The whole world has evolved from Om;
The whole word is sustained by Om;
The whole world will merge into Om.
In Om resides my strength – Sivayave.

Poems from Yogaswami on Aum

 

The universe of moving and static things is knit together by this Shakti, who is Resonance.

She it is whom the yogis know as Kulakundalini moving inside them, continually making an indistinct sweet murmur like the bee in the Muladhara.

Prapanchasara

 

My fine fellow,
If you see Nandi,
Then you know Alchemy.
To say even one word,
Is just noisy useless talk…
Only by seeing the light
Of the jeweled root
Will the golden chain
Of the Circle’s End
Come open.

Bhogar

I am Ashwatthama.

I was once known as Drona’s son and as Duryodhana’s general,

But today,
I am condemned to a life
of eternal misery…

YOU ARE RESPONSIBLE FOR THIS KRISHNA, LORD KRISHNA!

Ashwatthama’s Curse

 

Now, when all your physick has left Earth ill,
What use, to us, your word and wit and skill?
Weary, I am, of loudly-vaunted experts.
I’d rather make mistakes all on my own,
Than contend with many silly text-spurts,
Disinformation meant to keep us clone.

C. W. Ellis. Bad Science (1934)

Introduction

A few years ago we wrote an article on the Horse Sacrifice, which we published in our Home Page on Atlantis. In this work we included a section on the OM glyph, its meaning and origin. The passage is short and is perhaps worth quoting in full, as it is short and may be of interest to some:

The Meaning of the Sacred Syllable OM

“The yoni of the female is, as we just said, equated in India to the lotus (or padma). Indeed, the mantra OM MANI PADME HUM! means a lot more than just: “Rise, O! Jewel in the Lotus” as is frequently asserted. Rather, its mystic meaning is: “Rise, O! Phallus, from the Vagina”. Its real symbolism is Cosmic, as we said above. It indeed refers to the rising again of Atlantis, characterized by its Holy Mountain (Mt. Atlas or Meru), from the Cosmic Yoni, the Great Abyss where it sunk away, in the dawn of times, some 9,600 years ago. Moreover, the very symbol of the OM mantra, shown in Fig. 1 below [click on it to see a larger version], represents a linga being inserted in the yoni represented by a woman’s derrière. ^[1]

“Also shown in Fig. 1 are some early forms of the OM glyph taken from Indian sources, as well as the Devanagari spelling of the Sacred Syllable. We should not forget that the Yoni-lingam is India’s most sacred symbol, and that the sex act is deemed holy in India, as it in fact is, being in reality the performance of the only divine act of Creation that we humans are able of performing.

“The glyph shown above is not written in Devanagari, the Sanskrit alphabet, which is shown at the center of the figure for comparison. Nor is the origin of the alphabet in which it is written truly known. But it may really derive from a proto-alphabet such as Brahmi or Vatteluttu, which some experts such as Sir Monier Williams posit as the true source of our alphabet. Indeed, a close inspection of the shape of the glyph will show that it remarkably resembles the syllable OM written in the ordinary (Roman) alphabet from right to left and with the letters tilted by 90 degrees”. ^[2]

We take this opportunity to explain that, in Hindu symbolism, Mt. Meru represents the Cosmic Linga, the Center around which the entire Cosmos revolves, as we explain below and in our article on the Whirling Mountain. Such is really the meaning of the Cosmic Mountain, though very few people, Hindus included, actually realize it, since this is the secret of secrets. When Mt. Atlas (Meru) collapsed, it became the giant chasm the Hindus call by names such as Vadavamukha, “the Fiery Submarine Mare”, which we will be commenting further below.

It is thence that the symbolism of the Yoni-Lingam (or Shivalinga) – the most sacred of Hindu symbols – in fact originated. And it is from this seminal event that the OM glyph, meaning more or less the same, itself derives. Of course, symbolism is somewhat like beauty, lying in the eyes of the beholder. Myths and symbols just suggest, and never compel. And the subtler the meaning, the more difficult the discovery is to anyone, the specialists included. The nature of proof is likewise elusive.

To the believer, no proof at all is required, as they rely on the word of the accepted authorities, and obey whatever their leaders tell them. To the adepts, only the barest explanation suffices. To the mild, commonsensical skeptics, a lot of well-done argumentation may sometimes suffice. But it is not the mere evidence of facts that will convince the fanatics and the wizened skeptics, who believe to have a trained eye and mind, and are not to be deluded by simple trivialities such as facts, particularly when they require a lot of training to be understood in their totality and import.

Hindu mysticism is very complex and difficult to penetrate, particularly by us Westerners. It has been elaborated by millions of mystics down the ages, and hence acquired a high degree of sophistication. Moreover, the Hindu gurus only really explain the hidden meaning to the trusted disciples, who are obliged by oath to do the same. Their explanations and commentaries on Veda (“Wisdom”) are often lengthy, but generally only serve to show the deeper layers of the symbolism concerned, in allegoric terms, and indeed only lead to further complexity.

One must understand that Hindu mysticism – particularly the Tantric in character – is the actual source of Alchemy both in the East and in the West (China, etc.). From it sprung secondary disciplines such as Taoism, Cabbala, Masonry, Rosicrucianism, and so on. On the religious side, this mysticism yielded the ancient Mystery Religions, from which sprung secret movements such as Templarism, Catharism, the Troubadours, the Irish bards, and even Judeo-Christianity. All this can be traced back to Atlantis, as some experts are starting to discover.

They still fail to make the [a posteriori] obvious connection between Atlantis and the sunken continent whence the Tamils claim to have come some 10-12 thousand years ago, more or less the same date and the same location as the one of Atlantis. In time it will transpire that these two sunken continents are one and the same, and that Lemuria is merely a confused remembrance of Atlantis reaching us via the eastern traditions. The naturalists of the 19^th. century invented Lemuria to explain somehow superseded problems concerning the diffusion of lemurs to the Far East, and Mme. Blavatsky eagerly adopted the proposal to foster her own wild views on Theosophy.

An example – by no means the most complex – can be seen in this explanation of the OM syllable in this remarkable text from a Tamil mystic, Bhogar in his poem entitled “7,000 [Verses]”. In fact, the poem is a lesson on the science of Nada (“Sound”), of which the mantra OM is just an instance. As the illustrious translator and commentator of this work into English affirms, “works such as this were encoded in the secret languages of the varying schools to preserve the tradition without revealing the inner mysteries to the uninitiated”. In other words, the uninitiated will only find utter meaninglessness in such compositions, which only the initiated can really read and understand.

An actual instance is given in our quotation of Bhogar at the head of the present chapter, where the poet-alchemist-saint [siddha] allegedly explains the secret of Alchemy to the layman. I suggest that you, dear reader, read it all attentively, including the Preface and the Commentary, where the translator explain some of the secrets of the obscure verses of Bhogar. The effort is worth it, even if the only result is to realize the difficulty of alchemical matters. Bhogar – the semi-mythical poet-alchemist and alias of Lao-Tze is indeed a disguise of Shiva himself in his aspect of the Serpent Shesha. Bhogar also adds, elsewhere, that: “with words and logic you get nothing”. And that is exactly what I learnt while trying to open Alchemy to all.

Prof. Kak’s Correspondence

The other day, much to our joy, we received a critical letter from Prof. Subhash Kak, the famed Indianist and scholar [see Appendix II]. Prof. Kak recently wrote a book on the subject of the Horse Sacrifice (The Aşvamedha: The Rite and Its Logic, AVG Saylorsburg, 2001; Indian edition, Motilal Banarsidass, Delhi, 2002. ISBN: 81-208-1877-6). Unfortunately, we have not yet had the chance to read his book – which promises to be highly interesting – and which we intend to read and comment as soon as possible. However, we can get a glimpse of his ideas in the reviews of his book on the Horse Sacrifice. Their text is as follows:

1) “The book’s interpretation of the ritual, the sakara of the visual celebration, and the nirakara of cosmic transcendence of the ashvamedha presents an entirely new evaluation of India’s classical formulation of the State”. – Professor Lokesh Chandra.

2) “Professor Subhash Kak has cogently brought out the cosmic significance of the Asvamedha sacrifice, in which the sacrificial horse symbolizes the Sun and, ultimately, Time. His holistic approach to Vedic themes, combining astronomy and a spiritual appreciation of ancient symbols, is essential to a deeper understanding of the Rishis’ mind and experience”. – Michel Danino”.

The two reviews just quoted are unfortunately too short for a more qualified opinion. But they perhaps suffice to give a view of the book, at least for the present purposes. The terms sakara and nirakara are Sanskrit, and mean “having form” and “formless”. They more or less correspond to what we Westerners call “physical” and “spiritual”. Though Prof. Kak is not so naive as the scholars of the 19^th. century who interpreted Hindu gods (and others such) as natural phenomena such as rains, winds and sunset, he apparently fell in a similar pitfall – one which presently prevails among the specialists – interpreting them as purely “cosmic symbols” and astronomical ephemerides and “symbolism connected to the Sun and, ultimately, Time”, at least insofar as they concern physical reality.

Symbols Work At Several Simultaneous Levels

Prof. Kak is of course right in considering that Vedic myths, like most others, work at two basic levels, one spiritual – for the gurus and the religious individual – and one material or worldly, for the more inquisitive, positivistic mind. And myths, rituals and symbols are of course holistic, in contrast to the modern dualism of Science and Religion, which renders us all schizophrenics, in our quest for rationality and what some call “the illusion of separativity”, which separates the individuals according to skin color, country of origin, third worlders, aliens, etc..

As we will comment below, it is true that Hindu myths and symbols – the Ashvamedha in particular – are often equated to the Sun, the constellations and to celestial events marking dates and such. But these are mere allegories of the crucial event we already mentioned. Better yet, these symbols work at a given level of allegorizing, but have further, deeper meanings than just the usual ones. There are two basic rules with myths and symbols, which should be kept in mind whenever one attempts to interpret them, as I point out in my mail to Dr. Kak, which I quote in Appendix I:

1) Myths and symbols are never what they declare or seem to be. So, if they mention or suggest Time, the Sun, the Pole Star or even a bodiless essence such as a god, an angel or a devil, one can be sure that something else is really meant. The heroes, gods and angels generally represent nations (ethnies) and their female counterparts generally represent lands. But they may also stand for certain natural events of great importance for Mankind such as Cycles of Time (Kala), Global Conflagrations (Ekpyroses), the Universal Flood, etc.. Even more exactly, they represent the divine or demonic principles who rule these forces, which they embody or personify.

2) Myths and symbols normally work at different, simultaneous levels. So, to the naive believers, they are former people who somehow survive at a spiritual level, some more advanced than others. To others they are the physical objects, forces or events themselves (sakara; that is, affecting the senses): Time, the Sun, the Moon, the Earth, the stars, planets and constellations and so on, down to the minutest of creatures either animate or inanimate. At a further level, they may represent the impalpable spiritual forces (nirakara) such as, say, gods, fairies, demons, sprites, souls, etc..

Moreover, myths and symbols may usually be interpreted “according to the 48 Sciences”. So, the astronomer (Prof. Kak?) tends to see the Astronomy embodied in the myths and symbols of ancient India, for instance in the Aşvamedha ritual or in the shape of the Vedic altar. The spiritual guru sees the metaphysical aspects of the symbolism and its connection with the spiritual Cosmos or the spiritual forces which, for them, form a reality deeper than the illusory one of the senses.

But words sometimes embody traps which often deceive even the highly erudite specialists who haughtily dismiss the esoteric aspects of sacred things. For instance, take the word “cosmos” and the Horse Sacrifice itself. Consider the passage of the Markandeya Purana (91:32) which we quoted at the head of our work on the Horse Sacrifice, which it inspired:

“Om! Blessed be the animal,
With its horns and members.
Om! Tie it to the somber pillar,
That sunders Life from Death
Om! Tie this animal very well,
For it represents the universe”.

To start with, horses have no horns, right? Wrong! The “horse” in question here is really the Unicorn. Moreover, it has wings, for it is truly Pegasus. Yes, unicorns have horns, more or less as did Bucephalus, the horse of Alexander. Aryan horses too often used a sort of horned crown resembling a stag’s horns, as can be seen in some Celtic archaeological artifacts. In fact, even Alexander himself had horns, explicitly shown in some of his coins.

Alexander was, in the East, called du’al Karnaim (“he of the two horns”) and is endlessly portrayed as horned in his coins and other iconography. The horns have a deep symbolic meaning which we explain elsewhere and which refer to the two sides of the world which Alexander intended to conquer and reunite. In antiquity it was usual for horses to bear a cap with horns similar to a deer’s antlers, often made of bronze. And, as we argue elsewhere in detail, both the unicorn (ki-lin) and the winged horses are originary from the Far East.

So are in fact most mythical creatures which haunt our dreams, turning them into nightmares. These surreal creatures include dragons, phoenixes, sphinxes and three-headed dogs, to name just a few of the best known ones. The earliest reference to unicorns comes from Ctesias (fl. 400 BC), the Greek traveler and historian who stayed a long time in Persia and India. It was probably from him that the Greeks learnt of this fabulous creature and others such which abound in Hindu mythology.

Winged horses such as Pegasus likewise derive from India, witness the Rig Vedic mentions of Tarkshya and such. Many of these Indian fabulous creatures have names which can be recognized in Greek as we comment in our work on the Horse Sacrifice. Such is the case of Vena (Phoenix), of Şarvara (or Cerbura = Cerberus), of Vritra (Orthrus), of the centaurs (Gandharvas = KentarFos in Homer), etc.. Hindu and Tibetan art are both full of illustrations of winged horses and of monstrous composite creatures of all sorts, some of them quite awful.

The Problem of the Alphabet

Since Prof. Kak’s critique specifically concerns the question of the alphabet used in the OM glyph, we should perhaps begin by analyzing that problem in some detail here. We have researched the subject of the origin of the alphabet in more detail elsewhere, and the interested is directed to this work of ours. In these works we came to the conclusion that the “Phoenician” alphabet originated in the Indus Valley Culture, whence it passed to other civilizations such as Sumer and Egypt.

The origin of the alphabet is shrouded in mystery. For instance, the modern type of the alphabet is first attested in Akkadia, some 500 years before it appears among the Semitic people, to whom its invention is usually ascribed. It is true that the Akkadians were attempting to adapt an alphabet – probably foreign – to their own manner of cuneiform scripting. What matters is really the invention of the process, rather than the usual forms of the glyphs used for their expression. Moreover, the Egyptians had an alphabet of 24 letters used along the other syllabic or ideographic hieroglyphs. All in all, the problem of the origin of the alphabet is far from solved.

In fact, it seems that the invention of the alphabet took place in Atlantis itself, and the Indus people merely brought it from there, along with their sacred, well-known hieroglyphic alphabet which was used for esoteric purposes, much as was the case in ancient Egypt, which had a cursive script for profane matters. India is truly the land of the alphabets. Apparently, Indian alphabets all derive from Brahmi, the earliest known Indian alphabet. But the use of the alphabet there may in fact be far older. The Indians use the talipot palm (ola) for writing their sacred stuff. But this material is highly perishable in their tropical climate and fast disappears from the archaeological record.

Over 200 alphabets are known in India, some dating from earliest times, and many still in use: Devanagari (“divine script” for Sanskrit), Karoshthi, Vattelutu, Tamil, Telugu, and so forth. We believe, as Monier Monier-Williams argues in his wonderful Sanskrit-English Dictionary, that India was truly the source of the alphabet, which the Phoenicians and others borrowed from them, and adapted for their own purposes and languages. In other words, the Brahmi and the Karoshthi alphabets were probably derived from an earlier version, perhaps itself akin to the so-called “Phoenician” alphabet which was apparently brought over from India itself by these inveterate traders.

Several Hindu traditions affirm that the original alphabet – perhaps Devanagari – came directly from Paradise itself, and was brought by the goddess Sarasvati herself or by Vach, her other self. The words and syllables of the Veda were personified as deities, even though the texts were apparently not written down originally. But the alphabet must have existed, from the beginning, as the individual letters were recognized within the syllables and the words, which were analyzed and also personified as gods and goddesses, in the manner we argue further below.

How could the ancient Hindus have so decomposed the words if the alphabet was unknown to them? How could the Phoenicians – who obviously lacked the phonetic expertise for such a sophisticate development – have ever invented the alphabet which requires an advanced mastery of these arts? Must we really repute the Vedic hymns which tell of this decomposition late just because they embody a knowledge of the alphabet itself? Or must we accept them to be as old as the Vedas themselves and hence conclude that the alphabet is really far older than usually thought?

No one familiar with the work of Panini and other early Hindu grammarians will ever believe that the ancient Hindus actually learnt the science of Phonetics from the primitive Semites who, by the way never cared for these sophisticate arts and never wrote anything on them. Even less, no one who dispassionately studies the subject will ever believe that the ancient Semites could have invented the alphabet on their own without knowing anything of this art which they never mention at all in any known document from any of the Semitic nations, Akkad and Israel included.

Other Hindus, for instance the Tamils, argue that their own alphabet was the original one, and that Brahmi and Devanagari instead were both borrowed from their own alphabets. This might well be the case after all, since Tamil seems, in many ways, to be ancestral to Sanskrit itself. The matter deserves a more thorough research, as traditions are often supported by the empirical evidence. After all, the Tamils were the original Indus Valley people, and the attribution to Sarasvati apparently embodies an esoteric allusion to this site, now known to have centered on the Sarasvati river.

Despite the widespread belief of most Aryanizing Hindus – who generally attribute an enormous antiquity to the Vedas, it seems that the Devanagari script is in fact quite recent, dating from Medieval times at best. Only further research can really elucidate the complex issue. According to A. L. Bashan (The Wonder That Was India, New York, 1954, pg. 394), “most Indian authorities would now maintain that script [Brahmi] was derived from that of Harappa”. This, he adds, in contrast to “most Europeans and some Indians, who believe that it was derived from a Semitic alphabet”.

In fact, the Asokan edicts employed two scripts: Brahmi and Kharoshthi, a strange term meaning something like “ass’ lip”. Kharoshthi has a great resemblance to the “Phoenician” alphabet, even more so than Brahmi. For instance, its glyphs for p, r, t, y, closely resemble their “Phoenician” counterparts, whereas Brahmi itself provides different parallels, for instance, a, g, d, n, th, etc.. In the detailed argumentation we do elsewhere, it is quite clear that the early Hindu alphabets are quite close and probably ancestral to the Semitic alphabets, particularly the Aramaic alphabet, which some authorities now think was in fact ancestral to the other Semitic types.

The invention of the alphabet is usually attributed to the Semites because of the Semitic alphabet and the traditions such as the one of Greece, which ascribe its invention to the Phoenicians. Its origin is shrouded in mystery, and this mystery is not likely to be solved soon. But no other nation had an understanding of phonetics as did the ancient Hindus. What matters is the conception of the alphabet – using symbols to represent individual phonemes rather than syllables or words – rather than the actual shape of the glyphs themselves. And since this requires a knowledge of phonetics that no other ancient nation had, it is a strong evidence of an Indian origin of the alphabet. ^[3]

The Semitic alphabet is first attested at about 1700 BC. The rudiments of an alphabet are already present in the Egyptian hieroglyphs, which date from 3,000 BC and earlier and embodied a 24 letter alphabet in addition to more specific glyphs. However, the shape of the Egyptian letters in no way evokes the Semitic ones, suggesting a different origin. The name of the aleph, the fist letter of the alphabet does not in fact correspond to the etymology of “bull”. Instead, it closely evokes the name of the elephant (eleph-), suggesting a connection with India, as we argue next and further below.

Even the shape of the Greek letter α closely resembles an elephant’s head, with the trunk and the tusk, particularly when hand scripted. Moreover, Brahmi A looks exactly alike the early Semitic aleph, as can be seen in Monier. Moreover, a close look at the Brahmi alphabet will show that many other of its letters closely resemble the Phoenician alphabet and others derived from it, including Greek and Roman. For instance, ga, da, ña, tha, da, ya, la closely resemble gimmel, n, teth, daleth, y (inverted), lambda (Greek), s (manuscript), etc..

Several clearly recognizable resemblances pointed out by Monier include other letters, as can be seen in his text. It is clear that there is at least some relationship between Indian alphabets and Semitic ones. Though surviving Indian scripts date only from 270 BC, one should recall that “absence of proof is no proof of absence”, and that this type of argumentation must always be open to falsification as soon as new evidence arises. In other words, Indian alphabets may be yet discovered which are far older than the usual dates.

