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|the horse sacrifice|
Om! Blessed be the
With its horns and members.
Om! Tie it to the somber pillar,
That sunders Life from Death
Om! Tie this animal very well,
For it represents the universe.
Markandeya Purana (91:32)
[Obs.: We suggest that the readers unused to Hindu sacred terms, consult the excellent: Glossary of Sanskrit Terms, or others they can find on themselves. We also suggest that, when searching the sites linked to here and elsewhere, the Search Box be used as a matter of expediency, as the articles are often longish, though always extremely interesting. A good introduction to most Hindu-Buddhic concepts is often given in the Theosophical Glossary, though we seldom spouse their farfetched connections. Likewise, we have no links, commercial or otherwise, with the sites linked to, including Amazon Books, for we do not want to turn our site into a commercial enterprise of sorts. The readers should also search the Internet on their own (AltaVista, etc.) on any terms or concepts which may be beyond their heads. All learning is somewhat slow and painful. But this one is certainly worth the pain. Know the truth, and the Truth shall make you free. It is not our fault that myths are so confusing and obscure. After all, they were meant to be read by all, profanes included, but understood only by the true Initiates. The readers should also realize that truth, like petroleum, is where you find it, rather than in the voice of authority, religious, political or academic.]
In Vedic India, the greatest of sacrifices was the Ashvamedha (or Horse Sacrifice). Kings spent fortunes in the elaborate rituals, which sometimes required hundreds of officiating priests and lasted for several weeks at a time. The sacrifice of the horse was often associated with the sacrifice of the goat, as we discuss further below. Both these sacrifices were often associated with Tantric practices, and even today this ritual is often accompanied by the goat sacrifice. In fact the horse sacrifice was a fertility ritual, as it entailed the mating of the queen with the sacrificed horse and had, moreover, connections with the renovation of the cosmos this type of ritual usually represents.
[FOOTNOTE: These connections are well attested in the Vedas and other sacred texts from India. Cf., for instance, the sites linked above and here for the sexual connections of the horse sacrifice in the Rig Veda. Interestingly enough, the Hindu ritual had its exact counterpart though in a reversed sense with the Irish ritual of enthronement, where the king ritually coupled with a mare that was then sacrificed and cooked, being then eaten in a communal meal. The Irish, as all Indo-Europeans, had deep esoteric connections with horses which apparently derive directly from Vedic India itself. In particular, the Irish ritual of enthronement of the new king and the mating with the mare it involved apparently derives from the Vedic myth of Saranyu and Vivasvat, who couple in equine shape, breeding of the Ashvin Twins. So in the Irish myth, where Maccha gives birth to twins under quite similar conditions. The Ashvin Twins are extremely important in Hindu myths, as they are responsible for Creation in essentially all its aspects.]
The objective of the present essay is to discuss the esoteric meaning of these strange rituals, which date from Vedic times in India, whence they passed to the rest of the world. Hindu myths are particularly profound and, hence, extremely difficult to penetrate in their esoteric contents. This is due to the fact that the holy tongues in which they were originally composed mainly Sanskrit and Dravida are polysemic languages, where words may have several entirely different meanings, depending on the context. So, they often mean different things for different readers.
Myths, symbols and rituals work at several different levels, often simultaneously. As the Hindus say, they function according to the 48 Fundamental Sciences: Philosophy, Metaphysics, Ethics, Theology, Religion, History, Geography, Astronomy, Astrology, etc.. In other words, myths work not according to so-called Aristotelian logic, but should be interpreted according to "fuzzy logic", where concepts and ideas are somewhat diffuse and vague, as in Quantum Mechanics and other such statistical sciences.
We Westerners are not used to this kind of logic, in contrast to the ancients and to the Orientals, and the Hindus in particular. Our difficulty in understanding myths and their hidden truths derives above all from the essence of our monosemic tongues, which accustom our minds to reason linearly, and to interpret things literally, rather than "diffusely".
We hope that the present essay will shed some light on the way myths work, in order to convey the important revelations concerning Atlantis they often embody. The story of Atlantis is never told in detail, as actual history. The only known exception is Plato who, as is well known, violated the basic rule having to do with the secret of the Mysteries, which prevented them from ever being disclosed to the profanes except as myth, metaphor, parable, enigma, and so on.
and Plato was, precisely for that reason, accused of "impiety" and had to flee Greece in order to escape trial, just as was the case of his master, Socrates, who was condemned to death for the same reason. The story of Atlantis can only be told under the disguise of myths such as those of the Evangels and the religious symbols and rituals of all nations, or in the initiatic sagas and romances or, conversely, in the trivial anecdotes, fables and fairy tales that came to us from antiquity.
The Hindus who composed the ancient myths which later diffused to the other nations of the world never speak of these things, except to the Initiates, being bound by a most sacred oath that has never been violated. So, we must all learn to understand their sacred myths through our own effort if we indeed want to understand the secrets of humanity's past and, perhaps, the future as well. Hindu mythology is by far the richest one of all. So is the Buddhist one, which directly derived from it.
The Hindus and the Buddhists have literally hundreds and perhaps even thousands of holy books encompassing initiatic novels such as the Ramayana and the Mahabharata, sacred hymnaries such as the Vedas, collections of myths and traditions such as the Puranas, ponderous treatises on all 48 sciences, and even apparently profane tales and fabularies such as the Jatakas and the Pancha Tantra.
Most of these books date from remotest epochs, and often embody a highly advanced, though often very difficult mode of expression, given that they are addressed to the initiate, rather than the profanes or the public in general. It is our impression that much of this traditional material derives directly from Atlantis itself, having been preserved in oral form, and having been written and rewritten or retold over and over again. This wisdom of the ancient Atlanteans is ours for free, as a heritage, if only we have the moral fortitude required to rescue it from within the often foolish myths and arcanes where it is has been hidden for so many millennia.
We well realize that a wide, sweeping generalization such as this one may seem brash and vaunted to most. But it is the result of over two decades of unswerving dedication to the research of Atlantis. And this quest has been undertaken in all its aspects, and through all of the 48 Traditional Sciences, exact or not, plus most other modern ones, arcane or conventional. During this research we developed the technique of properly interpreting myths, symbols and rites as a coded, highly specialized language conveying the message of the ancients to us, their offspring.
We note that, though non-canonical, our research methodology is thoroughly rigorous and has nothing to do with the one of those interested more in making a fast buck than in finding truth. It is the result of many years of training as a professional scientist of the ordinary academic kind who had the luck to discern the glitter of Truth flashing in the mud of the beliefs, rituals and traditions that most of us endlessly repeat as apes, merely because we are trained to do so and to believe so by our elders and our masters, since our earliest infancy, so as to get indelibly imprinted in our young minds.
It is interesting to note that Science has now replaced the Holy Inquisition in the role of guardian of Truth and the status quo that so interests the bankers and the politicians who control the Academia, the Church and the Media, often occultly. Much as many people confuse the Church with Religion, most people confuse the Academias with Science itself. In fact, these professionals merely appropriated these institutions for themselves, and use them for these inconfessable, though only too real base purposes. They dub of "unscientific" anyone who comes to different conclusions than their, even though using the same formidable machinery that Science has developed along the centuries, in contrast to Religion itself.
Such is precisely the case here. Having come to the conclusion that there is something amiss with the current theories on human prehistory, we started to investigate the cause for that. Moreover, we also noted that there was a great coherence in the myths, rites, symbols and beliefs of all peoples, despite the fact that the current scientific theories and doctrines on our past preach that they all developed in essential isolation from each other.
So, we followed the advice of René Descartes the true founder of the modern scientific method and decided to start ab ovo, that is, from the very start, from "scratch". And our find was far more encompassing than we ourselves would ever believe. We found that there was indeed a former civilization which we name Atlantis, as our ancestors did, or Eden, if you will. And this great former nation created all or most things we now associate with civilization itself: agriculture, city life, religion, science, metallurgy, philosophy, art, and so on.
and, above all, these ancients created Mythology and Religion, where they encoded the important messages moral or not, and very often only apparently immoral which they wanted to transmit to us over the huge gap of the millennia that intervened since then. Such is the reason why it is so important to decode this message from under the veil where it is hidden. Perhaps, what they had in mind was preventing us, their children, from committing the same mistakes that led to their doom, the Fall of Man, the one of Lucifer himself.
This is indeed the reason why I so insist in interpreting myths, and in removing the blinders that have been posed over our eyes by the powers that be. In other words, it is high time for us all to stop practicing Religion blindly, as apes, endlessly repeating rites and gestures which we leant form our elders, and which indeed mean nothing at all in themselves. Our holy books are all sheer pseudo-history intended to create an aura of reality for stories that endlessly pass from one hero to the next, along the aeons.
It is high time for us all to grow up, and stop believing in Santa Claus, and that God as some sort of his adult counterpart will ever deliver us Salvation in a salver, and lead us into a Celestial Paradise that indeed never was. Our forefathers were neither Ufonauts nor Angels, nor Gods, as some will have us believe, while relieving us of our money. Neither were they the savages most people think they were. Our ancestors were humans like ourselves, only more enlightened, more intelligent and more dedicated to the quest of Truth, rather than merely of Comfort itself. And they developed a masterful civilization and a culture which can teach us a lot of stuff crucial for human survival as a species.
The Science of Symbolism is, though mainly lost, indeed an exact one. More or less like Mathematics, Geometry, Physics, and so on. And this includes religious symbolism, alchemical symbolism, astrological symbolism, mythology, and so on, both figurative and oral. Symbols are created according to strict rules, based on a strict logic, much as they are in Physics and in Mathematics. Of course there are those who misinterpret or misuses sacred symbols, much as many often misuse Religion and even Science for purposes of far lower standards than the lofty ones for which they were devised by their early practitioners.
the cosmogonic hierogamy
The passage of the Markandeya Purana quoted in the above epigraph, discloses the secret relationship of the horse with the cosmos. The sacrifice of the animal represents that of the Universe, that is, the one of Atlantis itself. And the association with Tantric practices is symbolic of the Cosmogonic Hierogamy, another image of the Primordial Sacrifice of the World. Tantra with its emphasis on sex is far more than the ritualized orgy that Westerners associate with this peculiar form of worship. In some earlier literature, for instance in the Vedas, the horse is often likened to Purusha, the Cosmic Man who was the alias and archetype of Adam, the primordial man. As such, Purusha is also the archetype of Christ himself.
Tantric practices are a ritual enactment of the Cosmogonic Hierogamy. Far more than a fertility ritual, such hierogamies are a symbolic representation of the dissolution of the World in the Marriage of Fire and Water, the two incongruous principles. The maithuna the mystic union of the worshippers is not an invention of modern Tantrism. The ritual dates back to Vedic times and probably to pre-Vedic, Dravidian epochs. Indeed, Tantrism is spurned by the Aryan castes in India, and is only popular in Southern India, where the Dravidian races prevail.
the ritual mating of the king and the whore
However, the Vedic cults often tolerated an erotic union, though disguisedly. As related by the Taitiriya Samhita (V:5:9) and by the Apastamba Shrauta Sutra (21:17:18, etc.), in certain Vedic rituals a young brahman priest mated with a pumchali (hierodule) hidden inside the altar of the temple.
The ritual closely recalls the one celebrated in Sumer and Babylon on the occasion of the New Year Festival (Akitu). In this ritual, the king would ritually mate with a sacred prostitute (hierodule) inside a shrine on top of the ziggurat. This building, a sort of stepped pyramid, represented the Cosmic Mountain, itself a replica of the Cosmos. Hence, the couple united inside the temple or the altar represented the Primordial Couple buried inside the Cosmic Mountain, in Paradise.
[FOOTNOTE: The Greek word kosmos is related to "cosmetics". It means "the beautified earth", and refers to the land which has been tamed and cultivated, in contrast to the wilderness of forests, deserts and marshes. The idea is more or less related to that of the oikumene, the inhabited world of the Greeks, as contrasted to the one inhabited by barbarians and savages. As such, the Kosmos contrasted which the Khaos (or "Disorder"), its antithesis. In a more specialized sense the word refers to Paradise as the primeval land first tamed by humans, and turned into a veritable garden. At a highly esoteric level, the Kosmos corresponded to Atlantis as the true site of the Garden of Eden or rather, the one of the Hesperides, which is how the Greeks named the place.
The word khaos is related to khasma, meaning "chasm". And this is indeed the Khasma Mega of Hesiod, or the Vadava-mukha of Hindu traditions, the "great abyss" into which Atlantis was turned when it was destroyed by the volcanism which created the enormous volcanic caldera where Atlantis sunk down, disappearing for good. We note that in Hesiod's passage just linked, the Khasma Mega is rendered as "great gulf". Though this translation is in principle acceptable, the real meaning of the word khasma mega (or chasma meg') is the one I just gave, the Greek radix khas literally meaning "chasm", "chaos", that is, a great rift on earth's surface. Hesiod is being purposefully obscure and equivocal, as is usually the case when matters such as those concerning Atlantis are treated.]
and this ritual in turn symbolizes the divine mating called maithuna (or yabh-yun) by the Hindus, the mating of Shiva and Shakti said to occur in Hell, and to last eternally. In fact, this strange union of the Primordial Couple represents the Cosmogonic Hierogamy, the mystic union of Fire and Water which united forces in order to destroy the world in the Flood. This mystic union is endlessly represented in Hindu mandalas and its mystic meaning, though never revealed, is indeed the one just mentioned. It is also the union endlessly represented in alchemical symbolism as the one of the Sun and the Moon, that of the Primordial androgyne, the one of Mercury and Gold, and so on.
According to Tantric doctrine, the ultimate truth consists in the complete interpenetration of Shiva and Shakti. The two represent the very embodiment of the Male and the Female Principles. These two principles are also called Purusha and Prakriti, that is, Spirit and Matter. Small wonder then that the horse of the ashvamedha ritual was often substituted by a human victim, likened to Purusha himself. In Hindu symbolism, the interpenetration of Shiva and Shakti is often symbolically represented by the Vajravarahi Mandala, shown in Fig. I(a) below.
[2 FIGURES TO INSERT HERE: From: A. Roob, Alchemy and Mysticism, pg, 469 and 450, top: Fig. I(a) - Vajravarahi Mandala (Tibet, 19th. century); Fig. I(b) - The Mystic Union of the Sun and the Moon]
Vajravarahi, the "Diamond Sow" is indeed the same as Shakti, the consort of Shiva. But she also represents the Primordial Land (Paradise) destroyed by the vajra, that is, the "Celestial Thunderbolt", also called vajra. In the mandala, the upward-pointing triangle represents the linga (or phallus) whereas the downward-pointing triangle represents the yoni (or vagina). Interestingly enough, this symbol was adopted by Israel as its seal, the so-called Mogen-David.
In fact, the symbolism of the six-pointed star may represent many different things. At one level, it represents the two deities just mentioned. The two are indeed the twofold "facets" or avatars of Shiva himself, or of Shakti, his feminine counterpart, as both the Creator and the Dissolver. These two opposite aspects in turn stand for the two races of Atlantis, the Dravidas and the Aryo-Semites, then still together. The two principles also represent Fire (male) and Water (female), the two elements which united to destroy Paradise, perhaps as the result of the Great War between the two races.
At yet a further level, the two triangles represent the twin mountains of Paradise, Mt. Sumeru and Mt. Kumeru. These two mountains are place at the antipodes of each other, one in north India (Mt. Sumeru or Kailasa), the other one in Indonesia (the Mt. Krakatoa volcano),such being the reason why they are represented as the inverse (or mirror images) of each other. The Hindus equate this mystic union of Fire and Water to the Vadava-mukha, the Submarine Mare. This is in fact the Krakatoa Volcano, where in fact Fire (magma) combines with Water (sea water) in a very fragile equilibrium which becomes disrupted at Doomsday, in order to destroy the world, as described in our page on The True History of Atlantis.
The Meaning of the Mogen David
The mandala itself represents Paradise (Atlantis) encircled by its triple circular wall (or canal), precisely as described by Plato. The colored petals of the "lotus" around the mandala represent the flames of the volcanic fire mingled to the water of its seas, as described in our page on mandalas. This mandala is in fact a variant of the Kalachakra mandalas and the ones such as the Shri Yantra which we discuss there. In other words, it represents the process of creation emanating from the Center, from the site of Paradise Destroyed.
Interestingly enough, the six swastikas engraved at the six prongs of the star also represent the start of a new era of mankind, started by precisely the dissolution represented by the mandala itself. It is quite clear that both the Jews and the Nazis they were fighting well knew the hidden meaning of these dual symbols which they used so freely in their propaganda. Of course they never told anyone as I am doing now, as these things are secret, and the initiates are bound by an oath to which I am fortunately not fettered. In yet another interpretation, this mystic union of incongruous things represents the Millennium which the Nazis intended to bring about, in a very bungling way.
At the center of the mandala, we have two crossed vajras (dorjes). These again represent the two principles, Male and Female, exactly as they do in the Cross. These vajras also represent Fire and Water as the principles of the destruction they effected in Paradise. At the center of these we have Vajravarahi, the feminine, destructive shape of Shiva, dancing the end of the world. This is the terrific counterpart of the well-known figures of Shiva Nataraja, the Dance Lord. This "dance" represents the earthquakes caused by the giant volcanism, perhaps their most destructive aspect.
[Footnote: The earthquakes and the tsunamis they often cause provoke a wide-ranging destruction which extends far beyond the one of the volcanic fire itself. Actually, scientists are now highly concerned with the threat posed by supervolcanoes and megatsunamis which, though rare occurrences, definitely do happen once in a while, destroying the entire world. In Dravida, the words "dance" and "earthquake" are synonyms (tantu, tantavam, etc.). This word also gave the Skt. tandava, the name of the wild dance of Shiva Nataraja, which is in fact, the one of the giant earthquakes destroying the world, as all experts well know. And it is also the same radix as the one of tantra, meaning the waving motions typical of dancing, of the sex act, and of sewing. In Dravida, this base also means the same as "dissolution", "passing away", dying". In other words, the Great Death, that of the world's end and the start of a new era.]
In this mandala, she is represented dancing alone. In others she dances with Shiva, also in his terrible avatar as Rudra or as Kala, (the "Black One"), representing all-devouring time. What this means is that Atlantis had completed its allotted time, and had hence be destroyed, in order to open the way to the new era, the Holocene, which then started, some 11,600 years, precisely the date specified by Plato. All these coincidences are too many and too exact to be due to chance alone, as anyone can see, now that they have been pointed out in detail. We also note that the name of Vajravarahi, the Sow, also implies the idea of a whore like the ones involved in the ritual of the ashvamedha and its counterparts everywhere, including Egypt and Babylon, and even the distant Americas.
Around the central motif we have six further avatars of the Goddess: as Kali riding a yellow horse (like Death, in the Apocalypse), as Durga, riding a lion or tiger, and so on. The idea here is that the seven avatars represent the Seven Isles of the Blest, precisely the seven "Atlantic Islands" so often confused with then. These islands, which figured in most maps of the Age of Navigation, in fact represent the remains of sunken Atlantis, precisely the seven greater islands of Indonesia (Java, Sumatra, Borneo, Celebes, Philippines, New Guinea and the Malay Peninsula), as we argue elsewhere in detail.
[Insert link to my article on "Mythical Islands of the Atlantic"]
Turning now to Fig. I (b), the second of the figures shown above. This is a reproduction of an engraving in the Rosarium Philosophorum ("Rosary of the Philosophers (or Alchemists)"), published in 1550. It is entitled Opus Magnum: Conjunctio ("The Great Work: the Union"), and means the conjunctio oppositorum mentioned above. Here the King and the Queen are shown mating in their grave, under the earth. They are identified to the Sun and the Moon, and indeed symbolize the two Atlantises, Mother and Son. In other figures in the book and elsewhere they are represented as the androgyne or as Fire and Water or, yet, as Adam and Eve (mating) or as Gold being dissolved by Mercury.
The verses which accompany the figure in question deserve being quoted. The Sun says: "O Luna, surrounded by me / and sweet one made mine. / You became fine, / Strong and powerful as I am". And Moon responds: "O Sol, you are recognizable above all others. / You need me as the cock needs the hens". These verses parallel the ones of the correspondence between the Sun and the Moon or the ones of Isis and Horus mentioned in Egyptian alchemical treatises, and obviously date from extreme antiquity. The symbolism is the one discussed above, and the interested reader is directed to our works on Alchemy published elsewhere.
The Heb Sed and Related Egyptian Traditions of Paradise
Very likely, the Heb Sed festival of the Egyptians, as well as the initiatic ceremonies celebrated inside the Egyptian pyramids such as the one of King Zozer, were also ritual enactments of the Cosmogonic Hierogamy, the Sacred Marriage of the King and the Sacred Prostitute, the Hierodule of Bastit or of some other similar goddess, as we shall see further below. In fact, Zozer's stepped pyramid, perhaps the first true pyramid of Egypt, centered around the Heb Sed ritual itself, showing that this type of monument had to do with both the Holy Mountain and the death and rebirth of Atlantis, which is precisely what he Heb Sed ritual symbolized, much as we explain in our article on the Egyptian Temples.
Of course, the academic Egyptologists never dream of these initiatic connections, which they hotly reject, perhaps because they prefer mysteries to clarity. Moreover, they feel it is their duty to keep the aura that Egypt has among the public as the first ever of all civilizations on earth, believing that, in this way, tourism to Egypt will be in the increase. But the fact is that the ancient Egyptians regularly made naval expeditions to Punt, their primordial Paradise. Punt is also called Ta Netjer, "the Land of the Gods". But it was an actual place which could be visited, and indeed was as we just showed. In fact, Punt is no other than Indonesia, as we argue elsewhere in detail. Punt was also deemed to be the Isles of the Blest (Sekhet Aaru), much as in the other traditions everywhere.
The Egyptians believed just as did the Hindus and many other peoples as well that the cosmos had to be periodically destroyed and reborn in order to reacquire its vigor. This is the meaning of the Heb Sed festival, where the king had, after 30 years of reign, to kill a bull in a torada, much as did the kings of Atlantis, according to Plato. He also had to mate with a whore, as said above, in order to prove his sexual vigor, on which that of the whole community depended, at least in theory. So, the Heb Sed ritual was indeed the alias and counterpart of Tantric (or "fertility") rituals everywhere.
In fact, it is clear, from the produce of Punt things such as myrrh, electrum, gold, throwing sticks (boomerangs), incense, ebony and ivory, different types of wood, different exotic animals such as monkeys and leopards, etc. that the Land of the Gods was no other than Taprobane, that is, Indonesia, as we argue elsewhere in detail. The name of Punt derives from the Dravida, and closely corresponds to the one of Bandha (or Setubhanda = "Bridge"), even today the name of the place (Bantam). Though often confused with Sri Lanka, the true site of Taprobane which the ancient traditions so often equated to the otherworld, the antipodals and the site of Paradise was indeed no other than Indonesia itself, as we argue elsewhere in detail. [Link to my article: Taprobane, Sri Lanka or Sumatra]
In the ashvamedha, the wife of the officiating priest, or that of the king himself the mahishi simulated a ritual mating with the sacrificial horse. The mahishi (lit. "the Great Cow") represented the Earth, much as the horse symbolized the Sun. Indeed, she also stood for the queen as the Primordial Whore, just as her husband (the mahisha) was an alias of the Horse, the Sun, the Primordial Male (or buffalo). The couple also stood for Heaven and Earth and, more exactly, for Yama and Yami, the Primordial Couple of paradisial times. And Yama and Yami, king and queen of the netherworld, indeed stand for Kala and Shakti, which is herself Vajravarahi, the "Sow" (or "whore"). Varahi also literally represents the earth as well as "fertility". As such, she represents an alias of "the fertile earth", that of Paradise itself.1
After the horse sacrifice was performed, the mahisha mated with the mahishi. And so did the other four couples of priests among themselves. In this they represented the Four Guardians of the World (Lokapalas) and placed around the royal couple. The ritual enacted the destruction of the world (the deaths of the horse and the goat) due to the mystic union of Heaven and Earth (the union of the horse and the mahishi). But it also symbolized the rebirth of Nature, renewed by the drastic event (the union of the couples just after the sacrifice). In other variants which we already commented, the queen herself mated with the dead horse which, having been killed by strangling, normally had a stiff phallus, as is often the case in this type of death.
