The Symbolisms of the story of Mary Magdalene and Jesus the Christ Hidden in Plain Site thru Nursery Rhymes

Thru Out History the Love Story about Jesus and Mary has been documented in plain site in various ways, One of them is thru Nursery Rhymes that has long existed. They were part of a story about Mary And Jesus and symbolize this very Story. I has been right before us all the time .
Snow white , Cinderella, the Little Mermaid,Sleeping Beauty

Here are a few of them to think upon and you will begin to see the connections


Mary, Mary, quite contrary,
How does your garden grow?
With silver bells, and cockle shells,
And little maids all in a row.

[link to fisheaters.com]

Who was this Mary? Mary Magdalene, of course! She was the Mary who was seen in the garden by the tomb, and she is the progenitor of the Merovingian Dynasty. Silver bells could mean the Catholic Church, cockle shells represents life, and little maids are nunneries.

Mary, had a little lamb,
It's fleece was white as snow,
And everywhere that Mary went,
Her lamb was sure to do.

Again, Mary Magdalene, wife of Jesus. Mary fled to Southern France, and Jesus went with her and their children.

Humpty Dumpty sat on a wall,
Humpty Dumpty had a great fall,
All the Kings horses, and all the Kings men,
Couldn't put Humpty together again.

There are two possible meanings: Humpty Dumpty represented the King of England, possibly Henry VIII, but the rhyme implies the kingdom fell. I suspect that Humpty Dumpty might mean the Pope.

Snow White and the Seven Dwarves

Snow White signifies Mary Magdalene, and the Seven Dwarves represent the seven areas of southern France called Septimania, where Mary Magdalene and her family sailed to. The wicked witch, who offered Snow White the 'poison apple', of course, is the Catholic Church. Snow White could only be awakened (resurrected) by a kiss from the Prince (Jesus), implying Mary Magdalene and Jesus were lovers.

Another version of Snow White and Rose Red refers to Snow White as Mary Magdalene and Rose Red, the Catholic Church. Two bitter opponents!

Ring around the roses,
Pocket full of posies,
Ashes, Ashes,
We all fall down.

This was a game played by children during the Black Plague. They carried a pocket full of fresh flowers to ward off the stench of the dead corpses



[link to answers.yahoo.com]

Symbolism in Disney’s The Little Mermaid:

Ariel, the "little mermaid" in the Disney® film, is much more than a fairy tale for little girls. Rather, she is a powerful metaphor for the plight of the "Sacred Feminine" over the last several thousand years of western civilization. In several ways, she is an allegory to Mary Magdalene. One aspect is the long wavy red hair, a commonly held attribute of Mary Magdalene.

And what is the dream and desire of Ariel, the littlest mermaid? To walk upon the green earth, out in the sunlight.

In her cave under the ocean, Ariel collects artifacts from Spanish galleons shipwrecked at sea. She examines the commonplace items used by humans and wonders what they are for and what it would be like to be human. Among her treasures is a painting by Georges de la Tour called "Magdalen with the Smoking Flame." Mary is gazing at a candle burning on the table beside her.

Of all the possible pictures in the history of art, it is significant that the directors of the Disney film chose Mary Magdalene who represents the lost bride (of Jesus) and is the archetype of the "Sacred Feminine”.

In the film, the little mermaid does not carry a book and a mirror by accident. These are icons readily identified in Medieval art. The mirror is not just a symbol for feminine vanity but represents the role of the material world (Mater, mother, matter) to manifest the Divine in "the flesh," as the moon mirrors the sun. The book represents all natural and spiritual law -- science and revelation -- and the seeking of wisdom.

In the Disney film, true to some aspects of ancient mermaid lore, Ariel saves the drowning prince.

An interesting aside is that the Merovingian bloodline, identified as the "vine of Mary" in the heresy of the Holy Grail, is said to have had a mermaid as a ancestor and to be descended from a king "Merovee" who was half man, half fish. Mermaids are prominent among the medieval watermarks related to the heresy of the bloodline, and some are rendered with the fleur-de-lis of the Merovingians entwined around their double tails. The connection of Mary Magdalene with the mermaid and the "Queen of the Sea" is very old.

In The Da Vinci Code, the main character Langdon interprets the Disney movie The Little Mermaid as an attempt by Disney to show the divine femininity that has been lost.

After citing the sacred feminine in Cinderella, Sleeping Beauty, and Snow White, Langdon finally elaborates on The Little Mermaid, which was released by Disney Studios 23 years after Walt Disney’s death: (although Disney had conceived of it in the 1930's)

…he had learned not to underestimate Disney’s grasp of symbolism. The Little Mermaid was a spellbinding tapestry of spiritual symbols so specifically goddess-related that they could not be coincidence.

When Langdon had first seen The Little Mermaid, he had actually gasped aloud when he noticed that the painting in Ariel’s underwater home was none other than seventeenth-century artist Georges de la Tour’s The Penitent Magdalene – a famous homage to the banished Mary Magdalene – fitting décor considering the movie turned out to be a ninety-minute collage of blatant symbolic references to the lost sanctity of Isis, Eve, Pisces the fish goddess, and, repeatedly, Mary Magdalene. The Little Mermaid’s name, Ariel, possessed powerful ties to the sacred feminine and, in the Book of Isaiah, was synonymous with the besieged. Of course, the Little Mermaid flowing red hair was certainly no coincidence either.

Brown uses descriptions of works of fine art to prove that art can tell stories that history tends to obscure. These works of art include Da Vinci Last Supper, Madonna of, Mona Lisa, which hide symbols of goddess worship and the story of the Magdalene; the Church of Saint-Suplice, which still contains an obelisk, a sign of pagan worship; and tarot cards, which hide themes of pagan mythology. These art objects are constantly viewed by people who see them without seeing their hidden meanings.

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[link to revbonnietarwater.com]
The story of Mary Magdalene has lain under the sands of Egypt for over a thousand years. In some ways, her story is like that of Sleeping Beauty or Snow White, put into a trance-like sleep. Her bridegroom, grief-stricken because of her absence, finds her and awakens her with a sacred kiss. Their union brings joy and health to their kingdom. Fairy tales and religious myths give expression to our universal, primal drive for merging and union between the symbolic masculine and feminine in our own psyches, the left and right brain, the intuitive and the logical, the head and the heart. Just as our own parents’ sexual union brought us physical life, the mythic union of the sacred bride and bridegroom gives new life to our spirits.

The sleeping beauty Mary Magdalene awakes now in the 21st century, and her reconciliation to and reunion with Jesus has the potential to bring health, happiness and harmony to all the earth, as fairy tales like Sleeping Beauty, Cinderella, and Snow White express. I believe that the recent awakening of Mary Magdalene at this historic time marks the awakening of a feminine divinity which has been asleep in our Christian culture for almost two thousand years.

rest on link above

I will be adding to this post as I go with more instances of the very thing =)