No matter what, semi-logographic scriptures such as the one of the Indus Valley are at least as old as any other, if not older, as is fast becoming apparent. In fact, we believe that the alphabet indeed originated in Atlantis, and passed more or less directly to the Semites and other peoples such as the Indians, the Etruscans, the Greeks and the Romans. who brought it over from there, when the place sunk away under the sea. This is the only way in which we can explain the fact that, from the beginning, the Egyptian, the Sumerian, the Indus Valley and other such scripts rise ready and perfect, showing no signs of the painful trial and error by means of which such remarkable inventions are made when they are really invented, rather than just adopted and adapted.

Atlantis, like the Egyptians and other peoples, also had hieroglyphic writing, which was used as a sacred, coded script that could not be read by the common people, even if literate. We made this brief recapitulation of our ideas on the true origin of the alphabet based on a far longer and more thorough work we published elsewhere, and to which we direct the reader interested in the fascinating matter of the origin of the alphabet.

 

The Brahmi and Sharada Indian Alphabets

The origin of the alphabet has much to do with human origins in Atlantis-Eden. So much so that most traditions – the Indian one included – hold that the alphabet was invented in Paradise by Sarasvati, the goddess of wisdom and eloquence, who brought it to humans. In fact, the name of the Devanagari alphabet actually means “divine script”.

Most Hindus firmly believe that Sanskrit is indeed the pristine tongue of India. But we believe that the holy tongue is an artificial creation of the Dravidian grammarians for their Aryan masters, after their conquest of India some time around 1,500 BC or so. Such is also the opinion of some Indian experts themselves, who often point out that the name of the tongue derives from sam-skrita meaning something like “assembled” or “artificial”, precisely in that sense.

Similarly, the Devanagari script seems to be artificial as well. It is a relatively recent development (12^th. cent. AD) of the Brahmi and the Gupta alphabets, which we discuss in the next section. The name of the Sharada alphabet (9^th. cent. AD) derives from the one of Sarasvati as the goddess of the Indus Valley region called Sharadesha, that is, the realm of the goddess Sharada (Sara or Sarasvati). But the Kashimiris apparently limited themselves to an adaptation of the Gupta alphabet for their own purposes, mainly the one of writing down the Vedas, and only later adapted it to their own language, as some Kashimiri experts themselves admit.

In fact, we believe that the usual OM glyph is ultimately derived from the Brahmi script, perhaps via the Gupta alphabet. Sharada (in Kashmir) in north India, or Bengali, in south India, are also somewhat unlikely possibilities, as we now argue. Sharada seems to be older than Devanagari, according to experts. A close look at the Sharada alphabet (shown at the bottom of the page just linked) will show how the letters evolved in time from Brahmi into the modern Sharada forms, which are quite close to Devanagari (shown in the first column, along with the English equivalent). Interestingly enough, the earliest form of letter a in Brahmi closely corresponds to the Semitic aleph, showing its possible Indian origin.

With the (upper) horizontal bar of the letter u of Sharada removed, its glyph corresponds to 3 as in Devanagari (see Table I), and û to 3┐also as in Devanagari. In turn, a is अ, and au is औ and o is ओ. So, in order to generate the OM glyph, ॐ, the a would have to lose its vertical bar, which seems to be an essential feature of the letter, not only in order to avoid confusion with the u, but because it is preserved throughout time in both Sharada and Brahmi. In turn, Brahmi o assumes the shape of 3 by about the 4^th. century BC, acquiring the “tail” of the Sharada alphabet by about the 9^th. century BC, whereas the o acquires an upturned tail by the 4^th. century BC. [1]

[1] Note that the WORD program has, in its Symbol menu, the Devanagari alphabet (under Mangal) as well as other Indian ones. It also has Tamil (under Latha), Kannada (under Tunga), etc.. Note also that Devanagari has several different ways of expressing these letters, particularly when in composition. Most Indian alphabets can be seen in the sites linked to above. Other sites which can be accessed via the Internet even have actual fonts for these alphabets. As we argued above and elsewhere in more detail, we believe that the word aleph – which is not Semitic at all, and which calls bulls by the name of taur – is indeed Indian, and designates the elephant (elephas, in Greek).

This word perhaps came via the Sanskrit ibha with a prefix al-. Better yet, the word can be derived directly from the Dravida #258 alli– (“elephant”) + #3986 pas > *phas (“tusk, ivory”). Thus, alli-*phas (“elephant’s tusk, ivory). There was probably a confusion of ivory with the animal’s name, more or less as happens in the Latin ebur (“ivory”), from which derives the English “ivory” via the French ivoire. Cf. also the Egyptian abu (“elephant”) and other similar words. It is reasonable to conclude that, since ivory was imported from the Indies, the name of the commodity should also have been imported from there, as is usually the case. Africa too has elephants. But these do not seem to have been ivory’s ancient source.

In fact, the Greek glyph for alpha, α closely resembles an elephant’s head with its tusks and its trunk raised. Greek calligraphists often considerably prolong the lower end, so that the resemblance is even better. The early Phoenician aleph – obviously derived from the identical Brahmi alphabet for that letter – also resembles an elephant’s tusks and trunk rather than a bull’s head, as can be seen in the site just linked. It consists of a recumbent V having a vertical, often curved bar near the corner. As Février and other experts remark, if this glyph corresponded to a bull’s head, the horns should be in the vertical, rather than the horizontal, as is the case for an elephant’s tusks. Look at the glyphs just linked, and see for yourself. It is true that some alphabets have an ox head for the aleph. But this seems to be a substitution, rather than an original borrowing.

 

The Gupta Alphabet and the Origin of OM

It is easy to see that, in order to obtain the desired shape of the OM glyph via the Brahmi or the Sharada alphabets, one must direly torture the poor letters which, like ordinary people, will readily admit to anything under duress. Hence, it seems that we must quest the origin of the OM glyph elsewhere, despite the pondered advice of Dr. Kak. We could not find any evidence substantiating his claim, even though we believe that he must be fundamentally right as concerns the actual way in which the Om glyph was derived in practice from the earlier forms of the Indian alphabet. With this, we now turn to the Gupta alphabet itself.

The Gupta era was one of the grandest in ancient India. In 320 AD Chandra Gupta rose to power, restoring the former splendor of the Mauryas. His successor, Samudra Gupta (335-376 AD) transferred the center of power to Pataliputra, in the Ganges banks, and extended his power from Assam to Punjab, submitting all the lesser kingdoms which abounded in ancient India. Chandra Gupta II (376-415 AD), who succeeded Rama Gupta was able to defeat and submit the Sakas (“whites”), an Indo-European people who had long occupied parts of north India and Sasanian Persia.

The reign of Chandra Gupta II marks the apex of Indian culture. This king later became known as Vikramâdytya (“Son of the Victorious Sun”), and became a semi-legendry personage associated with a veritable Golden Age of art and political stability, the Vikrama Era, dated at 58 BC, some 400 years previously to the real date. At that time, India was the most civilized nation in the entire world. Alas, this brilliancy was to be shattered soon later, by the Huns, who invaded India during the reign of his son Kumara Gupta (415-454 AD).

These Huns are the Hephthalites (or White Huns), a white Aryan nation coming from Mongolia itself. These Huns, along with the Turks they led, also invaded Europe at about this time. Kumara Gupta was killed in combat, and succeeded by his son. Though able to restore order and drive the Huns away, this restoration was short lived, and the Huns returned by about 500 AD, and grabbed the power, ending the Gupta period, which completely vanished by about 550 AD or so.

During the Gupta era, India’s power extended to Tibet. According to Bashan (op. cit., pg. 398), the Tibetan alphabet derives from the Gupta alphabet, which replaced Kharoshthi, little used in India after the III century AD. The Gupta script itself often became modified to represent syllables, rather than individual letters. It derived from a northern Hindu alphabet – perhaps Brahmi – by about the 4^th. or 5^th. century AD, and soon spread to the whole empire, and even foreign countries such as Tibet, China and Japan, mainly for sacred purposes. The Gupta alphabet was ancestral to Devanagari and, mainly through it, of most other Indian scripts.

The original Gupta alphabet had 37 letters, of which 5 were vowels. It was written from right to left, in contrast to Devanagari, which is written the opposite way. Some variants developed along time in the different regions of India. A western branch of eastern Gupta alphabet gave rise to the Siddhamatrika script at about 500 AD. From this Devanagari developed by about 700 AD and, in its m mature form, by the 11^th. century AD. Several Indian alphabets are shown in Fig. XXX below. Among these are Gupta, Devanagari, Brahmi (several variants), Tamil, and so on.

In this interesting list – far from complete, of course – we may search for the glyphs of the usual OM syllable. We not that this list also fails to give the many variants of the alphabets shown, for instance the round forms of the Devanagari a without the top line (matra), etc.. But it has to suffice for the present purposes. We note that the only glyphs somewhat similar to the Of in OM is the Krishna-Kirtana of northeast India. In fact, this glyph is similar to certain forms of Bengali O (not shown), n turn similar to the Dravidian form itself.

Fig. XXX – Principal Indian Alphabets
(Enc. Brit. 81:1:623, and Frédéric, Dict. Civ. Ind. pg. 354 and 627)

In turn, the Malayalam O resembles the OM glyph, with the “phallus” added. We may also observe in these tables that the only glyphs resembling this “phallus” are the Tamil M (turned around), the Mullani (idem) and the Krishna-Kirtana (without the vertical bar). All in all, the only alphabet that somewhat satisfies the shape of the OM glyph is the Krishna-Kirtana. If so, the “crescent-moon” (chandrabindu) seems to mark only the nasalization (anuśvara), rather than the M itself, as Dr. Kak affirms. Or it may indeed be the M of Kharoshthi, which has the right shape (a lunar crescent).

For completeness’ sake we present here the interesting article on the origin and development
of the Sharada script by B. K. Kaul Deambi. Its tables (at the end of the article) show the gradual development of Sharada departing from the Brahmi script in 300 BC or so to the present. These tables are extremely interesting. A close study shows several possibilities, though apparently not really exact. An example is modern Devanagari û (first table, first row), which developed by the 6^th. century AD. Can it be that the OM syllable was originally ÛM, rather than ÂM, as Monier affirms?

All in all, the actual shape of the OM glyph apparently seems to be a combination of several different Indian alphabets or, more likely, a form of Gupta or some other Hindu alphabet now lost or not found by myself and, not impossibly, syllabic (a.u.m), as Prof. Kak suggests. The Indian variants of such syllabic combinations are myriad. Most are not preserved in India, due to the fact that they were written in ola palm leaves (talipot), which are soon lost by decay in the tropical climate of the region. But some forms were preserved in Japan, where they became quite popular as some sort of mandala (mandara). Some examples of these Japanese mandaras are shown in Fig. XXX below. ^[5]

Fig. XXX – Some Forms of Japanese Hieroglyphic Mandalas
(Manly P. Hall, Meditation Symbols, pg. 106 and 109)

The delicate Japanese actually preferred these aniconic mandalas to the vivid ones of Hindu and Tibetan tantrism, which are often somewhat gross and explicit. In them, the figures are substituted by the syllables corresponding to the edicts, written in the Gupta alphabet, as shown in the figure above. These letters or syllables are called bija (“seed sounds”), which translates in Japanese as shuji. These syllables are said to contain the “seeds” of the deities, which grow in the minds of the worshipper, particularly when he/she knows their mystic meaning, which of course, is never told to the profanes, but is reserved to the initiates themselves.

The number of these “seed syllables” is infinity, and only a few are known in the West. Many are listed in Japanese treatises such as the Butsu-zo Zu-kan, with some explanations and correspondences. The Hindus and the Tibetans have the original treatises from which this information originated, but these are generally reserved to the initiates. The arrangements of these mandalas suggest the multitude of Buddhas-to-be disposed around the central one, as in some figurative mandalas. The names of the original deities have been translated into Japanese, and are hard to recover.

But what interests us her is the shape of the glyphs itself. Please note how closely some of them resemble the OM glyph, in particular the syllables of number 3, 13, 15, 14. their Japanese names are Fudô Miô Ô, Shô Gun Ji-zô, Ba-tô Kuan-on, Dai Nichi, whose Hindu originals are hard to find. But the shape of the glyphs – so close to the one of the OM – clearly suggest that the original source of this glyph was really the Gupta alphabet. Not only is the shape suggestive, but also the fact that it was during this period that India’s religious influence on nations such as Tibet, China and Japan was at its in fact greatest. As Manly P. Hall affirms in his book just referenced (pg. 105):

“Both the Diamond and the Matrix Mandaras exist in two forms. In one, the vast hierarchy [of gods] is represented by groupings of figures portraying the deities, and in the other Sanskrit letters are substituted for the images… In Sanskrit, letters and their related sounds are used in magic and to summon divine beings. These letters are called bija or viga, which translates into Japanese as shuji. Like seeds, these letters are believed to contain the germs of deities, elements and conjurations. As used in Shingon Buddhism, the shuji letters from a kind of magical alphabet resembling Sanskrit, but in some cases, so ornate as to be virtually unrecognizable. The examples shown here [cf. our Fig. XXX above] will serve, however, to indicate the principle involved… The letters have their sound equivalents but, according to Dr. Masaharu Anesaki, in his book: Buddhist Art in Its Relation to Buddhist Ideals (Boston, 1915), it is not known whether or not the sounds convey any mystical meaning of their own.

So, it seems that the individual identity and meaning of the letters themselves in these mandalas is utterly lost. All in all, it seems safe to conclude that the Gupta alphabet was the true source of the usual OM glyph, which it closely suggests, unless some other alphabet such as Devanagari was cleverly doctored in order to obtain the desired shape, as Dr. Kak adduced. In practice, it is hard, if not impossible to tell when the Hindu alphabet ceased to be Brahmi in order to become Sharada or Devanagari. The evolution is continuous, and no clear divide is readily apparent.

So, some may say, perhaps with the same degree of correctness, that the OM glyph derived from the Brahmi alphabet, from the Gupta, the Sharada or from Devanagari, according to his own individual interpretation of these alphabets and their partitions. Gupta is earlier than Sharada, which developed by the 9^th. century AD or so. Gupta developed by the 4-5^th. century AD, whereas Devanagari proper only developed by the 7^th. century AD and, in its mature from, by the 11^th. century AD. Hence, the Gupta forms are not only earlier than the two other candidates, but also more similar in character to the shape of the usual OM glyph.

As a final point, we note that the shape of the yoni-lingam in fact closely suggests the one of the OM glyph, a fact that may result from the clever doctoring we just mentioned. This is shown in Fig. XXX below, where we also show, for comparison purposes, a mandala based on the OM-HRIM hieroglyph. We note how the chandrabindu – indicating the nasalization of the M – was changed into an image of the Ark in which Shiva and his consort escaped from the site of Paradise Destroyed during the Flood cataclysm.

Fig. XXX – The Yoni Lingam Compared to the OM Glyph
(P. Rawson, Tantra, pg. 203 and 51)

We would also like to mention that some iconographies from the Indus valley civilization already include some disguised forms of the OM glyph, suggesting a far earlier origin of the symbolism. The OM syllable is also mentioned in the Rig Veda, again suggesting an early date from its origin, one far earlier than the Devanagari script. As is clear, the subject raised by myself and by Dr. Kak is an extremely complex one, and certainly deserves a deeper investigation, as the factual obscurities just adduced strongly indicate.

 

The Creation and Dissolution of the Universe

The word “universe” used above should perhaps better be translated as “cosmos”. It means several things all at once. In Hindu symbolism, it usually designates the Three Worlds (Tribhuvana), consisting of the Earth, Sky and the Atmosphere (Bhur, Bhuvas, Svar). The Three Realms are said to have emanated from the mind of Brahma (Prajapati), the All-Creator, at the moment of Creation. Creation was effect with the word OM pronounced by Brahma in his mind, just as Dissolution is also by means of the Sacred Syllable. In alternative views, this sound comes out of Shiva’s drum (damaru), both at Creation and at Dissolution. ^[6]

The three realms are often (purposefully) confused. Bhur may also mean “Hell”, its real meaning here. Hence, the Three Realms of Space are not really, “Earth, Atmosphere, Sky”, but “Hell, Earth and Heaven “(Patala, Bhumi, Svarga). Mt. Meru, the Celestial Mountain is the link of the three realms, around which the entire Cosmos revolves. Hence the frequent comparison with the Pole Star and the Polar Axis around which the whole Universe seems to revolve. This peculiar symbolism passed to essentially all mythologies, from Mesopotamia and Egypt to Oceania and the Americas.

This symbolism, so closely related to the one of the OM as the syllable of Creation and Dissolution is also linked to the myth of the Ages of Mankind, likewise found everywhere. According to it, there are several skies and hells – totaling 14 (Manvantaras) per Kalpa (or Cycle of Creation = “Day of Brahma”). Every time Creation (the Earth) is to be dissolved, a sky falls down, and becomes the new earth, while the previous earth becomes a hell. We now live in the seventh Manvantara, so that there are seven heavens (earth counting as one) and seven hells.

At the start each Manvantara (“Manu Intervals”), a Manu (or “Noah”) arises and saves the “seeds” of all things, humans and the Vedas included. This symbolism clearly corresponds to the one of the Biblical Flood, as well as the ones of other mythologies, the Sumero-Babylonian included. And since this myth is also found verbatim in Oceania and in the Americas, as we comment in detail elsewhere – it necessarily predates the closure of Beringia. Otherwise, how could the myth have diffused to the Americas if – according to the present view of Historiography – the New World has been effectively separated from the Old ever since? By a supernatural revelation? But this is precluded by Science and its canons, as we all know. What then?

Each “Cosmos” then corresponds to an Era of Mankind, a Yuga. Each starts with OM, and ends with the OM, which links one era to the next. But the Sacred Syllable (OM) really means a lot of things, at least for the pious Hindus. In fact, the word “Cosmos” (Greek kosmos) actually relates to “cosmetics”, that is, to “beautification”. It means the “beautified earth”, transformed from a wilderness into the Garden of Eden, the former site of Paradise.

The Hindus of course attribute enormous durations to their Yugas and Manvantaras, a metaphorical usage intended to confound the inquisitive, arrogant foreign scholars, usually full of erudition, but so often lacking in respect as well as in wisdom. We really believe that the word OM (AUM) in fact corresponds to something as “BANG”. It could have something to do with the “Big Bang”, the name astrophysicists give to the creation of the Universe they postulate, perhaps unduly. In fact, it is not impossible that the ancient Atlanteans had already surmised this theory of Cosmic Creation, as nothing is ever new under the sun.

 

The Somber Pillar

The “Somber Pillar” of the Markandeya Purana passage quoted further above, and which “sunders Life from Death” is really the Pillar of Heaven. In Hindu traditions it is the same as Mt. Meru. In Greek ones it becomes Mt. Atlas – the Holy Mountain of Atlantis – also called by the same name. Life and Death here symbolize Heaven and Earth, that is, the Eastern and the Western hemispheres of the earth. Several Hindu texts and images – some of which dating from the Rig Veda – actually refer to this sundering of the two hemisphere, which became effectively isolated from each other until greed took the upper hand, and the New World – actually very old – became open to exploitation by Columbus and other such conquistadors.

This pillar is here called “somber” because of the fact that Heaven (Paradise) after being destroyed by the volcanic explosion of Mt. Atlas (Meru) became covered by smoke, and turned into gloomy Tartarus. In Hindu myths this dark region is called Dhumâdi (“covered by smoke”). In Judeo-Christian traditions it becomes Sheol, the Fiery Pit. In Egyptian traditions it is called Haunebut. Homer refers to it as Cimmeria, the gloomy land where the sun never shone.

In fact, Hindu traditions refer to two Merus: the Sumeru and the Kumeru. One is located in the north, and is identified to Mt. Kailasa, in the Trans-Himalayas, a very sacred site. But even this identification is wrong, as is so often the case with sacred sites, recreated over an over again for purposes of disguising their true location. In reality, the real Mt. Meru (Sumeru) is also located near Mt. Kumeru, of which it is the dual and counterpart.

The location of Mt. Kumeru is unknown, though it is said to be located far to the south of India. In reality, its location is in Indonesia, being really the same as the Krakatoa volcano, formerly a mountain before it exploded and became the terrifying Vadavamukha, the very “Mouth of Hell”. This chasm is the Abvan of Rig Vedic traditions, also called Vardhamanakaya.

In Greece, Hesiod calls this Great Abyss by the name of Khasma Mega (“Great Chasm”). This name derives from the Greek radix khas, which is related to khaos (“chaos”). In Egyptian traditions it is the Nun, the Primordial abyss where the process of Creation started. In Homer, the Khasma Mega of Hesiod becomes the Khaos, also meaning the same, from an old root, khas, meaning “to cut, to sunder”. We discuss this subject in more detail elsewhere, and direct the interested reader thereto.

