by the race of the rustic youths around the maze for the virgin prize at its centre. Rapunzel’s tower also represents her elevated consciousness as a Grail Maiden. By using her red-gold hair to climb the tower, in other words by following the Rtu or blood flow to, and consuming it from, its source - id est Rapunzel - both the witch; and the knight who supposedly rescues her, are able to climb to new heights of cosmic consciousness. Rapunzel’s hair is both Ariadne’s and Sleeping Beauty’s red-gold thread of the menses. The knight has no intention of rescuing Rapunzel. She can’t be rescued from a figurative narrative construct, she is a feeding female and the witch and the knight are the Dragon Queen and the vampire Prince who are her clients. The only way of ’rescuing’ Rapunzel from the tower is to rape her, and rob her of her virginity and her transcendent vision which is symbolised by that tower. Some rescue attempt that would be.

Card 13 of the Major Arcana of the Rider-Waite Tarot is entitled "Death". 13 is the number of the Moon and specifically of the menstrual cycle. Riding Epona or Slepnir, the red-eyed white horse of Elphame, the skeletal figure of the grim reaper rides across the field of life in a black cloak and full armour, trampling the noble and the humble alike under his horse’s hooves. In his hand he carries the banner of the white rose of the spirit on a black field. However, this is not a funerary plant.

The white rose, like the red rose, symbolizes love, but which in this case is philea rather than eros. The horse’s reins and livery are black and adorned with skulls and crossbones, which we understand to be representations of the Baphomet or Holy Grail. Behind him in the distance lie the twin towers that feature in another major Arcana card - "The Moon". Beyond the towers the sun is shining above the dark horizon.

The towers, the horns of the Sabbatical Goat, represent the open legs of the priestess-goddess and the glow of the sun, like the Hallowe’en candle on the seesaw, or the candle between the goat’s horns, is the glow of the red-gold of the virgin menses and the chakra or sephiroth of the womb. This symbol is replicated in the second card, "The High Priestess", dealt with earlier.

This again is a card of "the love that brings death" and the reaper symbolizes, not physical mortality, but the victory of transcendence over mortal pomp and materialism and the life-that-is-death. In such a context therefore - Death as Initiation - the white rose of the spirit and pure love, is identical with the red rose of Sharon, inasmuch as the red rose does not herein symbolize sexual passion, but the menses-smeared rose of the vagina’s foliate aperture, contact with which brings the spiritual purity symbolized by the pale flower of Death’s banner.

Like doves, roses are sacred to Venus who as Ishtar and Lucifer, the "bright and morning star" is the bringer of light and enlightenment. Venus’ emerald jewel, the hermetic tablet of destiny (also the Lia Fail of the Scythians) is called the jewel in Satan’s crown which, when it "falls" or is reversed becomes the hidden "cubic stone", the dark, oozing monolith of the hidden Grail, concealed in the recesses of the body of the Swan Princess, the naiad, from whom one might obtain "blood out of a stone".

The reversed emerald tablet, the cubic stone darkened by its concealment, is the subject of two 15th century paintings - "Livre du Coeur D’Amours Epris" and "Melusine by the Fountain". In both these paintings, the image of a black marble block from whence flows a curious fluid, is repeated. In French legend Melusine’s well and fountain are the source of both joy and sorrow, much like the Croix de Lorraine.

This sentiment is repeated in "Livre Du Coeur D’Amours Epris", which warns that misfortune will befall him who drinks from the water that issues from beneath the stone. The knight in the picture, as in all stories connected with Venus’ Jewel, is further warned not to pour water over the stone itself.

Such would constitute christian baptism, which was viewed by the Bloodline as a defilement, and a debasement of their pure spirits by an invasive and hostile alien culture. Like Melusine’s black stone, the one depicted in "Livre" engenders the "Heart’s longing for Lady Grace" and consequently, like Melusine’s, it is a fountain of thirst because, after one taste of its "waters" the ego’s longing for material peace or security ceases but is replaced by the spirit’s longing for enthea, its westward journey home to the love that is death.

The Song of Solomon
The authorship of the Song of Songs is attributed to King Solomon, probably because the subject matter dealt with has an underlying Hermetic, esoteric character which accords with what is known of Solomon’s ritual practices.

