Hinduism
is the oldest religion in the world because it is the religion of
Djinns/Demons/Devils/Satan/Vampires!
Satan/Iblis/Lucifer/Azazel
revealed!
Sanatana
Dharma
is
is the original name of what is now popularly called Hinduism or
Hindu
Dharma.
The terms Hindu and Hinduism are said to be a more recent
development, while the more accurate term is Sanatana
Dharma.
It is a code of ethics, a way of living through which one may achieve
moksha (enlightenment, liberation). It is the world's most ancient
culture and the socio, spiritual, and religious tradition of almost
one billion of the earth's inhabitants. Sanatana Dharma represents
much more than just a religion; rather, it provides its followers
with an entire worldview, way of life and with a coherent and
rational view of reality. Hindus all over the world brag about the
fact that their religion is the oldest in the world. Maybe it is.
Spiritually, it also feels like a deeper and an older religion than
religions like Christianity, Islam, Judaism, Buddhism and also
Jainism, even though Jainism also claims to be an eternal religion.
“And
the jinn, We have created aforetime from the smokeless flame of fire”
(55:27)
Hinduism
is the religion of the jinn, the devils, the demons, the vampires.
Satan/Iblis/Vishnu/Shiva/Dracula
(The Original Vampire)
Iblis
(which
translates, roughly, into "He That Causes Despair") is the
chief spirit of evil in the Islamic belief system and is comparable
to Satan - however there are differences in the being. Like Satan,
who had an original name (Lucifer), Iblis was once called Azazel
before his exile from Jannah (Heaven in Islam).
According
to most branches of Islam, Azazel is a high-ranking jinn and was
created out of smokeless fire by God, he committed a great sin when
he refused to bow before the first human, as since he was born from
fire while Adam was made from clay and thinking himself superior to
them, (though in some variations, he refused to bow to Adam not out
of pride, but out of love for God, and only knelt to Him, believing
that only God deserved such a sign of obedience) as punishment, God
damned him and banished Azazel, who changes his name to Iblis, to the
fires of Hell, where he plots his revenge on mankind for his exile,
and plans to ruin Paradise with his evil.
However,
Iblis managed to persuade God to prolong the judgement until the End
of Time, during which Iblis was granted permission to lead people
astray - which he originally stated would be used to lead all
humanity from God's path: God, however, ultimately stated "As
for My servants, no authority shalt thou have over them:"
Iblis
is considered to have only one true power - namely the ability to
cast evil suggestions into the hearts of men, women, and jinn.
Iblis'
ultimate fate (much like Satan's fate) is said to be eternal
destruction at the hands of God at the Day of Judgement.
Jinn
have free will, like humans. Therefore their personalities
might also range from the saintly to the demonic, like humans.
However, my understanding is that they shouldn't interfere in
human affairs, so I question the motives of any jinn seeking to
influence the human world.
Jinn
do cause seeming miracles to occur. With fantastic paranormal
abilities they easily manipulate people's beliefs. The
unfortunate result may be that the faithful become more dependent on
a jinn's tricks than on God's Grace. Evil Jinn are especially
pleased when they themselves are worshipped. This process has
probably been the major impetus for the corruption of religion,
aside
from the corrupting influence inherent in human nature itself.
It
seems evident to me that some such process has occurred to Hinduism
over many centuries. Hindus originally worshipped one God but most
now worship the increasing plethora of little gods. It seems
probable that jinn could be involved in hastening such a corruption.
Yet
they make the Jinns equals with God, though God did create the Jinns;
and they falsely, having no knowledge, attribute to Him sons and
daughters.Praise and glory be to Him! (for He is) above what they
attribute to Him!(Surah
Al-An‘am, 100)
You
are looking at Satan! The Chief Deceiver! Notice that Shiva and
Vishnu are almost similar beings, because they are the devil in
various disguises, as the devil is able to shapeshift.
“And
I did not create the jinn and mankind except to worship Me”. Notice
how Iblis/Shiva is always shown worshiping God in images.
Vampires,
like Djinns, have a very long lifespan, and they are able to
shapeshift, suck blood of their victims, dwell in places men do not
dare enter.
Atlantis and the Hindu Gods of Antiquity
ATLANTIS
is the subject of a short but important article appearing in the
Annual Report of the Board of Regents of The Smithsonian Institution
for the year ending June 30th, 1915. The author, M. Pierre Termier, a
member of the Academy of Sciences and Director of Service of the
Geologic Chart of France, in 1912 delivered a lecture on the
Atlantean hypothesis before the Institut Océanographique; it is the
translated notes of this remarkable lecture that are published in the
Smithsonian report.
"After
a long period of disdainful indifference," writes M. Termier,
"observe how in the last few years science is returning to the
study of Atlantis. How many naturalists, geologists, zoologists, or
botanists are asking one another today whether Plato has not
transmitted to us, with slight amplification, a page from the actual
history of mankind. No affirmation is yet permissible; but it seems
more and more evident that a vast region, continental or made up of
great islands, has collapsed west of the Pillars of Hercules,
otherwise called the Strait of Gibraltar, and that its collapse
occurred in the not far distant past. In any event, the question of
Atlantis is placed anew before men of science; and since I do not
believe that it can ever be solved without the aid of oceanography, I
have thought it natural to discuss it here, in this temple of
maritime science, and to call to such a problem, long scorned but now
being revived, the attention of oceanographers, as well as the
attention of those who, though immersed in the tumult of cities, lend
an ear to the distant murmur of the sea."
In
his lecture M. Termier presents geologic, geographic, and zoologic
data in substantiation of the Atlantis theory. Figuratively draining
the entire bed of the Atlantic Ocean, he considers the inequalities
of its basin and cites locations on a line from the Azores to Iceland
where dredging has brought lava to the surface from a depth of 3,000
meters. The volcanic nature of the islands now existing in the
Atlantic Ocean corroborates Plato's statement that the Atlantean
continent was destroyed by volcanic cataclysms. M. Termier also
advances the conclusions of a young French zoologist, M. Louis
Germain, who admitted the existence of an Atlantic continent
connected with the Iberian Peninsula and with Mauritania and
prolonged toward the south so as to include some regions of desert
climate. M. Termier concludes his lecture with a graphic picture of
the engulfment of that continent.
The
description of the Atlantean civilization given by Plato in the
Critias
may
be summarized as follows. In the first ages the gods divided the
earth among themselves, proportioning it according to their
respective dignities. Each became the peculiar deity of his own
allotment and established therein temples to himself, ordained a
priestcraft, and instituted a system of sacrifice. To Poseidon was
given the sea and the island continent of Atlantis. In the midst of
the island was a mountain which was the dwelling place of three
earth-born primitive human beings--Evenor; his wife, Leucipe; and
their only daughter, Cleito. The maiden was very beautiful, and after
the sudden death of her parents she was wooed by Poseidon, who begat
by her five pairs of male children. Poseidon apportioned his
continent among these ten, and Atlas, the eldest, he made overlord of
the other nine. Poseidon further called the country Atlantis
and
the surrounding sea the Atlantic
in
honor of Atlas. Before the birth of his ten sons, Poseidon divided
the continent and the coastwise sea into concentric zones of land and
water, which were as perfect as though turned upon a lathe. Two zones
of land and three of water surrounded the central island, which
Poseidon caused to be irrigated with two springs of water--one warm
and the other cold.
The
descendants of Atlas continued as rulers of Atlantis, and with wise
government and industry elevated the country to a position of
surpassing dignity. The natural resources of Atlantis were apparently
limitless. Precious metals were mined, wild animals domesticated, and
perfumes distilled from its fragrant flowers. While enjoying the
abundance natural to their semitropic location, the Atlanteans
employed themselves also in the erection of palaces, temples, and
docks. They bridged the zones of sea and later dug a deep canal to
connect the outer ocean with the central island, where stood the
palaces And temple of Poseidon, which excelled all other structures
in magnificence. A network of bridges and canals was created by the
Atlanteans to unite the various parts of their kingdom.
Plato
then describes the white, black, and red stones which they quarried
from beneath their continent and used in the construction of public
buildings and docks. They circumscribed each of the land zones with a
wall, the outer wall being covered with brass, the middle with tin,
and the inner, which encompassed the citadel, with orichalch. The
citadel, on the central island, contained the palaces, temples, and
other public buildings. In its center, surrounded by a wall of gold,
was a sanctuary dedicated to Cleito and Poseidon. Here the first ten
princes of the island were born and here each year their descendants
brought offerings. Poseidon's own temple, its exterior entirely
covered with silver and its pinnacles with gold, also stood within
the citadel. The interior of the temple was of ivory, gold, silver,
and orichalch, even to the pillars and floor. The temple contained a
colossal statue of Poseidon standing in a chariot drawn by six winged
horses, about him a hundred Nereids riding on dolphins. Arranged
outside the building were golden statues of the first ten kings and
their wives.
In
the groves and gardens were hot and cold springs. There were numerous
temples to various deities, places of exercise for men and for
beasts, public baths, and a great racecourse for horses. At various
vantage points on the zones were fortifications, and to the great
harbor came vessels from every maritime nation. The zones were so
thickly populated that the sound of human voices was ever in the air.
That
part of Atlantis facing the sea was described as lofty and
precipitous, but about the central city was a plain sheltered by
mountains renowned for their size, number, and beauty. The plain
yielded two crops each year,, in the winter being watered by rains
and in the summer by immense irrigation canals, which were also used
for transportation. The plain was divided into sections, and in time
of war each section supplied its quota of fighting men and chariots.
The
ten governments differed from each other in details concerning
military requirements. Each of the kings of Atlantis had complete
control over his own kingdom, but their mutual relationships were
governed by a code engraved by the first ten kings on a column' of
orichalch standing in the temple of Poseidon. At alternate intervals
of five and six years a pilgrimage was made to this temple that equal
honor might be conferred upon both the odd and the even numbers.
Here, with appropriate sacrifice, each king renewed his oath of
loyalty upon the sacred inscription. Here also the kings donned azure
robes and sat in judgment. At daybreak they wrote their sentences
upon a golden tablet: and deposited them with their robes as
memorials. The chief laws of the Atlantean kings were that they
should not take up arms against each other and that they should come
to the assistance of any of their number who was attacked. In matters
of war and great moment the final decision was in the hands of the
direct descendants of the family of Atlas. No king had the power of
life and death over his kinsmen without the assent of a majority of
the ten.
Plato
concludes his description by declaring that it was this great empire
which attacked the Hellenic states. This did not occur, however,
until their power and glory had lured the Atlantean kings from the
pathway of wisdom and virtue. Filled with false ambition, the rulers
of Atlantis determined to conquer the entire world. Zeus, perceiving
the wickedness of the Atlanteans, gathered the gods into his holy
habitation and addressed them. Here Plato's narrative comes to an
abrupt end, for the Critias
was
never finished. In the Timæus
is
a further description of Atlantis, supposedly given to Solon by an
Egyptian priest and which concludes as follows:
"But
afterwards there occurred violent earthquakes and floods; and in a
single day and night of rain all your warlike men in a body sank into
the earth, and the island of Atlantis in like manner disappeared, and
was sunk beneath the sea. And that is the reason why the sea in those
parts is impassable and impenetrable, because there is such a
quantity of shallow mud in the way; and this was caused by the
subsidence of the island."
In
the introduction to his translation of the Timæus,
Thomas Taylor quotes from a History
of Ethiopia
written
by Marcellus, which contains the following reference to Atlantis:
"For they relate that in their time there were seven islands in
the Atlantic sea, sacred to Proserpine; and besides these, three
others of an immense magnitude; one of which was sacred to Pluto,
another to Ammon, and another, which is the middle of these, and is
of a thousand stadia, to Neptune." Crantor, commenting upon
Plato, asserted that the Egyptian priests declared the story of
Atlantis to be written upon pillars which were still preserved circa
300 B.C. (See Beginnings
or Glimpses of Vanished Civilizations.)
Ignatius Donnelly, who gave the subject of Atlantis profound study,
believed that horses were first domesticated by the Atlanteans, for
which reason they have always been considered peculiarly sacred to
Poseidon.
From
a careful consideration of Plato's description of Atlantis it is
evident that the story should not be regarded as wholly historical
but rather as both allegorical and historical. Origen, Porphyry,
Proclus, Iamblichus, and Syrianus realized that the story concealed a
profound philosophical mystery, but they disagreed as to the actual
interpretation. Plato's Atlantis symbolizes the threefold nature of
both the universe and the human body. The ten kings of Atlantis are
the tetractys,
or numbers, which are born as five pairs of opposites. (Consult Theon
of Smyrna for the Pythagorean doctrine of opposites.) The numbers 1
to 10 rule every creature, and the numbers, in turn, are under the
control of the Monad, or 1--the Eldest among them.
With
the trident scepter of Poseidon these kings held sway over the
inhabitants of the seven small and three great islands comprising
Atlantis. Philosophically, the ten islands symbolize the triune
powers of the Superior Deity and the seven regents who bow before His
eternal throne. If Atlantis be considered as the archetypal sphere,
then its immersion signifies the descent of rational, organized
consciousness into the illusionary, impermanent realm of irrational,
mortal ignorance. Both the sinking of Atlantis and the Biblical story
of the "fall of man" signify spiritual involution--a
prerequisite to conscious evolution.
Either
the initiated Plato used the Atlantis allegory to achieve two widely
different ends or else the accounts preserved by the Egyptian priests
were tampered with to perpetuate the secret doctrine. This does not
mean to imply that Atlantis is purely mythological, but it overcomes
the most serious obstacle to acceptance of the Atlantis theory,
namely, the fantastic accounts of its origin, size, appearance, and
date of destruction--9600 B.C. In the midst of the central island of
Atlantis was a lofty mountain which cast a shadow five thousand
stadia in extent and whose summit touched the sphere of æther.
This is the axle mountain of the world, sacred among many races and
symbolic of the human head, which rises out of the four elements of
the body. This sacred mountain, upon whose summit stood the temple of
the gods, gave rise to the stories of Olympus, Meru, and Asgard. The
City of the Golden Gates--the capital of Atlantis--is the one now
preserved among numerous religions as the City
of the Gods
or
the Holy
City.
Here is the archetype of the New Jerusalem, with its streets paved
with gold and its twelve gates shining with precious stones.
"The
history of Atlantis," writes Ignatius Donnelly, "is the key
of the Greek mythology. There can be no question that these gods of
Greece were human beings. The tendency to attach divine attributes to
great earthly rulers is one deeply implanted in human nature."
The
same author sustains his views by noting that the deities of the
Greek pantheon were nor looked upon as creators of the universe but
rather as regents set over it by its more ancient original
fabricators. The Garden of Eden from which humanity was driven by a
flaming sword is perhaps an allusion to the earthly paradise
supposedly located west of the Pillars of Hercules and destroyed by
volcanic cataclysms. The Deluge legend may be traced also to the
Atlantean inundation, during which a "world" was destroyed
by water.
Was
the religious, philosophic, and scientific knowledge possessed by the
priest crafts of antiquity secured from Atlantis, whose submergence
obliterated every vestige of its part in the drama of world progress?
Atlantean sun worship has been perpetuated in the ritualism and
ceremonialism of both Christianity and pagandom. Both the cross and
the serpent were Atlantean emblems of divine wisdom. The divine
(Atlantean) progenitors of the Mayas and Quichés of Central America
coexisted within the green and azure radiance of Gucumatz, the
"plumed" serpent. The six sky-born sages came into
manifestation as centers of light bound together or synthesized by
the seventh--and chief--of their order, the "feathered"
snake. (See the Popol
Vuh.)
The title of "winged" or "plumed" snake was
applied to Quetzalcoatl, or Kukulcan, the Central American initiate.
The center of the Atlantean Wisdom-Religion was presumably a great
pyramidal temple standing on the brow of a plateau rising in the
midst of the City of the Golden Gates. From here the Initiate-Priests
of the Sacred Feather went forth, carrying the keys of Universal
Wisdom to the uttermost parts of the earth.
The
mythologies of many nations contain accounts of gods who "came
out of the sea." Certain shamans
among
the American Indians tell of holy men dressed in birds' feathers and
wampum who rose out of the blue waters and instructed them in the
arts and crafts. Among the legends of the Chaldeans is that of
Oannes, a partly amphibious creature who came out of the sea and
taught the savage peoples along the shore to read and write, till the
soil, cultivate herbs for healing, study the stars, establish
rational forms of government, and become conversant with the sacred
Mysteries. Among the Mayas, Quetzalcoatl, the Savior-God (whom some
Christian scholars believe to have been St. Thomas), issued from the
waters and, after instructing the people in the essentials of
civilization, rode out to sea on a magic raft of serpents to escape
the wrath of the fierce god of the Fiery Mirror, Tezcatlipoca.
May
it not have been that these demigods of a fabulous age who,
Esdras-like, came out of the sea were Atlantean priests? All that
primitive man remembered of the Atlanteans was the glory of their
golden ornaments, the transcendency of their wisdom, and the sanctity
of their symbols--the cross and the serpent. That they came in ships
was soon forgotten, for untutored minds considered even boats as
supernatural. Wherever the Atlanteans proselyted they erected
pyramids and temples patterned after the great sanctuary in the City
of the Golden Gates. Such is the origin of the pyramids of Egypt,
Mexico, and Central America. The mounds in Normandy and Britain, as
well as those of the American Indians, are remnants of a similar
culture. In the midst of the Atlantean program of world colonization
and conversion, the cataclysms which sank Atlantis began. The
Initiate-Priests of the Sacred Feather who promised to come back to
their missionary settlements never returned; and after the lapse of
centuries tradition preserved only a fantastic account of gods who
came from a place where the sea now is.
H.
P. Blavatsky thus sums up the causes which precipitated the Atlantean
disaster: "Under the evil insinuations of their demon, Thevetat,
the Atlantis-race became a nation of wicked magicians.
In consequence of this, war was declared, the story of which would be
too long to narrate; its substance may be found in the disfigured
allegories of the race of Cain, the giants, and that of Noah and his
righteous family. The conflict came to an end by the submersion of
the Atlantis; which finds its imitation in the stories of the
Babylonian and Mosaic flood: The giants and magicians '* * * and all
flesh died * * * and every man.' All except Xisuthrus and Noah, who
are substantially identical with the great Father of the
Thlinkithians in the Popol
Vuh,
or the sacred book of the Guatemaleans, which also tells of his
escaping in a large boat, like the Hindu Noah--Vaiswasvata. "
(See Isis
Unveiled.)
