Mary Magdalene Rosamond de Toxandria

Gauthier de Costes de la Calprenede is said to have written the first
historic romance novel when 1668 he compiled the history of the
Merovingian Frankish Kings in his monumental work ‘Pharamond’. Within
we have an account of Pharamond’s love for Rosemonde, the Cambrian
princess whose tribe, the Cimri, are mentioned in the Bible.

“Gaultier de Coste, seigneur de La Calprenède, (born c. 1610, château of Toulgou, near Sarlat (now Sarlat-la-Canéda), France—died 1663, Grand-Andely), author of sentimental, adventurous, pseudohistorical romances that were immensely popular in 17th-century France.”

“Although confused in construction and unashamedly anachronistic, these novels were enormously popular for their heroic mythification of contemporary courtly ideals. They inspired the plots of many plays, most notably Thomas Corneille’s Timocrate (1656).”

Margaret Starbird and other authors associated with the Holy Blood and Grail topic that suggests Jesus had a daughter, falls in the category of pseudohistorical and mythifications of courtly ideals that like Calprenende, employs the Merovingians and the myths that surround them. Starbird also employs fairytales claiming them are referring to a lineage carried on the by the Salian Franks who for certain are my kindred with the information that arrived about the Counts of Toxandria that were the Merovingians. A week ago I discovered what these Counts and Nobles of Toxandria had to do with the Swan Brethren whom I have associated with the Sleeping Beauty Princess named Rosamond.

“Chris commented on The Rose Monts of Swan Castle
Godeschalck Roesmondt also appears in the so called ‘Spechtbook’ (named after administrator Nicolaus Specht) of the Duke of Brabant, administrating goods the sovereign duke gave in loan to his knights and noblemen.
These families (De Roover, Roesmondt, Van Broeckhoven, Van Vladeracken etc.) are like the Duke of Brabant probably descendants of the former Duke of Lotharingen and therefore (via the counts of Taxandria) of Charlemagne.
The mentioned Jan Willems van Dongen, is by inheritage a bannerlord of the House van Arkel, also descending from Charlemagne and at that time Lord of High and Low Zwaluwe, vicount of Schoonhoven etc. etc. This is the very elite of Brabant at that time and probably all (noble) family related”

Margaret Starbird also employs Sleeping Beauty and says other fairytale princes were pointing to a hidden lineage born of the divine feminine. J.R.R. Tolkien was influenced by the Lombards and their queen, Rosamund. He applies this name to Rosamond Took. Surely Tolkien, the pseudo historian, got a glimpse of the Holy Grail in his novel ‘The Lost Road’ that only a member of the Mrovingian Grail Line can complete?

“and Oswin told his son the tale of Alboin son of Audoin, the Lombard king; and of the great battle of the Lombards and the Gepids, remembered as terrible even in the grim sixth century; and of the kings Thurisind and Cunimund, and of Rosamunda. ‘Not a good story for near bed-time,’ he said, ending suddenly with Alboin’s drinking from the jewelled skull of Cunimund…”

Pharamond was married to Rosamonde who begat the Salian Franks. The core of Starbirds theories suggest Rosamond is the key name that will bring that which is oppressed – into the light! Surely if this is the case, then Starbird is behind my arduous work that ties Rosamond with a famous Rennaisance artist, and a scret order of men and women that now only allows royal members of the House of Orange to be members. Does Queen Beatrice of Holland know of the Merovingian connection? If so, then this queen is guilty of oppressing the sacred teaching of Mary Magdalene.

“With regard to the historical Mary Magdalene, Starbird does cover some basic ground, but she will elaborate in greater and deeper detail in her later books. The strength of this book is the breadth of her coverage of the influence of Mary Magdalene on 1000 years of artwork and folklore, from the fairy tales of Cinderella, Sleeping Beauty, Rapunsel, and Snow White to the foundation of the Tarot cards to the works of Botticelli and beyond.”

With the marriage of Mary Magdalene Wienke, to Frank Wesley Rosamond, a descendant of Godeschalck Roesmondt, then what we have is the transmutation of myth and pseudo history into reality where the name Mary Magdalene is married to the legendary name of Rosamond, to produce a extremely rare name, my grandmother the only woman ever born to own this name. If you follow all the rules set down by a bevy of pseudo historians, then Mary Magdalene Rosamond is the Merovingian Cinderella whom a grail glass slipper was made for – before Mary was born!

Jon Presco

Copyright 2012

Rosamond and Female Line begot Franks

The male line from Pharamond to Merovee is traced from
Rosamond/Argotta and her daughters. Rosamond was an heiress, the
daughter of the Frankish King, Genobald. That the heiress, Jeanne de
Rougemont, one of four daughters of Ulrich de Rougemont, begot the
Habsburgs, and from Rougemont comes the name Rosamond, is profound,
as Jesus’ mother has been titled the ‘Rose of the World’. Some
authors claim the Habsburgs descend from Jesus’s brother,
James/Jacob the Nazarite, who I claim were a ‘race of prophets’.
This puts the name Rosamond at the apex of the Grail liniage.

Pharamond Of The West Franks was born 370 in Westphalia, Germany, and died 430. He was the son of 4. Marcomir FRANCS and 5. Hatilde.

