The following article by Michelle Jennings was transcribed verbatim from:

http://www.cropcircleconnector.com/2011/honeystreet2/articles.html

[Please click on the above URL to see the illustrations.]

Two Days at Honeystreet: a New Song Emerging!

By Michelle Jennings 

As a sequence, both the ‘finished ‘ and ‘unfinished’ symphonies of Honeystreet (2), Nr Alton Barnes, Wiltshire. Reported 4th July have significant and very important messages for the world in these crucial times. The symbolism of this crop circle, in modern format, gives reference to Neolithic Egyptian and European cultures, Mayan and Hopi cultures, medieval cultures of Europe and the universal symbolism of numbers and geometric shapes.  The numbers 4, 5, and 16 are particularly significant as symbols here.  The Vesica Piscis with its historical significance is represented as well.  A ‘tower’ shape appears at one of the five meetings of the five ‘petals’ around the main circle.  Two shapes that seem to make the whole image ‘new’ are: the ‘feathers’ coming out of the vesica piscis, and the ‘bent arms’ at the opposite end of the vesica piscis. An ancient Egyptian cartouche form contains the three elements making up the ‘new shape’.  

The circle is the initial setting of the action described by this formation. This event is happening within the Universe, the Container of Life, the Great Mother. In the second part of the sequence, the circle perimeter expands into a five-petaled flower or ‘cinquefoil’. Many flowers take this shape; the rose and apple are two well-known flowers in this category.  They are associated with the worship of the Great Goddess and Her more recent descendant, Mary.  The cinquefoil also represents Venus, and so becomes a symbol for the secrets of sexual love. As an interior design element, it conveys the presence of hidden meanings. (Walker 66) The ancient Creative Initiative begins to reveal Herself beyond the Primal Containing Mother quality.  

The path of planet Venus over 8 years resembles the five-petalled flowers of the Rosaceae family. 

The cartouche forms are the next challenge for our understanding. The cartouche is “an oval or oblong figure in ancient Egyptian hieroglyphics that encloses characters expressing the names or epithets of royal or divine personages”.

( http://www.thefreedictionary.com/cartouche  ) Who is this personage? And what is She/He trying to tell us? The answer must be in the inside design.  

Within each cartouche we find:  a central Vesica Piscis, on one end of which is a shape resembling upheld and bent arms, at the other end we see an arrangement that could be seen as a feathered headdress.  The Vesica Piscis has appeared in crop circles from early on in the 20^th and 21^st century phenomenon of crop  circles.  It is an “ancient worldwide synonym for the yoni or vulva.  It stood for the feminine creative force, the Mother-spirit that gave birth to the world and the gods.” (Walker 16)  

The Vesica Piscis, as symbol of the generative power of the Goddess, in seed-like patterns, and as the mandorla in Christian symbolism 

The upheld arms motif is often found in Neolithic sculptures and pottery depicting the Goddess as the fertile, nurturing life force. 

Minoan rising young Earth Mother (c. 1350 B.C.), Egyptian funerary figure (3500 B.C.), and figure from funerary urn – checkerboard symbolizes life-giving waters (Knossos 900 B.C.) 

Bent arms, with the beginning of a spiral look is less often found, but exists on some ancient sarcophagi.  In these depictions, the arms belong to dancing women figures whose other symbolic attributes associate them with the Goddess (i.e. the double axe/butterfly belt, earrings, male consorts). The rituals of death include the allusion to beginnings and celebration in these images.  

The female figures at the top have male companions, representing the sacred marriage (NW Bulgaria c. 4500 B.C.). The lower group of dancers was painted on a

sarcophagus (Boeotia 14the cent. B.C.) 

The feathered headdress can be found in similar arrangement and form in some Mayan images depicting chieftains. The obvious association with the bird also references the Great Goddess as nurturer as well as receiver into the afterlife.  

An ancient Bird Goddess seal (Crete c. 1500 B.C.) has feathers looking remarkably like the headdresses of the Son of Pacal Votan (left) on a relief at the Temple of the Cross, and a chieftain in an illustration of a procession (right) from Mayan Records.

When we consider the three elements within each cartouche, we can understand that the divinity they designate is a Creative Force (vesica piscis); She/He can be associated with the powers of Life and Death (arms and bird reference); She/He is a Ruler (feathered headdress). This Being encompasses these powers and titles from the beginning of Time remembered and Before, as is hinted at by the references to different ages of human existence. She/He is also designated as active in our time by this new looking combination of symbols in the formation.  