From
the Atlanteans the world has received not only the heritage of arts
and crafts, philosophies and sciences, ethics and religions, but also
the heritage of hate, strife, and perversion. The Atlanteans
instigated the first war; and it has been said that all subsequent
wars were fought in a fruitless effort to justify the first one and
right the wrong which it caused. Before Atlantis sank, its
spiritually illumined Initiates, who realized that their land was
doomed because it had departed from the Path of Light, withdrew from
the ill-fated continent. Carrying with them the sacred and secret
doctrine, these Atlanteans
established
themselves in Egypt, where they became its first "divine"
rulers. Nearly all the great cosmologic myths forming the foundation
of the various sacred books of the world are based upon the Atlantean
Mystery rituals.
The
myth of Tammuz
and
Ishtar
is
one of the earliest examples of the dying-god allegory, probably
antedating 4000 B. C. (See Babylonia
and Assyria
by
Lewis Spence.) The imperfect condition of the tablets upon which the
legends are inscribed makes it impossible to secure more than a
fragmentary account of the Tammuz rites. Being the esoteric god of
the sun, Tammuz did not occupy a position among the first deities
venerated by the Babylonians, who for lack of deeper knowledge looked
upon him as a god of agriculture or a vegetation spirit. Originally
he was described as being one of the guardians of the gates of the
underworld. Like many other Savior-Gods, he is referred to as a
"shepherd" or "the lord of the shepherd seat."
Tammuz occupies the remarkable position of son and husband of Ishtar,
the Babylonian and Assyrian Mother-goddess. Ishtar--to whom the
planer Venus was sacred--was the most widely venerated deity of the
Babylonian and Assyrian pantheon. She was probably identical with
Ashterorh, Astarte, and Aphrodite. The story of her descent into the
underworld in search presumably for the sacred elixir which alone
could restore Tammuz to life is the key to the ritual of her
Mysteries. Tammuz, whose annual festival took place just before the
summer solstice, died in midsummer in the ancient month which bore
his name, and was mourned with elaborate ceremonies. The manner of
his death is unknown, but some of the accusations made against Ishtar
by Izdubar (Nimrod) would indicate that she, indirectly at least, had
contributed to his demise. The resurrection of Tammuz was the
occasion of great rejoicing, at which time he was hailed as a
"redeemer" of his people.
With
outspread wings, Ishtar, the daughter of Sin (the Moon), sweeps
downward to the gates of death. The house of darkness--the dwelling
of the god Irkalla--is described as "the place of no return."
It is without light; the nourishment of those who dwell therein is
dust and their food is mud. Over the bolts on the door of the house
of Irkalla is scattered dust, and the keepers of the house are
covered with feathers like birds. Ishtar demands that the keepers
open the gates, declaring that if they do not she will shatter the
doorposts and strike the hinges and raise up dead devourers of the
living. The guardians of the gates beg her to be patient while they
go to the queen of Hades from whom they secure permission to admit
Ishtar, but only in the same manner as all others came to this dreary
house. Ishtar thereupon descends through the seven gates which lead
downward into the depths of the underworld. At the first gate the
great crown is removed from her head, at the second gate the earrings
from her ears, at the third gate the necklace from her neck, at the
fourth gate the ornaments from her breast, at the fifth gate the
girdle from her waist, at the sixth gate the bracelets from her hands
and feet, and at the seventh gate the covering cloak of her body.
Ishtar remonstrates as each successive article of apparel is taken
from her, bur the guardian tells her that this is the experience of
all who enter the somber domain of death. Enraged upon beholding
Ishtar, the Mistress of Hades inflicts upon her all manner of disease
and imprisons her in the underworld.
As
Ishtar represents the spirit of fertility, her loss prevents the
ripening of the crops and the maturing of all life upon the earth.
In
this respect the story parallels the legend of Persephone. The gods,
realizing that the loss of Ishtar is disorganizing all Nature, send a
messenger to the underworld and demand her release. The Mistress of
Hades is forced to comply, and the water of life is poured over
Ishtar. Thus cured of the infirmities inflicted on her, she retraces
her way upward through the seven gates, at each of which she is
reinvested with the article of apparel which the guardians had
removed. (See The
Chaldean Account of Genesis.)
No record exists that Ishtar secured the water of life which would
have wrought the resurrection of Tammuz.
The
myth of Ishtar symbolizes the descent of the human spirit through the
seven worlds, or spheres of the sacred planets, until finally,
deprived of its spiritual adornments, it incarnates in the physical
body--Hades--where the mistress of that body heaps every form of
sorrow and misery upon the imprisoned consciousness. The waters of
life--the secret doctrine--cure the diseases of ignorance; and the
spirit, ascending again to its divine source, regains its God-given
adornments as it passes upward through the rings of the planets.
Another
Mystery ritual among the Babylonians and Assyrians was that of
Merodach and the Dragon. Merodach, the creator of the inferior
universe, slays a horrible monster and out of her body forms the
universe. Here is the probable source of the so-called Christian
allegory of St. George and the Dragon.
The
Mysteries of Adonis,
or Adoni,
were celebrated annually in many parts of Egypt, Phœnicia, and
Biblos. The name Adonis,
or Adoni,
means "Lord" and was a designation applied to the sun and
later borrowed by the Jews as the exoteric name of their God. Smyrna,
mother of Adonis, was turned into a tree by the gods and after a time
the bark burst open and the infant Savior issued forth. According to
one account, he was liberated by a wild boar which split the wood of
the maternal tree with its tusks. Adonis was born at midnight of the
24th of December, and through his unhappy death a Mystery rite was
established that wrought the salvation of his people. In the Jewish
month of Tammuz (another name for this deity) he was gored to death
by a wild boar sent by the god Ars (Mars). The Adoniasmos
was
the ceremony of lamenting the premature death of the murdered god.
In
Ezekiel viii. 14, it is written that women were weeping for Tammuz
(Adonis) at the north gate of the Lord's House in Jerusalem. Sir
James George Frazer cites Jerome thus: "He tells us that
Bethlehem, the traditionary birthplace of the Lord, was shaded by a
grove of that still older Syrian Lord, Adonis, and that where the
infant Jesus had wept, the lover of Venus was bewailed." (See
The
Golden Bough.)
The effigy of a wild boar is said to have been set over one of the
gates of Jerusalem in honor of Adonis, and his rites celebrated in
the grotto of the Nativity at Bethlehem. Adonis as the "gored"
(or "god") man is one of the keys to Sir Francis Bacon's
use of the "wild boar" in his cryptic symbolism.
Adonis
was originally an androgynous deity who represented the solar power
which in the winter was destroyed by the evil principle of cold--the
boar. After three days (months) in the tomb, Adonis rose triumphant
on the 25th day of March, amidst the acclamation of his priests and
followers, "He is risen!" Adonis was born out of a myrrh
tree. Myrrh, the symbol of death because of its connection with the
process of embalming, was one of the gifts brought by the three Magi
to the manger of Jesus.
In
the Mysteries of Adonis the neophyte passed through the symbolic
death of the god and, "raised" by the priests, entered into
the blessed state of redemption made possible by the sufferings of
Adonis. Nearly all authors believe Adonis to have been originally a
vegetation god directly connected with the growth and maturing of
flowers and fruits. In support of this viewpoint they describe the
"gardens of Adonis, " which were small baskets of earth in
which seeds were planted and nurtured for a period of eight days.
When those plants prematurely died for lack of sufficient earth, they
were considered emblematic of the murdered Adonis and were usually
cast into the sea with images of the god.
In
Phrygia there existed a remarkable school of religious philosophy
which centered around the life and untimely fate of another
Savior-God known as Atys,
or Attis,
by many considered synonymous with Adonis. This deity was born at
midnight on the 24th day of December. Of his death there are two
accounts. In one he was gored to death like Adonis; in the other he
emasculated himself under a pine tree and there died. His body was
taken to a cave by the Great Mother (Cybele), where it remained
through the ages without decaying. To the rites of Atys the modern
world is indebted for the symbolism of the Christmas tree. Atys
imparted his immortality to the tree beneath which he died, and
Cybele took the tree with her when she removed the body. Atys
remained three days in the tomb, rose upon a date corresponding with
Easter morn, and by this resurrection overcame death for all who were
initiated into his Mysteries.
"In
the Mysteries of the Phrygians, "says Julius Firmicus, "which
are called those of the MOTHER OF THE GODS, every year a PINE TREE is
cut down and in the inside of the tree the image of a YOUTH is tied
in! In the Mysteries of Isis the trunk of a PINE TREE is cut: the
middle of the trunk is nicely hollowed out; the idol of Osiris made
from those hollowed pieces is BURIED. In the Mysteries of Proserpine
a tree cut is put together into the effigy and form of the VIRGIN,
and when it has been carried within the city it is MOURNED 40 nights,
but the fortieth night it is BURNED!"
The
Mysteries of Atys included a sacramental meal during which the
neophyte ate out of a drum and drank from a cymbal. After being
baptized by the blood of a bull, the new initiate was fed entirely on
milk to symbolize that he was still a philosophical infant, having
but recently been born out of the sphere of materiality. (See
Frazer's The
Golden Bough.)
Is there a possible connection between this lacteal diet prescribed
by the Attic rite and St. Paul's allusion to the food for spiritual
babes? Sallust gives a key to the esoteric interpretation of the
Attic rituals. Cybele, the Great Mother, signifies the vivifying
powers of the universe, and Atys that aspect of the spiritual
intellect which is suspended between the divine and animal spheres.
The Mother of the gods, loving Atys, gave him a starry hat,
signifying celestial powers, but Atys (mankind), falling in love with
a nymph (symbolic of the lower animal propensities), forfeited his
divinity and lost his creative powers. It is thus evident that Atys
represents the human consciousness and that his Mysteries are
concerned with the reattainment of the starry hat. (See Sallust
on the Gods and the World.)
The
rites of Sabazius
were
very similar to those of Bacchus and it is generally believed that
the two deities are identical. Bacchus was born at Sabazius, or
Sabaoth, and these names are frequently assigned to him. The Sabazian
Mysteries were performed at night, and the ritual included the
drawing of a live snake across the breast of the candidate. Clement
of Alexandria writes: "The token of the Sabazian Mysteries to
the initiated is 'the deity gliding over the breast.'" A golden
serpent was the symbol of Sabazius because this deity represented the
annual renovation of the world by the solar power. The Jews borrowed
the name Sabaoth from these Mysteries and adopted it as one of the
appellations of their supreme God. During the time the Sabazian
Mysteries were celebrated in Rome, the cult gained many votaries and
later influenced the symbolism of Christianity.
The
Cabiric Mysteries of Samothrace were renowned among the ancients,
being next to the Eleusinian in public esteem. Herodotus declares
that the Samothracians received their doctrines, especially those
concerning Mercury, from the Pelasgians. Little is known concerning
the Cabiric rituals, for they were enshrouded in the profoundest
secrecy. Some regard the Cabiri as seven in number and refer to them
as "the Seven Spirits of fire before the throne of Saturn."
Others believe the Cabiri to be the seven sacred wanderers, later
called the planets.
While
a vast number of deities are associated with the Samothracian
Mysteries, the ritualistic drama centers around four brothers. The
first three--Aschieros, Achiochersus, and Achiochersa--attack and
murder the fourth--Cashmala (or Cadmillus). Dionysidorus, however,
identifies Aschieros with Demeter, Achiochersus with Pluto,
Achiochersa with Persephone, and Cashmala with Hermes. Alexander
Wilder notes that in the Samothracian ritual "Cadmillus is made
to include the Theban Serpent-god, Cadmus, the Thoth of Egypt, the
Hermes of the Greeks, and the Emeph or Æsculapius of the
Alexandrians and Phœnicians. " Here again is a repetition of
the story of Osiris, Bacchus, Adonis, Balder, and Hiram Abiff. The
worship of Atys and Cybele was also involved in the Samothracian
Mysteries. In the rituals of the Cabiri is to be traced a form of
pine-tree worship, for this tree, sacred to Atys, was first trimmed
into the form of a cross and then cut down in honor of the murdered
god whose body was discovered at its foot.
"If
you wish to inspect the orgies of the Corybantes, " writes
Clement, "Then know that, having killed their third brother,
they covered the head of the dead body with a purple cloth, crowned
it, and carrying it on the point of a spear, buried it under the
roots of Olympus. These mysteries are, in short, murders and
funerals. [This ante-Nicene Father in his efforts to defame the pagan
rites apparently ignores the fact that, like the Cabirian martyr,
Jesus Christ was foully betrayed, tortured, and finally murdered!]
And the priests Of these rites, who are called kings of the sacred
rites by those whose business it is to name them, give additional
strangeness to the tragic occurrence, by forbidding parsley with the
roots from being placed on the table, for they think that parsley
grew from the Corybantic blood that flowed forth; just as the women,
in celebrating the Thcsmophoria, abstain from eating the seeds of the
pomegranate, which have fallen on the ground, from the idea that
pomegranates sprang from the drops of the blood of Dionysus. Those
Corybantes also they call Cabiric; and the ceremony itself they
announce as the Cabiric mystery."
The
Mysteries of the Cabiri were divided into three degrees, the first of
which celebrated the death of Cashmala, at the hands of his three
brothers; the second, the discovery of his mutilated body, the parts
of which had been found and gathered after much labor; and the
third--accompanied by great rejoicing and happiness--his resurrection
and the consequent salvation of the world. The temple of the Cabiri
at Samothrace contained a number of curious divinities, many of them
misshapen creatures representing the elemental powers of Nature,
possibly the Bacchic Titans. Children were initiated into the
Cabirian cult with the same dignity as adults, and criminals who
reached the sanctuary were safe from pursuit. The Samothracian rites
were particularly concerned with navigation, the Dioscuri--Castor and
Pollux, or the gods of navigation--being among those propitiated by
members of that cult. The Argonautic expedition, listening to the
advice of Orpheus, stopped at the island of Samothrace for the
purpose of having its members initiated into the Cabiric rites.
Herodotus
relates that when Cambyses entered the temple of the Cabiri he was
unable to restrain his mirth at seeing before him the figure of a man
standing upright and, facing the man, the figure of a woman standing
on her head. Had Cambyses been acquainted with the principles of
divine astronomy, he would have realized that he was then in the
presence of the key to universal equilibrium. "'I ask,' says
Voltaire, 'who were these Hierophants, these sacred Freemasons, who
celebrated their Ancient Mysteries of Samothracia, and whence came
they and their gods Cabiri?'" (See Mackey's Encyclopædia
of Freemasonry.)
Clement speaks of the Mysteries of the Cabiri as "the sacred
Mystery of a brother slain by his brethren," and the "Cabiric
death" was one of the secret symbols of antiquity. Thus the
allegory of the Self murdered by the not-self is perpetuated through
the religious mysticism of all peoples. The philosophic
death
and
the philosophic
resurrection
are
the Lesser and the Greater Mysteries respectively.
A
curious aspect of the dying-god
myth
is that of the Hanged Man. The most important example of this
peculiar conception is found in the Odinic rituals where Odin hangs
himself for nine nights from the branches of the World Tree and upon
the same occasion also pierces his own side with the sacred spear. As
the result of this great sacrifice, Odin, while suspended over the
depths of Nifl-heim, discovered by meditation the runes or alphabets
by which later the records of his people were preserved. Because of
this remarkable experience, Odin is sometimes shown seated on a
gallows tree and he became the patron deity of all who died by the
noose. Esoterically, the Hanged Man is the human spirit which is
suspended from heaven by a single thread. Wisdom, not death, is the
reward for this voluntary sacrifice during which the human soul,
suspended above the world of illusion, and meditating upon its
unreality, is rewarded by the achievement of self-realization.
From
a consideration of all these ancient and secret rituals it becomes
evident that the mystery of the dying
god
was
universal among the illumined and venerated colleges of the sacred
teaching. This mystery has been perpetuated in Christianity in the
crucifixion and death of the God-man-Jesus the Christ. The secret
import of this world tragedy and the Universal Martyr must be
rediscovered if Christianity is to reach the heights attained by the
pagans in the days of their philosophic supremacy. The myth of the
dying god is the key to both universal and individual redemption and
regeneration, and those who do not comprehend the true nature of this
supreme allegory are not privileged to consider themselves either
wise or truly religious.
The
Hindu Origin of the Myth of Atlantis
The
most fundamental technique for decoding myths is to study the several
etyms of the toponyms and theonyms that figure in the story, as well
as those of the assonances which lend themselves to wordplays with
these names. These holy names usually hold the key to the esoteric
message that is encoded in the allegories. In fact, myths are often
composed from such plays on words with the sacred names in question,
usually in the sacred languages of India, Sanskrit and Dravida. This
text relies heavily on the sacred (often secret) etymologies of such
names in order to explain the more recondite aspects of the ancient
myths relating to Atlantis and to Lemuria, that were, respectively
the Great Father and the Great Mother of Mankind. The reader is
forewarned that our aim here necessarily involves the use of obscure
languages and relatively far-fetched explanations which may baffle a
few of our readers. Again, the etymologies we give here are the
esoteric ones, and may sometimes disagree with the “standard”
ones given by the Hindu gurus, very often interested in straying the
inquisitive profane and the arrogant specialist. The present work is
a sample of one of the most important scientific “tools of the
trade” that we utilized in order to crack the secret code with
which the wise ancients disguised the true story of Atlantis. The
linguistic arguments presented here are recognizedly difficult to
follow in detail, except maybe by the specialists. But they were
written with the general public in mind and are, hence, accessible to
the intelligent layperson that takes the trouble to follow the
meanders of our reasoning. As the French say, la critique est aisée,
mais l’art est difficile [“criticism is easy, but the art is
difficult”]. All true arts, and particularly the Initiatic Arts,
are difficult and rebarbative at first. But then they become a second
nature, and grow spontaneously, causing the greatest pleasure both to
the artist and to the spectator. Dedication is indeed the price of
Initiation for those who choose the Narrow Road of rationality
instead of the broad one of faith and the even wider one of
ignorance. The choice is yours, dear reader. What we offer you is the
true Bread of Life, the Elixir that is reserved to the Heroes in
Valhalla, one of the many disguises of Atlantis. The reader
disinterested in linguistic details may skip the complex etymologies,
and cling to the essential argumentation, leaving them for a second
reading, or taking them for granted. We hope that, at least, the
reader will be able to realize how the clever ancients hid their
secrets away right under the noses of all, and how even the
specialists have been misled and are hence understand how the story
of Atlantis could be so perfectly disguised under the veil of the
apparently inane allegories embodied in the heroic sagas and the
initiatic novels that came to us from deepest antiquity. The Royal
Sport. In the present work we play with words, more or less in the
way the ancient bards and the Medieval troubadours did. We hope that
the dear reader has so much fun in following these puns and wordplays
as we did in deciphering them from the ancient texts and traditions
where they were hidden and essentially lost to the world. This kind
of play was the game of the kings and the courtiers when they had
already eaten too much, and were tired of playing with their harems.