Interestingly enough, a similar ritual was performed in ancient Celtic Ireland. This ritual is closely related to the Vedic ashvamedha, as we already argued. In the occasion of his enthronement (a "renewal" of the world), the king would ritually mate with a mare, which was subsequently sacrificed. From its remains a broth was made, which was served communially to all. Clearly, the ritual is also an alias of that of Christian Mass and Communion, whose symbolism can also be traced back to the Vedic archetypes, the rituals of Soma preparation and of the ashvamedha.
the far oriental archetypes
In his remarkable study of the Mexican and the Cambodian pyramids (Stufen Pyramiden in Mexico and Kambodscha, Paideuma, VI (1958), 473-517), W. Mueller makes some important observations. To start with, the German archaeologist notes that these pyramids share several features which are also often observed everywhere these enigmatic monuments are found. These generally include:
With small differences, the Egyptian pyramids and, in particular the first one of them, that of King Zozer, also obeyed this type of paradigm. Mueller notes that this scheme corresponds to an ancient conception of the Cosmos, where the earth is considered an island or mountain rising from the primeval waters. So in Mexican pyramids, whose strange connections to Atlantis have been noted by some researchers such as Peter Tompkins or others such as Hartwig Hausdorf or James Furia, to name just a couple. These strange connections which include China, as well as Indonesia, and even the Americas as well are increasingly being mentioned in the media, including in connection with Edgar Cayce and his widely popularized prophecies.
Even researchers such as Graham Hancock, who formerly asserted that Atlantis lay under the ices of Antarctica as the result of Pole Shift, are fast shifting towards my theory of an Indonesian Atlantis sunk, instead, as the result of the end of the Pleistocene Ice Age. In fact, this is a far more palatable theory from a scientific point-of-view, given the fact that it conforms to geological reality and even to the more recent views of the specialists on the events that led to it.
I mention these connections not because I necessarily agree or disagree with these researchers, but because they show that the recent tendency has been towards a convergence, rather than an independence of cultures, as is still the textbook approach to the theme. In fact, my own theory on the construction of the Great Pyramid of Egypt is based not on mystery, but on the mastery of certain simple technologies which were obviously held in secrecy by the ancient Egyptians, for several reasons which we adduce in our article on the Great Pyramid's construction, published in KEMET, the highly reputed German journal on Egyptology.
Why Brides Wear White Dresses
In the Egyptian cosmogonic scheme the above features listed by W. Mueller correspond to the one of the Tatenen, the Primordial Hill rising out of the waters of the Nun, the Primordial Abyss. In the identical Hindu conceptions, this mountain is Mt. Meru, the Holy Mountain, rising from the waters of the Primeval Ocean. More exactly, as we discuss in detail elsewhere, this idealized model corresponds to the sacred geometry of Atlantis. It mainly derives from Hindu traditions, but is found in essentially all mythologies, both in the Old and in the New Worlds.
The close parallels between the Mexican pyramids on one side, and the Egyptian and the Cambodian pyramids on the other one though placed in regions almost antipodal in the world attest the universality and, hence, the extreme antiquity of the Atlantean paradigm. These close parallels along with the symbolic identity of all such monuments all over the world can only be the result of cultural diffusion, as they can be explained in no other way. Proposals such as the ones of Karl Jung and Mircea Eliade which attribute such identities to "archetypes" akin to Plato's eideias are scientifically no better than those of the ones of the Jesuits of the Conquest, which attributed them to devilish temptations.
However, such proposals are unacceptable, scientifically speaking. Hence, better alternatives have to be devised, if we are to stick to the scientific canons. And what else but diffusion? Even the "Collective Unconscious" invoked by Freud or by Velikovsky would require an archetypal event impressive enough to become forever imprinted in the human mind. And this is, of course, the same as granting the reality of the event the pyramids and their destruction symbolize: the volcanism that destroyed Paradise in the dawn of times. So, no matter what way we turn, we are inexorably led back to Atlantis, the true archetype of Paradise in all traditions.
[Footnote: According to the current scientific doctrines on human prehistory, the American civilizations got forever parted from the Old World ones ever since the closure of the Bering Passage (Beringia), on the Alaskan far north. This closure took place before or shortly after the end of the last Ice Age, some 11,600 years ago. Thus, if this type of cosmogony is indeed common to both hemispheres, it necessarily predates the end of the last Ice age, at about that date. Though the initial entry of the first Americans is currently being revised upwards, no academician worth mentioning contends the validity of the isolationist model, which is held consensually by all or most of them, either actively or passively. However, some specialists have recently contended that the Bering Passage was indeed blocked by the mile thick glaciers of Canada, rendering this crossing utterly impossible.
and they also add that the first Americans, as instanced by the Kennewick Man, may indeed have been Caucasoid Neandertals rather than Mongoloids. Other academic researchers, this time from Brazil, are now arguing that the very first American fossils found to date were indeed negroid Australoids which came in from Indonesia during the Ice Age. As is clear, the current scientific paradigm is fast changing, and is indeed in a shambles, as are most such theories we have been taught in school up to now. Perhaps a paradigmatic revolution is in the process of making. And perhaps the Internet has played a crucial role in that change, given that it bypasses the academic filters, and those of the media, allowing a direct communication between the "maverick" researchers and the public. In time, the majestic edifice built on sand will crumble, and will clear the air for a fresh start similar to those inaugurated by Shiva and Shakti.]
However, what interests us here is the connection between pyramids and the Cosmogonic Hierogamy. The reader interested in more details in this regards should read the magnificent book by my Argentianian friend, Prof. José Alvarez Lopez (El Enigma de las Piramides, Buenos Aires, 1978), who treats the matter more at depth. In the pyramid of Angkor there is, according to him, an inscription in Sanskrit, in the northwestern corner of its wall, which reads: "Angkor is the young bride of the King, who just took her home, blushing with desire, and dressed with the sea".
This beautiful poetic license is closely paralleled in the Book of Revelation (21:1-10), where the Celestial Jerusalem is described in similar terms, as "the Bride of the Lamb, ready and adorned for her husband". The Lamb is the the King (or Lord) of the City that is no other than the citadel of Atlantis itself. In fact, this quaint imagery is taken directly from the Ramayana, where it is applied to Lanka, about to be ravished by Rama and Hanumant. Moreover, the Celestial Jerusalem of Revelation is described in terms which closely parallels the description of Atlantis' capital, as done by Plato. And the "dressing with the sea" in a white dress of foam that is even today ritually worn by the brides is in reality an allegory of the Flood that engulfed the capital of Ravana's worldwide empire.
[Footnote: This comparison is not ours, but of Benjamin Jowett, the eminent translator of Plato's works. In a footnote to the Phaedo (110d), Jowett notes that Plato's ecstatic description of the netherworld closely parallels the one of Revelation, "especially 21:18ff", which is where John describes the Celestial Jerusalem as made of translucent gold and gemstones "bright as clear glass". Plato's description is highly obscure, and refers to the Khasma Mega (or "Huge Abyss") which links directly to Tartarus, and which is no other than the Vadava-mukha, as we have been arguing here and elsewhere. As we explain there, the white dress or veil indeed allegorizes the peplos of Hera.
So, the white dress of brides is indeed an ancient Pagan ritual which somehow passed into Christianity, though coming directly from the myth of Hera just mentioned. And, since Hera indeed represents the earth, her peplos symbolizes earth's covering during the Cosmogonic Hierogamy, as disclosed by Pherecydes of Syros and other ancient authorities. And this is in fact the white veil of cinders and pumice-stone which covered both the seas and the land of Atlantis at her destruction. This thick veil of cinders and pumice-stone is actually engendered by the giant volcanic caldera of the Krakatoa, alias Vadava-mukha or Khasma Mega. And this veil is also often allegorized as the Serpent Shesha, upon whose coiled body, Vishnu sleeps in the cosmic Ocean, while the cosmic night lasts, during the interval between successive Creations.]
The Celestial Jerusalem and the Resurrection of the Dead
Plato, in the above passage is referring an occult tradition in mythical language. And this tradition is precisely the one of Atlantis, which he would later disclose more fully and as reality in the Timaeus and the Critias. In other words, the descent of the Celestial Jerusalem from heaven is a mirror image of the rise of the eschatological Jerusalem from the waves, its true residence. These two complementary events are actually mentioned in Revelation, as can be seen in an attentive reading of the obscure passage. After all, this is to be expected, as the heavens mirror the terrestrial events and vice-versa, according to the well-known aphorism of Hermes Trismegistus ("as Above, so Below").
The descent of the Celestial Jerusalem from heaven may be purely mythical. Or it may perhaps refer, as some will, to the return of the Atlantean children from the stars, which they reached long ago, during their apogee. This could be a fact, according to certain traditions such as the ones of the Hindus and others. But we are not so sure on that. However, as all specialists well realize nowadays, the rise of Atlantis from the waves that of Sundaland itself, as we have been arguing for two decades now is fated to happen in an almost unavoidable way.
This has happened over and over again, along the geological past, as the Interglacial Periods come and go, every 100,00 years or so. In fact, since Interglacials last only about 10 to 12 thousand years, the present one is already overstretched, and may indeed end quite soon. But, as Shiva is wont to say, "don't fret, because it won't hurt that much". And the kind god is not being cynical, but realistic, as he needs to cleanse this world for the start of the next era that is forthcoming, perhaps sooner than expected.
No, we do not want to scare anyone. But I think that hiding these facts from the public, as the academicians and politicians do, is sheer cheating. It is playing the ostrich when it sees some danger approaching. In other words, the end of the present era is certain to come soon, in a most unavoidable way. And not from above (asteroids), but from below (volcanism). The Resurrection of the Dead is not indeed a Judeo-Christian doctrine or novelty, as it is embodied in essentially all ancient traditions which far predates the rise of these two religions. This is indeed the meaning of the doctrine of the Resurrection of the Dead, a very old gradation.
This tradition is reported, for instance by Plato, in his Statesman (268e), and in the Tarot, that magnificent mutus liber of the ancient Gypsy (Arcane no. 20, Judgement). And the Gypsy, as is now known, are Dravidas who emigrated out of India long ago, perhaps in Classical antiquity, as we argue in detail elsewhere. How the ancients knew these advanced geological realities which only now we are starting to uncover, and which are not even generally accepted by scientists, particularly of the Darwinian kind is something that should puzzle any honest person who stops to think the matter over.
and this is particularly the case as Plato affirms, quite bluntly, that "these cataclysms will happen over and over again" like a recurrent calamity. How could the ancients possibly know these events, which date from so long ago? All these facts bespeak of the Cosmogonic Hierogamy, of the reality of Atlantis' fate, and of its origin in the Far East, in the dawn of times. These images derive directly from the of the Ramayana, as can be seen by a close collation of these traditions everywhere. And these traditions on Doom and on the return of Paradise and the Golden Age exist both in the Old and in the New Worlds in nearly verbatim form.
One such is that of the Apapocuva Guaranis of Brazil, one which we comment in detail elsewhere. Since the meaning is precisely the same in all cases, and given that these Indians, as now held, became separated for good from the Old World, these highly esoteric traditions necessarily predate the end of the Ice age, some 11,600 years ago. And this can mean one thing: Atlantis, either as a diffuser or as the actual common source of the myth.
The Nagini as the Whore of Revelation
But the connections just given can be carried even further. As Mueller and Alvarez Lopez pointed out, the shrine on the top of the Angkor pyramid was used for a strange Tantric ceremony akin to the Cosmogonic Hierogamy celebrated in the holy of holies of the Egyptian pyramids and temples, and in those of Babylonian ziggurats: the ritual mating of the King and the Whore, the priestess of Bastit. In Angkor, the king mates with the hierodule, the sacred prostitute who impersons the Nagini. And the Nagini is indeed the female Naga, whose role we discuss further below in the present article.
The Nagini is also the fateful blonde of Hindu traditions, the very same "Goldilocks" that we also encounter in the Egyptian myths which we detail below and elsewhere. In Egyptian traditions too, the Whore is connected with the pyramids, for instance in the report of Herodotus concerning the whorish daughter of pharaoh Cheops, or in the one related by Diodorus Siculus and the Arab historians, who ascribe the third pyramid of Giza to Naukratis, to Rhodopis, or to other such courtesans of fair countenance.
[Footnote: Cf. J. Alvarez Lopez, op. cit., and R. T. Rundle-Clark, Myth and Symbol in Ancient Egypt (London, 1959, pg. 54-5). For Pherecydes, see Kirk and Otmer, The Presocratic Philosophers (London, 1958, pg. 82). On Rhodopis and her mentions by Herodotus and others see this link to Perseus Project. Rhodopis whose name means "rosy-cheeked" is indeed an allegory of Dawn, invariably called by this sort of epithet by Homer and others (rhododaktylos Eos = "rosy-fingered Aurora"). Dawn is invariably made an insatiable lover, just like Rhodopis. Even more exactly, Eos-Rhodopis personifies Indonesia (or Taprobane) as the Land of Dawn, as well as the vagina dentata so feared by males. She is also the Whore of Revelation (17:1), the mystic Babylon which is no other than Atlantis-Eden in her decayed state.
In fact, the epithet of "rosy" or "ruddy" derives more from the name of Taprobane (Tamraparna = "ruddy-limbed", in Skt.) than from the correlation with sunrise, as we argue in detail elsewhere. And her fame as a whorish lamia, who devours her lovers actually results from the myth of the "earth which devours its inhabitants" mentioned in Numbers (13:32; 16:30). It is no coincidence that these passages refer to the earth opening up "in a great chasm" to devour people, or that Plato too refers to "this great chasm, vastest of them all" which, as we saw above, is no other than the Vadava-mukha. This voracious abyss, here equated to earth's yoni is also the "voracious Charybdis" of Homer's Odyssey and Orpheus' Argonautica, as well as the Hesiodic Khasma Mega, which we already commented further above.]
All these are, as we just said, Tantric rituals similar to the heb sed and the akitu. They replicate the Cosmogonic Hierogamy, and thus insure the periodic renovation of the Cosmos, after the model of the archetypal one which occurred with Atlantis. Alvarez Lopez notes the essential structural, symbolic and ritual identity of the American pyramids found in Mexico, Guatemala, Salvador, Bolivia, and Peru, with the ones of Angkor and Egypt.
The great Argentinian researcher even remarks the unequivocal connection of the American pyramids with the Atlantean myth, which had already been noted by Russian archaeologists such as Jaguemeister and others. For instance, one should note that the Egyptian pyramids essentially use three colors of stones with remarkable regularity: the white limestone of Tura and Mokatan, the red granite of Aswan, and the black basalt of the Sinai and elsewhere.
Now, these three colors of stones, obtained at great pains and at great distances, are precisely the ones mentioned by Plato, as composing the walls and buildings of Atlantis. We could believe in a coincidence were it not for the fact that the pyramids of Mexico are also built with these three colors of stones: red, white and black, precisely as in Atlantis. Very obviously, those colors had a ritual significance, probably related to the three races of Mankind, which also have similar colors. Anyone who visits these places, as we have done, will not fail to realize that fact, since it is so obvious.
In fact, the Mexicans often used a fourth color, yellow stones, completing the four colors of the human races. And so do the Egyptians, for that matter. Again, as usual, this motif is Hindu in origin, the four colors being the four varnas ("castes", "colors") of the Hindus and, indeed, of the Egyptians as well. These four colors are precisely the ones of the four human races: whites, yellows, reds and blacks.
All four are represented in the iconographies of the ancient Egyptians and, far more symbolically, in the ones of the Amerindians, who divide the world according to its four corners (or continents), colored precisely thus, as shown on our article on the Holy Mountain of the Navajo Indians. Now, to believe that this series of coincidences, and a myriad others we have been pointing out here and elsewhere can be ascribed to chance borders the irrational. So, what other conclusion can we reach but that of prehistoric contacts and of an Atlantean influence when we consider matters such as the ones argued above in detail?
father sky and mother earth
Far more than a fertility cult based on sympathetic magic, such rituals reenacted the destruction of the world in the Primordial Sacrifice. The mystic mating of King and the Whore or that of the Celestial Horse with the Cow-Mother represents the union of Father Sky and Mother Earth. This union, the Egyptians inverted into that of Mother Sky (Nut) and Father Earth (Geb), an operation permissible according to the "fuzzy logic" of myths.
This ritual mating is the same one as that described by Hesiod in his Theogony (155f.). The Greek bard tells how, in the beginning, Ouranos (the sky) detested his children. He oppressed them, leaving them no breathing space as he clung closely to his wife, Gaia (the Earth). His children were kept in the dark, somber recesses of the Earth until Kronos, helped by his mother, castrated and deposed his father, Ouranos, freeing them all.
The castrated phallus of Ouranos, thrown down into the Ocean by Kronos, became the Primordial Land. From the froth and blood it spilled in the waters, was born Aphrodite ("born of the scum (or seafroth)"). The words of Hesiod are worth quoting:
Inside herself, she posted Kronos, waylaid.
His father's genitals he grabbed with the left hand,
and with the right, the sickle sharp and toothed.
He cut the penis off, and threw it over his back,
Down into the sea, where it floated for long.
From the immortal spoils a white froth arose
and from it a girl was born most beautiful...
Her name Aphrodite, for from the froth she rose.
did hesiod invent his cosmogony?
Hesiod was not inventing this strange Cosmogony which has a typical Oriental
r.In a Hittite myth dating from the second millennium BC, a similar story is told. In the Hittite myth, Anu, the Sky God, is castrated and deposed by Kumarbi, who bites off and swallows his phallus. Kumarbi becomes pregnant, and later "spits" the Tempest God, Ullikumi. In time, the Tempest God, helped by the deposed Anu, defeats and ousts Kumarbi, becoming the new Sky God.
Even more closely, however, we have the myth of Shri also called Lakshmi being born from the froth engendered by the churning of the Ocean of Milk during the dispute of the gods and the devils for the Elixir. This Hindu myth is, as we argue in detail elsewhere, indeed an allegory of the destruction of Atlantis during the war of the two parties just mentioned, and who are indeed the two races of Atlantis, the Dravidas and the Aryans.
[FOOTNOTE: This dispute (or war) of the devas and asuras (gods and devils) is famous in Hindu myths, and figures in several passages of Hindu books such as the Mahabharata (ch. 17-19). Heinrich Zimmer has made a magnificent commentary of this profound myth of the Churning of the Ocean of Milk which he correctly interprets as a mythified account of the end of the world in his Maya, der Indische Mythos (Insel Verlag, Berlin, 1978). During this churning, the goddess Shri-Lakshmi rises from the waves and the froth or scum which covered them. This "froth" or "scum" is, once again, the same as the "mud" (ilus, pelos), which covered the seas of Atlantis, rendering them "innavigable", according to Plato's relation. We also note that, as we comment elsewhere, the "blue lotus" of Shri is indeed an allegory of the volcanic plume of smoke of the giant volcanism which destroyed Atlantis. This "lotus" is also the same as the Golden Flower of the I-Ching and as the deadly "Tree of Wisdom" which only too late imparted wisdom to Atlas and his peers.]
The Hittite myth is clearly related with the Greek myths concerning the sequential castrations and deposals of Ouranos by Kronos and of Kronos by Zeus. The "stone" swallowed by Kronos is a betyl. This stone is visibly the same as a linga or omphalos, itself identical to the phallus swallowed by Kumarbi. But both the Greek and the Hittite myths ultimately derive from Hindu myths, as we show in detail elsewhere. In the Rig Veda, Indra castrates and deposes his father Vritra, certainly from inside his mother's vagina, where he was forced to live. The myth of sequential castrations and deposals were also recurrent in ancient India. Vritra is castrated by Indra, who is in turn castrated by his own son, and so on. Likewise, Brahma is castrated by Shiva, his son, who is in his own turn castrated, becoming the linga.
Varuna the archetype of Ouranos as the sky-god is also castrated and thrown down into the Ocean, phallus and all. In this decayed state, Varuna became the lord of the ocean, the same as Apam Napat, "the Child of the Waters" Varuna is an archetype of Poseidon, and it is likely that Poseidon was the earlier sky god defeated and deposed by Zeus, his dual and elder and enemy. The Vedic myths are unclear, as they are known only from the highly obscure Vedic hymns. But later literature is ample, and these sources detail the earlier Vedic forms. It is clear that the ashvamedha and the ritual Tantric matings relate to these early variants of the myth, and that they symbolize the very same Cosmogonic events which are indeed no other than the tragic destruction of Paradise, of Atlantis-Eden.
[FOTNOTE: As we argue in detail elsewhere, Varuna is in every detail the alias and archetype of Poseidon-Neptune, the oceanic gods of the Greeks and the Romans. In fact, Varuna is Aurva, a personification of the fearful Vadava-mukha, the actual source of the earthquakes of which the god is said to be the lord. Poseidon is both the builder and creator of Atlantis, which he founded. He is also its destroyer, when he became disgusted with the disobedience of its inhabitants.]
poseidon-neptune indeed a hindu god
The names of both Poseidon and Neptune have no true etymology in the languages of the Greeks and the Romans, a fact that shows their foreign origins. The name of Neptune in fact derives from an inversion of Apam Napat > Napat Apam > Napat-Am > Neptun(us). Such is in fact the Dravidian form, from which the Sanskrit one originally derived. Likewise, the name of Poseidon, according to several specialists such as Junito Brandão (Mythico-Etymological Dictionary, Petropolis, 1989), in fact derives from his Sanskrit epithet Pati-Idas ("Lord of the Waters"). Not unlikely, this name also assonates with Pati-Idun or Pati-Edom, meaning "the Lord of Eden". Eden is everywhere celebrated as "the source of waters", so that the connection is not as farfetched as it may at first seem. And Eden is, as we have argued, the same as Atlantis, rendering the strange connection even more likely.
So also with the name of Triton, directly derived from the Skt. Trita, another epithet of Varuna. Triton, often said to be the "son" of Poseidon, is indeed his avatar as the ruler of the dismal Tritonian Marshes, where Atlantis was said to have sunk. The name of Trita means "Third One" or "Triple One" in Sanskrit. The name derives from his connection with the Hindu Trinity formed by Brahma, Vishnu and Shiva. It is from this Trinity (Trimurti) that the one of Judeo-Christians indeed derives, in a very obscure way. Trita is in fact an epithet of Shiva as the god of triplicities: the three-eyes, the trident, the three-bodies (trikaya), the three-faces, etc.. What this means is that Shiva, as Varuna, his Vedic archetype, is indeed the lord of all three realms: earth, sky and the netherworld.
In all probability, the worship of Poseidon, an alias and contender of Zeus himself, entered Greece and Rome through the Pelasgians and the Etruscans, their predecessors in the Mediterranean region. These are, as we show in detail elsewhere, Dravidian peoples which originally came from the East Indies. Indeed, these myths all visibly derive from a common source. This source can only be extremely ancient, as the concept was already present in an elaborate form in the Sumerian New Year festival of the akitu, which dates from 3,000 BC or even earlier, and which may very well have been brought by the Sumerians from the East Indies, whence they originally came, as their language and their traditions attest, and as we argue in detail elsewhere.