3. Argotta (Rosamunde) (Queen Of The Franks) was born 376 in France, and died 406. She was the daughter of 6. Genebaud II and 7. Miss GENEBAUD.

Children of Argotta (Rosamunde) (Queen Of The Franks) and Pharamond Of The West Franks are:

i. Clodion Of Tournai (Clodius Crintus) (Lord Of The West Franks – 430-446) was born 395 in Westphalia, Germany, and died 446 in Amiens, Picardy, Franconia. He married Siegse (Argotta) (Princess (“Basina”) Of The Thuringians) THURINGIANS 412 in France, daughter of Pharamond Of The West Franks and Argotta (Rosamunde) (Queen Of The Franks). She was born 398 in Thuringia, Germany, and died 455.
1. ii. Adalbertus Of The Salian Franks (Duke Of France) was born 396 in Westphalia, Germany, and died 491.
iii. Albero (Adelbertus) was born Abt 394, and died 491.
iv. Frotmund Of The Salian Franks was born 397.
v. Siegse (Argotta) (Princess (“Basina”) Of The Thuringians) THURINGIANS was born 398 in Thuringia, Germany, and died 455. She married Clodion Of Tournai (Clodius Crintus) (Lord Of The West Franks – 430-446) 412 in France, son of Pharamond Of The West Franks and Argotta (Rosamunde) (Queen Of The Franks). He was born 395 in Westphalia, Germany, and died 446 in Amiens, Picardy, Franconia.
vi. Belizde (Bellicies) (Princess (“Basina”) Of The Thuringians).
vii. Fredemundus Of The Salian Franks DESPOSYNI was born 394 in Swaben, Bavaria. He married (Daughter) Of Walarawan (Waldorarans) (King Of The Ostrogoths), daughter of Walarawan (Waldorarans) (King Of The Ostrogoths).

Faramund (of the Grail Myth)

poss. aka Pharamond of WESTPHALIA, q.v.

Note: This lineage comprises the mythical “Fisher kings of the Holy Grail.” Faramund is the Merovingian King Pharamond, q.v., but his alleged pedigree in Fisher King myth is different from the traditional Merovingian myth.

Wife/Partner: Argotta (Princess) of the SALIC FRANKS
Children: Frotmund ; daughter of Pharamond ; daughter of Pharamond ; Fredemundus DESPOSYNI ; Clenon of the FRANKS [alt ped]
——————————————————————————–
Possible Children: Clodius V (King) of WESTPHALIA ; Albertus (Duke) of MOSELLE
Alternative Father of Possible Children: poss. Pharamond (Faramond) (King) of WESTPHALIA
——————————————————————————–
_______ _______ ______ ______ ______ ______ ______ ______ ______ ______ ______ ____ ____ ____
/ — Joseph RAMA-THEO + ====> [ 167 ,,qdY,&]
/ | OR: Alain `li Gros’ the GRAIL-KING + ====> [ 168 ,,qD,&]
/ — Josue (Bishop) the GRAIL-KING
/ | or: Alphanye (Josue’s son)
/ — Aminadab the GRAIL-KING
/ — Cathaloys (Catheloys Carcelois) the GRAIL-KING
| \ / — poss. Lleurig MAWR of EWYAS + ====> [ 208 ,,qD,&]
| \ — poss. Eurgen
/ \ — poss. Gladys verch EURGEN of S. + ====> [ 209 ,,q,&]
/ — Manael (Manuel Emanuel) the GRAIL-KING
/ — Titurel (Titure) the GRAIL-KING (? – 250+)
/ — Boaz (Anfortas Enfertez)
/ — Frotmund (Frimutel) the GRAIL-KING (FISHER-KING)
/ | OR: Frotmund [alt ped] + ====> [ 178 ,,qD,&]
– Faramund (of the Grail Myth)
\
\ — poss. Hatilde (Princess) of FRANKS

His (poss.) Grandchildren: Comets de TOULOUSE ; Chilperic II (Chilperich) (King) of BURGUNDY ; Gundobad (Gundobald) (King) of the BURGUNDIANS ; Godegisel (King) of the BURGUNDS ; Zambor ; Merovech (I; King) of (Salic) FRANKS ; Basina (Saint?) of THURINGIA [alt ped] ; Sigimberus I (Bishop) d’ AUVERGNE ; Alberich the SORCERER ; Nascien I DESPOSYNI ; Clodgar de THEROUANNE ; Vanbertus (Duke) of MOSELLE

La Calprenède, Gauthier de Coste, sieur de (c.1610-1663). French playwright and novelist. His literary career divides into two phases. From 1635 to 1642 he wrote six tragedies and three tragicomedies, some exploiting contemporary successes by Tristan and Mairet (e.g. La Mort des enfants d’Hérode, 1638), familiar others exploring the less ground of English history (e.g. Le Comte d’Essex, 1637). From 1642 he published a series of long, quasi-historical romances: Cassandre (1642-5), Cléopâtre (1646-57), and the unfinished Faramond (1661-3). Although confused in construction and unashamedly anachronistic, these novels were enormously popular for their heroic mythification of contemporary courtly ideals. They inspired the plots of many plays, most notably Thomas Corneille’s Timocrate (1656).