The Etymological Connections of the Mystic Syllable OM

According to M. Monier-Williams’ Sanskrit-English Dictionary, the syllable OM (or AUM) is derived from the root av– meaning “to drive, impel, remove, animate, govern, protect, lead to a safe place, preserve, be favorable, elect”. According to him, the radix seems to be related to the Latin aveo, avere (“to carry away, remove, lift”) and the Greek aiô (“to exhale, breathe”). The Greek verb is in turn related to the idea of “soul, animating spirit” and to Aiôn, meaning a spirit which exists forever and who is connected to Kronos (or Saturn), the alias of Shiva or Brahma.

This is interesting, as Aiôn seems to be an ophiomorphic deity not unlike Shiva and Shesha. Shesha is also called Au (or Ahi), a letter itself interpreted as the “seed sound” of OM. In turn, O is a mystic name of Brahma, the All-Creator. The Greco-Roman doctrines concerning Aiôn are highly recondite. They derive from the Orphic Mysteries, themselves derived from the Indian ones concerning the Tantric doctrines of the mystic cult of Shiva and Krishna (Bhakti = “Bacchic”). All in all, the mystic connections are evident, though hard to prove, as the matter was secret.

The Latin aveo is in turn related to the salute Ave!, meaning something like “hail” (or “rise” or “arise”). This is in turn related to the radix aug-, as in augmentare (“to augment, increase”) and augere (“flood”), etc.. The esoteric connections are not unrelated to the Nazi salute Heil, Hitler! (“Hail, Hitler!”) and to the prayer Ave Maria! (“Hail, Mary!”). What is really prayed for here is the advent of the new era, preceded by the Flood (Auge, maria!). And Nazism was indeed the attempt to bring back the Golden Era, the “Thousand Year Kingdom” (Tausend Jahre Reich), the Millennium, as those in the know well realize, though they seldom speak of it in public.

In fact, the thing is not so bad as it seems. The Sanskrit root av– embodies both the idea of the Flood (“to drive or impel”) as well as the one of “protect, rescue, save, elect”. So, the worshipper is really praying for the Flood to come, but also that he/she be spared from it, being among the elect, those picked for salvation. In fact, the Skt. root is also related to ava meaning “away, off, under”, and to avatar, meaning the coming down or descent of the deity, in order to bring in the new era and save or rescue the elects, just as told in the Book of Revelation.

These disclosures are hard to believe. In fact, they are also hard to demonstrate with rigor, as they are only subtly suggested, as is invariably the case with religious symbolism. But, as we just said, they are indeed quite familiar to the initiates, and to them alone, as they never speak out in public, to the profanes. Hence, it is only the profanes who find them so hard to believe. Such is the real reason why they never understand the global events that take place right under their very eyes, such as the ones just mentioned or the even more recent such as those of Sept. 11, which only appear as irrational to those unable to see things in their real context, and fail to see the reason why so many oppressed people incessantly pray for the advent of the Millennium.

Myths and symbols are always dubious and equivocal. Mythographers love paradox, metaphors and enigmas. As such, myths, symbols and rituals are really puzzles to be deciphered, as we are attempting to do here in regards to the word OM, one of the hardest to decode, but also one of the highest importance for all of us. For that purpose, one should exploit, as fully as possible, all the concerned aspects: linguistic, anthropologic, symbolic, ritual, religious, traditional, historical and so forth. This is what makes symbols, rites and myths so hard to decode in practice. Hence, in order to understand the true meaning of the mystic syllable OM one has to research all possibilities opened by the various sciences – Linguistics included – and attempt to tie them all together, if at all possible.

Let us consider the several individual letters involved in the syllable. The letter a is the vocative in Sanskrit. It also implies the idea of “come” or of salutation, as in a Ananta! (O!, [come] Ananta!). Ananta is the Serpent Shesha himself, the alias of Shiva and/or Vishnu, when they come to bring the Flood and the Conflagration which end the eras. In fact, the letter A is also a mystic name of Shiva and of Ananta (Shesha). The letter is also the negative prefix, and hence mean something like “no, not”. It is also related to the roots an– and am-. Conversely, the letter â – that is, a-a – is the negative of the negative, that is, the affirmative. As such, it means “yes!” and, by extension, Shiva.

The first root is related to Skt. av– and also means “to breathe, animate, drive, impel”. As such, it is also related to the Latin animus, anima (“soul, spirit, animation, breath”), and t the Greek anemos meaning the same. This root also relates to Ananga (“bodiless, spirit”), the name of Kâma after his burning by Shiva’s fierce third eye. In fact, Kâma became the Soul of the World. And he is in truth an alias of Purusha and Brahma and, hence, of Atlantis-Eden as the essence that survives in all things, pervading the entire Cosmos, even though essentially invisible to most.

In Sanskrit, the word ama, derived from the same base, also means “soul”. But it also means “water” and hence “flood” in Dravida (am or âm), from which the Skt. ambu or ambhas ultimately derives. So, the word Aum – derived from âm according to the ancient grammarians – may mean either “waters [come]!” or “waters don’t [come]!”, according to subtle changes of intonation, in which the Hindu adepts so specialize.

The same type of equivocal calling may also be associated to the name of Umâ, who is no other than Kâli-Durgâ, alias Shivâ, the feminine avatar of Shiva. In this connection, we may interpret her name as meaning: “O! [child] don’t!” [u-mâ!] or, conversely, “O! [child] don’t do not!” [a-u-mâ!]. Durgâ is Shiva as the bringer of the Flood, so that the prayer is an invocation for it to come or not to come, according to the way the mystic syllable is intoned.

Turning to Dravida, we have similar mystic meanings. But they are even more fugitive than in Sanskrit, and are given without explanation. The reader – or the adept, for that matter – is invited to study them on their own. The science of words is inexhaustible, and one must know where to stop in order not to bore the der readers to death with endless discussions on highly obscure issues. No matter what, we are sure that the above suffices to show the reader how complex linguistic matters may become in the holy tongues of India. And such is particularly the case when esoteric issues such as the hidden meaning of mystic mantras such as OM are in question.

To start with, we note that the Dravidian name of Umâ is Mû (or Mû-devi). She is also called Mumba, as in the name of Mumbai (Bombay). Shiva is in turn called Mû or Mun (“Elder One”) or, alternatively, An (“Supreme One, Leader, Elder of Elders”). The base from which these names derive has a meaning of “to grow up, grow old, age, ripen”. The idea is also related to the idea of “decay”, and hence of something that became superseded, and has to be removed, perhaps by the Flood. Mû-devi is the elder sister of Lakshmi (Fortuna) and hence very unlucky (Jyeshtha).

In Dravida, the idea of “water” is expressed by âm or am, as we already said. Again, this word is apparently connected with the idea of the Flood and, also of OM, said to ultimately derive from âm. This base is also connected with amar and amunku, expressing the idea of “to oppress, rape, embrace, love, press down, sink, submit, etc.. These bases have forms in om– which seem to be related to OM. They may be related to the Latin amare (“to love”) and to Kâma, the Hindu archetype of Eros-Cupid (with loss of initial k-).

They also express the idea of “to calm down, be tranquil, quiet, still”, an euphemism for “dying”. As such, it evokes the abhaya mudra (or “fear not!”) gesture of Shiva. This gesture consists in presenting the open hand, as in the traditional hail! salute of the Germans and the Celts. As such, Shiva’s gesture is the archetype of the Nazi one commented above. This gesture is indeed an euphemism of sorts. To the faithful adepts, it says: “fear not, for you are among the chosen ones who will be saved!”. To the profanes, it says: “fear not, for it will not hurt that much, as you shall be disposed of quickly!”.

The radix am– also expresses the idea of “mother, nurse” (ama, ammâ) and of “breast” (ammam), Ama is also a name of Durgâ as the Great Mother. Such is the reason why she is usually shown breast-feeding an infant in essentially all traditions, the Christian one in particular (Mary). The Great Mother is often commemorated as the “Queen of the Seas”, an epithet she earned in her connection with Atlantis as the source of both gods and humans.

In Dravida, â means an interjection of awe or assent, just as in Sanskrit. Â (or âm, âg-, âk-, avun-, etc.) also means “yes, to be, create, come into existence, befall, rise, increase, prosper”, more or less as in Skt. âm. Amê means “ritual purification after childbirth”. This ritual is connected to the Christian Baptism, itself connected with the Flood, as well as with the idea of “water” (âm). The idea is again the Flood and the start of a new era (Creation).

This Dravidian root also means “cow” (â, ân, âcci) and perhaps “mother” (âcci), also a name of Lakshmi. The Dravidian base âv– (or âm) means “sigh, breath, soul, life”. It relates to the Skt. av– discussed above, and meaning the same. Umm or um is a Dravidian utterance of assent. Ambâ is the low of the Primordial Cow, and corresponds to the Skt. hambhâ. This word is in turn related to Skt. hum or hûm, an interjection of assent, pain, as well as a mystic syllable chanted with the OM mantra (Om Mani Padme Hûm!), particularly by Tibetan Buddhists.

This word also seems to be related to the similar mantra HRIM! This mantra may perhaps be derived from Skt. hri (“to carry, convey, carry off, remove, destroy”). The idea seems to be “carry me away” or, perhaps the opposite, “don’t carry me away”, in the equivocal way discussed above. In other words, the adept is praying for his god to carry him/her away in safety during the Flood and, conversely, not to let him/her be carried away by the waters themselves.

The word ambâ or hambhâ is also applied to the trumpeting of an elephant. This seems to be akin to the trumpets of the angels of Doomsday. All in all, the main ideas associated with OM seem to be “Waters”, “Wave”, “the Flood”, “Mother”, “Father”, “Carry”, “Rise”, “Shiva”, “Creation”, “Yes”, “No”, “Ark”, “Come”, “Don’t”, “Bellow”, “Roar”. As we already said, these interjections ask for the coming of Doom, while at the same time asking for the divine mercy of the personal rescue of the worshipper. In fact, this prayer is precisely the same we daily ask when reciting prayers such as Ave Maria (Auge, maria!) and the Lord’s Prayer “Let Thy Kingdom come!”).

The Mystic Interpretations of the Mystic Syllable OM

Georg Feuerstein, the noted Indianist, writes in his Internet article entitled: The Sacred Syllable OM, that:

“There is no question that OM is the oldest mantra, or sound of numinous power, known to the sages of India. Its origin, however, is somewhat obscure. A century ago, the German scholar Max Müller, editor and translator of the Rig-Veda, had the idea that OM might be a contraction of the word avam, “a prehistoric pronominal stem, pointing to distant objects, while ayam pointed to nearer objects.” He continued, “Avam may have become the affirmative particle OM, just as the French oui arose from hoc illud.” This obscure comment refers to the fact that OM, in addition to its sacred significance, came to be used in the prosaic sense of “Yes, I agree.” Müller’s interesting philological speculation remains unsubstantiated, however.

“More recently, a different approach was taken by Swami Sankarananda, who proposed that OM derives from the Vedic word soma. Through the influence of the Persians, who did not pronounce the letter s, the word soma was changed to homa and subsequently was shortened to OM. Like Müller’s derivation, this is pure conjecture, but is nonetheless intriguing, as it brings out the traditionally accepted relationship between soma and OM. Soma is the sacred substance used in the principal Vedic sacrifice… Swami Sankarananda believed that, like soma, the sacred syllable OM represents the Sun. This seems to be confirmed by the Aitareya-Brâhmana (5.32): om ity asau yo’sau [sûryah] tapati, “That which glows [i.e., the Sun] is OM.”

As we said above, symbolism in general, and Hindu symbolism in particular, works at several different levels. As such, they have a message for all and everyone. The worshipper will find spiritual consolation in reciting the mantra as a prayer. The religious yogi and the guru will seek its mystic meaning as a manifestation of his mystic deity. The astronomer and the astrologer will find an astronomical interpretation – the sun in this case. The scholar will discuss the ethnological connections with Persian haoma rituals, or Judeo-Christian formulas such as “Amen”.

The historian will trace the symbolism throughout time and space. And the geologist – and such is our case here – will seek a connection with global cataclysms and the destruction of Atlantis-Eden. In fact, the science of Symbolism works, the Hindus say, according to the 48 Fundamental Sciences: Cosmology, Religion, Philosophy, Symbolism, Cabbala, Yoga, Tantra, Philology, History, Astrology, Mathematics, Physics, Music, and so on.

Above all, we believe, it tells the sacred, secret history of humankind from its primordials, in Paradise. Around Paradise and its Holy Mountain (Meru) all things gravitate, the Sun and the Moon in particular (Fig. XXX). This remarkable Hindu allegory also shows the planets and the stars revolving around Mt. Meru as the axis of the Universe. At its top we also have the Pole Star and the flag which signals the exact site of Paradise. We reproduced this splendid allegory here because it directly shows the sophisticate nature of the metaphors which make Hindu symbolism so hard to penetrate in practice in what concerns their inner meaning.

The Mountain here (Mt. Meru) is said to symbolize the Cosmic Man (Purusha) of whom the adept is himself a replica. This Mountain is the Merudanda (“Meru rod”) which also signifies the spinal chord of the adept and of the Cosmic Man as some sort of rod or pillar. In Egyptian symbolism, the Merudanda corresponds to the djed pillar, likewise identified to the spinal chord of Osiris. It is also called Sushumna (“very gracious”), and is often loosely identified with the Kundalini serpent or rather, the tube through which it ascends. In yet another analogy, the Merudanda is identified with the Linga, the Om and the Cosmic Egg. ^[7]

Fig. XXX – The Sun and the Moon Gravitating Around Mt. Meru
(P. Rawson, Tantra, pg. 165)

In what concerns us here, the point in the sun, the moon, the stars and planets circling around Mt. Meru signify that it is indeed the central symbolism, whereas all the others are subsidiary, and derive from it. Hence, when someone says, like Swami Sankarananda just did, that “like soma, the sacred syllable OM represents the Sun” what he really means is that OM represents the Linga, and that this in turn represents Mt. Meru, the Pillar of Heaven, the Holy Mountain of Paradise.

The real miracle of symbolism as a language is that it is absolutely universal, and works even when the one who uses it or who attempts to interpret it does not really know its ultimate esoteric meaning. Such is precisely the case with the symbolism of the Horse Sacrifice, on whose subject we wrote the article on our site quoted above, and on which Prof. Kak just wrote the book we mentioned, and which is probably very interesting reading, as he is a great expert on Hindu symbolism.

Regardless of whether the erudite professor really knows the esoteric meaning of the symbolism of the Vedic Horse either through his own study, or through the acusmatic initiation which cannot be told but is the usual one, the fact that the valid illations he may make on the symbol all function both at his level, as well as at the inner ones he apparently ignores, as he never mentions the connection with Atlantis or even the one with Paradise Destroyed, a central concept in Hinduism.

The situation is more or less like the one of an interpreter or translator. As long as he/she is faithful in his rendition, it matters little whether he/se really understands the subject he is rendering. Of course it is by far preferable that the translator or interpreter really knows the subject, as the translation is usually much better and more accurate in this case. But the careful reader will skip the mistakes and fill the gaps with his own knowledge.

Such is frequently the case with the Bible, whose more obscure issues are usually very poorly rendered, and have to be surmised by collating different translations or resorting to the original itself, as anyone can see for himself. An advantage of this obscurity results from the obvious fact that one cannot coherently adulterate something one utterly ignores, try as one may. It is for this reason that most sacred symbols such as the ones in question here reached us unadulterated under the grosser disguise of the exoteric doctrines which have to be disrobed before one attains the heart of the matter.

The same is also true of Max Müller, of Georg Feurstein and of Swami Sankarananda, as well as of any others who write on such subjects. In fact, even if any of them knows the esoteric matters we are discussing here – perhaps for the first time ever – they will be prevent by oath from speaking to the general public, as these profanations are forbidden, and in fact sorely punished, as traitors are not welcome anywhere. So, in practice, they invariably keep top the lower levels of interpretation, and cling to the usual allegories such as the sun, the moon, the stars and planets, etc..

Of course, no one serious ever worshipped such bodies or their ephemerides, as even the simplest of believers reveres not the effects themselves, but the effective cause behind them, regardless of the fact whether it exists or not. I agree that the sun is an impressive fireball. But that is all. So are the stars and, even more so, the novas, supernovas and hypernovas, not to mention quasars, blackholes, and, of course, the Big Bang itself.

To believe that the pious intellectuals of former times would ever worship such celestial bodies, or that the faithful Hindus of today do the same is to sorely underestimate their power of discernment. In fact, the Free-Masons – who often comprise the upper layers of the society everywhere – still revere very much the same symbolism as that of the Cosmic Pillar, the Sun, the Moon, the Morning Star and so on. And who would be so naive as to believe that they mean no further things than the symbolism they use, obviously as a disguise for further realities and doctrines which they only disclose – if at all – to the upper levels of their hierarchy?

The problem lies in what they actually disguise and hide behind these appearances, these symbols? As we uncovered several years ago, what all these symbols disguise and really represent are the secret doctrines having to do with Paradise Lost, with Atlantis-Eden, and its demise in the Flood. Above all, they thus profess their belief in its imminent return, to bring back the Golden Age to all of mankind, and put an end to the gloomy Iron Age of the present day.

The only thing one can be certain concerning symbolism is that it is never what it affirms to be. So when the Aitareya-Brâhmana affirms: “that which glows [i.e., the Sun?] is OM”, one can be sure that it is indeed saying that the Sun is merely an image of the shiny OM. To mistake this symbolism for the real thing is no less foolish than believing that the ostensory of the Christian Eucharist – so often figured as the sun itself, rays and all – is indeed the day star, or that Christ, likewise so commemorated, is no other than “a solar myth”, as Charles Dupuis and others firmly believed. Feuerbach goes on to say in his article just linked that:

“The esteemed Swami’s conjecture is worthy of deeper consideration. However, most spiritual authorities regard OM as the vocalization of an actual “sound,” or vibration, which pervades the entire universe and is audible to yogins in higher states of consciousness. In the Western hermetic tradition, this is known as “the music of the spheres.” The Indian sages also speak of it as the shabda-brahman or “sonic Absolute,” which, in the words of the Chândogya-Upanishad (2.23.3), is “all this (idam sarvam).” What this means is that OM is the universe as a totality, not a conglomerate of individual parts, as we experience it in our ordinary state of consciousness. Thus OM is the primordial sound that reveals itself to the inner ear of that the adept who has controlled the mind and the senses”.

This is of course a far better try than the sun, the moon, or other planets and stars. And this is coherent with Purusha (alias Brahma) being the Cosmic Man, the personification of the Universe. But this is still too much on the materialistic side, even for the simplest of worshippers. The same is also valid of the “Music of the Spheres” so often commemorated in the esoteric Mystery traditions of antiquity. Perhaps this tradition had in mind the “sound” of the Big Bang or something of the sort. But even this is too materialistic for anyone’s taste, including my own atheistic point-of-view.

So, we are left with the same problem, particularly if we are atheists who disown all such purely spiritual “realities” which are so hard to prove in practice, though believed by most persons. Hence we looked further beyond, and came up with the actual solution of the omnipresent riddle: the reality of Atlantis-Eden. The atheists like ourselves stop there and go no further. The theists, the believers are more fortunate, and can look further still, to the conscious power which rules and directs all things, more or less as the Cosmic Purusha of Hindu traditions. Others, more romantic than ourselves, may prefer something slightly more material, along the line of Sir Fred Hoyle’s “Black Cloud”: a conscious galaxy or universe.

The book by Rawson just referenced is worth quoting on the Tantric views concerning the meaning of OM, which we consider to be the correct ones, once they are correctly interpreted. Most Hindus – particularly the ones belonging to the Aryan caste and some Vishnuites – abhor the Tantric doctrines, which they are incapable to penetrate beyond the gross disguise of sheer sex. In fact, these doctrines far transcend the sexual activity, which is just a tool, a means to achieve true enlightenment in the doctrines such as the ones we are now discussing. Here is a short selection of ours:

“The highest reaches of subtle sound are embodied in the mantra OM, whose physical symbol is the chank or conch-shell. This can be made into a powerful ritual trumpet, and elsewhere in Indian culture represents Lakshmi, fruitful mother of the waters of Creation. ‘OM is the whole world… past present and future… all is OM’ [Mandukya Upanishad]. And so, ‘by joining the breath to OM, one may go aloft up the Sushumna… two Brahmans may be meditated on… the sound-Brahman is OM’. Ascending by it [the Sushumna] … one reaches the unmanifest Brahman… ‘The sound-Brahman is OM. Its peak is tranquil, soundless, fearless, beyond sorrow, blissful, immovable’… at the apex of the crystal column of the Sushumna”. [Maitri Upanishad]. [pg. 202].