In other words, the East Indies and, particularly Indonesia, in its sunken region, next to Southeast Asia were actually the same as the legendary continent of Atlantis where Civilization first sprung. Moreover, as we just saw, the myth and ritual of the Horse Sacrifice was present, in one form or he other, in extremely distant ancient nations of the most diverse peoples: the Hittites, the Irish, the Sumero-Babylonians, the Vedic Aryans, the Persians, the Siberian Mongols, the ancient Greeks, etc.. Its equivalence to the Soma Sacrifice also affords a link with the Eucharist (or Holy Communion) of Judeo-Christianism and with the Persian haoma ritual, to mention just two of an unending series.
Most certainly, the Egyptian myths of the castration and deposing of Osiris by Seth and of Seth by Horus, the son of Osiris, who this avenges his father, belong to the same mythical motif. As we saw above, in a footnote, Osiris, after his castration, was buried inside the Holy Mountain. There, he unendingly celebrates his phallus-less, ritual mating with his consort, Isis, the Great Mother of both gods and men. This ritual mating of the god and the goddess is known in Hinduism and Tantric Buddhism as the Yabh-Yum, the mystic union of the Father and the Mother which we commented above. This union takes place in the innermost room of the Celestial Palace, the one inside the Holy Mountain of Paradise. This motif is endlessly reproduced in their mandalas, particularly in those of the Tibetan Buddhists.
We are now in a position where we can decode the hidden meaning of this strange universal myth of the Primordial Castration. The "froth" or "scum" is indeed the pumice stone shed by the giant volcanism (pumice = pumex = "froth", in Latin). And this slime or scum is indeed the "mud" (ilus, pelos) mentioned by Plato as covering the seas of Atlantis, rendering them "innavigable". The Castration is that of the Holy Mountain, and corresponds to its collapse and fall into the giant caldera caused by the mega-explosion and the voiding of its magma chamber, beneath the earth.
The "devouring" of his own children by Ouranos corresponds to the one done by the earth, as mentioned above. In other words, the two myths correspond to each other, with a sexual inversion. In reality, the two events are different, and correspond to the two such that actually happened in Indonesia, one associated with the Krakatoa explosion of the end of the Pleistocene, some 11,600 years ago, and the other one that of the Toba volcano, some 75,000 years ago. At both occasions mankind almost went extinct, just as did many superb species of "ante-diluvian" animals, as we already argued elsewhere in this site.
the ashvamedha of king yudishthira
Returning to the horse sacrifice and its ritual meaning. As we said above, the Horse Sacrifice (or Ashvamedha) was the main ceremony of the ancient Aryan kings. It was the privilege of great monarchs, as it was fabulously expensive and demanding. Its importance can be gauged from the fact that a full chapter (the 14th, called Ashvamedha Parva) of the Mahabharata is dedicated to the ceremony, of which it bears the name. This sacrifice was performed in order to commemorate the victory of King Yudishthira and the Pandus in the great war of the Mahabharata.
The reason why the ritual was so expensive is that, through it, the King claimed universal kingship, and thereby declared that he would wage war on all possible opponents. The sacrificial horse was released, and roamed freely through all lands for a whole year. It was followed by the royal army, so that the ashvamedha was an act of open provocation to all. Any king who resisted and refused to comply, was forced to fight with the invading army. If he lost or complied, he was invited to the sacrifice, and attended in full pomp and with his full court, at his host's expense.
The whole ritual lasted a full year, and many thousands of persons attended it. And all were supported by the king who was offering the sacrifice. Yudishthira's sacrifice was so expensive that he had to send Arjuna to fetch the enormous treasures of Kubera in the Himalayas, in order to finance the huge expenses. Krishna, another great king, also offered a Horse Sacrifice of no less importance than the one of King Yudhisthira. And, as we argue next, this sacrifice had a cosmic meaning associated with the periodic death and rebirth of the entire Cosmos, much as happened with Atlantis-Eden or as unavoidably will again happen with our own world, precisely as asserted in the Book of Revelation.
In a variant of the ritual, a human sacrifice was sometimes offered instead of the one of the horse. Like the horse, the human was given a year of full liberty. During this year of grace, he was treated like a king with all comforts, lovers included. Interestingly enough, this type of human sacrifice, with the year of privileges was widespread in the Americas, for instance, among the Mayas and the Aztecs. In Vedic India, this type of human sacrifice was called Purusha-medha ("human sacrifice"), and prevailed among the ancient Aryans.
Several hymns of the Rig Veda (RV 10:90; 10:130; etc.) allude to the sacrifice of Purusha, the giant from which all things were created, more or less as was the case with the Germanic Yimir, and the Chinese Pan-Ku, his exact counterparts. Other Vedic hymns (RV 1:163; 1:162, etc.) allude to the Horse Sacrifice in terms which clearly identify the victim to the Cosmos itself, and its dissolution. These hymns are all very complex and difficult to interpret, even by specialists. Several attempts have been made along the centuries by all sorts of scholars, both Hindu and western, all with very limited results.
However, there can hardly be any doubt that all these sacrifices, found the world over, indeed originated from a common source, in the dawn of times. Moreover, it seems obvious that they all refer to the dissolution of the Cosmos, that is, to an era transition such as the one which took place at the end of the last Ice Age, the event that led to the Holocene, the present geological era. Such is also precisely the meaning of Christ's crucifixion, as interpreted at a cosmic level. In other words, all such sacrifices, human or equine, are purely symbolic in character, despite the fact that they are often reenacted in an actual form the world over, particularly among the more barbaric populations.
In fact, a close study of the Vedic hymns just mentioned will disclose the fact that Purusha, the Supreme Man, is a precursor of Christ, immolated at the very Center of the World, of which he himself forms the Four Cardinal Directions. These extend from there as the Cross, just as they do in Paradise (the Four Rivers), in Angkor (the Four Roads), and in other such replicas of the world itself. And, of course, all these images derive from the one of Atlantis and its cross, the Cross of Atlantis. This shape also closely evokes Leonardo's famous drawing of the Measures of Man.
[Footnote: Leonardo da Vinci was, like so many Renascentists, indeed a Gnostic. Of course, these intellectuals closely hid their Gnostic affinities because of the ever watchful Holy Inquisition, ferociously bent on suppressing this type of "heresy". In fact, the Man-in-the-Wheel depicted in Leonardo's famous drawing is Purusha himself, stretched along the four (or five) Cardinal Directions departing from the Center. This type of symbolism is extremely ancient, and is found just about everywhere. In other words, Purusha is the archetype of Christ and of the Cross. Even more exactly, Purusha is an alias of Adam, the Archetypal Man and true precursor of Adam in Mt. Calvary, the Skull Mountain (formed from Adam's skull, according to some occult traditions which date from extreme antiquity.)
Leonardo copied his Man from Agrippa von Nettesteim, who in turn obtained it from alchemical sources. Similar figures are found in China, and even in Neolithic pictographs, as we comment in detail elsewhere. The hidden message is that the Man is the Cross himself, and that this Cross is indeed the same as Paradise. In the Vedic hymns just mentioned, Purusha is stretched out along the Four Cardinal Directions as if in the Cross. The sacrificial horse itself had its four members stretched out along the cardinal directions and was impaled on a spit, where it was roasted and later eaten in holy communion.]
the goat sacrifice
As we said above, the sacrificial horse or its human counterpart represented the entire Cosmos. The monarch who ordered the sacrifice was acclaimed the Universal Monarch (Chakravartin), the ruler of the whole, renewed Cosmos. In other words, he was mythically bringing about the Millennium and the Universal Conquest, just as does the White Knight in the Book of Revelation. This epoch-making conquest would only end with the death of the old Cosmos represented by that of the sacrificed horse and of its often neglected dual, the goat, its humbler counterpart.
In the ashvamedha a goat was also sacrificed, together with the horse. The two animals probably correspond to the two castrated gods of the above discussed myths. Further below, we shall see their exact meaning and their connection with Atlantis and the bull sacrifice that was celebrated there, according to Plato. As the supreme symbol (totem) of the victorious Aryans, the horse looms large in the Rig Veda. Celestial gods are often compared to horses there: Indra, Surya, Agni, Soma, etc..
The horse often a flying-horse like Pegasus was also equated to the Sun and to Fire. The humble goat was, instead, the symbol of the defeated Dravidas, who were thereby likened to the infernal asuras. Indeed, the goat was deemed the sacrificial victim of excellence. It was considered the scapegoat for the dead (RV 10:16) and for the horse of the ashvamedha (RV 1:162). This hymn describes the horse-sacrifice in detail and tells how the horse and his scapegoat are processioned in pomp to the sacrificial spot. The goat is the share of Pushan, an early sun-god who fell into disgrace, whereas the horse is the share of the Celestial gods themselves.
the symbolism of the goat and the horse
The Goat and the Horse represent the dual aspects of Creation. They represent, as we already said, the Universe. But, more exactly, they represent the twin Atlantises, as will become clear in what follow below. The Horse is Celestial and supreme, whereas the Goat is Infernal and humble. The Goat represents Capricornus, the Water-Goat. In other words, he is the Fallen Sun, fallen from the supreme position down into the seas, into the infernal depths of the great abyss.
Greek myths tell how Pan, during the war of the gods with Typhon and his hosts, assumed the shape of a goat (Capricornus), and jumped into the Nile river in order to escape the fearful giant. In other versions, the god is substituted by Eros and Aphrodite who become the fishes of Pisces, in the Zodiac. Here, the allegory of the death by drowning of the twin Atlantises commemorated by the goat and the horse is even more transparent. And the story is cribbed verbatim from the myth of Matsya and Matsyâ (the male fish and his female), which is a celebrated motif in India from the dawn of times, as we comment in more detail further below. Matsya is also an alias of Kama, himself the Hindu love god and archetype of Eros himself. In fact, the dives of these twin deities impersons the primeval ones of the twin Atlantises, Mother and Son, sinking under the seas in the dawn of times.
Of course, the fall of Pan is an allegory of the fall of the Celestial God who, from a mountain goat a dweller in the summits fell into the seas, and became a sort of fish or marine deity. Capricornus is the makara, the Hindu seamonster that causes the Flood. The makara (or sishumara) is a sort of dolphin or seamonster. It is the same as Matsya, the fish avatar of Vishnu. Matsya personifies Paradise or rather, Lanka. Lanka is the Hindu archetype of Atlantis fallen from the skies, from the Celestial heights of Mt. Meru, into the ocean, where it disappeared forever, turned into Hell.
At a higher level, the Fall of Pan is the one of Lucifer and/or of Adam. And this in turn corresponds to the one of celestial Varuna, turned into Trita Aptya, the marine god. As we comment elsewhere in detail, this fall into the waters corresponds to the one of the Twins of all mythologies, the Navajo ones in particular. And, as we comment in the link just given and elsewhere, the fall of the Navajo twins closely corresponds, in both shape and hidden symbolism to the ones of Lucifer (Antichrist) and Christ, their Christian counterparts. This double fall is precisely the one represented in the Tarot arcane of the Tower (Arcane no. 16).
Here, the two personages falling head down from the Tower are said to be Solomon and Hiram, the two builders of the Temple here represented by the Tower. At another level they are Christ and Lucifer or Michael and the Dragon or, yet, the two Beasts of Revelation. The Tower, like Solomon's Temple which is purely symbolic, and never existed at all indeed represents Atlantis, often also figured as a twin tower. The vajra, falling down from heaven in order to destroy the twin towers bring us all painful memories of Sept. 11, perhaps the event marking the very start of Armageddon.
[Footnote: The name of Atlantis ultimately derives from the Sanskrit Atala, the name of the Hindu Paradise, sunken under the seas, and turned infernal. Atala was, as we argue elsewhere, the true archetype of Atlantis. The word atala also means "watchtower" in Skt., from which the Portuguese atalaia and the Spanish atalaya (meaning the same) also derive, probably via the Arabic. Hiram (Abiff) was the master architect of the Temple of Solomon, as well as the notorious founder of Free-Masonry, a tradition that dates back to Atlantis itself. The thunderbolt destroying the Tower indeed represents the vajra, itself an allegory of the huge volcanism which destroyed Atlantis, twice in a row (the Toba and the Krakatoa superexplosions).
This symbolism is everywhere infinitely repeated, in quaint variants which complement each other, and which leave little room for doubting they all refer to Atlantis-Eden and its destruction by the vajra. In the Rig Veda this fall of the vajra is represented by the one of Angiras Dadhyanch. And Angiras whose name literally means "angel" is in fact the archetype of the Fallen Angel. This fall is told in Revelation as the one of Lucifer and Michael, who pursue their angelic, unending war here on earth, now as the two Beasts. This war indeed derives directly from the Hindu one of the gods and the devils (or devas and asuras), respectively led by Skanda-Karttikeya and Ganesha, their respective generalissimos. We tell that story in detail elsewhere, and will not delve into it here except to say that Plato himself equated that memorable war to the one of Atlantis, so as to leave no room for doubting its real meaning: the archetypal Armaggedon..]
But the makara is also Kama, the Hindu love god who was the archetype of Eros-Cupid. Again, Kama is also the son and lover of Rati. And Rati is an alias of Aphrodite, the mother and lover of Eros, the Greek counterpart of Kama, the Hindu love god. As we see, the Greek myths are not only a close copy of the Hindu ones. They also have the same esoteric meaning. These myths all ultimately relate to the death of Atlantis proper, and its Lemurian Mother in the primordial cataclysm that we know by the name of Universal Flood or Deluge. The two animals image the twin Atlantises fallen from the skies from the summit of Mt. Atlas, the Pillar of Heaven and subsequently drowned in the ocean.2
In Hindu traditions, the Paradises and their Holy Mountains are two, the Sumeru in the North, and the Kumeru in the far south. In reality, these two mountains represent Mt. Kailasa in the Himalayas, and Mt. Trikuta, where Lanka was built, in Indonesia. One (Kailasa) is identified to the linga (or phallus), to Shiva, and to the northern Meru (Sumeru). The other one is associated to the yoni (vagina), to Parvati (Shakti) and to the southern Meru (Kumeru). In an earlier, more factual symbolism, the two Holy Mountains were two volcanoes, and corresponded to the twin Pillars of Hercules, the true markers of Atlantis' position, according to Plato and others.
Avienus describes the two pillars of Hercules, one as a lofty
pillar, the other one as a sort of cup or caldera. So do the Hindus, who identify
the twin Merus, one to the Cosmic Yoni (or Vadavamukha), the other to the linga
(or icy phallus of Shiva). These two features also correspond to the two perils
of Homer's Odyssey
(12:73), Scylla and Charybdis, described precisely thus. In fact, the two
Pillars of Hercules correspond to the two volcanoes of Indonesia, placed next
to the Malacca Strait and the Sunda Strait, the two passages leading into Paradise
(Atlantis), in the opposite hemisphere of the earth. One corresponds to the Toba
Volcano, in north Sumatra, the other one to the Krakatoa Volcano, between Java
and Sumatra, in the southern end of the paradisial island.
the goat represents atlantis as the fallen sun
The goat is also often identified to Indra in India. Indra is also called meshanda ("whose testicles are those of a goat"). This epithet is due to the fact that Indra once made love to his guru's wife, a most grievous sin. In consequence of his incontinence, Indra was castrated and covered full with yonis, which he could not resist. Later, he was restored with an implant of a goat's testicles, earning the above epithet of meshanda.
In reality, this allegory represents the fact that the Aryans (Indra) appropriated the creative role (the Phallus) of the Dravidas (the Goat), claiming that the second Atlantis was greater than the first one, the Great Mother (Amalthea). The goat is a symbol of the Sun in India, where the day star is called Aja Ekapad ("the goat of the single foot"). Aja means not only "goat", but also "unborn" (a-ja). As such, it is the symbol of primordial, unorganized matter, the same as Prakriti. The goat is also associated with the vajra, an image of the Fallen Sun. Interestingly enough, this association prevailed not only in India, but also in China, Tibet, and even Greece.
At an even more realistic level, the yoni stands for a volcanic caldera, just as the phallus stands for a volcanic peak. When the volcano erupts with violence, exploding and collapsing and turning into a gaping caldera, we have what mythographers allegorize as a castration. The many yonis of Indra sahasraksha ("he of a thousand yonis") in fact allegorize the endless succession of the eras, triggered as they are by giant volcanic explosions such as the one of the Toba volcano of 75 kya (kiloyears ago) and the one of the Krakatoa volcano, some 11,6 kya, when the second Atlantis, the "Son", went under, and the Pleistocene Age ended, according to the most recent finds of expert geologists and climatologists.
the aegis and aja ekapad
The association of the goat with the Devil is too well known to require elaboration here. The Aegis the shield of Zeus and Minerva was fashioned by Hephaistos from the unpierceable skin of the she-goat Amalthea. The word "aegis" derives from the Greek aigis ("goat skin"), related to the Sanskrit aja and to the name of the Aegean Sea. Allegedly the name Aegean derives from Aegeus, the father of Theseus, who drowned there. Aegeus, the father of Theseus, was deemed to be a son of Poseidon.
Aegeus is indeed the same as Poseidon, who was actually so named in Euboea. Far more likely, the name of Aigaia derives from the one of Aja Ekapad, who symbolized the sacrificial pole or, alternatively, the sun itself. In fact, Aja Ekapad (or Ajaikapadi), "the single-footed goat" is a facetious designation of the male's penis. The god is figured as the emblem of ithyphallic Shiva himself. But the figure of the one-footed capriped was widespread, and is encountered even in the Americas, where the Mayan god Hurakan is depicted as a unipedal deity.
No matter what, the Aigaia, the golden submarine realm of Poseidon is no other than sunken Atlantis itself. And the Ekapad, the "single-footed one" is indeed an allegory of the fierce submarine volcano which destroyed Atlantis, the Krakatoa. In Hindu myths, as in those of other nations, volcanoes are often identified to the phallus, to the sacrificial pole (often fiery), to the Sun, to Agni, to Shiva, to the Pole Star, the Morning Star, and so on. The idea is that the submarine volcano is indeed the same as the Fallen Sun or the fallen Morning Star (Lucifer, etc.), just as described above.
According to Homer, the submarine golden palace of Poseidon the very archetype of the Eldorado and of the sunken Atlantis was called Aigaia, meaning the same as "Aegaea" or "Aegea". What these legends are hinting at is that Aegeus who was a marine god himself is the same as Poseidon or Neptune and, more exactly, as Atlas, the son of that god that personifies Atlantis. And Poseidon, the Lord of the Earthquake is, again, an alias of Varuna, also called Apam-Napat (that is, Napat-Am = Neptune).
More likely the name of the Aegean sea has to do with the legend of the Golden Fleece and the drowning of Helle. Helle drowned there when she fell off the Golden Lamb while flying over that sea with her brother Phrixus, mounted on it. This lamb seems to be the same as the she-goat Amalthea. Its skin is also the Golden Fleece quested by the Argonauts, itself an allegory of Atlantis.
The drowning of Pan, of Aegeus, of Helle, of Atlas, of the she-goat Amalthea, of the Pleides, and so on, all seem to be an allegory of the sinking of Atlantis. As we just saw, myths tend to repeat themselves ad infinitum, under different forms, each more fascinating than the previous one. The word aigis also means "tempest", "flood", and thus again tends to identify the Atlantean cataclysm with the one of the Flood. And the true Aegean Sea the Sea of Aegeus (or Poseidon) where the Golden Lamb (or Eldorado) sunk away is indeed the Indian Ocean, rather than its Greek counterpart.
This sea, the Sea of Atlantis, should not at all be confused with its Greek replica recreated by the Greeks in the Mediterranean when they moved into that region of the world, having come from the distant Indies. The true "Atlantic Ocean", the primeval "Ocean of the Atlanteans", was originally the Indian Ocean, as we argue in detail elsewhere.
The specialists consensually hold that nations such as the ones of the Mediterranean Basin developed in essential isolation from the other ones say, from the East Indies and of North Asia. But this doctrine is shortsighted,and fails to account for parallels such as the ones we have been pointing out for over two decades now. In fact, the present scientific paradigm on the birth and evolution of Civilization in the Mediterranean rim is somewhat stupid, as it is not founded on fact, but on ethnocentric reasons, and indeed dismisses the vast contrary evidence.
Humans can move, either on foot or on ships, from one of these distant places to the other in under one year, let alone in a few centuries. And this they indeed do, particularly when pressed by famine, draught, diseases, wars and other such calamities. And these mass movements are thoroughly documented in essentially all places on earth since the earliest epochs. So, why insist in the fixity of humans, when history, traditions and many other anthropological evidences converge in showing precisely the contrary?
Yes, the Amerindians too, like indeed all of us humans, are also "Sons of God" or rather, "Sons of the Gods", that is, of the Atlanteans. This is what their traditions say, just like ours. And this is what History and Archaeology, as well as the other sciences, human or not, are fast starting to show to all of us humans. Humanity, as well as Civilization itself, first arose in the East, just as our myths all say. And by that they mean not the Near East, as some think, but the Far East, the Land of Dawn, where both the sun and the humans first rose above the animal stage, if at all.
[FOOTNOTE: As we argue in detail, this biased view that the Amerinds and other such natives developed in essential isolation from the other nations -- or, rather, failed to do so remaining "primitives" -- is not only stupid, but also the result of an enduring preconception that the Aryans are somehow better than the "inferior" natives they find everywhere. In fact, this omnipresent white preconception dates from the Victorian Age, and the days of the Conquest, when its philosophy was highly useful, as it provided the impetus for the "Christianization" of the "savages" they met everywhere.
Of course, while carrying on the "white man's burden", the conquerors felt it was their right to alleviate the natives of their life and property as well. The main idea was that of R. S. Coon and other polygenists, Darwin and Lyell included, who insisted in somewhat Nazist dogmas such as the "survival of the fittest", and their need of Lebensraum. After all, the natives had to be fundamentally different from the white colonists, since they were only sub-human. And the invaders, in turn, were the summit of creation, and hence automatically entitled to supersede the less fit, all in accordance with the divine will,which commanded the whites to remove both their sins and their land, their freedom, and their property.
Being isolated and hence inferior, the natives deprived of the vivifying contact with the whites which would cause them to evolve had not partaken of divine salvation, and had to be rescued by the whites. The proof of that lack of contact with the whites was their brown skin which was indeed a result of their living in the Tropics, and hence a mark of superiority, at least under such conditions, rather than of some shameful mark imposed by some racist God, as some will, even today, witness the story of Cham, which goes on unabashed.
In time, all whites got used to this paradigmatic idea of their inherent superiority as the result of indoctrination by both the Church and the State. And bad habits die hard, and are difficult to cure. Such is particularly the case with ethnocentric biases, which are particularly blinding. In fact, if anything, the whites are "inferior" to the browns, as their genes such as blue-eyes and fair hair and skin are recessive, and tend to get swamped out when crossbreeding with darker skinned populations. and such isthe reason these populations are usually rather dark, but for a few exceptions.]
the true origin of the cross
Both sacrificial victims of the ashvamedha the horse and the goat were killed, impaled and roasted. Then the worshippers communially ate their roasted meat and the broth prepared from their remains. Before their sacrifice, the victims were tied to the sacrificial pole, called skambha or stambha or, yet, stavara or ekapad. As is clear,the word ekapad here assumes its fescenine meaning of "phallus, spike, spit, impaling pole".