Read more: http://www.answers.com/topic/la-calpren-de-gautier-de-costes-sieur-de#ixzz20Dy4g65C

With regard to the historical Mary Magdalene, Starbird does cover some basic ground, but she will elaborate in greater and deeper detail in her later books. The strength of this book is the breadth of her coverage of the influence of Mary Magdalene on 1000 years of artwork and folklore, from the fairy tales of Cinderella, Sleeping Beauty, Rapunsel, and Snow White to the foundation of the Tarot cards to the works of Botticelli and beyond.

Using Mary Magdalene’s life as a template, we will examine our own spiritual growth and development as “chosen” and “beloved.” The weekend will include slides from medieval art that support the view that the “sacred union” of Jesus and Mary Magdalene was brutally suppressed by the Inquisition. Music, artwork, guided meditations, journaling, and in-depth sharing will encourage the awakening of the “Sleeping Beauty” in our hearts and our lives.

So the child called Sarah might very well have been the “little lost princess” of western fairytale, who is eventually found and united with the handsome prince. In the book of Lamentations (4:8) we encounter an interesting passage that describes the plight of the royal princes of the house of Judah, the lineage of the Davidic kings: “their faces, once white as milk, are now black as soot.

La Calprenède, Gauthier de Coste, sieur de (c.1610-1663). French playwright and novelist. His literary career divides into two phases. From 1635 to 1642 he wrote six tragedies and three tragicomedies, some exploiting contemporary successes by Tristan and Mairet (e.g. La Mort des enfants d’Hérode, 1638), familiar others exploring the less ground of English history (e.g. Le Comte d’Essex, 1637). From 1642 he published a series of long, quasi-historical romances: Cassandre (1642-5), Cléopâtre (1646-57), and the unfinished Faramond (1661-3). Although confused in construction and unashamedly anachronistic, these novels were enormously popular for their heroic mythification of contemporary courtly ideals. They inspired the plots of many plays, most notably Thomas Corneille’s Timocrate (1656).

A number of legends associate the Merovingian kings with the royal bloodline of Jesus and Magdalene. One of their myths apparently hints that an ancestress of the Merovingians was a mermaid, and another says that the mother of their founding leader Merovee’ was impregnated by a sea monster. In each of these myths, the prevailing kernel of truth seems to be that this ancestry is “part man, part fish.” Since among early Christians Christ was widely identified as the “ICHTHYS” (the Fish) and Mary Magdalene was identified with the shape known as the “vessel of the fish,” I believe that the ancestral mythologies of the Merovingians refer to the myth of their royal lineage. Bizarre as this conclusion may appear, it rests on the fact that myths are often vehicles for veiled truths too dangerous to be revealed.

If legends of the bloodline of the “sang raal” are true, then we must ask if there is any evidence of a child. What child of the union of Mary Magdalene and Jesus might have survived in Western Europe to be the eventual ancestress of the Frankish dynasty. Where is there a child mentioned in the legends of Mary Magdalene? This quest brings us back to Sarah, the adolescent refugee girl on the boat, whose name means “Princess” in Hebrew. Might she not have been the forgotten child of the “sang raal”–the blood royal of Israel’s kings? Her age is right. She was described as “pre-adolescent”–between 9 and 12 years old–at the time of the boat’s arrival in A.D. 42. But her face is dark in artistic tradition. She is called “Sarah the Egyptian.” Could little Sarah be the daughter of Mary Magdalene?

“Salic” redirects here. For the body of Frankish law, see Salic law.
“Salians” redirects here. For the eleventh-century dynasty, see Salian dynasty. For the Roman priests, see Salii.

Signet ring of Childeric I, king of the Salian Franks from 457 to 481. Inscription CHILDERICI REGIS (“of Childeric the king”). Found in his tomb at Tournai, now in the Monnaie de Paris.

Toxandria, original acquired homeland of the Salian Franks, labelled “Franks.”
The Salian Franks or Salii were a subgroup of the early Franks who originally had been living north of the limes in the area above the Rhine. The Merovingian kings responsible for the conquest of Gaul were Salians. From the 3rd century on, the Salian Franks appear in the historical records as warlike Germanic people and pirates, and as Laeti (allies of the Romans). They were the first Germanic tribe from beyond the limes who settled permanently on Roman land. In 358, they came to some form of agreement with the Romans that allowed them to settle in Toxandria (roughly the area of the current Dutch and Belgian provinces of Noord-Brabant, Antwerpen and Vlaams-Brabant).
The Salians fully adopted the Frankish identity and gradually ceased to appear by their original name from the 7th century onward, when they evolved into the Franks par excellence.[1] The Lex Ripuaria originated about 630 around Cologne and has been described as a later development of the Frankish laws known from Lex Salica.