Solomon played this game with the Queen of Sheba, who came all the
way from Indonesia just to meet him for the purpose, dragged by her
curiosity to meet the sole person in the world whose wisdom was a
match for hers. Among the Celts and later, in the Irish courts, the
filid —the Irish counterparts of the bards and mythographers of the
nations of antiquity — would continue and preserve this pristine
Atlantean tradition. Samson’s enigmas to the Philistines and the
riddle posed by the Sphinx to Oedipus are also well-known instances
of the ancient art. The troubadours— the masters of the trobar clus
(“closed composing”) — succeeded them Celtic beads in the
Middle Ages. They composed their poems full of hidden wordplays,
which the smarter persons in the audience strove to decipher. But
only the initiates would catch the deeper levels of the secrets thus
conveyed in public, and preserved from one generation to the other,
throughout the millennia. Though formidably equipped for the task,
their language, Provençal, was definitely no match for the Hindu
holy tongues, Sanskrit and Dravida. In them, the ancient myths were
originally composed, in the samghams (poetic academies) of ancient
India and, prior to this, of Indonesian Atlantis itself. The present
author certainly inherited his taste, and possibly even some skill
for deciphering such riddles from his Celtic ancestors. After all we
are of Iberian blood, and Provençal was the mother tongue of the
Portuguese language. This happened because the troubadours and the
Cathars, persecuted and murdered in their native Provence by the
French incensed by the Holy Inquisition, were forced to move to the
Iberian Peninsula. There the troubadours and, later, the Knights
Templar would start the revolution that eventually resulted in the
discovery of the Americas and the reopening of the sea route to the
Indies. These traditions had been forgotten since time immemorial,
together with the traditions of Atlantis. These discoveries did not
happen by chance. These knowledge encoded in the ancient myths sung
by the troubadours, along with their Religion of Love, the religion
for the 3rd. millennium, the one we are just about to enter now. The
great god of the troubadours, the Lord of the Third Coming, is
precisely that little guy, the virgin Boy-Girl, the lovely ephebus
that shoots his/her arrows into our hearts, conquering our love
forever. Pay attention dear reader, and you too may discover it
between the lines I did not dare to open too much, for the time for
that is not ripe yet, though the codks are already starting to crow.
Myths Originated in Ancient India. We have written this essay for the
lay but intelligent reader, interested in the real meaning of the
ancient myths, rather than for the professionals. However, since most
of our etyms and explanations are rather novel, the open-minded
specialist in Comparative Mythology will certainly profit by it, for
our exegesis is strictly scientific. Given that most, if not all
myths, ultimately derive from India, it is in its sacred tongues that
we must quest the clues for their interpretation and exegesis.
However, the possibilities of these magic tongues are almost endless,
for these tongues are polyssemic. In other words, each component
radix has dozens of different meanings, and result in literally
hundreds of possible etyms for the composite names. Space does not
allow a fuller explanation than the ones given, for the connections
are virtually endless. One must, hence, exert the wisdom of the
proverbial swan, and pick out only the interesting ones, “for the
Science of Words has no end”. In the present chapter we adduce a
few of the virtually hundreds of etyms of the word Atlantis in the
holy languages of India, Sanskrit and Dravida. These two are visibly
the sacred tongues in which the legend of Atlantis was originally
composed, as these etyms unequivocally attest. So, it is in them that
we must strive to recover their long lost esoteric sense. The Fabric
Myths Are Made Of As we said above, in the present work we play with
some of these sacred radices in the manner of the ancient bards and
mythographers who composed the myths of Atlantis and Paradise. We do
this not as a display of expertise in this difficult science, but in
order to illustrate, with practical examples, the infinite resources
of the magic tongues of ancient India. The best way not to get lost
is to learn with the great masters, who often utilize puns and
wordplays in order to compose their myths. The Bible is, likewise,
full of such assonant wordplays, which are employed in explaining the
so-called “popular etymologies”. Such etyms frequently embody the
hidden message and, indeed, often form the “surrealistic” facets
of the myth itself. Very often, the so-called “popular etymologies”
include the factual wordplays in the tongues in which the myths were
originally composed, the ones which did not translate properly and
had to be adapted into the new tongue. The basic features of Atlantis
are, according to Plato, its 10 Princes; its 7 dvipas (“islands”
or “continents”); its name; its huge population; its
invincibility in combat; the circular triple ditch that circumscribes
it; its round, diametrically crossed channels; its triple citadel;
its Paradisial fertility; its intense naval commerce; its divine
affiliation; its tropical climate that allowed two or three crops a
year; its characteristic produce, etc.. But, more than anything, we
have the fact that Atlantis was a worldwide empire, which left its
paideuma imprinted in essentially all sacred traditions of humanity.
Plato and other sources add that Mt. Atlas was the Pillar of Heaven.
Mt. Atlas was sited under the Pole, exactly in the Center of the
World. The exaggerated arrogance (hubris) of the Atlanteans lead to
Doom and the sinking of their nation by the Flood, after a ferocious
war with the “Greeks” (i.e., Aryans). Other features concerning
Atlantis are its overseas location; the huge size of the country; its
continental (i.e., “insular”) nature; its overseas location; its
precipitous shores; the abundant “sea froth” that rendered its
seas impassable; the peculiar nature of its produce; the semi-divine
nature of its inhabitants; the bull sacrifice; the pristine piety of
its kings and people, the gradual decay, that ensued, the the
“innavigable Seas”, the destruction by a volcanic cataclysm and
the final sinking under the seas. In the Indian sources, the myth of
Atlantis corresponds, one way or the other, to that of the sunken
Atala (or Patala), the Primordial Paradise also called Kushathali (or
Kushasthali). Other legendary Indian cities connected with the myth
of Atlantis are Bhogavate, Kanyakubja Dvaraka, Tripura, Dashapura,
Ayodhya, Dasharna-dvipa, Jambu-dvipa, Suktimat, Kaushambi, Mathura,
Kapilavastu, Hastinapura, and a myriad others. The central idea of
the ancient myths concerning Atlantis and its sinking is, however,
the one of the terrible chasm in which it became converted. This
Chasm is Earth’s Yoni, both the engenderer and the swallower of
Atlantis, when it turned into the Fiery Mare which we will be
discussing bellow. This fearful Black Hole, Earth’s Chasm, has a
myriad names and figures in the myths of many ancient nations. In
Greece it is the Khasma Mega (“Great Abyss”) of Hesiod, as well
as the Khaos (“Fissure”) whence Creation originates. In Homer and
in the Argonautica it is the Symplegades crossed by the heroes, as
well as the dark Charybdis (“Black Hole”) where Ulysses’ men
meet their doom, and from which the Hero barely escapes, most
miraculously. In Buddhist traditions and in Persian ones it is
Barucacha, the Dark Abyss which engulfs the world. In Hindu
traditions it is the Vadava-mukha, the Fiery Mare. In the Rig Veda
the Vadava is Sule Abhvan (“Great Abyss”). In Egypt it is Nun,
the Primordial abyss whence the First Land (Tatenen) emerges at
Creation. In Sumero-Babylonian traditions it is the Apzu, the abyss
of the sweet waters of doom. Even in the Americas we have identical
traditions in, say, the Ivy-momo (“Earth’s Hole”) of the
Guarani Indians and their counterparts of the other Indian nations.
Many others such could still be quoted, for the list is virtually
endless. In some traditions, this Abyss is equated with the giant
Yoni of the Great Mother, and is even identified with her, in her
black, lethal aspect, as Kali or Durga, the Harsh One. The Real
Nature and Location of Paradise The basic feature of Indian myths
concerning Paradise is that it is usually placed near the Indian
sub-continent itself. In contrast, all other nations place Paradise
“in the Far Orient”, usually beyond the Ocean. This fact alone
would seem to indicate that India is the source of such myths, whence
they diffused everywhere at an early date, which is lost forever in
the darkest prehistory. It is only logical, hence, to start the quest
of Paradise — no matter if it is called Atlantis, Lemuria, Eden,
Dilmun, Ophir, Punt, Amenti, Phaeacia, Troy, Thebes, Ys, Aztlan,
Hyperborea, or whatever — in the Orient; in India and, more
exactly, in the two Indies, India and Indonesia. Furthermore, it is
reasonable to suppose that the Terrestrial Paradise — meaning the
original birthplace of mankind — is one, rather than many. Hence,
we should consider all Paradises as just one and the same, which we
will call Atlantis for convenience. But that myth embodies, within
itself, the sundry myths of all places which, of course, respond by a
diversity of names. The many different names result from the
translation of the original legend in the many tongues of the
different nations that preserved the tradition as their own. They
attempted to identify the original locations inside their own
territory, recreating local replicas of the original Paradise. The
name of Atlantis applies to two different places and empires, which
correspond to the two Indies or, rather, India and Indonesia.
Atlantis is, hence, dual, like our gods and the paideumas that form
the essence of our Soul and our Spirit. These two are often
personified as the Primordial Couple; as the Twins that created the
World; as the Gods and the Devils, and so on. In modern terms they
are called Atlantis and Lemuria, respectively located in the Far
Orient and the far Occident, the two extremes of the ancient world of
the Hindus. Finally, one should keep in mind that the ancients wished
the esoteric message of their myths to remain secret. Hence, they
often employed allegories and paraphrases that altered the names and
the directions given in exoteric contexts. Puns and wordplays often
get lost under translation, resulting in the senseless and in the
popular etyms that we find, f. i., in the Bible and in the Odyssey.
Atala, The Sunken Paradise Let us start with the name of Atlantis
proper, and with its many Sanskrit etyms. Atala means “steady”,
“firm”, words which are usual epithets of the Pole Star. Atlantis
was often likened to Mt. Meru, the Polar Mountain, and to Hyperborea,
the “land under the Pole Star”. Thule was another of its names,
and the word means tula (or “balance”), being another usual
designation of the Pole Star. Shambhalla (“place of assembly under
the Bear Constellation”) is another of the many nicknames of the
furtive Paradise. Ursa, the Pole Star, is really the allegory of the
patron god of the Dravidas, rather than an actual geographical site.
Atta means “high” “lofty” and, particularly, a “watchtower”.
The word recalls Mt. Atlas, the lofty stay of the world and prop of
Heaven. We will see that Dvaraka (aka = “horn”, “pillar”) and
Kushasthali (asthali = “stay “, “prop”) also express the same
idea. Attala (or attalas) also designates the same thing, and more
closely evokes the name of Atlantis and of Mt. Atlas as the Pillar of
Heaven. Atala designates the third hell of Patala. Atlantis, we
should recall, was sunk underground (or underseas), and became the
archetype of Hell or Hades. Atala is said to be a realm of gold like
the Aeaea in Homer, the golden submarine kingdom of Poseidon. Atala
literally means “bottomless”, and is a usual name of Hell, the
Bottomless Pit. Atala also means “nowhere” and is, hence,
synonymous with Utopia (Greek utopos or “nowhere”), the esoteric
Paradise of the Alchemists and the Utopians. Atala is, yet, a name of
Shiva Atalas, whom, we shall see, is the deity who symbolizes Mt.
Atlas as the Cosmic Phallus. It is interesting to note the reversal
of Attatta (very high) turning into Atala (“bottomless pit”)
after its fall. Finally, atala (or atata) denotes “having no
shore”, “precipitous”, an idea embodied in Plato’s
description of Atlantis. This etym also recalls Qaf, the legendary
Paradise of the Arabs, which can be reached “neither by sea nor by
land”. The concept of “having no land” implies nomads or rovers
like the Jews and the Gypsies, and recollects the fact that the
Atlanteans became roving nomads after their Paradise was destroyed
with the long initial a (vaî) that means the negation of negation,
Âtala mean “the Land of the Palm Tree”. This is the primordial
Phoenicia (phoinix = palm tree”), the original home of the
Phoenician, likewise sunken under the sea. The Palm Tree was in their
traditions, the same as the Tree of Life. The Lofty Towers of
Atlantis The word atala passed into the Arabic tongue as at-talaia, a
word that denotes a watchtower or a watcher. In this “lofty tower”,
we recognize the Tower of Babel, which scraped the skies, and which
was felled like Lucifer and Adam and other such proud heroes who
dared defy the laws of Nature. This lofty tower is also the Tower of
Tarot (Arcane no 16) which is also the House-God (Maison Dieuor
Bethel). The Tower symbolizes the Temple of Jerusalem, and other such
temples and holy mountains and is also figured by the ziggurats,
stupas, pagodas, pyramids, temples, cathedrals, obelisks, asherahs,
spires, towers, campaniles, etc.. The word Atala recalls Athaliah
(attalyah = “Jahveh is exalted”), the Biblical heroine of II
Kings 11:1 ff.. Athaliah was the evil woman who killed all the royal
descendants, so that she could reign alone. But one escaped (Joash)
and was kept hidden within the watchtower of the Temple, whence he
came out later to avenge the murders of the evil queen. The name of
Athaliah seems to play on that of Atlas or Atalas (Shiva), as well as
on that of a lofty pillar (atala). Even the Hebrew etym of her name
also suggests the same idea. The story is confused, but tells of
watchtowers, of the destruction of Baal’s temple and of the House
of God (II Chr. 24:7), as well as of Athaliah herself (II Ki. 11:20;
II Chr. 23:21). Shortly after Alhaliah’s death, the Temple was
rebuilt (II Chr. 24:2 ff.). Clearly, the story of Athaliah is related
to that of the Fall of Atlantis, and shows that she represents Baal’s
Temple, rebuilt as that of Jahveh, or, yet the second Holy Mountain
that is the dual of that of Jahveh. The myth of Athaliah and of
Joash, her defeater — who came out of the Pillar of the Temple in
order to kill her — resembles the one of Narasimha, the Man-Lion of
the Hindus, who did the same thing to the evil Hiranya-kashipu. Joash
is Hebrew for “Pillar of Jahveh”. This name is the same as that
of Jachin, one of the two pillars of the Temple of Solomon. In other
words, Joash is the “twin” of Athaliah, who is the alias of
Atlas, the other “Pillar of the World”. It is throw esoteric
myths such as this one, that the secret story of the world is told in
the Bible, just as it is in the corresponding Hindu myths or those of
other nations. The Many Aliases of Ishtar and Venus Atarah (“crown”),
the mother of Onan (I Chr.2:26), seems to provide another connection
with the myth of Atlantis. Atarah may personify Atlantis as the
Temple of God. Ataroth is the name of a city, and means “crowns”.
The name evokes that of Astaroth or Ishtar, the Babylonian name of
Venus. In I Chr. 2:54, Ataroth Beth Joab (“The Crowns of the House
of Joab”) is connected to the name of Bethlehem and his brother.
Again, the two seem to represent the two “Pillars of God”, Jachin
and Boaz. Ataroth evokes the crown seen falling from the top of the
Tower of Arcane no.16 of the Tarot deck. It also recollects the Pole
Star called Tara (“eye-star”) in India, and identified to Ishtar.
In other words, we actually have two Towers or Temples, one
corresponding to Jachin (“Jah erected”) and the other to Boaz
(“strong serpent”). They also correspond to the twin Pillars of
Hercules and Atlas; to the twin obelisks of Egyptian temples, the
twin-peaked Mt. Meru, etc.. The two, as we shall see further below,
also represent the Male and the Female deities, and their respective
Pole Stars (Ursa and Lyra). More exactly, the Twin Pillars correspond
to the Sumeru and the Kumeru of the Hindus, the two Polar Mountains
where their two Paradises are located. These they placed, one in the
Extreme Occident, and the other in the Extreme Orient. The twin peaks
of Mt. Meru were often called the “Mountain of the Orient” and
the “Mountain of the Occident”, both in India and in Egypt. They
are, as we just said, the ones we identify with Atlantis and Lemuria.
These two Paradises, the Greeks called Hesperia and Island of the
Blest, with they placed in the two extremes of the world. In a
confused way they also identified their two Paradises with the twin
Pillars of Hercules, or of Atlas and Hercules, the counterparts of
the Primordial Twins. Atlantis as the Land Ancestral Atta denotes
“mother” in both Sanskrit and Dravida. The word is borrowed from
the Dravidian attan (“father”, “mother”, “grandfather”).
Atlantis would, accordingly, be Atta-land (“ancestral land”) or
Ata-land-is (“ancestral island”). Athar denotes “fire”, and
Athar-land or Athar-land-is is then the “Island of Fire”, which
is the Paradise of the Egyptians, the same one they also called Punt
or Amenti. Atharvan (“priest of the Fire”) is the instituter of
the sacrifices of Soma to Fire (Agni). Atharvan was the first
Prajapati and the eldest son of Brahma. He is also called Angiras or
Dadhyanch, the original sacrificed one, and an alias of Purusha.
Atharvan denotes the same as Atharanti (“being near fire”), an
assonance of Atlantis, the land consumed by Fire (Agni) and Water
(Soma), precisely the essence of Atharvan’s name. Atharvana is a
name of the god Shiva, as the Primordial Sacrifice. Atri or Atra
(“food”, “devourer”) is one of the Seven Rishis (Ursa Minor),
the Polar Constellation that hovers over Mt. Meru in Hyperborea,
marking the site of Atlantis. Atra or Atri is also called Atras, and
is said to be one of the Ten Prajapatis of Lyra, the other Pole Star.
He is said to be either a Rakshasa (devil) who eats human flesh, or a
sage who composed several hymns of the Rig Veda. The Sons of Atri
(called Atrayas) are a class of Pitris or Prajapatis (Progenitors)
who correspond to the seven stars of Ursa Minor, or the ten of Lyra.
