
Introduction
In Scythian Warfare the mounted warriors had one or several amongst their number who rode backwards and naked, painted black from head to foot. He or they would carry a pigs bladder on a pole. These men would ride headlong, so to speak, into the opposing ranks and select individuals whom they would beat across the head with the bladder.
As they rode back to their own ranks they grimaced at the enemy and poked out their tongues. The enemy often viewed this behavior with a degree of considerable alarm, borne in response to a belief system which was commonly held by both sides, even when one side was Roman. This practice has been named “counting the Kou” (possibly also related to the Persian kuh: Mountain, perhaps as a sacred hill, place of the gods and hence ka; the spirit, double etc.) and was a method employed to select the most useful spirits for captivation after death, which must have been a terrifying prospect.
Not only was it likely that one would die horribly anyway, that being the nature of classical warfare, especially against the Lords of Death, the vampiric, cannibalistic Scythians, but if one were selected (Valkyrie comes from the word ’to select’) ones soul, post mortem, was destined to become either the food of savage gods or the slave of foreign chieftains.
The poking of the tongue, also seen in medieval pictures of demons (probably inspired by these Dragon Warriors) who select capture and condemn the souls of the damned, is related directly to the symbol of the tongue as the lingham, the utterer of the Word of Law, Fate and the Pneuma or Spirit, the Ka.
These black warriors were probably the counterparts of the black Morrighans or Bruidhinas, the female judge-bards whose word was law, whose “spells’ were ’Fatal’ in the proper sense. To be struck by one of these meant certain damnation after life with no chance of avoiding the inevitable.
In a sense these warriors were male Valkyries, the dark Repha’im who, like the Morganas, did a bit of moonlighting (literally!) and doubled up as Swan Knights on their days off. The tongue pointed at one intimated that the act of ones selection was inevitable and irreversible, and meant also that your enemy, by doing this and thus “revealing his spirit” his Kou or Ka, after taking your own, considered you to be no threat at all. Is it any wonder that the church drew upon such images to populate their demonologies?
It seems entirely appropriate to model the fiends of the pit (OFr. Kou) of Hell upon such terrifying characters who claimed to be able to take the fallen warrior’s very soul, having first tortured the body briefly but nevertheless unspeakably in life, on a field of battle that must have seemed to the observer to be the opening up of Hades itself.
It was in such battle conditions that the entire Roman Ninth Legion, after crossing the Antonine Wall were utterly defeated, eaten and one suspects, spiritually enslaved by the Pictish Scythians of Caledonia. Not one Roman escaped the carnage.
Related to the word Ankh are; Anjou, Angouleme, Anschau, Ankou. The cult of the Ankou or Ankh: Consonant migration – This can take place with the change in phonetic accentuation, regional pronunciation, changes in fashion, the vocalization of the words by non-native speakers and the copying of manuscripts by foreign scholars or the scribes of subsequent generation.
In this case it appears that the original word Ankh has developed into Anjou via a linguistic path influenced by Goidelic. Spelt ’Ankh’ the H in Gaelic would have become aspirant which would have been pronounced Ank-Huh or Ankuh. Verbally the K became mistaken for a hard G, giving Anguh. In due course the G became non-Goidelic and soft, as in ’germ’ and, with the emergence of the letter J as a softer variant of the soft G, the Word Ankh, via Ankhu, Ankou and Angou (as in Angouleme) became Anjou.
The cult of the Ankou in Brittany and Anjou, the cult of the Spirit of the An, derivatively therefore the cult of the Dragon’s Breath, prior to its introduction to the continent, is asserted to have been of immediate British origin, although it was strongly represented in the Island now known as Ireland in pre-christian times, where it was probably originally introduced first by the Egyptian Princess Scota, the wife of the governor (or king) of the Red Sea nome, Niall of Scythia (see charts).
It is said that it was introduced into Brittany during one of the migrations from Albany in the first millennium AD. Described as a cult of the dead, the rites and symbols associated with the characters who were claimed or appear to be its royal priests and priestesses reveal that it was also a cult of blood and death, as well as ancestor veneration. In lowland Scotland the spoken tongue was Northern Cymric and in this language ’angev’, it is said, is one of the words used to describe death, possibly suggesting ’going to the Dragon’, the Church’s ’Devil’.
It is significant linguistically because the later house of Plantagenet were called the Angevin Kings, emphasizing, along with the name Angouleme, the consonant migration described above and adding some veracity to the Angevin claim that they were descended from the Devil.
“We who came from the devil must needs go back to the Devil. Do not deprive us of our heritage, we cannot help acting like devils”
– Richard Coeur de Lyon.
Or, as the Monkish sponsor of the Knight Templars, St. Bernard of Clairvaux put it when describing the Angevins – “De Diabolo Venit Et Ad Diabolum Ibit”.
The syllable Ang in Angev is also to be found in Angel and derives from the Greek aggelos – aggelos which is reminiscent of Agg or Ygg, the Odin priest as an angel, a Repha’im or priest of Nergal. Freja, as a goddess of the Earth and the underworld, was the proud owner of a Heron or Crane-skin bag and a Merlin feathered cloak which Odin was oft wont to cadge from her from time to time, making him a Merlin figure and linking her to the sacred and sinister bird of the druids. One of the explanations for the name of the Fir Bolg was “Bag Men“. Related to the Crane-Skin Bag, the Fir Bolg are Merlins or Druids and thus Fir ’Bog’, “Men of God“
The Merlin itself was described as a “bird without a nest”, a solitary wanderer in exactly the same sense as was the magical boar, “Le Solitaire“. The boar as the ’The Hermit’, the solitary archdruid, the lonely wanderer, is the Merlin who likewise ranges alone, thus indicating that Merlins, Odins and Archdruids were synonymous.
On the island of Delos the dance of the labyrinth was called Geranos, the “dance of the Crane” and is suggestive of the druidic ritual of ’Crane pointing’ as a form of related magical observance. The Crane dance, known in Britain as the “Dance of Troy“, was also performed by the Ostiak peoples of Siberia up until the 18th century and was so-called because they wore Crane skin clothing for the occasion.
Principally the Ankh or Ankou in Brittany was described as being a collateral cult of the Morrighan which was particularly prominent in the Breton coastal regions. As such this would suggest that the Ankou had some influence upon the Armorican cult of the Ferryman of the Dead, particularly as Morgana herself is associated with the Swan Barge of Avallon, which transported the dead Mordred to his final resting place in the sacred grove.
In Eire the Cult of Ankou was associated with Sidhe mounds, Raths, hills and Barrows, and hence labyrinths. Known as Mari in the Basque region and associated with the Morias or fates, Ankou was the original model for the Black Madonnas there. The goddess Ankou, Black Annis, was derived from the Greek ’Anku-Kis’ who was a form of the earlier Egyptian Goddess of the underworld – Anu Ket. In the Semitic-Ugaritic texts found in Ras Shamra in 1928, Ankou is called Anat, a witch goddess and regeneratrix who shape-shifted into the form of the Morrighan or Morgana, a black predatory bird.
We are here in the presence of ’An’ the ancient Dragon Mother who is both a sustainer and a reaper, a phoenix figure whose Raven like attributes link her to the Kershalyi and Locolico of the first dragon homeland of Transylvania. In Breton churches her priestess Morgana is portrayed as a wouivre or double-tailed mermaid or dragoness and in this respect she is identical with another Priestess, Ygraine.
The Cult of the Ankh or Ankou was the Court of the Dragon of Ankh-fn-Khonsu and his successor Sobekhnefru, whose most sacred inner symbol, historically, was the winged Orobouros with a pendant Greek cross; the Ankh of Nin-Kursag or Hathor, and her daughter Innana or Venus. In tracing the history of one, via Egypt to its ancient Sumerian roots, we inevitably therefore recount the story of the other. They are, therefore, the same thing and represent The realm of the Dead (or more pertinently, precisely and poetically “The Undead“):
- Tir N’an Og
- Elysium
- Drakenberg
- Lothlorien
- The Court of the Kingdom of Elphame
- The Grove of the Swan Maidens
- Hall of the Dragon Lords of the Rings,
- Repha’im or Rapha Elohim, named after Raphael who, in the Koran is the reaper and summoner of the dead and corresponds to Waite’s Tarot card ’Judgement’
Later on, following Ygraine, the fairy Melusine of Anjou who descended from her, was also portrayed in this manner as a wouivre, especially and also in medieval religious architecture. Related to this theme, in the cathedral of Le Mans on the Anjou-Maine border near Rennes, there is a carving of two serpent tailed doves, called Serpilions and derived from the Persian ’Smenda’. Another representation of the Dragon is the serpent necked Swan.
The dove is sacred to Venus and is particularly associated with the Virgin Mary Magdalene, whose name ’Magdala’ means the place of doves, e.g. the temple of the cult of Hathor or Venus – Ishtar. In Albany the ’place of doves’ was Camlann or Camelot and the association with Morgana and Melusine and the Ladies of Avallon, and thus the priestesses of the cult of the Ankh (of Hathor or Venus), is apparent.
The Ankh of Hathor, according to Gettings, is generally believed to be the source for the astrological symbol of her daughter Inanna or Venus, whose magical colour is that of Elphame. Further to which, Emma Jung reminds us that when the Grail appears as a ’stone’, it is presented on a green silk cloth, which reasserts the link between the stone and the emerald of Venus.
The colour green in alchemy is the Benedicta Viriditas, the colour of the Holy Spirit or Sophia, the wisdom gained by the hero who, on completing the “quest for the Holy Grail“, is awarded the Green Cloak or Greenmantle. Green Stags (The Robin Hoods) are one of the Grail badges or totems of the lords of the forest which entered heraldry in the armorial achivements of some families. The Green Stag amongst other things represents the transcendent king, the fairy lord of the forest, blessed of a fairy queen. Stags drinking from Grail Chalices are quite common subjects for bas relief sculpture.
The links to Green as the Elven Colour are obvious and indicate
a) that the Holy Spirit is immanent within Nature or the Cosmos, i.e that the universe and god are One Being and
b) that the Fairies already possess the Holy Spirit of God by virtue of blood and birth, not through the consent of some priest.
Therefore they are naturally eternal beings and in no need of forgiveness of sin, because they, the sons of the Repha’im as the true Children of God, don’t and can’t commit any sin.
The Key of Life
It can be asserted that the fairy or dragon cult of the Goddess Ankou, although not originating there was, in any event, maintained in Albany, where Morgana was born and was ritually active. Having established this it is likely that the later kingdom of Anjou, formerly known as Pictavia, derived its name from a priest or priestess or court of the Ankh which settled there from the Breton coast.
If this was Melusine, the founder of the Pictavian House of Anjou, then Melusine would have been known as ’Melusine d’Ankou’ or ’Melusine of the cult of the Ankh’ prior to moving to there. That in itself is almost certain, as it would be for the other Avallonian princesses, but the idea that she actually founded the kingdom itself is not, as the realm of the Anjou, as stated, was passed down by inheritance it seems, from the reigning Vere Tigherna ’Vortigern’ to the grandson of Merlin Emrys III; Guy de Marys, who was already a prominent figure in Breton legend.
Guy de Marys, reputedly a Vere ancestor, was also know as Kai, Cai or Kay, the latter spelling meaning both Quay and Key, in relation to which the Ankh was called both the Key of the Nile and the Key of Life. Guy was a merlin and a druid or magus, specifically a bard of the golden bough who descended to Hades, by classical Greek description and definition, and as stated, he would have been a revealer (anschau) and binder of mysteries. As a “spell” master, a binder and loosener of lives, a male Fata or Mori, one of the Fairy Race.
The presence of the cult in Brittany, suggests that the Anjou or Ankou, as the otherworld kingdom of the dead, was moved as a rite, from northern Pictavia to southern Pictavia in Gaul where it gave its name to a region which then became its cultic kingdom, years before either Morgana or Melusine were born.
It is more likely therefore that Emrys II – Ambrosius Aurelius – introduced the cult to the region when he decamped to Brittany sometime after the defeat of Rhydderch, which would then help to explain Melusine’s later presence there.
She is said to have fled to Gaul from Northumbria with her Dragon Court, after the ritual killing of her father in the same manner that Morgana killed Merlin. (Elinus’ spirit was later deified, it would seem, and given symbolic gift offerings of milk, after a manner associated with the live “dragons” who were given the semen or “milk“, and the blood of maidens; and were thought to inhabit caves, or labyrinths, throughout Europe).
However it was unthinkable that a royal pictish princess would flee and wander through someone else’s kingdom unannounced, as this could be construed as an act of invasion and war. Such a story seems to be a later justification of her presence there.
But as a priestess of the Ankou in Scottish Pictavia she would have been welcome in the other land known as Pictavia, where her cousin Rainfroi, the third great grandson of Ambrosius, reigned as the Archdruid of the Golden Bough, the hereditary, ritual king of the dead. As it is they, both patricides, were destined to marry, which would strengthen the dynasty, and thus the migration was a planned event. In any case the cult, with its ancient Irish associations predates Vortigern, and we should be looking farther back still for its origins.
Essentially the British-Gallic Cult of the Ankou, is related to a symbol sacred to Horus’ supposed wife: Hathor-Venus, and to Isis and Nephthys – the Ankh. These deities appear to be related to each other in the same triple goddess configuration found in the rest of Europe and the Levant. The draconian Ankou cult is a regional variant therefore, perhaps the origin, of the Greek cult of Persephone as described in the foregoing essay on the labyrinth. (Isis and Nephthys are also both, amongst other things, goddesses of the dead).
In the Funerary Cult of Egypt, the nobility employed Ka-Priests to tend the dead. This is linked to a strong thread of ancestor veneration which is also found in Scythian culture. Though the Faiyum Labyrinth has long since been reclaimed by the sands, the massive labyrinth complex of funerary palaces in the 25-26th dynasty necropolis standing next to the temple of Hatshepsut in Deir el-Bahari is still in existence. At the centre of the complex is situated the sacred sanctuary which has an adjoining cell which is commonly recognized as the utmost Holy of Holies, the singular feature of which is the carved Ankh Cross which dominates its facing wall.
In the ’Papyrus of Ani’ dated 1300bc, Isis and Nephthys are depicted as standing either side of the Ankh and holding aloft, above its loop, the solar disc which relates to the Sephiroth of Kether, also called the Ajna Chakra, symbolized by the ’thousand petalled lotus’. This lotus in Egypt was associated with the psychotropic Nile Lily; and the generic symbol of the lily in all its national variations, was associated with the Grail and Dragon Families. The subject of the lily will be studied in some detail later on.
In pre-christian Gaul it appears on the carved heads of chieftains whose effigies were incorporated into architectural columns and at a very early period Prior to its adoption by the committee of Paris, the lily or ’Fleur de Lys’ (Fleur de Luce or Flower of Light; Flavia Anderson) was the badge of the early Kingdom of Anjou. The shape of the fleur de lys seems to have been influenced, in its present form, by a very important Gallic magical rune which was within a group of symbols derived from, or related to, the prototype of the Ankh.
The lines of the fleur de lys’ basic structure pass through two planes and two angles to form a St Andrews Cross overlaid upon a Greek Cross in the manner employed to create the Norse binding runes. From the evolution of this figure it is thought that the Chirho was developed as a later form of the Ankh.
This eight armed cross appears in the Canary islands cut into the bottom of the bowl recesses which were carved into the top of stones outside sacred caves, duplicating the concept of the cup and ring stones one can find throughout Britain.
As was the case in the offerings made to Melusine’s father outside the cave in Northumbria, in the Canary Islands milk was also poured into these depressions and left to trickle away down the side of the monolith. The eight armed figure was believed by the islanders to be sacred to Isis, the virginal High Priestess of Waite’s alchemical Tarot, and it was said to be her “milk”, the dew of the fleur de lys or rosicrucis, that flowed from the eight armed cross to form the milky way, the spiral vortex or labyrinth of the “cosmic” dragon, the Orouborus which features in the cross of the Dragon Court.
