When Rachel the wife of Jacob, could not born her husband a son, she intercepted, or, bid Jacob’s son, Reuben to bring her a mandrake root. Either Rachel made a son from the mandrake, or, took this hallucinate with her husband’s eldest son, Reuben, and thus he conceived Benjamin, a name that means “son of my shame”
Reuben is the shameful son who did a shameful and forbidden thing. This could be another attempt to denigrate the tribe of Benjamin, that was a victim of genocide by the tribe of Judah. However, the tribe of Benjamin is redeemed, and joined to the Judah family tree via two sons of Saul – I will not name for the time being. Many biblical scholars have concluded David is an invented character, but, no scholar has discovered the motive – but I. Who invented David is unknown. I have dedicated twenty four years of my life to discover who these people are.
Mary Magdalene is said to have been of the tribe of Benjamin. In the movie ‘Pan’s Labyrinth’ a child is born of the mandrake that may have born the Fawn.
In the movie ‘Excalibur’ Merlin tests Morgana by having her identify the mandrake plant.
Patrice Hanson hid the truth I had concieved a child, not only from me, but her husband. This witch knew what she was doing when she lay down with me. She wanted this captured famale child all to herself, so Heather could mend her damaged soul, her emaculate sense of self.
My grandfather is named Royal Reuben ‘Rose of the World’. We are of the blood. All the history of the tribe of Reuben, has been disapeared. However, the wolves of his son’s tribe, are coming out of the wilderness in order to judge all of humanity.
Play both videos below at the same time – and be amazed!
Such was the Roof under which dwelt the kindred of the Wolfings; and the other kindreds of the Mid-mark had roofs like to it; and of these the chiefest were the Elkings, the Vallings, the Alftings, the Beamings, the Galtings, and the Bearings; who bore on their banners the Elk, the Falcon, the Swan, the Tree, the Boar, and the Bear. But other lesser and newer kindreds there were than these: as for the Hartings above named, they were a kindred of the Upper-mark.
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“Mandrake root” redirects here. For the Deep Purple song, see Mandrake Root.
“Mandragora” redirects here. For other uses, see Mandragora (disambiguation).
For other uses, see Mandrake (disambiguation).
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Mandrake is the common name for members of the plant genus Mandragora, particularly the species Mandragora officinarum, belonging to the nightshades family (Solanaceae). Because mandrake contains deliriant hallucinogenic tropane alkaloids such as atropine, scopolamine, apoatropine, hyoscyamine and the roots sometimes contain bifurcations causing them to resemble human figures, their roots have long been used in magic rituals, today also in neopagan religions such as Wicca and Germanic revivalism religions such as Odinism.
2 In the Bible
3 Magic, spells, and witchcraft
4 In popular culture
7 Further reading
8 External links
The parsnip-shaped root is often branched. This root gives off at the surface of the ground a rosette of ovate-oblong to ovate, wrinkled, crisp, sinuate-dentate to entire leaves, 5 to 40 centimetres (2.0 to 16 in) long, somewhat resembling those of the tobacco-plant. A number of one-flowered nodding peduncles spring from the neck bearing whitish-green or purple flowers, nearly 5 centimetres (2.0 in) broad, which produce globular, orange to red berries, resembling small tomatoes. All parts of the mandrake plant are poisonous.
 In the Bible
There are two references to דודאים (dûdã’im)–literally meaning “love plant”–in the Jewish scriptures. A number of translations into different languages follow the example of the Latin Vulgate and use mandrake as the plant as the proper meaning in both Genesis 30:14-16 and Song of Solomon 7:13. Others follow the example of the Luther Bible and provide a more literal translation. The readings from the King James Bible are “And Reuben went in the days of wheat harvest, and found mandrakes in the field, and brought them unto his mother Leah. Then Rachel said to Leah, Give me, I pray thee, of thy son’s mandrakes. And she said unto her, Is it a small matter that thou hast taken my husband? and wouldest thou take away my son’s mandrakes also? And Rachel said, Therefore he shall lie with thee to night for thy son’s mandrakes. And Jacob came out of the field in the evening, and Leah went out to meet him, and said, Thou must come in unto me; for surely I have hired thee with my son’s mandrakes. And he lay with her that night.”, and “The mandrakes give a smell, and at our gates are all manner of pleasant fruits, new and old, which I have laid up for thee, O my beloved.”, respectively.