 

The Two Brahmans, Lakshmi, and the Crystal Column

The two Brahmans, one sounding, the other soundless correspond to Creation and Destruction, something and nothing at all. The shank is worshipped not only because of its trumpeting, but because it is a vivid replica of Mt. Meru, as the Whirling Mountain, much as shown in the above figure and in the link just given. In fact, the terrible sound of OM evokes the universal destruction effected by the Holy Mountain at the occasion of its colossal explosion, which triggers the one of the whole world. And OM is precisely the terrible sound of the giant volcanic explosion, the sound of the trumpet of the Angel of Death which perpetrates the horrible carnage.

Lakshmi (Fortuna), “the fruitful mother of the waters of Creation” in fact represents the same thing. Even more exactly, Lakshmi is the Vadavamukha, the fearful Black Hole, the Cosmic Yoni into which the volcanic peak is transformed by its explosion and collapse. The “waters of Creation” are indeed those of the giant tsunami created by the colossal, unusual supervolcanic explosion that triggered the end of the last Pleistocene Ice Age, and the global destruction it caused, ending that era.

The idea of “luck” is associated with the fact that these giant eruptions are in fact unpredictable, and hence chancy, after all, despite the contrary claims of some experts. Moreover, they are in fact unavoidable, as they now admit. And perhaps this is good, as no one would like to know the day the world will go dead and become soundless, like the unmanifest Brahman.

The “crystal column” is “the somber Pillar” mentioned above, in connection with the Horse Sacrifice. Here it is specifically equated to the Sushumna, which is also the same as Mt. Meru, the Holy Mountain which is also the Pillar of Heaven of the pious Hindus. The reference to the fact that “its peak is tranquil, soundless, fearless, beyond sorrow, blissful, immovable” is indeed sarcasm. There is no fear beyond death.

That is why Shiva says “Fear not!”, with his well-known hand gesture, the abhaya mudra. Besides, why fear what is unavoidable? All we can do is to conform to it, perhaps as philosophically as Atlas did, in the long range (oloophron). And the quietude also alludes to the one that ensues the destruction, given the fact that all is dead and calm and mute, more or less as in a giant cemetery. That is why Hindu religious symbolism has so much to do with cemeteries and burning grounds, as well as with global floods and era endings.

The word here translated as “crystal” (kacha) in fact alludes to any transparent, crystalline gemstone such as rock crystal and diamond. Diamond (vajra) is the hardest of stones and is often likened to steel, the hardest of metals. This hardness is expressed by the Greek adamas (“untamable”), whence derive words such as “diamond” and “adamantine”. Mt. Meru is often claimed to be made of diamond (vajra), as it has to support the immense weight of heaven placed upon its top. And heaven itself is also made of diamond or crystal: the “crystalline spheres” of the ancient traditions which reached us from Greece, via the works of Claudius Ptolemy and other astronomers.

When an era ends, this adamantine pillar shatters, the sky falls over the earth, which is choked and destroyed by it. Such is the reason why Mt. Meru is often said to be covered with gemstones of all sorts. These are the fragments of former shatterings of the World Pillar. Interestingly enough, the same legend is also found in Christian myths concerning the Holy Mountain of Paradise. The Alexander romances often report this fact when they tell the exploits of the great hero in the site of Paradise, where he went questing the Elixir of Eternal Youth.

In fact, this allegory is quite close to reality. The “crystalline spheres” consist of the canopy formed by volcanic dust, itself composed of shiny microscopic beads of fused silica thrown up by the explosion. The larger crystalline drops fall down faster, as the so-called “volcanic bombs”, consisting of silicic froth (pumice stone) technically known as “tephra”. These beads and debris somewhat resemble tektites, which are liberated by large meteoritic impacts. The “pillar” itself is of course also made of silica (quartz), and is literally shattered to smithereens by the explosion.

Plato and the World Pillar

Plato too reports on the adamantine World Pillar. In his dialogue on Atlantis, the Pillar of the World is identified as Mt. Atlas, the Pillar of Heaven. But a more esoteric account is also made by the prince of philosophers in his quaint myth of Er, the Pamphylian. This myth is told at the end of the Republic (10:614b). In the story, Er is killed in battle, and his soul travels to the otherworld, where it witnesses many interesting facts reported by Plato in the dialogue just linked. After a few days dead, Er revives and tells his remarkable story. What interests us here is the main item of his visit of the fearful beyond, the Pillar of the World, which we now quote, for reasons of fidelity to the source:

“They [the souls of Er and his companions] came in four days to a spot whence they discerned, extended from above throughout the heaven and the earth, a straight light like a pillar, most nearly resembling the rainbow, but brighter and purer. To this they came after going forward a day’s journey, and they saw there at the middle of the light the extremities of its fastenings stretched from heaven; for this light was the girdle of the heavens like the undergirders ¹ of triremes, holding together in like manner the entire revolving vault.

“And from the extremities was stretched the spindle of Necessity, ² through which all the orbits turned. Its staff and its hook were made of adamant, and the whorl of these and other kinds was commingled. And the nature of the whorl was this: Its shape was that of those in our world, but from his description we must conceive it to be as if in one great whorl, hollow and scooped out, there lay enclosed, right through, another like it but smaller, fitting into it as boxes that fit into one another, ¹ and in like manner another, a third, and a fourth, and four others, for there were eight of the whorls in all, lying within one another”…

This description closely evokes the one made by Ezekiel of the “wheel-within-a-wheel” which he saw in his vision, or the similar one of St. John, made in the Book of Revelation. In fact, these are initiatic descriptions of the inner workings of the Solar System, the one which later became embodied in the work of Claudius Ptolemy. The only difference is that the Crystalline Spheres of Ptolemy are here substitute by whorls (flywheel of a spindle) similar to the ones used in later, alternative descriptions of the planetary epicycles.

We note that the pillar is the Pillar of Heaven, linking heaven, hell and earth. This pillar is also the one which we find in essentially all traditions, Sumero-Babylonian (Etmenanki), Siberian (World Tree), Chinese (the Pillar of Steel), and even the distant Americas (the Mayan Pole, etc.). Even the popular Christmas Tree – with the Pole Star shining on its top – ultimately derives from this pristine tradition, as we explain in detail elsewhere.

We note the exact correspondence to the Hindu traditions on the Sushumna and on Mt. Meru as the Pillar of Heaven commented above. In particular, we note the close resemblance with the illustration of Fig. XXX above, with the sun, the moon and the planets and stars whirling around Mt. Meru, the World Pillar. We also note the esoteric nature of the disclosure, which is clearly of an initiatic character connected with Pythagoreanism and the secret of the Mysteries.

It is clear that the identification with the Solar System is an exoterism, intended for profane consumption, as the secrets of the Mysteries were never told to profanes, either by Plato or the Pythagoreans and others such. This was a stupid mistake made by the ancient Greeks which led to the Ptolemaic System, and persisted down to the times of Copernicus and Galileo, who attempted to correct it at a great personal risk. Neither should such allegories be taken to literally represent the Yogic doctrines concerning the Sushumna and the chakras on the human body or even in that of Purusha, the Cosmic Man.

As we already said, these are all metaphors, and only work at lesser levels, those of the other 48 sciences not having to do with Atlantis-Eden, the ultimate Reality of which Plato spoke in his other admirable relation, the Myth of the Cave (Rep. 7:514a). In fact, Mt. Meru should be considered the Cynosure around which all things gravitate, more or less as these illustrations show. The Cynosure in question here is not really the Pole Star, as many think, but indeed its shiny deity, who is no other than Shiva in his luminous avatar, as Agni. As such, Shiva is figured by the fiery Linga, itself an allegory of Mt. Atlas, the supervolcano of Atlantis. Atlantis was the primordial Center from which civilization originally spread, much as represented in the beautiful illustration of the Shri Yantra which we already discussed. ^[8]

The image is purely mental, though quite real, in contrast to foolish allegories which some mistake for the sun, the moon, Soma, Venus, the Pole Star and so on. Atlantis was indeed the Sun whose light enlightened the whole world. All the rest are idle attempts to efface its luciferine role, and to replace it with far lesser lights, real or not. The Vedas are full of mentions to the replacement of this great god by others of lesser stature. Since Atlantis fell, it is usually commemorated as the Fallen Sun, of which Dhruva in India, and Phaëthon in Greece are instances. And Plato specifically equates Phaëthon’s fall to the one of Atlantis in his remarkable Critias.

Returning to Plato and his World Pillar. We note that the philosopher refers to it as “made of adamant” (adamantos). Now, this means both the idea of “adamantine”, that is, unmovable or unbreakable, as well as “diamond” or “steel”, as explained by LSJ. We prefer the first etymology, though many translators, including Benjamin Jowett prefer the second alternative. The first is the one usually attached to the traditions on Mt. Meru.

Moreover, Plato also refers that the pillar was glittering “and resembling the rainbow, but brighter and purer”. No one who ever saw a diamond sparkling with a myriad colors like a rainbow, except that shinier, will fail to realize that this was what Plato really had in mind here. Moreover, all the traditions invariably speak of “crystalline spheres” and a “crystalline axis”, and transparent steel is something that has yet to be invented. Cf. for example, the vision of Ezekiel (1:4f.), where the substance is described as “sparkling like rock crystal” and resembling the rainbow, as well as the one of Revelation (4:1), which are clearly parallel to the one of Plato, as can be seen by collating the Judeo-Christian account to the Hindu one.

When one studies all these convergent traditions in detail, it is easy to verify that they all refer to one and the same thing. And that thing is either real or, at best, a human invention which somehow got diffused by someone in a very early epoch now utterly forgotten. The usual alternative of “archetypes” (or Platonic eideas) is wholly unacceptable from a scientific perspective. Since only Atlantis would have had the technology and resources required for that global diffusion, we are again forced to conclude that it is either a reality or, at least, an invention of a nation endowed with a superior technology, science and philosophy. And that nation could be no other than Atlantis itself. ^[9]

In other words, the beautiful allegory of the Holy Mountain of Paradise around which all things whirl and from which all things stem, as so vividly illustrated in the sri Yantra, is in fact a mental construct, though founded in an actual reality. The Holy Mountain is the Fiery Pillar so often illustrated in Hindu and other mythologies, for instance, the Whirling Mountain of the Navajos.

As such, it can only be a volcano. What else? And the planets and satellites whirling around it or spreading out from it indeed correspond to the Cosmos – the secondary Paradises – issuing by diffusion from the Holy Mountain of Paradise, as they indeed did. What else? By the way, the Pythagoreans placed at the Center, not the Cosmic Pillar itself, but the Central Fire. Around the Central Fire of the Pythagoreans all planets gravitated.

Some people mistake this Central Fire for the Sun and the Pythagorean system for the Solar System, with the sun at its center. But this is just the usual mistake in a different version, as we argue elsewhere in detail. The Central Fire is indeed the Vadavamukha of Hindu traditions, and the Khasma Mega of Greek ones. It correspond to the fireplace of Vesta/Hestia and the Vedic altar, itself a replica of the Cosmos. In no way does the metaphor correspond to the Solar System, except perhaps as a crude allegory intended to deceive the more gullible, hasty scholars unfamiliar with the esoteric doctrines of the Hindus, and the Pythagorean ones in which Plato supported himself through the books of Philolaos, whose estate he bought from his widow, as is well known.

The Expanding Universe

The Tantrikas see the Cosmos as expanding from a Center. At this Center is located Mt. Meru, the Pillar of Heaven. When Mt. Meru explodes and collapses, the sky falls down, and the world is destroyed. The former sky becomes the new earth, and the former earth the new hell. There are currently seven skies above us, and seven hells beneath us, the earth counting as one. This world conception is vividly portrayed in the Sri Yantra, which we comment in some detail in our page on the Whirling Mountain. As we explain there, these yantras and mandalas actually represent the Holy Mountain of Paradise as seen in plan, from above.

Here, the Holy Mountain is seen during the very process of its explosive eruption. From the Center, the bindu – the “seed” which is no other than the “drop of semen” issuing from the Cosmic Linga – successively radiate the several Creations. Hence, the seminal emission of the Shivalinga is indeed an allegory of Mt. Meru shedding its magma like a giant ejaculation. It is clear that by “Creation”, the Hindus actually understand the succession of “Eras of Mankind” which correspond to the destructions of the world caused by the Ice Ages. Such is also the idea embodied in the Bible and other ancient mythologies, and only the most fanatic Jews and Christians take the relations of the Bible in a literal sense, rather than as allegories of actual events of our geological past.

In other words, both the Darwinists and the Creationists are wrong, and the truth lies, as usual, in the middle-of-the-road, just as Aristotle held. Neither did the Biblical Creation start ab ovo, from scratch, with the earth and the Universe starting from nothing some 6,500 years ago, as some hold, nor are global catastrophes geologically impossible, as held by Darwin and Lyell, and their many scholarly followers and adepts. What we actually have are global catastrophes of ever increasing proportions, as larger and larger geological time spans are considered, just as the Hindu doctrines maintain.

In Hindu thought, Mt. Meru also corresponds to the Cosmic Center which should be identified with the spinal chord of the adept, himself an alias of Purusha, the Cosmic Man. Purusha’s spine, like the djed pillar already mentioned stays up the sky, preventing it from falling and killing us all. Mt. Meru is a pillar made of diamond or quartz crystal, and the celestial spheres are also made of the same material. We recognize here the Crystalline Spheres of the Greeks (Claudius Ptolemy), a concept that survived down to the times of Copernicus.

These crystalline spheres are in reality the cover of pumice stone (silica) forming some sort of dome or canopy above, when the volcano explodes and ejects this pumice as a dust cloud covering the whole of the visible sky. The “pillar of heaven” in turn is the ascending pillar of this dust, which indeed ascends all the way to heaven, more or less like an “atomic mushroom” or, even more closely, like the volcanic plume of the Etna volcano recently photographed by NASA’s spy satellites, as shown in Fig. XXX below.

Fig. XXX – The Volcanic Plume of the Etna Volcano Photographed From Outer Space
(Also in the Internet)

This photo is remarkable, and should be inspected closely. Below, we have Italy and Sicily. From the volcano Etna, the pillar of fire and smoke issues, and reaches all the way to the upper stratosphere, like a veritable “Pillar of Heaven”. Who can doubt now that this was indeed the phenomenon which the ancients had in mind when they spoke of such features? Of course, they spoke of far larger volcanic eruptions. But the Etna itself, like other such volcanoes were literally called “Pillar of Heaven”, leaving no possible room for doubting our identification.

Mt. Meru is also called the “Pillar of Heaven” (Stambha) in Hindu traditions. And it is also identified to the giant phallus of Shiva, called Sthanu, etc.. Mt. Meru is also identified with the Merudanda, which is the Sushumna which we already discussed further above. The same symbolism also pertains to the Hindu and the Jaina temples and, quite often, to the Buddhist ones as well. The spire above the temple represents Mt. Meru. Along its center passes the Cosmic Axis, around which the world revolves in a mystic sense.

On its slopes, encircling the mountain, we have the “heaven bands” which correspond to the paradisial places, the several sections of “heaven”. Away from its plinth or base stretches the earth, with its continents and lands, the dvipas, which are concentric and circular, closely resembling Plato’s description of Atlantis. As we argue elsewhere in detail, there can be little doubt that the two descriptions match, and that, hence, Plato somehow got hold of some Hindu documents describing this ideal geometry of Paradise, which he renamed “Atlantis”. In fact, not even this name was apparently create by the Greek philosopher, which limited himself to adapting its Hindu name of “Atala” into the Greek one of “Atlantis”.

These concentric “earths” vividly convey the idea of the “Cosmos” – that is, of “Creation” or “Civilization” gradually spreading away from the Center, where it started at the beginning of the corresponding era, from the “seed” (bindu) of the former one. In Hindu symbolism, these concentric structures are also represented as lotuses. Such is particularly the case in the Hindu mandalas such as the ones we portrayed and commented in our site on Atlantis. In Jaina symbolism such as the one of the cosmograms we discuss elsewhere, these concentric structures are represented not as planets, but as the dvipas surround Mt. Meru. And these dvipas are indeed the secondary “paradises” built around the central and original one from which they issued, by diffusion and colonization.

In each of the main religions of the Hindus the Center Axis is occupied by the main symbol of the respective religion. In Jainism, the Jina occupies the central position; in Buddhism, the Buddha; in Shivaism, the Linga (Shiva). In some cases, the deity is replaced by the OM symbol, particularly in graphical depictions of the cosmos. Interestingly enough, this very symbolism also passed into Christianism, where the Cross or the crucified god often assume the Central position, with the entire Cosmos being said to revolve around this Center.

This is often subsumed under the old saw: Stat Crux, dum volvitur orbis (“the Cross stays stationary, while the world revolves”). Again, it is far more than a coincidence that Christ’s Cross is said to have been planted on top the Holy Mountain (Mt. Calvary), itself placed in the center of Jerusalem, in turn said to be the Center of the World. In other words, these traditions all came from a single source. And this source seems to have been the site of Paradise itself, here figured as Mt. Meru, the Holy Mountain of the Hindus and Buddhists.

This mountain is, in more realistic terms, the same as Mt. Atlas, the Pillar of Heaven of which Plato and others spoke in realistic terms, as a sensational disclosure that is even today one of the greatest ever, since it showed, in compelling words, the reality of the Terrestrial Paradise of which essentially all sacred traditions of the ancient peoples spoke in semi-mythical terms.

Since the OM syllable so often substitutes the central god himself, it is clear that it has a deeper meaning than merely the Sun. This, unless you hold, along with Dupuis and other such atheists that Christ and other such gods are no more than a mere “solar myth”. Returning to the Shri Yantra and its symbolism in connection with the OM. As so visibly portrayed in the Shri Yantra, the Center is the site where the creative (or destructive) energy is released, in our view, by the supervolcano.

These energies are both feminine and masculine, as represented by the down turned and upturned triangles. In fact, the upright triangle represents the linga, and the down turned one the yoni, as is well-known. Interwoven, and forming the Mogen David (of Star of David), the two triangles symbolize the mystic union of the linga and the yoni. Here they are in equilibrium, just as shown in the yin-yang, representing essentially the same thing as the bindu, except for the larger scale.

The center of the Shri Yantra is often occupied by the OM, showing its mystical identity with the bindu. In turn, the bindu is often identified with the Cosmic Egg, itself an alias of the linga (svayambhu). And, as we already argued, the linga is the same as the Cosmic Pillar, itself the same as Mt. Meru as the Pillar of Heaven. The volcano embodied in Mt. Meru is also identified as the “Terrestrial Sun” or the “Fallen Sun”. In other words, volcanic Mt. Meru is considered to be the terrestrial image of the celestial sun. Each time the volcano erupts and explodes, a “sun” is said to have fallen, and a new one created, as it starts to grow back.

Such is the reason why the ancient Mayas and Aztecs called the Eras of Mankind by names such as “sun”. such is also the reason why the ancient Greeks and other peoples had myths on the fall of the sun. One such concerns Phaëthon, the “son of the Sun”. Phaëthon attempted to ride his father’s chariot, was unsuccessful, fell down, and destroyed the world in the process. Plato affirms, in his dialogue on Atlantis, that Phaëthon is indeed an allegory for real tragedies such as the destruction of Atlantis or other such cataclysms that periodically destroy the earth.

The Tantric Doctrine of OM

Tantra – though often ill-viewed by some Hindus, due to some fanatic adepts and trends – is actually the essence of Hinduism itself, at least insofar as its eschatology is concerned. Any Westerner wishing to penetrate that complex symbolism – particularly in what concerns OM and the doctrine of Nada (“Sound”) should perhaps start by the splendid book by P. Rawson referenced further above, which provides a good introduction to the subject intended for the layperson. We base the discussion in this section on this excellent book.

Mantras such as OM are what are called “spells” or “charms” in English. In a very broad sense, mantras may be equated to prayers. In fact, mantras such as OM or OM MANI PADME HUM invoke the Flood and the coming of the bitter end. In other words, the adepts pray for the ending of the present era – which they view as evil (the Kali Yuga) – and the return of the Golden Age, which the Hindus call Satya Yuga, the Age of Sanctity. Actually, as we explain in detail elsewhere, so do the Christians, though unwittingly.

For instance, the Ave Maria in fact appeals for the sea to rise and engulf the world (auge maria, in Latin). The Lord’s Prayer also appeals for this event when it begs: “Let Thy Kingdom come”. The Lord’s Kingdom will of course come in the Day of the Lord, which is indeed Doomsday. This interpretation is well known of the experts, though usually withheld from the worshippers in general, as they are part of the Mysteries from which Judeo-Christianity is merely an offshoot. In fact, the Mystery Religions ultimately derive from Tantric Hinduism and Buddhism, as we already said.