The fleur de lys itself is so configured as to contain within it both the Ankh and the Chi Rho. The figure of the fleur de lys, as a Gallic rune, comprises in the Norse of Nyd as +, an equal armed cross meaning both need and death, Gifu as X meaning union and Wyn as a loopless P meaning victory.
Translated, this forms the ritual process encapsulated in the rite of the labyrinth. The P lost its loop during symbol migration, a phenomenon documented by the Count d’Alviella in his book ’The Migration of Symbols’, some components of which I will draw upon later and reproduce the figures for.
In essence there are several related crosses that, although thought to have developed from each other serially, belong to a very ancient group of symbols employed within the royal Dragon culture within which the rites associated with central mortuary theme of the cult of the Ankou form an integral and timeless component which is well known.
The Sacred An
The Chi Rho, is the symbol for the symbol for the Swan Knights, is developed from the Ankh itself which in turn forms the basis for the fleur de lys. In Melusine’s time the field of lilies, the arms of Anjou, represented the Pictish virgin princesses coveted by other dynasties, which are the lilies featured in the earlier Song of Solomon.
These lilies or Anjous/Ankhous/Ankh maidens, sacred to the various Goddesses mentioned herein, are the Bruidhinas, the Morrigan/Valkyries and Swan princesses of the Dragon Dynasty which the Swan Knights were sworn to protect. Their symbol IS the Chi Rho Ankh which, instead of just representing the XP, the first letters of the name of Christ the Man, latterly conceals the true nature and gender of the Christos itself, which is of the rtu of the Ankh, the Goddess.
Consequently the Chi Rho itself is a female Dragon symbol related to both Morgana and Melusine, as well as all the other Ladies of the Lake, mermaids, naiads, nixes, virgin priestesses and so forth. The earlier history of the Chi Rho, the Ankh and the Haegl rune which forms the fleur de lys can be found in the development of Mesopotamian cuneiform from earlier Sumerian pictograms.
In Sumerian the symbol represents ’An’ : The Star. The star pictogram later became cuneiform with the wedges forming the ends of the top branch or ray, and the subsequent three rays going down the left hand flank of the glyph. At this stage the symbol came to represent the ’Heavens’ and its final cuneiform representation was as an equal armed cross with a wedge at the end of the top ray and two wedges on the left arm which represented the gods. This figure is close to variant representations of the Ankh in medieval black magic where the top arm is an enlarged triangle whilst the other arms have smaller wedge ends.
The common translation of the word Christ is “anointed one“. Libatio, from the root libare, meaning ’to taste’, ’to pour’ (as Mary of Bethany is said to have anointed Christ) is however, closely related to this concept. Libare is related to the Greek leibein, to pour, drop by drop, translated as ’to pour out (wine etc.) in honour of a god’ OED.
Wine is not uniquely specified, but any liquid; meaning that Libare and Libatio are not solely confined to the act of the libation of wine to a god. It has been suggested that some Greeks would argue that ’Christos’ meant gold and that would then intimate that the idea of anointing, in relation to the Grail, was derivative and attributive.
In the Greek Orthodox Bible Christ is described as the ’Golden One’ from crusos – Crusos – Gold; rather than cristos Cristos – To anoint. Here we are back to Christ as the ’red-gold’ flow, an anointing or libation of virgin blood of the Labrus or Labia. Libare is also related to Liber or Bacchus the god of “wine” and here we are reminded of the later christian doctrine of transubstantiation and their substitute of wine for blood.
In Mithraism the blood of the bull was poured from above onto the supplicants as an anointing chrism and a libatory eucharist drink, and so the idea of libation solely being TO a god is incorrect, as often the gods, or indeed the goddesses’ blood, was shed as both an anointing and libation for their flock. Further on we will encounter ’anointing’ not as Christos, but as murizein – murizein which has its own surprises.
Jesus’ surname is ben Panther, meaning the Leopard, which is the totem steed of both Bacchus and Diana and is repeated in the arms of the House of Plantagenet as three (originally one) heraldic leopards ’Or’ on a field ’Gules’ or three golden leopards on a field of blood. The archaic spelling for Leopard is Libard and this night stalking animal is renowned for drinking the blood of its victims prior to eviscerating and consuming the carcass. Here again is a variant of the word Libare and quite a pertinent one at that, as again blood becomes a Libation associated with Christ the son of the Libard, as the anointed anointer, the libater, the initiator.
Christianity is substantively a prime example of the reversal of libation and in this it attempts to mimic earlier Bacchanalian ritual. Royal anointing in post Carolingian christian ritual, where the oil of the chrism (representing the Holy Spirit) and the vatican’s right to use it to create kings from peasants and merchants, also by transubstantiation one assumes, is treated as though it were delivered in obedience to the will of God by proxy through his chosen priesthood, who intended it to take the place of royal blood in the veins.
It is suspected that the etymology of the name Christ was tampered with in order to accommodate this anointing ritual and to derive the usurped social power that attends upon it. Along with the service of communion this is another catholic version of reverse libation with blessings being showered upon the grateful by a beneficent priesthood.
Libare is related, via ’to taste’, to labia – lips and libant means ’tasting’ or ’touching lightly’, obviously with the lips. Related to Libare we will remember Bacchus and Liber; as the tree to which he was crucified and which gave blood red wine that liberated the spirit and taught it dark knowledge and ancient law. Lake or Del Acqs, sometimes written as Lac represents the lily and the rose: The Roman dye “Lac”: The crimson flow, and Lac or Lactose: The white “milk” of the maidens. Within the cellular and genetic fabric of these substances was retained the Ankh’a or Ka of the An, the Holy Spirit and power of the Dragon Gods – the ka of the An: The soul of the Heavens.
The crimson flow and the ’milk and honey’ (Nectar or Ambrosia; cf. the name of three generations of Merlins above) of the priestesses can be adequately and correctly described as their sacrificial libation, the “blood of the Christos” shed for the remission of sins (Hebrew: ’Sin’ – “falling short of the mark“; perceptual blindness, the living death).
The spurting of “milk” relates to La Fontaine de Soif, so called because it “sprays out”, like a fountain, from the cubic stone. This symbolism is derived from the ejaculatory propensity of the Graffenberg gland which ejects its seminal fluid, the sacred ’milk and honey’ or nectar, like a jet.
Poured onto the Ankh figure in the cup stone by the sacred cave or labyrinth, the substitute milk of Isis is not symbolic breast milk but an allegory for her seminal fluid, inundating the symbolic vulva, the Ankh, from whence it originates. It should also be noted, however, that breast milk itself contains Telomerase, a sort of bicycle puncture repair kit for infant DNA. One is supposed to see a connection here, I think.
The Ankou cult and the ancient form of the Ankh is therefore associated with caves and thus labyrinths and with the holy female essence. Both Morgana and Melusine of Anjou or Ankhou are closely associated with such elements, as High Priestesses and ritual representatives, in a line of succession which goes back through the Pictish Fairy Princesses or swan Maidens, beyond Sobekhnefru and the Egyptian Ankh Goddesses to the Sumerians and Babylonians, whose goddesses Ast (Isis) Nebt-Hat (Nephthys), Nin-Kursag (Hat-Hor) and Lilith, from whom Melusine, Morgana and the Ladies of the Lake are descended, all bear the W symbol which forms the loop of the Ankh, which was first entrusted to the god Thoth, who was the Sumerian Nin.Gish.Zi.Da: The Lord of the Artifact of Life, son of Enki and Eresh Kigal (Persephone-Demeter).
Likewise Magdalene, the daughter of the Jireh Priest of the Temple of Jerusalem was a Priestess of this lineage and the matriarch of the Ankh Priestesses in Albany. Known as a Scarlet woman, she was so-called because of the colour of the Lac-dyed ceremonial robes she wore as a senior officiate, the blood tincture indicating her ritual obligation.
The term Scarlet Woman became associated with prostitutes because Magdalene, as a temple priestess, in her relationship to Jesus as a Pharaonic, Dragon Messiah or God-King, fulfilled the role of the goddess Hathor or the Judaic Astaroth, the Sabbath or Matronit in the esoteric, Kabalistic aspects of Jewish spiritual philosophy.
This role involved her in forms of ritual “congress” or Enthea, of the type specified in the Song of Solomon, which are also found in the Tantric Kaula Vama Marg and repeated later by the Avallonese Virgins of the Holy Blood.
Astaroth was the Goddess of the Shekinah, the divine presence of The Eternal within the Solomonic Temple of Jerusalem. To the early Gnostics she was recorded as representing the Sophia or Holy Spirit, the (feminine) principle of Divine Wisdom. Later Astaroth (a denizen of the Devil in the medieval demonologies) continued to be recognized by the Cathar christians as a symbol of the Holy Spirit and during Jesus’ life, Astaroth was therefore manifest in the person of Magdalene as Christ’s consort in accordance with Apocryphal doctrines, in much the same way that Ishtar, Matronit and Lilith, as early priestesses of the Shekinah began as the consorts of Enki, Enlil, the Dragon God-Kings and later Jehovah.
In this Mary too, fulfilled the role of the Anunnaki blood mothers who fed the Dragon God-Kings. As the physical embodiment of Astaroth, the Sophia or Shekinah, within the Egyptian Therapeutate she was Hathor-Venus, whose cross derived from the Ankh, and as Ishtar, the morning and evening star, she personified “war” in the mornings (Seratonin) and “love” in the evenings (Melatonin).
After Ishtar’s example the progeny of the Anunnaki dynasty, the Rephaim or Angels, who became the Elven, Dragon Maidens and Knights of Albany, Eire and Gaul, fulfilled two roles, that of destroyers and reapers, and that of divine lovers and healers.
Under the patronage of Ishtar or her mother – Hathor (Nin-Kursag) of the Ankh or Ankhou, (and later, under two of the principal Astaroth matriarchs, Magdalene of the Green Dress and Anna, her grand daughter, who migrated to Albany and married into the collateral Pendragon dynasty), the Rephaim of Pictavia and Eire, were both the Swan Princesses; vessels of the benedicta viriditas, and the Morganas and Valkyries, the Priestesses of the Ankou and the Guardians of the cult of Blood and Death.
In this way the Cult of the Ankhou gained a collateral line which descended through the posterity of the Druidic families to the Mistletoe Bards and Priestesses. From the ’Letter to Ceretius’ we know that Jesus performed a sacred role as the central figure within the circle dances that, in conjunction with his secret teachings and his rituals of initiation (Morton Smith), he conducted at night.
In the ’Letter’ Jesus is recorded as saying at one nighttime gathering “The Eight Are With Us“. These are the Egyptian Ogdoad or eight Great Spirits of Gnosticism which are also found in Taoism. The Eight Spirits are the second wave of creators (after the Cosmic Twins) that appeared tilling on the sacred mountain of the “rising land” that emerged after the flood.
They appear in an illustration in the ’Book of the Dead’ of Khensumose: Third Intermediate Period, 21st dynasty circa 1075 – 945 bce. Evidence for the existence of this belief prior to the pre-Ptolomeic period is derived from its worship site at Hermopolis whose ’Eight Town’ quarter existed at the time of the Fifth Dynasty: 2498 – 2345 bce.
’The Eight’ when reflected upon in relation to Ubaid or Sumerian tradition represent the Anunnaki, the original gods of Egypt salvaging the remains of their civilization after the Black Sea inundation. The story has been transposed to Egypt, like so many stories travel with their tribes, and becomes the creation myth of the pharaohs.
The Ogdoad, also found in China as we have noted, are some of the sons and daughters of Enki-Samael (Ptah) and Ninkhursag (Hat-Hor). Enki sired Ningal from Ninkhursag, and Eresh Kigal from Ningal, it would appear. Eresh Kigal, mother of Lilith, gave birth to eight deities – Abu, Nintulla, Ninsutu, Ninkashi, Nazi, Azimua, Nintu and Enshag; (Sitchin). That Jesus, as an initiate, invokes them, suggests that he had a firm Egyptian, gnostic ritual background which has its origins in Dragon kingship, manifesting itself later in medieval witchcraft.
This reinforces and supports an argument for the role of Jesus’ wife as his Priestess of Hathor-Astaroth and points to her lineage becoming a contributive bloodline to the pre-existent cult of the Ankou in Albany and Pictavia.
It is significant that the Ogdoad are also known in Scandinavia, where they are called the Aia. The Norse have a diagram of the sacred mound as a square which also shows the compass points and the migration of the eight tribes of the Gods from the Holy Mountain. Professor Douglas Adams of Idaho University has demonstrated that the i or y may be substituted by an s as in Arsi-Cantu becoming Aryi-Cantu, which would give us Aia as Asa and thus Aesir and Aes Dan or Aes d’An (Arya of Anu).
This is of some interest because people are used to having the Anunnaki presented as a small council of deities, when in fact they were a race of people who were still known as the Anukim in Canaan in 1200 bce, 760 years after Enlil’s Anunnaki court had apparently fled Babylon in 1960 bce. Corroborating the Migration myths of the Danaan in the Irish Liebhar Gabhala, the Aia migration glyph suggests that eventually at least one of the tribes of the Anunnaki settled in the north, whilst another, the Danaan, headed west following “a flood”.
The location of the sacred mound would then seem not necessarily to have been Egypt but, given the broad dispersal of the Ogdoad story, it would probably have been a site from where the gods originally migrated, the most obvious location of which is Aryan Scythia, near the Black Sea region. It is quite possible that the time frame for this migration was 4000 bce, when the Bosphorus collapsed and the Ubaid fled south to Sumeria. Later they became the gods of Egypt and it is feasible that the story of the “tilling of the sacred mound” migrated there with the Anunnaki – Ubaid deities.
Venal or Venal?
The druids welcomed the Culdee into Britain as brothers in spirit and fellow druids. Columba called Jesus a Druid ( of the order of Magi) and the links between primal christianity and druidism are quite apparent. Jesus, (a harrower of hell like Orpheus-Bacchus) Odin and Theseus were born in caves and, like Merlin and Elinus, Jesus was buried in one, in a garden which was arguably a Necromaniton, or druidic sacred grove with a funerary cell. Mary Magdalene was initiated into the Egyptian Therapeutate by Jesus.
She was twelve at the time and he was, according to the Bible, about thirty years old. The ritual employed was similar to that in which Lazarus partook, in that it involved symbolic death and resurrection. See Luke 8: vs 41- 56. Following her initiation and during the period of her early adolescence, as was common practice, Mary would have acted as Jesus’ handmaiden or grail priestess.
Botticelli’s ’Birth of Venus’ is described by Graham-Dixon as an analogy of the Virgin Mary. In the depiction of the red-haired Venus however, there is a supposed sexual analogy represented in the various folds of fabric and hair which are arranged by the painter to suggest the vulva which remains covered by her modesty. It isn’t likely that the darling of the Roman Church would have been depicted in this manner. Botticelli wouldn’t have got away with it in a period when Gallileo was being threatened with death for suggesting that the earth was an orbiting sphere. One could do virtually anything with the Magdalene however.
Common sense would, in any case, suggest that the Mary depicted was in fact the Magdalene and that the painting was a deliberate though esoteric attempt to record what was commonly known about her race, her position and her function, amongst alchemists and Rosicrucians during the Renaissance period. The suggestive folds were made in red cloth festooned with flowers and here we might have an intimation of the spiritual fertility of the vulva in menstruus.