It is no accident or mistake that the formation began as an unfinished work with four parts completed. According to the Hopi Prophecies   (http://www.welcomehome.org/rainbow/prophecy/hopi1.html ), we are presently living in the end times of the Fourth World. The Honeystreet crop formation brings this to our attention and informs us that there is still more to come. Four signifies: order, wholeness, totality, the Earth, measurement, justice, natural cycles, stability.  It is the completion of material life on Earth, a stable foundation for further development. “Four is the ray of measure, the alignment with natural cycles. It is the square, the base of the pyramid, the solid foundation that unifies the lines of directional force. Four is the diamond asking you to utilize tools of discrimination.” (Spilsbury 138) 

Four also appears as the ‘tower’ design on the outside of the circle, embedded in the five-lobed cinquefoil. The tower shape reinforces the above meanings of four.  Some actual ancient towers give us the sense that this fourth world of matter where humanity arranges and measures, and constructs to make order and systems is a preparation for yet another stage. José Arguelles notes the comparison of the King’s Chamber at Giza to the tower of the Winds at Palenque.  Both have four stages. Both are part of a funerary complex. Is it necessary to die to (to surrender to) the greater purpose of our lives in order to enter the New Fifth World? And what does that really mean?  

“It is most significant that, architecturally, the Tower facing the Pyramid enclosing the tomb [of Pacal Votan] bears a strong formal resemblance to the Kings’ Chamber in the Great Pyramid.  Both the Tower and the King’s Chamber possess four levels rising above a high foundation or coffer. In any case, the tower represents the aspiration enclosing mortality, while the confusion concerning it is our failure to understand our inherent deathlessness or immortality.” (Arguelles 79) 

The Temple of the Sun at Palenque also evokes the sense of four stages (platforms) preceding the final fifth stage represented by the Temple complex on top. The dot above the four stage tower in the crop design could correspond to the Sun Temple in Palenque as well as to the Sun of the Fifth World of the Hopi Prophecy. Did the Egyptians and Maya know that all our life efforts, accumulations and lessons, represented by the four stage towers are the preparation for another stage of existence? 

Temple of the Sun, Palenque with the four stages before the Temple level. 

All five cartouches form the pattern of a pentagon within the circle. Five is found as the number of interior ‘cartouche’ parts in the finished design, as the five ‘petals’ that appeared outside the circle, and as the number of ‘dots’ outside the cinquefoil.  It is present at the interior of the design and on the outer limits of the design. Five represents the human microcosm. “It symbolizes the whole, the quincunx being the number of the centre and the meeting-point of heaven and earth and the four cardinal points plus the centre. It is also the Godhead as the Central Creator of the four great forces.” Five is the marriage number of the hieros gamos, the sacred union of the Masculine and the Feminine energies. When pointing upwards, the five-pointed star (that can be derived from the pentagon) represents integral individuality. (Cooper 116) In this formation the pentagon, when seen with the tower at the top, is pointing upwards. Five represents the manifestation of humanity in full maturity of both physical and spiritual development, and it symbolizes the centre, the heart’s infusion of matter with spirit. It is the Mayan symbol for perfection.  

Is the destiny and purpose of humanity to be the vehicle by which matter is spiritualized? Is this the beginning of the Fifth World prophesized by the Hopi? And what is to be expected if this is so? 

Given the context, which is a movement from within, a letting go or dying (hinted at by the arm references and the bird goddess references) of old ways and the old consciousness to make way for a new birth (hinted at by the vesica piscis as origin of beginnings), we also receive some direction for how we can work with this Great Change. The key to some of the activity humanity must undertake at this point in time, and in the context of moving from the Fourth World to the Fifth World lies with the Tower figure at the top of the crop circle.  

Above are three versions of the Tower card, Number 16, of the Major Arcana of the Tarot. The Dove and Rays in the first, the red, white and blue dots in the second and the small yellow blobs in the third images all indicate that there is a good outcome indicated in spite of the drastic scenes. 

In the tradition of the Tarot, the Major Arcana XVI, The Tower, has a powerful message for all of us. Because the tower is the only man-made structure in the Major Arcana of the Tarot, it represents the organizations, systems, structures, institutions, ideas and material accumulation of human activity and thought.  As reflection and validation of the ego, these institutions and thought forms might cause humanity to forget to honor their original relationship with the Creator. Also, any clinging to achievements that are completed and have lost their relevance must be cleared away to make room for the new ways. The lightning ensures that clearing away if it is not done voluntarily.  In this card, we see the necessity of surrender to the greater movement of Life and its powerful dictates.  If we remain in the restrictive tower of predefined reality, then we are in for some difficult times.  If we put aside our interest in maintaining old and spent attitudes and approaches and allow for expansion and variation of what we know, then the tower card indicates a breakthrough of cosmic consciousness that will enable us to build anew.  This rebuilt tower could be seen as shown to us lodged in the beautiful cosmic flower of the Fifth World in this Honeystreet formation.  