These two are the Polar Constellations which patronize, respectively,
the Chamites and the Semites. Atras is also the same as Atlas, as is
evidenced by the closeness of both their names and their myths.
Minerva as the Great Black Mother Since we are talking of the Great
Mother, we cannot fail to mention Minerva, the Great Mother of both
the Greeks and the Romans. The Greeks called Minerva by the name of
Pallas Athena, the patroness of Athens, the famous city having taken
its name from her after the famous dispute with Poseidon. The etyms
of the names of both Athena and Minerva are unknown, a fact that
shows that the goddess is an imported deity, just as Herodotus and
several other ancient authorities attest. As we shall see, both these
names are unequivocally of Hindu origin. Indeed, Herodotus admits
that Athena was a Libyan goddess, the Libyans being directly
identified with the Pious Ethiopians of Indonesian Atlantis. In Rome,
Minerva was the Great Mother of the Etruscans, who called her Menerva
or Minerva. Other authorities claim that Minerva-Athena was of
Pelasgian origin. These three nations are deeply connected with the
mysterious Sea Peoples, who originally came out of nowhere into the
Mediterranean region. Though often identified with the Black Virgin
Mother — the same goddess the Hindus call Kali (“Black One”) —
Minerva was indeed blonde and blue-eyed, as represented in her vast
iconography. Moreover, one of her most frequent epithets was
Glauko-opis (“Blue-eyed”). This and several other facts show
Minerva’s connection with Indonesia, the land of the blue-eyed
Ethiopians who originated in Lemurian Atlantis, as we just said.
These tall, blonde, blue-eyed Atlanteans were called Nagas in Hindu
legends, a name that means something like “Serpent” or “Dragon”.
In Dravida they are called Minas, meaning both “White” as well as
“Fish”. This “fish-people” is the same as the “dragon-people”
who are the mythical Civilizing Heroes of most if not all ancient
nations. Minerva and the Foundation of Atlantis Plato connects
Athena-Minerva with the founding of Atlantis, and mentions the
goddess in two episodes of his dialogue on the sunken continent. In
one, the philosopher tells of her dispute with Poseidon for the
patroning of the city Athens. Poseidon offered the horse, and Athena
the olive tree. The later was considered more useful by the Greeks,
who chose the goddess for their patroness. Poseidon was given the
patroning of Atlantis, which became the traditional enemy of Athens.
Olives and, more exactly, olive oil, have their use in ritual
anointing, a rite whose purpose and origin are strictly Atlantean,
but which cannot be explaned here. In another passage, the great
philosopher tells of the Panatheneas, the great festival of the
goddess, where the victory of the gods over the Titans was
commemorated. As the scholiasts of Plato explain, this war was the
Great war of the Athenians against the Atlanteans, who had invaded
the region. Herodotus tells of a very similar tradition among the
Libyans and the Egyptians, where Minerva was commemorated by a ritual
battle of the people divided into two moieties for the purpose.
Again, Both myths have directly to do with the legend of Atlantis.
And, as they far precede the times of Plato, we are led to conclude
that the Athenian philosopher could not possibly be inventing the
story of Atlantis. Plato also (esoterically) connects Athena-Minerva
with the founding of Atlantis when he relates the fact that Poseidon
engendered Atlas and the other Atlantean princes with Cleito,
daughter (or alias) of Leucippe. In Greek, Leucippe means “the
White Mare” (Leuka-hippe). And the myth indeed refers to the legend
of Poseidon raping the Great Mother, Demeter under the guise of a
horse. This myth is indeed a verbatim copy of an important Hindu
Cosmogonic myth, that of Sharanyu and Vishvasvat. Sharanyu is the
Great Mother of Hindu traditions, and Vishvasvat is the Sun, the
alias of Varuna. Varuna fell down from the Skies and later became a
marine deity (Apam Napat), the true archetype of Poseidon or Neptune,
the founder of Atlantis. In the Hindu myth — which dates from the
Rig Veda and is hence older than the Greek nation itself and which
closely parallels the Greek one just mentioned — the goddess takes
the shape of a mare in order to escape the incessant lust of her
insatiable husband. But that was of no avail. The god takes the shape
of a stallion and rapes the mare goddess. Later, the Ashvin Twins —
the archetypes of the “horse-like” twins of Gemini, Castor and
Pollux — were born to Sharanyu, who thus became the Great Mother.
The name of the Ashvins means “horse-like”, and derives from the
Sanskrit ashva, meaning “horse”. The Ashvin Twins are the
archetypes of the similar personages we encounter the world over.
They are indeed the aliases of Atlas and Gadeiros (Hercules), the
Twins to whom Plato attributes the founding of Atlantis, itself
“twin”. As we said above, Cleito-Leucippe, the Great Mother of
Atlantis according to Plato is indeed the White Mare, the alias of
Minerva, of Demeter and of Sharanyu, among many other goddesses
figured as mares. The association is with the Vadava-mukha (“the
Submarine Mare”), the terrible chasm that swallowed Atlantis, as we
mentioned further above. But that is another story [LINK] which we
tell elsewhere. What interests us here is the connection of the White
Mare — alias White Goddess or Eve (Ava), whose name also means
“mare” (ava) in Sanskrit — with Minerva-Athena, the Great
Mother of the Greeks and the Romans. Minerva and the Foundering of
Atlantis Minerva-Athena was often connected with horses, particularly
in a mystic way. First of all, she was called Hippia (“Horse-woman”,
in Greek) or Equestris (idem, in Latin), names which embody a pun
with her equine nature. The goddess is also connected with Poseidon
Hippios, her male counterpart, said to be her father or,
alternatively, her lover. This idea is also copied from the Hindu
myth of Sharanyu, where Vishvasvat, the Sun, is both the father and
domesticalm of the lover of Sharanyu. These traditions apparently
disclose the fact that the horse — whose the origin is unknown —
indeed originated in Atlantis, precisely as Plato affirms. In a Greek
myth, Athena disputes with Poseidon, and beats him at his own game of
horse taming. As such, she is identical to Hippodamia (“Tamer of
Horses”) and to Hippolyta (“Releaser of Horses”), the queen of
the Amazons. Minerva-Athena was also called Hippoletis of obscure
meaning, but perhaps signifying “the Hidden Mare”. The suffix
letis apparently relates to the name of Leto (the mother of the twins
Apollo and Diana), her alter ego, and to Lethes, the river of Hades
whose waters imparted oblivion. These words relate to the idea of
“hide”, and hence, to Hades and to Latium, again mystic names of
Atlantis-Eden. These names relate to bases such as the Greek
lanthanein and the Latin latere, both of which mean “to hide away”.
The esoteric allusion is to the Vadava, the Source of the Mare,
hidden away under the seas, in the site of Paradise. These names of
Athena also connect to Hippocrene (“The Fountain of the Horse”),
said to have been created by Pegasus, at the spot where his feet
touched the ground. Hippocrene is the “Source of Doom”, the very
one linked to the Flood and the doom of Atlantis. Again, the myth of
Pegasus and that of Hippocrene is Hindu in origin, and so are their
connection with the Flood and with Kadesh Barnea and Gades (another
name of Atlantis). In fact, Hippocrene “the Source of the Horse__”
is the Vadava-mukha itself, the actual Source of Doom that marks the
spot where Atlantis sunk away under the seas. Triton and Athena
Tritogeneia As a further connection with the idea of the foundering
of Atlantis and the Vadava, we have the epithets of Athena as
Tritonia or Tritogeneia. These are again somewhat obscure, but can be
explained in Hindu languages. Trito or Tritois indeed the Vedic
water-god Trita Aptya. Trita means “triple one” in Sanskrit, and
evokes the idea of Atlantis as a triple city, as described by Plato.
Aptya means “Born in the Waters”, the same as Apam Napat (or
Napat-am = Neptunus). In other words, Trita is Varuna, the Hindu
counterpart and archetype of Poseidon-Neptune, the founder/founderer
of Atlantis. The Tritonic (or Tritonides) Marshes figure centrally in
many Greek myths having to do with the sinking of Atlantis. They
correspond to the Vadava, being the spot where the mariners get lost
and their ships sink, carried under by the whirling waters like the
ones of Charybdis, the giant maelstrom faced by Ulysses and his men.
The Argonauts too get stranded there, but are miraculously saved by
the direct intervention of Triton himself. This theme is, once again,
taken verbatim from Hindu myths, where Varuna is the god who rescues
his supplicants in identical straits. Even the Psalms, of the Bible
allude to an identical event. And the Buddhists too tell, in one of
the Jatakas, of a similar succor of Buddha to the navigants who beg
for his help. Again, the list of related myths is virtually endless.
It is interesting to note the idea that the god who creates is also
the one who destroys. This is an intriguing allegory of volcanic Mt.
Atlas, who was the cause of the foundation of Atlantis at its site —
for volcanoes bring abundance with their fertilizing ashes,
attracting humans like flies to honey. But when they explode they
also kill everybody, engendering myths such as that of the Great
Mother who goes mad and devours her own children. The same is true of
heroes such as Hercules, who kills his sons, or of gods such as
Kronos who devours his. The motif of the all-sucking Chasm of Death
is also related to the theme of the Sea Sargassos where ships are
detained by these vines and dragged to the bottom, as if by the hand
of Satan himself. Once more, this pristine Sea of Sargassos, — that
Columbus and his men mistook for the one of the Caribbean, and which
populated the ancient legends — lay in the region of Indonesia,
where the peril is indeed very real. The Hindu Origin of Athena and
Minerva As we said above, Herodotus and several other Greek
authorities affirmed that Pallas Athena was not originally Greek.
This claim is confirmed by the fact that her name is not Greek, and
has no known etyms in that language. For that matter, the same is
true of the name of Minerva, which has no etym in Latin. In fact, it
is known that Minerva was originally an Etruscan goddess. Herodotus
affirms that Athena is indeed a Lybian goddess, and other ancient
authorities affirm tat she is originally Pelasgian. The fact that the
eponymous goddess of the Athenians is foreign is very strange, and
shows the foreign origin of the myth of Atlantis, with which she is
intimately connected. It is not exceedingly difficult to show that
Athena is indeed of Hindu origin. If so, the just mentioned
affirmations are true, and the Pelasgians, the Libyans and the
Etruscans themselves are originally Indian. More exactly, the
blue-eyed goddess (Glauco-opis) is an Indonesian Naga, or rather, a
Nagini, a female Naga. We saw above the intimate connection of
Minerva-Athena with serpents and with serpent-haired Medusa, as well
as with the terrifying Vadava-mukha which the monster personifies.
All these being Indonesian features, the only reasonable conclusion
is that the goddess is herself of Indonesian origin. In fact, the
blond Indonesians in question are the Seres or Hyperboreans, in fact
living in the paradisial island of Taprobane and being blond and
blue-eyed, as described by Pliny and Solinus and, indeed, by other
ancient authorities as well. Her name of Pallas ultimately derives
from the Dravida *palla, meaning “girl”, “virgin”. As such,
Minerva often appeared as a little girl, for instance to Ulysses,
when he reaches Phaeacia, the Realm of the Dead (Atlantis). Pallas
Athena is hence the same as Kanya or Uma, the “Virgin” of Hindu
myths that is indeed the same as the Great Virgin Mother of a myriad
names. In Greece Kanya appears as Kore (“Girl”) or Persephone,
who becomes the Queen of Hell when dragged under by her rapist,
Hades. Kanya is also called Kanyakubja, one of the many Hindu
epithets of sunken Atlantis. The name of Minerva is likewise Dravida
is easy to show. As we said above, the word has no etym in Latin,
having been introduced by the mysterious Etruscans, who came in from
sunken troy (read Atlantis) led by Aeneas. In fact, her name in
Dravida derives from Min-arva, meaning “White Mare”. This etym,
which we already explained above in detail, is precisely the one of
Leucippe (Leuk-hippe), the founding mother of Atlantis. Athena is,
again, derived from the Dravida. Her name derives from Atti-na
meaning “Mother of the Nagas”, that is, of the Dragon races of
Atlantis. Other Dravidian etyms are likewise instructive: Att-enna =
“Mother of Corn” and Att-ina = “United Mother”. The radix ina
here means “united”, “joined”, “twin”, “lover”. As
such she represents the same as Yami, (“Twin”, in Sanskrit), the
twin sister and lover of Yama. The Virgin Mother and Her Wondrous Son
Yami is also the Virgin Mother of many mythologies, who ends up as
the lover of her own son or her father, as we saw in the myth of
Sharanyu and Vishvasvat told above. The “Corn Mother” is another
monumental figure. She is the same as Ceres, the mother of cereals of
the Greeks, as Anna Perenna, the Roman counterpart of the Hindu Anna
Purna; as Hainuwele in Melanesia, as Mani in South America, and so
on. Everywhere, the Mother of Cereals — called Sanina Saris (Saris
= Ceres) in Indonesia — represents Lemurian Atlantis, the
paradisial land where agriculture was invented in the dawn of times.
In fact, as Max Mueller has shown, Athena is indeed the same as
Ahana, the Vedic goddess of dawn. Dawn is in fact Ushas, called Eos
(or Hestia) in Greece and Aurora (or Vesta) in Rome. She is
associated with fire, and is said to have invented suttee by throwing
herself into the fiery pyre of her dead husband. This feat
allegorizes the sinking of Atlantis into the Fiery Pit. In fact,
among the many possible etyms of Pallas in Dravida, we have pala
meaning the same as the above, that is “shiny”, “pure”,
“dawn”, “milk white” and “golden”, as the metal purified
by fire. So, Pallas is indeed Dawn under disguises such as the ones
just mentioned. In other words, all those etyms and allegories that
do not make any sense whatsoever in Greece, find their natural
explanation in the myths and symbols and holy tongues of ancient
India. What else but their origin there can explain these otherwise
mysterious coincidences? Let us take a further instance of such
“coincidences”: the association of Minerva-Athena with the owl.
We believe that this strange connection has never been satisfactorily
explained before. Space does not allow a fuller explanation. But we
can say that the name of Ushas (Dawn) and Vesta (Ush = Vesh = “Dawn”,
“Fiery One”) is indeed an allusion to her volcanic nature (the
Vadava-mukha). Moreover, the name also refers directly to Indonesia,
being called Eoos (“Dawn”, “Fiery”) in Greece and Rome
because of its associatiation with volcanoes and with the dawn, being
the point where the new day started by convention in antiquity
(International Date Line). Ushas is also called Ulka in India, both
words meaning the same in Sanskrit, and indeed deriving from the same
radix. Ulka, in turn, derives from the Dravida ul-kan meaning “inner
fire” and, more exactly “hearth”, “fireplace” and, by
extension, “volcano”. In fact, the Latin vulcanus and the English
“volcano” derive from the Dravida ul-kan, pronounced as “vulcan”.
Indonesia is indeed the “Land of Volcanoes”, as there are
hundreds of active volcanoes there. But in Sanskrit, the owl is said
ulukka, which closely assonates with ulka. So, the owl associated
with the Great Mother is just a way of saying that Minerva indeed
stands for volcanoes or, yet, that her true name is Ulka or Ulukka,
both Owl and Volcano in the holy tongues of India, where the myth was
visibly contrived. Fig. 1 – Pallas Athena, the Black Virgin Mother
(P. Decharme, Mythol. pg. 97) [Legend of Figure] In Fig. 1 above we
have Pallas Athena as portrayed in one of her many statues, as a war
goddess. She is clad with an armor (the aegis), and wields her lance
and shield (both missing the figure). In her cask we have Pegasus,
the Flying Horse and, at her elbow, the Gorgon’s head. She wears a
loose peplos (wide dress) decorated with snakes. The Gorgon (Medusa)
represents the Vadava-mukha, that is, the goddess in her most
terrifying aspect. The snakes embody her relationship with the Nagas.
And Pegasus represents her relationship with horses (Hippias) and,
again, with the Vadava, the terrible Fiery Mare. The peplos, with its
plaits undulating with the wind, represents the crust of the earth
shaking under the effect of the formidable earthquake that destroyed
Atlantis. More exactly, the [white, undulating] peplos of Minerva
represents the “veil” of volcanic cinders that covered the earth
and the seas of the region of Atlantis-Eden at the occasion of its
destruction. And the enormous tuft that issues from the cask of
Minerva represents the “atomic mushroom” of the giant volcanic
explosion. The Origin of Communion The radix at or ad (“to eat”)
denotes “communion” (adman), “commensal” (admasad), and a
sacrificial bread (adga or purodasha). This piece of bread is offered
as an oblation, along with soma, in a sacrament which is the clear
counterpart of the Christian Communion. The radix ad also gave words
such as adri, the stone or grail used in Soma preparation. Adri is
also a name of the vajra. This etym is extremely important, as it
links Atlantis to the fall of the vajra and to the Eucharist or Host.
The Occult meaning is precisely the same in both cases: it represents
the Sacrifice of the Primordial Christ (Adam or Purusha), which
aliases the one of Atlantis and of Lemuria. Indeed, experts have
recognized that the Sacrifice of the Mass was cribbed from the
Persian Haoma, in lum copied from that of the Vedic Sacrifice of
Soma. Here we see how the mashing of soma with the stone that is the
alias of the vajra and the Grail (a ceraunic stone) corresponds to
the Fall of Adam or that of Lucifer’s crown (atarah). The word
“crown” is really a well known euphemism for the crown of the
phallus, both being called mani (“jewel”) in Sanskrit. This
“crown” fell upon Atlantis, and there formed the Holy Mountain,
Mt. Atlas. In a previous avatara (“star fall”), it fell upon
Lemuria, destroying it and creating the other Holy Mountain, the dual
of the former one. Mount Atlas, the Holy Mountain of Atlantis, was
also called the “Crowning Mountain”. This is the same as Mt.
Calvary, legendarily formed in the same way as Mt. Atlas, Mt. Meru
and many other Holy Mountains of Paradise, in diverse mythologies.