In fact, the OM sound is most directly connected with the idea of a giant wave, a tsunami which, under the name of the Flood was the agent that destroyed the former era. This fact – so hard to believe by all but the adepts – may be demonstrated in a most direct way. A wave is called unda, in Latin. It is from this base that words such as undulation, inundation, Ondine, ondometer, undée, etc. ultimately derive. The radix un– is apparently derived from the idea of “water”, according to Skeat. More likely, it derives from the one of “wave” (und-) in Dravida. ^[10]

Try to say the word unda (or onda) aloud, more of less in the way one is taught to say OM or AUM as a prayer. If you do it the right way, you will feel like your head is about to explode. This shows, more than any argument, the inherent identity of the two words. And this intense vibration is indeed intended to evoke the awful humming of the thundering wave as it approaches one, about to destroy all things. The Celtic bards often referred to this awful sound of the terrible wave approaching the coast, as is the case of Taliesin’s verse quoted in my Atlantis site or this one here:

O! this noise! This awful noise!

Is it the earth trembling?

Is it the sea outrushing,

From its habitual bed,

Onto the feet of men?

Taliesin

Nandi and the Flood

We believe that the cryptic allusion of Bhogar to Nandi made at the head of the present chapter is indeed a metaphorical reference to the Flood: “My fine fellow, if you see Nandi, then you will know Alchemy”. Nandi (or Nandin) is the bull of Shiva, his mount (vahana). Since Shiva is the Lord of the Tempest (the Flood), it is not unlikely that his vahana be the Flood itself, which he rides, more or less like Aleyan Baal, his Phoenician counterpart in this role.

Alchemy is indeed the doctrine of occult things and, above all, the secret of obtaining immortality and the Elixir. One sure way is by heeding Shiva’s advice: “fear not”, and confront the waters of the Flood, which bring immortality to the elect in essentially all traditions. With the risk of seeming obsessive to some, we point out the many connections of Nandi and the Flood. Perhaps, Bhogar had in mind the fact that if one is able to see the connection between Nandi and the Flood, one is really entitled to the title of “alchemist”, and has discovered the true nature of the Elixir.

No matter what, the radix nand- is strangely reminiscent of the one in words such as “inundation”, as we just discussed. The name of Nandin also seems connected to nad– (“sound”), the doctrine which treats of mystic meanings of words such as OM. This inundation is of course the Flood, rather than any conventional such disaster. Of course, these secret things are never told explicitly. They are only suggested, very subtly, so that definite proof is never to be had by anyone, even if he is able to discover the real meaning of the myth or symbol in question.

Nandi, the white bull, was born of Surabhi, alias, Nandini, the Cow-of-Plenty. Nandini-Surabhi seems to be the feminine avatar of Nandi, himself an alias of Shiva himself. In other words, Shiva was a bull far before he was a man and even a man-bull, like the Minotaur. In fact, Shiva is often figured as a fearful human-bull figure, particularly in the Tantric Buddhism of Tibet, for instance in mandalas such as the ones portraying Yamantaka Vajrabhairava. In other words, Nandin is the white (or kindly) aspect of Shiva, whereas the fearful Minotaur, Bahairava, is his somber counterpart, coming to destroy the world with the Flood.

In this terrible aspect, Shiva is also likened to the Śarabha monster, the one who destroys the world with the Flood, according to the Kalika Purana (30:7:42). The Śarabha is also likened to a deer, an elephant, an ape, etc., all of monstrous forms. Shiva is the very personification of the Vadavamukha, the Doomsday Fire which causes the Flood (Shiva Purana 49:23; Brahmanda Purana 1:2:27.1f., etc.). His dance, the wild tandava is an allegory of the earthquake which causes the giant tsunami (wave) we here equate to the OM and the Flood.

It is said that during this dance, Nandi plays his drum for him. What this means, is that Nandi is the earthquake itself. The myth of Shiva and Nandi also brings to mind the Greek one of the Minotaur, as we already noted. Even more exactly, it evokes Minos and the white bull of Poseidon, the engenderer of the Minotaur with his queen, Pasiphae. Poseidon was the Lord of the Earthquake, as well as of the sea itself. His “bull” probably allegorizes the Flood as a giant tsunami caused by a submarine volcanism or earthquake. This connection is probably due to the fact that a roaring tsunami really evokes the noise of a herd of cattle stampeding in the distance.

Have we discovered the true meaning of Bhogar’s cryptic allusion to Nandi and his occult, alchemical message?. In those things one can never be sure. These images work like mandalas. They suggest, but never compel. As Plato once said, “all knowledge is but remembrance”. Mere recollections, often of a religious character. This is also suggested by the word “religion” (religo = “I recollect”). Perhaps it is all in my mind alone. Perhaps it was in Bhogar’s when he wrote his enigmatic message. Perhaps it was in the minds of the mythographers of Crete and Greece and India as well. In matters such as these, one kind of people can decide: the readers themselves. With a little practice, they can all soon become as expert in the mandalic arts as the Hindu gurus themselves.

The Ten Mahavidya Mandala

One of the most interesting Hindu-Tibetan iconographies representing the destruction of Paradise is the so-called Ten Mahavidyas Mandala shown in the link to the interesting site just given. This mandala has a deep spiritual explanation, the one given in the site. But symbols work at several different levels, and we are interested here in the historical ones associated with Mnemosyne, the Muse of Memory always invoked by poets who deal with this sacred theme. Mahavidya (“Supreme Wisdom”) is just another name of Shiva’s consort (Shakti, or female avatar, rather).

A closer look at this mandala – meant for deep meditation, rather than a passing glance – shows a hidden meaning that becomes self-evident once its key be given. Starting by the central figure. This is an accurate rendition of Atlantis’ citadel, as described by Plato: three concentric stripes of land and sea, an encircling wall all around with four gates at the Four Cardinal Directions, etc.. This feature also corresponds to the one of the Celestial Jerusalem placed at the exact center of the world.

Again, it corresponds to Mt. Meru itself, the Whirling Mountain also placed at the center of the world, just as the equivalent ones of the Kalachakra mandalas which we discuss in some detail in our page on The Whirling Mountain of the Navajos. The symbolism is exactly the one intended here, and the context is also the same: the destruction of Paradise in a fit of madness of the goddess, castrating her own male self, Shiva. At the center we also have Shiva and Shakti about to “dance”, that is, destroy the world with a global scale earthquake, volcanism and tsunami.

Shiva apparently still bears his extra “head” – the one of his phallus – on his lap. Around the central features we have the ten “Mahavidyas” which indeed represent the ten kingdoms of Atlantis mentioned by Plato in his Critias. Note how closely they imitate the central citadel – the capital city of Atlantis’ empire – of which they are but extensions.

Note also the decapitated goddess at the center left. She corresponds to Mahavidya herself, as discussed in my Atlantis site. In fact, her decapitation is the euphemized counterpart of Shiva’s castration or “decapitation”. The ancients often castrated untamable slaves, a fact they called by the equivocal name of capitis minutio (“reduction of the head”), a purposeful double entendre having the same sense as the on graphically depicted here.

It is perhaps useful to remark that very similar depictions of the Decapitated Goddess (Chinnamastaka) are also found in Crete and evening the distant Americas, where she is called Coatlicue, “she who is dressed with serpents”. The other symbols are too complex to comment here, a task we leave for others. We only further remark the series of OM glyphs shown at the rim of the mandala. They form the two rims of the wavy pattern which symbolizes the Ocean.

The OM glyphs represent the destruction of the world by the giant wave of the Flood, the one which put out the fire which had incended the whole realm of Atlantis. In fact, this “ocean” is not really the world ocean, but its replica, the huge canal which encompassed the whole of Atlantis’ realm, as described by Plato. No matter what, the connection of the OM symbolism with the destruction of Paradise is here clear and unequivocal, and cannot be denied by anyone anymore.

Other illustrations shown in the site linked here discuss the symbolism of Mahavidya further. The first of the figures shown is precisely the one we comment in our Atlantis site, to which the interest reader is directed. All of them really portray the self-sacrifice of Atlantis “herself to herself”, under diversified allegories, all having to do with the “castration” or “decapitation” of the Holy Mountain at its center, the Pillar of the World which is so often portrayed by the Shivalinga. Note, for instance, the decapitated head hanging from Kali’s necklace, in the fifth figure of the series of mandalas shown in the site just linked, and see how closely it evokes the shape of a human phallus, precisely the one of Shiva lying dead beneath the goddess’ foot.

The ugly Goddess – or rather, the Goddess in her ugly aspect – in fact represents Atlantis destroying herself in a fit of madness, much as the Ouroboros devours its own tail. As we have already said, this suicidal self-destruction was the result of the War of Atlantis, pitting brother against brother, just as told in the Mahabharata, its epic description. For some reason – the cause of which we speculate elsewhere – this war ended by triggering an explosive eruption of Atlantis’ volcano, which finished the place off with Fire and Water. This is what is known to the experts as the Cosmogonic Hierogamy where the maddened Kali ends up castrating Shiva, her own husband. This castration is, as we have already said, in fact the one of Atlantis’ volcano which, from a tall volcanic peak (the linga) is turned into a lowly caldera (the yoni) when its magma chamber was voided by the colossal eruption.

We well realize this disclosure is hard to accept by the non-initiates, particularly the ones unfamiliar with the science of Symbolism. But it is strictly true as your friendly guru would tell you if he could disclose the initiatic secrets without breaking his sacred oath and was willing to run the risk of the dire penalties incurred by their undue disclosure. Of course Hindu symbolism is never too obvious, and is hence disguised under a dozen or more veils such as alternative layers of symbolism leading in fact nowhere, as in the mazes such as the labyrinth. Only the Golden Thread of Ariadne can lead you out of there. And that is what I am now offering you absolutely free: Mahavidya, that is, Great Wisdom herself.

Mantras and Yantras

Mantras are a fundamental element in Tantric rituals. Mantras may be simple, like OM and HRIM, or complex like OM MANI PADME HUM!. Mantras create vibrations in space, and evoke subtle resonances, according to the doctrine of Nada (“Sound”). these sounds or vibrations may also be created by instruments such as bells, gongs, drums, etc.. Some meditation bells are built so as to sound quite like OM when their rim is rubbed with an appropriate stick, more or less like a violin. Yantras, instead, are the visual counterparts of mantras.

Their name means “though machines”, and their design is intended to produced in the mind of the observer ideas akin to the vibrations of mantras, releasing the “vibrations” of the thought process in the minds of the adept. These vibrations usually spring, in yantras such as the Shri Yantra, from a center which represents the Center of the Cosmos, the site of Paradise itself. We believe, as we argue elsewhere in detail, that the idea in question here is the seminal explosion of Mt. Meru, the Holy Mountain of Paradise, the central feature of mandalas of the Kalachakra type. In other words, yantras are the visual expression of mantras such as OM.

As is clear, this mountain was a volcano, a supervolcano whose explosive eruption triggered the process which led to the end of the former era, with the Flood, the cataclysmic end of the Pleistocene Ice Age. And the word OM is a mystic reference to the sound of this colossal explosion, whose frightening echo could be heard on a global scale, as such gigantic explosive eruptions normally are. Such was the case, for instance, of the Krakatoa eruption of 1883, a pale replica of its prehistoric one which caused the end of the Ice Age. In standard Tantrism, the sound OM is deemed the syllable of creation and dissolution, as we already argued.

The mystic union of Fire and Water portrayed in the yoni-lingam and the OM syllable is also represented in the mantra OM MANI PADME HUM. The phrase is usually rendered as “O! Jewel in the Lotus, O! (or Rise!)”. As we already explained, the word main means both “jewel” and “phallus”. Likewise, padma means both “lotus” and its symbolic equivalent “yoni”. Hence, the mystic phrase in fact apparently means “O!, Phallus in the Vagina, O!”. But the Linga also stands for the vajra thunderbolt, itself an alias of the volcanic explosion which destroys the world.

In certain myths, the vajra falls from heaven, an is equated with a falling star, a giant meteorite. What this means is that the ancient Hindus well knew that the world is periodically destroyed not only by giant volcanisms, but also by giant asteroidal and cometary falls. As Rawson affirms, “the sexuality here may be remote and metaphorical, but is not unreal”. And we agree with this view, as we just argued. We quoted the great specialist because he lends further support to our thesis here.

Creation and a Simple Experimentation with OM

A simple experiment that anyone can do for him/herself to test out the real meaning of the mystic syllable OM is to pronounce it aloud, until one finally gets the hang of it. First of all, note how the mouth is first opened, and then closed, after a short interval. Opening the mouth has to do with “cleaving”. And this idea is closely related to the Creation act performed by Jahveh and, hence, by Shiva in his aspect of Shava [note the closeness of all three names].

In fact, the Skt. root kri from which words such as the Latin creare and the English “create” ultimately derive means both “to create” and “to cleave asunder”, particularly in a sexual sense [the thighs of a female]. This is why Jahveh “cleaves” all things in Genesis I: light from darkness, night from day, the earth from the sky; the waters from the waters, etc.. So, the letter A of AUM – which corresponds to Shiva as the All-Creator – in fact refers to Creation itself.

As such, it also refers to Fire, as Shiva is the same as Agni, mainly because of his fiery third eye by means of which he burns the entire world, activating the Vadavamukha (myth of Kama’s incending). In contrast, the letter M, a nasal (anusvara) in OM, is pronounced with the mouth closed. The letter M is the symbol of the Great Mother (Mâ = Mu = “Mother”). It is also the symbol of “water” in a great many tongues, Skt. included (ma). Hence, AUM or OM – originally ÂM, according to Monier – literally means something like “Father-Mother” or, as we just argued, “Fire and Water”.

The “father-mother” is the yahb-yum of the Tibetans. It is usually figured as Shiva and his wife (shakti) mating, often during their wild dance. This dance of Fire and Water is indeed the wild tandava, the allegory of the destruction and recreation of the world which the Western tradition called the Cosmogonic Hierogamy. The yab-yum is also the same thing as the yoni-lingam, which actually refers to one and the same thing, as we already argued above and elsewhere.

But what we really mean here is for the reader to do is to pronounce the syllable OM aloud and observe the result. The interesting experiment will certainly show in practice the strange property of this enigmatic syllable, deemed to be the sound of creation itself. Don’t forget that the syllable is nasal, and that it should be pronounced for a somewhat long interval and in for maximum effect. Relax, concentrate and enjoy the experience, repeating it several times.

And that experience is peculiar, somewhat fearful vibration of your temples, ears, and skull, that feels like you were about to weep or as if a swarm of black bees drunk on honey were humming inside your head. The vibrations correspond to the giant earthquake which indeed shook and destroyed the entire earth, here figured by your skull. The sound is indeed the one of the volcanic explosion, heard as a fearful trumpeting of the angel of Death himself.

And the tears correspond to the water of the tsunami, impelled by the explosion itself. Do it long enough, and find out whether the sound suggests a connection with the sun or, instead, with Creation as the awesome process just argued. And if you actually prefer the solar identification, tell me why, as I am interested in your finds, so unlike my own.

“I Am the Alpha and the Omega”

One of the main symbols attached with Christ – particularly in his character as the Cosmocrator – is the one of the Alpha and the Omega: AΩ, in Greek characters. In early Christianity the symbolism of the Alpha and Omega was even more prevalent than the one of the Cross. The Alpha and the Omega are respectively the first and the last letters of the Greek alphabet. As such, the symbolism of the AΩ in fact means “the Beginning and the End”. The symbolism originally arose in the New Testament, in the Apocalypse of St. John, the Evangelist:

“Behold, he is coming with the clouds. Every eye shall see him… So shall it be. Amen. “I am the Alpha and the Omega”, says the Lord God, “who is, who was and who is to come, the Sovereign Lord of All”. (Rev. 1:7).

“Behold, I am making all things new… I am the Alpha and the Omega, the Beginning and the End.” (Rev. 21:5).

“Yes, I am coming soon, and bringing my recompense with me… I am the Alpha and the Omega, the First and the Last, the Beginning and the End”. (Rev. 22:12).

In other words, Christ is the start and the end of all things, the beginning and the end of the eras of the world. In fact, the Book of Apocalypse (“Unveiling” or “Revelation”) refers to the eschatology of the world, the final events which lead to the dissolution of an era and the start of the subsequent one. It is visible that Christ is, at least at the cosmic level, an allegory of Atlantis, much as are Purusha and other such figurations of the “Sun” and the “Cosmic Pillar”. It is thus that should be understood the allegories of Christ Cosmocrator as the Lord of the Zodiac (or as the Pole Star) which are so popular in the Byzantine Church.

As usual, these figurations reproduce Hindu motifs such as Purusha at the center of the Cosmos which we already encounter in the Rig Veda. The Christian doctrine is also derived from the Old Testament (for instance Isaiah 41:4; 44:6, Psa. 90:2, etc.), where the same claim is made by Jahveh. A comparison with the Hindu doctrines on the OM – for instance the poem quoted at the head of the present chapter – will disclose that the doctrine taught is literally one and the same.

As is clear, the Judeo-Christian doctrines on eschatological events came directly from Hinduism, where it originated. Even more exactly, both doctrines indeed came from Atlantis where the tradition actually originated shortly after the cataclysm which destroyed it. Such is the meaning of the tradition that Atlas became “wise” (oloophron) after the cataclysm and invented Philosophy and perhaps even Religion itself.

It is only in this way that we may successfully explain the absolute universality of these myths and the central role that the Atlantean events assumes in all of them. In fact, the connection with the Alpha and the Omega and the Beginning, the Middle and the End is once again literally derived from India. For instance, in the Bhagavad Gita, Krishna – who is in many ways the archetype of Christ as the Man-God and the Saviour of mankind says of himself:

“I am the Father of the Universe as well as its Mother. I am the Beginning and the Maintainer of everything. I am the aim of all true knowledge. I am the Mystic Syllable OM… the Beginning and the End, Creation and Dissolution”. (Bh. Gita, 9:17-18).

“I am, of all Creation, the Beginning, the Middle and the End… Of the letters, I am the A… I am Never-ending Time. I am the Creator who oversees all. I am All-Devouring Death – which spares no one – as well as Rebirth, who dissolves Death itself”. (Bh. Gita, 10:32-33)

The parallels between these passages and the ones of Revelation just quoted are too closed to be dismissed. It is clear that “St. John”– whoever he was – had a copy of the Bhagavad Gita and other similar Hindu scriptures on hand when he composed the Book of Revelation. According to Hindu traditions – which should not be idly dismissed – the Bhagavad Gita was dictated by Krishna to Arjuna during the course of the great battle of the Mahabharata, which brought about the start of the Kali Yuga, in 3,102 BC. As such, the book is hence far older than the Judeo-Christian Testaments.

But what is important to remark here is the connection between the Hindu OM and the Christian AΩ, which even sounds similarly (A-Omega). Both are connected with the Beginning and the End, which is also the meaning of the Mahabharata, the Great War of the Bharatas, as the dissolution of an era and the beginning of the next, the Kali Yuga. In fact, the sounding of the Mystical Syllable apparently starts in an era and ends in the next, as its symbolism suggests.

We believe that the sound in question here is the fearful rumble of the giant volcanic explosion which finished off Atlantis at the dawn of the present era. When the Krakatoa Volcano erupted, back in 1883, the sound of its explosion was heard half across the world, as a fearful thundering. Since this explosion – which caused over 40,000 deaths with the giant tsunami it engendered – was only a pale replica of the prehistoric one which destroyed Atlantis at the end of the Pleistocenic Era, we can imagine the fear it instilled in the minds and hearts of all peoples on earth.

Small wonder then that the event was everywhere equated to a theophany, a divine manifestation of God himself bringing about the world’s end and the beginning of a new era, the one the Hindus call the Kali Yuga, the gloomy Iron Age in which we presently live.

Primitive Myths Are Far From “Primitive”

What we just said is true not only for Hindu myths and symbols but also for the so-called “primitive mythology” as well. In fact, Hindu mythology is perhaps the source of all others, as we came to realize in time, after having studied and decoded a myriad such over the years. It is impossible – if we rule out divine intervention – that the primitives everywhere in the world would all independently succeed in devising myths which they not only fail in fully understanding (much as ourselves, by the way), but which far transcend their intellectual capabilities.

What is more, myths and symbols are everywhere very much the same: the Swastika, the Cross, the Mogen David, the Celtic Triple Wall, the Dotted Circle, the Double Spiral, the Whirling Mountain, the Pole Star, the Double-Headed Eagle, the Eagle and the Serpent, the Caduceus, and so on. They all treat, both in the New and in the Old World, of themes such as the Universal Flood and Conflagration, of the Triple World (Tribhuvana), of the Terrestrial Paradise, of the Golden Age, of Cyclical Time, of the Return of the Dead, of the War of Gods and Devils, and so on.

