Mary, Mary, quite contrary
How does your garden grow?
With silver bells, and cockle shells,
And pretty maids all in a row.
Those of you who watch my videos know that I love to expose the symbolism behind things, so here we will take a look into the chilling depths of history as we unveil the symbolic tales behind Mary Mary Quite Contrary, an age-old English nursery rhyme that conceals so many secrets. Appearing in 1744 within the pages of "Tom Thumb's Pretty Songbook," this seemingly innocent verse conceals a far more sinister past, entwined with torture, murder, and other macabre mysteries.
Get ready to be enthralled as we peek inside the layers of time to expose the spine-tingling origins of this baffling rhyme, where darkness and intrigue converge in a dance of whispers and blood-curdling secrets.
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Nursery rhymes harbour more than meets the eye. Far from child's play, many originated during eras when literacy was rare, they worked as a covert means to chronicle significant political events and scandalous intrigues. Mary Quite Contrary is no exception. Yet amid a bundle of theories, the identity of Mary remains a puzzle. I am going to detail several theories below, plus give my own thoughts.
One prevailing notion is tied to Mary, Queen of Scots, tracing the origins of the rhyme back to her tale.
Mary's reign over Scotland spanned from 1542 to 1567, a period marked by her distinct position as a Catholic queen in a predominantly Protestant nation. Within the lines of a seemingly innocent nursery rhyme, hidden layers of symbolism start to be revealed. The phrase "How does your garden grow" has been interpreted as a nod to the lush Scottish landscapes under her rule. The term "silver bells" refers to Catholic cathedral chimes, while "cockle shells" potentially mocks the decorations on a dress gifted to her by the French king, her ornate Catholic attire becoming a target for the less elaborately dressed Protestants. The line "pretty maids all in a row" may subtly reference her loyal ladies-in-waiting, a quartet that accompanied her through the French court and upon her return to Scotland.
However, an early version of the rhyme concludes with a different last line, which reads "sing cuckolds all a row," presenting a darker and more mysterious tone. The term "cuckold" carries derogatory implications, insinuating a husband with an adulterous wife or unknowingly raising children who aren't his own. This line casts a provocative shadow upon Mary's romantic chronicles, potentially referencing her reputation as a hot-blooded enchantress.
In the grand courts of France, Mary's life seemed destined for fairy tale bliss as she married Francis II, the king of France. Yet fate had other plans, and their union was cut short when Francis died just two years later, plunging her into a whirlwind of uncertainty.
Returning to her native Scotland, Mary's life took an unexpected turn as she crossed paths with the charismatic and fiery Lord Darnley, Henry Stuart. Their union ignited like a tempestuous blaze, fueled by a potent mix of passion and power. But the flames that burned between them cast doubtful shadows, revealing a stormy relationship fraught with struggles for dominance. While Mary was open to co-ruling Scotland alongside her husband, Darnley harboured grandiose aspirations, expecting Mary to relinquish her sovereign authority to him and act as his subordinate. Within months, the fiery affection that had united them turned into seething resentment. Love had curdled into hatred, shattering the illusions of their once-enviable bond.
Lord Darnley, a young man fueled by his own desires, indulged in heavy drinking and infidelity, his heart straying to various lovers, even to a young and captivating man named David Rizzio. Yet the story took a dramatic twist as Rizzio, once entwined with Lord Darnley, found his heart captured by none other than Mary herself.
Rumours whispered of a secret passionate affair between the queen and her charming secretary, painting their connection with forbidden colours. The court buzzed with speculation, and as Mary's belly swelled with the promise of a future king, whispers grew louder that Rizzio might actually be the true father. Jealousy seized hold of Lord Darnley, setting the stage for a sinister plot that would alter the course of history.
Together with his father, he hatched a scheme to rid himself of Rizzio once and for all, a treacherous plan with the ultimate goal of manipulating Mary into surrendering her crown to Darnley.
In the shadowed cloak of night on the fateful date of March 9, 1566, a palpable tension gripped the Palace of Holyroodhouse. The air was thick with malevolent forces as Lord Darnley's assembly, a gathering of around 80 conspirators, navigated the hallowed corridors of the palace under the guidance of their enigmatic leader, Lord Ruthven. Their destination: the queen's supper chamber, where an unsuspecting Mary revelled in the company of friends, including Rizzio. As the grand doors creaked open, Lord Ruthven materialized at the forefront, clad in armour, his presence emanating an air of foreboding. In a sombre tone, Ruthven accused Rizzio of dishonouring the queen, setting the stage for a dramatic confrontation.