Less probably because he originally compiled it in its entirety. Nevertheless it is quite possible that he wrote certain aspects of the song which perhaps were added to later by subsequent poets or scribes. The overall syntax of the manuscript form of the Song of Songs, compiled circa 450-400 BC, is Aramaic, and was deposited in the School of the Temple of Solomon in Jerusalem.

The original piece is said to have derived from early oral sources and belongs to the genre of ancient Egyptian love poetry. The song also bears a striking resemblance, from a secular point of view, to near eastern love poems.

The Temple School was probably destroyed and its teachers dispersed during the destruction of Jerusalem by the Romans. A number of christian Nobles were said to have fled Palestine at that time which led, it is further attested, to the introduction of vampirism into Central Europe.

This isn’t strictly true, but a new wave or variation of the cult could have been reintroduced then. It is also very likely that many kabalists and rabbis also fled and settled in less hostile districts in Europe following the destruction of the Temple.

In this way could be explained the appearance of "Solomon Schools" in places like Hermannstadt, Toledo and Carpathia, which one assumes were outposts or exiled cells of the original Temple of Solomon School in Israel.

It was from one of these institutions, renowned for alchemy, kabala and Hermetic lore that Dracula was said to have "ridden the dragon", meaning that he was the principal graduate. Following this illustrious academic career Dracula, who claimed to have derived his name from his apostolic priesthood of the Egyptian cult of Draco, embarked on a reign that was marked by his overt practice of vampirism.

Solomon was what some might call a pagan and a great deal of fairy lore and a great many gods from Eurasia filtered into and influenced Jewish culture during Solomon’s reign. The christian bible tends to blame this state of affairs largely on Solomon’s choice of wives, who were said to have brought these strange abominations with them. This explanation doesn’t however take into account the fact that Solomon himself was deeply committed to and involved with Hermetic sciences and dark magic.

Solomon had, as wives, 700 royal princesses gathered from all over the near east. In addition to these he had a further 300 concubines and these comprised his Harem. A rather excessive and self indulgent amount of women simply for the purposes of providing one man with a variety of copulatory partners.

We are then obliged by our own curiosity to ask why Solomon kept so many girls around at such a large cost. If we take another look at the word herem we will find the answer. From the OED we learn that the English word ’Harem’ is taken from the Arabic haram, and means a sacred or prohibited place.

The term sacred could only be attributed if the haram, the building, or more appropriately the institution within the building, were in some way spiritual or religious. In the Oxford Companion to the Bible it states that the word harem has a cognate in the Hebrew herem, which is translated into the English ban.

Specifically the herem or Harem, as a ban, was something set apart for cultic use, to be used only by priests, and thus a Harem is understood to be spiritual and holy, not simply a royal bordello or an amusement arcade.

Such a reflection brings into question the actual purpose of Arabic and near eastern herems in general, particularly in the light of the fact that, in Arabic mysticism, the Sufic "tree of life" is a Tamaris or Palm tree, beloved of the Phoenix, whose leaves comprise of the many-eyed tail feathers of the Yedzidic peacock god of Mesopotamia - Shaitan, who was worshipped in rituals of blood.

"He feedeth amongst the lilies" Song of Solomon, Chapter II, vs 16: Sheba enjoins Solomon to feed amongst the lilies until the break of day, like a young hart on the mountains of Bether. A lily is a virgin and thus Solomon by night feeds amongst the Virgins, the virgin princesses of his "Harem".

The medieval kabalists proposed a sacred code as a key to translating the hermetic secrets of the Song or "Canticle of Canticles" as it was also known, whilst some commentators have asserted that the work was derived from (Egyptian) cultic origins and was part of a rite of sacred marriage, a fertility ceremony and a ritual to ward off death. (James M. Reese).

These three components together adequately describe, in its entirety, the organic-alchemical rite of vampirism which is itself a sacred marriage, a union of enthea, intended to open the mind to creativity and transcendent perceptions, thus stimulating spiritual fertility and increasing longevity, or warding off death if you like.

The Song of Solomon is a Blood Rite, a communion where the wine, the blood, of the virgin goddess is drunk. This rite remained in the House of David until Jesus ben Panther’s time when it was re-instated by him as an exoteric ritual for his disciples. Solomon’s harem was a blood farm and the females in it were there to feed him, to increase his wisdom and lengthen his life.

Sheba seems to have been the first lady amongst many and throughout the discourse she continues, like them, to retain her virginity. In taking a closer view of the evidence we will inspect the following passages. Chapter II vs 16-17; Chapter IV vss 12-13; Chapter IV vs 15; Chapter V vs 5; Chapter VII vs 9 and Chapter VIII vs 2.