All these themes figure centrally in Hindu myths and symbols, and indeed configure the essence of this pristine religion, which dates from earliest times. As we have concluded after a detailed study – and as we argue elsewhere in detail – we believe that Hinduism was the source not only of Buddhism and Taoism, but also of all religions, both primitive and “advanced”, which are all essentially one and the same, at least insofar as their eschatology is concerned. To ignore these cogent parallels – pointed out by essentially all experts on Symbolism and on Comparative Religion and Mythology – is to ignore the obvious, and only shows the blinding force of racism or religious fanaticism disguised as scientifism and skepticism.

We quote, in Appendix I, our correspondence with Prof. Subhash Kak, which provided the impetus for the present note. We omit the more personal stuff for obvious reasons. Since this correspondence is prone to grow, and since the dear professor sent me a note on his views on the matter, we deem this to be the best way to provide his views in full, including his note, etc.. Here…..

The Trishula and the OM Glyph

In our discussion with Prof. Kak (see mails below) it became clear that the “derrière” portion of the OM glyph closely resembles the shape of the numeral 3 in “Arabic” characters. In his own words:

You’re right, there are a variety of Indian alphabets. I don’t believe that the Devanagari A lost its bar to become 3. If you see the excellent book by Georges Ifrah, From One To Zero, you will find that the symbol for 3 is simply 3 horizontal lines that have been joined together. It is so complicated writing about the alphabets using the keyboard. I would await your paper and then send you my comments.

This interesting observation set me to think the matter over. It is interesting to observe that the numerals 1; 2; 3 are formed, respectively, of one, two, three angles, as someone noted. The connection with three horizontal bars closely evokes the trishula (“trident”) of Shiva, as well as its Greco-Roman counterpart, Poseidon. In fact, Poseidon or Neptune is copied from Hindu marine deities such as Apam Napat (or Napat Am = “the Child of the Waters”); and Idas Pati (or Pati Idas = “the Lord of the Waters”). Even Triton is copied from India, from Trita Aptya (“the Third One Born of the Waters”), the Vedic god of the waters.

It is certainly more than a coincidence that Poseidon-Shiva is the founder as well as the destroyer of Atlantis. After all, we have been arguing that Atlantis was indeed the source of the alphabet. Atlantis was also quite probably the actual source of the improperly called “Arabic numerals” such as the ones just quoted. These numerals are now known to have originated in India, where the Arabs learnt them, and later brought them over to the West.

This is also what probably happened with the “Semitic alphabet”, probably brought over from there by the elusive Phoenicians who, from the earliest times, carried on the lucrative commerce with the East Indies, whence they imported the spices, the metals, the fine woods, the medicinal drugs, and so forth. In Fig. XXX below we present a list of Indian numerals which, as anyone can see, are essentially identical to the “Arabic” ones we currently use.

Fig. XXX – The Indian and Arabic Numerals From One to Ten
(L. Frédéric, Dict. Civ. Ind., pg. 287 and M. H. Gobert, Les Nombres Sacrés, pg 11)

There were apparently some interchanges along time, witness how the Nagari five resembles our glyph of 4, and how its seven resembles the one of 6. The Arabs themselves – like all Semites – used the letters of their alphabet as numerals. So did the Greeks and the Romans, along most other nations of the Occident. It was only in the 10^th. century AD that the Europeans started to use the “Arabic” numerals at the command of Pope Sylvester II. These entered the Occident via Spain, conquered by the Moors.

An inspection of the above figure shows that the Indian origin of these numerals is undeniable. Moreover, the Indians knew and used these numerals since the earliest epochs, despite the fact that hey often reserved their use for profane calculations, using more recondite symbols and words for the recording of dates and such important uses where secrecy was required. Accordingly, they used the name of the Earth for one, the Ashvin twins for two, Fire for three, the (four) Yugas for four, and so on. It should be noted that the zero, said to be one of the greatest mathematical inventions ever, was created by the Hindus.

Even the usual symbol of infinity – a recumbent 8 (∞) is derived from India, and represents the symbol of Ananta (“Infinity”). Ananta is also called Shesha, the Serpent. He represents Shiva and, even more exactly, his giant phallus castrated and thrown into the waters of the Primeval Ocean. Since Shiva is both the Lord of the Waters (Trita) and the Lord of Fire and is symbolized by his trishula (or trident), it is to be expected that the numeral corresponding to 3, Fire, in fact represents a trident, as it indeed does.^[11]

This fact can be observed in Fig. XXX, where Shiva is represented by his trident. Such is hence the true meaning of the 3 in the Devanagari OM glyph. It should be noted that A (short or long) is also a mystic name of Shiva, just as U is a name of Brahma and M the one of Vishnu, the AUM representing the Trimurti (Indian Trinity). Since the 3 (३ in Devanagari) represents the number three – and the trishula that expresses it – it is to be expected that the other part of the OM glyph ॐ, the recumbent, inverted 6 is also a numeral. Looking in the tables of the above figure, we see that it roughly corresponds to the numeral 1, which is १ in Devanagari, and has the correct position in Malayalam, for instance.

So, the glyph perhaps expresses the idea of 3+1 = 4. Now, just as 3 is the number of Shiva (Trikaya, Trishula), the number 4 is the one of the Four Yugas, the central concept of eschatological Hinduism. This suggestion may seem artificial at first sight to those unfamiliar with the intricacies of sacred Symbolism. But the inherent logic will appear next, when we discuss the symbolism of the caduceus, which is more or less the same. In other words, the OM glyph suggests the process of passage from 3 into 4, that is, of the third era into the fourth, the end of the Pleistocene and of Atlantis some 11,600 years ago.

Accordingly, the chandrabindu indicates the nasal M, as we already argued. The idea seems to be the one of destruction by the agency of Water (Am = “Water” = the Flood) following the one by Fire (Shiva) both from above (A) and below (U). Of course, this numerical interpretation does not invalidate the verbal ones offered by Dr. Kak, as well as the ones which we argued above. In fact, this is complementary to it, given the fact that Symbolism works at several different simultaneous levels.

The Footprints of Buddha and Vishnu

The so-called “footprints of Buddha” – so popular in the Far East – often incorporate the image of the trishula, as shown below in Fig. XXX (b). The footprints of Buddha – like those of Vishnu – indeed signify the Eras of Mankind. Buddha is often related to the seven eras (Manvantaras), whereas Vishnu is associated with the Trivikrama (“three steps”), a somewhat different way of counting the eras, which we comment below. These “footprints” are said to be filled with “honey”, indeed an euphemism for the molten magma that fills the volcanic caldera allegorized as the giant footprint.

Fig. XXX – Variants of the Trishula and the Caduceus
(a) Shiva Portrayed by His Trident (P. Rawson, Tantra, pg. 13)
(b) – Buddha’s Footprint With The Trishula, Swastikas and the Wheel-of the-Law (see at end)
(c) – The Proto-Shiva of Harappa Crowned With a Trident (Internet, etc. (see at end)
(d) – Indian Tridents (Trishulas) (C. Goblet d’Alviella, Migr. Símb., figs 143 (i), 144(ii), 145 (iii), 146(iv),147(v), 148(vi), 149(vii), 154(viii), 155(ix), 152(x))
(e) – An Early From of the OM Glyph with Mt. Trikuta (see at end, OM with Mt. Trikuta)

Alternatively, there must have been contacts – via the east, obviously – between the Americas and the Far East, a fact that shatters the current paradigm on American civilizations. No matter what, these contacts cannot be rationally denied anymore. If the pre-Beringian contacts are favored as an explanation, the only possibility is Atlantis itself. No other nation of such a remote date could possibly have the required technology to reach the distant Americas and, moreover, convert them to a Buddhic-Hinduist type of religion.

The excellent work of Count Goblet d’Alviella (La Migration des Symboles, Paris, 1892) allowed us to verify the clever way in which the trishula changes, first into the caduceus in India (nagakal) and then into equivalent symbols in Assyria, Egypt, Greece, etc.. Time and space are lacking for a full discussion of this subject here, and the interested reader is directed to our more specialized works on the subject of Symbolism.

First of all, we note that the earlier form of the OM glyph shown in (e) above substitutes the trishula by Mt. Trikuta. Now, this is no coincidence, given the fact that the Sanskrit word trikuta means “three-pronged” or “three-peaked” as well as a trident or trishula. This fact is a cogent proof that the meaning embodied is indeed related both to Mt. Trikuta – the Holy Mountain of Lanka – as well as to Shiva’s trishula, the instrument he uses in order to destroy the world.

Now, as we argue in detail elsewhere, the Vadavamukha is really the Krakatoa volcano, now submerged in Indonesia, in the very region which we identified as Atlantis-Eden two decades ago, perhaps for the first time ever. It is certainly far more than a coincidence that the Krakatoa volcano has now been reduced to a giant volcanic caldera submerged under the seas, just like the atrocious Vadavamukha. Moreover, the Krakatoa is now formed of three craggy, sinister islands rising from the bottom of the sea like some sort of Shiva’s trishula or Poseidon’s giant trident.

In this figure, we also have in (a) Shiva portrayed by his trident, an usual symbolism. The two fiery pillars shown in the background represent the twin Pillars of Hercules and Atlas, central in the Atlantean symbolism. The same idea is also symbolized by the two goddesses bearing torches at the sides of the Trishula. The two swastikas again express the same idea of the eras changing (whirling). So do the Sun and the Moon above, whirling around the Holy Mountain (Trikuta), as they usually do, in the universal symbolism, for instance in Free-Masonry. The dark skies above represent the darkness which covered the site of Paradise destroyed and turned into gloomy Tartarus (Dhumâdi).

In (c) we show the famous proto-Shiva of Harappa. This personage is said to be the Lord of the Animals, that is, the creatures of the Zodiac. This figure of Shiva finds a close counterpart in Cernunos, the horned Celtic god, as several authorities have pointed out before. The parallel is so close, both in shape and in role, that it cannot be denied. In other words, this type of parallel shows a pristine connection of the Celts with Harappa and the Far East as well, as we show elsewhere.

We note that the horns do not belong to the god, but are some sort of a horned crown or cap he is wearing. In fact, this crown is the trishula in its usual Indian from as seen, for instance, in the pair of trishulas (one broken off) decorating the top of the beautifully sculpted portals of the Sanchi stupa. This design is the same as the one shown in Buddha’s footprint just discussed. Here, the trishula was cleverly altered to resemble a buffalo’s horns curved downwards. But the palmette at the center is a telltale evidence of he true meaning of that crown, as we argue elsewhere in detail.

This motif has to do with the “bullhead” capitals of Phoenician pillars (and several other nations) which we discuss there. This motif often turns into related symbols, for instance the curved, open, upturned legs of sirens or the anchor of early Christians or the curious OM glyph from Mohenjo Daro made of twin monster heads with curved necks forming a figure of 3 which we comment elsewhere. Its meaning is again tied with the giant tsunami (tidal wave) which is known in the universal tradition as the Flood. This remarkably early OM glyph is discussed in the next section.

In fact, the palmette, which often becomes a Δ, represents the volcanic peak in the process of exploding. The coiled portions are the two waves spreading away from the epicenter where the explosion occurred, stirring the waters in a giant wave. We well realize the difficulty the reader will have in accepting this interpretation so against the views of current academic theories on human past. But the coherence of these symbols is, to say the least, extraordinary.

And they are supported by Religion, if not by Science itself, at least according to its present paradigms. But even the evidence of geological and climatological facts supports our conclusion. And these facts infirms the current academic doctrines such as Darwinian Evolution and Uniformitarian Geology, so grossly against the empirical evidence from all sides. Hence, it is Darwinism which must be rejected, as superseded, rather than Religion and Creationism when properly interpreted, as allegorical truths in accord with the doctrines of Hinduism concerning the Yugas and their dire reality.

As we just said, the superb but forgotten work of Count d’Alviella helped us to correctly interpret the occult meaning of the OM glyph and its connection with symbols such as the ones just mentioned: the trishula, the palmette, the ox head capitals, the horned crowns, the double spirals, the spread-legged sirens, the three-horned bulls, and so on. We discussed this subject in detail elsewhere, and feel no need to redo this discussion here all over again, except in what concerns the illustrations from this source shown in the above figure, in (d).

In the first drawing of this series we have the trishula of the Sanchi stupa, and, more exactly, that of the likewise famous Amaravati stupa. These stupas are in fact mandalas, similar to the Kalachakra mandalas we discuss in some detail in our Atlantis site. Their dome represents the Holy Mountain (Mt. Meru) as the mountain at the center of the earth. This mountain is a volcano, and exploded, destroying the site of Paradise, as illustrated in the mandalas just mentioned.

Amaravati is the paradisial capital of Indra. Its name means “Abode of the Immortals”. As such it is also called Devapura (“City of the Gods”). In fact, Amaravati corresponds to Atlantis’ capital (Poseidonis) in both shape and symbolism. It is situated on the slopes of Mt. Meru, the Holy Mountain which is no other than Mt. Atlas itself. The plan of the Amaravati stupa, like the one of Sanchi and others such closely corresponds to the one of Atlantis, as described by Plato.

The walls are triple (trimekhala), as usual in such mandalas. The dome is the Holy Mountain itself, and the platform at its top (chattra) symbolizes the “atomic mushroom” of the colossal explosion which destroyed the site of Paradise. At the Four Cardinal Points we have four gates (toranas) which correspond to the ones mentioned by Plato and forming the figure known as “the Cross of Atlantis”. Their pylons correspond to the “Pillars of Hercules” so important in connection with the Atlantean symbolism.

The highly ornate trishula itself (the first illustration (i) of Fig. XXX (d)) symbolizes the waves – really a single circular wave – spreading from the epicenter of the explosion as a giant tsunami. The circle at the center is a recurrent feature and represents the exploding volcano. And the central triangle represents the volcanic peak itself (Mt. Meru or Trikuta). In (ii) we have a clearer illustration of the same fact. Here, the trishula is placed on top a fiery pillar, another recurrent symbol of Shiva as the Pillar of Heaven, the counterpart of Mt. Atlas or Meru and a name meaning in fact a volcano, as we already explained.

The tips of the trishula – the recumbent figure of 3 similar to the one of the Om glyph – are terminated by crosses or trefoils. These again refer to triplicity, as well as to the death of Paradise, turned into a giant cemetery, or rather, a burning ground. The fiery pillar also alludes to Mt. Atlas as the Pillar of Heaven. In (iii) we have the trishula on top a circle, in turn placed on top a triple peak. All in all, this trishula closely corresponds the early from of the OM glyph just commented. This design reproduces a coin of Krananda, the earliest known from India. Krananda was a contemporary of Alexander, hence from the late IV century BC.

The circle on top the central peak of Mt. Trikuta corresponds to Amaravati itself, the City of the Gods. Certain Japanese mandalas which we comment in detail elsewhere leave no room for doubting this identification. In fact, the city si shown in what is technically called “side-elevation projection”. This means it is turned on a side in order to be rendered visible in the view in question. The triple parasol (chattra) at the side of the pillar represents the three eras already elapsed, with he fourth one being represented by the exploding pillar itself.

In (iv) we have the sculpted trishula of Buddha Gaya. Here it has the central peak on top a hollow circle which again represents Paradise. The hollow circle is purposeful, It means the void into which Paradise was turned by the fiery explosion. It is the (Hindu) symbol of nought or emptiness, as we already argued. The central peak of Mt. Trikuta is shown as the triangle at the center of the trishula. And the spreading waves are shown as the two side-branches of the trishula.

In (v) and (vi) we again have the decorations of two ancient Indian coins. Here, the fourfold symmetry of Atlantis is again evident. The first coin has a passable rendering of Atlantis as a dotted circle at the center of the four trishulas. The dotted circle also symbolizes the Sun, itself a symbol of Atlantis’ fiery volcano, which exploded “with the intensity of a thousand suns” to quote the Hindu sources on the matter. In the second, the sun figures explicitly, as a round face.

In (vii) we have a sequence of caduceus and trishulas reproduced by Goblet d’Alviella. We note the gradual passage from one to the other symbol, showing their underlying identity. The caduceus is a Hindu symbol (the nagakal = “coiled nagas”). It somehow passed into Greece as Hermes’ attribute. Hermes, the psychopompous deity is an alias of Shiva in his role of Dark Sun and Lord of Hell (Yama). And Hell is of course the same as Paradise Destroyed.

We have made the remarkable discovery of the real meaning of the symbolism of the Hindu caduceus and trishulas shown here. It is actually the glyph of the Hindu numeral 4, as shown in Fig. XXX above and which looks like this ४ in Devanagari. What the number four means in Hindu symbolism are the Four Eras of Mankind, usually represented by the Four Yugas. This symbolism is standard in Hinduism, and cannot be easily countered. Here, the connection with the four eras is also self-evident, as we already argued.

This glyph exactly corresponds to the early versions of the caduceus not only in India, but also in Greece and in Gaul, as well as in Etruscan Rome. What this glyph represents are the twin serpents of the caduceus united by the tail and with their heads erect. Alternatively, it represents the Ouroboros as a twin-headed serpent with both heads raised. This serpent, the Ouroboros is indeed Shesha (or Ananta) which is no other than Shiva in his serpentine avatar. The rearing heads signify that the serpent has awakened an is about to destroy the world with its twin fiery mouths.

The poles on top which the caduceus and trishulas are placed are again a symbolic representation of Mt. Atlas, the Pillar of Heaven. The twin serpents represent the same as the Serpent Shesha and his twin and counterpart. Some of the lateral arms of the trishulas shown assume an aspect of fish tails, which eventually turn into a siren’s legs, as already mentioned.

In (viii) we have the trishula of Sanchi shown in close-up. Here the details are even more telltale of a connection with Atlantis. Starting from the base. The four-stepped pyramid represents Mt. Meru as a stepped pyramid. The four steps correspond to the four eras. The two coiled arms around it resemble raised elephant trunks. In fact, they correspond to the Indian glyph of the numeral 1, more or less as it apparently does n the OM glyph itself, as we saw above.

It is interesting to note that the alpha or aleph of the alphabet also corresponds to the numeral 1, being the first of all. This name does not mean “bull” at all, as usually claimed, but “elephant” (elephas, in Greek). This word can be derived from Dravida, whereas the Semitic word for “bull” is really taur, as we already argued. The elephant is important in Hindu traditions, and is usually identified to Indra, the watery god who is in fact a personification of the Flood. It symbolizes the onrush of the tsunami wave, as irresistible as a herd of stampeding elephants.

The lotus within the concentric circles is another conventional representation of Paradise or, more exactly, Atlantis. The lotus represents the exploding volcano as we argue n connection with the Kalachakra mandala, the view in plant of the same event shown here in a lateral view. The Lotus is the Golden Flower of Taoism, as we argue in detail elsewhere. It represents, as we already said, the “atomic mushroom” of the exploding volcano.

The central peak inside the trishula is here explicitly shown as a three-peaked mountain or pillar, in direct connection with Mt. Trikuta. And the side arms of the trishula again resemble an elephant’s trunk, in the same symbolism as before. Here, the waves spreading from the center are shown explicitly in a vivid portrayal.

In (ix) we have a symbol which is even today popular in Hinduism. It is the so-called Jaganatha (Vishnu) which English renders as Juggernaut. Here, the glyph became a stylized man with the arms raised in the position traditionally called orante (“praying person”). The orante is the same symbol which the Egyptians called ka, and represented by two raised arms. This symbolism directly pertains to Indonesia, as we argue elsewhere. When closely examined, the symbolism becomes self-evident, now that it has been decoded.

The concentric circles again represent the sun, alias Fallen Sun, alias Atlantis-Eden. The stole hanging from the man’s arms is another traditional motif that ranged as far as Greece and beyond. It symbolizes Setubandha, which is indeed Lanka, in Indonesia. The band or stole represents Rama’s Bridge (Ramasetu), the connection between the continent of Asia and Indonesia itself, formerly linked to the now sunken continent of Atlantis. In Greece, the stole became Hercules’ bandolier.

In Phoenician symbolism, it becomes the serpent hanging across the Pillars of Hercules to form the figure we now associate with cash, $ which usually has twin parallel bars rather than a single one as here. The base of the figure symbolizes the altar, the sacrificial stone where the Primordial Sacrifice was indeed performed, as the true archetype of all such. This stone is the Cubic Stone represented by the Ca’aba of Mecca, the Christian altars, and so on. The mountain on top the Juggernaut’s head is again triple, like Trikuta. And the spreading waves have now become his horns, another usual convention found just about everywhere in the world. We will return to the theme of the Primordial Sacrifice further below, when we comment the myth of Bali and Vamana.