From the early 6th century on, the name Salian Franks (or Salii in Latin)[2] is used to contrast with the Ripuarian Franks. Salii may have derived from the name of the medieval lakeland Sall zee area, or to the IJssel river, formerly called Hisloa or Hisla, and in ancient times, Sala,[3] signalling this as the Salians’ original residence. Today this area is called Salland.
[edit] Culture
The Salian Frank language belongs to, and is ancestral to, the family of Low Franconian dialects. The Salian Franks are one of the peoples who formed the foundation for early Dutch culture and society (along with other Frankish groups, Frisians and native Belgian tribes). According to modern scholars such as Robinson, their language evolved from Franconian into Dutch. After settling within Roman territory, they developed an organized society that tilled the land and did not pose a threat to the neighboring Romans.
The Salian tribes constituted a loose confederacy who stood together to negotiate with Roman authority. Each tribe consisted of extended family groups centered around a particularly renowned or noble family. The importance of the family bond was made clear by the Salic Law, which ordained that an individual had no right to protection if not part of a family.
[edit] Mythology and religion
Main article: Frankish mythology
While the Goths or the Vandals had been at least partly Christianised since the mid-4th century, polytheistic beliefs are thought to have flourished among the Salian Franks until the conversion of Clovis to Christianity shortly before or after 500,[4] after which paganism withered slowly.
[edit] History
The Salian Franks’ original proximity to the sea is attested in the first historical records. In about 286 Carausius was put in charge of defending the coasts of the Straits of Dover against Saxon and Frankish pirates.[5] This changed when the Saxons drove them south into Roman territory. Their history is attested by Ammianus Marcellinus and Zosimus, who described their migrations toward the southern Netherlands and Belgium. They first crossed the Rhine during the Roman upheavals and subsequent Germanic breakthrough in 260 AD.
When peace had returned, Roman Emperor Constantius I Chlorus allowed the Salians to settle in 297 AD amongst the Batavians, where they soon came to dominate the Batavian island in the Rhine delta. The backgrounds of the seafaring Franks whose story was written down during the reign of emperor Probus (276-282), are not clear: it is not known whether this people were unwillingly obliged to serve the Roman army as had the Batavians before them, or if they were assigned another territory close to the Black Sea. The story tells of a large group who decided to hijack some Roman ships and return with them from Eastern Europe – reaching their homes in the Rhine estuaries without large losses through Greece, Sicily and Gibraltar, although not without causing mayhem.[6] Franks ceased to be associated with seafaring when other Germanic tribes, probably Saxons, drove them to the south. The Salians received protection from the Romans and in return were recruited by Constantius Gallus – together with the other inhabitants of the Batavian isle. This did not prevent the onslaught of the Germanic tribes to the north, especially by the Chamavi. The subsequent “insolent” settlement of the Salians within Roman territory in Toxandria (between the Meuse and the Scheldt rivers in the Netherlands and Belgium) was rejected by the future Roman Emperor Julian the Apostate, who attacked them. The Salians surrendered to him in 358 AD and accepted Roman terms.[7]
One particular Salian family comes to light of Frankish history in the early fifth century, in time to become the Merovingians – Salian kings named after Childeric’s mythical father Merovech, whose birth was attributed with supernatural elements.
From the 420s onwards, headed by a certain Chlodio, they expanded their territory to the Somme into northern France. They formed a kingdom in that area with the Belgian city of Tournai becoming the center of their domain. This kingdom was extended further by Childeric and especially Clovis, who gained control over Roman Gaul, i.e. France, whose current name was derived from the Franks.
In 451, Flavius Aëtius, de facto ruler of the Western Roman Empire, called upon his Germanic allies on Roman soil to help fight off an invasion by Attila’s Huns. The Salian Franks answered the call and fought in the battle of the Catalaunian Fields in a temporary alliance with Romans and Visigoths, which de facto ended the Hunnic threat to Western Europe.
Clovis, king of the Salian Franks, became the absolute ruler of a Germanic kingdom of mixed Roman-Germanic population in 486. He consolidated his rule with victories over the Gallo-Romans and all the other Frankish tribes and established his capital in Paris. After he had beaten the Visigoths and the Alemanni, his sons drove the Visigoths to Spain and subdued the Burgundians, Alemanni and Thuringians. After 250 years of this dynasty, however, marked by internecine struggles, a gradual decline occurred. The position in society of the Merovingians was taken over by Carolingians, who came from a northern area around the river Maas in what is now Belgium and southern Netherlands.
In Gaul, a fusion of Roman and Germanic societies was occurring. During the period of Merovingian rule, the Franks reluctantly began to adopt Christianity following the baptism of Clovis I in 496, an event that inaugurated the alliance between the Frankish kingdom and the Roman Catholic Church. Unlike their Goth and Lombard counterparts, who adopted Arianism, the Salians adopted Catholic Christianity early on; they had an intimate relationship with their ecclesiastical hierarchy, subjects, and conquered territories.
The division of the Frankish kingdom among Clovis’s four sons (511) was a precedent that would influence Frankish history for more than four centuries. By then the Salic Law had established the exclusive right to succession of male descendants. However, this principle turned out to be an exercise in interpretation, rather than the simple implementation of a new model of succession. No trace of an established practice of territorial division can in fact be discovered among Germanic peoples other than the Franks.
By the 9th century, if not earlier, the division between Salian and Ripuarian Franks had in practice become virtually non-existent, but continued for some time to have implications for the legal system under which a person could go on trial. The adjective Salian, as applied to the Frankish people, is the origin of the name of the Salic Law.