Chapter II vs 16: "My beloved is mine and I am his, he feedeth amongst the lilies".

vs 17: "Until the day break and the shadows flee away, turn, my beloved, and be thou like a roe or a young hart upon the mountains of Bether".

As we have seen, feeding amongst the lilies is feeding from the blood and water of the young virgin brides.

The hart on the mountain symbolizes the young king in his glory and the medieval symbol of the young stag drinking from the Grail is directly related to these verses.

Chapter IV vs 12 "A garden enclosed is my sister, a spring shut up and a fountain sealed".

Sheba is a virgin throughout the Song and her maidenly attributes attract various epithets. In this verse we find the three main Grail symbols associated with the priestess: The garden, the well and the fountain.

Here these are enclosed and sealed indicating Sheba’s maidenhood and her guardianship of an "underground" (hidden) stream or source of arcane vitality expanded upon in the next verses.

Chapter IV vs 13 " Thy plants are an orchard of pomegranates (Grove: cf. Avallon) with pleasant fruits; camphire and spikenard".

Whilst the Indian spikenard (spica narda) was used by Mary Magdalene to anoint Jesus, the pomegranate is a standard symbol of the virgin vulva and womb and Sheba’s garden of pomegranates has in its midst:

Chapter IV vs 15 "A fountain of gardens, a well of living waters..." which cause those who are asleep to speak as we shall see.

The living waters in other scriptural references is related to the Holy Spirit, as is fire. Water as we remember was the element through or over which one travelled to elphame in Celtic lore.

Elphame here equates with the Underworld or Otherworld, the kingdom of heaven or samadhi and the living waters contain in their droplets the secret of eternal wisdom and the gift of transcendent awareness, god consciousness. The Holy Spirit, the Shekinah, is of the feminine gender and a female gift therefore.

In alchemy blood and semen are the primae materia or first matter of the great work. Sadly however, many think that only men have semen (an ignorance of female anatomy and physiology that has caused a great loss to our womenfolk) when in fact women also have it and this semen, from the well of living waters, is what alchemical texts are actually referring to.

Those who are familiar with the Templar story concerning their Lord of Sidon will recollect that the skull which comprises the skull and crossbones motif, as a symbol of the Baphomet - the Holy Grail - is derived from the skull which was placed between the thigh bones of the Templar’s dead wife, butting up against where her vagina once was, nine months after an act of knightly necrophilia.

The wife’s name in the story was Yse de Maraclea or Isis (of the clear waters: Mara-Clair). The skull, the Templar’s "son", represents ancient wisdom from beyond the grave and that, in its positioning between the woman’s thighs, such wisdom is obtained by uniting in hierogamy with one of the Goddess-Queens of the death cult of Ankou - Isis.

Such a union, similar to that expounded by the Scythians in relation to Epona or Rhiannon results in the birth of the Templar’s son: the skull; the wisdom from beyond the mortal realm. This wisdom is directly related to the feminine principle, hence the proximity of the skull to the vulva, denoting the interconnection between the pineal gland and the womb, the well of living waters.

Chapter V vss 4 - 5: " My beloved put in his hands by the hole of the door and my bowels were moved for him".

vs 5: "I rose up to open to my beloved; and my hands dropped (dripped) with Myrrh, and my fingers with sweet smelling Myrrh (vaginal mucus), upon the handles of the lock".

The hole of the door is the keyhole, the opening of the vagina, whilst the handles of the lock are the labia.

The door is daleth or delta D: the door to the mysteries and the triangle of the "all seeing eye of god" (that looks into the darkness) which in Hebrew is called Ayin or ’The Devil’, whose number is the same as the numerical rank of Ishtar or Venus in the assembly of the Anunnaki gods - 15.

In verse 4 the beloved manipulates the maiden and her "bowels" (a common word used in classical literature which referred to the deeper internal organs, not just the intestines) are moved for him. In other words she orgasms, her womb contracts and in so doing she rises and opens her vulva for him to drink the blood or seminal fluid discharged by the spasm.