Finally, the feathers on each cartouche are different in number. If the first cartouche is considered to be the one SE of the ‘tower’, then the number of feathers in each are, respectively: One: 13, Two: 13, Three: 14, Four: 14, Five: 15.  I did not consider the numbers that important until I examined Tommy Borms diagram. In his version, each group contains 16 feathers.  This was the first number I considered and found that in the Mayan system, 16 is named Cib and stands for Cosmic Consciousness among other supporting ideas. When I noticed the numbers in the photographs did not coincide to Tommy’s, I found the pattern of 13,13,14,14,15.  Perhaps the sequence of numbers represents different stages and their characteristics in evolution of consciousness, and Tommy’s version is a completion of that sequence. If we want to look at it that way, then: 13 is Ben – courage, compassion; 14 is Ix – alignment with divine will; 15 is Men – global consciousness.  Whether these were deliberately placed in the formation and whether Tommy Borms’ diagram was anticipated, the numbers add up, so to speak. Some good advice for us humans! The sequence, when used with the meanings, makes sense in terms of development of a mature conscious existence. Courage and compassion (Ben) facilitate alignment with divine will (Ix) that, in turn, supports global consciousness (Men). Cosmic Consciousness (Cib) is then the quantum leap made into a Fifth level of Human Being.  

All in all, the crop formation that began on July 4^th and finished July 5^th (?) has given us a clear message about the need for transformation, who/what is initiating it, and what its goal is.

The material world, our living space, has been weighed and measured by the human race for millennia, but to what purpose? We are yet found wanting. What is the missing element? In the hint of the number five we have it. The Fifth Element has to do with the centre, the heart and the union of opposites (male/female, material/spiritual, light/dark, etc.). This new element imbues all matter and life on the planet with a spiritual energy; it vindicates human effort and undertaking by making them the vehicles by which the spiritualization of matter is accomplished.  This is conditional on our acceptance of the role and on our will to be open to the unknown Will of the Universe. The four square world of matter, now easily organized and manipulated by humanity, must be approached and treated with LOVE. This is what will bring about the positive future for us all. Our acceptance of the role of assistant transformer is reflected by choices we make each day, as the tower message suggests. 

If the Universe could speak to us with words as well as crop circles, imagine that it might want to say something like this: 

Stand in yourself.

You are My creatures, My children.

Your minds are fields for My revelations. 

This is your joy;

This is your pleasure and life:

My love for you in all circumstances.

It is creative; it is transformative.  

You are My children,

My beloved.

Open to this reality.

It is new and unknown.

Your faith and openness are required. 

I am the quantum generator.

My love is Supreme.

It is the rule and the ruling factor. 

To be open in faith to this is your fulfillment and your life. 

Your freedom is My will.

Your choice belongs to you alone.

Love is My invitation.    

And so the Song Begins… 

Michelle Jennings    

Sources:

Arguelles, José. The Mayan Factor: Path Beyond Technology. Bear & Co. Rochester, VT. 1996.

Cooper, J.C. An Illustrated Encyclopaedia of Traditional Symbols. Thames & Hudson. London. 1978.

Coulter, Laurie. Secrets in Stone. Little, Brown & Co. Boston. 2001.

Gimbutas, Marija. The Language of the Goddess. Thames & Hudson. New York. 2001.

Gray, Eden. The Complete Guide to the Tarot. Crown Publishers, Inc. New York.1972.

Henderson, J.H. The World of the Ancient Maya. Cornell University Press. Ithaca. 1981.

Sacred Symbols. Robert Adkinson, ed. Thames & Hudson, Ltd. London. 2009.

Sharman-Burke, J. & Liz Greene. The Mythic Tarot. Methuen Publications. Toronto.1986.

Spilsbury, Ariel & Michael Bryner. The Mayan Oracle. Bear & Co. Rochester,  VT. 1992.

Walker, B. The Woman’s Dictionary of Symbols & Sacred Objects. Castle  Books. Edison, NJ. 1988. 

http://www.talariaenterprises.com/products_lg/tal034.html  

http://www.thefreedictionary.com/cartouche

http://www.hedgedruid.com/tag/morning-star/

http://symboldictionary.net/?p=1510