The Fall of Lucifer Likewise, the name of Atlantis can also be
derived from Ad-thali or At-thali, “the tower (or elevation or
mountain) consumed (at) by fire (thali)”. The name of Atlantis, the
lofty tower which was felled by the vajra (as shown in Arcane no16 of
Tarot) gave rise to the legend of the Fall of Adam and that of
Lucifer “falling like lightning from the skies”. This mishap is
also ascribed to Jesus and to Krishna, his Hindu archetype. And the
fallen Adam became “the vilest of men”, like the humbled Trita,
held in the Bottomless Pit, and later saved by Varuna. Indeed, the
Sanskrit Adhama (“lowest of men”, “infimus”) gives exactly
that etym for the name Adam. And the assonance with Atlantis (adhara)
denotes precisely the same, with a correlation with Hades, the
Bottomless Pit, and the Yoni of the Earth. The suffix antis can also
imply the idea of “lowest”, “vilest”, as in the Sanskrit
antya. We also have the form Adharanti implying an idea of “lowest
hell” or “vilest hell”, the same as Atala, the Bottomless Pit.
Atyanti means “having gone too far” or “having transgressed all
limits”. This concept is often connected with Atlantis, which fell
because it had sinned with hubris (or “excess”) for having
constructed Mt. Atlas too tall, exceeding allowed limits. This story
closely evokes the one of the Tower of Babel. Adam, Lucifer,
Prometheus and many other pristine civilizing Heroes are also blamed
with the same fault, that of excessive arrogance. The idea is that
Atlantis fulfilled its era and was hence doomed to destruction, as
are all things both evil and good. In real terms, the sin of hubris
of Atlantis seems to have been that of excessive population,
excessive pollution, excessive consumerism and excessive pride in
treating the lesser brothers. These are also the sins of our own era,
as is becoming evident. Are we to follow the fate of Atlantis and
meet our end soon? Tyre and the Anointed Cherub Antar denotes
“supreme”, “inner”, “interior”, “central”, “heart”,
“mind”, “soul”, etc.. So, Atlantis can also be interpreted as
Ati-antar “the Supreme Soul” or “Inner Mind”. Such etyms are
frequent epithets of Purusha and his many counterparts.
Dialectically, they recall the King of Tyre of Isaiah (ch. 23-25) and
Ezekiel (ch. 26-28); the Anointed Cherub who tried to place his
throne above that of God himself (the Supreme Spirit). Indeed, the
prophecy of Ezekiel and Isaiah concerning Tyre is an allegory of the
Fall of Atlantis/Eden. “Tyre” is there described as an island
beyond the sea, which was sunk by its waters after being invaded by
the ruthless “King of the North”. It is there called “the
crowning city” (Atarah); an “island” (like Atlantis); “a
merchant city full of ships” (the ships of Tarshish) which was laid
waste, etc.. Tyre is there further described as a harlot; a haughty
nation, burnt down and turned into a pit; a dealer in ivory and
ebony, spices, gemstones and myrrh (exclusive produce from India);
the Holy Mountain of God, turned to ashes and then flooded by the
sea; etc.. Clearly, the “Sidon” or “Tyre” in question here is
the Sindhu or Sind, the Upper Indus Valley, and not it replica in the
Near Orient. The name of Tyre really means “plug” or “lid”,
etyms which parallel those of the Malay Archipelago, called “the
lid (or fence) of the sea”, which it effectively blocks, separating
the Pacific from the India Ocean. The suffix antis of Atlantis, may
well derive from the Sanskrit anti denoting “pyre” or
“fireplace”. So, Atlantis can well be the Attar-anti or
Atta-anti, i.e., “the pyre of the burnt mother”. The idea evokes
the myth of Semele (“the Earth Mother”), the mother of Dionysos,
charred and killed by a shiny theophany of Zeus. The Hindu archetype
of Atlantis was called, in India, Kushathali or Kushasthali, an etym
which we will study later in this text. A variant of this name is
Attasthali or Attatthali, all of which are assonances of Atlantis.
Attasthali means “lofty tower” (or mountain or stake). Attasthali
was also called Dhumadi (“smoke covered”). The idea is that
Atlantis (Attasthali) became Hades, covered with mist or smoke and
turned invisible (the very etym of Patala and Hades). Alternatively —
and Sanskrit etyms are never purely coincidental — the idea may be
that Dhumadi (or Atlantis) is the Sacrificed One, the Fiery Oblation
“that fell as the vajra (dhuma) from above (adhi)”. Dhuma is also
the name of Agni (Dhuma-ketu = “smoke-bannered”) and of Ketu (who
fell as the 0vajra from the skies). We see how the burning of Dhumadi
(or Kushasthali) affords the true reason for the myth of Semele, the
mother of Dionysos burnt down by Zeus’ splendor. And Dionysos, we
repeat, was recognizedly a Hindu god, a fact that again shows the
Indian origin of the myth of Atlantis. This etymology is the one
behind the universal myth of the Great Mother that gave birth to the
Sun, but was terribly bunt by thereat. The Burning Down of Paradise
The suffix tis or dis of Atlantis may also be derived from the
Sanskrit. It can be appended to all the above etyms to improve the
assonance with Atlantis. The suffix tis of Atlantis is akin to the
dis (or desha) of Paradise (Paradesha, in Sanskrit), and denotes
“country”, “place”, “region”. Dis denotes “to produce”,
“exhibit, “show”, “teach”, and implies the idea that
Atlantis was charred as an example intended to show all nations of
the power of God. More exactly, this suffix apparently derives from
the Dravida tix meaning more or less the same as the Sanskrit desha
and, more exactly as dvipa, that is, a sinky island. Disha means
“sky-staff” or “Celestial phallus” (Diso-danda). The word
names a particular constellation which is indeed Ursa Minor, the
Celestial Linga. Di denotes “shiny”, “bright”, and dis is a
form of dris denoting “visible”. Hence, Atlantis’ Mt. Atlas is
an alias of the giant Jambu Tree of India (Jambu-dvipa), tall and
shiny like a flagstaff; “an ensign visible to all nations”. Dhi
means “to anoint”, and shows that Atlantis was the Christos or
Messiah; the “Anointed One” who was incended and became Agni or
Kama. These are the fiery ones who atoned for the salvation of all
men. Anda denotes an “egg” or “testicle” and evokes the
Brahmanda or Hiranya Garbha, the Egg of Brahma from which the world
was created. The radix ci — pronounced “tchee” — means
“shiny”, “visible”, and designates a lofty pillar or mountain
or funereal pyre visible from afar. More exactly, it refers to a
volcano, whose smoky plume serves as a sort of lighthouse to guide
navigants on their way, like the one who guided the Hebrews in their
way out of Sinai. In another context it means “to avenge”, being
related to the Greek tisis, meaning the same. This base forms the
name of Tisiphone, (“the avenger of murder”). Tisiphone is the
same as Persephone, whose name means the same. More exactly, she is
the Fury who punished murderers in Hell. Tisiphone is connected to
many legends related to the myth of Atlantis. The Egg of Brahma The
story of the Egg of Brahma — really two eggs, like those of Kronos,
in Orphic mythology — esoterically refers to the Primordial
Castration of the Androgyne, a recurrent mythical motif. And this
strange myth is just an allegory of the destruction of Atlantis/Eden,
an event which scattered its population and forced it out, resulting
in the civilizing of the other nations. The two eggs or embryos are
the two Paradises where humanity was primordially hatched from the
apish ancestors that originated in Africa. Sometimes the twin eggs
are represented as the twin halves of the Yine Yang, one black, the
other white. Atara means “crossing over a river” or “ferrying
across”. These are precisely the etyms of words such as Habiru
(Hebrews), Perates (a Gnostic sect), Pharaoh (the “ferrier” king
of Egypt), Charon (the barger of Hell), etc.. St. Christopher
(Christo-phoros or “Ferrier of Christ”) was a legendary giant,
like Atlas, who ferried Christ (and the World) on his back across a
river. The idea here is that Atlas was a Saviour or Tirthankara
(“ferrier”) or Manu (manoch = “ferrier”). Atati means
something like “I am”, one of the many names of God. It also
relates to the base Adi-adi (“the very first”). Both etyms refer
to Atlas or Atlantis as the first, godlike nation. Attha designates
“speech” and, hence, Attha alam means “the able speaker” or,
really, the Logos that is the same as Brihaspati, the Lord of Prayer.
The Gates of Paradise Ata denotes the frame of a door. Hence ata-las
(“shiny door”) means the same as Dvaraka (“shiny door”), the
legendary capital of Krishna. Dvaraka is the true archetype of
Atlantis, as we shall see further below. More than pure legend, the
capital of Krishna indeed existed, and its remains were recently
found by Indian archaeologists in the Indus Valley, near the site of
the famous prehistoric civilization of Harappa and Mohenjo-daro. We
can also interpret the name of Atlantis in Sanskrit as ata lasa
(“door of incense”), the same etym as Dvaraka (“the gate of
tears (of incense)”). The legends of Paradise frequently equated
its name to “gates” and “portals”, in an esoteric reference
to Dvaraka and to its Indonesian dual, the city of Lanka. These two
are known in India as Koti or Ghatt, words that mean the same as
“gates”, “portals”, “strait”, “passage”. Here we see
the reason for the connection, as the two Hindu Paradises were truly
guarded by the “gates” or straits that allowed the entrance to
the other sides of the world and which were associated with guardians
such as Hercules and Atlas, as well as the Cherubs of Eden,
Tisiphone, the guardian of Hades, Scylla and Charybdis, and many
other of their terrifying aliases. Atras means “to overcome”,
meaning that the Titan was finally forgiven, after, he underwent the
Flood (an alias of Baptism). In another context it implies the idea
of “overcoming a difficult passage” which we just discussed.
America as the Land Antipodal Anti means the same as the prefix anti
(“before”, “facing”) or as anti (“counter”, “against”).
It gave rise to names such as Antilia (“the facing island” or
“the opposite continent”), the name given to the Antilles of
America by Columbus, who thought it was India. In fact, the name of
Antilia, “the Isle (or Continent) Opposite” was the same as the
Antichthon, “the land antipodal”, whose name means precisely the
same as that of Antilia. This antipodal land of (Antichthon) figured,
from remotest antiquity, in maps such as that of Hecateus of Miletus
and others known to Plato and Herodotus. The origin of the concept
can, as usual, be traced to the ancient geographical treatises of the
Hindus, which indeed derive from Atlantean traditions. The antipodal
continent was postulated as a necessity for the equilibration of the
earth’s crust, which would shift without this counter balancing. In
fact, many modern scientists postulate such disequilibrum as the
cause of Pole Shift. The discussion of the reality of antipodals, of
earth’s sphericity and even the Law of Gravitation figure in very
modern terms in the ancient Hindu geographico-astronomical treatises
just mentioned, and which date from remotest antiquity. Among such
treatises we may quote Varamihira’s Panchasiddhantika and
Brahmagupta’s Brahmasiddhanta. Though their actual dates are
relatively recent (500 AD or later), the originals on which these
authors based themselves actually date from Atlantean times. The
Hindu doctrines were known to the Greek philosophers, who
traditionally went to India to be initiated into this esoteric
knowledge. Very often, misunderstanding the Hindu dvelms, the Greek
philosophers transformed them into their absurd Cosmogonic
conceptions such as those of Thales, Anaximander, and Heraclitus,
among many.. Plato discusses Atlantis in a way that alludes to its
characteristic as both an “island” and a passage (strait)
allowing the access to the Outer Continent. We can see in a pep how
India was the Antilia (or Anti-ilis or Anti-ilia), the legendary
antipodals of Europe. The true site of Paradise lay, not in America,
but in India. Anti (or Antika) also means “elder sister” and
implies an idea of “twin” or “adversary”, another recurrent
mythical motif. Atlantis is thus seen to be Yama, the twin who was
killed by his own brother, who is no other than Hercules. A great
many further etyms of the name of Atlantis can be produced in
Sanskrit, indeed a “magic tongue”. However, the above should
suffice as the most pertinent for the present end. We see how a
linguist’s task is never finished, as the Hindus says for, truly,
the Science of Words has no end. But we are sure that the linguists,
now that the key was found, will discover many further etyms which
the mythographers utilized in order to compose the myth of Atlantis.
The whole myth of Atlantis can be deduced in detail from the many
Dravidian and Sanskrit etyms of the sacred names that figure in the
legends concerning its fall. More than sheer coincidence, or even
pure fable created by its talented bards of long ago, these etyms all
compose to tell the secret story of this region, which was indeed the
paradisial cradle of Mankind in the Far East. The ancients loved this
kind of salon game, and the court bards were often given such etyms
as a burden, which they had to embroider in the tales they spun, in
some serendipitous way. The reader is invited to play with the
radices given, and to discover by himself further pertinent etyms
that help us to uncover the secret history of Atlantis and Lemuria,
the two Pristine Paradises where humanity first achieved a civilized
status, Summary The most important of the literally hundreds of
Sanskrit etyms of Atlantis that we discussed above and elsewhere can
thus be summarized as follows: 1) Atala = “Bottomless Pit ” —
The third hell of Patala. 2) Atala = “No land” = Utopia — A
Paradise that is no more. 3) Atala = A name of Shiva, the castrated
god, as The Pillar of Heaven. 4) Atala = “Watchtower” = Athaliah,
the evil destroyer of the Temple. 5) Atala = “Palm-tree-less”.
Indra’s Palm Tree, the Tree of Life, felled by the Flood. 6)
Attalandis = “Motherland” or “Ancestral Island”. 7)
Atharlandis = “Island of Fire” — The Egyptian name of Paradise.
8) Atras = Atlas = “Food”, “Host”, “Sacrifice” —
Another name of Brahma. 9) Adthali or atthali = “Consumed by Fire”
or, rather, by its fiery volcano. 10) Atyanti = “Transgressor” —
Literally, “having gone too far”. 11) Atiantar = “Supreme Soul”
— An epithet of Brahma or Purusha. 12) Attasthali = “Lofty Tower
” — A city destroyed by fire = Dhumadi. 13) Attalantis = “The
Land of the Lofty Fiery Pillar” = Atlantis 14) Atalas = ” The
Shiny (or Golden) Gate” = The Gates of Paradise (Dvaraka). 15)
Atara or Atarot = “Destitute of Pole Star”, or “Fallen Pole
Star”. The Dravidian Etyms In Dravida, the etyms are as numerous as
in Sanskrit. And they are even more meaningful, as this tongue is the
mother of Sanskrit. It was the one in which the myth of Atlantis was
originally composed. Hence, we should expect to find in it the
clearest and the best etyms of all. And such is indeed the case, as
this tongue is truly magical. Dravida has many cerebral consonants,
which sound rather like r, and are transcribed accordingly, for
simplicity’s sake. Atta (or Atti) — which passed into the
Sanskrit language — is as we saw, “mother”, “father”,
“ancestor”. Likewise, ata means “old”, “stale”, “hoary”.
Atala or (atali) is “noise”, “din”. And we should recall the
din of the ports of Atlantis, as Plato and others repeatedly narrate.
This is also the roaring confusion that irritated the gods and led to
the Flood in both the Egyptian and the Babylonian accounts. Ataram
(or adara, etc.) is “pride”, “arrogance”, etyms we already
saw in Sanskrit. Attalam is “supper”, an idea that recalls the
Last Supper, offered out of the Savior’s own body (the Host),
commemorating the Sacrifice of Soma and that of Atlantis. Alam is a
saltpan or a maritime tract or a saline marshy land. The word relates
to the Irish lann and the Celtic land, denoting a moor or bay, whence
the English “land” originated. In this connection, Atlantis would
literally be “the mother (atta) land (alam)”. But this etym says
more. It shows that the ravished Atlantis became a saltpan, a dismal
salty marsh like that of the Rann of Kutch, the site of the sunken
Dvaraka, the very city of Atlantis. To this etym we should add the
suffix tis or tix discussed above, and meaning the same as the Skt
desha or, rather, dvipa, that is a sinking island. I also has a
connection with Tisiphone and her Fiery Pillar, visible from afar.
This pillar is Mt. Atlas, the fiery volcano that eventually destroyed
the region. As a result, Atlantis became desolate and deserted, being
identified to Hades or Hell, the dismal realm of Yama. This suffix
also figures in the name of Aphrodite, as we saw further above. Both
Mother Goddesses also relate to the Fiery Pillar, rising from the
waters as a sort of “atomic mushroom”, the Golden Lotus of Onehel
traditions. Yama is the archetype of Pluto or Hades, the Lord of the
Dead. Tisiphone or Persephone is his faithful wife, who committed the
primordial suttee, and who the Hindus equate with Ushas and Mahavidya
Chinnamastaka. The Etruscan called Hades or Pluto by the name of
Larthy Titibal, an epithet that means “Lord of Hell”. The titi in
his name means the same as “fiery hell”, and suggests a land
devastated by a cataclysm of fire and water. The name of Atlantis can
also be derived from the Dravida atta-alam meaning “ancestral
land”, that is, the ancient land, hoary with age like the Ancient
of Days, the pristine Paradise of all nations. Atlantis is,
accordingly, personified as Kala (Time) or Chronos (idem) or Zurvan
Akarana (idem); as the All-Father whom all legends represent as hoary
with age and often associate with death and castration (Kronos, Kala,
etc.). in the feminine form (Kali), the name applies to the Great
Mother, the wife of Kala (Shiva). Kali and Kale personify the two
Atlantises (Lemuria and Indias), both destroyed in the Primordial
Sacrifice. The Man-in-the-Wheel In Dravida, Ala or Alant means
“measure”, an etym that explains the insistence of Holy Books
such as Revelation on the measuring of the Holy City. Leonardo’s
famous The Measures of Man indeed represents the same idea, and
portrays Purusha as a personification of Atlantis, spanning the
distance between Heaven and Earth. As usual, the Mamm the Wheel is an
ancient Gnostic motif (Leonardo was secretly a Gnostic) representing
Atlantis as a replica and of the Pyramid. Prometheus (Para mit =
“first measurer”) is also another embodiment of this idea. So are
Christ, Ixion, Vishvasvat and others who pertain to the same
primordial motif of spanning the distance between Heaven and Earth
with their immense size, or with that of the phallic instrument of
torture they are pinned to. All these deities were often represented
as a type of Man in the Wheel closely resembling Leonardo’s. In
this connection, Atlantis would be “the ancestral measurer” (Atta
alant), the idea of “measuring” implying that of “probing”
and, hence, “copulating”. Ala (or alant) implies “mingling”,
“holding intercourse”. As such it recalls how the angels of
Atlantis, the Sons of God, such as Angiras, mingled freely with the
Daughters of Man, the sin that led to Doom. Atal denotes shaking,
dancing, coition, saying, singing, reciting, gambling, etc.. So, we
are instructed at what price the Sons of God taught the Daughters of
the Giants the stage arts in ancient Atal-alant. Alan (or ali)
denotes “ruler”, “king”, “shepherd”. So the Atlanteans
are the “Kingly Fathers” or, perhaps, the Shepherd Kings (Hyksos)
that invaded Egypt when they fled from their wasted Paradise. The
above etyms are also supported by attal-antar, that is, the
“ancestral shepherds”. Again, an infinity of similar assonances
is possible, but the above will have to do for the moment being. The
reader may be surprised to see that we are approaching the myths from
essentially all nations as if they all belonged to a single
tradition. But this is exactly the case, at least insofar as the
myths of Atlantis are concerned. Atlantis is the Primordial Land
whence the Civilizing Herves of all nations originally came. And
their myths on Paradise are their common heritage, passed down the
times, by word of mouth, as the sacred history of the primordials of
Mankind. This tradition is the true religion that indeed links us
back to the gods and the Paradisial events, exactly as implied by the
etym of the word “religion”. In fact this word stems from two
basic ideas, those of “recollection” (relique) and of
“re-link”(religo). In other words, religion is the recollection
of the Atlantean events, the attempt to “re-link” with our lost
past. A Few Further Sanskrit Etyms A few further Sanskrit etyms of
Atlas (or Atlantis) are listed below. We limited the nearly infinite
varieties to those that rung the bell on our minds as apparently
related to Atlas’ legend. A-tata (pronounced atara, with cerebral
t) = “shoulderless”, an usual picturesque epithet of the Phallus
and, hence, of Shiva or Atlas. Tata is any slanting portion of the
body, as the shoulders or the waist. Hu-Gadarn, the Celtic equivalent
of Atlas and Manu, was also called “shoulderless” or “bald
one”, implying the same idea. Tata is a name of Shiva as the
Shivalinga. And a-tata also means “shoreless”, “precipitous”,
an etym that applies to Atlantis, as explained below. A-tala is
“bottomless”. Tala means the base of fundament or bottom part, as
well as a low land, usually marshy. The word is an usual name of
Hell, and is usually rendered as “Bottomless Pit”. However, all
Sanskrit etym are dual, and the word may mean “not in the bottom”.