In references to the Fisher King, it is said that he drank the contents of the Grail through a golden straw. Very importantly, when thinking of the construction of this device, we should remind ourselves of the shape of both the Ankh Cross and the Crux Ansata. Such a device would have been inserted into the virgin’s urethra to the depth of about one inch, whilst the partner in the rite inserted his or her finger into the vagina and massaged the "roof of the mouth" or the uppermost wall of the channel nearest the opening or ’mouth’ of the vagina, behind the pubic bone.

After a few conducive minutes perhaps, orgasm would occur and the fluid from the gland would discharge itself through the straw, either into the waiting mouth of the recipient, or into a "Grail Platter" or dish held next to the vulva. In one publication the dish and the straw were confused with surgical instruments that the author thought were used for castration. This is not the case. The symbol of the Grail as a Dish is related to its use as a collector of blood or female ejaculate and is sometimes symbolized by the crescent moon (see above).

If we read Chapter V vs 5 literally, the maiden has been asleep with her hands in the spice jar and her fingers are covered with myrrh oil as a result. She then hears her lover at the door and, rather than noticing her mistake and wiping her hands, she goes straight way to open the door and covers the handle in grease.

Such an interpretation makes no sense whatsoever. If she had been asleep with her hands (plural) in the ointment, she must have either been a contortionist or a devotee of an odd form of nocturnal skin care therapy. In any case, if it were not a pertinent symbolic aspect of the narrative, there would be no justification in mentioning it. Therefore by its very inclusion in the text, we are obliged to look for a meaning that transcends the literal interpretation.

Myrrh (Latin: myrrha. Greek: murra - murra) is a gum resin produced from several species of the commiphora balsamodendron, also known as commiphora myrrha. The oil of myrrh is produced from the seed which is known as myrospermum pubescens, and the etymological link here to female ejaculate should be meditated upon. Myrrh or the "myrrh tree" is also a name for the plant called sweet cicely or myrrhus odorata (related to chervil) but, as a name it is further applied to any tree producing this type of resin.

We should bear this in mind as we look at myrrh as a word in itself. Although the Latin species classifications are late, deriving from Linnaeus, in many instances the original names from whence they came are Greek. We notice that the word myrrh begins with the letters myr and there is a group of plants and substances whose names begin with this syllable that are relevant to this discourse. Firstly we encounter the plant tamariscus and remember the name Tamaris which was applied to princesses of the House of David.

Tamariscus or tamarix grows in sandy conditions in west Asia and is known by the Latin name myrica, a name which also applies to the bog myrtle: myrica gale. The Myrtle Tree is found in a medieval Italian story about a fairy lover who is the spirit of the plant, which lends itself to the idea that the story was extracted from far earlier sources and that the Tamaris Princess was the original "fairy lover" or in Gaelic the Anam Cara or Leanaan Sidhe. Myrica-tallow or myrica wax are produced from myrtle trees whilst the substance myricin is the insoluble component in the wax that bees produce to construct HIVES.

In the Tudor song "The Nut Tree" the tree in question will only bear a silver nutmeg and a golden pear. The nutmeg is known by its Latin name as myristica from the Greek word murizein - murizein, meaning "anoint".

Nutmeg contains the chemicals which, when refined are known as MDMA or "Ecstasy". In trials conducted on the Nile Lily or nymphacaea lotus the plant produced similar euphoric, but less strident, effects to those experienced by users of MDMA.

Nutmegs produce an oil with this drug in it and the association with anointing and the Christos is quite telling. The golden pear on the "Nut Tree" is a pomegranate which was often called by the former epithet.

In Old French pomegranate was spelt pome grenat, meaning "apple of many seeds" from the Latin malum granatum, and here we return to the Avallon connection and the pomegranate as the original perhaps of the later regional and literary variation - the Druidic and Edenic apple trees.

The pomegranate belongs to the family myrtaceae, whilst its partner on the legendary "Nut Tree", the nutmeg, is of the family myristica fragrans, the "musk smelling nut". Musk is a name given to any group of scents which are produced by the sex glands and used as sexual attractants.

Returning to the Song of Songs we now find that the pomegranates and myrrh in the narrative are etymologically related via Myr, to a whole series of plants and substances within grail lore which are associated with the sephiroth, with psychotropic states and with the sex organs.

Perhaps the myrrh of the ’Song of Songs’ is the oil of the "Musk Smelling Nut", the ejaculate, which then becomes associated with the sweet wine of the pomegranate, the menses, thus forming the partnership between the rose of Sharon and the lily of the valley.