Mary, no stranger to the art of diplomacy, attempted to defuse the situation. She urged Ruthven to leave, reasoning that any grievance involving Rizzio should be weighed by the Lords of Parliament. Alas, her plea was met with cold indifference, and Ruthven drew his dagger as the room simmered with tension. In a blaze of fury, Mary rose, her anger a tempestuous force colliding with the encroaching darkness. Rizzio cowered behind her, a man ensnared in the midst of a plot far beyond his comprehension. Mary's friends lunged to shield their sovereign, grappling with Ruthven, but it was no use. In a torrent of terror and confusion, Rizzio was wrestled into the adjoining room. Mary could only watch in horror, the cold metal of a pistol pressed against her, she was powerless to do anything. In the adjoining chamber, a grim scene of vengeance and savagery unfolded. Rizzio, ensnared within the clutches of his assailants, was subjected to a cruel and relentless attack. Amid his chilling cries, an orchestra of blades pierced Rizzio's flesh an unfathomable 56 times. The scene unfolded like a nightmarish symphony, a tableau of horror that left no room for respite. And in the chilling crescendo, Lord Darnley's dagger, wielded by an assassin, delivered the final, damning blow.
The lifeless vessel of the once-vibrant Rizzio was unceremoniously stripped of his fine clothes and hurled down the palace stairs, a chilling reminder of the depths to which human greed and treachery could plummet.
Surprisingly, this chilling drama doesn't reach its conclusion here. Merely a year later, Lord Darnley met a mysterious and suspicious demise that continues to puzzle historians even today.
In the cold early hours of February 10, 1567, a chilling plot unfolded on the cobblestone streets of Edinburgh. The ominous shadow of the old provost's house of Kirk o' Field, nestled in the heart of the Royal Mile, concealed a tale of intrigue, betrayal, and unspeakable horror. Lord Darnley had sought refuge within the walls of Kirk o' Field, weakened by illness. Unbeknownst to him, this sanctuary was gradually being transformed into a death trap, an unseen enemy lurking in the shadows, orchestrating a malevolent scheme. As the clock struck 2 am, the silence of the night was pierced by an earth-shattering explosion that rippled through the very fabric of Edinburgh.
Kirk o' Field erupted into a fiery inferno, its walls crumbling into dust. Within the chaos and debris, the lifeless form of Lord Darnley was discovered in a neighbouring garden, his body sprawled beside that of his loyal groom. However, all was not as it seemed. Intriguingly, their lifeless forms were strangely undamaged by the raging explosion, leaving behind a trail of questions and speculative theories about their final moments. Historian Magnus Magnusson recounted how Lord Darnley's lifeless form bore evidence of strangulation, hinting that death had come before the cataclysmic explosion. What if a disturbance had jolted Darnley awake, compelling him to make a desperate escape attempt with his loyal attendant before being discovered by their enemies? A chair and rope were also found in the garden close to the men. Could they have aided their attempted escape through a window on the upper floor? Was the explosion that followed a crescendo of chaos orchestrated to veil their murders, an eerie cover for a sinister act?
Queen Mary mourned her husband for 40 days, yet whispers drifted through the city's taverns and winding alleys, painting her grief as a mask for darker truths. Was she truly innocent, or was she herself responsible for her husband's suspicious death?
In the mists of suspicion, the Earl of Bothwell was a name that would forever be entwined with the horrors of that night. A man of power rumours swirled that he had supplied the very gunpowder that ignited the explosion, and a pair of shoes belonging to one of his supporters were found at the scene of the crime.
In a matter of days, vibrant placards adorned the streets, while leaflets circulated through Edinburgh. These boldly pointed fingers at Mary, Queen of Scots, and James Hepburn, Fourth Earl of Bothwell, alleging an illicit love affair and their involvement in orchestrating Darnley's murder.