Inasmuch as commentators have stated that Magdalene was a sacred prostitute or priestess of Ishtar (daughter of Hathor), this can be explained by this particular phase of her spiritual life where a certain type of congress, a secret outside the Cult, would have led to her being suspected of being a prostitute in some orthodox Jewish opinion, not being at the time married. It is very probable however, that the so-called rites of Venus she ritually engaged in with the Messiah have been confused with other definitions of the word venal, which pertains not only to sex, but to payment for any service or goods.
The confusion between the words Venus and Venal has led to the error where it was thought that Magdalene was a prostitute, who was “paid” for “Venal” services. In the Egyptian tradition of Jesus’ ancestor Solomon however, Mary – a priestess of the rites of Hathor within the Egyptian Therapeutate – would, like Sheba, have been a young Shunnamite, a donor of womb blood and the ’Water of Life’, a Lily of the Valley and a Rose of Sharon.
After Jesus death, Magdalene went to the cell and found it open. Rather, I would argue that in accordance with the traditional ritual that accompanied her station, she was expected to stay in the cell and commune with the Ka of Jesus in the underworld.
Few people actually knew the real reason why she went and the reason people might have assumed would have been expected of a Priestess of an Egyptian Cult. In Celtic countries and in Egypt this was common practice, as in the cases where it has been demonstrated that tombs had living quarters in them.
That she went to heal him of his non fatal wounds was a secret known only to an initiated few, in whose number the apostles, it seems, were not counted. In any case she was the first to “see” him, and in this she fulfils precisely the role of the Sibyl or shamanka, the druidess of Cumae, Medea of the Golden Fleece, Ariadne, and numerous other females, including the witch of Endor.
In Revelation 22: v.16
Jesus, clothed as a Repha’im proclaims himself the Root and Branch of David, the Bright and Morning Star.
Amongst other things, including being the Priest-King of Lucifer, Jesus also proclaims himself as a High Priest of Hathor, who is the mother of Ishtar, Astaroth, Shekinah, Sophia and Venus, the Star of the Morning. It becomes increasingly difficult to see Mary Magdalene therefore as anything less than a central character in a collateral druidic cult of the dead, a priestess of the Ankou of Ishtar.
In such a capacity, as with the various cave dwelling shamankas in mythology, she would have acted in a twofold role both as a visionary and also as a guide and companion, a facilitator whose blood allowed access to the underworld or Cosmic Consciousness.
Her essence and elan was the Dergflaith of sovereignty, the pomegranate wine of Persephone that gained the Bard of the Golden Bough, the Hero of Mythology, entrance to the land of Elphame, the Kingdom of Ankou. In this ritual capacity, Morgana, Melusine and La Filles du Lac et la Fonteine; followed her example and demonstrated a lineal descent as living goddesses, from at least one of the Ankh cults of antiquity.
In the bible the narrator says that a sword will separate the quick from the dead. The sword is the Spirit and the spirit, as we have seen, is also symbolized by the tongue, and by fire. In Latin a sword sheath is called a vaginum. It is the use of the “sword” which separates the quick, the living spirits; (the Elves), from the dead or the dead in life. In other words it is the rite of the Maiden, the “christos of salvation” that gives life.
References to the Sword as the Holy Spirit in the bible include Revelations 1: v.16
“Out of his mouth went a sharp, two edged sword….in his hand he held Seven Stars“, said to represent the seven churches of Asia
(It is interesting to note the association here between Bacchus and the Pleiades).
In John of Patmos’ vision, the Alpha and Omega figure: Jesus, is dressed in the garb of an Angel or Repha’im.
Hebrews 4: v.12 “The ’word’ (pneuma/spirit) of God is a two edged sword”.
Ephesians 6: v.17 “Take the helmet of salvation and the Sword of the Spirit”.
The story of the pentecost relates that the Holy Spirit descended upon the disciples like “tongues of fire” and this is a symbol which, connected to the foregoing, is especially relevant in relation to the Dragon, whose fiery breath is a symbol of the Holy Spirit, the “Word” of God, the Torah; or the Law of Destiny determining the progress of mankind’s fate.
The sword is an Ankh symbol with the blade representing the tongue, the guard represents the grail dish or womb, the spiraled grip symbolizes the spinal column and the pommel (from Fr. la Pomme, the little apple) represents the pineal and its chakra.
In the medieval Grimoire ’The Clavicula Salomanis’ the guard of the magical sword is constructed of two crescent moons back to back. The sheathed sword symbolizing Peace, represents hierogamy and balance, oneness and union.
The story of Arthur and the Sword in the Stone is translated by some to mean that Arthur became king because he knew how to extract iron from stone. As smithing was a part of alchemy and thus a kings science, it followed for some scholars that in order to become king, Arthur would need to convince people that he knew where iron came from.
The iron age had been extant for over a thousand years before the druids thought this story up. In a pre-industrialized society that depended on iron for everything and where nearly every moderately sized village had a smithy, Arthur would have already known how to extract iron from rocks and other people would have known that Arthur knew. The age of secret metal magic had long since passed by his time.
The Sword-Stone tale operates on two levels of organic, not metallurgic, alchemy and refers to the enthea resulting in transcendence, resulting in sovereignty. The stone is both the cubic stone of the Ankh Goddess- Priestess and the Lia Fail, the stone of destiny, a representative symbol of the macrocosmic cubic stone of the Earth as the anthropomorphized Goddess of Sovereignty.
The sword is both the tongue in the first instance and the Sword symbol of derivative integrity, cosmic consciousness and resultant personal sovereignty in the second. From such personal sovereignty comes the wisdom and creativity to administer the sovereignty of the nation, thus qualifying Arthur to be a king.
That he fluffed the job in the end is another matter. Even Goddesses have off days. They’re only human after all. The sword in the stone says that sovereignty rises from the womb of the Grail Maiden, the virgin Dragon Princess.
The Sword as Tongue implies the method by which sovereignty is obtained. Elsewhere the pendant T bar of the Ankh glyph corresponds to Tau, the Law and more precisely, the utterer of the Law, the Hindu Lingham or in Hebrew, the tongue of the Repha’im, the fairy Bruidhe Bard in Gaelic, whose spells, or words of cosmic law, bound men’s fate and, like the Morrighan warrior or valkyrie, represented the Holy Spirit.
In the foregoing examples the symbolism sometimes tends to overlap because of the adaptation of the glyphs over the passing centuries. Pure symbols like the ankh naturally evolve to become more complex with the addition of other components, whilst still retaining the originals, which can double up sometimes, as in the case of the addition of the T to the W. On its own the T is already the lingham and yoni combined. Add this to the W as the womb, and the symbol becomes reinforced, as in the following breakdown.
To qualify the T component we have to separate this symbol into two parts. Being specific, the upright corresponds to the tongue as utterer whilst the crossbar, anciently dish-shaped like the new moon, represents the womb or uterus, also the utterer.
The Tau was given to the priest-king by the womb. He passed it on as spells or laws, with the tongue which drank the wisdom of the cosmic law from that womb. The cup/dish and stone, the moon or womb and pineal in this instance; being held by a statue of Melchizadec, is situated outside the door of Chartres Cathedral, along with a figure of the Magdalene, which comes as no surprise.
The Tau symbol can be found in Scandinavia associated with Tir, the God of Law and Judgment whose rune became in this century, the familiar crow’s foot or upright arrow. The Tir mark was specifically the property of the king whose word was binding on all and so the Tau or Tir element of the Ankh is, like the Omega from which it feeds, a royal symbol, intimating again the holy- sacral nature of the Grail ritual.
The symbol of the Chi Rho of these swan princesses, as a derivative, later form of the Ankh, was known before Christ Jesus’ lifetime, as was the IHS of Bacchus, whose story is connected here via the Ankh Cross as a crucifix.
The Wheel of Fate
The adoption and modification of the Chi Rho Ankh by the Church was a late event and it is said that the Chi Rho symbol was based on the six pointed Gallic rune because, as we shall see, the symbol had such tremendous influence.
As we know this rune was the Sumerian symbol for the gods. It invariably preceded the name of any deity and therefore, as the Chi Rho, in relation to Jesus, it was used to imply his divinity, not as the son of the Jewish storm and corn imp Jehovah, but as a God-King in his own right as a descendant of the Dragon Gods of the Egyptians.
The Church were and are past masters at assimilation for political ends, and the use of the Chi Rho, like much else, must be seen as another way that the Church sought to be identified and adopted by non christian Europeans.
The six pointed Gallic rune, similar to the Norse rune Haegl would originally have been eight spoked, like the Buddhist Wheel of Life or the Tarot’s Wheel of Fortune. In this guise it is the Web of Arachne, the Web of Fate and the plan view of the ribbons of the Maypole dance.
The missing horizontal spoke of the Chi Rho is accounted for in its having been often carved into wood. Inevitably one spoke would always follow, and disappear into, the grain and so rune masters omitted it.
According to Count d’Alviella the Chi Rho is sometimes found situated in the loop of the Ankh itself. In Egypt the Chi Rho was known as the Chrism of Philae, or the anointing of pure love, which intimates the Entheal nature of the symbol, particularly in relation to the Ankh itself, which in some creative work has been thought of as the “vampire cross” being, as it is, the symbol of eternal life and youth.
Other examples have been discovered with the loop made of the Dragon Cross of Cain. The Ankh was said to have migrated into the christian crucifix and this seems obvious when one remembers the Celtic Cross, which would seem to support the foregoing, as does the pre-christian cross of Bacchus and the Albigensian (or Gaulish Fairy) use of the Ankh in relation to heterodox christian belief and ritual.
The Bethel stone was shaped like an Ankh and had associations with the various pine cone or dove capped pillars, the Perrone of the sacred groves. At later times the Perrone were capped by crosses and the name seems to be reminiscent itself of Persephone. Later still, in European Heraldry, one can see the pine cone column in the Pyr of Augsburg. In particular these columns were associated also with barrows and bergs.
In Belgium they were known as the stones of Justice, which again links them with the Tir or Tau and the Ankh, whilst in Scandinavia, according to the Saga of Gudrun, they become the white stone pillars (Gita/Cita) on the barrows which were venerated by the peasants. The white stone, as a portable panacea features in the story of St. Columba and King Brude of the Picts.
The Goddesses of death and the underworld are again prominent here (in the transcendent sense, as with Persephone, but one also remembers Mithras and the World Bull or Minotaur of Theseus), and one can imagine the presence of the Bethel Stone, as the Perrone of the Ankh, in the midst of the Necromanitons (a variant of the druidic grove of the Nemeton in Galatia, rel. to Nemesis or justice, the Tau or Fate), such as that built in Greece at Ephyranus, which had buried at its core, a subterranen cell for the rites which invoked the dead from Hades.
When thinking of Greece and Galatia, it must be remembered that these were originally under Scythian (Sidhean-Aryan) overlordship, manifesting draconian culture and subject to druidic law. These influences also helped to shape the Hindu, Sumerian, Egyptian and Judaic traditions, beliefs and iconographies, and it is therefore understandable that we find that there are many themes and symbols which these seemingly disparate cultures hold in common.
Within all these crosses and figures, there are held layers of meaning that can be interpreted to represent a close knit variety of rites or anatomical attributes within the strict parameters of their genre. Consequently, to settle for one simple explanation for any given glyph is simplistic, and at variance with the intentions of the Dragon Culture which invented them.
In the following figures the upturned crescent moon features, and this should be remembered in relation to the Galley or moon barque, which, accompanied by the Lion, is a prominent badge of the Scottish clans and features in the heraldry of Leith, near Edinburgh, where the ship carries the figure of the “Virgin Mary” (Magdalene), another Ankh variant.
The Moon Boat is also said to be the origin of the Genesis Ark and with the symbol of the Templar’s Anchor, the crescent moon becomes the hull of the boat which carries the Ankh as its mast and sails.
The key to understanding this symbol is to refer back to the notes and remember that the virgin womb, (the crescent or new moon), carries the Ankh, The An-Ka or Pneuma, the secret of the Benedicta Viriditas, the Green Blessing of the Mouth – “The Fairy Gift” (also “the Dark Gift”, “the Thirst”, “The Hunger”) of eternal life in this life (transcendence) and youth, the blessing of the virility of life regardless of age, as was said of anyone ’seeing the Grail’, that although their hair might turn grey, they would not age from that day forth (Eschenbach).
The migration of the Ankh and its collaterals are included in the following figures which are illustrated in the work of the Count d’Alviella.
fig. 31 The Egyptian Ankh migrates
fig 32 The influence of the Swastika and becomes the Chi Rho. On the Chi Rho.
fig. 33 The Chi Rho Ankh, the Cain fig.
34 The cross of Bacchus and Ankh and the Celtic Cross. TheAlbigensian Ankh
fig. 35 The Ankh of Isis and Nephthys. fig.
36 The Fleur de Lys and the Gallic Haegl Rune
fig. 37 The Bethel Stone as Perrone or God-Stone. fig.
38 The Assyrian Bethel Stone.
fig. 39 The cuneiform symbol for the gods.
fig.40 The medieval Ankh of black magic.
Supporting material from D P Silverman, Richard Dufton, W H Matthews, Michael Grant, Oxford English Dictionary, Count D’Alviella, Ward Rutherford., Z. Sitchin.
The Lily and the Rose/The Dragon Tree
Being pertinent to the appreciation of the contents of the following essays, the author here includes a brief word on the Dragon Tree or Dragontree, which is a massive plant which grows in Persia and Gran Canaria. Its Latin name is Dracaena Draco and it belongs to the genus Lillaceae or Lily.
Its resin is called Dragon’s Blood and was used as a dye which the Romans called Lac. Poetically therefore “the blood of the Lily is the blood of the Dragon”, giving it especial ritual significance as a tincture for ceremonial robes and as as an epithet for the branches of the bloodline, as in a popular spelling of del Acqs as Du Lac.
In relation to the Greek word derkesthai there is, in Gaelic, a reminiscent word, dergflaith, which means ’red beer’. The word dergflaith is used to describe the otherworld drink which conveys sovereignty upon a king. It is quite possible therefore, given the Greco-Gaelic connections in history, that one word has influenced the other. Derk and Derg might derive from a similar or common root and Flaith might be related to the Gaelic fola, which is used in relation to the family and blood. In which case Dergflaith actually might originally have meant Dragon’s Blood, being rather the blood of a dragon princess, conveying the Derkesthai ability
The Lily of the Valley
In relation to the discussion herein, the following is a brief discourse on the subject of the Lily. For the purposes of this essay we will be concentrating on both the Lilliaceae and Nymphaea Lotus varieties which are regional variants of each other in Dragon Lore.
The former, the Iris family, include the Lily of the Valley, whilst the latter are the species known as Blue Nile Lilies. Furthermore, for the purposes of providing an illustrative narrative we will concentrate here on Hylas and the water nymphs, a portrait by the pre-Raphaelite artist John William Waterhouse, whose depictions of water nymphs and Grail characters are somewhat prodigious. In alchemical lore we know that the lily represents the virginal seminal fluid of the vulva and the rose represents the womb blood. However the White Lily of the Valley produces red berries in Autumn that are reminiscent themselves of the droplets of Virgin blood. The Lily of the Valley is highly toxic and can be fatal, a reminder of the love that is death.

The virgin vendors themselves, like Melusine et al, are often described as water nymphs or naiads and in Waterhouse’s picture the naked, pale skinned, otherworldly ladies in the woodland pond are surrounded by and are wearing in their hair specimens of the Nymphaea Lotus, the “lily sacred to the nymphs“. Hylas (Helios – the Sun Dragon, representative of the Sephiroth of Kether or the Ajna Chakra) is a crew member of the ship Argo, which, captained by Jason had been sculling around in Scythian territorial waters looking for the Golden Fleece which, like the ark of the Covenant, is a symbol of the Holy Grail.