Again we are reminded here of the Irish story of the blood red nut that fell every 28 days into the Well of Nechtan (the pure one) to be consumed by the salmon of wisdom - the Ichthys of the New Testament. From there we travel back to the Orchard of Pomegranates in the garden of the Well of living waters.

In Chapter VIII vs 2 Sheba says to Solomon " I would lead thee and bring thee into my mother’s house, who would instruct me; I would cause thee to drink of spiced wine (nutmeg?) of the juice of my pomegranate".

Notice "my" and the singular pomegranate, as opposed to the fruits plural. She is not inviting him in for drinks and she is not referring to a beverage here, but the blood and mumae of her vulva. Pomegranate flowers, seed cells and juice are red, like blood.

In Chapter VII vs 9 "And the roof of thy mouth like the best wine for my beloved, that goeth down sweetly, causing the lips of those that are asleep to speak".

The euphemistic "roof of the mouth" is the region by the opening or "mouth" of the vagina, behind the pubic bone, where the semenal duct is located which secretes ejaculate through the urethra.

The chemicals in these secretions increase perception and wisdom, enabling those who were "asleep", meaning unregenerate or untranscended, to speak with the words of the quickened or resurrected Spirit.

Sheba, the rose of Sharon and the lily of the valley, describes herself as black but comely. In so doing she has initiated a tradition where many scholars down the centuries have confidently stated that she was from Sheba in Ethiopia.

However, the constant, relentless reference to "my sister, my bride", whatever anyone says about terms of endearment in Biblical times, indicates that Sheba was the daughter of Bathsheba and as a consequence, the sister of Solomon. This is hardly surprising as he descended from a pharaonic bloodline where brother-sister marriages were de rigueur.

The reference to her being black relates to her other epithets as Sheba-Lilith and Sheba-Venus or Ishtar (Inanna) which associate her with her ancient dragon ancestry, and to her forebears Lilith (Diana), Inanna, Kali Azura, Hecate and Black Annis who, like Sheba, is associated herself with wells and labyrinths, and who was a principal figure of veneration in the Cult of Ankou.

Solomon conversely is described as having skin as white as marble. In exoteric, uninitiated and therefore "best-guessed" vampire lore, it is said that such a complexion is equated with their being bloodless.

Nothing could be farther from the truth. Recent laboratory tests confirm the ancient inner tradition by showing that any animal injected with large amounts of melatonin turns paler in colour. Solomon’s complexion, like that of the vampire of legend, is as white as marble because, like they, he fed constantly from melatonin-rich royal, female virgin blood.

A lot of the additional etymological associations here are retrospective and poetic. Nevertheless the central theme of the story stands up to a classical alchemical interpretation whilst the Latin and Greek word relationships add a quality of resonance to the picture and further echo Graves’ concept that the Cosmos has meaning and intelligence, expressing itself through a single poetic theme of interconnected meanings, the like of which inspired the ancient Hermetic Table of Magical Correspondences.

George Riley-Scott (’Phallic Worship’) points out, and is supported in his view by other academics, that,

the Bible has been altered down the ages to suit the ambitions of the translators of the day.

This being the case we must remember that much of the Bible has been cleaned up and passages dealing with incest, along with various other unseemly practices, have probably been given a narrative reworking to suit the sensibilities of various pious audiences and patrons.

An example of this might be found in Chapter VIII vs 1 which says,

"Oh that thou wert as my brother, that sucked the breasts of my mother!"

Wert is printed as an italic - wert, denoting a translators insert. Remove this and you get a different picture.

Chapter VIII vs 5 claims that Sheba was born "Under the Apple Tree" and suggests that she was spoken for when she had no breasts. If she was a virgin, "a wall", says Chapter VIII vs 9, Solomon would build a palace of silver upon her, but if she were a door, he would board her up with cedar.

Sheba replied by saying that she was a wall and her breasts thenceforth were the towers of the palace that Solomon built upon it. The edifice of Solomon’s glory, the palace of his wisdom, was built upon the virginity of Sheba and the essence of the womb of the princess born under the apple tree, reminiscent of Avallon and sacred to the Druids.

If the Song of Songs can be seen as a deliberate contribution to the poetry of the Dragon culture, which has at its centre the maiden’s labyrinth, the Garden of Love, then the Song of Songs begins to make sense as an Hermetic, alchemical vampire allegory of the love of the dragon prince for his maiden, a sacred chemical wedding which is the source of his power and sovereignty.
 

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