The stage shifted yet again on April 24, 1567. It is said that on a desolate road between Linlithgow Palace and Edinburgh, Bothwell and his legion of 800 men confronted Mary herself. Whispered words of danger fell from his lips, a warning that the tides of treachery were once more poised to swallow Mary in Edinburgh. With an air of foreboding, he urged her to seek protection in his own castle, Dunbar, an offer that hid sinister intentions.
Midnight descended as Mary stepped into the jaws of a trap within the walls of Dunbar Castle. A nightmarish ordeal awaited her. Bothwell, his intentions as dark as the night itself, took her captive. Allegations of coercion and a twisted power play coloured the night's events, all designed to lead Mary down a path she could not escape. The days that followed saw a spectacle of manipulation and political manoeuvring. As the ink on his divorce papers from Jean Gordon, Countess of Bothwell, had barely dried, he claimed Queen Mary as his own. Their marriage took place on the 15th of May 1567, just three months after Lord Darnley's death.
The intentions and circumstances of these events weave a complicated web of intrigue that has divided opinions across the ages. Was Mary truly an unfortunate victim, ensnared within the confines of a patriarchal era, coerced into a marriage with Bothwell against her desires? Or do the shadows cast a different tale—that of a shrewd and calculating figure, willing to trade her second husband's life for a promise of future matrimony to Bothwell?
Stories of Mary's scandal-laden romantic affairs ignited a public sensation at the time, making it entirely plausible to speculate that the "Mary, Mary, Quite Contrary" nursery rhyme finds its roots in the undulating tides of her life. The tale of Rizzio's murder, Lord Darnley's death, Queen Mary's descent into Bothwell's grasp, and the chilling echoes of those turbulent days continue to intrigue and remind us that the shadows hold secrets that defy the passage of centuries.
However, there exists a belief that the rhyme may allude to a different Mary from the same era: Mary Tudor, known by the chilling moniker "Bloody Mary." Born of the union between Henry VII and Catherine of Aragon, her life became a mélange of intrigue, betrayal, and a thirst for power.
Mary sought to dismantle the foundations of the Church of England, striving to reclaim the Catholic faith that had been cast aside. It was a gambit to regain her mother's legacy, a path that ultimately led to a reign drenched in terror. The rhyme speaks of her being contrary, which could represent the paradox capturing the dual nature of her rule—a queen seeking salvation while sowing the seeds of dread. The line "How does your garden grow" is a question that extends beyond the surface. In one interpretation, it speaks of her desperate yearning for a child. At the age of 38, she married King Philip II of Spain, driven by a deep urgency to secure an heir. As time passed, whispers spread about Mary's pregnancy, conveyed through private letters that detailed the growth of her belly and the sensation of a baby's movements.
In the early days of May 1555, a rumour ignited like wildfire: news that the queen had given birth, prompting widespread celebrations in London and the surrounding areas, marked by bonfires and unrestrained joy. However, reality shattered this illusion just days later, revealing the rumour as false. Unyielding, Mary clung to a belief that her child's birth was imminent and issued a statement that God would not allow her child to be born until all the Protestant dissenters were punished, beginning another round of executions. Yet despite the fervour, the cries, and the whispers, the promised heir never came.
Another interpretation sees the darkness run even deeper still, for the garden in the rhyme could just as easily refer to a graveyard where each of Mary's executions fertilizes the earth with its dark harvest.
The whispers of history suggest that the remainder of the rhyme's cryptic imagery holds a key to her reign of terror. "Silver bells" could be a chilling metaphor for the torment inflicted upon her victims, invoking the image of thumb screws; while "cockleshells" were believed to be instruments of torture attached to the genitals.; and "the pretty maids in a row," referencing a grim procession leading to the ominous embrace of the maiden, an executioner's tool of choice. It's a macabre picture, each line unravelling a dark truth hidden in history's shadows.
Though intriguing, this theory might be deemed unlikely, as Mary was known to favour burning Protestants at the stake for execution, with little evidence to support the notion that her victims endured the torture devices mentioned in the rhyme.
Mary Tudor, a woman entwined in the threads of power and pain, walked a treacherous landscape where ambition and cruelty walked hand in hand. The rhyme's layers of meaning reflect the complexity of her legacy: a queen of paradoxes, a ruler and a figure whose name has become synonymous with a reign of terror, forever etching her place in the history books.