The story of the Bottomless Pit is (in India) associated with Trita
(or Apam Napat) thrown down the Pit by his envious brothers, but
rescued by Varuna or Brihaspati. This etym is also connected with
that of Paradise (Dravidian) denoting “Pan’s plowed (or flat)
land” or “Pan’s cleft land”. The second etym ties in with the
Bottomless Pit (a chasm), and the first with its dual denoting a
flatland or a saltpan such as that of the dismal Rann of Kutch (the
Indus Delta). The word tala also evokes the idea of a spread out
hand, one of its etyms. This is also a name of the Indonesian
Peninsula, as we will see further below. In his Critias (118), Plato
describes how the beaches of Atlantis were “lofty and precipitous
on the side of the sea but… a level plain around the city”. This
description probably derives from a wordplay with atata (“not
sloping”), a word that applies to precipitous beaches such as those
of Atlantis. The idea is that Atlantis consisted of a lofty mountain
(Mt. Atlas) surrounded by a flat marshy plain of enormous size, which
was subsequently invaded by the seas, in a cataclysm. Such is
precisely the topography of the lower Indus Valley, in the region of
the Rann of Kutch (“The Marshes of Death”), as well as of the
Indonesian islands. The “level plain” or “plateau” relates to
tala, a word denoting a plain or flat, in both Sanskrit and Dravida.
It is in these two destroyed regions that the two Atlantises, Mother
and Son, are indeed to be found, buried under the mind deposited by
of the Flood. The Primordial Castration and the Felling of the Tree
of Life A-tala is “Phallus-less” or “Castrated”. Tala denotes
the palmyra or toddy palm. Its scientific name is Borassus
flabelliformis, and its Dravidian names are tar, tali, tari, tati,
etc.. The name Tala is often applied to Shiva, the slender and
graceful trunk of the palm-tree being an usual symbol of the phallus.
Indeed, the toddy palm has a sweet palmetto (heart), which is used to
prepare a spirituous drink called toddy or arrack. But the main etym
of Tala (or Âtala) is indeed connected with Indra’s Palm Tree, the
true archetype of the Tree of Life in the Indies. The toddy cat
(Viverra) — a mustelid that is hunted and castrated for the musk
produced by its phallus — is natural enemy, as it climbs to the top
of the palm and ravishes its heart for its sugar. The toddy cat is
the animal represented by Ursa Minor, the Polar Constellation of the
Phallus, and the toddy palm is its dual, symbolizing Lyra (t
In
the Bible, as in India, myths are never told in detail, but only in
tiny flashes which recall the twinkle of a star, the fall of a meteor
or the avatar of a god in a transitory theophany. Only when highly
allegorized and, hence, incomprehensible, are myths ever told in any
detail. They are then peddled as the actual history of personages
such as Jesus, Zoroaster, Moses, Abraham, Krishna, Buddha, etc..
However,
the several flashes are the pieces of a jigsaw puzzle, and fit
together serendipitously when demythologized and integrated with each
other. All religions — ours included — center on the story of
Atlantis (Eden) and of its Fall (Adam's) and destruction by the
Flood, as well as on the hope of its rebirth at the Millennium.
We
have shown elsewhere in detail how "Christ" is a
personification of Atlantis. And so are his many aliases such as
Adam, Noah, Moses, Abraham, St. John, etc.. We have also demonstrated
in detail that all our Christian rituals and beliefs — whose
objective and meaning we forgot long ago — ultimately derive from
India and reenact the history of Atlantis. Here we return briefly to
the problem in order to moot out the importance of Atlantis as the
source of all our myths and eschatological beliefs.
Let
us consider first the Sacraments, keeping in mind that, mythically,
all Saviours are one and the same, in different avatars. Thus, Adam,
Christ, Krishna, Moses, Noah, Atlas, Shiva, etc., are just one and
the same deity. Likewise, all religious traditions come from a single
Tradition, which is the tradition of Atlantis and Lemuria. They are
all part of the Urreligion that some anthropologists of genius have
discerned as the original source of all religions, both primitive and
evolved.
Before
we proceed, however, some observations are in order, as they
substantiate the case for the origin of our Christian Sacraments in
India. India is the true site of Atlantis, and the link that re-links
us back to our primordials in Paradise. First of all we note that the
Sacraments are Seven. Seven is a Magic Number of great importance,
whose Hindu origin can hardly be contested. Seven is the number of
the Rishis (Hindu Patriarchs) from whom we descend, as well as the
number of elapsed eras in Hinduism. But, above all, it is the number
of dvipas, the counterpart of Paradise in Indian tradition.
The
Sacraments are seven because seven is the sacred number of Elohim and
of the Holy Ghost, his alias. Contrariwise, ten is the number of
Jahveh, the god to whom we owe the Ten Commandments. Now, seven and
ten are also the numbers of Atlantis and Lemuria. Ten is the number
of Atlantis' Ten Princes, and seven is the number of the Islands that
composed Lemurian Atlantis, as well as that of its Seven Prajapatis
(or Patriarchs - Rulers).
In
yet a different connection, we have the fact that the Sacraments of
Christianism utilize four material supports: bread, wine, oil and
water. Four is the number of the Hindu castes. It is far more than a
coincidence that these four substances also represent the four varnas
(castes). Bread is white like the heraldic colour of the Brahmans it
represents. Wine is red like blood, and characterizes the warlike
Kshatriyas. Oil is yellow like the fat Vaishyas it symbolizes.
Finally,
water is blue like the symbolic colour of the Sudras or serfs.
Indeed, the heraldic colour of the Sudras is black. Black is confused
in India with blue or purple, for traditional reasons. In reality,
water symbolizes Death by drowning at the Flood, a form that results
in a purple colour for the dead. As we see, the four substances
represent the contributions of the Four Races (or castes), as well as
their respective elements, with oil representing Fire; water, Water;
wine (spirit) representing Air and bread standing for the Earth, from
which it grows.
The
Four Elements are not indeed the ones that compose the material
world, but those which destroy it when the eras come to their end.
Fire, Water, Air and Earth allegorize the universal Conflagrations,
Floods, Hurricanes and Earthquakes that either unite or work
separately in order to destroy the world, when the time comes for it
to happen. The same allegory is also symbolized by the Four Magian
Kings — the three usual ones plus the fourth, Christ, to whom they
came in order to pay their respect. Jesus is the Logos, the Word, the
"Divine Breath" that corresponds to Wind.
In
other words, Jesus represents the Brahman priests, issued from the
mouth of Purusha, the Primordial Man, the intoners of the sacred
mantras ("prayers"). The other three Kings are
characterized by their gifts. Gold, the ruddy metal, represents the
Kshatryas ("Reds" or "Warrior Caste"), in their
pristine, undecayed condition. Myrrh is indeed musk (civet), the
noblest form of "butter", the element that represents the
Vaishyas (the Merchants or Burgeoisie). And, finally, incense, the
burnt offering of excellency, represents the dark Sudras ("Serfs"),
the "charred" element whose fate has been the cruel one of
serving the other three castes.
So,
those who can indeed read beyond the obvious, will have no difficulty
in discerning in these Christian symbols — which make no sense
whatsoever in Israel or even in the Ancient World — the antecedent
ones of Hinduism: the Four Guardians ("Kings" or
Lokapalas), the Four Castes, the Four Elements (or Principles or
Races) of which the world was originally composed, in Paradisial
times. Where else, but in primeval India — the true site of
Atlantis — do you have the Four Races of Mankind, the Reds, Whites,
Blacks and Yellows contending for supremacy in a war that eventually
led to the world's destruction in the dawn of times?
1)
Baptism
That
Baptism is a recollection or ritual reenactment of the Flood is a
fact already been recognized by St. Jerome and other Church
Patriarchs. Prof. Mircea Eliade (Treatise on the History of
Religions, Paris 1970) shows this fact in detail. Essentially, all
religions have some sort of Baptism or Ablution, intended to cleanse
away some sort of Original Sin. This sin is no other than that of the
Atlanteans: sinfully mingling with "mortal" women of the
inferior castes, but deeming their own offspring "inferior"
and enslaving it. Yes, Racism is a stupid notion that is
unfortunately as old as humanity itself. It is the Original Sin that
led Mankind into Doom, and probably will again, if we do not wake up
in time. How can one fall so low as to enslave one's own children?
Baptism
is what the Hindus call Pralaya ("dissolution"); the demise
of all things in order to allow their return to the Primordial Chaos
and insure their re-creation afresh. There are two kinds of Baptism:
the one of John and that of Christ. John as the "precursor of
Christ" may well symbolize what Occultists call Lemuria, whose
"fall" preceded that of Atlantis. John's watery baptism
represents the demise of Atlantis by the flood, just as Christ's
baptism by fire represents the destruction of Lemuria in a volcanic
Conflagration. The Sacrament of Chrism corresponds to the Fiery
Baptism, as we shall see further below.
The
symbolism of Baptism has been expounded by St. John Chrysostom:
"Baptism…
represents death and interment, life and resurrection. When we plunge
our heads under the water, as in a sepulcher, the old man becomes
completely drowned and buried. When he leaves the water, the new man
suddenly rises."
The
Old Man is Adam, the prototype of Christ. The New Man is Christ, the
second Adam. The two Saviours correspond to the twin Jerusalems, one
Celestial and the other Messianic. We note how most Saviours actually
emerge from the waters either directly or symbolically: So did Moses,
Osiris, Perseus, Noah, Sargon, Joseph, Skanda, Trita, the Oannés,
Quetzalcoatl, etc. Even Christ did so, as symbolized by his manger of
reeds.
The
Druids too had a kind of Baptism. So did the Mystery Religions of
Greece and Rome. In India, Baptism is ritually performed in the
Ganges and many other tirthas (bathing spots in rivers) by all pious
Hindus. The Buddhists too have a kind of Baptism which is more an
ablution or sprinkling than ritual immersion.
In
the Americas, the ritual drowning of the gold-laden Eldorado
reenacted the submersion of Atlantis. In India, Krishna's statue is
thus baptized in the thirtapuja. The same type of ritual also existed
in Greece, Rome, Arabia and elsewhere. The Sea of Bronze of Solomon's
Temple was a sort of Baptismal font, not unlike the ones found in
Harappa and Mohenjo-Daro. These had ghatts or ladders leading to the
waters, identical to those of the Ganges river used for the rituals
of ablution. The Egyptian temples had sacred pools where the
worshippers were baptized.
2)
Chrism
Chrism
or Confirmation is a sort of second Baptism, with oil, instead of
water. Oil is the symbolic equivalent of fire, as its fuel. Chrism
actually corresponds to the Baptism of Fire of the Holy Ghost. The
Baptism of Fire is the Fiery Ordeal or Suttee (Sati) of the Hindus,
and insures purification by fire. The Buddhists of Tibet too use a
Baptism of Fire (a sprinkling with fiery dust). The word "Chrism"
means "oil" or "anointing" in Greek. The ritual
of anointing is used not only in Confirmation, but also in Extreme
Unction and Consecration of priests, kings, temples, statues, etc..
The
word "Chrism" directly relates to the name of Christ ("The
Chrismed One" = "The Anointed One"). It evokes the
custom of certain primitive tribes of India (the Gonds, Khonds, etc.)
who used to "Chrism" the victims of their human sacrifices
before burning them at stake, so that they would burn better. The
custom is a sad recollection of the fate of Paradise. There, in the
Land of Plenty, the gods fattened the humans before dispatching them
in the Universal Conflagration that preceded the Flood. Such is the
reason why the Hindus called Paradise (Atlantis) by names such as
Gomeda, meaning "the Land of the Fat Cattle". And such is
also the origin of the strange rite of burnt offerings of all kinds.
Yes, it is as Shakespeare said: "As flies to wantom boys, so are
we to the gods".
Chrism
corresponds to the fiery avatar of the Holy Ghost as a sort of vajra
or meteorite falling from the skies over the Apostles during
Pentecost. It imparts Charisma ("grace"), the gift of
abundance and healing powers. This "fall" is usually
associated with the palladium in Paganism, and with the Linga in
India. The "tongues of fire" (linguas, in Latin) of
Pentecost were visibly lingas (or cerauni), falling down from Heaven.
This "avatar" of the Spirit (Logos) is Christ himself,
"falling from Heaven as lightning", that is, as the vajra
thunderbolt, in order to herald the end of the former era and the
start of the next one, that of Christianism.
The
Sacraments center on stuffs such as water, oil, wine, bread, blood,
which somewhat evoke the strange composition of the Seven Seas of the
Hindu dvipas (Paradises). The meaning of the Holy Ghost's Charisma is
given by Paul in I Cor. 12-14. This theme will not be discussed here,
except for the above, and to say that the obscurity of its images and
allegories bespeak of a hermetic disclosure reserved to initiates,
one that is related to the burning of Atlantis.
Fire
and Water (Baptism and Chrism) were administered together in the
primitive Church, and only later became separated. As in ordeal of
Atlantis, which was attended by both cataclysms, the association of
Chrism and Baptism implies the same thing. So, granted that Baptism
symbolizes the Flood, it is clear that Chrism allegorizes the fiery
cataclysm that the Stoics called Ekpyrosis (or Universal
Conflagration.
In
conclusion, one might say that Chrism or Anointing corresponds to the
Baptism of Fire of the Holy Ghost, whereas the Baptism of Water
corresponds to the one of the Father, his dual. The Holy Ghost also
corresponds to Agni or Kama, the fiery gods of the Hindus, whereas
the Father (or Jahveh) corresponds to the watery gods, Indra or Soma.
More exactly, the two Baptisms correspond to the Flood and the
Conflagration of Paradise, and to the two gods that brought them
about, Indra and Agni in India, and Christ and John in Christianism.
3)
Matrimony
The
Sacrament of Holy Matrimony represents on a human scale what the
so-called Cosmogonic Nuptials of Fire and Water symbolize at the
Terrestrial level. At the Celestial level it signifies the joining
or, rather, the equilibration of the influences of the two Polar
Constellations — the Linga (Ursa Minor) and the Yoni (Lyra) —
that takes place at the Equinoxes.
These
two points are the "doors" (the Pitri-yana and the
Deva-yana) where the two Celestial influences balance each other,
resulting in an era transition. In the Zodiacal plane the Equinoxes
coincide with Aquarius and Leo (Fire and Water), and herald the era
transitions determined by the Tetramorph.
The
symbolism of the Cosmogonic Nuptials of Fire and Water — which is
central to most religions — is allegorized in Christianism by the
highly esoteric union of Christ (Christos = ointment = "fire")
and Mary (Maria = "sea" = "water"). In Paganism,
we have its equivalent in the union of Venus or Aphrodite ("seafroth"
= "water") and Cupid or Eros (love = "fire"); of
Cadmus ("musk" = oil = "fire") and Harmonia
("ermine" = aquatic = "water"); of Zeus (a
tempest god) and Hera (an infernal Erinys); of Demeter (a meteorite =
"fire") and Poseidon (a sea-god); etc., etc..
The
union of the two principles is symbolized by the pramantha, the
Cross, the Star of David and so on. It represents both the
destruction of Paradise and the union of the two races that existed
in the Golden Age and which will be repeated in the Millennium all
over again.
In
India the Cosmogonic Nuptials of Fire and Water is symbolized in the
birth of Skanda which resulted from the union of the fiery seed of
Agni with Ganga, the water-nymph of the river Ganges. This sacred
Hierogamy seems to be the allegory of the explosive union of the
magma of a submarine volcano with the waters of the sea above it.
This
mystic union of fire and water is a characteristic feature of
Indonesia, which is precisely the site of Eden. The Hindus allegorize
this fearful event by the fall of the vajra inside the waters of the
Cosmic Ocean. The vajra is the tip of Mt. Meru, decapitated in the
cataclysmic explosion. It falls from above, from the tip of the Holy
Mountain that formerly stretched all the way to Heaven, scraping it.
This union also allegorizes the event as the castration of Brahma or
of Shiva; as the decapitation of Dadhyanch or of Mahavidya, and a
million other similarly sophisticate symbolisms of Hindu mythology.