Rosamond and Female Line begot Franks

The male line from Pharamond to Merovee is traced from
Rosamond/Argotta and her daughters. Rosamond was an heiress, the
daughter of the Frankish King, Genobald. That the heiress, Jeanne de
Rougemont, one of four daughters of Ulrich de Rougemont, begot the
Habsburgs, and from Rougemont comes the name Rosamond, is profound,
as Jesus’ mother has been titled the ‘Rose of the World’. Some
authors claim the Habsburgs descend from Jesus’s brother,
James/Jacob the Nazarite, who I claim were a ‘race of prophets’.
This puts the name Rosamond at the apex of the Grail liniage.

Jon Presco

“note: the first three Frankish kings, Faramond, Chlodio, and
Merovee, were NOT father, son, & grandson, as they appear in
traditional genealogies, but rather each came from different
families, and are connected by marriages and/or female-links. the
Salic Law was not introduced until the time of Clovis I “The Great”,
from whom all succeeding Merovingian kings sprang. the traditional
genealogy of his descendants, the Merovingians, should be re-edited
to show that Thibert I, King East Franks 534-548, & Thibaut, King
East Franks 548-555, were NOT father and son, but brothers. too,
another side-bar, Caribert II, King West Franks 629, was father of
Chilperic (d632), father of Childebrand, father of a son, Clodulphe,
Duke of Austrasia (d718), &, a dau, Chalpaida, 3rd wife of Pepin II,
Major Domo of France.

Gauthier de Costes, seigneur de la Calprenède (1609 or 1610 – 1663) was a French novelist and dramatist. He was born at the Château of Tolgou in Salignac-Eyvigues (Dordogne). After studying at Toulouse, he came to Paris and entered the regiment of the guards, becoming in 1650 gentleman-in-ordinary of the royal household. He died in 1663 in consequence of a kick from his horse.
La Calprenède was the author of several long heroic romances ridiculed by Boileau. They are: Cassandre (5 vols., 1642–1650); Cléopâtre (1648); Faramond (1661); and Les Nouvelles, ou les Divertissements de la princesse Alcidiane (1661) published under his wife’s name, but generally attributed to him.

Gaultier de Coste, seigneur de La Calprenède,  (born c. 1610, château of Toulgou, near Sarlat (now Sarlat-la-Canéda), France—died 1663, Grand-Andely), author of sentimental, adventurous, pseudohistorical romances that were immensely popular in 17th-century France. To this rambling and diffuse genre he imparted vigour through swift-moving plots.
After studying at Toulouse, La Calprenède entered the regiment of the guards and campaigned in Germany. Pursuing military and literary careers simultaneously from 1635 to 1641, he wrote tragedies and tragicomedies, some based on episodes in English history, including Jeanne Reyne d’Angleterre (1636; “Jane, Queen of England”) and Le Comte d’Essex (1638; “The Earl of Essex”). In 1642 he began a series

Magdalene can currently be seen rising out of a long, imposed sleep.
Like the story of Sleeping Beauty, she and her people have
been `drugged’ into unconsciousness for two thousand years, by an
extraordinary effort to suppress `the other half of the story’, Her
story. From the moment that Peter’s Church formed the `rock’ and
foundation of Christianity, she was written out of accepted doctrine,
save for references to her as sinner, a woman from whom seven devils
were removed by Jesus, and the one who dried the sweat on his body
with her long hair. Peter’s religious authority stemmed from the
church’s acceptance that he was the first disciple to see Jesus
appear after the crucifixion. Yet, three of the gospels claim that
Magdalene was the first to see him in the Garden. The sacred Grail
pattern, that requires presence of the feminine, was severed at the
core during the founding of the Church, yet the pieces are revealing
themselves to any who choose to awaken.

In the art and poetry associated with Pre-Raphaelitism and
Aestheticism, the chained woman, the sleeping woman, the dead woman,
and the sculpted woman provided central themes. These states of
passivity allow the male to reduce the woman, even through her death,
to a composition of his own creating. In both The Perseus Cycle and
The Briarose Series, the male hero assumes the roles of rescuer and
animator. These roles are taken a step further in The Pygmalion
Series when the male becomes the sole creator of his feminine ideal.
In both The Perseus Cycle and The Pygmalion Series, Burne-Jones turns
to the classicizing world of myth and paints subjects suspended in an
arcadian timelessness. Burne Jones’s women exist in an immobile world
of myth and represent some ponderous literary or aesthetic idea.
In the oil painting The Rock of Doom Burne-Jones conforms more to
Morris’s verse. For the first time in the series, the background
features an elaborate cityscape rather than just a vague, dreamy
backdrop. On his way back to Seriphos, Perseus catches sight of
Andromeda who has been offered as a sacrifice to the sea god
Poseidon. The dark and grim surroundings contrast starkly with her
pale, luminous skin. Whereas the other females appearing in the
series drift across the barren landscapes with enigmatic, wraithlike
beauty, Andromeda stands naked and exposed and chained to a rock,
desperately waiting for a rescuer. In Morris’s poem, her loneliness
and her suffering are sentimentalized and become an integral part of
her appeal. Burne-Jones focuses on the moment at which Perseus
reveals himself by removing his helmet of invisibility. In The
Briarose Series, the Sleeping Beauty is the archetype of the passive,
waiting beauty. Like the Sleeping Beauty, Andromeda seems to exist
passively until she is seen by the hero. The heroines are not allowed
to act upon their world, and instead they are acted upon — both
wait, are chosen and are saved.