Having been at sea without a break for some time, it had been decided that, now they’d sailed back through the Hellespont, they would put to shore on the island of Chios and seek for provisions and water. It fell to Hylas to wander off alone into the forest to look for a fresh spring. After a protracted peregrination Hylas entered in upon the scene where Waterhouse’s nymphs were bathing – and is depicted crouching on the banks of the woodland pool. Here we now see Hylas being tempted to enter the water and avail himself of the tender but fateful embraces of these emissaries of death.
Waterhouse painted his model of Hylas wearing a blue-black robe tied about with a red thread. This, the dreaded “little thread of the Cathars” was a memorial of the Old Testament, Hebrew scapegoats, one of which had a red thread tied about its horns, prior to its being pushed into the scorching desert to face its ultimate death, whilst the other was sacrificed. This double ritual was enacted because the Jews thought that the goat sacrificed to Jehovah was insufficient to take away the sins of the people.
The Goat was called Azazel, a figure who was said to have been a fallen angel and whose name has several etymologies derived from its ritual functions but who is certainly “Satan” or Samael. The red thread represented the sins of the Jews.
The symbolism is simple, the Jews ultimately laid all the responsibility for purging their sin upon Azazel/Samael, when in the first instance, the sin belonged not to him who was their true creator, but to the usurper Jehovah alone. For this reason, as a memorial and to express their true allegiance, the Cathars, the witches and the nobles of the blood wore the red thread.
The Cathars wore it as a belt about their black robes and the latter two groups wore it as a garter or ’points’. In this manner, for them it also represented the womb blood, the ’Rtu’ or ’red-gold flow’ of the virgin priestesses of the Kaula Vama Marg.
On the Aziluth or imperial scale of the Kabalistic Tree of Life, red and black are the empress and emperor colours of the sephirah of Binah, the “sphere of understanding”. Binah is ruled by Saturn or Chronos and its sacred plants are the lily and the cypress, whilst its sacred animal is the bee. Cypress was used in the Levant as an incense to celebrate weddings and mourn the departed, whilst the lily traditionally represents virginity and death.
Here we have the symbols of Enthea and the love that is death, with the bee describing the manner of such congress. In Waterhouse’s beautifully evocative painting the nymphs are immersed in water, the element which is a Scythian symbol of the Daleth, the door to the otherworld and Hylas is about to undergo a profound process of alchemical initiation.
The girls, whose watery embrace is said to spell death, are the shunnamites, the lilies or virgins who are portrayed in the Song of Solomon. In their connection with water, the nymphs are thus depicted as the embodiment of the wells of living waters. Their deathly embrace is but the death of the ego, of the will and of desire. In uniting with them Hylas’ soul will die and his mind, once stilled, will ’understand’ and give way to the transcendent spirit of the cosmos. Such is the nature of this mystical process.
The nymphs are priestesses of Lilith, Diana and Persephone, they represent Melusine, Magdalene and the La Belle Dame Sans Merci: The Maid of Kent who was Edward III’s ’Queen of the Witches’. They are the Leanaan Sidhe, the Grail Maidens who, as perfect representations of the Goddess and the Muse, are the externalizations of man’s longed for Anima.
Enthea, divine union with these meremaids, is intended to facilitate the exultant union of the animus and anima which, via this external hierogamy or alchemical marriage, brings the death of the finite, isolated being, from whence emerges as if reborn, the universal spirit, unattached, undesiring and immersed in eternal love and life. In such terms the essence and the embrace of a Grail Maiden end all desire.
Hers is the embrace of death because her spirit and her energy enliven the tired spirit of the pilgrim and her beauty and completeness, her stillness and poise, are the sum of all that the initiate might seek. Her quiet, matter of fact acceptance which needs no striving for and is not gained by worldly show, infuses the stillness of the journey’s end into the lover who, having to achieve nothing more to attain her transcendent love other than just to be, melts in her embrace and without barriers, melts his being into hers.
Her love is then his death, beyond which is Daleth, the door to Elphame, Oneness and eternal, silent understanding. Such is the watery grave to which Hylas has wedded his fate. The story of Hylas and the water nymphs links the pineal and womb chakras, giving a complete teaching picture of the Grail Process.
The Lotus Eaters
In Greek myth the lotophagi – the lotus eaters – to which Hylas’ story is related, experienced a similar phenomenon in consuming the Nymphaea Lotus and lost their desire to return to homes which they had forgotten, along with all those emotional trinkets and fond memories which once possessed their hearts. (Homer: The Odyssey, IX – 90ff).
As an infusion in wine the petals of the Nymphaea Lotus are narcotic and bring about psychotropic effects similar to certain mystical states. In Waterhouse’s painting the nymphs are surrounded by and wearing these flowers in their hair. Their immersion in the lily bedecked water implies that their “living waters” or seminal fluid, the “dew of their lilies“, had similar transcendent, psychotropic qualities.
The wearing of the lily on the head signifies that the source of the divine essence represented by the lilies in the pool originates with the pineal gland and the ’thousand petalled lotus’ of the Ajna Chakra, which energizes it and the other cerebral glands. The water these swan maidens are swimming in is the “sea of Binah” and they are thus the daughters of understanding, witches of the waters of wisdom and the children of the Hive.
The nymphs are here seven in number and represent the Pleiades, the fairy daughters of the Titan Atlas who were pursued by the Boeotian Orion or Osiris in an ancient ritualized form of the Wild Hunt. They became the seven stars of the constellation that bears their name and which, in a superimposed arc, adorns and suggests the Ankh-like Cross upon which Bacchus was crucified.
Waterhouse’s nymphs therefore were also the wild Bacchantes or Dionysic Maenads who themselves hunted for and drank human blood in rites whose central feature was that of union with the divine.
Associated with these nymphs is the Romano-Celtic goddess Coventina (coven, covenant or union) who was depicted either alone or as a tripartite figure, bathing in a pool, surrounded by lilies. She is pictured in the act of pouring a jug of water into the pool itself. Her other name is Dea Latis meaning both Goddess of the Mere and also Bright Shining One, which links her with the elves. In this she shares the attributes of the cult spirit of the river wharf in Teesdale, whose name was both Verbeia and Latis.
Related to the nymphs are the Biblical Miriams or Marys, and the Tamarises whose symbol was the Palm which represents the Sufi Tree of Life. Theirs was also the Pomegranate of Persephone, with which the Palm appears in mystical symbolism and the pool or oases adjacent to which the sacred Palm itself grows.
Miriam or Mary and Tamaris were the names of females who occupied specific dynastic offices within the royal dragon bloodline in Israel. In Hebrew the name Miriam is represented by the consonants M’R’Y’M and means ’bitter’, (defined here as sorrowful). From this we obtain Mary, Mari, Marie, Marion, Maryon or Marian and all these examples contain the M’R’Y or M’R’I consonant group. In the following passages we will encounter the Myr syllable group relating to myrrh, which is relevant here, particularly in relation to Tamaris.
From Marion we obtain the “Maid Marion” of the Robin Hood cult, whose name and title equate with that of the Virgin Mary (Magdalene), to whom Robin and his band were devoted. In Egypt the name is Mery, as in Mery Ataten The name Mary or properly Mari is Indo-Aryan and means several things.
The component Mer, Ma or Mar means,
i) A Mere or Pool
ii) The Sea
As Mari it is associated with the Mori orfates and is the An or Ankhou of the Basque witches. Mari is also Mar Righ, meaning royal pool or royal waters where righ defines royalty or kingship. Where king further relates to knowing and understanding, Mary as Mar Righ becomes,
i) the waters of wisdom
ii) Binah, the primordial sea
In Marian the syllables break down into Mari and An. Mari as we have seen means pool whilst An, the root of the names of many of the earliest Dragon Queens and Kings, relates to the Grail and means fire or spirit, and so Marion means ’chalice’ or ’pool of fire’ which then renders the ’pool of the spirit’.
The sacred cups, pools, wells and fountains we have so far encountered all relate to the womb and the vulva. In this manner Mary or Marion means ’spirit in the womb’ or ’womb fire’ and it is in the latter instance that we have a direct reference to the Tantric, Kaula ritual of enlivening or inflaming the chakra of the uterine region to produce the ’waters of life’ or, as the Song of Solomon puts it “The Well of Living Waters“.
Mary’s symbol is the white lily of the valley, the fleur de lys. In relation to Mary Magdalene as the Virgin Mary of Robin Hood’s devotion, this is particularly relevant. In this cultic cycle there appears ’The One Ring that rules them all’ – the Draupnir or Andvarinaut – the “Gold Dripper” (or source of Rtu, the red-gold thread or flow of the valkyrie womb) that belonged to Robin’s father Aubrey or Oberon, who is Alberich or Andvari.
As “The Well of Living Waters“, Mary’s relationship to Jesus becomes clearer as the child handmaiden of the Messach, the dragon god-king. Marie is an ancient form of the word Marry, meaning: to join or unite with, as in alchemical marriage, divine enthea, hierogamy, the sacred marriage ritual of Solomon’s Song, with which we will deal shortly.
The Hebrew meaning of Miriam is ’bitter’- transf. “attended by pain or suffering: grievious (OE), hence of a state: Full of affliction, mournful, pitiable (1485), expressing or betokening intense grief or misery” (OED).
Here we are reminded of Mr. Keats’s ’palely wandering knight’ and nanny Melusine as ’La Fontaine du Soif’ and ’the cup of sorrows’.
In many Dragon and Grail stories, the maidens inhabit or frequent pools or fountains in forest gardens. Waterhouse’s water-babes inhabit a forest pool. Janet March encounters the fairy knight Tam Lin by a rose-covered well in Carterhaugh forest, in a genealogical variation of Beauty and the Beast. Solomon has his Sheba, a well of living waters in a labyrinth garden bedecked with sacred Pomegranate trees and Melusine is the fountain and well in a garden maze in the Forez.
Relating these symbolic representations of the virgin priestess-goddess with works such as Sir Richard Burton’s “Perfumed Garden” and Francis Israel Regardie’s “Garden of Pomegranates“, gives a clear picture of the forest as the pubis which is conceptually broadened by the maze in the dell on the hill, as the entrance to the otherworld, hidden within the mons veneris.
In the Song of Solomon we encounter the pubis as a lock, which like the well, is an old but well known European euphemism for the vagina. In Chapter 5 vs 4 – 5 “My beloved put his hand by the hole of the door (the “lock”), and my bowels were moved for him (contractions): I rose up to my beloved and my hands dropped with Myrrh, and my fingers with sweet smelling Myrrh upon the lock”.
Whilst earlier in Chapter 4 vs 12 and 16 “A garden enclosed is my sister my spouse, a spring shut up, a fountain sealed: A fountain of Gardens, a Well of Living Waters…” Throughout the Song Sheba, who is “black but comely” i.e. an Annis or Persephone figure likened to Lilith, remains a virgin. Sheba was described as “the lily of the valley” and thus, as her forest garden equates with the pubis, then the lily of her valley is the water lily in the valley of her vulva.
Naiads or mermaids are described as being semi divine and the handmaidens of the gods. This is aside from their usual mythic, pantheistic interpretation or symbolic representation as nature spirits, elementals or energy complexes, and such a description applies to the era during which these stories emerged, which was described by Euhemerus as the age when mighty men became deified and the gods were born of flesh and blood.
The Irish descriptions of their “gods“, the Tuadha D’Anu, mix the qualities of divinity with some very human sounding foibles whilst the descriptions of the naiads or mermaids present us with the qualities of human femininity but blended to a much greater extent with those of the divine. As we have seen, as handmaids to the gods and essentially young goddesses themselves, the naiads or nixes were the Dragon Princesses of the Grail, the Ladies of the Lake, water witches and meremaids.
They were the avatars, the Sybils who supported the elder goddess queens and god kings, fed them, guided them to the otherworld and, in the embrace of death, empowered their beings with the integrity that gives birth to vision and wisdom: the wholeness that is sovereignty over self and consequently sovereignty over all things.
Such a condition releases creativity, but such a quality is not a product of ordinary human thinking, rather it is a phenomena which lies beyond thought and beyond the capability of mundane knowledge to encapsulate or describe, both of which are processes bounded by time and limited by definition. It is the still mind in union with the infinite, or more precisely that knows no distinction between it and the infinite, that becomes truly fertile and creative.
Such was the nature of true sovereignty, the state of mind that, in kingship, affected the people and the land through good management and foresighted husbanding. If the king was of the tinker or warrior variety, then he was by virtue of his birth and cerebral physiological capacity, barren and infertile, and incapable of transcending his nature. In consequence the land and the people suffered by virtue of their having a king who was no king at all.