Note: A number of other plants have been suggested by biblical scholars, e.g., Most notably Ginseng which looks similar to the mandrake root and has fertility enhancing properties, for which it was picked by Reuben in the Bible. blackberries, Zizyphus Lotus, the sidr of the Arabs, the banana, lily, citron, and fig. Sir Thomas Browne, in Pseudodoxia Epidemica, ch. VII, suggests that the ‘dudai’im’ of Genesis 30:14 is the opium poppy, because the word ‘dudai’im’ may be a reference to a woman’s breasts.
In Genesis 30:14, Reuben, the eldest son of Jacob and Leah finds mandrake in a field. Rachel, Jacob’s infertile second wife and Leah’s sister, is desirous of the דודאים and barters with Leah for them. The trade offered by Rachel is for Leah to spend that night in Jacob’s bed in exchange for Leah’s דודאים. Leah gives away the plant to her barren sister, but soon after this (Genesis 30:14-22), Leah, who had previously had four sons but had been infertile for a long while, became pregnant once more and in time gave birth to two more sons, Issachar and Zebulun, and a daughter, Dinah. Only years after this episode of her asking for the mandrakes did Rachel manage to get pregnant. The predominant traditional Jewish view is that דודאים were an ancient folk remedy to help barren women conceive a child.
The final verses of Song of Songs (Song of Songs 7:12-13), are:
לְכָה דוֹדִי נֵצֵא הַשָּׂדֶה, נָלִינָה בַּכְּפָרִים.נַשְׁכִּימָה, לַכְּרָמִים–נִרְאֶה אִם-פָּרְחָה הַגֶּפֶן פִּתַּח הַסְּמָדַר, הֵנֵצוּ הָרִמּוֹנִים; שָׁם אֶתֵּן אֶת-דֹּדַי, לָךְ.הַדּוּדָאִים נָתְנוּ-רֵיחַ, וְעַל-פְּתָחֵינוּ כָּל-מְגָדִים–חֲדָשִׁים, גַּם-יְשָׁנִים; דּוֹדִי, צָפַנְתִּי לָךְ
Come, my beloved, let us go forth into the field; let us lodge in the villages. Let us get up early to the vineyards; let us see whether the vine hath budded, whether the vine-blossom be opened, and the pomegranates be in flower; there will I give thee my love. The mandrake give forth fragrance, and at our doors are all manner of precious fruits, new and old, which I have laid up for thee, O my beloved.
 Magic, spells, and witchcraft
Mandragora, from Tacuinum Sanitatis (1474).
According to the legend, when the root is dug up it screams and kills all who hear it. Literature includes complex directions for harvesting a mandrake root in relative safety. For example Josephus (c. AD 37 Jerusalem – c. 100) gives the following directions for pulling it up:
A furrow must be dug around the root until its lower part is exposed, then a dog is tied to it, after which the person tying the dog must get away. The dog then endeavours to follow him, and so easily pulls up the root, but dies suddenly instead of his master. After this the root can be handled without fear.