This week’s Handel opera on BBC Radio 3 is Faramondo, first performed at the King’s Theatre on 3 January 1738. In the following edited extract from his Handel’s Operas 1726-1741, Winton Dean points out some of the problems surrounding the libretto:

The source of this story is Faramond, ou l’histoire de France, by Gautier de Costes de la Calprenède (1610–63), courtier and author of long-winded pseudo-historical romances. Faramond, reputedly the first King of France (420–28), belongs to the world of Arthurian myth. Apostolo Zeno’s libretto, first set by C. F. Pollarolo for Venice in 1699, abjured the comic and magical elements characteristic of seventeenth-century opera and treated the story seriously as political and military history, crossed as usual by interlocking love intrigues. It was subsequently set by Porpora (Naples, 1719) and Francesco Gasparini (Rome, 1720).

Gasparini’s libretto, Handel’s immediate source, made considerable alterations to Zeno; Handel’s was faithful to Gasparini’s, except in one crucial particular. as was to be expected, he reduced the aria ration of all the characters except Faramondo, Gustavo’s very considerably.

The libretto as it stands is hopelessly obscure. Presumably the intended framework was a contrast between heathen savagery on the one hand and Augustan Enlightenment on the other, and their different conceptions of honour. Gustavo and at first Rosimonda feel bound by their oath, Faramondo by heroic ideals of generosity and forgiveness. But it all rings hollow because their behaviour is simply not credible, even in terms of the operatic stage. The trouble goes back to Gasparini’s libretto. Zeno began logically with Sveno’s death and Rosimonda’s promise to execute ‘orribile vendetta’ on his killer. Gasparini chopped off Zeno’s first six scenes, which introduce most of the characters, leaving the plot squirming like a worm without a head. Handel then made his one major change, the drastic abbreviation of the recitatives. This is common enough in his operas, especially the later ones, but never so crushingly as here. Gasparini’s libretto contains some 1,240 lines of recitative, Handel’s a mere 540. As a result the plot becomes a whirlpool of inconsequence. Deprived of the dialogue that elucidates their motives, the characters behave like ventriloquists’ dummies, jerked into action by some unseen force. Little but violent action is left, much of it off-stage, and so beyond the audience’s grasp.

What is this internecine tribal warfare all about? Why, and where, is Faramondo fighting the Cimbri? What are the walls from which he emerges in act I, and why is he imprisoned by Rosimonda and not by Gustavo? The geography is chaotic. Do Gustavo and Rosimonda inhabit one palace, or two? What is Childerico’s position in the royal household? While it was inevitable that love interest should come to the fore, the two characters not amorously involved but essential to the story – Teobaldo, who started the trouble, and Childerico, who puts an end to it – are under-represented and almost elbowed out. Some of the action might be clearer in the theatre, but nothing could bring the whole contraption to life.

Other details suggest clumsy workmanship, perhaps a rushed job: a string of angry exits in recitative where the situation asks for the release of steam in an aria, and simile pieces at unsuitable moments. It is no surprise that each heroine likens herself to a ship in trouble; but Gernando, Adolfo and Clotilde in turn hold up act III by adducing more or less irrelevant parallels with the natural world. There are signs of botching in act II. ‘Combattuta’ must have been designed originally for Rosimonda – it is she, not Clotilde, who at this point is torn by conflicting emotions – and ‘sol la brama di vendetta’ for Clotilde, whom Gustavo has just insulted. The libretto actually gives this aria to Clotilde, and Rosimonda has the recitative immediately before ‘Combattuta’. All that was necessary to make this change in the libretto was to shift her exit back before the aria, a move that did not reach the English version, where Rosimonda by implication still has the aria. A possible reason for this manoeuvre was that Handel had discovered the gifts of his new prima donna Francesina, whom he cast for Clotilde, and saw in ‘Combattuta’ an opportunity for a brilliant soprano aria, whereas his Rosimonda was a mezzo-soprano.

All this raises a suspicion that Handel’s eye was not consistently on the ball. He may have had his fill of dark age blood-and-thunder melodrama. Berenice and Arminio had been a come-down after the glories of the Ariosto operas, and though Giustino promised a new approach he had not yet found the lighter tone of Serse and Imeneo. Strohm suggests that the libretto of Faramondo may have been chosen by Heidegger, and that Handel set it unwillingly. However that may be, it is a very uneven opera, with half a dozen peaks where some facet set Handel’s genius alight, chiefly in act II, but a good deal of routine matter.