![]() The Rose of Sarai Sharon is a level fertile plain between Jaffa and Mount Carmel in Israel. In Hebrew the name derives from Sharai, a princess, from whence are derived Sarai and Sarah, which again were ritual offices in Judaism. With regard to the word rose, some dispute exists over exactly what that means and those who are authorities on the subject describe it as:i) a crocusii) a polyanthusiii) a narcissusiv) a cistusHowever, if you consult a gardening encyclopaedia you will find that the rose of Sharon is described as the hypericum or St. John’s Wort which, interestingly enough, produces a red dye and is related to the cistus. It is likely that in order to be described as a rose in the European translation of the Jewish bible, it would have had to have looked something like a rose, and in keeping with such an identification the cistus comes quite close in its foliate resemblance to the western, red and white Plantagenet rose, which we found growing unabated around Janet March’s well in Carterhaugh Forest. Furthermore the cistus is called the Rock Rose in Southern Europe and North Africa. The cistus is white with deep, blood red blotches, like the dappling of menstrual blood. The cistus belongs to the family cistacea and is also known as the gum cistus whose botanical genus is ladanifer from which is obtained laudanum, the dream-bestowing prize of poets and visionaries across Europe and the Middle-East, including Thomas de Quincy who, having taken it, were transported into the darkest, most terrifying realms of the Underworld or the highest reaches of Heaven, both being the deepest recesses of their own psyches. Sheba, as the Lily of the (Nile) Valley, the nymphaea lotus and the the rose of Sharon: the ladanifer, was being likened unto a living, narcotic pharmacopoeia. As neither of these plants grow in Northern Europe, we have contented ourselves with the nearest familiar symbols, those being the virginal Fleur de Lys and the Plantagenet or English Rose. The Rose represents therefore the magical menstrual flow of Solomon’s beloved, whilst the name Sharon or Sarah means princess. The Rose of Sharon is therefore the Royal Blood, the Sang Real; and the San Graal, the Holy Blood of the Holy Grail or rosi-crucis. As the Latin Ros-Sara or rosary which is devoted to the Virgin Mary, the pure white Lily, which itself is the “dew of the princess” (OED). The word Rose in Germanic means Horse, from Hros, a deity who is identifiable with the goddesses Rhiannon and Epona, who were symbolized by the white mare and immortalized in chalk, hill carvings across Britain. By a lucky stroke of fate, or under the power of “the single poetic theme”, as Robert Graves would have it, The Hros, like Slepnir (Yggdrasil), Rhiannon, Epona (and the Hindu Breghi Moru) were the goddesses who conducted the King to the Otherworld and to the goal of sovereignty. This was exactly the job of Sheba, the Rose of Sharon, and all the other watery nymphettes in history. So the Rose of Sharon, whilst referring to the flower of the royal menses, also refers to the function of that fluid as a method of transport to the otherworld. Again death is implied by Hros because Epona and Rhiannon, but especially Slepnir, are symbols of the white draped funeral byre carried by four men who, like Slepnir, have eight legs. Slepnir, the white horse of Odin is Rhiannon, the elven mount of the Welsh Arawn or Death, the grim reaper who (like Jesus * who “brings a sword to separate the quick from the dead“) scythes the spirit from the flesh. Arawn, Lord of Annwn, in the story of ’Pwyll Lord of Dyfed’, leads a pack of red-eared, red-eyed hounds in the hunt for the red-eyed white hind, who is the virgin, elven princess who, like in the stories of Odin or Hearne the Hunter and the Wild Hunt for elf women at Samhain, is the source of truth. * The image of Jesus as the grim reaper or Repha’im is consistent with his cultic role in the Egyptian mysteries. Significantly the verse that this passage is taken from refers to Jesus as coming with a sword, the spirit or Torah, to separate the “quick” – the divine, Immortal spirit, from the dead – the material soul or “dead flesh” of the unregenerate mind created from the “flesh” of mortal experience. In vampirism the process of awakening the cerebral centers is called “the quickening“. In Indian love poetry the vulva has been referred to as “the footprint of the deer” and we may equate both the Hind and the Hros respectively with the physical and spiritual aspects of the Virgin. The Hart or properly the hind in the thicket, so beloved of Graves, is the poetic truth hidden by the pubis, like the tangle of thorns that hides the castle, the enclosed fastness of the princess’s virginity in Sleeping Beauty. Rapunzel’s tower, her inaccessibility, is likewise a symbol of the princess’s virginity. The hounds of Arawn, Odin and Hearne, consistently in all these stories, represent the retinue of elf nobles who, in later times, were mimicked in the Wild Hunt by the race of the rustic youths around the maze for the virgin prize at its centre. Rapunzel’s tower also represents her elevated consciousness as a Grail Maiden. By using her red-gold hair to climb the tower, in other words by following the Rtu or blood flow to, and consuming it from, its source – id est Rapunzel – both the witch; and the knight who supposedly rescues her, are able to climb to new heights of cosmic consciousness. Rapunzel’s hair is both Ariadne’s and Sleeping Beauty’s red-gold thread of the menses. The knight has no intention of rescuing Rapunzel. She can’t be rescued from a figurative narrative construct, she is a feeding female and the witch and the knight are the Dragon Queen and the vampire Prince who are her clients. The only way of ’rescuing’ Rapunzel from the tower is to rape her, and rob her of her virginity and her transcendent vision which is symbolised by that tower. Some rescue attempt that would be. Card 13 of the Major Arcana of the Rider-Waite Tarot is entitled “Death“. 13 is the number of the Moon and specifically of the menstrual cycle. Riding Epona or Slepnir, the red-eyed white horse of Elphame, the skeletal figure of the grim reaper rides across the field of life in a black cloak and full armour, trampling the noble and the humble alike under his horse’s hooves. In his hand he carries the banner of the white rose of the spirit on a black field. However, this is not a funerary plant. The white rose, like the red rose, symbolizes love, but which in this case is philea rather than eros. The horse’s reins and livery are black and adorned with skulls and crossbones, which we understand to be representations of the Baphomet or Holy Grail. Behind him in the distance lie the twin towers that feature in another major Arcana card – “The Moon”. Beyond the towers the sun is shining above the dark horizon. The towers, the horns of the Sabbatical Goat, represent the open legs of the priestess-goddess and the glow of the sun, like the Hallowe’en candle on the seesaw, or the candle between the goat’s horns, is the glow of the red-gold of the virgin menses and the chakra or sephiroth of the womb. This symbol is replicated in the second card, “The High Priestess”, dealt with earlier. This again is a card of “the love that brings death” and the reaper symbolizes, not physical mortality, but the victory of transcendence over mortal pomp and materialism and the life-that-is-death. In such a context therefore – Death as Initiation – the white rose of the spirit and pure love, is identical with the red rose of Sharon, inasmuch as the red rose does not herein symbolize sexual passion, but the menses-smeared rose of the vagina’s foliate aperture, contact with which brings the spiritual purity symbolized by the pale flower of Death’s banner. Like doves, roses are sacred to Venus who as Ishtar and Lucifer, the “bright and morning star” is the bringer of light and enlightenment. Venus’ emerald jewel, the hermetic tablet of destiny (also the Lia Fail of the Scythians) is called the jewel in Satan’s crown which, when it “falls” or is reversed becomes the hidden “cubic stone”, the dark, oozing monolith of the hidden Grail, concealed in the recesses of the body of the Swan Princess, the naiad, from whom one might obtain “blood out of a stone”. The reversed emerald tablet, the cubic stone darkened by its concealment, is the subject of two 15th century paintings – “Livre du Coeur D’Amours Epris” and “Melusine by the Fountain“. In both these paintings, the image of a black marble block from whence flows a curious fluid, is repeated. In French legend Melusine’s well and fountain are the source of both joy and sorrow, much like the Croix de Lorraine. This sentiment is repeated in “Livre Du Coeur D’Amours Epris“, which warns that misfortune will befall him who drinks from the water that issues from beneath the stone. The knight in the picture, as in all stories connected with Venus’ Jewel, is further warned not to pour water over the stone itself. Such would constitute christian baptism, which was viewed by the Bloodline as a defilement, and a debasement of their pure spirits by an invasive and hostile alien culture. Like Melusine’s black stone, the one depicted in “Livre” engenders the “Heart’s longing for Lady Grace” and consequently, like Melusine’s, it is a fountain of thirst because, after one taste of its “waters” the ego’s longing for material peace or security ceases but is replaced by the spirit’s longing for enthea, its westward journey home to the love that is death. The Song of Solomon The authorship of the Song of Songs is attributed to King Solomon, probably because the subject matter dealt with has an underlying Hermetic, esoteric character which accords with what is known of Solomon’s ritual practices. Less probably because he originally compiled it in its entirety. Nevertheless it is quite possible that he wrote certain aspects of the song which perhaps were added to later by subsequent poets or scribes. The overall syntax of the manuscript form of the Song of Songs, compiled circa 450-400 BC, is Aramaic, and was deposited in the School of the Temple of Solomon in Jerusalem. The original piece is said to have derived from early oral sources and belongs to the genre of ancient Egyptian love poetry. The song also bears a striking resemblance, from a secular point of view, to near eastern love poems. The Temple School was probably destroyed and its teachers dispersed during the destruction of Jerusalem by the Romans. A number of christian Nobles were said to have fled Palestine at that time which led, it is further attested, to the introduction of vampirism into Central Europe. This isn’t strictly true, but a new wave or variation of the cult could have been reintroduced then. It is also very likely that many kabalists and rabbis also fled and settled in less hostile districts in Europe following the destruction of the Temple. In this way could be explained the appearance of “Solomon Schools” in places like Hermannstadt, Toledo and Carpathia, which one assumes were outposts or exiled cells of the original Temple of Solomon School in Israel. It was from one of these institutions, renowned for alchemy, kabala and Hermetic lore that Dracula was said to have “ridden the dragon“, meaning that he was the principal graduate. Following this illustrious academic career Dracula, who claimed to have derived his name from his apostolic priesthood of the Egyptian cult of Draco, embarked on a reign that was marked by his overt practice of vampirism. Solomon was what some might call a pagan and a great deal of fairy lore and a great many gods from Eurasia filtered into and influenced Jewish culture during Solomon’s reign. The christian bible tends to blame this state of affairs largely on Solomon’s choice of wives, who were said to have brought these strange abominations with them. This explanation doesn’t however take into account the fact that Solomon himself was deeply committed to and involved with Hermetic sciences and dark magic. Solomon had, as wives, 700 royal princesses gathered from all over the near east. In addition to these he had a further 300 concubines and these comprised his Harem. A rather excessive and self indulgent amount of women simply for the purposes of providing one man with a variety of copulatory partners. We are then obliged by our own curiosity to ask why Solomon kept so many girls around at such a large cost. If we take another look at the word herem we will find the answer. From the OED we learn that the English word ’Harem’ is taken from the Arabic haram, and means a sacred or prohibited place. The term sacred could only be attributed if the haram, the building, or more appropriately the institution within the building, were in some way spiritual or religious. In the Oxford Companion to the Bible it states that the word harem has a cognate in the Hebrew herem, which is translated into the English ban. Specifically the herem or Harem, as a ban, was something set apart for cultic use, to be used only by priests, and thus a Harem is understood to be spiritual and holy, not simply a royal bordello or an amusement arcade. Such a reflection brings into question the actual purpose of Arabic and near eastern herems in general, particularly in the light of the fact that, in Arabic mysticism, the Sufic “tree of life” is a Tamaris or Palm tree, beloved of the Phoenix, whose leaves comprise of the many-eyed tail feathers of the Yedzidic peacock god of Mesopotamia – Shaitan, who was worshipped in rituals of blood. “He feedeth amongst the lilies” Song of Solomon, Chapter II, vs 16: Sheba enjoins Solomon to feed amongst the lilies until the break of day, like a young hart on the mountains of Bether. A lily is a virgin and thus Solomon by night feeds amongst the Virgins, the virgin princesses of his “Harem”. The medieval kabalists proposed a sacred code as a key to translating the hermetic secrets of the Song or “Canticle of Canticles” as it was also known, whilst some commentators have asserted that the work was derived from (Egyptian) cultic origins and was part of a rite of sacred marriage, a fertility ceremony and a ritual to ward off death. (James M. Reese). These three components together adequately describe, in its entirety, the organic-alchemical rite of vampirism which is itself a sacred marriage, a union of enthea, intended to open the mind to creativity and transcendent perceptions, thus stimulating spiritual fertility and increasing longevity, or warding off death if you like. The Song of Solomon is a Blood Rite, a communion where the wine, the blood, of the virgin goddess is drunk. This rite remained in the House of David until Jesus ben Panther’s time when it was re-instated by him as an exoteric ritual for his disciples. Solomon’s harem was a blood farm and the females in it were there to feed him, to increase his wisdom and lengthen his life. Sheba seems to have been the first lady amongst many and throughout the discourse she continues, like them, to retain her virginity. In taking a closer view of the evidence we will inspect the following passages. Chapter II vs 16-17; Chapter IV vss 12-13; Chapter IV vs 15; Chapter V vs 5; Chapter VII vs 9 and Chapter VIII vs 2.Chapter II vs 16: “My beloved is mine and I am his, he feedeth amongst the lilies”.vs 17: “Until the day break and the shadows flee away, turn, my beloved, and be thou like a roe or a young hart upon the mountains of Bether”.As we have seen, feeding amongst the lilies is feeding from the blood and water of the young virgin brides. The hart on the mountain symbolizes the young king in his glory and the medieval symbol of the young stag drinking from the Grail is directly related to these verses.Chapter IV vs 12 “A garden enclosed is my sister, a spring shut up and a fountain sealed”.Sheba is a virgin throughout the Song and her maidenly attributes attract various epithets. In this verse we find the three main Grail symbols associated with the priestess: The garden, the well and the fountain. Here these are enclosed and sealed indicating Sheba’s maidenhood and her guardianship of an “underground” (hidden) stream or source of arcane vitality expanded upon in the next verses.Chapter IV vs 13 ” Thy plants are an orchard of pomegranates (Grove: cf. Avallon) with pleasant fruits; camphire and spikenard”.Whilst the Indian spikenard (spica narda) was used by Mary Magdalene to anoint Jesus, the pomegranate is a standard symbol of the virgin vulva and womb and Sheba’s garden of pomegranates has in its midst:Chapter IV vs 15 “A fountain of gardens, a well of living waters…” which cause those who are asleep to speak as we shall see.The living waters in other scriptural references is related to the Holy Spirit, as is fire. Water as we remember was the element through or over which one travelled to elphame in Celtic lore. Elphame here equates with the Underworld or Otherworld, the kingdom of heaven or samadhi and the living waters contain in their droplets the secret of eternal wisdom and the gift of transcendent awareness, god consciousness. The Holy Spirit, the Shekinah, is of the feminine gender and a female gift therefore. In alchemy blood and semen are the primae materia or first matter of the great work. Sadly however, many think that only men have semen (an ignorance of female anatomy and physiology that has caused a great loss to our womenfolk) when in fact women also have it and this semen, from the well of living waters, is what alchemical texts are actually referring to. Those who are familiar with the Templar story concerning their Lord of Sidon will recollect that the skull which comprises the skull and crossbones motif, as a symbol of the Baphomet – the Holy Grail – is derived from the skull which was placed between the thigh bones of the Templar’s dead wife, butting up against where her vagina once was, nine months after an act of knightly necrophilia. The wife’s name in the story was Yse de Maraclea or Isis (of the clear waters: Mara-Clair). The skull, the Templar’s “son”, represents ancient wisdom from beyond the grave and that, in its positioning between the woman’s thighs, such wisdom is obtained by uniting in hierogamy with one of the Goddess-Queens of the death cult of Ankou – Isis. Such a union, similar to that expounded by the Scythians in relation to Epona or Rhiannon results in the birth of the Templar’s son: the skull; the wisdom from beyond the mortal realm. This wisdom is directly related to the feminine principle, hence the proximity of the skull to the vulva, denoting the interconnection between the pineal gland and the womb, the well of living waters.Chapter V vss 4 – 5: ” My beloved put in his hands by the hole of the door and my bowels were moved for him”.vs 5: “I rose up to open to my beloved; and my hands dropped (dripped) with Myrrh, and my fingers with sweet smelling Myrrh (vaginal mucus), upon the handles of the lock”.The hole of the door is the keyhole, the opening of the vagina, whilst the handles of the lock are the labia. The door is daleth or delta D: the door to the mysteries and the triangle of the “all seeing eye of god” (that looks into the darkness) which in Hebrew is called Ayin or ’The Devil’, whose number is the same as the numerical rank of Ishtar or Venus in the assembly of the Anunnaki gods – 15. In verse 4 the beloved manipulates the maiden and her “bowels” (a common word used in classical literature which referred to the deeper internal organs, not just the intestines) are moved for him. In other words she orgasms, her womb contracts and in so doing she rises and opens her vulva for him to drink the blood or seminal fluid discharged by the spasm. In references to the Fisher King, it is said that he drank the contents of the Grail through a golden straw. Very importantly, when