In
the Ancient Testament the matrimonial union is recognized as a symbol
of the Covenant and of the love of Jahveh for Israel (cf. Ose.2; Isa.
54:4 ; 62: 4; Jer. 2:2; 3: 20; Ezek. ch.16 and 23, etc.).
In
the New Testament, marriages are usually celebrated at night and are
often attended by agapes which somewhat evoke the strange marriage
rituals described in the Song of Songs. The practice also evokes the
puzzling orgies of the Gnostic Cathars of Medieval Europe. These love
feasts are reenactments of the Cosmogonic Nuptials, the orgiastic
mingling of Fire and Water that takes place at Doom. The archetypal
Doom is, of course, the destruction of Atlantis and Lemuria by this
sort of cataclysm of Fire and Water which we encounter in all
traditions.
The
association with the Covenant — a word that implies the idea of a
mystic union like the ones under study — directly recalls the Flood
(cf. Gen. 9:3-17). Its symbol, the rainbow that marked the site of
the brutal cataclysm, later became symbolized by the engagement ring.
This covenant is bloodless, and accords to the fact that death by
drowning sheds no blood.
In
Exodus 24, two Covenants ("marriages") are mentioned. One
is bloody, with the participants being sprinkled with blood, and the
other is bloodless. The first one is orgiastic (an agape) and is
celebrated by a nocturnal supper akin to the Last Supper.
The
two ceremonies closely evoke the rituals of the Holy Mass, itself a
mystic replica of the union of Fire and Water. The two Covenants
represent the two types of Mass, one white and diurnal, the other
black and nocturnal. The emblem of the Second Alliance is the Ark of
the Covenant. And, as shown in some early representations, this Ark
was indeed an omphalos or palladium.
Blood
is symbolic of "fire", of Leo, and of the destructive
Kshatryas. Water (libations) represent Aquarius and its watery
dispensations, as well as the Brahmans (pourers of libations). The
other symbols of the Alliance (or Matrimony) are likewise Cosmogonic:
the Tablets of the Law; the aspersion with blood; the agape; the
orgies (chaotic mingling of fire and water); the Baptism of the New
Covenant; the restoration of the Temple; the insistence on love,
etc.. So, Marriage represents the mystic union of Fire and Water that
allegorizes the destruction of Atlantis-Paradise by these two agents.
4)
Confession
Originally,
the Confession of the Sins was done aloud, as it still is in some
Christian sects. But, even whispered, it relates to the magic power
of words and sound as embodied in the idea of the Hindu mantras and
the Christian Logos (or Word). Christ imparted the power of forgiving
the Sins to the Apostles by blowing (or whispering) upon them the
Holy Ghost (the Logos), as described in John 20:21-23.
The
idea of the sacredness of speech or sound is of Indian origin. The
Hindus and Buddhists believe that mantras (prayers or ritual
formulas) such as the OM MANI PADME HUM convey a power which evokes
Cosmic resonances and precipitate the advent of Doom and the new era.
They embody this power in deities such as Brihaspati ("Lord of
Speech"), Sarasvati, Vach ("Voice"), Rudra ("Howler"),
and many others.
The
Hindu theory of sound is too complex to expound here, and the reader
is directed to more specialized sources. Suffice it to say that sound
(or wind or air) is one of the Four Elements, on a level with Five
and Water. More exactly, sound (sabda) is the quintessence (or "fifth
element") usually represented as Ether (akasha) when sacred, and
as vach ("voice") when human. Here it represents the
shakti, the divine essence of the female power.
The
Celts personified Speech in Ogmios, whom they equated to the Logos.
The Greeks also associated sacred sound with the rhombus
("bullroarer"), the sacred instrument of Dionysian
Mysteries. Indeed, the bullroarer and the drum (or the flute or the
lyre) were ritually used the world over for evoking Cosmic resonances
capable of activating the bindu, the "seed" of Creation.
The
sound of the bullroarer is often associated with the roar of thunder
and the death of the Primordial Bull which represents Dionysos, the
Golden Calf. Christ too has been likened to a bull (cf. Psalm 22 and
his agony bellow on the Cross). So have the howling Rudra (Shiva) and
of many other gods.
Sound
is also associated with the universal Thunderbird, variously called
Rudá (in Brazil), Garuda (in India), Symorgh (in Persia), Pegasus
(in Greece), Zu (in Babylon), Bennu or Phoenix (in Egypt), Cherub or
Angel (in Israel), etc.. The clapping of their wings simulates the
roar of thunder. And this thunder is really the fearful rumble of the
volcanic explosion that destroyed Paradise, as well as the roar of
the onrushing waters of the sea, stirred by the cataclysm.
Jahveh
is often associated with thunder (his voice), particularly when he
rides the winged Cherubs (cf. Ezek.1:24; 10:5; 43: 2; Psa.18:10;
29:3; 68:4; 80:1; 99:1; II Sam. 22:11; Job 37:2; Dan. 10:6; Rev.1:15,
etc.). These theophanies are often connected with the destruction of
the city of Jerusalem (cf. Eze. 43: 3), with the Flood, with the fall
of "fiery coals", etc.. A close study reveals that the
hidden message is the destruction of paradisial Atlantis by the fall
of the vajra.
Jahveh
is often called "rock", "fortress", "high
tower", etc.. These words closely evoke the atala or watchtower
which we discussed elsewhere, and which is an alias of Mt. Atlas. He
comes down from above as a thundering vajra and destroys the Tower or
Temple in order to rebuild it as his own. This is an allegory of the
era transitions that the gods periodically bring about in order to
renovel Creation and start a new world.
5)
Ordination
Ordination
is the rite of the Christian Church for the commissioning of priests.
The essential ceremony consists in the imposition of hands on the
heads of the ones to be ordained by the officiant. The officiant
priest also recites prayer to the Holy Ghost to grant the recipient
his Seven Graces (Charismas). The Christian ritual derives from the
Jewish one called Semikhah, first used by Moses to ordain Joshua as
his successor. In the New Testament, the Apostles use the imposition
of hands to ordain the seven disciples who would be their followers.
Besides
the imposition of the hands, other rituals are often included, such
as anointing and the investiture with the vestments of the office.
But it is the laying of hands and the prayer to the Spirit that
ultimately characterizes the Sacrament of Ordination and imparts the
Seven Gifts of the Holy Ghost that qualify the candidate for
priesthood.
Symbolically,
the laying of hands transmits a spark of the spirit of the imponent
to the imposed, just as a burning candle can impart its flame to
another, unlit candle. This way, an uninterrupted chain is
established by ordination that stretches all the way back to the
origin, to the first instituter of the ministry. And this was Christ
himself as an alias of Melchisedek, the initiator of Abraham.
More
exactly, this uninterrupted chain stretches all the way back to
Atlantis or Paradise, and recollects its burning in the Primordial
Conflagration. The "lighting" of the iniciant commemorates
the inflaming of Purusha in the Primordial Conflagration, or its
alias, the burning of Kama, the Hindu love god, by Shiva's fiery
glance.
All
these symbols are mere allegories of the burning of Paradise by the
fierce explosion of its volcano, Mt. Atlas. The idea also evokes the
etym of the word "religion" as the restablishment of a link
(religo) with our Paradisial origins. Again this is an idea that
derives from India. It relates to the myth of Brihaspati, the Lord of
Prayer, whose endless chain of mantras goes back all the way to
primordial cataclysm.
This
idea is also expressed in India by the link afforded by the smoke of
sacrificial fires linking Heaven and Earth. Again, this is an
allegory of the inflaming of Paradise and the smoke of the Primordial
Sacrifice, as we discuss elsewhere. A further allegory is the idea of
the sutratma (or "soul thread"), a sort of umbilical chord
that stretches without interruption to our origins. Yet another is
expressed by the traditions of the Upanishads, which we discuss
further below.
There
can be no question that the origin of the rite of imposition of hands
and the transmission of the Holy Ghost derives from the Hindu rituals
and traditions discussed above. But these are indeed ritual
recollection of the primordial events concerning Paradise and its
destruction in the Primordial Conflagration.
In
other words, what we have is a ritual enactment of the destruction of
Atlantis by the fiery explosion of its lofty volcano, Mt. Atlas. This
terrible event is also commemorated by the perpetual fire that burns
in Christian temples, a usage copied from the identical one of the
Jews who, in turn, borrowed it from the Hindus.
The
idea that this fire cannot cease to burn and must not suffer
interruption is symbolically represented by the equivalent
uninterrupted chain of transmission of the holy Ghost form one
officiant to the next. This Perpetual Fire is likewise connected to
the identical fire that was kept perpetually burning in the altars of
Vesta and Hestia in Rome and in Greece by the Vestal virgins.
An
identical tradition existed in the Americas, with the Mayas and
Aztecs. As we have shown, the temples of Vesta and Hestia, her Greek
counterpart, are close replicas of the topography of Paradisial
Atlantis and Lemuria. Their temples were round and conical, with the
Holy Fire perpetually burning in the altar at its center. This design
simulates a volcano or, rather, the volcanic peak of Mt. Atlas, ready
to explode and destroy Paradise at any moment.
Ananda
Coomaraswami has shown that this design and ritual closely duplicates
that of the Vedic altar, itself a replica of Mt. Meru and the Hindu
Paradise. There can be no question about the precedence of the
Hindus. But the diffusion of the tradition to the Americas can only
have taken place at a far earlier epoch than that normally envisaged
by both historians and archaeologists.
The
Hindus have another tradition of Perpetual Fires that again links
with the fiery destruction of Paradise in the Primordial
Conflagration. This is the Fiery Mare (or Vadavamukha), the
All-Consuming Fire that perpetually burns deep down inside the
Ocean's bottom. This fire is kept in check by the waters of the
Ocean, which it consumes continually. At Doom, this equilibrium is
disrupted, and the Mare goes haywire, incending the whole world.
The
Fiery Mare is really the Love-God Kama inflamed by the fiery glance
of Shiva's third eye. The burning Kama was confined inside the Mare's
skull, which is really the vajra formed from the decapitated head of
Dadhyanch, as we tell elsewhere. Again we have a connection between
the Perpetual Fire and the destruction of Paradise in the Primordial
Conflagration.
Kama,
the Hindu Love-God, is the archetype of the Holy Ghost. Indeed, Kama
is also called Ananga ("Bodiless") in Sanskrit, an etym
that really means "spirit", "ghost". Kama is also
the archetype of Eros and Cupid, and is considered the Primordial
Creator, destroyed or incended in the conflagration of Paradise.
The
Upanishads — a name that suggests the idea of being initiated or
"incended" in the long chain that stretches all the way
back to Paradisial times — is an esoteric collection of teachings
and initiatic doctrines that expands the Vedas and expounds its
doctrines in coded language, reserved for the Initiates. Its name
also suggests something like the imposition of hands or, really, the
initiation or enlightening of the neophytes that the ritual
symbolizes.
Apparently,
this real meaning of the "laying of hands" was forgotten
somewhere during the long stretch that links us back to Paradise and
the primordial events that culminated in its fiery destruction. The
rituals of the Christian Sacrament of ordination were, as we said
above, copied from the Jewish ones for the commissioning of rabbis,
the Semikhah.
And
the Jews really came from India and, before that, from Indonesia, the
true site of Eden and of primordial "Egypt". Interestingly
enough, the Semikhah can be traced back to Moses and Joshua, and the
flight of the Hebrews from their destroyed Paradise in Mt. Sinai. Mt.
Sinai is verily the same as Mt. Meru or Atlas, the Holy Mountain of
Paradise that was burnt down by the fiery avatar of the Lord who is
no other than the Holy Ghost.
We
do not believe that the true meaning of the imposition of hands
during Ordination is generally known even inside the Christian
Church. But the above exegesis of its significance and origin cannot
be validly contested, as is clear to anyone that studies the matter
in detail.
The
iniciatic secrets in question were apparently forgotten, and only the
mechanical actions of the ritual were preserved. They are enacted in
an empty way, like the mechanical movements of an automaton,
destitute of soul. We have long forgotten the god whom we honor with
such rituals which we ape emptily, despite the fact that he is the
very Soul of the World. And that Soul is indeed Atlantis, represented
as Kama, the Love God of the Gnostics of all times.
6)
Extreme Unction
Extreme
Unction or, as it now called, The Anointing of the Sick, hardly
differs in meaning from the Sacrament of Chrism, and is here only
discussed briefly. Extreme Unction is, as the name suggests, the
anointing of the sick in extremis and of any others who are on the
imminence of dying. The alleged purpose is the remission of sins or
the attempt at a cure. But this contradicts the fact that it is
applied after all hope of cure is abandoned, and that Confession is
the proper ritual for remission.
The
ritual of anointing in Extreme Unction is usually accompanied by
Confession of the sins if that is at all possible, and by the
administration of the Eucharist as a viaticum, the food for the
journey the moribund is about to undertake. The anointing of the sick
is a practice of most, if not all religions. It is an extremely
ancient ritual and is just about universal.
The
administration of the Eucharist as a viaticum is interesting. It
embodies the idea that the deceased go to a very distant region, in a
sort of pilgrimage to Paradise. This is also the conception behind
the actual pilgrimages to the Holy Land that is an ancient custom of
the Christians of all times. This practice also existed in
essentially all religions. We discuss the symbolism of this return
trip to Paradise in our section on the meaning of the Holy Barque, in
The Atlantean Symbolism of the Egyptian Temple (Part I).
The
Greeks would flock to sacred sites such as Eleusis and Delphi, often
in quest of initiation into the secrets of the Mysteries. Their
traditions, and those of the Romans, tell of the long pilgrimage of
the soul to remote regions such as the Islands of the Blest, which
lay in the most extreme regions of the world.
Ancient
Egyptian texts such as The Book of the Dead describe in detail the
long pilgrimage and the perils of the soul in the beyond, in its
quest for the site of Paradise. The Egyptians too placed Paradise in
the Far Orient, beyond the seas and the place where the Sun rises
everyday. The Bardo Thodol, the Tibetan Book of the Dead, also tell
at length the long pilgrimage and the perils of the soul in its
pilgrimage to Paradise, its temporary abode, where it awaits
reincarnation.
The
Muslims have, as one of their most sacred duties, the obligation to
emprehend a pilgrimage to Mecca, their Holy Land, at least once in
their lifetimes. But it is in India, as usual, that we find the
reason and the origin for such ancient practices. The pious Hindu is
observant of such ritual pilgrimages, and has dozens of holy sites to
chose from. These are distributed all over India, often in remote,
difficult regions such as the Himalayas and the Nilgiris.
Mt.
Kailasa, in the Trans-Himalayas of Tibet, is one of the most sacred
spots of the Shivaites. The Holy Mountain is identified with Mt.
Meru, the mountain of Paradise, as well as with the immense phallus
of Shiva, shedding the abundance of his gifts. Every devout Hindu
aims to bathe in the Ganges, the holiest of their rivers. If at all
possible he also emprehends pilgrimages to all of India's Seven Holy
Rivers. He also endeavors to visit the Seven Holy Cities: Ayodhya,
Mathura, Hardwar, Benares, Kanchipuram, Ujjain and Dwaraka.
All
these are considered holy sites, connected with the sacred history of
Paradise and its destruction in primordial times. But their most holy
spots are Lake Manasarowar, near Mt. Kailasa, and Lanka in Ceylon,
the sites of their two extremal Paradises. However, all seven sacred
spots correspond to the Seven Dvipas (or Paradises),which are the
archetypes of the Seven Islands of the Blest of the Greeks and
Romans, as well as the Paradises of other nations. It is from these
Seven Islands that all other sacred septenaries ultimately issue.
As
we see, all nations have rituals similar to the above, which entail a
return to Paradise in a pilgrimage that simulates the wanderings of
the soul after death. Even the Occultists have similar traditions.
They quest initiation in the ancient arcanes, except that in a
context of actuality and magic, rather than in that of the beyond.
Christ, Buddha, Pythagoras, Plato, Solon, Zoroaster, Mani, Apollonius
of Tyana, and most other great initiates are said to have gone to
India, in their quest for Initiation in the arcanes of the Mysteries.
In
a way, the adventurous rovings of the ancient Heroes such as Ulysses,
Hercules, Alexander, Dionysos, Gilgamesh and many others belongs to
the same context as the above. They exploited the distant regions
connected with Hades and with Paradise, in a way that many experts
have linked with the wanderings of the soul in the netherworld.
Modern
Occultists are also wont to undertake long, painful pilgrimages. They
often go to India and the Far Orient questing Initiation. But many
prefer the famous Route of Santiago de Compostela, in Spain. This is
connected with Celtic traditions having to do with the Holy Grail and
the Elixir, apparently the objective of all such quests. Dante, the
well-known Initiate and Occultist, wrote in his Vita Nuova, published
in 1293, that Santiago de Compostela, Rome and the Holy Land were the
chief centers of attraction for the pilgrims of his time.
We
see then that the ritual of Extreme Unction is connected with a
return to Paradise and the obtaining of the Elixir of Life either in
reality or in the netherworld. And reality always links Paradise with
India, the aim of true heroes from remotest times. But Extreme
Unction proper has an origin that will be considered fescenine and
outrageous by most. However, the obscene context is merely a device
to disguise profound iniciatic secrets and to divert the inquisitive
profane.
In
Greek and Roman religion it was believed that the dead entering Hades
were led and guarded by Cerberus, the terrifying dog that was the
guardian of Hell. Cerberus would "greet" every incomer with
his enormous phallic tail, a disguise of his member. The dying were
then anointed in order to render the process less hurtful.
The
Greek-Roman belief derives from a similar one of the Egyptians.
According to this people, the dead, on their way to Amenti, had to
cross an immense lake or river which ringed the region. The only way
to do it was the barge of Kharun, the sinister ferryman of Hell.
Kharun is the same as the Greek Charon, the barger of the Styx, the
river that encircled Hades. He is also the same as Hermes and Anubis
in their sinister avatars, where they often assumed the canine form
that corresponds to that of Cerberus, the Guardian of Hell.
The
Styx is the same as the River Oceanus of Homer, the circular river of
Atlantis turned into Tartarus after its sinking. This is copied from
the Vaitarani or Asayana of Hindu legends, which far predate the
times of Homer. And Cerberus and Orthrus, the twin guardian dogs of
Hell, are also copied from the Sarameyas of Vedic India.