Extract from Chapter XVI, Witchcraft and Spells: Transcendental Magic its Doctrine and Ritual by Eliphas Levi. A Complete Translation of Dogme et Rituel de la Haute Magie by Arthur Edward Waite. 1896
… we will add a few words about mandragores (mandrakes) and kandroids, which several writers on magic confound with the waxen image; serving the purposes of bewitchment. The natural mandragore is a filamentous root which, more or less, presents as a whole either the figure of a man, or that of the virile members. It is slightly narcotic, and an aphrodisiacal virtue was ascribed to it by the ancients, who represented it as being sought by Thessalian sorcerers for the composition of philtres. Is this root the umbilical vestige of our terrestrial origin ? We dare not seriously affirm it, but all the same it is certain that man came out of the slime of the earth, and his first appearance must have been in the form of a rough sketch. The analogies of nature make this notion necessarily admissible, at least as a possibility. The first men were, in this case, a family of gigantic, sensitive mandragores, animated by the sun, who rooted themselves up from the earth ; this assumption not only does not exclude, but, on the contrary, positively supposes, creative will and the providential co-operation of a first cause, which we have reason to call God. Some alchemists, impressed by this idea, speculated on the culture of the mandragore, and experimented in the artificial reproduction of a soil sufficiently fruitful and a sun sufficiently active to humanise the said root, and thus create men without the concurrence of the female. (See: Homunculus) Others, who regarded humanity as the synthesis of animals, despaired about vitalising the mandragore, but they crossed monstrous pairs and projected human seed into animal earth, only for the production of shameful crimes and barren deformities. The third method of making the android was by galvanic machinery. One of these almost intelligent automata was attributed to Albertus Magnus, and it is said that St Thomas (Thomas Aquinas) destroyed it with one blow from a stick because he was perplexed by its answers. This story is an allegory; the android was primitive scholasticism, which was broken by the Summa of St Thomas, the daring innovator who first substituted the absolute law of reason for arbitrary divinity, by formulating that axiom which we cannot repeat too often, since it comes from such a master: ” A thing is not just because God wills it, but God wills it because it is just. ” The real and serious android of the ancients was a secret which they kept hidden from all eyes, and Mesmer was the first who dared to divulge it; it was the extension of the will of the magus into another body, organised and served by an elementary spirit; in more modern and intelligible terms, it was a magnetic subject.
It was a common folklore in some countries that mandrake would only grow where the semen of a hanged man had dripped on to the ground; this would appear to be the reason for the methods employed by the alchemists who “projected human seed into animal earth”. In Germany, the plant is known as the Alraune: the novel (later adapted as a film) Alraune by Hanns Heinz Ewers is based on a soulless woman conceived from a hanged man’s semen, the title referring to this myth of the Mandrake’s origins.
The following is taken from “Paul Christian”. pp. 402–403, The History and Practice of Magic by Paul Christian. 1963
Would you like to make a Mandragora, as powerful as the homunculus (little man in a bottle) so praised by Paracelsus? Then find a root of the plant called bryony. Take it out of the ground on a Monday (the day of the moon), a little time after the vernal equinox. Cut off the ends of the root and bury it at night in some country churchyard in a dead man’s grave. For thirty days water it with cow’s milk in which three bats have been drowned. When the thirty-first day arrives, take out the root in the middle of the night and dry it in an oven heated with branches of verbena; then wrap it up in a piece of a dead man’s winding-sheet and carry it with you everywhere.
The first of Rosamond’s five scenes is the most forceful in demonstrating Swinburne’s debt to troubadour conventions as well as to Pre-Raphaelite stylistic influences. Courtly love preoccupations and the medieval setting overshadow elements of Jacobean revenge tragedy throughout the play. Swinburne’s Rosamond, rather than the historical queen of the Courts of Love, espouses the religion of love and, as a result of her lived creed, is poisoned by Eleanor out of jealousy. The play’s predominantly lyrical psychodramatic vignettes stress highlights of the relationships among the four main characters during the last months of Rosamond’s life. The action begins in spring and ends in late summer, but the only explicit time lapse occurs between the fourth and fifth scenes, when Henry is abroad, subduing the French provinces. In addition to the historical characters, Swinburne creates the courtier Bouchard, the serviceable object of the jealous Queen’s ambivalent affections. But Rosamond is significant primarily for the characterization of its tragic heroine, whose passion for Henry suggests the power of the courtly love influence on young Swinburne. In the “Prelude” to Tristram of Lyonesse (written nine years later), Swinburne catalogues “the sweet shining signs of women’s names / That [38/39] mark the months out and the weeks anew,” which Love “moves in changeless change of seasons through / To fill the days up of his dateless year”
But I that am
Part of the perfect witness for the world,
How good it is; I chosen in God’s eyes
To fill the lean account of under men, The lank and hunger-bitten ugliness
Of half his people . . . I that am, ah yet,
And shall be till the worm has share in me,
Fairer than love or the clean truth of God,
. . . . . . . . . . . . . . . . . . . . . .
I . . . have roses in my name, and make
All flowers glad to set their colour by.
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