Introduction

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.

The objective of the present essay is to discuss the esoteric meaning of these strange rituals, which date from Vedic times in India, from where they passed into 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.

Myths, symbols and rituals work at several different levels, simultaneously, according to the 48 Fundamental Sciences: Philosophy, Metaphysics, Ethics, Theology, Religion, History, Geography, Astronomy, etc.. In other words, myths work not according to so-called Aristotelian logic, but to "fuzzy logic", where concepts and ideas are somewhat diffuse and vague, as in Quantum Mechanics.

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 literally, rather than "diffusedly".

We hope that the present essay will shed some light on the way myths work, in order to embody the important revelations concerning Atlantis. The story of Atlantis is never told, except under the disguise of the Evangels and the religious symbols and rituals, or in the initiatic sagas and romances or, even, 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, 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 by our own effort if we indeed want to understand the secrets of humanity's past and, perhaps, the future as well. The wisdom of the ancient Atlanteans is ours for free, as a heritage, if only we have the fortitude required to rescue it from within the often foolish arcanes where it is has been hidden for so many millennia.

The Cosmic Hierogamy

The passage of the Markandeya Purana quoted above discloses the secret. The sacrifice of the animal represents that of the Universe. 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.

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 incongruals. 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.

Very likely, the Heb Sed festival of the Egyptians, as well as the secret ceremonies celebrated inside the Egyptian temples and pyramids, 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 the ashvamedha, the wife of the officiating priest — 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 stood for Heaven and Earth and, more exactly, for Yama and Yami, the Primordial Couple of paradisial times.¹

After the horse sacrifice was performed, the mahisha mated with the mahishi. And so did the other four couples of priests, representing 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).

Interestingly enough, a similar ritual was performed in ancient Celtic Ireland. This ritual is closely related to the Vedic ashvamedha. 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 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:

1. A surrounding wall, oriented along the Four Cardinal Directions.
2. A small temple or shrine at the top.
3. Roads of access along the four Cardinal Directions, forming a Cross.
4. A lake or dam that is referred to as a "sea", and which surrounds the pyramid, turning it into an island.

With small differences, the Egyptian pyramids and, in particular the first one of them, that of King Zozer, also obeyed this 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. In the Egyptian cosmogony, this scheme corresponds to the Tatenen, the Primordial Hill rising out of the waters of the Nun, the Primordial Abyss.

In Hindu conceptions, this mountain is the Holy Mountain, Mt. Meru, 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. This connection among the Mexican pyramids, the Egyptian pyramids and the Cambodian pyramids, placed in regions almost antipodal in the world, attest the universality and, hence, the extreme antiquity of the Atlantean paradigm.

But 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 in depth. In the pyramid of Angkor there is 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, where the Celestial Jerusalem is described in similar terms, as the Bride of the Lamb the King 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. And the "dressing with the sea", in a white dress 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.

All this bespeaks of the Cosmogonic Hierogamy, 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 comparison. But the connection 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 that impersons the Nagini, the female Naga, whose role we discuss further below in the present article. The Nagini is 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 that related by Diodorus Siculus and the Arab historians, which ascribes the third pyramid of Giza to Naukratis, to Rhodopis, or to other such courtesans of fair countenance.

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.

In fact, the Mexicans often used a fourth color, yellow stones, completing the four colors of the human races. Again, as usual, this motif is Hindu in origin, the four colors being the four varnas ("castes", "colors") of the Hindus and, indeed, also those of the Egyptians as well. Now, to believe that this series of coincidences, and a myriad others we have been pointing out, 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 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 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. 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.

The Hittite myth is clearly related with the Greek myths concerning the sequential castrations and oustings of Ouranos by Kronos and of Kronos by Zeus. The "stone" swallowed by Kronos is visibly a linga or omphalos, the same as the phallus swallowed by Kumarbi. But both the Greek and the Hittite myths ultimately derive from Hindu myths, as we show 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 turn castrated, becoming the linga.

Varuna — the archetype of Ouranos as the sky-god — is also castrated and thrown down into the Ocean, of which he became the lord. 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 obscure Vedic hymns. But later literature is ample, and details the earlier 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 same Cosmogonic events.

Indeed, they all obviously 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 3,000BC or even earlier, and which may very well have been brought by the Sumerians from the Indies, whence they originally came, as their language and traditions attest. In other words, the East Indies — and, particularly Indonesia, in its sunken region — were indeed the same as the legendary continent of Atlantis where Civilization first sprung to life.

Moreover, as we just saw, the myth and ritual was present in extremely distant ancient nations of the most diverse peoples: the Hittites, the Irish, the Sumero-Babylonians, the Vedic Aryans, the ancient Greeks, etc.. Its equivalence to the Soma Sacrifice also affords a link with the Eucharist 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 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.