And yet these ideas about the origin of the rhyme might sound convincing and intriguing, but I have my own ideas. If you have watched my other videos and read my books you might be already beginning to guess what I am about to say. I have spoken often about Mary being a title from our Order back in ancient times for the Priestesses of the Order. This is why Mary was the Mother of Yeshua and also his wife was Mary Magdalene, Mary is interchangeable with Mirium or Maria, which has the same meaning. Both these women were Priestesses within the Serpent Bloodline Gnostic Theolalite Order.
I believe this rhyme is about Mary Magdalene, she is called Mary quite contrary because of all the lies about her being a prostitute, and the truth about her being Yeshua's wife and having his children was purposely hidden and covered up. The very fact she was also a High Priestess who was the true head of the Order and the illuminator of Yeshua is also quite contrary to the Eagle-pushed Catholic narrative about her.
The silver bells have a great significance too. First, let's break them down. As the rhyme specifically mentions they are silver.
Silver, a metal rich in symbolism, carrying esoteric and mystical meanings. It has a deep connection to the moon, embodying the lunar qualities of reflection, intuition, and the hidden depths of the unconscious mind.
This reflective quality of silver like a mirror, reveals hidden truths and illuminates the darkness. It is no surprise that silver is often linked to feminine energy, contrasting with gold's association with the masculine. This connection to the divine feminine encompasses qualities such as intuition, emotional depth, and nurturing, creating a balance that is essential in many spiritual traditions.
The protective and healing properties of silver have been revered throughout history. Folklore and mysticism are filled with tales of silver amulets and talismans used to ward off evil spirits, negative energies, and illnesses. This protective aspect of silver is mirrored in its role in alchemy, where it represents the metal of the moon and the transformative process of turning base metals into noble ones. This symbolizes spiritual purification, growth, and the journey toward enlightenment.
Its colour and lustre evoke the qualities of water, linking it to emotions, intuition, and the flow of life. Water, in its ability to cleanse and renew, mirrors silver's role in spiritual practices as a symbol of cleansing and the subconscious.
Bells, in ancient times, where their sound was believed to bridge the earthly and the divine, are a powerful tool in both ceremonial and magickal practices.
In many spiritual traditions, bells are seen as instruments of purification. Their clear, ringing tones are thought to dispel negative energies and cleanse spaces, making them sacred and ready for ritual. This belief in their purifying power extends to their use in exorcisms and spiritual cleansings, where the sound of a bell can drive away malevolent spirits and unwanted influences. The very act of ringing a bell is akin to calling forth divine attention, summoning the presence of deities, angels, or protective spirits to aid in the ritual.
The ceremonial use of bells often marks transitions and sacred moments. In temples and churches, bells announce the beginning of worship, signal the presence of the divine, and mark the passage of time within the sacred space. Their sound serves as a call to mindfulness, drawing the attention of worshippers and practitioners to the present moment, and encouraging a state of reverence and awareness.
In magickal practices, bells are imbued with a variety of esoteric meanings and uses. Their tones can be used to cast circles, create protective barriers, and invoke elemental forces. Different tones and types of bells are believed to resonate with different energies and intentions, making them versatile tools for spellwork and ritual. For instance, a high-pitched, clear bell might be used to summon celestial spirits or to enhance clarity and communication, while a deeper, more resonant bell could ground energies or connect with the earth element.
The shape and material of bells also hold symbolic significance. The bell's body, often seen as a feminine symbol, represents the receptive, nurturing aspect of the divine, while the clapper, striking against the inner walls, can be seen as a masculine force, creating a harmonious union of energies. This interplay mirrors the cosmic balance of creation, where opposites come together to produce life and sound.
Bells are also associated with time and cycles. Their regular tolling can signify the hours, seasons, and significant life events, embedding their sound into the rhythm of human life. This connection to time and the cyclical nature of existence further enhances their role in rituals that honour transitions, such as births, marriages, and deaths, where their chimes accompany the soul's journey through different stages of existence.
In folklore and mythology, bells are often attributed to magical properties. Stories abound of enchanted bells that summon supernatural beings, protect hidden treasures, or foretell the future.
So when we put the reflective mirror image of silver with the purifying resonance of bells, we might find a deep symbolic attribution to pure bloodline children from the underground stream, who are mirror images of their Divine parents?