The skambha (lit. "prop", "pillar") was considered a replica of the Pillar of Heaven, the axis or support of the skies. It was identified with Brahma and with Shiva, the two world-supporters, as well as with Purusha, the Primordial Sacrifice himself. The skambha had the shape of a cross or, also, of a Y, precisely that of the Cross or Rood. To the crossbar were tied the victim's forelegs so as to prevent it from slipping around in the spit as it was rolled over the fire.
Like the Cross, the Skambha was also equated both to the Pillar of Heaven and to the Tree of Life. Many authorities, such as F. Max Mueller, have pointed out the fact that the name of the Cross in the original Greek is stauros, and that this word derives from the Sanskrit stavara (pronounced "stawara"), its Hindu archetype in the ashvamedha sacrifice.
Naturally, all such parallels are the result of diffusion, rather than random coincidences or some inherent feature of the human brain, as we have all been taught and conditioned to believe. And we thus see how the Evangelic notion was derived from Hindu archetypes. This is further rendered plausible by the fact that, in the earliest iconographies, the crucified Christ had a horse's head like that of the Ashvins and other Solar gods burnt at stake, in some sort of a primordial ashvamedha. In fact, the very first iconography of Christ's crucifixion shows Christ as a horse-headed god hanging from the Cross (Fig. II(a)).
[INSERIR FIG II(a) (A. Martigny, Dict. Antiq. Chretiénnes, pg. 95) AND II(b) (F. du Portal, Los Simb. Egip. pg. 27)]
So did Typhon-Seth, the Egyptian god who was also crucified or impaled, and who also had an ass' head. The same is also true of the Ashvin twins of Hindu mythology, despite the fact that this event is never told clearly anywhere. And this primordial sacrifice of the equine god is no other than the one of Atlantis, as we just said. The above iconography of Christ's crucifixion was found as a graffito, on a wall of the Palace of the Caesars, in Rome, whence it was taken to the Kircher Museum. The inscription is in (broken) Greek and reads: Alexamenos sebete theon ("Alexamenos worships his god"). And the personage is shown kissing the hand of the crucified one, the ancient manner of worship.
This type of belief of the early Judeo-Christians is hard to believe. But it is one supported by a series of further facts. Tacitus (Hist. 5) affirms that "the Jews, while wandering in the deserts of Arabia, were guided to a spring by an ass, which they followed to it. Subsequently, they built an image of the animal, and worshipped it". Tertulian (Ad. Nat. I:14) reports that a Jew falsely accused the Christians of worshipping a donkey's head. In order to prove his accusation, he produced the image bearing the inscription: Deus Christianorum ("the God of the Christians").
According to experts such as the Abbé Martigny (Dict. des Antiq. Chrét., pg. 95), the accusation derives from the passage in the Gospels that tells of the triumphant entry of Jesus in Jeruslaem, riding a donkey's foal (Mat. 21:2; John 12:14). We believe that the connection is even deeper than this. Several sources which we comment elsewhere tell of Medieval Black Masses where the donkey figured centrally. One such source is the erudite A. Gubernatis (Myth. Zool., Paris, 1874), who lists many instances, all duly referenced. The persons interested in this theme should read his book, which is also available in English. In fact, de Gubernatis refers a great of interesting Hindu traditions on equine deities.
Typhon as a Half Personified Volcano
The second of the above figures is also remarkable. It shows Seth-Typhon, the Egyptian god often associated with evil as illustrated in the Leyde Papirus. The name on his breast is written in Coptic and reads "Seth". The legend means something like "onocephalus". The two staffs he holds are related to the two Pillars of Hercules. They are topped by two feathers whose meaning in Egyptian hieroglyphics is "wind". What this means is the fact that the two Pillars of Hercules are indeed volcanoes, from which issue plumes ("feathers") of smoke which indeed reach up to heaven. The connection of Seth-Typhon with volcanoes is apparent in Hesiod's account of the war of the gods against Typhon mentioned further above.
Typhon is a half-personified volcano, who spits fire and is deemed to be buried under Mt. Aetna, the famous volcano in in Sicily. Its volcanic fire is attributed to the giant, burnt up by Zeus' thunderbolt (Apoll. Lib. 1:6:3). The masterful description of Typhon's duel with Zeus done by Hesiod (Theog. 820) is clearly one of a huge maritime volcanic eruption of sufficient size to destroy the entire world. In fact, this duel seems to have been taken up from the Rig Veda and its own accounts of the duel of Indra and Vritra. And this conclusion is reinforced by Pausanias (Descript. 9:35:1), who affirms that the poem is not possibly Hesiod's creation. Well, we agree with the erudite geographer insofar as the essentials of the titanic duel were somehow copied from the ample Hindu mythology on the subject which indeed dates from far earlier times.
We also note that the name of the ass in Hebrew, HEMR, means "to be red or fiery". Once again we have the connection with fire and volcanoes, as well as with the Chams or Chamites, whose name means the same, as we saw further above. The obvious conclusion is the fact that the ass represents the totemic animal of the red peoples such as the Phoenicians, the Himiarites, the Amorites and other such "reds", among whom we also count the Tocharians and related nations of the ancient Far East (China and Indonesia), whose name also means "red", as we show elsewhere.
In other words, the ass represents the decayed ruddy Atlanteans, just as the horse represents this people in the undecayed, noble status. Some Egyptian iconographies of Seth-Typhon show the god as an ass-headed deity impaled on on a pole or on the prow of the divine boat of Ra. This has, of course the same esoteric meaning as the portrait of the ass-headed, crucified Christ just discussed.
These representations also evoke the fact that Dadhyanch-Angiras -- the Vedic god commented further above -- also had an ass' head. This head was decapitated by Indra, because he told the secret of the amrita (Elixir) to the Ashvin Twins, likewise horse-headed. Angira's decapitated hed fell into a lake or sea, becoming the Primordial Land. This fable is connected to the one of the phallus of Ra emerging from the Nun; to the one of the fall of the vajra (which Angiras' head became), to the Tarot arcane of the Tower Struck by Lightining, and several others such. Here, the "head" is obscurely identified to the glans penis, often called by that name everywhere.
In brief, the myth of the ass-headed gods impaled or crucified at the two poles or the two Pillars of Hercules in fact corresponds to the one of Atlantis destroyed by terrible volcanic cataclysms at two different occasions, one by the Toba, the other by the Krakatoa volcano. The motif is also connected to the Vadavamukha, itself a mare's or donkey's skull, in all probability the one of Dadhyanch-Angiras fallen down from heaven. This motif also brings to mind the myth of Lucifer's Fall, and the emerald that, according to Wolfram von Eschenbach, having fallen from his crown, was carved into the Holy Grail.
[FOOTNOTE: It is interesting to note that none of the several theories on the Holy Grail circulating in the Internet or in the many books on the subject, ever comes even close to the mark. But this is no surprise, for this is the case with essentially all esoteric matters such as the ones we have been discussing here. The true key is given by Wolfram von Eschenbach himself, as commented in the above link on the Holy Grail. First of all, we note that the name of the Grail derives from the Provençal grazale, via the French gradale meaning "a dish (scutella), wide and somewhat deep, in which costly viands are wont to be served to the rich in degrees (gradatim), one morsel after another in different rows. In popular speech it is also called "greal" because it is pleasant (grata) and acceptable to him eating therein", etc.
This word is also related to the French gradale or cratale, itself derived from the Latin crater and the Greek krater meaning a shallow vessel or plate where sacrifices were offered to the gods in ancient Greece. The second clue is also afforded by Wolfram. The bard conceives of it as "a precious stone, lapsit exillis (i.e. lapis or lapsi ex caelis) of special purity, possessing miraculous powers conferred upon it and sustained by a consecrated Host", which is indeed the blood of Christ, with powers to act as the Elixir. This precious stone fallen from heaven is both the emerald fallen from Lucifer's crown, as well as the "diamond skull" of Angiras-Dadhyanch which is also the vajra and the skull of Adam forming Mt. Calvary, etc..
When we unite the two above clues -- the connection with craters and with meteoritic stones fallen from heaven -- the solution becomes obvious. It also explains the ancient worship of meteorites everywhere: in the Caaba of Mecca, in the pyramids of Mexico, in Asia Minor (Pessinunte), etc.. So, the Grail is indeed the meteoritic crater opened up by the palladium which fell from heaven. In Hindu traditions, this object became the Holy Mountain, and the lake around, full of soma or amrita, that is, of the Elixir. With this, we have traced the legend of the Holy Grail back to Vedic India and, indeed to Atlantis and the cataclysm that destroyed it, the fall of the vajra thunderbolt. But we note that, rather than a meteorite, "the stone fallen from heaven" (lapis lapsi ex coelis) indeed refers to the volcanic cataclysm and the volcanic bombs and ejecta shed by it during the conflagration that destroyed Atlantis-Eden.
For completeness' sake, we note that the splendid castel of Montsalvat (or Munsalvaesche) where the Holy Grail was kept, according to Wolfram von Eschenbach, is neither the Cathar fortress of Montsegur, nor Glastonbury in England, nor the crypt Jesus' birth in Jerusalem, nor the church of the Ark of Covenant in Ethiopia, nor the interior of the Great Pyramid, where some think it is, but indeed the true site of Eden, where the great heroes such as Hercules and Dionysos invariably went questing it. Otto Rahn (1904-1938) the great, tormented German occultist, believed that he had found the location of the Holy Grail Mountain, the Montsalvat of legend, in the Cathar mountain fortress of Montsegur in the French Pyrenees.
Otto Rahn was largely responsible for the widespread belief that the Holy Grail was somehow in the possession of the Cathars and, later, of their heirs, the Knights Templars and the Knights of Christ. Well, there is indeed a connection with the Gnostics and their traditions, as we explain in detail elsewhere. But it is one connected with the Atlantean mythology, and the mysteries attending it. As we saw above, this connection derives from the East Indies, whence the Celts originally came, bringing along their holy traditions on the Holy Grail and its true location, there, on the opposite hemisphere. Montsalvat is not to be interpreted as the "Mountain of Salvation", but as Mont Calvat, that is, Mt. Calvary. And this is not the mountain in Jerusalem, but its true archetype, the "Bald Mountain" (Monte Pelado) which is no other than Mt. Meru, the Holy Mountain of the Hindus from which all such traditions ultimately derive.]
Lucifer, the Twin Elder Brother of Michael
It is easy to see -- now that the uncanny parallels have been pointed out in some detail -- that Typhon-Seth, alias Purusha or Adam, is no other than an archetypal Lucifer, the fallen angel himself. Before his fall, Lucifer was a magnificent angelic figure, a veritable god worshipped by all. In fact, he was the alias and counterpart of the Supreme God everywhere, his dual and twin. It is no coincidence that gods come in pair, as the Twins of all mythologies: Aryman and Angra Manyu in Persia; the Ashvin Twins, or Mitra and Varuna in India; Zeus and Poseidon, or Hercules and Atlas in Greece; Lucifer and Michael or Elohim and Jahveh in Judeo-Christianism, and so on. And in all cases they fight, and often end up castrating or somehow disfiguring one another. Such was the case of Horus and Seth. In their duel, Horus succeeded in castrating Seth, but also lost an eye in the dispute. In certain variants, these losses assume a very fescenine character.
Even in the Americas we have the same story. The Navajos speak of the Twins, whom they call "Little War-Gods", a name which closely evokes that of the Ashvin Twins of Hindu mythology. Even more exactly, these little gods evoke the figures of the two brothers, Skanda and Ganesha, respectively the generalissimos of the gods and of the devils in Hindu mythology, and who are generally described as two children, as is so often the case with the twins.
In other versions, they are one huge and brutal, the other one small and effeminate. Such is the case, for instance, of Amphion and Zethos or Atlas and Hercules in Greek mythology, or of Krishna and Balarama, in Hindu religion, and so on. The Aztecs of Mexico make of Quetzalcoatl and Tezcatlipoca, his twin, the all-creators of their religion. So do the Mayas, with Tepeu and Gucumatz, the twin creators of the Popol Vuh or with Hunahpú and Ixbalanqué, their human counterparts there. The story is obscure and confused, though highly interesting. This is particularly the case of its esoteric aspects, whose analysis does not fit here, however. It is interesting to note that one of the twins is beheaded by the bats, but is revived later. This beheading probably relates to the one of Angiras-Dadhyanch and his many peers elsewhere.
In the sacred traditions of the Apapocuva Guarani of Brazil, we also have the same Twins, the sons of the Sun. These they call Tivyry and Nanderikey, whom they also deem the all-creators. And they too associate these twin godlings with twin wooden poles, just as is the case with Castor and Pollux, the twins of Greco-Roman traditions, or with Seth, as we just saw. Seth's twin and dual was Osiris who, reborn as Horus, pursued their eternal disputes for hegemony. In Orphic traditions, the two gods become Hercules and Kronos or, alternatively, Apollo and Dionysos. In India, the two gods often become Varuna and Mitra, whose name means precisely "twin". The Romans equate the two with Romulus and Remus, in whom some experts discern a corruption of gemus, that is, "twin". Such examples could be multiplied ad nauseam.
Dualism, in one way or another, pervades all religions and all cultures. The only exception lies in monotheistic religions like ours, in which one of the two principles has been completely suppressed by the other one. But there is always a residue which is never completely erradicated, and which survives in the hearts and minds of the suppressed minorities. This residue eventually revives, when the time comes for it, and a new era starts, as is seemingly happening nowadays.
It is this type of thinking -- so characteristic of India and its two main nations, the Dravidas and the Aryans -- that we see in action in symbols such as the Mogen David of Israel or the Yin-yang of the Chinese, as commented further above. It is also these dual principles that are symbolized in the twin serpents of the caduceus of Hermes, those of the uraeus of the Egyptian pharaohs, or the ones of the Ouroboros of the alchemists and other such Gnostics. In general, the elder, suppressed twin is male and noble, but is defeated or supplanted by the junior, effeminate trickster. Such is often also the case in the Bible, witness the story of Esau and Jacob or that of Isaac and Ishmael.
The Twins and the Primordial Sacrifice of Atlantis
The two serpents of the caduceus -- as usual an Indian symbol -- often change into two eagles or into an eagle contending with a serpent. Or they may become the Soma or Elixir, of which we also have two varieties, one red, the other one white or clear. These two are obtained from the twin trees of Paradise, the Tree of Life and the Tree of Wisdom, often associated with Death itself. In every case they represent the twin races of Atlantis, as we just said. And, as we already argued, this widespread symbolism is found ieven in the Americas -- for instance in the official seal of Mexico -- unequivocally attesting the extremely ancient origin of this type of Dualism so characteristic of ancient India and, indeed, of Atlantis.
Said in other words, Purusha personifies Atlantis. And his sacrifice by his lesser peers represents the one of the sunken continent and its people. Purusha also impersons Lucifer's archetype, his sacrifice corresponding to the Fall of Lucifer. And the fall of Lucifer is indeed the one of Adam and the ruddy races he impersons. It is now easy to see why all things, humans included, originated from this giant Primordial Sacrifice, the one of Purusha, of Yima, or of Pan-Ku, who are all one and the same.
When Atlantis was conflagrated and started to sink away, the survivors of the cataclysm forcibly moved to the other, safer portions of the world, often in the opposite hemisphere than their original one, the Eastern Hemisphere. Along they took all their masterful achievements, whose "seeds" we find everywhere: the domesticated plants and animals which possibilitated the rise of agriculture and cattle-herding; the fundaments of religion, mythology, philosophy and the arts and techniques, the alphabet, ceramics and metallurgy included.
With these, and a lot of confidence in themselves, they would attempt to rebuild their Paradise Lost in the Promised Lands they reached everywhere, the distant Americas included. For some reason, they decided to head for a fresh start and to part with their past, which they relegated to the nebuluous department of mythology and religion. They cursed their former god, whom they replaced by his "son" or "twin", his own former self under an entirely new guise, one in which itis difficult to discern the old self. This parting is symbolized, for instance by Janus Bifrons. The two faces of this god look, the right one towards the future, the left one towards the past. And the thin divide between the two represents the present, a mere instant of time which soon passes away.
[FOOTNOTE: This parting with the past is symbolized in innumerous other ways. One such is the figure of Mithras, killing the Bull of Chaos, whose head invariably turns to the rear, the past. Mithras was a very important god, and his worship was extremely popular in ancient Rome before the rise of Christianity. This and other such Pagan Mystery cults were ferociously suppressed by Constantine and his Christian followers, and soon disappeared from the scene, just as they did elsewhere, for instance in the Americas, where the suppression was even more ferocious.
Essentially all traditions which tell of the downfall of the giant who represents Atlantis speak of a dirty on the part of his sacrificers. Plato is practically the only one of the ancient authorities who reports the myth as history, rather than mythology. He tells of the gallant defeat of the mighty Atlanteans by tiny Athens. Of course, Plato was an Athenean patriot. Other accounts are less favourable. One such is Homer's Iliad, which tells of the trick of the Trojan Horse played by the Greeks on their opponents. The story of David and Goliath is no exception to, the rule, as slingshots were not allowed as weapons in fair duels. This story is probably taken up from the Mahabharata, where it is told in similar terms.
The duel of Alexander of Macedon and Porus, his Indian opponent is also a variant of this type of myth, told as pseudo-history by Callisthenes. Porus is described as a glorious giant, and Alexander as a midget who, by means of a dirty trick succeeds in defeating his mighty opponent. We believe that this treacherous coup is indeed connected with the Original Sin, whose true nature is never disclosed, the story of Eve's apple being simply ridiculous and unfit of a God. We discuss its true nature in detail elsewhere, and the dear reader is invited to seek this source. ]
the ashvin twins and the vedic flying horse
The Ashvins (lit. "horses" or "centaurs") are the principal Twins of Hindu myths. The Ashvins are the primordial pair responsible for Creation, just as in the Navajo and other stories. The Ashvins are also the aliases of Yama and Yami. Yama, the Lord of the Dead, is the king of Atala, the Hindu archetype of Hades. Atala is in fact the Hell that corresponds to sunken Atlantis,whose name it closely resmebles. Yama is also the same as the Fallen Sun and hence, as Varuna in his decayed, submarine aspect. Yama is also personified as Pushan or Vishvasvat, after their fall. In fact, the Fallen Sun is not the Day Star or even the Morning Star, the elder sun, but Atlantis, which it personifies.
Pushan forms a pair of Twins with Aryaman, and is often confused with Chandra and with Vishnu. He is often associated with goats, which draw his car, much as the Sun's chariot are pulled by horses. The Horse is often equated to Dadhikra, the Flying Horse of the ancient Vedic Hindus. Dadhikra is the Celestial Horse, a personification of the Rising Sun (RV 4:38-40; 7:44; 10:177; 10:123, etc.). Like the Sun, he rises out of the waters where he has sunk and "enveloped in a cloud of light, he spans out the realm of space" (RV 10:123).3
The Sun Horse (or Bird) is also equated with the Gandharva and with Soma itself. He is called by a myriad Sanskrit names such as Vena and Tarkshya. Vena ("desire") may be the archetype of Eros ("desire") who, in Hesiod's Theogony (120) is paradoxically born of the darkness of Tartarus. Golden-winged Eros closely recalls Vena rising in the same way from the bottom of the Ocean. Vena is also the archetype of the Phoenix bird of the Greeks, born of its own ashes.
the vena and the phoenix
The Phoenix derives its name from the Egyptian Benu bird (benu > *benus > *benyx > phoenix). Its Egyptian name, in turn, seems to come from the Skt. Vena (or Venu = Benu), its Vedic archetype. The Vedic imagery is in all regards too subtle and too delicate to discuss here in detail, so that the interested reader is directed to our specialized works on the subject. However, the passage of the Vedic hymn (RV 10:123) on the Vena is worth quoting in abridged form:
This Vena pushes up those who bear the Sun.
Clouded in light, he spans the upper realm of space
In the union of the Sun and the Waters...
Vena whips the wave high out of the Ocean.
Cloud-born, the back of the beloved emerged
Shining on the crest of the apex of Order.
Wails like women's cries come out of the Womb,
Like those of cows lowing for their calves.
Vena bears himself on golden wings
As he carries his smiling lover up to heaven.
Longing in their hearts for you, they have
Seen you flying to the dome of heaven like a bird,
As the golden-winged messenger of Varuna,
The eagle hastening into the womb of Death.
When the Drop comes out of the Ocean
Towering over the wide expanse like a vulture,
The Sun rejoices with the clear light
That imitates his own, in the upper realm.
the birth of the sun
What this remarkable hymn is obscurely telling is not really the birth of the Sun from the waters. Rather than a poetic license, the myth is telling real events: a huge submarine volcanic explosion described as some sort of Cosmogonic Hierogamy, a union of Fire and Water here allegorized as the one of the sun and the waters. What else but a giant volcanism or a giant meteoritic fall would "whip the wave high out of the Ocean", into the very skies? What else could the rise of the Thunderbird -- so often connected with the Flood and the Conflagration which once destroyed the entire world -- be but this sort of thing, rather than an everyday event?
The event in question here is indeed an allegory for the real thing, which is told in a myriad ways in other Vedic hymns, as well as in the vast Indian mythology. The motif is so ample and so subtle that all that can be said here is that it is indeed the same as that of the decapitation (or castration) of Angiras and of the theft of Soma by the Eagle (RV 4:26-7). This hymn also corresponds to the myth of Prometheus stealing the Fire (Soma) from the gods, in order to bring it to the mortals. And all of these myths indeed refer the destruction of Atlantis by a supervolcanic explosion.
The myth of the Phoenix, so profound in its imagery, also relates to the ones of the Thunderbird which we encounter in both the Old and the New Worlds. In the New World, Vena is the same as the Thunderbird of the North American Indians, the Condor of the Incas and the Rudá of the Brazilian Indians. In the Old World it is the Syena of the Hindus, the Simorgh of the Persians, the Phoenix of the Greeks, the Benu of the Egyptians, the Fire-bird of the Russians, the Pen-ku of the Chinese, and the Rokh bird of the Arabian Nights. Its death and rebirth indeed allegorize the one of Atlantis which, like the Celestial Jerusalem of Revelation, will rise from the waters where it now lies, bringing back the Golden Age which has been awaited by so long by all peoples on earth.
the eagle garuda
In India, the Eagle or Phoenix is Garuda and his many aliases. In the Veda, the Eagle carries Indra to heaven, where he steals the Soma from the demons and brings it to the gods. The two barely escape, as the Archer (Krishanu) shoots his unerring arrows at Indra and the Eagle. The event is connected with the Flood, as the Soma-drunken Indra boasts:
I was Manu, and I was the Sun...
I gave the earth to the Aryan.
I gave rains to the mortals as an oblation.
I led forth the roaring floodwaters.
Drunken with Soma, I shattered
The 99 fortresses of Shambara.
Decimating its enormous population...
Oh Maruts, this bird shall be
Supreme among all birds...
For, with its mighty wings it has
Brought down to men the drink divine...
Fluttering as it brought down the Soma,
The bird swift as thought shot down from above,
Stretching out in flight, holding the branch,
The bird brought down the Soma from heaven.
In this hymn Indra boasts of having shattered the fortresses (or the dams, the term is dubious) of the devils (dashyu) and of having caused the Flood. Soma, the Elixir of Immortality, is also the synonymous with the Flood in Hindu myths. A variant motif is the duel of Indra and Vritra, where the death of the giant opposer is also identified with the Flood. In fact, Indra is here the visible personification of giant volcanisms.