We finally turn to figure (x). This is mighty close to the OM glyph, except that turned to the vertical. This is an Assyrian symbol of great antiquity which is discussed by Goblet d’Alviella. Here, the trishula has been substituted by a scarab beetle rising the sun in its front legs. The scarab has its wings opened, forming the trishula. And it stands on a pillar with a triple top which represents Mt. Trikuta itself. This scarab and its ball of dung (the sun).

The scarab is an Egyptian which is there equated with the god Khepra. Khepra is a symbol of resurrection and the “sun” it raises in fact designates Atlantis turned a “ball of dung” buried in the filth brought over by the Flood and the myriad dead it carried on its waves. The resurrection represents the promise of the eventual rebirth of Paradise and all its many dead in Doomsday. A great many parallel symbols could be further adduced. But the above shall suffice for the present purposes, as they are so clear in their meaning which, though hard to believe is even harder to dismiss.

The Amerindian Connection

As we comment in detail elsewhere, in both Peru and Brazil, the Indians held/hold that Viracocha (or Sumé) had left their footsteps engraved in the rock, just as Buddha and Vishnu did in the Far East. Many of these sacred footprints are described by the early chronists, and closely resemble those of the Far East both in the giant size and in other features such as the sacred markings and the esoteric connection with the avatars of the saviour gods and the Flood, which they herald.

We have also pointed out the connection with Pegasus, and its footsteps, so closely connected with Doom. It is said that wherever Pegasus lands his foot – only very rarely, thank God – the Source of Doom arises to flood the entire world. It is clear that all these legends and traditions originated from one and the same source, whatever the actual source of the myth could indeed have been. We believe that this source were indeed the East Indies, as the American traditions unanimously point to the Orient – that is, the Far East, as the place whence these mythical savior heroes originally came. For instance, the Peruvian Indians affirm that Viracocha – or Bochica or Sumé, their aliases – came from the East Indies. When his mission ended, with the Indians turned against him, he went back to the Indies, riding the waves of the Pacific Ocean with his bare feet.

Large sized footprints similar to those of Buddha and Vishnu, and likewise engraved in stone are also shown by the Indians all over the Americas. Here, they are attributed to mythical heroes such as Sumé, Bochica, Viracocha, Quetzalcoatl, etc.. These civilizing (or saviour) heroes are indeed the Amerindian equivalents of Buddha and Vishnu, not to mention Shiva himself.

And like them, they also herald the end of the world, which draws near when they descend in an avatar, just as is the case in India. These parallels are too close to be explained as purely “coincidental”. Hence, they may only be ascribed to diffusion. According to the usual theory on the Beringian Passage, this contact must have taken place before the end of the last Pleistocene Ice Age, some 11,600 years ago.

Otherwise, this passage would be closed, preventing any further contact between the Old World and the New, unless the standard theory on the independent development of Amerindian Civilization is sorely in error, and the contact between the two worlds was intensive enough to entail Amerindian conversion to Hinduism and/or Buddhism.

The Amerindian accounts of the origin of the sacred footprints of the saviour god are extremely interesting, as they provide a direct connection with the myth of the Flood. Couto de Magalhães, the Brazilian anthropologist, quotes Thevet’s account of the myth, which runs thus:

“Above all earthly things there is a being whom they call Moñan or Monham. This word means “Creator, Builder, Author”. To him they attribute all perfections which we attribute to God. From him was born Irin Magé, from whose head Tupan was born. From Maire Moñan were also born two other sons before his death. One was called Sumé – whom the Jesuits understand to be the Apostle Saint Thomas – and Caraiba, whom the Indians burnt. From Sumé, two sons were born Tamandonaré (Tamandaré) and Aricuta. Tamandonare was good and practiced agriculture. Aricuta was evil, brave, and bellicose. In time, he attempted to kill Tamandonaré who, striking the ground with his foot, caused water to spring out of it, causing the Flood.

“In order to save their lives, the two brothers climbed to the top of two high mountains. But the waters kept on rising, so that, in order to save themselves, Tamandonaré, the good twin, climbed on top a palm tree (pindoba), whereas Aricuta climbed on top a genipapo tree. In the Flood, all people on earth died, except Tamandonaré, Aricuta, and their wives, from whom all people on earth descend. The good people, the Tupinambás, descend from Tamandonaré, while the evil ones, the Tuminus, descend from Aricuta. There will always be eternal rivalry and war between the two”. ^[12]

The genipapo tree (Genipa americana) produces a fleshy fruit whose juice is used as a blue dye by means of which the Indians paint their body in times of war. The pindó or pindoba is the palm tree which gave Brazil its Amerindian name of Pindorama. Some experts believe that this name originally applied to the primordial homeland from which the Brazilian Amerinds originally came. According to Couto de Magalhães, our Indians came from the west, from Peru, descending the mighty Amazon River. Hence, they probably came via the Pacific Ocean, as the Incas and other South American Indians also did.

This primordial Pindorama – whose name means “Land of the Palm-Trees” – seems to be the same as the primordial Phoenicia, whose name also means the same in Greek. As we explain elsewhere in detail, this Phoenicia – which should never be confused with the land later so named by the Phoenician colonists – is indeed the same as Delos or Ortygia or Hyperborea, the Land of the Palm Tree where Apollo and Diana were born. Delos is indeed the same as Atlantis-Eden, that is the Primordial Paradise. ^[13]

This tradition is probably akin to the Hindu one of Jambudvipa, the paradisial abode (dvipa) whose giant Tree of Life could be viewed from afar. A Greek derivation seems impossible. But the Greeks may have gotten the word from the same Hindu sources as the Brazilian Amerinds did. In fact, the Greek base orama is related, according to Skeat, from the IE base wer-, as in “wary, aware, ward”. This is in turn related to “horizon”, meaning “a boundary or limit”, such as the one seen by a warder or guardian from his watchtower.

This base, in turn, relates to the Dravida #5261 vara– meaning “border, boundary, limit, ridge of a field, enclosure” and, by extension, “horizon”. This base again relates to the Skt. vara meaning more or less the same as in Dravida. The concept closely evokes the vara of Yima, the Persian hero of the Flood, in pre-Zoroastrian traditions. Yima derives his name from the one of Yama, his Hindu archetype. And Yama is the ruler of Hades (Hell), visibly the site of Paradise Destroyed.

The vara (or “enclosure”) of Yima was some sort of Noah’s Ark or, better yet, as the Garden of Eden, a paradisial, abode, where the “seeds” of the Golden Age were guarded and preserved from the fire and water of the Flood. Yima is a close replica of Yama, whose role was more or less the same. In other words, it is clear that the vara in question here is an enclosed, well-guarded place, more or less as the Garden of Eden, which turned into Hades after the Flood. In fact, the word “garden” (i. e., “guarded, watched”) means precisely the same. These are also related to Varuna, alias Poseidon, whose name also derives from the same base.

The Araucan Cosmogony and Flood Myth

All in all, we apparently have, in all cases argued above, the very story of Atlantis as the primordial Phoenicia, which was surrounded or enclosed by triple walls and moats, as disclosed by Plato in his Timaeus. It is clear that the Brazilian tradition is speaking of two trees, the Tree of Life (the palm), and the Tree of Death (or Knowledge), here allegorized by the genipapo tree, the one whose fruits are associated with the evil spirit of war and dissent. There are two trees and also two mountains on whose top they grew, just as in the traditions of the Araucan Indians which we comment next, of in those of the Book of Genesis; the Tree of Life and the Tree of Knowledge, death being the true enlightener of the wise.

Again, these different traditions ultimately derive from India, where we also have the twin trees – the boddhi or banyan and the pipal fig trees, which we comment further below in the present document. There we also have the twin serpents of the caduceus (nagakal) and the twin mountains, the Sumeru and the Kumeru, whose esoteric meaning we also explain next. The idea is invariably the one of the evil and the good twins, precisely as is the case here.

And these in reality represent the twin races of Atlantis, the ones who warred in the past, and which will again, and again, and again, until they finally succeed in destroying the world for good, as they almost did the last time, when they destroyed Atlantis-Eden and we all barely escaped extinction. It is clear – even though on hindsight, the only time when all things really become obvious to all – that the Amerindian traditions are more than just similar to the Old World ones. In fact, the Brazilian traditions are also the same as the ones of the Araucan Indians of the Argentinian and Chilean pampas which we comment in detail elsewhere. ^[14]

We also note that the enigmatic Corral de los Muertos of the Araucan Indians which we comment in detail there is also no other than Hades itself. In fact, it is also the vara of Yima, and the Hiranya Garbha of Hindu traditions. And, as we just argued above, this “corral” or enclosure” is literally the same as the Pindorama of the Brazilian Amerinds, where the suffix -orama is distantly connected with the Dravida varam– (or *varama), meaning the same, as we just explained.

An interesting fact connected with the mystic syllable OM is reported by D. E. Ibarra Grasso, the great Americanist, in his seminal book on Amerindian Cosmology. The Araucan Indians – whose Flood myths we comment in detail elsewhere – tell that when the Big One (El Grande) created the world, he sent down some helpers (lesser gods or angels) in order to create humans. These were created in Paradise and were whites (gente de piel blanca), in contrast to more dark skinned people, whom God himself created, imparting life to both types. ^[15]

But they peoples were eventually thrown out of Paradise, and moved to the Americas, becoming the Araucans. From Paradise they also brought many things, including their Araucan tongue. Interestingly enough, the Araucan tongue is closely related to Tupi-Guarani, itself related to Dravida, as we argue in detail elsewhere. In the author’s own words:

Since they were destined to earth, they could not remain in heaven for long, and had to be thrown downtowards the earth. The new beings became afraid, cried and begged to remain in heaven. But the spirits consoled them and said: “It is only for a time. As soon as you have peopled the earth, you will be able to return to the upperworld. Never lose sight of the sun, both when it rises and when it sets. If you need help, shout: ‘O… Om… Oooom!’ [sic]. We will hear you… And when you return to heaven you will shine here in the above,and your children will be guides in the night. Fear not! The Big One will not abandon you. And so, they pushed the beings down to earth. Since the sun was so hot, they became dark. And their descendents are also born dark, as a recollection of the place whence they came.

Ibarra Grasso comments this remarkable passage – which he quotes considerably further – in these remarkable terms:

Some short comments. Here we apparently have, in a terribly abridged from, the Araucan doctrine of the Ages. The First Age is represented by the people which descends from heaven and knew the language of the animals… The Second Age is represented by Adam and Eve… The ThirdAge is represented by the beings created by the spirits and animated by Chau… Things are unclear, but one may apparently distinguish two past ages plus the present one. What really matters, however,is the: Om, Oooom. This word is present in the most ancient Egypt, and also appears in India, where it is he fundamental sacred word terminating the prayers to the gods. This word exists in many places in America. But it is only the Araucans who have preserved it intact.

We take the liberty of slightly disagreeing with the great erudite. In fact, we apparently have the Four Ages here when we include the lesser gods (or angels) who also figure in the myth. It is usual to have the men of the First Age, the Golden Age, identified to demigods or angels. Hesiod calls them “guardians” (Philakes) and “beneficial demons” (estloi daimones), “who invisibly rove all over the earth distributing wealth”. In fact, these eudaimones are precisely the same spirits of gods whom the Judeo-Christians call the Guardian Angels.

Hence, the Araucan helping godlets can safely be identified to the First Age; the “whites” to the second race (silvery); Adam and Eve to the third; and the present humanity to the fourth, the one of the Kali Yuga. Thus intepreted, the Araucan Doctrine of the Ages becomes essentially identical to the Hindu and the Greek one which derived directly from it. The quaternary structure of Araucan cosmogony is also instanced by the Holy Mountain, which they identify to a four-legged marine creature which seems to be exactly the Turtle (Kurma) of Hindu traditions.

This mountain then corresponds to Mt. Meru itself, and its four subsidiary peaks which again represent the Four Ages (Yugas). Interestingly enough, this holy mountain the Araucans hold to be a volcano, just as seems to be the case of Mt. Meru, as we have been arguing here and elsewhere. This mountain (Tenten) is also the Mountain of Salvation, just as in the Old World mythologies. And it is obscurely identified to a giant serpent who seems to be no other than the Serpent Shesha himself. So does his dual and enemy whose dispute leads to the Flood itself, as we argue in detail elsewhere – in our article on the Shipwrecked Sailor of Egyptian traditions.

This dual mountain and/or serpent also closely evokes the twin serpents of the Hindu caduceus (nagakal) and the Twin Mountains (Sumeru and Kumeru) which are also connected to the Flood event in India. As usual, these dualities invariably represent the twin races of India (Aryans and Dravidas) in their eternal disputes, which go on undaunted since the remotest epochs, notwithstanding the denial of some revisionists. We end this section pointing the interesting fact that the Om syllable of the Araucans just commented here seems to work in precisely the fashion it does in India and elsewhere. In fact, as the myth tells, any time the Indians need the help of the gods, and want their return, all they have to do is to recite the Sacred Syllable.

Of course, this is tantamount to invoking the Flood itself, as we have already argued. When the time comes, the Lord himself descends in an avatar to conduct the affair himself, with the help of the lesser gods, the Four Guardians. And these “angels” are no other than the Immortals, the “seeds” of the four Races of the Four Ages, as we already said. Eventhe “Fear Not!” seems to have been taken from India, in precisely the same connection. The “Fear Not!” is the very gesture of Shiva (abhaya mudra) when he descends to bring about the end, and carry on his terrible dance (tandava), the euphemistic representation of the giant earthquake in which all things “dance” to their end.

The Sacred Footprints in South America

The story just told of Tamadaré stomping his foot on the ground in order to cause the Flood is directly connected with the legends of Pegasus doing the same thing and creating the spring Hippocrene from which the Flood originated. This motif is also connected with the one of the Three Steps of Vishnu and the seven ones of the Buddha, as we already explained. In other words, the Amerindian legends not only complement those of the Old World, but often amplify and continue them further, bringing light into the obscure matter.

Small wonder then that they have been systematically suppressed by all sorts of censorship and persecution since the first days of the Conquista. Very little remains, and is fast disappearing along with the Amerindian and other traditional cultures everywhere. The objective is of course the planned one of wiping out these traditions where the ancient history of the world is recorded in so much detail. The real reason seems to be that there is something very shameful someone is been on hiding away from the public, something probably connected with the Original Sin, and the true nature of this evil deed, which is never clearly told anywhere.

We are hence limited to somewhat wild guesses such as the ones we present further below and elsewhere. The only thing we know for sure is that this shameful deed has to do with the War of Atlantis and the dire events that ensued, and which almost caused the destruction of the world and the catastrophic end of the last Pleistocene Ice Age some 11,600 years. Since this is also exactly the date set by Plato for the likewise catastrophic end of Atlantis, we are perchance entitled to connect the two events as we have been doing her and elsewhere.

We have also concluded that these events are also to be identified with the Flood and, indeed, with mythological Creation. Once the Judeo-Christians abandon their fanciful claims of literal historicity and start to recognize the fact that their own sacred traditions are mere variants of the far earlier Pagan ones, the reality and the actual meaning of the allegories told in their holy books will fast become established for good.

Among these is the realization that “Creation” is indeed another name for the start of an era such as the present one. Again, the “Flood” is the real event just mentioned, which was indeed global in extent, in contrast to the bunkish pseudo-scientific claims of Darwin and Lyell on the impossibility of global cataclysms. Moreover, the dates and the events in the Bible and the Gospels are purely allegorical metaphors, and indeed refer to the mythical times in which the actual event took place, the Dream Time of the Australian Aboriginals and the Zepi Tep (or “Primordial Times”) of the Egyptians.

Such is the reason, as Mircea Eliade argues, that the Bible and the Gospels invariably allude to these events as taking place in illo tempore, an expression which should be intepreted as meaning more or less the same as “once upon a time”, and hence referring to the mythical times when the world was in fact fashioned from the remains of the former eras of mankind. Computations such as the ones of the Bishop of Usher and other such “experts” – which place creation at 4004 BC and the Flood about a millennium later only lead to confusion and to utter foolishness, as the best Christian theologians are fast starting to realize. Hence, it should be discarded by all sane persons, since these calculations are wrong and unfounded. ^[16]

The story of Tamandaré stomping his foot on the ground in order to bring about the Flood evokes the ones of Buddha and Vishnu doing the same at era ends, when they land on earth, in their avatars, as we already commented further above. In fact, the Amerinds had legends absolutely like the ones of the Far East in connection with these sacred footprints, which they showed just about everywhere in the Americas, much as is done even today in the Far East. The idea is that these giant, sacred footprints commemorated the descent or landing of the saviour god or hero who came to herald that the Latter Days were close by, and the world would soon end, more or less as is the case in Christianism and in Judaism.

The footprints of Amerindian deities such as Sumé, Viracocha, Bochica, and others such are also reported by the early chronists and missionaries. One such is owed to A. Febrés, who tells us that when Sumé (or Thomé) came to Chile to announce the “good news” a new era drew near, he was rejected by the Indians, due to the fact that he was a white man (tenia su porte, su cara y sus cabellos parecidos a estes españoles que ahora están acá).

So, he went to a hill, and there gathered the animals of all sorts (las zorras, los leones [jaguars], los guanacos, los lagartos, y otros animales), to which he preached his sermon. They all stood upon a large flat rock, upon which they left their footprints. So did Sumé. And these footprints are visible to this day [vinieron a estar sobre una grande piedra, y en ella dejaron sus huellas, y este espanhol también dejó puestas sus pisadas en la piedra, y todavia se ven ahora.]. ^[17]

Father Nobrega, the famous Jesuit missionary to Brazil (1549), writes:

“They affirm that Sumé passed here. This is held based on the traditions they inherited from their ancestors and from the footprints seen near a river here. I went to see them in order to make sure. Four footprints very well marked, fingers and all. These are sometimes covered by the river, when it is full. They also affirm that when he left these footprints, he was fleeing the Indians, who wanted to shoot him with their arrows. When he got there, Sumé crossed the river, which opened up to let him pass, reaching its other bank, without getting wet. From there, Sumé returned to the Indies [my emphasis].

A similar story is also told of Viracocha, the Peruvian counterpart of Sumé. Viracocha preached a sermon on a mount, where he predicted the coming of white men as the heralds of peace. Unfortunately, the Indians mistook these heralds of Viracocha for the conquistadors, and the consequences of this mistake are too well known to require commenting. When he ended his discourse, Viracocha descended to the ocean – the Pacific, as some accounts tell – and returned to the East Indies, whence he had come, by walking over the waters of the ocean, more or less as Christ had done in the lake, at Genesare.

An Excursus on Lies

It is certainly more than a coincidence that similar footprints are also seen in precisely the same connection both in the Holy Land and the site where Buddha is said to have preached his famous sermon, which the one of Christ in the Mount Olivet is said to parallel. Buddha’s first sermon, after his enlightenment is called “Sermon on the Turning of the Wheel-of-the-Law”, which embodies the basic teaching of Buddhism. The Wheel-of-the-Law is the Buddhist and Hinduist symbol of Cyclical Time and the completion of the eras, showing that the end draws near.

The fact is that when he was ministrating his sermon, Buddha underwent a transfiguration and glowed, much as Christ did at Mt. Olivet. Hence, Buddha’s sermon is very much the counterpart of the one of Sumé, teaching the same thing. Buddha’s sermon was ministrated at the Deer Park, in Sarnath, near Benares. Of course, the mythical places are as legendary as the ones associated with Jesus and with Sumé, to mention just a few. They have counterparts nearly everywhere, and to take them verbatim is as foolish as to take the dates of the Flood calculated by Bishop Ussher for real.

The animals are often said to have stopped to listen to Buddha’s sermon, just as they did Sumé. In fact, this is just an allegory of the animals of the Zodiac pausing in their course and returning, itself an allegory of the reversal of time said to take place when an era is completed, and Time itself starts to run backwards, just as Plato explains in his memorable Politicus. The meaning here is precisely the “Turning of the Wheel-of-the-Law” of Buddha’s sermon, to which some scholars attribute the origin of Christ’s Sermon on the Mount.

My impression is that somehow Buddhist missionaries reached the Americas in prehistoric times, and there taught their doctrines, just as the Amerinds themselves claim. These doctrines the Amerindians rejected, more or less as the Hindus rejected Buddhism and the Jews rejected Christianism. But since prehistorians are unanimous or consensual in teaching that no contacts did take place between the New and the Old World, I must take their word for it, and find another explanation for the uncanny parallels between Amerindian and Hindu-Buddhic teachings. And, excepting the unscientific ones such as archetypes and divine revelation, all I can think of is the hypothesis of Atlantis-Eden. What else?

It is not my intention to rob anyone of their religious beliefs. Perhaps God and his son chose to manifest themselves to many peoples, in many parallel shapes which more or less repeat oneself, much as the several avatars of Krishna or those of Buddha himself. In this sense, Religion does not ever clash with Science, since the two relate to different realms and different planes of Reality, if this type of thing really exists, as many scholars are starting to wonder themselves.