The Ashvamedha of King Yudishthira

The Horse Sacrifice 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) 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 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, followed by the royal army. It was an act of open provocation.

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 the host’s expensive. The whole ritual lasted a full year, and many thousands of persons attended it. 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 expenses.

As we said, the sacrificial horse represented the entire Cosmos. The monarch that ordered the sacrifice was the Universal Monarch (Chakravartin), the ruler of the whole Cosmos. In other words, he was bringing about the Millennium and the Universal Conquest just as does the White Knight of 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 humble dual.

The Goat Sacrifice

As we said above, 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. Farther 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 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.

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.

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 sea monster that causes the Flood. The makara (or sishumara) is a sort of dolphin or sea monster. It is the same as Matsya, the fish avatar of Vishnu. Matsya personifies Paradise — or rather, Lanka, 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.

But the makara is also Kama, the Hindu love god who was the archetype of Eros-Cupid. Kama is also the son and lover of Rati. And Ratio is an alias of Aphrodite, the mother and lover of Eros, his Greek counterpart. As we see, the Greek myths are not only a close copy of the Hindu ones. They also have the same esoteric, initiatic meaning. They relate the death of Atlantis and its Lemurian Mother in the primordial cataclysm that we call by the name of Flood. 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

The Goat Represents Atlantis as the Fallen Sun

The goat is 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 master’s wife, a most grievous sin. In consequence of his incontinence, Indra was castrated and covered with yonis. Later, he was restored with an implant of a goat’s testicles, earning the above epithet. In fact, 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.

The Aegis and Aja Ekapad

The association of the goat with the Devil is too well known to require elaboration. 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. He is indeed the same as Poseidon, who was so named in Euboea.

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, and so on all seem to be an allegory of the sinking of Atlantis, as myths tend to repeat themselves ad infinitum, under different forms. The word aigis also means "tempest", "flood", and tends to identify the cataclysm with that 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. It should not at all be confused with its replica recreated by the Greeks in the Mediterranean when they moved into that region of the world, having come from the Indies. The true "Atlantic Ocean", the primeval "Ocean of the Atlanteans", was originally the Indian Ocean, as we argue in detail elsewhere.

The Origin of the Cross

Both sacrificial victims of the ashvamedha — the horse and the goat — were killed, impaled and roasted. Then the worshippers ate communially 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.

The skambha (lit. "prop", "pillar") was considered 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. The skambha had the shape of a cross or, also, of a Y, precisely that of the Cross or Rood.

Like the Cross, it was 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.

Of course, all such coincidences are the result of diffusion, and we 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 a sort of primordial ashvamedha. And this primordial sacrifice is no other than the one of Atlantis, as we just said.

The Ashvin Twins and the Vedic Flying Horse

The Ashvins (lit. "horses" or "centaurs") are the Twins of Hindu myths. They are the primordial pair responsible for Creation. They are also the aliases of Yama and Yami. Yama, the Lord of the Dead, is the king of Atala, the Hindu archetype of Hades, the Hell that corresponds to sunken Atlantis. Yama is also the same as the Fallen Sun. 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 or 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 likewise 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) which, in turn, seems to come from Vena (or Venu = Benu). The Vedic imagery is in general too subtle to discuss here in detail, and the interested reader is directed to our works on the subject. However, the passage of the Vedic hymn (RV 10:123) on the Vena is worth quoting in part :

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. This is merely an allegory for the real event, which is told in a myriad ways in other hymns, as well as in the vast Indian mythology. The motif is so ample and subtle that it cannot be discussed usefully here. It is 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 corresponds to the myth of Prometheus stealing the Fire (Soma) from the gods, in order to bring it to the mortals. It also relates to the myths of the Thunderbird which we encounter in both the Old and the New Worlds. In the New World, Vena is the Thunderbird of the North American Indians, the Condor of the Incas and the Ruda 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, and the Rokh bird of the Arabian Nights.

The Eagle Garuda

In India, the Eagle is Garuda and its many aliases. It 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 immense 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) of the devils (dashyu) and of having caused the Flood. Soma, the Elixir of Immortality, is also the synonymous with the Flood. A variant motif is the duel of Indra and Vritra, where the death of the giant opposer is also identified with the Flood.

Pushan, the Fallen Sun

The identification of Pushan 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. 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.

In Cosmic terms, the above expression alludes to the end an era, when he, the elder Twin, yields his place to his brother, Indra. Pushan is the lover of his sister Suryâ, the female avatar of the Sun. It seems the two brothers contend for the love of beautiful Suryâ, just as do the Ashvins in another hymn (10:85). In Egyptian terms, the Twins 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 is an unequivocal proof that they 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 Ashvins, who are the personifications of the two races, Dravidas and Aryans. The myth of Pushan and Suryâ also evokes that 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.