It is in this guise that Indra brings on the Flood, indeed triggered by a giant volcanism. And he also brings on rain, as volcanoes normally do. As such, Indra also brings the earthquakes which shatter temples and forts alike, as well as dams and other such human constructions. And, above all, Indra brings on the Soma, the liquid divinely connected with the Flood itself, as the potion and bitter-sweet consolation of the unlucky survivors of the cataclysm.
[FOOTNOTE: It is well known to specialists that volcanoes bring on great tempests and heavy thundering. The reason why is easy to understand, despite the fact that the phenomenon is awe-inspiring, and led the ancients to believe that thundering gods such as Indra and Jahveh were demonic forces from the underground liberated by the volcanism. The volcanic explosion releases a lot of volcanic dust and smoke, whose particles serve as condensation nuclei for the water vapour and droplets, which thus condense first into clouds, and then into raindrops which then fall down to the ground. Moreover, these released particles are normally charged, and hence transfer their charge to the clouds, which thus thunder terribly when they collide with each other.
In the case of submarine volcanoes, the water released in large volcanic explosions is capable of, by itself, to engender enormous quantities of rain. In very large volcanic eruptions such as the prehistoric ones of the Krakatoa and the Toba volcanoes, the water released is entirely capable of providng enough water for "forty days and forty nights of rain", despite the fact that no specialist has so far hit on this cause as theprobable one associated with the Flood, an event attested in the mythologies of essentially all peoples on earth. We have done this calculation in a specialized computer ourselves, and present it elsewhere. We also had its results checked and validated by other colleague scientists, so that they can hardly be argued by anyone. We are, however, willing to have our calculations checked by qualified specialists interested in this fascinating matter.
The rise of the Thunderbird from the waters of the ocean bespeaks of a submarine volcano of the Krakatoa type erupting in a colossal explosion. In fact, the rise of its cinders and smoke to the stratosphere creates a sort of volcanic "mushroom" not unlike the ones generated by the explosion of nuclear devices, except that millions of times larger. It is this gigantic rising of fire and smoke that is so often equated with the one of the Phoenix or its alias, the Eagle or Thunderbird. This event is also allegorized as the rise of the Sun from the ocean, as in the Hymn to Vena quoted further above. In another imagery, this rise is allegorized as the one of the Tree of Life, which reaches up to heaven. This "tree" or "mushroom" is also identified to the Lotus Flower, the Palm Tree or the Papyrus Stem of Egyptian traditions, where they figure as the Pillars of Heaven.
In Chinese traditions such as those of the I-ching, the Tree is equated to the Golden Flower, itself a lotus or rose. In India, the Tree is often equated to either the lotus or the vajra, in an usual dualism connected with the images just mentioned. Shiva is often represented bearing one or the other, in his dual aspects of Creator (Padmapani = "Lotus-bearer") and Destroyer (Vajrapani = "Thunderbolt-bearer"). The twin trees which grow in the Garden of Eden, the Tree of Life and the Tree of Wisdom also repeat this symbolism. In fact, the two refer to the two (main) volcanoes of Indonesia, the Toba and the Krakatoa and the two destructions of the world they effected, one in 75 kya (kiloyears ago) and the other one in 11,6 kya, when the world was verily destroyed in a global scale, with humans barely surviving the terrible cataclysms.]
pushan, the fallen sun
In India, Pushan is the god of fertility and riches. He is one of the aditiyas, the twelve aspects of the sun. Pushan's name means "nourisher" for reasons we argue next. He is the Sun's charioteer, which is tantamount to saying he is some sort of sun himself. In a dispute with the god, Shiva hit him, and Pushan lost all his teeth. The identification of Pushan -- the Hindu god of rains and fertility -- with the Fallen Sun dates from the Rig Veda. In hymns 1:42 and 6:55, Pushan is called "Child of the Unharnessing":
Come, burning Child of the Unharnessing...
Be for us the charioteer of Order (Rita).
Best of charioteers, lord of great wealth...
You are a stream of riches, a heap of gold.
Pushan, who uses goats for horses in his chariot...
The lover of his sister... the brother of Indra.
The "Unharnessing" is the dissolution of the Universe, that is, of Atlantis-Eden. Rita is Cosmic Order, the Vedic counterpart of Dharma, the "Law" of Indian traditions. This concept relates to the Wheel-of-the-Law of the Buddhists and has to do with the concept of Cyclic Time and the Yugas (or Eras), as well as with their drastic endings. The unharnessing of the horses takes place at the end of a journey, when the horses are unyoked from the chariot. The idea is that Pushan is the Sinking Sun, who has completed its journey and hence must go, in order to clear the way to the new era that starts.
In Cosmic terms, the above expression alludes to the end an era, when he, the elder Twin, yields his place to his junior brother, Indra. Pushan is the lover of his sister Suryâ, the female avatar of the Sun and, even more exactly, an alias of Dawn herself. It seems the two brothers contend for the love of beautiful Suryâ, just as do the Ashvins in another Vedic hymn (10:85). In fact, Pushan and Indra apparently correspond to the twin Ashvins, at least in this context. Pushan's decline is the usual one of the elder bothers everywhere. In later literature, Pushan is depicted as old and decadent, and eve unable to eat solids, as he has lost all his teeth.
The reason why Pushan brings on fertility is unclear, and has never been explained before. In fact, Pushan is a volcano. Hence, his description as "burning" and as "resplendent", as well as his identification with the sun and his description as "wielding a golden sword". What this means is that Pushan is an alias of Chrysaor, whose name means the same. This expression, which also evokes the twin Cherubs of Eden and their fiery, whirling swords is indeed an image of a volcano, with its fiery pillar issuing from its top, and whirling with the wind above.
Volcanic dust is an excellent fertilizer. Such is the reason why people gather around volcanoes, often at great risk of loss of life and property. Volcanoes are often compared to flypaper. They attract people like honey does flies, only to kill them when they finally erupt. Volcanoes also bring on rain, as described further above. And rains are another factor of prosperity and abundance. The loss of Pushan's teeth is also related to volcanism. It is the alias and counterpart of the primordial castration, an alludes to the fact that the volcano lost its peak, here equated to teeth. Indra, in turn, seems to be the other volcano which is the dual of the one associated with Pushan. Perhaps Indra -- often of a watery nature -- is the Krakatoa volcano, indeed submarine, in contrast to the toba volcano, located on dry ground, in north Sumatra.
In Egyptian terms, the Twins who dispute the love of Dawn correspond to the two ithyphallic brothers who are charmed by the Dancing Goddess, whom they watch from their ship, as portrayed in the Gerzean vase which we discuss elsewhere. As this vase dates from about 3,500 BC, and the theme is apparently far older, we can see that the myth of the Vedic Twins (the Ashvins) who dispute the love of Dawn, their sister, is immensely old. How it passed into pre-Dynastic Egypt so early in time is a mystery that only the hypothesis of Atlantis can reasonably explain.
In fact, the Gerzeans seem to have been the proto-Phoenicians who, chased out of Egypt at its unification, went on to found the magnificent civilizations of the Levant. Anyway, the enormous galley ship portrayed in the vase just mentioned is an unequivocal proof that the Gerzeans were, in contrast to the Egyptians, a seafaring nation like the legendary Atlanteans and their successors, the Minoan Cretans, the Etruscans and the Phoenicians.
In other words, Pushan and Indra correspond to the two Ashvin Twins, who are the personifications of the two races, Dravidas and Aryans. The myth of Pushan and Suryâ also evokes the one of Yama and Yami. These two are another pair of Solar Twins closely connected and often identified to the two aspects of the Sun: rising and falling. Suryâ, the coveted bride, in turn, represents the Earth, whose possession the twin races of Atlantis endlessly dispute. In fact, she represents Dawn, herself a personification of the Great Mother who is no other than the land of Paradise.
the twin lovers of the song of songs
Those who know the rich imagery of the Vedic hymns will have no trouble in realizing that the Ashvin Twins are the true source of the exquisite allegories that pervade the ancient myths. The omnipresent Twins assume all sorts of shapes and avatars in the mythologies everywhere. They are also the changelings, in the ancient acception of shape-changing, for they can turn not only into werevolves and vampires, but also into birds and other animals.
In more ways than one, the Twins also correspond to the two lovers of the Song of Songs who also assume all shapes both animal and human. As Harold Bayley demonstrated, this beautiful biblical composition has been cribbed, almost verbatim, from an Egyptian poem entitled The Burden of Isis. This piece, in turn was copied from a Hindu hymn entitled The Heifer of Dawn. The Heifer is the Cow-Mother, in her renewed avatar, she of a myriad names (Myrionyma). And this myth in turn evokes the one of Brahama and his daughter, Dawn, changing into divese animal forms, and mating in each, thus engendering all creatures.
Indeed, it is far more than a coincidence that the two lovers of the Song of Songs have often been identified to Solomon and to the Shulamite (or "Veiled One") as well as to Osiris and Isis. Solomon and Osiris are both representations of the Fallen Sun more or less like Pushan, Vivasvat, and others such. Solomon is Sol Amon = "Sun Lord". And Osiris has a name related to that of Surya (the Sun), as well as to the Greek word seirius = "shiny one" = the Sun. In other words, the Jewish king is no less legendary than Osiris or Dionysos, or other such personifictions of the sun or the volcano.
As Bayley and others have shown, the Shulamite is Dawn herself, and Solomon is the Rising (or Setting) Sun. In another connection, she is Cinderella, and he is the Prince. Cinderella changes shape just as do the lovers of the Song of Songs and the Vedic Twins, Pushan and Suryâ, or Yama and Yami. The omnipresence of the shape-changing Twins attests both their archaic character; as well as the importance of their myth.
And, as we argued above, the two brothers (or brother and sister) are no other than the two Atlantises, one the successor of the other, as the Mother and Son of all mythologies, the Judeo-Christian included. Even if this connection is rejected, no one can deny the fact that the myths of the solar twins and their disputes for the love of their sister, Dawn, are too close to allow attributing their coincidence to chancy events. And since the myth is present both in the New and in the Old Worlds -- which have been separated ever since the Pleistocene -- this is tantamount to saying that they date from at least that time, that is from 11,600 years ago or more. Andthis, once more, brings us back to Atlantean times.
the fundament of the mystery religions
The myth of the twin lovers forms the fundament of the Mystery Religions of all times, as well as of Christianism, Hinduism and Buddhism, not to mention the other religions. The fact that they figure in the mythologies of both the Jews and the Aryans, as well as of the Egyptians, the Hindus, the Sumerians, the Greeks and even the Amerinds, testifies that the myth was composed before the diaspora of humanity from its primordial birthplace, in Atlantis-Eden. To believe the Bible, this crucial event took place shortly after the Flood and the destruction of the Tower of Babel, itself an allegory of Atlantis' fortified capital city (citadel).
[Footnote: One of Plato's purposeful confusion concerns the name of Atlantis itself. First, the philosopher makes a detailed description of the Lost continent as "larger than Libya (north Africa) and Asia (Minor) put together". Next, the philosopher describes Atlantis as a tiny island a few kilometers across. The fact is that Plato was speaking bothof the country so named and of its capital city. Atlantis' capital was called by the same name as the country, as was so often the case in antiquity.
The reason for this is easy to understand. The ancient nations usually started from a city that kept growing and absorbing its neighbours, until it turned into a great nation or even an empire. Such was the case of Rome, of Athens, of Babylon, of Tyre, of Carthage, etc.. So, with Plato's Atlantis, it was the citadel or fortified portion of the city which went under, swallowed by the giant volcanic caldera that opened up under it, when its volcano erupted in a colossal conflagration.This volcanic explosion also caused the end of the last Pleistocene Ice Age and so led to the ultimate demise of the whole country, which went under the waters of the global flood that resulted.]
The conclusion is that the myth indeed relates the eschatological events connected with the Flood, allegorized by the sacrifices of the horse and the goat in the ashvamedha or by the Cosmogonic Hierogamy of the King and the Whore which we described in detail further above. This marriage is also featured in most ancient Cosmogonies. In India it is the one even today commemorated in the Tantric rituals akin to the ashvamedha. The fact that the rite still survives in India that living Museum of Humanity attests its Hindu origin. In fact, the Hindus are not only most conservative in religious matters, but are also known exporters of religions such as Buddhism and the Mystery Cults from which most others derive.
the maithuna ritual
Alexandra David-Néel the famous French researcher who lived for several years in India and Tibet in the 19th. century describes a Tantric ritual she witnessed in India, in her book The India Where I Lived (Paris 1951). The ritual was secret, and she watched it hidden and disguised. The worshippers belonged to the local nobility and performed what the tantrikas call chakra-puja ("ring ritual"), that is, a communal sharing of food and love where the worshippers form a circle (chakra).
In the ritual she watched, as a prolegomenon, a goat was sacrificed and eaten communially in a way closely reminiscent of the ancient Vedic ritual of the ashvamedha. During the Tantric rituals the Five Makaras representing the Five Elements are consumed. The Makaras ("M sounds") are matsya (fish), madhya (wine), mamsa (flesh), mudra (grain), maithuna (love).
Wine represents fire; fish, water; grain, earth; flesh, air; and love, ether. The flesh is that of the mountain goat or a bird, aerial animals by nature. Love is the ethereal principle, a sort of metaphysical fire (aither) that incends all nature. Indeed, it represents the incending of the world that takes place at the world's end. An important feature of the horse and the goat sacrifice we already mentioned is the fact that the animals are tied to the skambha or stauros that represents the Cross. Miss David-Néel saw the sacrificial pole of the goat and affirms that it was forked like an Y.
Now, the Y is actually the earliest form of the Christian Cross. Indeed, this shape corresponds to that of the Semitic vaw which the Essenes of Qumnran equated with the mystic Christ. Dupont-Sommer, the famous expert on such matters published a fundamental book (La Doctrine Secrète de la Lettre Vaw, Paris, 1956), in which he studies the problem in depth. His conclusion is that the vaw represents an archetypal Christ, and is connected with the Flood and the Conflagration (Ekpyrosis), the destruction of the world by the agencies of Fire and Water. The letter vaw is also is the equivalent of the Cosmogonic Hierogamy, according to him and, of course, our own conclusions.
Once again we have a connection between the Christian Mysteries of the Passion of Christ, the Cross, the Mass, and Holy Communion with the Hindu and the Vedic rituals and mysteries. Except that they were, this time, intermediated by the Gnostic sects of the Jews such as the Peirates and the Essenes and, not impossibly, by proto-Christian Gnostic Egyptian and Syrian sects such as the Therapeutes, the Ophites and the Sabeans. What this shows, beyond reasonable doubt, is that far from novel, the foundations of Christianity in fact derive most directly from Pagan ones.
What is more, the esoteric and the salvific aspects are one and the same, both deriving from the impact of Atlantean events fated to occur again and again over geological time, as we humans are now learning, this time from Science rather than from Religion. Moreover, the Passion of Christ is here interpreted in Cosmic terms, as that of the Cosmocrator, who is indeed no other than Purusha himself, his arms extending to the ends of the Cardinal Positions.
All this has directly to do with the Flood and the Conflagration which periodically destroy the World. The Cosmic Christ of the Gnostics is obviously fashioned after the Vedic model of Purusha and Pushan, as we just said. The ritual of holy communion of the Tantric ritual just described is indeed a commemoration by reenactment of the death and consumption of Atlantis in the Primordial Sacrifice. It is also the actual archetype of the Christian Communion, the consumption of the Eucharist, as we explain in more detail in our section on the origin of the Christian Sacraments.
the ritual mating of the king and the whore
Already in Vedic times the Gnostic doctrines were wrapped in mystery and in occult symbolism. The priest and the whore secretly mating inside the Vedic altar or inside the secret chambers of the Egyptian pyramids already signals this need of secrecy. The sophisticate symbolism of the ashvamedha and of the hymns of the Rig Veda are also allegories of the same ritual mysteries which date from Vedic times, if not earlier ones.
In fact, this Vedic ritual was already archaic in ancient India. The Sankhyayana Shrauta Sutra (17:6:2), an ancient philosophical treatise on Vedic doctrines (Sankhya), states about the ritual maithuna that "it is an ancient ritual, already fallen in disuse". The Shatapatha Brahmana (11:6:2-10) identifies the maithuna or ritual love affair to the agnihotra, the sacrifice in honor of Agni, the Hindu fire-god.
The agnihotra oblation consists of throwing butter balls into the fire. The butter represents the fat victims which were formerly used in the sacrifice. This sacrifice is performed at dawn and sunset (sandhya), the two crepuscles of the Sun. In fact, Agni represents far more than Fire. He is identified with the Sun and, more exactly, with the Fallen Sun that inflames the earth at the world's end.
In real terms, Agni symbolizes, in this one of his seven forms, the volcanic conflagrations that destroy the world at Doom and which consists in volcanic paroxysms of a global scale. The giant explosions rip the earth's crust, causing magmatic effusions and throwing out volcanic bombs (debris) the size of entire mountains. These are equated to the vajra, the Celestial Fire of Doom that destroys the world when the eras end. One of the forms of Agni is Angiras, a name that means both "anointed one" (ang) or "fiery one" (agni). Angiras is a manifestation of the vajra. Angiras is the same as Dadhyanch or Dadhikra, one of the many names of the Hindu Flying Horse, also called Vena or Tarkshya.
[Footnote: We already explained the mechanism whereby the volcanic paroxysms observed at geological era transitions indeed arises. This mechanism was proposed by ourselves some twenty years ago, but has failed so far to gain widespread recognition among the specialists, as is so often the case in geological science, witness the case of Alfred Wegener and others such. But our proposal is both simple and logical, and provides an answer where there is none so far. The whole process is one of positive feedback, an inherent climatic mechanism that is all the time imposing itself.
A huge volcanic explosion has two main effects. First of all, it cools the earth as the result of the atmospheric obscuration by the volcanic dust and the smoke of the fires it causes, as well as of the increased cloudiness and rains which normally accompany volcanic eruptions. But then the dust settles over the glaciers, reducing their albedo and warming the earth, as the sunlight becomes increasingly absorbed, and the glacier covering becomes reduced in area. The melting of the glaciers also alleviates the continental crusts which tend to rise due to Isostatic Principle.
At the same time, the meltwaters flow towards the ocean, increasing the load on the seafloor. The result is that the earth's crust becomes negatively stressed at the continental borders, tending to crack and to quake there. These quakes and volcanic eruptions at the oceanic borders cause further giant tsunamis, which cause further marine invasions of the continents. The invading waters float the glaciers, and carry them off to the sea in their return to the ocean. The result is the massive injection of icebergs and banquises into the ocean observed in the sedimentary cores and known as Heinrich Events. One such massive event attended (or caused?) the end of the Younger Dryas, some 11,600 years ago, right at the end of the Pleistocene Ice Age. Yet another "sheer coincidence"?
The name of Dadhyanch means "sprinkling curds", whereas that of Dadhikra means "stepping on curds". Dadhikra is a flying horse akin to Pegasus, whereas Dadhyanch (or Dadhica) is a rishi who knew the secret of manufacturing Soma, which he taught the Ashvin twins. Indra decapitated him for that, but the Ashvins had replaced his head by the one of an ass, and later replaced his own head. The decapitated ass' head fell from heaven into a lake, and became the first land. In other (unclear) traditions, it became the adamantine repository used by Brahma in order to confine the inflamed body of Kama, which became the Vadavamukha, the Fire of Doomsday which destroys the world at era endings. The bones of Dadhyanch were adamantine, and were used for making the vajra.
These stories are indeed allegories of the volcanism that destroys the world. Dadhi indeed refers to any thick, viscous substance such as honey or resin or curds. Here it means "magma", the thick pouring of volcanoes. Such is the idea of Dadhyanch being the source of soma or of honey (mead) and the one of his head becoming the Vadavamukha, the source of doomsday fire. Dadhikra, his other self is also another clever allegory of a volcanism. Dadhikra is the same as Pegasus, whose legend certainly originated from his. In fact, his name originated the legend -- very popular in India -- that wherever he stepped (only rarely), a spring originated. And this spring is actually the source of doom.
The name of Pegasus also derives from the same idea (pagas = "spring, source", in Greek). And Pegasus too was associated with Doom and the Flood, which sprung from the sources its steps created. This idea is connected with the steps of Vishnu and/or the ones of Buddha, which also mean the same thing. Actually, this is actually never said, but only hinted at, for instance by mentioning that Vishnu's footsteps are full of honey or that he is madhusudhana (a bee, as "destroyer of honey" or, rather, as "source of honey"). So, Vishnu is actually an alias of Dadhyanch and of Dadhikra and, in that quality, actually the volcanic god at whose command Doom comes about.
The name of Dadhyanch (Dadhicha) also means "vajra", signifying that his fall is the same as the one of the vajra which destroys the Tower (Atlantis), as commented further above. Tarkshya-Pegasus is also called Ucchaih-sravas, a name meaning "which has long ears". and this epithet of course evokes the figure of Seth and other such asinine deities discussed further above, Jesus christ included. The idea seems to be the one that Jesus is indeed an alias of Krishna, and that his advent brings on Doom, a fact that is indeed well-known, according to the Apocalypse and indeed in the Gospels themselves. In fact, much of the mythology associated with Christ derives directly from the one of Krishna, as we argue elsewhere in detail.]
the fiery mare and the fire of doomsday
Angiras is the archetype of the Anointed One, the precursor of the Messiah or Christ ("anointed one"). He is the personage symbolized by the butter balls of the Agnihotra sacrifice. In other words, the idea of "anointing" the Messiah (that is, "the Anointed One") implies that he is the victim destined for the fiery ordeal of the end of the world.
Angiras (or Dadhyanch = "sprinkler of curds") is also connected with Indra and the theft of Soma. Angiras, a great sage, disclosed the secret of Soma to the Ashvins and was decapitated by Indra. The Ashvins the Celestial physicians replaced the head of Angiras with a horse's one and healed him. However, his decapitated head fell down to earth as the vajra, and became the Fiery Mare (or Vadavamukha), kept at the bottom of the Ocean. In another version of the myth, it is the fiery body of Kama, inflamed by Shiva's fiery glance, that is enclosed within the mare's mouth, and was carefully placed by Brahma at the bottom of the ocean.
The mare's skull may well have been the adamantine one of Dadhyanch, the only material indestructible enough to be able to resist the Fire of Doomsday, and contain it until the proper date arrived for its liberation. There it stays in a most precarious equilibrium, its fire consumed by water in a continuous manner. But it threatens to destroy the world at all times, as the equilibrium is rather unstable and can be disrupted by even the slightest disturbance.
Strange as this myth might appear at first sight, it seems to correspond more or less exactly to what modern Science has recently discovered in connection with submarine volcanism in general, and the Indonesian one in particular. The Vadavamukha apparently consists of the Mid-Oceanic Rift that cleaves the bottom of all oceans. This giant chasm as we discuss in detail elsewhere corresponds to the boundaries of the Tectonic Plates that form earth's crust. According to Plate Tectonics Theory, magma continually pours from it in a huge scale. But it cooled by the cold bottom water, and solidifies forming the continuously growing Tectonic Plates.
It should be noted that, contrary to a widespread belief, the mantle and, in particular, the asthenosphere are solid, and that plate motion occurs in the solid state, more or less as the flow of glass, in window panes, by means of a process technically called "creep". Molten magma such as the one of volcanoes is a localized affair, and only occurs in pockets called magma chambers formed by plumes rising from the core or, more likely, formed by giant meteoritic impacts of long ago. It is only at the fissures of the mid-oceanic rifts that the magma is molten and hence able to rise to the surface.