thinking of the construction of this device, we should remind ourselves of the shape of both the Ankh Cross and the Crux Ansata. Such a device would have been inserted into the virgin’s urethra to the depth of about one inch, whilst the partner in the rite inserted his or her finger into the vagina and massaged the “roof of the mouth” or the uppermost wall of the channel nearest the opening or ’mouth’ of the vagina, behind the pubic bone. After a few conducive minutes perhaps, orgasm would occur and the fluid from the gland would discharge itself through the straw, either into the waiting mouth of the recipient, or into a “Grail Platter” or dish held next to the vulva. In one publication the dish and the straw were confused with surgical instruments that the author thought were used for castration. This is not the case. The symbol of the Grail as a Dish is related to its use as a collector of blood or female ejaculate and is sometimes symbolized by the crescent moon (see above). If we read Chapter V vs 5 literally, the maiden has been asleep with her hands in the spice jar and her fingers are covered with myrrh oil as a result. She then hears her lover at the door and, rather than noticing her mistake and wiping her hands, she goes straight way to open the door and covers the handle in grease. Such an interpretation makes no sense whatsoever. If she had been asleep with her hands (plural) in the ointment, she must have either been a contortionist or a devotee of an odd form of nocturnal skin care therapy. In any case, if it were not a pertinent symbolic aspect of the narrative, there would be no justification in mentioning it. Therefore by its very inclusion in the text, we are obliged to look for a meaning that transcends the literal interpretation. Myrrh (Latin: myrrha. Greek: murra – murra) is a gum resin produced from several species of the commiphora balsamodendron, also known as commiphora myrrha. The oil of myrrh is produced from the seed which is known as myrospermum pubescens, and the etymological link here to female ejaculate should be meditated upon. Myrrh or the “myrrh tree” is also a name for the plant called sweet cicely or myrrhus odorata (related to chervil) but, as a name it is further applied to any tree producing this type of resin. We should bear this in mind as we look at myrrh as a word in itself. Although the Latin species classifications are late, deriving from Linnaeus, in many instances the original names from whence they came are Greek. We notice that the word myrrh begins with the letters myr and there is a group of plants and substances whose names begin with this syllable that are relevant to this discourse. Firstly we encounter the plant tamariscus and remember the name Tamaris which was applied to princesses of the House of David. Tamariscus or tamarix grows in sandy conditions in west Asia and is known by the Latin name myrica, a name which also applies to the bog myrtle: myrica gale. The Myrtle Tree is found in a medieval Italian story about a fairy lover who is the spirit of the plant, which lends itself to the idea that the story was extracted from far earlier sources and that the Tamaris Princess was the original “fairy lover” or in Gaelic the Anam Cara or Leanaan Sidhe. Myrica-tallow or myrica wax are produced from myrtle trees whilst the substance myricin is the insoluble component in the wax that bees produce to construct HIVES. In the Tudor song “The Nut Tree” the tree in question will only bear a silver nutmeg and a golden pear. The nutmeg is known by its Latin name as myristica from the Greek word murizein – murizein, meaning “anoint“. Nutmeg contains the chemicals which, when refined are known as MDMA or “Ecstasy“. In trials conducted on the Nile Lily or nymphacaea lotus the plant produced similar euphoric, but less strident, effects to those experienced by users of MDMA. Nutmegs produce an oil with this drug in it and the association with anointing and the Christos is quite telling. The golden pear on the “Nut Tree” is a pomegranate which was often called by the former epithet. In Old French pomegranate was spelt pome grenat, meaning “apple of many seeds” from the Latin malum granatum, and here we return to the Avallon connection and the pomegranate as the original perhaps of the later regional and literary variation – the Druidic and Edenic apple trees. The pomegranate belongs to the family myrtaceae, whilst its partner on the legendary “Nut Tree“, the nutmeg, is of the family myristica fragrans, the “musk smelling nut“. Musk is a name given to any group of scents which are produced by the sex glands and used as sexual attractants. Returning to the Song of Songs we now find that the pomegranates and myrrh in the narrative are etymologically related via Myr, to a whole series of plants and substances within grail lore which are associated with the sephiroth, with psychotropic states and with the sex organs. Perhaps the myrrh of the ’Song of Songs’ is the oil of the “Musk Smelling Nut“, the ejaculate, which then becomes associated with the sweet wine of the pomegranate, the menses, thus forming the partnership between the rose of Sharon and the lily of the valley. Again we are reminded here of the Irish story of the blood red nut that fell every 28 days into the Well of Nechtan (the pure one) to be consumed by the salmon of wisdom – the Ichthys of the New Testament. From there we travel back to the Orchard of Pomegranates in the garden of the Well of living waters.In Chapter VIII vs 2 Sheba says to Solomon ” I would lead thee and bring thee into my mother’s house, who would instruct me; I would cause thee to drink of spiced wine (nutmeg?) of the juice of my pomegranate”.Notice “my” and the singular pomegranate, as opposed to the fruits plural. She is not inviting him in for drinks and she is not referring to a beverage here, but the blood and mumae of her vulva. Pomegranate flowers, seed cells and juice are red, like blood.In Chapter VII vs 9 “And the roof of thy mouth like the best wine for my beloved, that goeth down sweetly, causing the lips of those that are asleep to speak”.The euphemistic “roof of the mouth” is the region by the opening or “mouth” of the vagina, behind the pubic bone, where the semenal duct is located which secretes ejaculate through the urethra. The chemicals in these secretions increase perception and wisdom, enabling those who were “asleep”, meaning unregenerate or untranscended, to speak with the words of the quickened or resurrected Spirit. Sheba, the rose of Sharon and the lily of the valley, describes herself as black but comely. In so doing she has initiated a tradition where many scholars down the centuries have confidently stated that she was from Sheba in Ethiopia. However, the constant, relentless reference to “my sister, my bride”, whatever anyone says about terms of endearment in Biblical times, indicates that Sheba was the daughter of Bathsheba and as a consequence, the sister of Solomon. This is hardly surprising as he descended from a pharaonic bloodline where brother-sister marriages were de rigueur. The reference to her being black relates to her other epithets as Sheba-Lilith and Sheba-Venus or Ishtar (Inanna) which associate her with her ancient dragon ancestry, and to her forebears Lilith (Diana), Inanna, Kali Azura, Hecate and Black Annis who, like Sheba, is associated herself with wells and labyrinths, and who was a principal figure of veneration in the Cult of Ankou. Solomon conversely is described as having skin as white as marble. In exoteric, uninitiated and therefore “best-guessed” vampire lore, it is said that such a complexion is equated with their being bloodless. Nothing could be farther from the truth. Recent laboratory tests confirm the ancient inner tradition by showing that any animal injected with large amounts of melatonin turns paler in colour. Solomon’s complexion, like that of the vampire of legend, is as white as marble because, like they, he fed constantly from melatonin-rich royal, female virgin blood. A lot of the additional etymological associations here are retrospective and poetic. Nevertheless the central theme of the story stands up to a classical alchemical interpretation whilst the Latin and Greek word relationships add a quality of resonance to the picture and further echo Graves’ concept that the Cosmos has meaning and intelligence, expressing itself through a single poetic theme of interconnected meanings, the like of which inspired the ancient Hermetic Table of Magical Correspondences. George Riley-Scott (’Phallic Worship’) points out, and is supported in his view by other academics, that,the Bible has been altered down the ages to suit the ambitions of the translators of the day.This being the case we must remember that much of the Bible has been cleaned up and passages dealing with incest, along with various other unseemly practices, have probably been given a narrative reworking to suit the sensibilities of various pious audiences and patrons. An example of this might be found in Chapter VIII vs 1 which says,”Oh that thou wert as my brother, that sucked the breasts of my mother!”Wert is printed as an italic – wert, denoting a translators insert. Remove this and you get a different picture. Chapter VIII vs 5 claims that Sheba was born “Under the Apple Tree” and suggests that she was spoken for when she had no breasts. If she was a virgin, “a wall”, says Chapter VIII vs 9, Solomon would build a palace of silver upon her, but if she were a door, he would board her up with cedar. Sheba replied by saying that she was a wall and her breasts thenceforth were the towers of the palace that Solomon built upon it. The edifice of Solomon’s glory, the palace of his wisdom, was built upon the virginity of Sheba and the essence of the womb of the princess born under the apple tree, reminiscent of Avallon and sacred to the Druids. If the Song of Songs can be seen as a deliberate contribution to the poetry of the Dragon culture, which has at its centre the maiden’s labyrinth, the Garden of Love, then the Song of Songs begins to make sense as an Hermetic, alchemical vampire allegory of the love of the dragon prince for his maiden, a sacred chemical wedding which is the source of his power and sovereignty. |
Who’s Who in Heaven
We turn our attention now to the weighty problem of identifying the gods. Some mistakes have been made in the past when people tried to cross match the pantheons of contemporary civilizations. For example the Egyptian goddess Hathor became identified with the Roman goddess Venus and so on.
The mistakes are easy to make because the Goddess Hathor was actually originally the Sumerian Nin-Khursag, the Mother of Inanna, who is also known as the Akkadian Ishtar, the Semitic Astaroth, the Greek Aphrodite, the Norse Freja and finally the Roman Venus etc.
As we know the positions of the gods in the various pantheons and their attributes and relationships to each other, we can re-identify who they really are. Surprisingly we find that all the separate pantheons of the Aryans, the Sumerians, the Egyptians, the Greeks, the Romans, the Vikings and so on, all appear to be derived from a very ancient family genealogy of “gods”. These gods furthermore seem to stem from the early Sumerian pantheon.However, recent research confirms that the original Sumerians were descended from the Ubaid, a proto-Aryan, Pictish culture which originated in the region encompassing Carpathia, Transylvania and the White Mountains where the Greek gods originated, which later became known as Scythia.
It is suggested therefore that the Sumerian gods (the ancient deific royal family) were imported with the Ubaid Picts from Transylvania, Carpathia and Scythia. Scholars relate that the name Sumer is pronounced Shumer, the sh for s indicating a linguistic relationship with early Goidelic, and thus it is closely related by pronunciation to the Gaelic Sumaire, meaning, as we know, a vampire and a “reptile” – a Dragon.
Reminiscent of the racial term “Gallic” (Gaelic) the word GALL in Sumerian means “navigator” (nautonnier) and implies guardianship and overlordship. In Barker’s theory of Cybernetics, (management systems) the entity or mechanism controlling any system, be it social or mechanical, must operate at a technologically (or genetically) higher frequency or capacity than the system that it controls, otherwise chaos will ensue and the system will spin out of control. This guiding entity or facility, is termed in cybernetics the ’nautonnier’ or navigator.
In Gaelic, the language of the Nautonniers, stated by many scholars to be, in an early form, a precursive language of the Aryans, the dialectic u is pronounced i when it follows a consonant at the beginning of a word, and so the first syllable of both Sumaire and Sumer would then have been pronounced Shee, directly related to Sidhe and the Sidheans or Scythians. Both would then be pronounced the same – Sheemar.
And indeed evidence for just such a case lands in our laps from the pages of the Bible’s Book of Genesis, where it states that “the cities of Babylon, Akkad and Erech are in the land of Shin’Ar“. Shin’Ar is Sumeria and so our Shee pronunciation finds credence in the very word of God itself!
Furthermore if we look at Shin’Ar with “our vampire eyes” (apologies to Anne Rice) and remember the Ubaid origin of Sumerian and hence, via Akkadian, the “Gaelic” origin of Hebrew as well, we will see Shin as Sidhean and Ar as Arya. Sidhean was the name of King Elinus of Albany in the 7th century A.D. His full name was Gille Sidhean (Jille-She’en) meaning Steward of the Fey. Sidhean was pronounced with the dh remaining dialectically silent as it sometimes does in Sidhe or Shee, giving us Sheen for Sidhean.
The Ar component can be found in Takla Makan where it forms part of the phrase Arshi Cantu or Arya-Sidhe Canto (Tocharian ’A’), the devotional, “power-wisdom” language of the Aryan Scythian inhabitants of western China (Aryan Sanskrit: China [soft ch – as in the French word – chat] or Shin’Ar!), who were named the Tocharians.
It would appear then that the ’Ar-shi’ phrase used by the eastern Scythian-Aryans to describe their spiritual language is reversed and repeated in the Hebrew name Shin’Ar, or Sidhean-Arya. And what does Shin’Ar mean? Exactly the same as it means in Sumerian – SU.ME. – Lord of the Powers.
In addition the Sumerian SI means righteous, pertaining to a god – (related to the Gothic – guth [and hence the Goths and the Godthi druids of the Danes] – one who has power over the fate or destiny of others, a fairy). SHU in Sumerian means Supreme, also used in relation to the gods so SHU.MER would, in any case, mean Supreme Lords, which is the same as Power Lords (Arya-Sidhe) whilst the word supreme is related to Uber and therefore denotes a Vampire and an Overlord – A Guardian.
If the m in either Sumer or Sumaire was originally intended to be mh then both Sumer and Sumaire would have been pronounced Shiva or Sidha, both of which are connected with the Elves, the Aryan god ’Siva the Destroyer’ and the siddhis – the powers. Sumer is thought to mean “land of the guardians”.
A guardian – a “Watcher” – is an overseer, and from this meaning we obtain the Scythian word uber, meaning a vampire or Overlord (by association, we also obtain from “watcher” the word Nefilim, which relates to the Anunnagi or Anunnaki).
Here we remember again the proto-Sumerian Ubaid Pictish culture which migrated in about 5000 BC from Scythian Carpathia, a land which had a Dragon Culture also as early as 5000 BC. Monumental stone carvings of winged serpents from 3500 BC have been found in Transylvania, along with a “proto”-Sumerian script dating back as far as 8000 BC. The figures incorporated on the clay tablets found at Tartaria in Transylvania are almost identical with Sanskrit and early Egyptian pictograms.
Tantalizingly, the Goidelic mh couplet is exactly the same as the Goidelic bh, both of which are pronounced v. It isn’t fantastical to suggest that both bh and mh lost their h’s and have been substituted and re-substituted arbitrarily, one for the other over the course of the centuries. It has happened everywhere else, why not here? Further, the mer and maire syllables in Sumer and Sumaire are related in the Sumerian Me and the Gaelic Mor.
In Sumerian ME means Lord or Master (an Overseer or Overlord) and in Gaelic Mor means ’high’ (also related to mountain and thus ’dweller on the mountain’ one who soars to the heights – a druid or Merlin) and is used as a suffix to the names of Scotic chieftains or kings as in – ’The Conor Mor’ – the High King (or Overlord) of the Clan Conor, for example.
If Sumer means guardian and thus overlord, then so does sumaire and the SU component thus means ’the Power’ – the Sidhe or Siddhi. ME is also, it seems, specifically related to wisdom and knowledge (the Aryas) and in both senses therefore the ’sumer’ or ’sumaire’, being one and the same thing – is a derkesthai, a dragon – a fact born out by every other piece of evidence you might care to mention. Sumer and Sumaire mean therefore – Lord of the Powers – SU.ME.
The Ubaid culture was named after the place where in 1919 H.R. Hall discovered the ruins of an ancient settlement. Since then archaeologists made significant finds of blue-spiralled or labyrinthine decorated pottery and, up to the late 1960’s, stone tools had also been found.
This “Ubaid” people who had been “cast down” (Nefilim) from their lofty abodes in the mountains of the North, fleeing south to Sumeria in about 5000 BC are now considered by academics to be the founders of Sumerian civilization.
According to Zechariah Sitchin – in 1852 the Reverend Charles Foster (’The One Primeval Language’) proved that all languages, including early Chinese and other Far Eastern languages, stemmed from one primeval source – thereafter shown to be Sumerian.
This is palpably untrue as we now know, because the Sumerian civilization and its language were brought to Mesopotamia by the Ubaid, who were early “proto” (?) Scythian-Aryan migrants who fled the Black sea region at the onset of the first Flood.
It follows therefore that all languages stemmed, not from Sumerian, but from the “proto-Sumerian” language of the early Scythian-Aryan Homelands, examples of which we know were discovered in Tartaria in Transylvania.
This language, called by most scholars “proto Indo-European” (and I wish they wouldn’t), was called Gaelic by Canon Beck and other respected academics who were contemporaries of Charles Foster. The Very Reverend Beck quipped that this Aryan Tongue, the mother of modern Irish, was the language of the Garden of Eden. Proto Indo-European is thought to come from an earlier group called Dene-Caucasian, which tends to stress Canon Beck’s point even more.
Recent archaeological discoveries prove that there is many a true word spoken in jest! The present and seemingly vast differences in the varied languages that developed from “Gaelic” can be explained by one phrase – Chronologically Diversified Dialectics.
In the last four hundred years English has changed so much that the bulk of the resident British population would never be able to read Chaucer in the original script. Imagine what happens to a language over, for example, one millennium and several thousand miles.
From northern Mesopotamia to the foothills of Zagros, archaeologists working in the area from the 1970’s onwards, have ascertained that the Ubaid people had built cities which were the first to use: clay bricks, (cf: the Aryan, Mohenjo-Daro and Harrapo settlements of the Indus Valley: 2300 BC, which were controlled by Sumeria) plastered walls, mosaic decorations, cemeteries with brick-lined graves, copper mirrors, beads with imported turquoise, copper-headed tomahawks, cloth, houses, and above all, monumental temple buildings.