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 Twins are the source of the exquisite allegories that pervade the ancient myths. The omnipresent Twins take all sorts of shapes and avatars. They are also the changelings, in the ancient acception of shape-changing.

In more ways than one, the Twins also correspond to the two lovers of the Song of Songs who 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).

Indeed, it is far more than a coincidence that the two lovers of the Song of Songs have been identified to Solomon and to the Shulamite (or "Veiled One") and to Osiris and Isis. Solomon and Osiris are representations of the Fallen Sun. 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.

As A. Bayley and others have shown, the Shulamite is Dawn, and Solomon is the Rising (or Setting) Sun. In another connection, she is also 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.

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 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

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. This marriage is also featured in most ancient Cosmogonies. In India it is the one even today commemorated in the Tantric rituals. The fact that the rite still survives in India — that Museum of Humanity — attests its Hindu origin, for the Hindus are not only most conservative in religious matters, but are also known exporters of religions such as Buddhism and 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 last century — describes a Tantric ritual she witnessed in India, in her book The India Where I Lived. 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 wherethe worshippers form a circle (chakra).

In the ritual she watched, as a prolegomenon, a goat was sacrificed and eaten communially in a way 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.

The Y is actually the earliest form of the 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), in which he studies the problem in depth. His conclusion is that the vaw represents an archetypical Christ, and is connected with the Flood and the destruction of the world by Fire and Water. It is also is the equivalent of the Cosmogonic Hierogamy, according to him.

Once again we have a connection between the Christian Mysteries of the Passion of Christ, the Cross, the Mass, and 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 is more, the Passion of Christ is here interpreted in Cosmic terms, as that of the Cosmocrator, having to do with the Flood and the Conflagration that periodically destroy the World. The Cosmic Christ of the Gnostics is obviously fashioned after the Vedic model of Purusha and Pushan. The ritual communion of the Trantric ritual just described is indeed a commemoration of the death and consumption of Atlantis in the Primordial Sacrifice. It is also the archetype of the Christian Communion, the consumption of the Eucharist, as we explain in 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 Occult symbolism. The priest and the whore secretly mating inside the Vedic altar 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 that date from Vedic times.

But 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 to the agnihotra, the sacrifice in honor of Agni, the Hindu Fire-god.

This oblation consists of throwing butter balls into the fire. The butter represents the fat victims which were formerly used. The sacrifice is performed at dawn and sunset (sandhya), the two crepuscles of the Sun. 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 conflagration that destroys the world at Doom and which consists in volcanic paroxysms of 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.

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. He 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 falls down to earth as the vajra, and became the Fiery Mare (or Vadavamukha), kept at the bottom of the Ocean.

There it stays in a 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 unstable and can be disrupted by the slightest disturbance. Strange as this myth might appear at first sight, it seems to correspond exactly to what modern Science has recently discovered.

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. 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.

There can be little doubt that the ancients knew both the shape and the mechanism of the Mid-Oceanic Rift. And the only point open to critic is whether they knew of it by means of an advanced science like ours or if they learnt about it from direct experience when it became haywire and destroyed the world in a terrible Conflagration.

The Reality of the Universal Flood

The titanic earthquakes that resulted from the explosions also caused enormous tsunamis which are recorded in myths as the Flood. The Flood is a dire geological reality. It 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, and a multitude of other smaller species, became globally extinct.

Mammoths, cave-bears, saber-toothed tigers, mountain lions and hundreds of other such magnificent animals were smashed to bits 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.

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.

The Incending of the Forest of Kandhava

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 Incongrual 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 Krisha 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 Y , 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 year is the prescribed age — and ardorous. The idea is that it is up to the male to exercize control, while the woman attempts 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 ascetes (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 ascetes, 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 apanage 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:

1 - And it came to pass, when men began to multiply on the face of the earth, that daughters were born unto them.

2 - And the Sons of God saw the Daughters of Men, that they were fair; and they took them wives of all which they chose.

3 - And the Lord said: My spirit shall not stay with man forever, for he is also flesh...

4 - There were giants in the earth in these days, and afterwards, for the Sons of God came into the Daughters of Men, and they bore children to them. These were the Heroes of old, the famous men of olden days.

5 - When God saw that the wickedness of men was excessive on earth and that their thoughts and intents were only evil,

6 - He repented that he had made men on earth, and was grieved in his heart.

7 - And the Lord said: This race of men whom I have created, I will wipe off and destroy from the face of the earth...

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 consisits of the many evangels on the life of Krishna, a remarkable prototype of Jesus Christ. Elsewhere, we make a detailed comparison of theseand 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 Mil