The reason for that is easy to understand. The water of the oceanic bottoms is under an enormous pressure, and so gradually infiltrates the volcanic magma, through the rifts of the oceanic crust. With this infiltration, the magma becomes locally more fluid, and tends to flow smoothly, rather than explosively, as is normally the case with silicic (rhyolithic) magma such as the one of the Indonesian region. But when this precarious equilibrium is disrupted for some reason, the volcanic calderas such as the one of the Krakatoa or the Toba volcanoes get plugged, and the result is often a gigantic explosion. Such was the case with the Toba and the Krakatoa volcanoes in their great prehistoric explosive eruptions which ended up causing catastrophes of global proportions mentioned further above.
There can be little doubt that the ancients knew, even if only empirically, both the shape and the mechanism of the Mid-Oceanic Rifts of the Indonesian region, which they so perfectly described in their myths. The only point open to discussion is whether they knew of it by means of an advanced science like ours or if they learnt about it from direct experience when the Vadavamukha became haywire and destroyed the world in the terrible conflagrations attested by the geological record. In this context they were in fact far ahead of our own scientists such as Darwin and Lyell, and even their modern followers, who keep stolidly denying the possibility of global cataclysms even in face of the tremendous contrary evidence provided by the geological and the climatological records, which have been available from far before the times of these two pioneers who so adamantly denied the possibility of their existence.
[FOOTNOTE: In his On the origin of species by means of natural selection, (London, John Murray, 1859), Charles Darwin (1809-1882) attempted to overthrow the catastrophist views of precursors such as Buffon, Cuvier and Buckland by means of the so-called Principle of Uniformity postulated by Lyell in his Principles of Geology (London, 1830), which he extended to encompass his Evolution Theory. According to a recent editorial blurb in Darwin's book:
"Lyell's Principles of Geology established the principle of the uniformity of natural causes in the formation and shaping of the Earth's surface. Darwin attempted to demonstrate a parallel uniformity in the development of the organic world, through the principle of evolution by natural selection. On the origin of species, one of the most intensely debated books ever published, sets out this theory. Darwin's was the first detailed attempt, after centuries of speculation, to produce a cohesive theory of the successive development of life forms. Though Darwin's work was refined by the work of Mendel and others, and though there is still debate on aspects of the mechanism of evolution, particularly with regard to the role of natural selection, the basics of Darwin's theory are accepted in scientific circles".
This controversy, which derives from the earlier one of Plutonists and Neptunists, is masterfully summarized in C. C. Gillispie's Genesis and Geology, Cambridge, 1951. Gillispie is a professional historian and takes no sides on the issue, which he brilliantly presents. This controversy is the result of a basic failure on the part of Darwin and Lyell, as well as of their many followers, to realize a central feature of Nature in this connection. In fact, what we indeed have in practice is the two opposite principles working side by side. Consider the case of human evolution. Civilization develops, more or less uniformily, over time. But major catastrophes, either natural or due to war and toehr causes, periodically develop, and disrupt this uniform progress. In fact, during war, the normal laws are often inverted or suppressed.
Such is precisely the case with both Geology and Evolution. Under normal conditions, the usual agents such as erosion or natural selection slowly work to gradually change the face of the earth and its creatures in a more or less uniform way. During this time, the Uniformity Principle applies, and Uniformitarian Evolution makes sense. At times, however, in the course of geological time, major catastrophes arise, often of a global nature: giant meteoritic or cometary falls, ice ages, global cataclysms caused by giant volcanic eruptions, etc..
Then are the normal laws of evolution reversed, so that it is
precisely the less well-adapted -- and hence necessarily less specialized -- species
that have an advantage and are hence given a chance to spread. And they then evolve,
engendering the multiplicity of species which are normally observed to arise shortly
after major geological catastrophes. Stephen Jay Gould's theory of punctuated
equilibrium is one recent attempt to embody this facet of Nature into Darwin's
Evolution Theory. But we deem this theory incurably flawed from the start, as
we explain elsewhere in detail. For one thing, it speaks of evolution, when what
we indeed have is mere adaptation to environmental conditions. accordingly, the
negroes are better adapted to a tropical environment, whereas the whites are equally
better adapted to colder, sunless environments. Which race is better or more evolved?
Theories such as the one of Evolution are only pseudo-scientific. More than anything,
these theories are merely the result of white ethnocentric fancies of the Victorian
Age, and should fast be dropped with disgust by all sensible persons, regardless
of religious affilliation.]
the reality of the universal flood
The titanic earthquakes which resulted from the volcanic explosions just mentioned also caused the enormous tsunamis which are recorded in the myths of all nations as the Flood. The Flood was indeed a dire geological reality, one which is attested in essentially all traditions worldwide. As we argue in detail elsewhere, the Flood -- often caled the Universal Deluge -- in reality consisted of the terrible cataclysms which attended the end of the last Ice Age and the Pleistocene, which, as we now know, occurred in a matter of decades at most, rather than millennia, as formerly thought up to less than a decade ago.
What is more, the cataclysm occurred at about 9,600 BC, precisely the date given by Plato for the destruction of Atlantis. In the tragic event, some 70% of all great mammals, as well as a multitude of other smaller species, became extinct on a global scale throughout Asia, Europe and the Americas. Only Africa was more or less spared, witness the rich fauna of great mammals still encountered there even today. Mammoths, mastodons, cave-bears, saber-toothed tigers, mountain lions, giant sloths and hundreds of other such magnificent animals were smashed to smithers by an unimaginably great cataclysm of global extent.
Two species of Man, the Cro-Magnons and the Neanderthals, became extinct at about this occasion, and in all probability owe their demise to the catastrophe. Such is the event registered in myths as the Deluge or Flood, and in the geologic record as what the paleontologists call the Quaternary Extinctions.
Several different theories presently compete to account for these mass extinctions. One such is the so-called overkill hypothesis, according to which Man, recently arrived in the New World, systematically eliminated, by overhunting, most species of great mammals there. Another theory holds that mammals were essentially sterilized by rapid climatic changes that occurred at the end of the Pleistocene, some 11,600 years ago. But none of these is so compelling as the one of the Flood, which also has the advantage of complying with traditions the world over. Besides, the extinctions were essentially global in character, so that a myopic theory such as overkill will never do.
In what follows, we present a few brief quotes from works published since we wrote the present work, some ten years ago and more. It is becoming evident that climatic change happens far more suddenly than formerly suspected. Large temperature swings -- which mammals are not adequately adapted to support -- may occur in a matter of decades, if not years, due to processes such as Heinrich Events or Dansgaard-Oescher Events, which have been recently deduced from the geological records provided by ice-cores and marine or lacustrine sediments.
the incending of the forest of kandhava
Angiras is also known as Brihaspati, "the Lord of Prayer". He is, as such, associated with the Sacrificial Pyre of the agnihotras, whose smoke rises to heaven itself establishing a link between the gods and the mortals. Indeed the smoke carries up the smell of burnt flesh, that of the sacrificial victims. And that giant pyre is no other than an allegory of Atlantis destroyed by fire.More exactly, these sacrificial victims correspond to the creatures (humans included) burnt in the Conflagration that destroyed the world then, and to the Flood that eventually quenched it. Such is the real meaning of the Cosmogonic Hierogamy of Fire and Water. The Hindus vividly relate this tragic event in detail in many myths, the most impressive of which is that of The Incending of the Forest of Kandhava.
This magnificent myth seems to be the dual and fiery counterpart of the watery destruction of the Flood myth of Manu and the Fish. The Fish, (Matsya), was/is the first avatar of Vishnu. And Manu is the true archetype of Noah (or Manoah = Manu), as well as of all such Flood Heroes, including Utnapishtin, his Sumerian counterpart.
The giant pyre of Brihaspati corresponds to the sacrificial fire lit up by both Noah and Utnapishtin shortly after the Flood. The smoke of his sacrificial pyre also "rose up to the skies and attracted the gods as flies to a slaughterhouse", just like the ones of the Bible and of the Sumero-Babylonian Flood myth. For, apparently, burnt sacrifices pleases the gods, particularly when they are of human victims.
The "fall" of Angiras prefigures that of Adam, whose skull became the Holy Mountain (Mt. Calvary), just as did that of Angiras. Other Judeo-Christian myths that are likewise related to the fall of Angiras as the vajra (or "thunderbolt") are those of Christ and of Satan. These two also fall from the skies "like lightning bolts". The Book of Revelation is full of similar relations. In it, both Michael and Satan the likes of Indra and Vritra also fall from the skies in like manner while they are fighting for hegemony.
the vedic sacrifice of the agnishtoma
Another important Vedic ritual is the agnishtoma ("praise of Agni"). The agnishtoma corresponds to the Soma sacrifice in honor of Agni. It was performed in Spring, on the occasion of the New Year, and lasted several days. A sacrificial fire was lit up and kept for its entire duration. Soma was ritually prepared and drunk freely, as well as offered in libation to the fire. A goat was sacrificed in great pomp, just as in the Ashvamedha.
The agnishtoma was a fertility ritual. Both Agni and Indra are the personifications of Fire and Water or of the Conflagration and the Flood which periodically ravage the earth. These two gods were the main personages, the celebrants of the ritual. But all gods, with a single exception (Shiva) assembled for the great sacrifice, just as they do when the earth is to be destroyed by the Flood.
The agnishtoma ritual commemorates the renewal of Nature and the restoration of fertility. It was intended both to bring rains and to commemorate the lighting of fires for the New Year that was starting. The ceremony was also accompanied by ritual mating of both animals and people, just as in the Tantric rituals of modern India or the akitu festival of the Sumero-Babylonians.
The lighting of the New Fire was called Agnyadheya ("lighting of fires") and was an important preliminary at all Vedic sacrifices. The holy fire was lit by means of the Vedic fire-drill (pramantha). The pramantha has been associated by Max Mueller and other Sanskritists with the myth and the name of Prometheus. Prometheus is "the fire-bringer", just as is the pramantha. Also, its shape is cruciform, and is closely related to that of the Cross, a device again related to the Vedic firedrill, the pramantha. In fact, all this refers to the Cosmogonic Hierogamy, the marriage of Fire and Water, the enlightenment of the world that took place in Paradise, destroying all Creation.
agni and indra as the incongruous twins
It is clear that Agni and Indra represent the same as the many-formed Twins. They also represent the two agents Fire and Water that periodically destroy the world by means of the Flood and the Conflagration. But, likewise, they also stand for the two brotherly races of Dravidas and Aryans that disputed hegemony in Vedic India and elsewhere, throughout the ancient world.
In the myth of The Incending of the Forest of Kandhava, the two principles are also represented by the Krishna and Arjuna, the twins who incend the forest with their flaming arrows. In the "fuzzy logic" of myths, these two are vaguely identified with Agni and Indra, themselves the personifications of Fire and Water. We analyze this remarkable myth elsewhere in detail, in its profound Atlantean signification, and will not return to this subject here, directing the interested reader to our book on Atlantis.
The twins also stand for the respective birthplaces of the two races, Eden and Hades or, more exactly Atlantis and Lemuria. In India these two paradises are called Atala and Patala (or Sutala). Atala means something like "sunk", whereas Sutala means "foundation". In historic terms they are called Lanka and Dvaraka, the capitals of the two great civilizations whose demise is told in the Ramayana and in the Mahabharata, respectively.
As we just said, the Shatapatha Brahmana equates the maithuna (or love ritual) of the Tantrics to the agnihotra ritual of Dravidian India of Vedic times. Other Hindu holy books bring out the Cosmological equivalents of this Hierogamy of Fire and Water and of Heaven and Earth. The Brihadanyaka Upanishad (VI:4) compares the maithuna ritual to the Vedic sacrifice of the horse and the goat celebrated in the ashvamedha and the agnihotra.
Such rituals are to be performed with exactitude, and even orgasms are strictly forbidden, though intercourses may last for several hours. The woman (or shakti) is equated to the Earth, whereas the male (or shiva) is equated to the Sun and the Celestial Phallus fallen from the skies as the vajra. One ritual formula of the above mentioned book affirms of the couple that they must say to each other: "I am the Sky and you are the Earth", and vice-versa.
the woman represents the earth
The woman is also equated to the earth, her basin being the symbolic equivalent of Mt. Meru (that is, of Mt. Atlas, the Holy Mountain). Her pubic hair is the sacrificial grass (used to light the sacrificial fire), and her yoni becomes the fiery pit whence the Soma flows. In other words, her vulva is the alias of the Vadavamukha, whence flows the fiery magma that incends the world. This fiery effusion is often equated, in Hindu symbolism, to the menstrual blood, to the nuptial (hymeneal) blood or, more frequently, to the birthwaters that correspond to the birth of the Brave New World.
Prof. Mircea Eliade, in his Techniques of Yoga, discusses the symbolism of the maithuna ritual in detail. He asserts that the ceremony is pre-Vedic or, in other words, is of Dravidian origin. Its aim is to achieve nirvana (annihilation) of desire, an idea that again suggests the Cosmic Dissolutions discussed further above. As all things Hindu, sex is sacred in India, particularly among the Dravidas, who practice this type of sacred ritual.
Shiva and Shakti, whom the mating couple represents, are the embodiment of purity itself. In fact, the two personages and the maithuna ritual figure in the most recondite arcanes of Christianism, both Gnostic and conventional. But this is not the type of subject to cover in the present medium, which we reserve for a fitter arena and a better opportunity.
The couples mate in a peculiar way, with the male standing up or seating upright and the female lying down. The idea is that the male is the World Pillar and the female is the support or foundation. In other words, the couple forms a Cosmic Cross, with the horizontal woman representing the Sutala ("foundation") and the upright male the Skambha (or Pillar) of Shiva Sthanu, represented as the Cosmic Pillar (Mt. Meru). The idea is already present in the Rig Veda, as the cruciform shape of Purusha, the Vedic archetype of Christ.
There can be little doubt that the Christian myth derived its Cosmic symbolism from Vedic India and from rituals and symbols such as the ones discussed above. To believe that the idea originated independently on the two sides of the world as collective archetypes is a thoroughly unscientific absurdity. Indeed, this is not far different from the notion of preternatural revelation. Besides, why would the same innate symbolism result in two thoroughly different modes of expression: the maithuna in one place and the crucifixion in the other?
the holy mountain of the navajos
In the Tantric rituals the linga is expressly compared to the vajra and the yoni to the padma (or "lotus"). The vajra, is precisely the "lightning bolt" which we discussed above, the Celestial Linga (or Skull) that falls down to earth from the skies and becomes the Holy Mountain. In Christian terms it is Mt. Calvary or, yet, the Grail Mountain (Mt. Salvat). In India it is Mt. Meru or Kailasa, the Holy Mountain of Shiva that represents his linga.
But the same symbolism is also encountered everywhere, including the New World. For instance, the Navajo Indians call it Mt. Pelado or, yet, "Whirling Mountain". Pelado is Spanish for "Bald", a name synonymous with "Calvary", the Holy Mountain of the Christians. Quite visibly, the Christian myth of Mt. Calvary originated from the universal set of Hindu myths on Atlantis and its "Pillar of the World". The idea of "Polar Mountain" that is, of the Holy Mountain at the exact Center of the World, in the site of Paradise in fact derives from the Hindu symbolism of Mt. Meru, which dates from Vedic times, those of Atlantis. We discuss this theme in detail elsewhere in this Homepage, to where we direct the interested reader.
The Whirling Mountain is the support of the skies (like Mt. Meru) and the center of Paradise (as in India). It is impossible, as we said, that such identities arose by chance or even as the result of the missionary efforts of some enlightened Jesuits. The only sensible explanation is that of the Indians themselves: the luciferine missionaries were men (or angels or gods) like Quetzalcoatl and Sumé, among many others.
They were the luciferine Indian missionaries who also enlightened the whole of the ancient World. But their worldwide influence can only be extremely archaic, for it did not take place in historical times. In other words, this civilizing empire was ante-Diluvian, just as the myths say they were. And it literally corresponded to Atlantis and, possibly also, to its mother-sister-wife, Lemuria, its precursor and twin.
the meaning of the sacred syllable om
The yoni of the female is, as we just said, equated in India to the lotus (or padma). Indeed, the mantra OM MANI PADME HUM! means a lot more than just: "Rise, Oh Jewel in the Lotus" as is frequently asserted. Rather, its mystic meaning is "Rise, O Phallus, from the Vagina". Its real symbolism is Cosmic, as we said above. It indeed refers to the rising again of Atlantis, characterized by its Holy Mountain (Mt. Atlas or Meru), from the Cosmic Yoni, the Great Abyss where it sunk away, in the dawn of times, some 9,600 years ago.4
Moreover, the very symbol of the OM mantra, shown in Fig. 1 below, represents a linga being inserted in the yoni represented by a woman's derrière. Also shown in Fig. 1 are some early forms of the OM glyph taken from Indian sources, as well as the Devanagari spelling of the Sacred Syllable. We should not forget that the Yoni-lingam is India's most sacred symbol, and that the sex act is deemed holy in India, as it in fact is, being in reality the performance of the only divine act of Creation that we humans are able of performing.
The glyph shown above is not written in Devanagari, the Sanskrit alphabet, which is shown at the center of the figure for comparison. Nor is the origin of the alphabet in which it is written truly known. But it may really derive from a proto-alphabet such as Brahmi or Vatteluttu, which some experts such as Sir Monier Williams posit as the true source of our alphabet. Indeed, a close inspection of the shape of the glyph will show that it remarkably resembles the syllable OM written in the ordinary (Roman) alphabet from right to left and with the letters tilted by 90 degrees.5
the cosmic yoni and the vadavamukha
The Cosmic Yoni is the well-known representation of the Vadavamukha. It is the Abhvan (or "Great Abyss") of the Rig Veda, which "menstruates" the end of the world, destroying it. The Yoni represents the site of destroyed Lanka, as we detail elsewhere. The Cosmic Yoni is also the Khasma Mega of Hesiod, and the Charybdis of Homer's Odyssey. Both of these names mean "Black Hole", and refer to the fearful Cosmic Yoni of the Earth Mother.
Scylla and Charybdis one a giant maelstrom, the other a lofty peak that reaches up to heaven above are indeed symbolic representations of the twin Atlantises. One (Charybdis) is buried inside the Khasma Mega that is no other than the Vadava-mukha, and the other, though disfigured, still lies upon the top of the Holy Mountain, Meru. No one familiar with Hindu symbolism will fail to realize this fundamental identity, and the fact that Homer was cribbing from Hindu sources.6
The Vadavamukha is the giant maelstrom which the Romans identified to the mundus, the frightening entrance to Hell. The Egyptians equated the Khasma Mega of the Greeks with the Nun, the Primordial Abyss out of which sprung the Tatenen, the Primordial Mountain that they allegorized as the Phallus of Ptah (Pta-tenen). The Nun also corresponds to the Akher, the Double Lion of the Egyptians. The Akher of the Egyptians was the twin-lion that swallowed the Sun at dusk in the Occident, and spewed it out in the Orient in the morning.
Of course, the Egyptians did not believe in such fables, which were mere allegories of the Fallen Suns discussed above. To believe otherwise is tantamount to assuming that the ancients were even more stupid than we are, a conclusion unsupported by fact. Even though very hard to believe, the ancient myths are far superior to our own, for they allegorize fact, rather than fiction. And, as we just saw, both the facts concerning the destruction of Atlantis (Paradise) and the fables that mythify these events came to us from Atlantis, encoded in the holy traditions and the religious myths of the ancients of all times and places.
the shiva-linga and the cosmic yoni
Hence, the Cosmic Linga and the Cosmic Yoni represented as the vajra and the padma, are really representations of the twin Holy Mountains, the Sumeru and the Kumeru. The Sumeru is Mt. Kailasa, the silvery abode of Shiva in the Himalayas. Mt. Kailasa is the Vajra Mountain and its icy shape is aptly called the Silver Mountain.
The Kumeru is the Vadavamukha ("Mare's Mouth") or Kalamukha ("Black Hole"). It is the exploded volcano of the site of Lanka, whose peak vanished in the process, becoming the Fiery Pit, the entrance to Hell. In other words, it is Hell's Hole, the giant caldera of the Krakatoa volcano.
A remarkable representation of the Cosmic Union of Shiva and Shakti is shown in Fig. 2 below. It represents Ardhanari ("half male") as the Primordial androgyne, half male-half female. The figure is laden with esoteric symbolism, as are usually all such Hindu iconographies.
First of all, we note the ankh (or Cross of Life) placed over the androgyne's sex. This fact shows that the ankh is not really an Egyptian symbol, but a Hindu one. And it represents the mystic union of the two sexes, with the linga figured as a Cross and the yoni as a sort of noose of loop that captures its top portion, the glans.
In other words, the ankh represents the same thing as the Cross + and the Star of David [BERNARDO: O SÍMBOLO AQUI FUDEU. ÉUMA ESTRELA DE SEIS PONTAS, DE DAVID], that is, the mystic union of the Linga and the Yoni. Secondly, we note the peculiar lotus in the hand of Ardhanari. It is really the union of the lotus bud (upper position) and the vajra (lower portion), as usually represented in ancient iconographies.
vajrapani and padmapani
The dualism of the Lotus and the Vajra is also illustrated in Tantric Buddhism in the twin figures of Vajrapani and Padmapani, names that mean "Vajra in hand" and "Lotus in hand". The two are the representations of Indra or other gods. Padmapani is a representation of the Sun (Surya or Pushan). Vajrapani and Padmapani are considered the two aspects of Avalokiteshvara, the Buddha of Compassion. They also represent Yama and Yamantaka (Death and Defeater or Death), as well as the two aspects of Manjushri (Shiva).
The figure of Padmapani has a third eye, the emblem of the Fire with which Shiva incends and destroys the world. Over his head he has sinuous lines representing water. These are said to represent the Celestial Ganges, which flows down on top Shiva's head. Indeed, it represents the waters of the Flood, the other agent of the destruction of the world. Ardhanari is also said to correspond to Brahma. Brahma is the Primordial androgyne who split into two halves, becoming Man and Woman.
The myth of Brahma's splitting into the two sexes recalls the first Adam (Ish) created "male-female" by the Elohim, and later separated into two halves, (Gen. 1:27; 2:21). Ardhanari is shown rising from the waters standing on a giant lotus. This represents the Primordial Island amid the waters (Lanka or Sutala), often equated to the Lotus and to Hell (after its destruction). The Lotus is the same as the Golden Flower that represents the"Atomic Mushroom" of the gigantic volcanic explosion that destroyed Atlantis, as we explain in detail on our book on the sunken continent.
lakshmi as the archetype of venus
Padma ("lotus") is also a name of Lakshmi, who rose from the waters over a lotus on the occasion of the churning of the Ocean of Milk. The rising of Lakshmi (or Padma) from the soiled waters of the Flood (the meaning of the myth) is the archetype from which the birth of Venus in Hesiod was taken. The two goddesses, as well as their roles and births closely recall each other. So there can be no question on who copied who, for the Hindu myth is far more complete and far more ancient than its Greek copy, and even predates the existence of Mycenian Greece.
One of the Central features of Tantric rituals particularly the chakra puja where sexual rites are performed in a group (chakra) is that the women should be of a lower caste and of dissolute character. They are usually young 12 to 16 years is the prescribed age and ardent. The idea is that it is up to the male to exercise control, while the woman does her best to "seduce" him and make him reach an orgasm.
This aspect of Tantric rituals is extremely important, as it sheds light on its origin and meaning. It relates to a prevalent idea of ancient myths which is central to Indian mysticism. The woman is the tempter, the nymph that attempts to seduce the male, who must resist her, in order to avoid doom and perdition.