However, south in Eridu – the first truly Sumerian city according to the ancient texts – nothing could be excavated from beneath the foundations of the temple of Enki that was any older than 3500 BC. This is clear enough evidence that Sumeria was founded by the Elven queens and kings of the Transylvanian Picts, and the most up to date academic studies and archaeological discoveries corroborate this fact.
In the 1990’s it was revealed by academics that the Ubaid priesthood wore leopard (Panther) skins (cf. Jesus ben Panther!) and tattooed themselves in a similar fashion to the British Picts and the Tocharian Aryans of Takla Makan. The pointy shamanic headdress, (worn by the god-kings and queens of the Indus pantheon as well), was also of Aryan origin, with or without the horns.
Moving from Romania, via Anatolia to Mesopotamia, the Ubaid left a trail of Tells or Raths, wall decorations, spirally decorated pottery and brick built structures. In Northern Mesopotamia, which has very little workable stone, they continued to use clay and plaster, whilst in the south, where rocks are plentiful, they built the Ziggurats or sacred mountains that reminded them of the holy peaks of their Carpathian homelands. When the Sumerians took over Magan or Egypt, their Ziggurats became Pyramids.
In very little time at all after their arrival in Mesopotamia they had found and were working copper – centuries before other people’s bronze ages. Their chief god-king Enki had been an adept at mining (earning him the epithet “The Lord of Mining” – Bel Nimiki) and had, according to the later Sumerian texts, invented brickmaking, the planning and building of cities and metallurgy, which earned him the name Nidimmud – “He who makes things”.
His fairy descendants since then have all earned epithets associated with mines and alchemy, such as Dwarves, Goblins, Kobelins, Trolls, Gnomes, etc., and, as in the case of the Tuadha d’Anu, they have always been renowned for their skill in many crafts and arts.
The place was called Al’Ubaid and was located just north or Ur, or Eridu as it was once called. The article Al in Al’Ubaid denotes that the location was named “of the Ubaids” and rather than the culture merely being named after its site of discovery, the actual site itself was named after the Ubaids in the first place, who had migrated south via Anatolia and Galatia, from whence we originally derived the word vampire – the Uber.
Although the meanings are self evident and the implications thereof are quite plain, It might be educative to meditate on the further implications of Sumer spelt Subher in connection with the Scythian (Ubaid) uber and the possible common European migration of the consonants b and p which give rise to our word super – as in supervisor – a guardian or overlord – an Ubaid.
In so doing and in heeding all above, we are left with the conclusion that the so-called Sumerian gods, repeatedly symbolized by serpents or dragons, are an Aryan-Scythian import of the earlier Ubaid settlers whose gods were the dragons incarnate themselves – the Uber or vampire queens and kings – the Ubaid Overlords. The overseer or one who sees over or “beyond” is one who sees above others and one who thus sees clearly. One who sees clearly is a derkesthai, a dragon.
That these serpent gods were later referred to by the Sumerian people themselves as the Anunnagi from whence is derived naga, a serpent or dragon god of the Vedas, seems fairly conclusive. That the Nagas themselves were Devas – meaning shining ones – repeating the meaning of the name Anunnagi as shining ones (shimmerers – Sumerers) squeezes one into a corner.
Archaeological discoveries in the 1960’s, of what was to become known as ’proto-Sumerian’ script, dug up from ash pits in Transylvania should be compared with Tartarian traditions there, which assert that Lilith and her brother were born in Transylvania as a result of a mating between the “Keshalyi“, the queen of the mountain fairies, and the “Locolico“, the king of the dwellers of the underworld mounds, situated in the forests and plains.
This is echoed in the marriage of Nergal (Nagal – Naga) of the underworld and Eresh Kigal, a netherworld goddess in whom one can see the prototype of Persephone. As with all ancient tales, the plot become confused but by looking at comparable stories, some light can be shed on the truth.
Eresh Kigal was not a lady or queen of the mountains, but Ninkhursag her grand-mother, was. It is interesting to see how the identity of the grandmother filtered down to the grand-daughter however, indicating that the myth of the region once included all the characters who elsewhere still feature in relationship to each other.
As interesting though is the possibility that we might find a clue to the triple goddess concept in the very grandmother- mother-daughter theme suggested by the muddling of characteristics in the Transylvanian story. It is quite feasible that triple goddesses are not solely depictions of the three stages of womanhood, the moon, earth or what have you, but the half-forgotten relationships of a holy dynasty.
As I have indicated above, in Greek mythology there is a relationship between Demeter, Persephone, Kore and Diana-Hecate. If we transpose this series into the Sumerian, we have Ninkhursag, Ningal, Eresh Kigal and Lilith as linear descendants.
In Transylvania the Keshalyi queen becomes Eresh Kigal, and the Lilith of the Transylvanians and the Sumerians becomes the Diana-Hecate of the Greeks who, as a moon goddess, one might be tempted to turn into the Egyptian Isis, but stay your hand I say, and read on!
If we read descriptions of the “Sumerian” Lilith, taken from Hebrew sources, we discover that she, like her Grandfather Enlil (Zeus) and her uncles Minos and Rhadamanthus, and her cousin Ariadne of the labyrinth, had red hair and pale skin, and was called the Alien Queen of the North, indicating that both by her complexion and her stated geographical origin, she was a proto-Aryan or proto-Scythian. So the indications are that Lilith, along with the entire holy family of gods, was a Ubaid import from Carpathia who later became a Sumerian goddess.
It would be fair to say therefore that if Lilith was born in the mountainous regions that stood next door to where Zeus and Prometheus battled, (who were also identified with “Sumerian” gods), then so were her kin. It would then be simplistic to say that the gods of all the pantheons were descended from the Sumerian. It is more likely that they all, including the Sumerian, originated from the proto-Scythian Aryan culture.
As each group migrated and their descendants settled in their respective domains, becoming isolated by geography, and the passing centuries, from the source of their original spiritual culture, and also because of the inevitable influence of the belief systems of the aboriginal cultures that the migrants either vanquished or co-habited and integrated with, the names of their gods changed.
Table of PantheonsSumerian/UbaidEgyptianGreekRomanAryan/HinduTiamatGaiaDraconisRehu—–Lama/LhammuApsuUranusUranusKetu-AsharCronosSaturn-Mar’ishiAnuIapetusKasyapa–EnkiPtahPrometheus/AriesMarsMazda/TvashtriEnlil-ZeusJupiterAhriman/DispaterNinurta—IndraIshkar—RudraShala—TaraMardukRaHeliosApollo/MithrasMitraInanna-AphroditeVenus-Lilith-ArtemisDiana-Kali Azura-Hecate-Kali MargNingishzidaThothHermesMercury-NinkhursagHathorRheaJuno-Eresh Kigal-Persephone–SetSet-TyphonTyphoeus-The NagasAsarOsirisOrion–AstIsis—HorusHorus—Nergal–Pluto—PoseidonNeptune-HamChemPanFaunus- |
In some historical comparisons of the various pantheons, and indeed in the pantheons themselves, there will have been mistakes made because there was no understanding or overview of the relationships between the deities. In the case of the Vedas, as Sitchin remarks, consistency and precision are not the hallmarks of this Sanskrit literature. Such an observation holds true for much of spiritual literature worldwide, as memory fades and the gaps are filled in to create myth out of history.
By a comparative study of the pantheons and beliefs, we may discover a consistent vein by which we may adjust all the pantheons, where such stem from a recognizable common source. One example is the case of the Aryan God Kasyapa who was the father of the Asuras, the elder gods. One pantheon has him down as Dyaus Pater and identifies him with Zeus. Zeus or Enlil was the father of the younger gods, the Olympians who in the Aryan pantheon are called the Adityas, who were also fathered by Kasyapa who fathered the elder gods which Zeus didn’t.
Thus there is an anomaly which, I am pleased to report, is easily resolved when we learn that Kasyapa means Sky Father and so does Anu! In Sumeria the elder and younger gods are the offspring of Anu and the elder gods are led by Enki, whilst the younger gods are led by his brother Enlil. Enki’s followers are the Asher, corresponding to the Asura of the Aryans, the Aesir of the Danes and the Aes Danu – the Tuadha d’Anu of the Irish.
Children of the Stars
Anu’s father was Asher, Marduk was called Asar or Ra, the grandfather of Osiris who himself was also called Ashur or Asar ( As – Ar: ’Seeing Lord’, a Naga or Dragon, A Merlin or Druidhe). These and their variants, including the Norse Aesir and the Gaelic Scythian (Aryan) Aes Dan mean “he who sees”, (Ashshur – he who sees – [again: Ash Shar – ’Seeing Lord’] from segment six of an Assyrian clay tablet formed as a disc of eight segments, copied from an earlier Sumerian original – excavated from the ruins of the Royal Library of Nineveh) which is the very foundation and meaning of the Greek word derkesthai, from whence we derive the word Dragon.
In Aryan Samael or Ahura (Ash-ura?) Mazda is called Tvashtri or Tv-Ash-Tri and rumor has it that he, the elder brother, actually sired Indra who, when the pantheon is streamlined, turns out to be Dyaus Pater, which has certain ramifications when converted into Sumerian because Tvashtri “the Fashioner” converts as we have seen into Enki-Nidimmud “The Craftsman” whose brother isn’t Ninurta (Indra), but Dyaus Pater or Enlil.
The conflict between Enki and Enlil therefore, might have been more deep seated than at first we realized, because it may not have been just simply the rivalry between two brothers, but the rivalry between a father – Enki, and his forbidden brother-son – Enlil. Such a conflict was played out between Zeus and Cronos (who had led a rebellion of the Titans against Uranus), but also between Zeus and Prometheus.
In Aryan (ancient Scythian) the Asuras are also called Devas meaning “shining ones” and this epithet also becomes applied to both the members of the Anunnaki and the later fairies who descended from them. Earlier scholarly sources have the name Anunnaki translated also as the variant ’Anunnagi’, meaning “shining ones” and here we have a relationship with the Vedic Nagas.
From the Sumerian Chronicles we learn that the children of Anu were “the Anunnaki who decree the fates” meaning that they themselves were also the mori or fata, the “Fairies” the scale-armoured leprachauns – the dragon kings who, in the Aryan Vedas appear alongside their divine companions and are referred to as the Nagas, who became the snake deities of India who guard a submerged treasure, echoing the central theme of the grail and ring cycles.
The Grail and the lake represent the womb. The Magic Ring hidden in the lake and the red gold flow and the dew of the Grail both represent the life giving blood and mumae, the “submerged” or “hidden” treasure of the serpent tailed and swan’s winged mermaids, the Naga goddesses of the north, whose wouivre or double-ended tails and wings are also to be found in representations of the ancient “Aesir” – the Titan * or elder god – Typhon, son of Gaia and Tartarus, whose other children included these vampiric Lamias – the meremaids or naiads, and whose name is closely associated with Tartaria in Transylvania, the original home of the Dragon Queens and Kings.
* Titan derives from the Sumerian TI.TI.AN which means:
1) The breath of life of Anu (the Sons of Anu – the Nefilim)
2) The Spirits of the Stars (the Star People)
Several thousand years after the contest between Typhon and Zeus, Typhon’s fairy descendants, Ygraine, Morgana and Melusine were still portrayed in medieval church architecture with his wings and double ended tail, and a depiction of Melusine with these physical attributes appears as a supporter in the arms of the Imperial and royal house of Vere.
In Typhon as a Dragon God, we remember Odin, who himself was often portrayed as a dragon or serpent, a Naga, and that he too was an Aesir, a member of the old, warlike order of gods. Odin is always associated with Yggdrasil or Yggd-Rad -Aes-Hel the World Ash of the Norse and here we will recall that the tree’s name means Steed of Yggd or Odin and was a goddess who performed the same function as the queens of Avallon. As a serpent he is often seen entwined around the Aes Tree echoing the depiction of Samael as the Serpent (N’H’SH), entwined in Lilith’s branches.
Subtext – The Naga
At this juncture we must break off and study the Aryan Naga – the serpent devas, guardians of treasures “hidden in water”. We will do this by first looking at the Hebrew word nahash. this word means serpent (and thus dragon) and derives from the consonant root N’H’SH – a snake.
In Hebrew Qabalah and particularly and rather oddly, in relation to the Jewish practice of divination by birds or Ornithomancy, the serpent or Nahash is one who discovers hidden secrets or wisdom from the Raven, the Dove or the Swan (Warburg Lectures, Universtity of London, private dissertation on Qabalah and Jewish Ornithomancy 1996). The N’H’SH is Enki-Samael the SU.HUR.MASH (Capricorn – the Goat-Headed Sea Serpent) or A.LU.LIM (Ram of the “Glittering” [or Shining, as in Elven] Waters) is associated with Lilith of the Qlipphoth or “Abyss” (the APSU or watery deeps – ie lakes, wells, vulvas etc).
Closely associated with the relationship between Lilith and Samael, as outlined above, are the Raven and the Dove as birds of divination. In this context it becomes clear that these qabalistic, symbolic animals are meant to represent the Valkyries, the Morganas and Magdalenes – the Ishtar priestesses who are the Maidens of the Ring and the Grail.
The Dove, specifically the Turtle Dove or Barbary Dove is a soft brown colour and has a ring around its neck that lies open at the throat. This dove, specifically sacred to Venus, is a symbol of love and devotion. and is the bird referred to in the name Mary Magdalene. Magdal or Migdal meaning a dove.
The ring around its neck is a torque, which, in Gaelic lore symbolizes, as do all rings, Kingship and therefore wisdom and seership – the derkesthai or Dragon Nature. That Mary is named Magdalene, “of the place of the doves” which are sacred to Venus and thus Ishtar and mistakenly Hathor, means that she, Mary, was a priestess of this Goddess of ’Love’.
The link between the raven, known as the Phoenix, the dove and Samael is alchemical. At one level the raven and the dove are female and interchangeable, the dove or doves (in Magdal: the place of doves or temple of the priestesses of Ishtar/Hathor/Venus) being the priestess or priestesses of Ishtar, the other – the raven – being the priestess of Morrighan.
The qabalah specifically says that the raven and the dove are the same bird and in the Northern hemisphere the brown singing ravens of the Druids are obviously the Turtle doves or priestesses, brown morrighans, equivalent to swan maidens.
Samael, in his congress with them, obtaining the “wisdom of the qlipphoth” or the abyss – ie the waters of the deep. The Barbary dove or Migdal links the ring cycle to Mary Magdalene and thence Jesus. Both then are linked again to Hathor, the raven Goddesses of the Druids, to An and the Phoenix of the Scythians and thence the Ring and the Dragon Orobourous, called Janus by the Phoenicians and Jormungar by the Danes. Like Enki and Chem, Siva is the woad painted Lord of the Goats.
Jormungar – ’The Earth Spanner’ : ’The encircler’ or Vala of the Vedas, lives in the watery deeps and once upon a time long, long ago, Thor and the giant (Titan) Hymir went fishing for him. As bait they used an Ox-head which, as we have seen symbolizes the ovaries, fallopian tubes, womb and vagina of the virgin goddess.
Here again is a link between water, Samael the Dragon and virgins. The Brown raven or choral priestess of the Druidic cult is the turtle dove and the swan maiden because both animals are used in alchemy and Tantra to symbolize the brain, the pineal gland and the Ajna Chakra.
In Vala we have the original root of the words Valhalla and Valkyrie. It is now known, as we had suggested, that the Valhallas were forest halls. There were in fact built on mounds and displayed giant Dragon heads at each end. These were the dwellings of the Vala Aes, the Dragon Overlords of the forest and beneath them, lying in the Creachaire tomb- raths, were the remains of their ancestors, the Gods of Heaven.