In
ancient belief, the lascivious Kharun (or Charon) would charge a dear
price for his services, the same one exacted by Cerberus, his canine
alias. In some traditions, this price was merely a coin, which would
be placed in the mouths of the dead. But the coin is merely an
euphemism for the true price exacted, as the word "coin" is
synonymous with the anal sphincter in fescenine usage. In this role,
Kharun impersonates the Egyptian Pharaoh as the Barger of (Sunken)
Paradise, that is, of Atlantis.
The
barger of Hell first appears in The Epic of Gilgamesh, as Urchanabi,
the Barger of Paradise, which the Sumero-Babylonians called Dilmun.
It is Urchanabi who takes Gilgamesh to Dilmun in his barge at what
price we know not. Gilgamesh is questing the Elixir of Life there,
but fails in his attempt, like so many other Heroes, for the task is
difficult.
In
a variant, Gilgamesh reaches the Gates of Paradise, where he is
stopped by the Scorpion-Men who guard its access. Gilgamesh is
admitted, again in an obscure way. The Scorpion-Men are the
archetypes of the Karibu or Cherubs that performed a similar task in
later variants of the myth. These Cherubs apparently charged the same
price from incomers, as the word for scorpion means "stinger",
"pricker", and has a phallic connotation.
In
reality, their myth allegorizes the crossing of the Pillars of
Hercules and Atlas. This crossing was a prerequisite for reaching
Paradise, as we show elsewhere. But it was forbidden, and all
trespassers caught in the attempt were summarily impaled by the
Phoenicians who guarded these Straits.
In
another context, the practice of anointing has also to do with the
rituals of Initiation in several traditions. In many initiatic
rituals the hierophant will exact from the neophytes the same high
price we have been discussing. This practice is standard in many
primitive religions, and was also very widespread in the ancient
world.
The
Greek philosophers would ordinarily demand it from their disciples,
and their banquets — named symposia, or "lying together"
— were truly communal orgies were the pupils had to yield to their
masters in public. For that purpose, the disciples were properly
anointed, as in other rituals of Initiation. As we see, ritual
anointing has always to do with the disclosure to the initiatic
secrets concerning Paradise and its whereabouts, as well as admission
to immortality.
In
an entirely different context, there is another traditional reason
for the anointing in the Extreme Unction. Again it is connected with
Paradise and related traditions. In India the Gonds and the Khonds,
among other primitive tribes, used to sacrifice human victims until
rather recently. These victims were called meriahs, a word denoting
something like "scapegoat".
The
meriahs were sacrificed by burning, and their roasted bodies were
later eaten in a ritual akin to that of Communion. Before the meriahs
were roasted alive, their bodies were carefully anointed as a
preparation for the ritual. The reasons for anointing were twofold.
First, it rendered their meat more proper for consumption. But the
anointing was also a gesture of mercy, as the victim caught fire, and
died a quick death, instead of being slowly roasted alive by the
bonfire.
But
there is also a third, secret reason for the ritual. Paradise —
particularly the Lemurian one — is usually associated with the idea
of abundance and fatness as a result of overeating. The queen of
Punt, the Egyptian Paradise, is usually represented as an enormously
fat woman. Likewise, the prehistoric Venuses of Neolithic times are
equally abundant of flesh. But this is no sign of disease, as many
think.
The
idea is again the same as above, being related to Paradise and
abundance. Indeed, the abundance of Paradise is brought about by its
volcano, whose cinders fertilize the soil and cause abundant rains
due to the altered atmospheric conditions. But the price is dear, as
it also brings death when it explodes, destroying everything in the
region.
So,
we see that the ritual of Extreme Unction is connected with
Paradisial traditions down from Neolithic times, at least. The idea
is that the dying are anointed for the same reason that were the
meriahs of the Gonds and Konds, in preparation for a return to
Paradise, where they would enjoy abundance and peace, but run the
risk of being burnt when it turns into a fiery hell. In other words,
the volcano fattens people with the fertility it brings about, but
later "fries" them in terrible conflagration when they
explode.
7)
Communion
We
reserved the Sacrament of Communion for the end because it is both
the most important, as well as the most telltale of all. Communion
commemorates the Lord's Last Supper. Better yet, it refers to the one
after his death, of the 153 fishes that he ate in communion with his
disciples. These fishes were netted by the disciples, under the
guidance of Jesus himself. Fishing with nets symbolizes the advent of
the Celestial Kingdom (cf. Mat. 13: 47: ff.).
Peter
("stone") plunging into the seas, is literally a
representation of the fall of the vajra that causes the Flood and
fills the seas with dead people. It is these corpses who become the
Eucharist (eu charis = "good meat" = manna) that the others
have to eat in order to survive in the devastated conditions of after
the Flood. This Eucharist is also the manna that the Israelites had
to eat in order to survive in the Sinai desert, during their exodus
from their destroyed Paradise.
The
comparison of the corpses which fill the seas like dead fishes is not
ours, but is traditional. It is specifically mentioned in Sumerian
The Epic of Gilgamesh, the first known account of the Flood. In
India, there is a clever inversion of the motif, and it is the Fish
(Matsya), who saves Manu, the archetype of the Biblical Noah. Even in
the Americas we find the myth of the Flood that drowns all persons
and turns them into fishes (i.e.; corpses eaten like fish or eaten by
fishes, and literally turned into fish flesh).
Communion
is ritual cannibalism, and was so practiced in deed and in symbol
essentially everywhere. It is still practiced in India (by the local
aboriginals), in Africa, in the Americas, in Oceania and even in
Europe, in certain rituals associated with black magic. Practices
such as head-hunting, scalping, lycanthropy, vampirism, nagualism,
omophagia and cruent sacrifices are all connected directly or
indirectly with cannibalism and ritual communion.
The
Jews, like so many peoples in distress — were forced into
committing cannibalism, as hinted by the Lamentations of Jeremiah
and, more literally, by the ritual consumption of manna (manas =
"human") during their wanderings in the Sinai desert. The
destroyed Jerusalem of Jeremiah and others is indeed Eden or Lemuria,
the destroyed Paradise which they were forced to abandon in the
primordial diaspora.
Christ
too is often likened to the fish or dolphin, the Ichtos by which he
is symbolized. So are Dionysos (the dolphin) and Skanda (the makara
or shishumara) and Vishnu (Matsya). The human victims consumed in
communion were often ground into flour and baked as a sort of cake.
Here we see the origin of the identification of bread (the Host) with
the body of the Lord. Fishes too were often ground into flour for
reasons of preservation, and were thus consumed in the ancient World,
for instance by the Ichthiophagi ("fish-eaters") of
Herodotus and others.
The
"Corn-Gods" of several nations were also identified with
fishes for the same reason. Atagartis, the Syrian goddess, was a
corn-goddess and a nagini ("fish-woman").The Nagas
("fishes") of Assam (India) practice head-hunting and
cannibalism even today. Dagon, the Semitic corn-god was a fish (dag =
"fish"). Many other examples could yet be mentioned.
Kama,
the Hindu love god is often identified to the makara or dolphin with
which he is usually associated. Kama is also an alias of Purusha,
sacrificed and cooked and consumed "himself to himself".
This expression can only imply cannibalism or the eating of humans by
humans. The practice has to do with the meriahs (or human
escape-goats) sacrificed and used as "corn" by the Gonds
and the Khonds.
Kukulkan,
the fiery, winged serpent of the Toltecs and Mayas, was both a
corn-god and a fish. He is all god of resurrection and reincarnation,
like Christ and Dionysos. The eating of Dionysos Zagreus by the
Titans and the stories concerning Zeus Lykaios ("Werewolf")
in Greece also embody the idea of consuming the deity's flesh in holy
communion. Likewise, the Bersekers of Odin and the werewolves who ate
Zoroaster's corpse also belong to the same motif.
The
"gods" embody the paideuma of the manes (or ancestors),
killed by the Flood, whose corpses were eaten by the few survivors,
who had no alternative for preserving their lives. This practice is
far more frequent than is usually suspected, and there are innumerous
reported cases of such happenings even among civilized people. For
instance, the Spanish Conquistadores often ate Indians during their
long expeditions in the wilderness of the Americas.
The
fish (Matsya) who saved Manu, the ancestor for all humans, during the
Flood, is in all probability an allegory of the Eucharist. So is
Leviathan, the giant fish or seamonster of the Bible. At Doom,
Leviathan is killed and his dead body serves as food for the
survivors in the great banquet of Armaggedon. Yu-kiang is the Chinese
counterpart of Kukulkan, being a sea-god represented as either a
flying dragon, a fish, or a human. He too became a sort of Eucharist.
So did, at least ritually, Amerindian "corn-gods" such as
Kukulkan and Quetzalcoatl.
It
is a feature of Revelation, and indeed, most eschatological
disclosures that the vultures and wolves feast on the flesh of the
kings and warriors killed in combat, as we discuss elsewhere. This
motif first appears in the Kumarasambhava of Kalidasha, from which
The Book of Revelation was probably copied by John or whoever wrote
under that name.
In
similar myths, the dead who serve as food (or Eucharist) are
represented by the huge boar consumed in Valhalla by the warriors of
Odin; by the serpent Leviathan or Lothan (a sort of dolphin
representing the makara) eaten in a banquet by the guests; etc.. A
similar allegory shows Purusha, the Primordial Man, generating all
men from his sacrificed remains. In a reversal of the motif, the Hero
is eaten by the fish or dragon or some other monster. Such is the
case of Jonah, eaten by the whale, and of the similar relations of
the Kalevala and other sources.
In
Psalm 22 — a remarkably detailed prophecy of Christ's crucifixion
that discloses its true symbolic meaning — the Faithful Servant is
apparently devoured by the wicked men that behave as ravening dogs
and lions ready to devour him. The Faithful Servant of Psalm 22 is an
archetypal Christ consumed in communion at the Great Assembly (of
Armaggedon).
This
intriguing psalm tells how both the fat and the meek of the earth
"shall eat and worship until they are satisfied". Theirs is
the Messianic Banquet that takes place at Doom. And it may well be
that the Resurrection of the Dead associated with it ultimately
refers to ritual cannibalism.
This
originated from the universal practice of thus insuring the survival
of the deceased relatives, a practice adopted by many primitives,
even today. This is also implied by the garbled final lines of the
remarkable Psalm in question, which should, perhaps, be thus
understood, as the following passage attests:
I
will honor Thy name in the Great Assembly,
And
fulfill my vow before those who fear Thee.
The
humble shall eat and be satisfied...
And
I will live forever within their hearts...
All
the fat upon the earth shall eat and worship.
And
the buried in the grave shall bow before him.
And
my spirit shall live forever within them...
In
other words, the events described in the psalm exactly prefigure, by
one thousand years, those enacted by Christ. They have been
disfigured, in order to preserve the secret that the life of Christ
is pure allegory. In the psalm, the dispirited Faithful Servant
suddenly takes heart, and consents in his sacrifice, after he is
assured by Jahveh that he will survive in spirit inside the hearts of
the worshippers who are about to devour him.
True
or not, that is precisely what the worshipping Christians affirm when
they take communion: that Christ somehow enters, in flesh and in
blood, inside their hearts. Interestingly enough this was precisely
the creed of the worshippers of Dionysos Zagreus and, even more
literally, of those of Purusha, in India.
Purusha
was believed to survive in the hearts of his worshipers. Indeed, the
heart is called Purusha-pura (or "Purusha's fortress") in
Sanskrit, because Purusha is believed to reside there. Impossible not
to see that the Christian doctrines concerning Communion derives from
these Hindu archetypes, which date from Vedic times.
The
sacrifice of Purusha and the roasting and eating of Zagreus by the
Titans closely replicate that of the Faithful Servant of Psalm 22 and
his eating by the circumstants. Such human sacrifices closely evoke
that of the meriahs in India, and also, the ashvameda (or horse
sacrifice of the Hindus), where the victim was first anointed with
grease or butter (christos) and then roasted and eaten communially,
as we commented above.
Dadhyanch
— an alias of Purusha as the Primordial Sacrifice — has a name
that can most aptly be interpreted as "giver of fat".
Dadhyanch gave his own bones and flesh for the fashioning of the
vajra and the imprisonment of the Fiery Mare that survives deep down
inside the waters of the Ocean. Again we have here another archetypal
Communion in allegorized form.
The
institution of the Eucharist in Luke (22:15-20) is indeed strange, as
the prophet speaks of two chalices. The problem is serious, and has
been much debated, without success. Apparently, Christ was
celebrating two different covenants (or "communions"). One
was that of the traditional Paschal Lamb, and the other that of
himself as the new Paschal Lamb.
This
duality is also implied by the twin Rivers of Life that flow from the
thrones of the Lamb and of Jahveh in Revelation 22. These two sacred
"thrones" are the "pillars" (or Polar Mountains)
which are also the Holy Grails represented as Mt. Meru. This Holy
Mountain is also dual (the Sumeru and the Kumeru) and is hollowed at
the summit, where it holds a lake (Manasa), as if it were indeed some
type of grail.
The
twin Trees of Life and Knowledge are the Jambu Tree of India, which
is also dual. This last is composed of two inverted trees, the
ashvatta or pipal and the bodhi tree or holy fig (Ficus Indica and
Ficus Religiosa), which grow, one downwards from the top of the
other. The Sacred Oak of the Druids was also dual, with the mistletoe
growing downwards from its top. So was also the Babylonian Tree of
Life, which is often represented as a composite tree resembling a
grapevine coiled around a palm tree.
The
twin Grails of Luke's Eucharist also correspond to the twin Cherubs
who are the Guardians of the Tree of Life, to the two Pillars of
Hercules, to Jachin and Boaz, to the twins Ashvins, etc.. And, of
course, they closely relate to the two sunken continents of Atlantis
and Lemuria, which is what they indeed represent. More exactly they
represent the craters of the local volcanoes, full either of water
(when quiescent) or of fiery magma (when erupting).
The
Paschal supper consisted not really of bread, but of lamb. We have
here the identity "bread" = "flesh" encountered
in the name of Bethlehem (beith lehem = "house of flesh (or
bread)"). The manner by which the bread and the wine constitute
the flesh and blood of Christ is an inscrutable mystery, as declared
by the Church. Nevertheless, the dualism implied is obvious, and
refers to the two covenants mentioned above.
Theologians
have never understood the manner in which Christ is present in the
Eucharist. And they never will, unless they open their eyes to
speculations such as ours, based on the logic of Comparative
Religion. Purely spiritual interpretations will never do, if we are
to believe that Christ was an actual human being. And allegations
that the subject is a "mystery" is merely a way of eluding
the importune questions.
The
Eucharist is the Messianic Banquet allegorized by the Last Supper,
either in deed or in fancy. And this Banquet took place at the dawn
of humanity, just after the Flood that wiped out Atlantis, decimating
its inhabitants. The few, bewildered survivors could only save
themselves by scavenging the carcasses of their beloved dead,
precisely as described in the Lamentations of Jeremiah.
We
all participated in this gloomy Banquet, not really the last — for
Time became inverted thenceforth — but really, the First Supper of
the present humanity. Yes, we were all present there, not in spirit
only, but in the flesh and blood of our ancestors. They are, indeed,
the "matrix" or soul that animates this mass of inert
matter we call "body".
It
was only this supreme effort for survival that possibilitated the
perpetuation of Mankind. This was indeed the Sacrifice performed by
Noah, by Utnapishtin and by Manu Vaishvasvata, as soon as they land
their arks. The smoke that attracted the gods, and so pleased them,
was that of the roasted human carrion that the Noahs and their people
were forced to eat, in order to survive and continue the human saga.
True
miracles are hard to come by. Perhaps, by this supreme sacrifice,
humanity was allowed to survive when so many highly qualified beasts
such as the mammoths and the saber-toothed tigers became utterly
extinct. It is precisely this fact that Jesus emphasizes in the
passage of John where he institutes Communion:
It
is the spirit that vivifies,
The
flesh is of no worth.
The
words which I spoke to you,
They
are the Spirit and they are Life.
If
we really think about these remarkable words, we realize that Jesus
was absolutely right. Flesh is matter, and matter is dead. What
matters is this tiny spark of the primordial Purusha that survives in
each of us, indeed, inside each of our cells.
This
spark is the Eternal Fire which has been burning incessantly since
the dawn of Mankind. Man proper is only the Word or Logos, this
bright spark of God that renders us a little more than the brute
beasts on whose flesh we prey. It is word that establishes the Golden
Link, the Sutratma (or Soul Thread) of Tradition that has been passed
from mouth to ear from one generation to the next, ever since the
dawn of time.
And
what is that ineffable secret of the mysteries that has never been
betrayed and that only belongs to the superior humans who guide us
all in the crossing of the wilderness? The fact that we eat human
flesh when condition are forcing enough? Truly, this is indeed a sad
reality but not crucial enough for the importance of the matter.
The
reality is possibly far more frightening. Perhaps it is the one that
gods do not truly exist at all, and that we are utterly alone to
steer this beautiful spaceship Earth towards nowhere. Evolution is
merely a fiction, and we do not progress at all, but are forever
bound in an endless samsara that can only be ended by collective
extinction
Rationality
too, is only a mythical belief, and we reason solely based on the
archetypes brainwashed into our minds by our parents and ancestors.
We imitate our parents like apes, mimicking their rites and deeds and
motives and petty ideals in a vicious circle. Gods and religion are,
perhaps, fictions, ghosts invented for recreational purposes by our
forefathers, in order to provide a motivation for the masses, and to
act both as an opiate and as internal, ever-watching policemen.
But
this gloomy picture of the human condition is merely the nightmare of
those who deny that Man is far more than our mortal sackles. Man has
both a soul and a spirit imparted us from our dawn in Paradise. Soul,
feminine and wiser, is Mahavidya (or Great Wisdom), the divine spark,
the atom of Lemurian Atlantis that survived the cataclysm that
devastated this paradisial region.
And
Spirit is Purusha, the spark perhaps divine, perhaps demonic that we
got from our ancestors in the second Paradise, that of Atlantis
proper. It is these two sparks that our ancestors ingested in
Paradise, the flesh and blood of their sisters and brothers, their
parents, their children killed in the terrible cataclysm. "Do
this in memory of me", they say, the two Great Gods who indeed
represent Atlantis and Lemuria. And we, poor bastards, altogether
forgot the purpose of the ritual.