In the myth Shiva was tempted by his shakti, Parvati. Provoked by Kama, the love god, he was disturbed in his meditation and fell. Angered, the God inflamed Kama with his third eye and, as a result, the world was nearly all destroyed by the inflamed love-god. In order to prevent a total destruction, Kama was enclosed by Brahma inside a mare's skull and deposited inside the Ocean, where he became the Fiery Mare.
the primordial incest
In another myth, it is Brahma who is hit by Kama's arrow, and falls in love with his own daughter, Ushas (or Dawn). Unable to control himself, he assaults the girl and commits the Original Sin (Caste mixing) that resulted in the doom of the world. In some versions, such as that of the Kalika Purana, Brahma, the androgyne, split between desire and the will to resist sin, ends up cleaving in two, becoming Man and Woman.
In other variants dating from the Rig Veda (10: 61, etc.) Brahma commits incest and is castrated by Shiva's arrows. The two gods are only called Prajapati ("Creator") and Krishanu ("Archer"), but are readily recognizable. Again, the result is the destruction of the world by Fire, allegorized as the split fiery seed of Brahma. Brahma is Father Sky and his daughter is Mother Earth. This remarkable hymn makes this fact clear in his final lines, which closely parallel those of Hermes' Emerald Tablet:
The Sky is my father, the engenderer, the Navel.
My mother is the Wide Earth, my close of kin.
Between these two ample bowls lies the Yoni.
In it the Father placed his daughter's embryo.
Vedic Hymns are extremely complex and difficult to understand. But we can discern here the same elements than in the Hesiodic myth of Ouranos and Gaia commented further above. As over there, we have here the Primordial Incest of the lustful father; the identification of the couple with Heaven and Earth; the birth of the gods (Angirasas); the separation of Heaven and Earth.
Novel elements are the Conflagration that destroys (or nearly) the world and the origination of the Cosmic Yoni (the Vadavamukha) and of the Navel of the Earth (Mt. Meru or Atlas). This Cosmogonic motif became extremely popular in India, and is told in a myriad forms in later Hindu mythology such as that of the Brahmanas and the Upanishads.
The Primordial Incest later assumes a different character, with Brahma being identified with the Sun (Vishvasvat, Savitri, etc.) and the daughter with Suryâ. The children engendered are not the Angirasas but their equivalents: Manu, Yama, Yami, the Ashvins, etc..
the original sin of the twins
A series of Brahmana texts develops the consequences of the incestuous act which, as we said, is the Original Incest. The relationship with the myth of Adam and Eve and the Original Sin is evident. It is known that Adam was tempted by irresistible Eve and that his fall the Fall of Man is the mythical equivalent of the decapitation of Dadhyanch and the castration of Brahma, Prajapati and Ouranos.
Even this allegory is (disguisedly) included in the Judeo-Christian myth. There, the skull of Adam is known to have become Mt. Calvary, just as the head of Dadhyanch became Mt. Kailasa and the phallus of Brahma became the Navel of the World. The Navel (Nabha) is the Pillar of Heaven just as is Mt. Atlas or the linga Shiva Sthanu.
The Pillar of the World is the same as the omphalos ("navel") of the Greeks and the Bethel of the Jews or, yet, as Mt. Meru, the Polar Mountain. The Sanskrit word (nabha) embodies an idea of "axis", "nave", "navel" as the Center (or Axis) of the World, around which the world whirls.
The Vedic hymn also mentions the dual of the Navel or Linga, the Yoni. The Cosmic Yoni is the giant chasm that separates Heaven from Earth at their common boundary in the outskirts of the world. It is the Vadava-mukha, the divide located in Indonesia, the true site of Lanka. In India it is called the divide between "World" and "Non-World". These are to be understood not really as Heaven and Earth but as the two distinct hemispheres of the earth, Orient and Occident or, more exactly, the Old World and the New.
Such is indeed the original meaning of the names of Dyaus and Prithivi, which Hesiod translated as Ouranos and Gaia and later authorities understood as Heaven and Earth. The ancient Hindus were fond of allegories, which they utilized to hide the esoteric contents of their myths. In other variants of this Cosmogonic myth, Prajapati, the Daughter (Ushas or Dawn) and the Archer (Shiva) are identified to constellations, respectively, Mrigashiras (the Deer's Head), Rohini (the Gazelle) and Krishanu (Sagittarius). But stellar myths are far too complex to discuss here, as we do elsewhere, in our book on Atlantis.
the fall of adam and the engendering of creation
As we said above, these are were allegories intended to mislead the profanes. In certain variants of the myth, the daughter assumes a variety of animal shapes in order to escape her lustful father. She becomes, serially, a cow, a gazelle, a mare, a dove, a she-wolf and even minor vermin. But all in vain, for her husband assumes a similar guise. So, they mate in each form, thus engendering the variety of Creation.
and, what is most important for us, they also engender the many different races of men is this way. These are represented as the Ashvins, the Gandharvas, the Devas, the Asuras, the Angirasas, etc.. Most often, the seven or ten races are figured by the Patriarchs, the Seven Rishis (Sages) and the Ten Prajapatis, (Progenitors), which some identify variously.
As we said above, the perfect control required from the sadhakas (adepts) in the maithuna (ritual sex act) has extremely ancient roots. It has to do, as we saw, with the Fall of Adam and the Original Sin. This consisted exactly in the fact that Adam was tempted by Eve and fell, seduced by her charms. The feminine guiles also lost Shiva and Brahma and many other gods and ascetics (rishis).
One of the greatest feats of Buddha consisted in resisting the tempting of the devil Mara, who assumed the shape of a beautiful girl in order to seduce the virtuous Bodhishattva. This scene figures centrally in the myth of Buddha. It was adapted nearly verbatim by the Evangelists in their description of the temptation of Christ by the Devil. Indeed, the idea somehow passed into the Medieval legends of the virtuous friars and saints being tempted by the Devil in the shape of a beautiful, innocent-looking little girl, the most dangerous form that the Prince of Darkness can assume.
the egyptian goldilocks
In Egypt too, one of the most dangerous shape of evil devils was that of an innocent little girl with curly blonde hair. She would appear to gods or ascetics, in an attempt to seduce them. This seductive little girl became the archetype of other charming heroines such as Goldilocks, Cinderella, Rapunzel, Sleeping Beauty, Snow-White, and so on. This temptress figures centrally in the famous Egyptian Tale of the Two Brothers, where she seduces and loses both brothers with her guiles.
Indeed, the ancient myths and beliefs teem with accounts of dreaded nymphs and other charmers who would appear in secluded places and seduce passers by. These charmers would normally be lamias, who would castrate and kill the male after his seduction. Secluded places, particularly in wooded regions or near water springs were, hence, considered to be very dangerous spots which were haunted by such fearful apparitions.
Again, the origin of these weird traditions is India. Similar beliefs attribute there the danger to nagis (female nagas), apsaras (water nymphs), rakshasis (she-devils) and a host of other such dangerous little charmers. These nymphs are generally called yakshis (female yakshas or genii) and are the guardians of trees and water-supplies. They are the archetypes of the nymphs, dryads, hamadryads, lamias and other such female sprites and fairies of the Greco-Roman world.
maya, the mother of illusion
Indeed, the female avatar of the deity is considered the potent one, and is hence called shakti ("force", "yoni"). This is the shape assumed by the god in order to seduce and damn his opponents. This power of illusion (mayâ) is the attribute of gods such as Vishnu and Maya. Somehow, the idea passed into the Celto-German world, and was the characteristic attribute of Lug, the cunning enemy of the other gods.
Mayâ is Illusion herself. She in the personification of feminine powers of seduction and deceit. She is also called Shakti a word demoting not only "force", "might", but also the power of creating reality itself. Shakti also designates the yoni, the female organ of creation. The Shakti is Eve in the character of the Eternal Feminine the other side of Creation, the "left-handed" one. Mayâ (feminine) is the female form (or avatar) of Maya (masculine), the Great architect of Lanka, the city that was the true archetype of Atlantis.
Women are feared by the males, who are unable to understand the irrationality of feminine logic. Moreover, despite the apparent superiority, males are easily dominated by women and are wholly unable to resist them. This irresistibility is what make females so dreaded and, hence, sort of hated by the male they so easily overpower.
the sons of god and the daughters of men
An interesting connection of these Hindu myths can be established with that of Gen. 6. It has to do with the Flood and its causes:
Then follows the story of the Flood and of Noah, who found grace with God and was saved in the Ark. The above relation has been analyzed dozens of times, with little or no progress. However, it is extremely important, for it explains why the Flood was brought about by God's will. The story of Noah is, as many lake recognized, taken directly from the Hindu one of Manu and the Fish (Matsya), from which is also derived the Mesopotamian ones of Utnapishtin and Ziusudra.
the giants are the nephilim, the fallen angels
Since the story of the Flood is Indian in origin, it is in India that we must quest the clarification of the obscure details of this enigmatic passage of the Book of Genesis. First of all, who are the mysterious Giants, the children of the Sons of God by the Daughters of Men? They are called Nephilim in the Hebrew original and, in other passages, by terms such as Raphaim,Gibborim, Anakim, etc.. The Hebrew term implies a race of giant, arrogant men like the Titans of the Greeks and the Rakshasas of the Hindus.
As the above quoted text explains, the Nephilim are the famous Heroes of old, the sons of the Sons of God by the Daughters of Men. The Sons of God are the Fallen Angels, and the Daughters of Men are the ordinary mortals. In Greek terms, the Heroes were the hybrid sons of mortal women by the gods, as is the case of Hercules, Jason, Perseus, Dionysus, etc..
The experts have always seen in the Sons of God the same as the Fallen Angels such as Jubal, Jabal and Tubal-Cain. These taught all arts to men or, rather, to their fair, fickle daughters. Hence, they are the Civilizing Heroes of humanity, to whom we owe all that we know and, indeed, all that we are.
Other authorities affirm that the Sons of God are the descendants of the Seth, the "replacement" of Abel, while the Daughters of Men are, to them, the descendants of Cain. According to this view, the Angels would be pure spirits, unable to beget children. In reality, the Angels, fallen or not, and the Sons of God are indeed the Angirasas, the Sons of Brahma. The word "angel" comes from the Greek angelos through the Latin angelus.
But it ultimately derives from the Sanskrit angiras meaning "anointed one" or, yet, "igneous", "shiny", implying the idea of a shiny meteor. As such, it applies to the avatar of the Messias, who "fell from heaven like a lightning bolt". Angiras is also the archetypal Fallen Angel, Lucifer, who also fell from heaven as the vajra, as a sort of celestial meteorite, as an envoy ("missile" or "emissary") from the gods.
The myth of Angiras closely evokes that of the Fall of Lucifer. It also recalls that of Son of Man falling from heaven "like a thunderbolt" and becoming "the rejected capping stone" that became the founding stone of the Temple. As a sort of fallen god, Angiras became the "Prince of this World", as well as the intermediary between gods and men. It is from this role that derives the etym of angelos as an envoy or intermediator or emissary.
the cause of the fall of atlantis
What the text of Gen. 6 is describing is the event related by Plato as the ultimate cause of the doom of Atlantis. Indeed, Plato's words, in the Critias, closely parallel those of Gen. 6, as can be seen by comparing the above quoted biblical text with Plato's one of the Critias (121b):
For many generations, as long as the divine nature lasted in them, they were obedient to the laws and god-fearing, for they were the Sons of God... As long as the divine nature lasted in then, the good qualities which we have described grew and increased among them.
But when the divine portion began to fade away in them, being diluted too often and too much by admixture with mortal blood, and the human nature began to preponderate, they became unable to control their behavior and became unseemly... And grew visibly debased...
Then, Zeus, the god of gods, who rules by law... seeing that an honorable race was in a most wretched state, and intending to punish them, that they might be purified and improve... gathered all gods together and spake as follows:...
Thus ends Plato's dialogue on Atlantis, in mid-sentence, just in the most crucial portion. Some say that Plato got disgusted with the subject and decided to stop the work. Others affirm that he died for the Critias is his last work before he could end the dialogue. Others, yet, affirm that the work was censored, for the subject was tabooed, being the matter of the secret of the Mysteries. A more likely hypothesis is that Plato was murdered, because he had violated the taboo forbidding the divulgation of the secret of Atlantis, a serious crime, for, as we just said, it was considered a profanation of the religious Mysteries. It was precisely for this crime that Socrates, his teacher, had been condemned to death.
All we can do is to conjecture... But this is not important now. We know that Atlantis was sunk and flooded, after being destroyed by earthquakes and volcanic conflagrations. And the reason was, we see, the same as the one that led to the Flood: too much admixture with mortal blood. One text explains the other, and it is clear that both Genesis and Plato are talking of the same, unique event.
In both texts, human nature gains the upper hand through excessive admixture with mortal blood, that of the fair Daughters of Men, which dilutes the divine essence, the "spirit of God" that constitutes the human Soul. There can be no doubt, then, of who are the Sons of Poseidon and Cleito, the descendants of the Titan Atlas. And the Daughters of Men are the lower caste girls, the whores with whom they mated too often and too willingly.
Interestingly enough, as can be seen from the above quoted texts and from a myriad similar ones, it seems that the pristine race of Atlantis, the Sons of God, who later became the Fallen Angels, were indeed the red, darker races (the Dravidas), whereas the white races (the Aryo-Semites) are associated with the ones of the seductive blonde Goddess. But such myths are extremely complex, and must be examined with caution, for they seem to have been frequently interpolated and adulterated in their essence, even in the Bible.
the atlantean heroes and the silver race
The Heroes that is, the Nephilim or Giants are the hybrid children of these two races, the half breeds, the out casts who belong nowhere. Anyone who is familiar with Hindu traditions and their system of castes (varnas) will have no difficulty in realizing that the origin of the myth so deeply connected with the tradition of Atlantis is indisputably Indian in origin. We, the modern races, all four, are descended from these hybrid Heroes. Hence, it is pure foolishness to talk of "racial purity" or even of "races" as such, for we are all of us mongrels of mixed origin.
We descend from both races of Atlantis, from both the Sons of God and the Danavas, the Sons of Danu, as we explain in detail in our book on Atlantis. Both Plato and Genesis drew their accounts from one or more of the many Hindu holy books that treat this subject, which is the central tenet of the eschatological doctrines of Hinduism. The Heroes of Genesis 6 are the Silver Race of Hesiod, the one who succeeded the Golden Race of the Sons of God of before the Flood. Like the Nephilim of Genesis, the Silver Race is gigantic, brutal and ferocious, as Hesiod (Works,126) tells us:
Then, a second race, far inferior
Was created, of Silver, by the gods...
Being reared by their mothers. And when they reached adolescence,
They died a painful death,
On account of their stupidity,
For they could not contain their foolish pride
and refused to worship the gods above
and to sacrifice to them upon the altars.
Hesiod calls them "big children" (mega nepios) and tells how, disgusted with their impiety and arrogance, Zeus decided to wipe them off with a cataclysm, burying them underground. In a confused way for he apparently failed to understand the Hindu myths he was adapting Hesiod also speaks of a fifth age, that of the Heroes or Demigods. They died in the combats of Troy and Thebes, and their souls abide in the Islands of the Blest, "in the confines of the earth".
A closer analysis of Hesiod's Myth of the Ages (Works and Days, 106-200) discloses the fundamental identify of the Race of Heroes and the Race of Silver, both made of valiant but stupid men like Achilles and Hercules, and both "reared by their mothers", for they were indeed the Sons of the Goddess. Hesiod also calls the Golden Race by the name of "angels" or "genii" (daimones), and tells that are the offspring of God (Kronos). After they became corrupted, the Golden Races too were destroyed by Zeus and became "the benevolent guardian angels (phylaxes) who rove the earth invisibly, granting riches and bliss".
As we see, once properly interpreted, all these traditions converge to tell the same story. They all derive from Hindu traditions, so that the real explanation must be quested there, and nowhere else. Hindu myths are recognizably obscure and difficult to exegetize for they are veiled by allegories and metaphors that often transcend the competence of experts. But their decoding is extremely important, as they embody the secret story of Atlantis, the Sacred History of Mankind. These strange myths and legends are the true source of all our religious traditions. They hold the secret key for the correct interpretation of the Bible and the Gospels, as well as of the eschatological mysteries of our sacred traditions.
the wars of the mahabharata and the ramayana
The comparison we just made of the revelations of Hesiod, of Plato, and of Genesis disclosed the identify of the different traditions and their derivation from Indian sources. The idea that evil women pervert the virtuous Sons of God pervades the whole of Hindu mythology, as well as Indian ethics and morals. The caste system dates from the times of Manu, precisely the Indian Noah, the patriarch of the present generation of men.
The Laws of Manu prescribe a rigid sexual segregation of the upper castes (the dvijas) and the lower ones (the sudras). The idea is to preserve racial purity and avoid contamination by the impure, defiled women of the lower castes. By far the most effective weapon used by the evil devils to corrupt the virtuous Sons of God is women.
Woman is the root of all evil in the racist, prudish-oriented Aryan aristocracy of ancient India from whom we inherited the bad habit. Such is particularly the case of the seductive nymphs such as the nagis and the apsaras who are often used for the purpose by the devils. The majestic Mahabharata opens with the seduction of the virtuous king, Santanu, by the charming apsara Ganga, a personification of the Ganges, or rather, its nymph. Such was the root of all evils which led to the great war that gave its name to the marvellous book, one of the supreme masterworks of Humanity.
the battle of the solar and the lunar races
The Mahabharata tells of the battle of the Lunar races against the Solar one. The two races are the Kurus and the Pandus. The two enemies are cousins or, rather, half-brothers, descended from a single father and two different mothers.7
In the Ramayana the marvelous book which describes the other great war of the ancients the two lines of Lunars and Solars again contend for power, in the persons of Rama and Bharata. Rama, also called Ramachandra, is a Lunar (Chandra), whereas Bharata is a Solar. Rama was the rightful successor to the throne, as the eldest son of King Dasharatha.
But Kaikeyi, the mother of Bharata, tricked the king into promising the throne to her own son with him. Rama went into exile and eventually fought and defeated Ravana, the evil king of Lanka, who had kidnapped his wife.8
On his return to Ayodhya, the capital of the empire, Bharata restored the reign to Ramachandra, who became its rightful ruler. As we see, the two great "World Wars" of Hindu myths were of Solars against Lunars. They ultimately arose because both lines had a claim to the kingship as the result of the fact that a former king had had affairs with women of both castes.
The Greeks too spoke of two similar wars: that of Troy and that of Thebes. These mythical wars closely correspond to the Hindu ones just mentioned. The fact that the Greek sagas were copied from the Indian ones is visible in that they can be matched synoptically to an extraordinary degree. The Hindu traditions are immensely older and far more real than the purely mythical ones of the Greeks. In fact, the Hindu traditions tell of real events, magnified by mythification, in contrast to the Greek ones, which are purely fabulous.
the mythical wars are real wars
As we just said, the two great wars of the Hindus, told in the Ramayana and the Mahabharata, seem to be based on historical fact, rather than on sheer fiction. As we show in detail in our book on Atlantis, these sacred traditions are the relations of the two parties in the Great War of Atlantis. Moreover, they led to the demise of the two great civilizations, the Golden and the Silver ones which, both, seem to have ended in the global cataclysm of the Flood. The Golden and the Silver Races are the same as the Solar and the Lunar ones. They also correspond to what Plato called the "Greeks" and the "Atlanteans" in his famous dialogues on the legend of Atlantis.
Essentially all mythologies speak of similar wars between Blacks (or Reds) and Whites (or Yellows) or between Angels and Devils, Devas and Asuras, Daevas and Ahuras, the Sons of Light and the Sons of Darkness, Gods and Titans, etc., etc.. More than fiction, we always find that the ancient nations were organized in two moieties, one Black (or Red), the other White (or Yellow). This is essentially the same arrangement of castes that we had in Atlantis, and also corresponds to the two parties of the Atlantean war.
For instance, Egypt was unified by a "Greek" (Menes) from two originally distinct realms: Upper and Lower Egypt. One was White and the other Red (or Dark), as represented in their double crowns. Mesopotamia was originally ruled by the dark-headed Sumerians. But later rulers were of Semitic, Lunar stock (Assyrians). Israel and Juda were opposed, the first Lunar, the second Solar. The list is virtually endless, as any one can verify who takes the trouble to consult the treatises on ancient history.
the hindu paradigm of racial wars and world endings
It is in India that, as usual, the motif of Reds (or Blacks) and Whites takes the clearest form. A possible exception is North America, where the genocidal war of the Palefaces and the Redskins took place in recent, historical times, In India, the Reds are the Kshatryias ("warriors"), the Dravidian races of dark (or ruddy) complexion. They adopt red for their heraldic color, a tint they associate with blood, as well as gold and copper, the ruddy metals.
In contrast, the Aryans or Brahmans have a whitish complexion and adopt white or silver as their heraldic color. Hindu gods are also divided into red (or black) deities and white ones. Shiva is red, Vishnu-Krishna is blue-black and Brahma is white. Kali is black, and so is Kala, her consort. Both names mean "black". The list can be increased. But, in general, the devils (asuras) are black and the gods are white.
Sometimes, the races are divided into three shades: blacks, reds and whites. These correspond to the Trimurti, with Brahma white; Shiva red, and Vishnu (Krishna) black (or blue). In other terms, the three gods are Shiva, Shava and Kali. Shiva is red or pale, and almost cadaveric, as the trio escapes their destroyed Paradise in a sort of Ark. Shava ("corpse") is dead and fully bloodless and white. Kali is black as she usually is.
The Hindu trio, Shiva, Shava and Shakti, is often depicted riding their floating island, the Island of the Jewels (Manidvipa). They are shown fleeing their destroyed world as sole survivors, adrift on their Floating Island, lost in an immense, utterly void ocean. As is clear, the myth of Manidvipa is an allegory of the destruction of Atlantis by the Flood, and of the salvation of its three races in a sort of Ark. The three Hindu personages correspond to the three "sons" of Noah, who similarly allegorize the three races of Mankind.
the eternal battle of the whites against the reds
The battle of Reds and Whites (or Kshatryas and Brahmans) for supremacy in India is a disgrace that still goes on, though in attenuated form. But it is a well-attested, recurrent calamity. In 1,500 BC the white Aryans invaded dark (or red) India, wiping out the magnificent Indus Valley Civilization of the ruddy Dravidians, one of the earliest in the whole world. Accounts of the wars between Brahmans (Whites) and Kshatryas (Reds) literally fills hundreds of sacred Hindu treatises. They are written in mythical parlance, but are indeed actual history, detailed accounts of historical facts told in initiatic language.
The Ramayana and the Mahabharata are merely two of an endless series of Hindu sagas and holy books on this issue, which is far more than fable or even spiritual metaphor. Very often, the contendants are deified into devas and asuras or similar allegories of the Sons of Darkness and the Sons of Light. These are the clear archetypes of our angels and devils, who also fight likewise as instanced by the recurrent battle of Michael and Lucifer, as well as by that of the Sons of Light against the Sons of Darkness.
In Iranian mythology the same combat takes place between the hosts of Ahura Mazda (the Solar) and those of his twin, Ahriman (the Lunar). The Iranians, like the other nations, copied their myths from those of the Hindus. Even the names match (daevas and ahuras = devas and asuras, etc.), except that they are often inverted.