The Valhallas were the dwelling places of the Gods of Heaven and Earth, the serpent queens and kings. The Great Hall on the summit of the mound of the Otherworld was identical to the temple at the peak of the ziggurat. These Halls were where the Valkyries, the singers of the Gods assembled. In this capacity these were sometimes called the brown ravens, meaning that they were still the Morrighans, but assumed the magical, Grail role of brown Turtle Doves, the lovers of the Phoenix or Dragon God. Hence the Valhalla was also a variant of the Judaic Magdala or House of Doves.
The swan-serpent caduceus and the descended dove originate here and in placing the paten into the Grail both symbolize this love of the Turtle and the Phoenix. The serpillion is a swan or serpent necked dove depicted in medieval architecture and the link here is clear. In the association of Lilith with the abyss of the qlipphoth and the raven and dove who symbolize Ishtar, we have another link between Diana and Persephone and a clarification of the nature of Hades.
As the watery abyss, it is identified with the Gaelic Otherworld reached by water. The masculine nature of the raven is echoed in Machen’s alchemical riddle where a serpent eating a serpent becomes a dragon (a serpent who eats its tail makes a circle and completes itself: it transcends) and a dragon eating a dragon (a transcended one drinking from another transcended one, Samael drinking Lilith) becomes a phoenix – a Raven King, Swan Knight/Prince, Dragon Queen, Rephaim etc.
The Phoenix in its final transcendent glory becomes a flaming, leaping star, an An, or Shining One. “The Nahash is taught by the Raven or the Dove” means that The Dragon Kings drink from Grail Princesses of the Abyss or Qlipphoth, the Tree of Life of the Left Hand Path – Kaula Vama Marg! The pool at the foot of Yggdrasil.
In the ’Phoenix and the Turtle’ by “”William Shakespeare”” (I don’t think!) there are mentioned the Turtle Dove, the Phoenix, the Raven, the Swan and the Screech Owl (Lilith). It is said that out of the Phoenix myth, “”Shakespeare”” (I don’t think!) created a myth of his own. Not so. What he did was to expand the myth and fill it with its proper alchemical symbolism and demonstrate the purpose of the original story, that being divine union.
The Phoenix of myth, the only bird of its kind (symbolizing the Oneness of the All perceived by those who become united with The All and thus are alone) travels from its eastern paradise and makes a ’nest’ of ’spices’ (see Song of Songs) in an Arabian Palm Tree (A Sufic symbol and emblem of the Tamaris Princesses, read Lily and Rose again, back a few pages).
Having burnt up in its own fire (been consumed in the energy generated by enthea) it takes the ashes to the temple of the Sun at Heliopolis and lays them on the Altar. Other birds (ranks of druidism aforementioned) and men gather to rejoice and in chorus (Cor) they accompany the singing Phoenix as it soars to heaven and returns to its lonely paradise eg Samadhi, Bodhisatva, Heaven, Transcendence, Enlightenment, Divine Union, Scythia!
Summary: The Transcended Dragon King needs to drink from a Dragon Princess, a fairy lover. He travels to Arabia, meets his Tamaris and drinks from her ’Nest of spices’ and she bestows stillness and ecstasy upon him.
He is consumed by fire (the spirit or combined energy), is reborn and takes his ashes, his mortal body, and lays on the altar of the Sun, symbolized by the Dragon, Lion, Hawk and Bull in Persian Mithraism (Mithras the mediator or Balance) to symbolize his achievement of the balance or nil point and subsequent oneness with the Cosmos. Everyone is seriously chuffed that he has managed to regenerate and won’t be acting like a complete pillock and ruining everything now he has refreshed his sovereignty with a living goddess.
He can now go back to Scythia/Heaven and carry on reigning and being the wisdom and fertility of the land, end of story. Shakespeare’s version describes beautifully the emotions of enthea and anyone who has experienced this divine union with another of the blood will not fail to be deeply moved, both with joy and sadness.
Again this is another Solomonic, vampire rite and proof yet again that vampirism is born of a love so deep that it tears the soul from the body, as this tale suggests. It also implies that the rite has to be repeated and that feeding must be recurrent.
The OTO call the ’Rite of the Phoenix’ the ’Mass of the Vampire’ for good reason. The Phoenix, along with the other birds in Shakespeare’s poem are called Bennu Birds and are identified with each other by Grant (’Magical Revival’) and this is because all classes of druid are vampires and need to feed in order to remain transcendent.
The Bennu Bird or Bird of Return symbolizes a being that regenerates or must regenerate itself at regular intervals and the vampire itself bears an appellation that is named after this process. In folklore though the vampire, as ’one who returns’ is mistaken for ’one who returns from the grave’ instead of ’one who MUST return to feed and regenerate’.
The Phoenix is symbolized in Transylvania by the double-headed Raven, brother of Lilith. This bird was adopted by the Hittites and came to symbolize the holy roman empire in the corrupted form of an eagle. This Double Headed Raven, the Phoenix, is the penultimate symbol of the dragon people. In the last process of its regeneration, the Phoenix becomes The Star, the An of the Anunnagi, the Elves or Shining Ones: the ultimate symbol of the Dragon Race.
The Serpent N’H’SH
In translating the word N’H’SH, firstly we will take the Hebrew consonants back, via Phoenician, to their Sumerian roots and remember also that, in Sumerian, syllable groups could be reversed and yet still render the same meaning in an overall phrase. So, the N is Nun, the H is Heth (as opposed to He) and the SH is Shin (as opposed to either Sade or Samekh).
We check these through the Phoenician to ensure a continuity of shape in the correct pictograms as we venture back into the Sumerian and discover the following: Nun = Nag, Heth = H.A. and Shin = Salmunuz. Therefore from the Hebrew Nahash, we derive the original Sumerian Naghasalmunuz, Nagha Salmunuz or NAG.HA.SAL.MUNUZ., which translates as Drink (NAG) – Fish (HA) – Vulva (SALMUNUZ).
If this sounds a bit odd, the author explains that a fish is “of water” and so in Sumerian the equivalent to our letter ’A’ means water whilst the ’H’ is the article which stands for of. So the Hebrew N’H’SH – the Serpent – translates into the Sumerian “One (a dragon) who – Drinks of (the) Water (of the) Vulva”.
One notices that in this phrase – Nagha Salmunuz – two things stand out. Firstly we have the Aryan word Naga spelt Nagha which would be pronounced with the gh sounding like a nasally, softly gargled ch (as in the Scottish word loch) identical to the Spanish x or g. According to the OED, ’H’ which in Sumerian was H.A. evolved into the Greek h – (h)eta which was originally pronounced kh, which was pronounced as defined above, as an Iberian (Aryo-Scythian Celtic) x or ch.
In this way we can also justifiably spell Naga as Naxa and then we begin to understand the profound relationship between the Naga guardians of the Aryan pantheons and the Nixes or Nixas of western Europe who were, likewise, the female guardians of watery treasures, and like the Nagas or Naxas, these meremaids or Swan Maidens were Devas or Shining Ones (Anunnagi).
The second thing we notice is that the Sumerian word for a vulva is Salmunuz and immediately the poetic connection between the ’Sacred Vulva’ (the well of Nechtan [Nixtan] – the pure one, the Nix or Nothing) and the Salmon (Salmunuz) of Wisdom that swims in the well should immediately spring to mind – as should the Ichthys – as being the vulva of the Virgin Mary Magdalene. Praise the Lord for the Single Poetic Theme!
In remembering that Sumerian can be reversed, we can look at the Hebrew N’H’SH again and see that if it is reversed, as was the custom in Hebrew Qabalah when rabbis were tinkering around with language looking for hidden meanings, it becomes SH’H’N which is pronounced She’an, ’of the Powers’. Furthermore the numerical or gematric value of N’H’SH in Qabalah is 9 which is the number of Yesod, the sephirah of the Moon, whose Phoenician God was the Sumerian SIN or SHIN – She’en.
The symbols associated with SIN included the Axe, the Labrys which is a device which, as we know, depicts the Vulva. The Axe symbol, prevalent in Mittani and Minoan Cretan culture became the spinning Hammer of Thor (the swastika) who as Zeus, was the wielder of the lightning bolt which, in northern Europe, was symbolized by the Norse ’Sig’ Rune. Sig – the lightning bolt of inspiration (cf. Mead of Inspiration) – is the Greek Sigma which is the Hebrew Shin, last consonant of N’H’SH, and SIN – Sumerian god of the Moon.
Sig is the serpentine lightning bolt that courses down the Qabalistic Tree of Life. In one sense it represents Enki-Samael entwined around Lilith. The upturned crescent moon is also said to be associated with Samael (Sumaire-El) and, in an ancient Sumerian picture reproduced by Langdon, the moon as a dish is depicted next to the Star of Anu, below which is the serpent N’H’SH entwined around the tree, symbolizing Lilith.
Finally we must consider Tiamat. Her name – TI.A.MAT – means life-water-maiden. This translates as “maiden of the waters of life” and it is then clear that her name indicates she was both the first known matriarch and virgin priestess – the “feeding mother” – of the vampire dragon queens and kings. The mother of the Elven dynasty, she was the generatrix of a vampire lineage of goddess-queens and god-kings spanning seven thousand years.
She was a Nagha or Nixa and it is from her that Lilith, and all the ensuing Grail Maidens, including Sheba and Morgana of the Apple Trees, Tamaris, Mary Magdalene, the Princesses of Avallon, Melusine, Niniane and Ygraine owe their identifications as “Trees of Life”. Consequently we can say that Tiamat, the first Tamaris – the Maiden who gives the Waters of Life – was also the Tir Mat or Tir Mata, the first “Tree Mother” of the Lords and Ladies of the Forest, the Druids and Druidesses – the People of the Trees (of Life).
Of the younger gods of the Aryans, the Adityas, two – Tara and Bhaga – stand out prominently. As we have seen Ulick Beck and several other scholars have traced the origin of the Scythian-Irish Tuadha d’Anu to the same region as the Aryans, and have gone as far as saying that they were one and the same.
Interestingly we find that the goddess Tara – wife of Rudra, Indra’s charioteer, appears in Eire as Tara, the Hill or Rath of ghosts in County Meath, Eire. Tara was the sacred centre of the united Irish kingdom and was the seat of the Danaan Kings of Tara during the Iron Age.
Some scholars attribute the name of Tara in Eire to some complicated sounding god name which I find implausible in the light of the fact that a Goddess Tara already existed in the Scythian-Aryan pantheon. Whether Asura or Aditya, Danaan or Milesian, all of the ancient Goddess Queens were the source of sovereignty associated with sacred mounds and it seems therefore entirely appropriate to name a Sidhe rath, a portal to the otherworld and thus the source of sovereignty, after a goddess who would herself have represented sovereignty.
In the case of Bhaga, or Vaga as his name would have been pronounced in Gaelic, scholars think that he became the Slavic god Bogh, a word which came to mean “god” in Thrace, where the Danaan Fir Bolg were once exiled, prior to their return to Ireland. In Fir Bolg we either have the title “men of God”, meaning druids, or we have, as is commonly thought, “men of the bags” which means “men of God” anyway, because the “bag”, specifically the “Crane Skin Bag”, was an accessory of the Godthi’s and the Druid’s: the “men of the gods”.
Myth or reality?
Considering the foregoing, it is interesting to note that in Tolkien’s ’Silmarillion’ – the background mythology that supports his ’Lord of the Rings’ – we find a vocabulary and etymology that includes the following words – Ainur, Ainu, Vala, Maiar, Eldar, Ea.
Tolkien’s word Ainur means the “Holy Ones” of which the singular is Ainu. There are two orders of these gods in his mythology – the Valar and the Maiar. The plural Ainur and the singular Ainu are clearly derived from the Sumerian father of the gods – Anu and the Anunnaki, whilst Valar appears in the Aryan pantheon as Vala “The encircler”, reminiscent of the Orobourus, the alchemical Dragon Ring that Tolkien wrote so much about. We will also remember the Val-Kyrie at this juncture.
The word Maia is spelt Maja in Spanish and denotes a female line of nobility and royalty. The ’i’ was originally ’j’ and came, along with the word majesty, from the Latin majes or majus, a variant of which is magi or magus, from the Greek magos – magos, a bloodline member of a caste or genetic strain comprising of individuals heritably steeped in magic, (OED), in other words the Arya – or Scythian Derkesthai – The Dragon Goddess Queens and God Kings.
At this point we return to the concept of the derkesthai and the bloodline of the dragon god-kings – the Asuras and the Anunnaki. In the ’Silmarillion’ Maia becomes Maiar and it accords with the ancient concept of deific royalty – Maia – which, related to Mana is the ’spirit of the gods carried in the blood’, the attribute of a goddess-queen or god-king of the Dragon who are in themselves collectively an ’order of the gods’ – the ’elves’ – the shining ones – or ’gods incarnate’- the Devas and Avatars.
The ’spirits of the gods – the ancestors – carried in the blood’ we will remember are the spirits summoned from the ’deeps’, the subconscious, by the witch, (Vampire or Druid) who gains her or his name – wicce or wicca – from the ability to yield or bend to, or rather to draw to the surface of consciousness, these spiritual intelligences and their wisdom from her or his ancestral, and thus genetic, inheritance. In other words their waking consciousness is pacified or “yields”, to allow the older spirit, or racial memory, to give voice.
Avatar is a word Tolkien includes in his Silmarillion as Aratar the eight most powerful of his Valar or order of old gods which, it seems obvious, were intended to mimic the Egyptian gods of the Ogdoad, the eight Anunnaki who tended the Holy Mountain after the Black Sea flood.
Another of Tolkien’s words similar to Avatar – Avathar – to him means “The Shadows” which he uses as a name for a land near his ’Bay of Eldemar’. Comparably, in our world, an Avatar is a ’god made flesh’ – a Dragon King or Queen who often occupied tombs and would have been thought of as a “shadow”, a spirit of the otherworld, the realm of the Shining Ones.
So in the Vala and Maiar we have two orders of gods taken from the Dragon tradition itself whilst, according to the legends of Tolkien’s elves, the word Eldar became used as a name for the three elven kindreds, one of which Tolkien named the Vanyar, who appear to be the Vanir Gods of the Danes, cousins of the Tuadha d’Anu. Tolkien’s largest variety of wicked Orcs he named the Uruks and Uruk a City State of the Anunnaki. The Orcs he said were once fair elves who had been imprisoned and tortured in the Land of Mordor.
’Eldar’, explains Tolkien, means ’People of the Stars’, echoing a traditional Gaelic epithet for the Tuadha d’Anu and also one of the original meanings of the name Anunnaki – People of the Stars.
Of men, Tolkien concurs that they are the second, younger race which his elves called the Atani, (Adamae) a name, says Tolkien, that later became the Edain, obviously the children of Eden. Again we have a borrowing of Dragon Lore where the Elves, the Children of Anu, the Anukim or Repha’im of the Old Testament, appeared first, followed by our Adamae, or the Atani as Tolkien would have it.
Edain is obviously Eden, whilst he uses Eä as a name for the Earth which in Sumerian is the name for the dragon god of the ’Earth and Waters’ – Enki-Samael, the leader of the elder “Eldar” gods – the Aesir. Tolkien, in his epic works, with their plethora of borrowed names and borrowed linguistics and their elder and younger races, is obviously writing about the family, particularly when one peruses his vocabulary and discovers the name Avallónë, a haven and city of the Eldar – the Elves – situated on ’the lonely isle’ – Tol Eressea, which was drawn across the ocean and rooted finally in the Bay of Eldemar, adjacent to Avathar – the land of Shadows: our Avalon or Otherworld.
The various names by which our planet is known all stem from the word Eridu, which was the first city founded by Enki-Samael in Mesopotamia. As a variant of Eridu, in the Silmarillion, Tolkien has Eriador and his Elven word for Earth is Arda, which is also derived from Eridu.
Nicholas de Vere
XXIV – VII – MCMIC