Cockle shells, small and beautifully ribbed, their delicate appearance belies a profound depth of meaning, particularly in religious, mythological, and magickal contexts.
One of the most prominent symbols associated with cockle shells is pilgrimage and spiritual journey. In Christian tradition, the scallop shell, closely related to the cockle shell, is famously linked to Saint James the Greater. Pilgrims on the Camino de Santiago, the Way of Saint James, often carry a scallop shell as a symbol of their journey and devotion. This connection originates from medieval times when pilgrims would use the shell to collect water and food during their travels, a practical tool that evolved into a powerful emblem of faith, perseverance, and the quest for spiritual enlightenment.
Cockle shells also hold significant maritime symbolism. As inhabitants of the ocean's edge, they represent the boundary between land and sea, the known and the unknown. This liminal quality imbues them with a sense of mystery and the transformative power of water. In this way, cockle shells symbolize protection and safe passage, particularly for sailors and those embarking on perilous journeys. They are talismans of good fortune, believed to guard against storms and guide one safely back to shore.
In ancient mythology, cockle shells are often associated with Venus (or Aphrodite), the goddess of love and beauty, who was famously born from the sea foam and carried to shore on a shell. This imagery highlights the shell's connection to themes of birth, fertility, and creation. The feminine curves of the shell echo the nurturing and life-giving aspects of the divine feminine, making it a symbol of love, beauty, and the generative forces of nature.
Magickally, cockle shells are used in various rituals and spellwork to harness these potent symbols. They are often included in charms and amulets for protection, particularly for travellers and those embarking on new ventures. Their association with water and the ocean also makes them powerful symbols in rituals involving emotional healing, purification, and intuition. The shell's capacity to hold and contain echoes the receptive nature of water, making it a useful tool for capturing and focusing intentions.
Within the Bloodline families, shells have always played an important role in symbolising the feminine aspect of our lineages. Indeed, it represents our emergence long ago from the water to the land, as we evolved from aquatic apes. And shells are displayed proudly on our coats of arms.
So yet again we see the reference to the Serpent Bloodline, showing that the lineage is continued. As Mary Magdalene and Yeshua had 6 children, these do indeed create rows that grow in the garden or the family tree.
Pretty maids all in a row could symbolise the Grail Priestesses in the Temple.
And if it was first written as cuckolds in a row I believe this is a reference to the fact that the children's true parentage was always denied by the Eagles and their agenda to create a religion based on a Sun God who died and rose again using the King of the Serpent Bloodline who was Yeshua, who they wanted everyone to believe was a God for the age of Pisces and did not want anyone to know he lived on, got married and had children.
I want to add the following here from the Magdalene Rite.
With open hearts, we hope to receive the council of our blessed Divine Mother Miriam of Magdala. Her love knows no boundaries, time nor distance can diminish it, not even death from this physical plane.
May our hearts and minds open so completely that we can embody her essence, her spirit, her love and compassion, may we learn to better ourselves with our Divine Mother Miriam as inspiration.
She is with us always and forever, her spirit and soul run through us, she and all our ancestors before her are the underground stream.
No secret worth protecting is as precious as the Gnosis and Sophia her blood brings to us. Praise be, blessings a plenty, our Mother, our sister, our Goddess, Hail Mary Mother of light whose star shines the brightest in the dark velvet skies and whose white dove brings us messages of peace and joy with white feathers from the heavens.
From blood, through blood, to blood. Our blood runs pure, never tainted, always flowing through generation to generation.
The mysteries are in us and about us, we are the stream of Gnosis and Sophia, we are that which is unstoppable and unbreakable, through all of time and beyond. Hail Miriam!
Which of these theories do you find most convincing? Or perhaps you have your own ideas. I'm eager to hear from you, so leave me a comment. If you enjoyed this glimpse into the origins of "Mary, Mary, Quite Contrary," hit that like button and please don't hesitate to share which nursery rhyme you'd like me to explore next. Stay tuned, because the adventure doesn't end here. I have more tales, haunting history, and strange practices to uncover in future videos. Until then, keep venturing into the unknown, unearthing esoteric facts, and feeding your insatiable curiosity. See you soon, bye for now.
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