In fact, our Christian myths too were copied not indeed from the Iranian ones, as many authorities believe, but directly from the Hindu archetypes. One such is Kalidasa's Kumarasambhava ("The Birth of the War-God"), a rather literal precursor of the Book of Revelation, Another instance consists of the many evangels on the life of Krishna, a remarkable prototype of Jesus Christ. Elsewhere, we make a detailed comparison of these and other Hindu texts with their Judeo-Cristian counterparts, which are far from original in their doctrines.
The conclusion is simple, but inescapable. The legend of the War of Atlantis derives, as do those of Troy and Thebes, from actual fact. In reality, these wars are the same as the great ones of the Mahabharata and the Ramayana. The Greek epics too were cribbed from the Hindu ones, which are still extremely popular in the Far Orient, where they are revered as actual Holy History and are commemorated in all sorts of dances, plays and rituals.
the duel of seth and osiris
Moreover, these wars are the same as those allegorized as the battle of Osiris and Seth and that of Horus and Seth. They are also the Battle of Michael and his angels against Lucifer and his own; the battle of Ahura-Mazda against Ahriman; that of the Tuatha de Danann against the Fomoré, etc., etc.. The list is endless and includes the New World, where the omnipresent Twins pursue their endless battle in both fiction and in fact, as we commented further above. They start as friends and mates, grow to be lovers, and end up fighting their eternal war.
The Battle of the Twins is, as we said, the one of Atlantis, that of the "Greeks" (or Whites) against the Atlanteans (or Reds). This war is the same as that of the Mahabharata, which only ended when all combatants died and the whole place was sunken underseas in a giant cataclysm identical to the one which foundered Atlantis. Indeed, this great war was a reversal of the previous one of Lanka (Lemuria), which also ended in a similar cataclysm.
More exactly, the two great wars correspond to the drastic endings of the Golden Age and the Silver Age, both of which culminated in a universal Flood and Conflagration. The first one ended with the victory of the Lunar (Ramachandra) and the second one with that of the Solars (the Pandus). But, it is hard to speak of a victory when the whole world is destroyed, and only a band of savages survives the catastrophe.
Of course, the same motivation that caused both wars exacerbated racism and pride and arrogance still survives unabated. It will inevitably lead to the Third World War, that of Armaggedon or Shambhalla of which the prophets speak so insistently. And this time it may well finish the job that the previous two left incomplete, for we are, apparently, far better equipped for the job now. Or are we indeed?
the creation of evil women
Eve is a name that has many meanings, such as "mother" and "desire". It is also apparently related to the idea of "mare", an etym instanced in the Sanskrit eva and, apparently, in the Greek hippa. But the assonance Eve-Evil is certainly more than coincidental. If Skeat is right, the idea of "evil" derives from that of "over", meaning "one which is opposite" and, hence, an antagonist or foe. If so, evil relates to the Sanskrit ava ("over", "away"), itself linked to the English "afar" and "over".
The conception that women are evil pervades ancient myths. The Greeks considered that the first woman, Pandora, was the handiwork of Hephaistos, the Devil himself. Indeed, Pandora means something like "gift of Pan", in Greek, Pan being an alias of Hephaistos. Greek legends affirm that when Prometheus gave Celestial fire to humans, they became so blissfully happy that Zeus became envious and decided to damn them. The gods gathered in a council and Venus and Hephaistos came up with the idea of Woman, Pandora, in order to torment men.
Hephaistos fashioned her in his infernal forges, and she was equipped by Venus herself, helped by the other gods. Pandora was sent as a sort of "Greek gift" to Prometheus, who resisted her charms, however, for the foresaw the consequences. Undaunted, she addressed Epimetheus, the dumber brother of Prometheus, who could only foresee in hindsight. He fell, and the result was that all evils were released upon Mankind when Pandora opened her wonderful box.
women and male chauvinist pigs
The Greek conception of evil women seems to derive directly from Hindu ones, as usual. But before I am blamed with male chauvinism, allow me to affirm my own point of view. I just relate Indian myths about women, just as I do their racist ones. And these apparently derive from their Aryan moiety, for the Dravidas have the utmost respect for the Great Mother, with whom they associate themselves. Besides, they indeed strive for racial integration of both communities in their country, dominated by the Aryan moiety.
Personally, I, like most males, repute women the very apex of Creation. And I also slobber, like the unwise Epimetheus, at the masterwork of skillful Hephaistos. To be sure, it is hell living with women. But it is impossible to be without them. Women are illogical, unpredictable and profoundly mysterious, qualities that exasperate us males, for we are thus unable to understand and to master them, as we would so much like to do.
Despite the three millions of years that men and women have been living together, it is they that command and we who obey their every whim. As every married man well knows, it is women who command and who turn the fierce warriors into docile breadwinners, who stolidly toil like good slaves in order to bring them and their offspring not only food and comfort and safety, but all the trinkets they may covet.
Who owns who? In fact, the word "married" seems to derive from an ancient root mar meaning "bound", "fettered", as in the French amarrer and the Arabic mar ("to bind"). Likewise, "husband" apparently means "house-bound", which we indeed become when marrying. No, I am not complaining. Just noting and actually enjoying the soft, inescapable trap. But I, personally, keep dreaming of Shiva, naked, dirty, roaming free, and loving and being loved by all the females.
a myth from the mahabharata
A myth from the Mahabharata (13: 40: 3) tells how the jealous gods created Woman in order to loose the mortals:
I will tell you, my son, how Brahma created wanton women, and for what purpose. For there is nothing more evil than women. A wanton woman is a blazing fire. She is the illusion born of Maya, the sharp edge of a razor, a poison, a serpent and death all in one. The first men were full of dharma, as we have heard. Afraid that they would become gods themselves, the gods became alarmed. They went to Brahma... who created women by means of a ritual magic, so that they would delude mankind.
Now, the women of the former era had been virtuous. But these were sinful witches who arose from the creation act performed by the Prajapati. The Grand-father endowed them with all desirable things that Desire can desire. These wanton women, lusting for sensual pleasures, began to stir up desire in the males. Then the lord of the gods, the Great Lord, also created Hate in order to assist Desire. And all creatures fell prey to the power of Desire and Hate as they became attached to women.
maya, the archetype of hephaistos
In the above myth, it is not dificult to discern the antecendents of the ones told above concerning the seduction of the Sons of God by the Daughters of Man. Maya is the artificer of the gods, the actual archetype of Hephaistos. Here, as in the Greek myth, the Devil is is the fashioner of Woman, for the explicit purpose of losing men. Mayâ (feminine) is also the Power of Illusion, the main charm of feminine mystique. Maya (masculine)is also the fashioner of Lanka and the patron of the evil rakshasas.
Here, Maya is more or less identified with Brahma Prajapati, who is also claimed to have created Woman when he split in two halves, as we told further above. The charming, irresistible nymphs of these traditions pervade all ancient mythologies. They seem to have originated in the Apsaras (or Nagis, or Naginis), the Naga females who populate Hindu traditions such as the ones we commented further above. The Apsaras are also identified to the Kinnaris, the females of the Kinnaras and the Gandharvas, themselves the archetypes of the legendary Satyrs and Centaurs of Greek traditions.
Rather than a legend, these mythical people were deemed very real in antiquity, particularly in the Orient, where their legend originated. When we stop to think it over, we cannot fail to realize that the Hindu traditions in fact embody the secret traditions on Atlantis in mythified form. Misunderstood by the other nations, they were deemed to be false, a figment of the imagination of the superstitious Hindus. And these, bent on hiding their secret, actually encouraged this belief of the arrogant Westerners.
The idea seems to be that evil women are the rakshasis (female devils) of Lanka, who moved into Aryan territory after their Paradise was destroyed by Rama and Hanumant. The myth expressly states that former women those of the Atlanteans' own kind were virtuous and chaste, and presented no danger to the piety (dharma) of the former males. But those women created by Brahma and/or Maya were seductive and wanton, as well as luscious and irresistible. They stirred not only desire, but also hate, certainly in the form of jealousy, of domestic quarrels and of the dispute for heritage between the "Lunar" and the "Solar" offspring.
The myth on the two types of women is highly reminiscent of the one of Judeo-Christian legends concerning Eve and Lilith. Eve is the evil, fair nymph, seductive and irresistible. Her guiles doomed Adam along with all of us, their offspring. The other woman is Lilith, dark, somber and hateful, for she became jealous of her triumphant rivals. Of course, this story has nothing to do with race, as the two are merely different aspects of the Great Mother, one benign and golden, the other one somber and hateful. And, as we showed above, we are, all of us mongrels, so that racial pride is sheer foolishness. This illusion is to be dispelled in the forthcoming Millennium, when the reality of Atlantis becomes more fully understood.
venus, paris and helen of troy
The Hindu story just told is also reminiscent of the Greek myths on Pandora and on Helen of Troy, which correspond to it. In the Greek myth, Venus, Minerva and Hera, the three great goddesses, dispute the prize of beauty among themselves. Paris gave the prize to Venus, seduced by her offer to give him Helen, whose face "launched a thousand ships". Paris got his prize, but the result was the destruction of Troy by the Greeks, as a revenge for his rape of fair Helen.
The story of Paris kidnapping Helen and taking her to secluded Troy which is later attacked and destroyed by the avenging husband closely parallels the plot of the far earlier Ramayana. Rama, Shita and Ravana are the archetypes of the cuckolded Menelaos, and of Paris and Helen. Hence, it seems reasonable to equated Troy = Lanka, for the parallels are too many and too close to be due to chance. More exactly, Eve and Lilith correspond to homely Minerva and fair Diana. The former is Solar, but somber, the second Lunar, but bright. Hera too, with her untiring jealousy and Zeus, all the time falling prey to the charms of fair mortal women are also a reflex of the Hindu myths such as the ones commented above.
In Hindu myths, Brahma is the first victim of his own irresistible creation, for he falls in love with Woman (Ushas or Dawn). This leads to the Primordial Incest, to the castration of Brahma and to all evils that ensued, as we related further above. Shiva too also fell victim to Woman, for even gods are submitted by the charming little creatures. The full story is told in the Kalika Purana, which we comment in our book on Atlantis, to which we refer the interested reader.
a woman behind every war
We see how, in every case, Woman was the cause of doom. Helen, of Troy; Shita, of Lanka; Gandhari of Dvaraka; Eve of Eden; Pandora of Epimetheus; Ushas of Brahma, Kali of Shiva, and so on. As the ancients used to say, there is a woman behind all wars and all disgraces. In the ancient world, wars were often waged for the purpose of kidnapping women. Such was the case with the Romans and the Sabines. The Romans tell this story as true, earnest history. But this mercurial people had a tendency to blend myth and fact, as some historians have already noticed.
In all probability, the ancient relations of wars waged to rustle cows were indeed intended to procure women for raping and slavery. Female slaves were useful not only as lovers, but also as breeders of slaves. For the children were born in bondage, and automatically became slaves and prostitutes. Such kidnapped women were called "cows", and were treated as whores and slaves. Slavery is a brutal fact of life, and was in widespread use down to the primordials of the present century.
Even today many primitive peoples the ones who best preserve the ancient customs frequently wage war on neighboring nations solely for the purpose of kidnapping women for use as breeding "cows" and prostitutes. The Amazonian Indians still to it, even today, as a regular, periodic routine. Unwittingly, they are also performing an useful sort of population control and natural selection. Indeed, it seems that whatever we do, we serve Natural Selection, this wide-encompassing theory.
Of course, nowadays, with all the wonderful progress of Mankind in recent times, wars are not fought for romantic purposes anymore, even if villainous like the one of Ravana. Instead, our wars are carried on merely for purely economic purposes, for sheer wantonness, or for reasons of religious intolerance. Imbued with bigotry, we sacrifice millions of innocent people for purely wanton purposes.
At the same time, we call "barbaric" the ancients and the primitives, who preferred to sacrifice mere animals or even a few humans to the gods, rather than the many millions of human creatures we immolate in the altars of bellicose Mars. The behaviour of the ancients was, at least, far more logical than ours. Their sacrificial victims were the aliases and scapegoats of the two Atlantises, sacrificed by the gods in the Primordial Sacrifice.
For it was apparently the sacrifice of the two Atlantises that taught the ancients how much the gods love the smell of burnt sacrifices of both human and animal flesh. It was thus that Noah, Utnapishtin, Atharvan and others primordial sacrificers learnt the custom of sacrifice, from the Primeval Ashvamedha of Atlantis. By watching the gods relish at the smell of the smoke that rose from the great funereal pyre which Atlantis had been turned into by the great conflagration that caused the Flood.
1 Kalachakra Buddhism once very popular all over the Far East, and particularly in Indonesia celebrated ceremonies like these inside their shrines of their temple-mountains, such as the Angkor Thom and Angkor Vat. These temples were stepped pyramids similar to the ziggurats of Babylon or the stepped pyramid of pharaoh Zozer, in Egypt. These pyramids had a temple in their top or their interior, where Adi Buddha ("the Primordial Buddha"), the alias of Adam represented by the King, mated with the Queen or, more frequently, with a hierodule (or sacred prostitute) representing her.
This ritual was commemorated at the New Year's Festival or, alternatively at the king's enthronization. Both rituals represented the renovation of the Cosmos that took place at the occasion, and which the Cosmogonic Hierogamy reenacted. An identical ritual also took place inside the topping shrine of Zozer's pyramid or inside the Great Pyramid, in the so-called King's Chamber. In Egypt, the ritual mating of the King and the Whore took place during the Heb Sed festival, itself a replica of the Rajasuya (or "Renovation of the King") ritual of the ancient Hindus and Buddhists.
The Heb Sed entailed the rejuvenation of the king and, hence, of the whole Cosmos which he represented. Perhaps this ancient ritual usually surrounded with the deepest secrecy everywhere was also celebrated at the New Year in Egypt under other names, just as it was in Mesopotamia and the Indies. These Cosmogonic Hierogamies also find their echo in certain Christian traditions and rituals. For instance, the sacrary of Christian churches, where the Eucharist is kept enshrined, is itself a replica of the Holy Mountain where the God was present in majesty.and Mt. Calvary so often represented with the skull of Adam inside it is again a replica of the Holy Mountain (or pyramid or ziggurat) of the ancient nations, such as the above mentioned.
Inside the pyramid, Adi Buddha (or Osiris or Shiva or some other dead god) plays the role of Adam buried inside the Mountain of Paradise. He is buried there together with his wife or lover. This motif is even today endlessly reproduced in the Hindu and Buddhist mandalas of the Kalachakra variety, which we show elsewhere. The same idea is also represented in Egypt by the figure of the twin Osiris, one white and dead and buried inside the Holy Mountain, and the other black and alive, seated above it, on his throne, itself the alias of the Christian Cross.
2 Indeed, Cancer and Capricornus the two zodiacal signs that correspond to the two extreme courses of the sun in the skies (the Tropics) represent the two sunken Atlantises. In Indian traditions, Cancer is Kurma, the Turtle avatar of Vishnu that corresponds to Lemurian Atlantis. And Capricornus is the Makara (or Goat-Fish) that represents the other Atlantis, the child of the former one that is often identified as the wondrous Son of the Virgin. The two tropics indeed correspond to the extreme limits of the Atlantean empire, the one of the Solars, with India in the north and Indonesia in the south, each astride its own tropic, and encompassing the entire tropical region of the globe.
Scientists are wont to say that the Universal Flood is a physical impossibility. Well, maybe the Bible exaggerates a little bit when it says he Universal Flood covered all mountain-tops but one, the Ararat. Of course, this mountain is not the same as the one now so called, but its true archetype, Mt. Meru, the mountain of Paradise, in the East Indies. In fact, the Judeo-Christian myth of Noah and his ark is a copy of the Hindu one of Manu, just as is also the one of the Sumero-Babylonians.
It is fast becoming clear despite the contrary atempts of some confusionists that the Unversal Flood was indeed the event known to science as the catastrophic end of the Pleistocene. So, the scientists say what they have been trained or told to say, and do not pause to reflect on the reality of the event I have been pointing out for two decades, along with other pioneers such as Ignatius Donnelly. Well, this flood was indeed universal in extent. And it probably rained for 40 days and 40 nights on end, due to the great volcanisms that then occurred, caused by the stressing of earth's crust which resulted from the melting of so much ice ove the continents. These tended to rise, while the seafloor tended to sink, so that the crust stressed negatively, tended to crack along the edges at the coasts.
3 Pushan and Aryaman personify the Dravidas and the Aryans, the two races of India. They also correspond to Krishna and Arjuna and to the Lunar and Solar races, as well as the Ashvin Twins. The two are also equated to Golden Soma and Silvery Soma, the two varieties of the Elixir. The Vedic Mitra and Varuna, like Indra and Vritra also represent the two contending races. In brief, the Twins represent, everywhere, the twin races of the two Atlantises, as well as their endless disputations that often lead to death and destruction.
The name of Pushan means something like "growth" or "sprout". It is not originally Sanskrit, and seems to derive from the Dravidian pû ("blossom", "sprout", "flower", "to beget") and cha (to die, sink, fall). Hence Pushan (or Pushan) is the Fallen Sun, the Lord of the Dead, the same as Yama, who died in his infancy. The Dravidian radix pû also means: "the setting Sun in a glory of purple and gold", in correspondence with the idea of the Fallen Sun.
The above Dravidian etym also relates to the idea of Christos or Messiah as the "anointed one", said puchu or puchal, in Dravida. The legend of the gold-garbed sun sinking in the waters closely evokes the legend of the Eldorado of the American Indians, the legendary personage who inflamed the minds of the Conquistadores with gold fever. The perfect correspondence between the Amerindian and the Hindu myths on the Eldorado shows that, somehow, the Dravidian legend reached the Americas before Columbus. And the legend of the Eldorado indeed concerns Atlantis and its doom, as we just argued above. This universal legend at least makes us wonder when and how it got to the Americas, and if it is indeed based on actual fact or is a pure fable created by unwise, gold-hungered Conquistadors.
4 Indeed, mani ("jewel") is an euphemism for the phallus, just as padma ("lotus') is one for "vagina". Moreover, OM (or AUM), the sacred syllable, indeed means "Rise". So, the mantra in question is a verbal expression of the Yoni-Lingam, the most sacred of all Hindu symbols. And the holy syllable indeed expresses the idea that the OM represents the Cosmogonic Hierogamy, the mystic marriage of Fire and Water that ended the former era, starting the present one. As we see, the Hindu allegories are often quite explicit, though they are never explained in full to the profanes.
5 The OM glyph is a clever adaptation of the usual Hindu alphabets such as Devanagari and Bengali, apparently in order to represent the yoni-lingam. The curved shape resembling a woman's derrière corresponds to earlier forms of the Devanagari A, whereas the phallic O shape apparently corresponds to the U. The dot (bindu) is the anusvara or nasal sound. It also represents the creative bija or "drop of semen" that engendered Creation.
The Lunar Crescent represents the Ark that carried the bindu, the "seeds" saved from the former era. The esoteric meaning of the Sacred Syllable OM (or AUM) is too complex to explain here. It results from the contraction of A-hum and means something like "the Beginning and the End". This is precisely the same as the Christian symbolism of the Alpha-Omega, also copied from it. Ultimately, it refers to Atlantis and to the Flood as the source and end of all Creation.
6 Indeed, Scylla and Charybdis are the monstrous personifications of the two Pillars of Hercules that marked the whereabouts of Atlantis in ancient Phoenician myths. The Pillars of Hercules are called Kalpe and Habila, names in which is possible to see the connection with those of Scylla and Charybdis. Scylla (Skulla, in Greek) is related to "skull" and "scalp". It indeed represents the Skull Mountain" or "Bald Mountain" that the Judeo-Christians call Golgotha or Calvary (that is, "Skull"). Charybdis means "Chasm of Death" (Char-ubdi) and is also related to Habila (or Khabila = Havila, in Eden).
Avienus, in his Ora Maritima, which we comment elsewhere, detailedly describes the region of the Pillars of Hercules and the meaning of their names, originary from the Phoenician language or, more exactly, from Dravida. He affirms that: "the Carthaginians (that is, the Phoenicians) call, in their barbaric tongue... Abila a lofty scarp. Calpe, on the other hand, designates, in Greek, a hollow, rounded vase". In other words, the two Pillars of Hercules are one a bald mountain or cliff, and the other a cup. Or, rather, one is the Skull Mountain, and the other the giant caldera of exploded Mount Atlas, the very Vadava-mukha of Hindu myths. Such are also their usual representations of the Sumeru and the Kumeru, the twin peaks of their Mt. Meru.
7 Both the Kurus (or Kauravas) and the Pandus (or Pandavas) descend from King Kuru. The two lines grew up together in the court. Eventually they became enemies as both sides aspired to the throne. The word kuru means "silver" in Dravida, whereas pandu means "pale" in Sanskrit, and implies an idea of "yellow" or "golden". The Pandus were the noble and virtuous sons of the gods, having been fathered by them, for their putative father, Pandu could not conceive.The Kurus were the hundred sons of Dhritarashtra, whose name means something like "attached to the throne".
The number 100 is conventionally connected with the Silver Race, inclusive in Hesiod. The five Pandus may also owe their names to the radix panch or pant demoting "five". In Dravida it also relates to "gold" (pand-) and to "creator" (pan) or, more exactly, to the hand and its five fingers, as the creative organ. The connection with "hand" and "creation" has also to do with the name of Kronos (= Karana = "Creator", a name of Shiva, in Sanskrit). Kronos was, just like Karana, the king or god of the Golden Age, which is no other than that of Atlantis. The name of Karana also means "hand", "phallus" (as the creative organs), in Sanskrit, an etym that literally corresponds to the Dravida Pan. Ultimately the word relates to the Kra (or Kara), meaning "Hand". This name designates the Malay Peninsula, which indeed has the shape of a hand or arm, as we explain in detail in our book on Atlantis.
8 As usual, the two dynastic lines are confused, in order to dissimulate their real meaning. But Ramachandra "the Lunar Rama" apparently belongs to the Lunar line, whereas Ravana, the rakshasa, is the ruler of golden Lanka. However, the word chandra designates both the Moon and the Sun in Sanskrit. The name of Ravana ("howler") way be a disguise of that of Rudra (Shiva), which means the same. And Rudra is again synonymous with Rutas, the name of the legendary sunken continent of the Hindus and the true archetype of Atlantis. The golden Rakshasas are depicted as devils, but this may be a disguise.
As is clear, there can be little doubt that paradisial Lanka was the same than Eden and, indeed, than Atlantis (Rutas). Lanka is, in Hindu myths, the Primordial Paradise where Man first developed a civilization, the greatest ever. According to the Ramayana, Lanka, under the brilliant rule of Ravana, came to form a worldwide empire. And there is no reason why we should doubt the word of the Holy Books of the Hindus when they affirm such profoundly enlightening truths. Why would the pious Hindus be lying, after all?
Bharata is an ancestor of both the Kurus and the Pandus. The name means "bard", "poet" and, in a sense, "creator", a synonym of Karana-Kronos. As an eponym, the name of Bharata became synonymous with that of the Indies, and with the dynasties of both the Kurus and the Purus. But, more particularly, the name refers to the golden Pandus. In other words, the enemies of Ramachandra, the Lunar, were both of a Solar (or Golden) and of a Lunar (or Silvery) nature.
No matter what, in the Hindu myths, we always have disgrace and war as a direct result of caste-mixing at the origin of their religion, just as we do in Judeo-Christianism. This mixture seems to correspond to the Original Sin, in both traditions. And, in the Mahabharata, the two races kill each other, just as Hesiod says of his Golden and Lunar races. More than sheer coincidences, these universal traditions seem to derive from a single reality founded in actual, proto-historical events.