Capturing Beauty Part One

‘Capturing Beauties Rose’

Jon Presco Copyright 2004

“Many men say that there is nothing in dreams but fables and lies,but
one may have dreams which are not decietful, whose import
becomesquite clear afterward.” Thus begins the ‘Romaunt of the Rose’
by Chaucer, that ends thus… “The ending of the tale you seeThe
Lover draws anigh the tree,And takes the branch, and takes the
rose,That love and he so dearly chose.” My daughter Heather was born
on Rosemary’s Birthday, September 26,1984. Eighteen months ago she
was introduced to me by an angel, in adream. A month ater we would
meet for the first time, she justturning sweet sixteen. She never met
her grandmother, Rosemary, orher aunt,Christine, the world renouned
artist, Rosamond, they passingaway before this rose, this branch of
the family could be found. When I was twenty three I let my hair grow
long after the NazariteArtists of Germany a group who would inspire
Dante Gabriel Rossettito form the Pre-Raphaelite Artists of Great
Britain. Fair Rosamondand the Romaunt of the Rose was an inspriration
to the Pre-Raphaelites, who like the Nazarite Artists, were bringing
back areligious theme to Art. Both groups drew upon Arthurian and
Graillegends that have been recently been linked to the Knight
Templarswho are said to have been Nazarites, and who worshipped John
theBaptist, a Nazarite for life. Rossetti did a painting of Rosamond,
and Edward Burne-Jones did two,not counting his ‘Briar Rose’ series
who was named Rosamond by Grimmin his tale of ‘Sleeping Beauty’, who
I identify as the sleeping goddess, Ariadne.

King Henry built a bower and Labyrinth for FairRosamond, that might
have been used to initiate the Templars into anancient Hermetic
teaching. Lord Tennyson includes her in his poem ‘ADream of Fair
Women’, and Swinburne wrote an epic poem titled ‘The Queen Mother and
Rosamond’. Gautheir de Coste Calprenede makes Rosamonde the paramour
ofPharamond King of the Long-haired Franks. Swinburne wrote a similar
work about another paramour of the Merovinians titled ‘Chronicle of
Fredegond,Rosamond’. Pharamond descends from Fromond, a name
thatappears twice in a branch of the Rougemont/Rosemont genealogy,
andare the Lords of Neufchatel who become the De La Roche family,
alsoknown as De La Rosa, a name born of the Rock and the Rose. Our
Dreamshave come true.

Christine Rosamond Presco, a ‘Rose of the World’ was born October
24,1947 in Vallejo California. Christina was the third child of
Victorand Rosemary, our mother one of four beautiful daughters born
to thewriter and poet, Royal Rosamond, and Mary Magdalene Wieneke.
Royaland Mary met in Los Angeles where Mary went to live after
leaving herfather’s farm in Iowa. Seeking her independance, as a
young woman Mary worked as a seamtress in Downtown L.A. The Wienekes
were said tohave owned castles in Germany. Mary was a frequent guest
at Krishnamurti’s retreat in the Ojai Valley where her brother had a
farm and may have delved in the philosophy of the Theosophic Society.
Royal wrote stories for ‘Out West’ the ‘Arcadian’ and several Romance
magazines, he sailing to the Anacapa Islands with is friend, Dashiel
Hammet, the author of the ‘Maltese Falcon’, a mystery novel that was
made into a movie about the search for a golden falcon once
belongingto the Knights Templars. Royal taught Earl Stanley Gardner
therudiments of writing. Royal’s poem ‘Your Name’ could well
acompanyRossetti’s painting of the young man writing his lover’s name
in thesand. Living by the sea in Ventura California, Rosemary, and
her sister, Lillian, were courted by the famous actor, Errol Flyn,
thus, there was a powerful sense of the Romantic in our household
that would influence both Christine’s and my work.
All the Rosamond women were beautiful, they the arhetypes for the
rosy women that began to peergracefully from their canvases in the
early seventies at a changingworld, their beauty and strength
heralding in the Woman’s Movement,the very idea women could now own
their own Creation and Creations.In the words of Swineburne’s Fair
Rosamond; “But that I amPart of the perfect witness for the world.”
My dear sister drowned off the Coast of Carmel on March 26,1994.
Thelegacy this complex person left behind is an important one as we
wereboth influenced by the Pre-Raphaelite artists who are at the core
ofGrail Mysteries that have surfaced once again in the Quest
forReligious and Spiritual pertinence.
The name Rosamond means ‘Rose ofthe World’ and is one of the names
applied to the Shekinah which isthe ‘Light of the World’ that I
believe is found at the center of theLabyrinth, like the one King
Henry the second built for the love ofhis life, Fair Rosamond. He
also built a Well and Arcadia for herafter the story of Tristan and
Isolde. A Grail Cup entwined in a vinewas engraved on her tomb. She
has been compared to Mary Magdalene bysome authors, and a Catholic
Bishop upon seeing how she was beingworshipped by Knights about to go
on Crusade, had her remains removedfrom the Nunnery at Glascow, and
scattered to the wind; he callingher a whore. Christine gave me
credit for being her teacher, my art touring theworld in a Red Cross
show when I was twelve, and then again when Iwas sixteen. In 1970 I
discovered Dante Gabriel Rossetti and the Pre-Raphaelite Brotherhood,
they modeling their movement after theNazarene artists of Germany, a
guild dedicated to bringing back aspritual base to Germany’s fine
art.
The Rossetti family were allgifted. Christina Rossetti was an
extraordinary poet and wasconsidered a member of the Pre-Raphaelite
Brotherhood. Her fathertranslated ‘Dante’s Inferno’ and owned a
Publishing firm that herbrother Michael opperated. Dante was a close
friend of the famouspoet, Algernon Swineburne, whose poem ‘The Queen
Mother and FairRosamond’ became a model and inspiration for all the
Pre-Raphaeliteswho resurected themes from the Grail Romances,
breathing new lifeinto the Knights and Fair Maidens of our Ancient
Dawn, raising a newlight in the search for the Truth.
Many genealogist claim King Henry Plantagenet married Fair
RosamondClifford, who like his uncle, Robert Guisgard, King of
Sicily, wasallowed more then one wife, as they are of the Seed of
King David, atheme of one of Rossetti’s paintings, who also painted a
paintingtitled ‘Fair Rosamond’. New information has surfaced that
theRosamond name comes from Rougemont Switzerland, there
aRougemont/Rosamond family crest depicting a cross surrounded
byroses, which is the discription of the crest belonging to
Rosenkrantzthe founder of the Knights of the Rose Cross. Rosamond
passed into another Realm on her first sober birthday in AA,we both
sharing a Program that gives its Brothers and Sisters a cointhat says
this upon it; “Unto they own self be true.” Christina and I were
Brother and Sister in Recovery, and in thisQuest that has come full
circle, I see how we did climb the SpiritualMountain together, with
Courage and Imagination so that we may ownthe very awakening Rose of
our soul. Like an errant Knight who hasmade his way through the heavy
thorns, roses taking bloom as I goforward, I now find myself before
the Tower of Beauty. And she assures me as she hands me my
reward: “Spiritual Courage, will be me with, Spiritual Courage.”
I was born during a star-shower, my mother too spent to go to
thewindow where the nurses were being amazed. This story, along
withbeing told I was the image of my grandfather, Royal Rosamond,
(whom Ihad never meet) instilled in me a sense of destiny, that there
wassomething that had been lost, and something to be gained,
ina….Quest? After my oldest sister Christine drowned, she the world
famousartist ‘Rosamond’, I began to research my family history. In
theCalifrornia History room of the Sacramento Library, I found
Royal’sstories and poems in several copies of ‘Out West’. I then
began to doa genealogical research that led me to ask this
question “What is ina name?” I soon found another world in the ‘Rose
of the World’ thatwas lying dorment, in a tower, surrounded by a
tangle of rosethorns. After four years of intensive research, this
Quest of Ion(Jon) produced an heir to my Quest when I found my
beautiful daughter, Heather Marie. She was born on my mother
Rosemary’sbirthday.
Like the ‘Rose of Sharon’ she is a Foundling to me. I am a Merlin.
This is a tale full of Magical Truths. The name Rosamond has been
called the ‘Shekinah’ “the light of God”.This Tower, this Beacon,
that Rose from the Darkness and the harmthat surrounded it, is now
called the ‘Rose of the World Foundation’that will grow to be a guide
for abandoned, throw-away children, everywhere. When I was twelve,
and again at sixteen, my painting was chosen totour the world in a
art show sponcored by the Red Cross. This painting you see on my
webpage was painted in 1976. It is my angelholding a glass fishing
net float that came ashore, and was at the end of its long journey.
In 1967 I had a near-death expericance afterfalling on dramatic rocks
at Point Rayes. This angel is carrying theworld, she offering it back
to me. With Love and Grace for the Story,and the Rose, I take what is
mine, and what is yours, is in theTelling of this Quest. On July
26th. I refounded the Nazarite Church called the ‘Watchers ofGod’. I
am the Bishop of this Church. I bid all those who so desireto take
the oath of the Nazarite, and never again ingest alcohol tobe with
God as you know Him. In the altered history of the Bible,later
scribes of the usurpers have David killing Goliath, who alongwith his
five brothers, were Nazarites. These were the Dactyls, theGuardian
Angels of the infant Zeus. When the twin towers, the two Giants that
guard the island city ofNew York, were toppled, the Warriors of God,
arose form their spleep.The Giants of the Bible, the Nephilim walk
amongst us once again.Nephilim means “fallen splendor”.
The Nazarites are also the Corybantes who brought Architecture,
Art,and Musical instruments to the Greeks. The Dactyls taught Orpheus
howto finger-sign and play the lyre, causing the sun to rise each
day.King David was a Nazarite, who played the lyre, and made riddles
inhis songs that drove King Saul mad to solve them. Goliath’s
familyare the sons of Rhea. In the giving of this clue, many riddles
cannow be solved. The Kingdom of God is at hand, in the
handof ‘sculptor’ and the Compassionate Father of ‘The Way’. May that
wayopen to you now. * *, *

On other webpages, that are linked in a circle to this one, I compare
the Rosamond family legacy with that of the Dante Gabriel
Rossetti family, whose siblings were also at the core of the Pre-
Raphaelite art movement, Michael and Christine Rossetti publishing
in ‘The Germ’, they taking over their father’s printing company. In a
recordof immigrant names, Rossetti, in French, is Rosemond. Christine
and Iwere inspired by the Pre-Raphaelites, several of them
KnightedArtists of England where lived other Royal and Rosy people
that arenow being linked to our Family Tree, a Rose Bush if you will,
foralas in the finding of my lost daughter, the roses now harken to
thelegend of ‘Sleeping Beauty’ who lay aspleep in her bower at
thecenter of a hedgerow of thorns. May this family of the Royal Rose
restore the Forsaken Garden.

Read more: http://www.answers.com/topic/la-calpren-de-gautier-de-costes-sieur-de#ixzz20DfsdDKx

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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1 Response to Mary Magdalene Rosamond de Toxandria

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