No matter what, many scholars have reached the conclusion that Christ is merely a Solar Myth, and never existed at all, more or less as is the case of Buddha or Krishna or whatever, whose existence their worshippers of course consider as historical as the one of Jesus Christ himself. But if anyone is tricking us all, which is their real intention anyway? Why do so many defraud the public ever since the dawn of humanity itself? Well, perhaps they do it in the name of God himself.

Since humans are prone to disbelieve supernatural realities, they create a virtual reality more or less as Hollywood now does, and pass it of as historical proof of the uniqueness of their religious doctrines. In other words, the ends justifies the means, as is so often the case both in Politics and in Religion, as well as in Philosophy and even in Science itself. In this maze of lies and deception, how are we poor mortals to guide to guide ourselves out of the labyrinth into light?

Well, what my researches taught me is that Truth is unfortunately indistinguishable from Falsehood. In other words, there is no scientific way to tell one from the other. This is what the Liar Paradoxes due to Epimenides do teach us. The Internet is full of attempted solutions of this seminal paradox. But they are all false just as is as is Epimenides’ assertion itself. Here is my own solution to it, which is somewhat sobering. A liar is a person who sometimes tells lies, but not at all times.

So, you cannot really know when one is lying or not. Simple? Yes, but despairing. What it means in practice is that we humans can never tell whether what they feed us daily is true or not. Interesting that no one ever hit on this solution before. Is this because it is so utterly unpleasant? Or is it because someone has a veiled interest in keeping the public ill-informed on crucial matter such as the one in question here, so that they go on believing the voice of authority?

In other words, should these guys be believed when they assert that Atlantis-Eden never really existed? And how are we ever to determine in practice if Christ ever existed or not? And if so, was he indeed a god, or not? Difficult questions, all of these. But I keep wondering why people have so much difficulty in believing the actual existence of the Terrestrial Paradise, when most are so ready to believe the reality of the Celestial Paradise. Is this the result of people believing what they are told to believe, and vice-versa? Is this the result of the continued brainwashing we suffer all the time in state schools and the Sunday ones, as well as in the media and the academias?

The Connection with Hindu Myths

Another Hindu myth which closely evokes the one of Tamandaré’s stomping of the earth is the myth of Yama. The engendering of Yama and Yami, his twin sister was the result of the mating of the Sun (Vivasvat) and Saranyu, which is the Earth herself. We comment this myth elsewhere, and will not return to it here, except to say that this myth is extremely old and extremely important in India, where it dates from the Rig Veda (10:17:1-2) itself.

In fact, as we explain in some detail there, the myth of their engendering is really an instance of the Cosmogonic Hierogamy of Fire and Water, and is hence a Flood myth of sorts. It tells of the engendering of the humans in the place where the waters (Saranyu) join with fire (the Sun) forming the terrible Vadavamukha. And this is precisely the submarine volcano we identified to be the Krakatoa volcano, in Indonesia.

Yama and Yami are the rulers of Hell (Hades), itself the site of Paradise destroyed, as we already argued above, in connection with Yima’s vara. Their names both mean “twin”, more or less as the ones of the Amerindian tradition we just commented. In other words, Yama and Yami are the eternal Twins of the traditions we find just about everywhere in both the Old and the New Worlds. What interests us here is the episode where Yama attempts to kick his own mother (or foster mother, really) in the belly. The story is too complicated to explain here. ^[18]

Several authorities have attempted to interpret the difficult myth of the marriage of Sharanyu, the earth (or sea) and the sun (or fire). Max Müller saw it as the union of sun and dawn: Sharanyu espoused by Vivasvat: “dawn reddens the sun”; Sharanyu abandons the Twins: “dawn disappears, leaving the way for daylight”; Vivasvat takes a second wife: “the sun sets in the occident, creating a new dusk”, and so on. Barth saw in Sharanyu the clouds which often cover the sun, “uniting” with it. Kuhn, the great expert, saw in Yama an alias of Agni and a personification of the thunderbolt, invariably followed by the thunder, its “twin”.

Several such euhemerizations are available. This type of interpretation by celestial ephemerides and similar meteors was current in the 17^th. and the 18^th. century, but has now mainly have been abandoned by scholars as essentially foolish. Later interpreters such as Oldenberger and La Vallée Poussin saw in the Twins the Morning and the Evening Stars, an interpretation substantiated by innumerous traditions from all over the world. Hindu scholars generally interpret these myths as actual deeds of the gods themselves, or as subtle interactions of cosmic or spiritual forces such as electricity and gravitation, karma, etc..

The problem is that this type of identification is impossible to refute in practice, being hence unscientific in their essence. Moreover, no Christian or pious Hindu or Buddhist would ever accept the conclusion that all their beautiful myths, so obviously crucial in nature, only refer to ephemeral phenomena such as a cloud or a thunderbolt. The fact is that no one ever interpreted these events as actual allegories of a submarine volcanism, as we do. Even less, have they been interpreted in their connection with Atlantis-Eden and its destruction by the agency of Fire and Water.

This interpretation, now that it has been done, is self-evident, though a posteriori only. The mythical assimilations to meteors and such is only done for purposes of allegorization and metaphor, and the events themselves indeed refer to actual happenings of dramatic importance to us all. It is impossible my identification, so factual and so obviously real, can be but a dream or invention either mine or of the ancient mythographers, who sole purpose was to deceive the public. My interpretation of myths has at least the vantage of being refutable, and hence scientific, in contrast to the other interpretations just mentioned.

Interestingly enough, several Hindu scholars and some Western Indianists such as G. Corresio, Muir and Weber have interpreted these conflicts of Fire and Water as some sort of allegory of the Aryan Invasion of the Indus Valley, a theory which many Indianists now refute, basing themselves in authorities such as Shri Aurobindo. This sage affirmed: “We have demonstrated, more than once, that it is impossible to interpret the story of the Angiras, of Indra, of Sarama, the cave of the Panis, and the conquest of Dawn, of the Sun, and of the Cows as relating a political and military fight between the Dravidas inhabiting caves and their Aryan aggressors” (The Sons of Darkness, Arya, 1916).

We agree with the great scholar on that. In fact, the myth is far more than that. First of all, the AIT may be just another myth, as many Indianists now argue and the Aryans apparently just moved into the vacuum created by the emigration of the Indus Valley people out of their homeland, turned dry with the end of the Pleistocene glaciers which fed the Sarasvati river. But the dispute of Aryans and Dravidas is far more than that, and goes back all the way to paradisial times, when they lived together in Atlantis-Eden, their common place of origin. Moreover, their eternal war – which figures even in the Amerindian myths such as the one we are now discussing – is also involved with the Marriage of Fire and Water which corresponds to the catastrophic end of the Pleistocene, to which this dispute is connected, and even allegorically identified, at a metaphoric level.

Fig. XXX – The Marriage of Surya and Sharanyu
(J. Herbert, La Myth. Hindoue, pg. 94)

An ancient and traditional figure from India portrays the marriage of Sharanyu and Surya (or Vivasvat), the Sun (Fig. XXX). This figure is very interesting. It has been identified to the Marriage of Fire and Water by several experts. It shows the Sun together with his wife, Sharanyu. He couple is inside some bed clothes which is wrapped around themselves as some sort of bathtub. From it hang two bands of cloth which end in an egg around which a serpent is coiled.

The “tub” is placed on top this egg, which seems to be the Cosmic Egg so often connected with Cosmogonic myths. The Sun bears a pair of horns and Sharanyu wears some sort of crown formed by a pyramidal monument resembling a Hindu temple or a pagoda surrounded by fire. It is clear, both from the Cosmogonic Hierogamy of Fire and Water and the Cosmic Egg, that the figure, and hence the marriage in question that the myth of Saharanyu is indeed a Cosmogony. In Hindu mythology this is tantamount saying that the myth refers to an era transition.

He “mountain” or pyramid on top Sharanyu’s head clearly represents a volcanic in the enact of erupting. The “tub” represents the sea, where the event actually took place. The Cosmic Egg is the same as the Hiranyagarbha (or “Golden Womb”) of Hindu traditions. As we just argued, it is also the same as Paradise Destroyed and turned into Hades (or Hell) itself. This is also the Corral de los Muertos of the Araucan myth of the Flood and the Pindorama (or Paradise) of the Tupi-Guarani Flood myth or yet the vara of Yima, which are indeed allegories of Paradise itself as a well-guarded, walled place or garden or grove.

The couple shown are also the allegories of the two Pillars of Atlas and Hercules. As usual, the twin pillars are represented one by a mountain (Sharanyu) an the other by a giant crater here allegorized by the sun itself. Of curse, these two “suns” are the counterparts of the real ones, the Sun and the Moon, their celestial images and counterparts. The “horns” of the sun – so often represented by the crescent moon, as on Shiva’s hair decoration (mauli) – in fact represents a crater lake such as the ones which occur in he Toba volcano or the ones of Bali and elsewhere. In other words, the couple also represents the twin Merus, the Sumeru and the Kumeru.

Yama’ s Kick and Vishnu’s Steps

The “kick” of Yama is indeed an alias and counterpart of the third step of Vishnu, taken on top Bali’s head. In the account of the Markandeya Purana, their foster mother, Samjna, the “shadow” of herself posted by Sharanyu in her place, oppressed her foster children. Yama got angry at this mistreatment, and attempted to kick her belly. Samjna then cursed him, saying: “Since you threaten with your foot the wife of your father, a woman who deserves your respect, therefore your foot will certainly fall off”. In consequence, the foot of Yama shrivels, and he becomes lame.

Yama is truly an alias of Saturn, another lame god, according to Hindu mythology, which calls him Manda, “the slow one”. As such, he also evokes the figure of Hephaistos, another lame god. The complex story told in the myth is indeed an allegory of era changes. In fact, as Herbert’s analysis shows we have four such “marriages”, which really correspond to the four eras (or yugas) of Hindu traditions. In each of these eras is born a different Manu, whereas the Manu of the former era becomes Yama, the king of Hell.

The “kicking” of the Earth Mother by Yama also evokes the dancing of Shiva, also done by kicking the earth and raising a lot of dust. Shiva’s dance, the wild tandava, is indeed an allegory of the Flood, as we argue elsewhere. This dance is also likened to the thumping of a drum, the damaru of Shiva. The earth is here equated to a rum or cymbal, whose vibrating membrane is likened to an earthquake, and the “dance” or vibration of all things it causes. In fact, the Hindus also speak of a similar dance of Vishnu on top Kalya’s head (Bh. Purana, 10:17:2-12). Kalya is a giant serpent, who seems to be an alias of Bali and hence of the serpent Shesha himself.

Kalya hid within a lake in order to escape the furor of Garuda, whom he had offended. Its presence there poisoned the waters, and Vishnu plunged into the lake to chase away that serpent. The serpent succeeded in swallowing Vishnu, who tormented him from inside, until he was able to escape. Vishnu then danced upon Kalya’s heads, until he almost killed the giant serpent. He then let him go, his heads marked by the divine footprints, much as Cain was marked by God, after he had killed Cain. After this, Vishnu expelled Kalya and his people from the region, out to live in a faraway island of the ocean. After this event, the waters of the Yamuna were again purified from the devil’s poison.

The connection of Yama and Yami with the Diwali festival which we comment further below is also telltale of a connection with the Flood. The “tying of bands” of brothers and sisters in fact allegorizes the union of Fire and Water which took place at the time. Yami is often identified with the river Yamuna, mystically identified to the Ganges itself. Her brother, Yama is, likewise, identified to the Sun, or rather, the Fallen Sun who rules the netherworld along with his sister.

It is interesting to note how the roles of Vishnu and Bali apparently reverse here. Vishnu steps on Bali’s head, whereas Yama steps in his mother’s belly. Yama is an alias of Bali, so that we indeed have Bali stepping or stomping his foster mother who is indeed the earth itself, in a different avatar and a different era. Buddha, when he was born, measured out the universe in seven giant strides. Vishnu did even better, covering it in three.

In Sri Lanka there is a giant footprint on top Adam’s Peak. Originally, this footprint was identified with Shiva’s footprint, or the one of Vishnu. Later, when Buddhism dominated the region, becoming the official religion, the attribution was transferred to Buddha. Even later, the local religion became Christianism, and the footprint became ascribed to Adam, after whom the peak on which it is found was renamed. An identical footprint is also known in Thailand, associated with another step of Buddha, the mark of his right foot.

In Sri Lanka, the legend is told that when Adam fell from heaven, having been expelled from Paradise, due to the Fall, he landed upon the top of Adam’s Peak, where he left the impression of his foot. What this legend really tells is the connection of the Fall with the Flood, characterized by the imprint. The site of Mt. Olivet, where Jesus preached his famous sermon, is also marked by a giant footstep on stone, attributed to the Christian saviour.

In fact, the allusion is again to the Flood, characterized by the footprint, and the very sermon itself. This sermon is identical to the one of Buddha, as we already argued, and tells of the reversal of the Wheel-of-the-Law which, as we already saw, is indeed an allegory of the reversal of time itself which takes place at doom. The sacred footprints of Mohamed is shown in Mecca. Sacred footprints are also impressed inside several mosques. Similarly in China, where the footprints are ascribed to the Immortals. The examples could be multiplied at will, always in connection with the Flood.

The Meaning of the Swastika

Since we are speaking of the Four Eras of Mankind and the footprints of Buddha, we might as well discuss one of the symbols which is intimately connected with both them, the swastika. The swastika figures prominently in Buddha’s sacred footprints, and marks its toes. This mysterious symbol is one of the most intriguing and most widespread of all such which came to us from deepest antiquity. This name is Sanskrit, and means something like “be well! ” (su-asti). But it has several other names as well: fylfot (in Germanic tongues), croix cramponée or croix patée (in French), gammadion (from the Greek, as formed of four gammas), Jaina Cross, Crux Gammata (in Latin), tetraskele, and so on. According to an usual view often encountered in the literature, and first proposed by Emil Burnouf, the swastika derives its meaning from the two aranis of the pramantha, the Vedic fire-drill. But this notion is erroneous, as we shall see later. In fact, this is a derived symbolism. And one must not explain one symbol by means of another, as this is a sort of inescapable vicious circle. The swastika is said by the Buddhists to have been engraved in Buddha’s heart. For that reason, the emblem is often called “the Cross of the Heart”. Interestingly enough, the Christians are wont to trace out the sign of the Cross not only in their brows, but also in their hearts.

The swastika is also associated with Buddha’s footprints, as we just saw. The swastika is mentioned in the Ramayana, perhaps the oldest saga in human history, according to Hindu traditions. In fact, the symbol is found just about everywhere in both the Old and the New World. Since it is hard to believe that the use of this paradoxical symbol spontaneously arose in essentially the same context in both worlds, the sole explanations seems to lie in diffusion.

All other explanations are apparently unscientific, for they cannot be disproved in any feasible way, and are hence metaphysical. As such, this type of explanation is better left for the religious enquiries, and has no place here. So, all that we have to decide is whether the swastika entered the New World before or after the end of the Pleistocene, the time when the Beringian Passage, so often invoked by the specialists became effectively closed.

Now, this decision is a hard one to make. In the first hypothesis, we have to accept that all nations – or at least all those who had and the symbol in their religious rituals – once shared a common spot on earth. Now, this can only have been the pristine site of Paradise of which all traditions speak as the common focus of the dawn of Civilization. In the second case, we have to admit the former existence of an unknown civilization advanced enough to sail all the oceans and to reach distant places such as the remote Americas and the islands and continents of distant Oceania. Again, this goes against all we presently know of human prehistory, at least according to the standard textbooks.

As we now attempt to prove, the meaning of the swastika is everywhere the same. And this meaning has only symbolically to do with the Sun and with Fire, as most specialists currently think. The swastika is found not only in the Far East – for instance, in the symbolism of the Hindus and the Buddhists – but also in the Germanic nations, more or less in the same ritual context. The Jainas too hold it in the deepest respect, and associate the symbol with two of their Tirthankaras, as we shall see next. In fact, the Jainas and the Hindus associate the swastika with essentially the same ritual elements as do the Buddhists, as we shall also discuss in what follows.

The swastika is found just about everywhere. Besides East Asia, it is also found in Central Asia (Mongolia), North, Central and South America, Europe, XXXX. In Europe the swastika is found, above all, in Celtic and Germanic countries, as well as in Etruria and Greece, where it probably dated from Pelasgian times. Schliemann found many exemplars of swastikas in his excavations for Troy, in Hisarlik. In a vase from Minoan Crete (Thera), several swastikas are shown around an image of the Great Mother. In Schliemann’s Troy they also seem to be connected with the Great Mother.

In Cyprus and in Rhodes, the swastika is associated with the Tree of Life, often along with two dragons affronting each other. In Greece, the swastika is frequently incorporated in frettings formed from it, in an endless chain. This type of fretting is often found in China as well. As we argue further below, this motif is intimately connected with the idea of the recurrent eras of mankind. This fretting was often used in Greek ceramic.

The Greeks also often used the swastika motif in their coins. So in Macedonia, Thracia, Crete, Lycia and Paphlagonia. From Corinth, the swastika passed to Syracuse, Sicily, and all of Magna Grecia. In Italy, as we already said, the swastika predated even the Etruscans, and was found in sites of the Villanova and the Terramara periods. The Romans disliked the motif, perhaps for esoteric reasons. But it again came into use in Italy with the rise of Christianity, perhaps as the sign of a new era that they believed was starting then.

Swastikas were often engraved in early Christian tombstones, as well as inside the Roman catacombs. They were also used in the dresses of the fossores. In Milan, swastikas are engraved in a row around the pulpit of St. Ambrosius. Many experts have attempted to link the swastika with the Christian cross. But this connection has hotly been condemned by the Christian theologians who usually hold that he swastika is an unholy symbol actually connected with the Devil himself.

Despite this assertion, however, the swastika is often found in the tombs of early Christians, as well as inside the Roman catacombs and even in early Christian cathedrals as a decorational motif. E. Burnouf, along with other experts, affirms that the swastika is really an early version of the Cross because it was traced on the fronts of young Buddhist monks, and was used by Tibetan monks and Hindu brahmans in their rituals since remotest antiquity.

The swastika is, according to its name, a sign of a good omen (su-asti). In the reverse form, it is called sauwastika, and whirls in the opposite direction (counterclockwise). In German symbolism, the swastika is often identified to Thor’s hammer. As such, it is often called fylfot. The word fylfot is usually derived from the Scandinavian tongues as “full of feet” (viel fot).But we think that this etymology is popular, and that the name has really derived from fier-fot, meaning “four-footed”, which is really the idea associated with the fourfold swastika symbolism. ^[19]

One of the oldest swastikas known in the old world is shown in Fig. XXX below. It consists of four cervids whirling around the center, represented as a checkered squared. This is interesting, as it shows the direction in which the swastika actually whirls, counterclockwise, in this case, more or less like the one of Hitler’s Reich.

Fig. XXX – Some Early Forms of the Swastika
(a) – A Mesopotamian Swastika (From Samarra, Fifth Millennium BC, (Chevalier and Geherbrant, Dict. Symbol. pg. 912)
(b) – Pottery Design From Halaf (Turkey) (J. Campbell, Masks of God I, pg. 142b)
(c) – Swastikas From the Mississippi and Oaklahoma Mounds (E. Goblet d’Alviella, Migr. Símb., pg. 56 and J. Campbell, Masks of God, pg. 233 (both))
(d) – Mycenian Curved Swastikas (I. Schwartz, et al. Libro de los Signos, Fig. 55-56)
(e) – Pre-Etruscan Swastika from Albalonga (ibid. Fig. 59)
(f) – Three Early Greek Swastikas (ibid. Fig. 57-58-60)
(g) – Swastika in Early Cretan Coin With Lotus (E. Goblet d’Alviella, Migr. Símb., fig. 27)

The swastika is not found only in East Asia, but essentially everywhere. Notable exceptions are ancient Egypt, Mesopotamia, Rome proper, Phoenicia and Persia, as well as ancient Israel. There, it shows up, when it does, in highly disguised shapes such as the ones shown in the above figure. The reason for this omission is unknown, and must be esoteric in character. We now discuss the swastikas shown in the above figure. The first one (a) is from Samarra (Mesopotamia), and dates from the end of the Fifth Millennium BC. It is one of the most ancient swastikas known, and is only preceded by a swastika drawn in the breast of the Thunderbird, in a mammoth’s ivory tusk from Kiev (Russia), which dates from the Paleolithic period.

This association of the swastika with the Thunderbird is telltale of its connection with the Flood, which the bird represents. As we shall see, the swastika is also often connected with thunderbolts, wavy waters, double spirals, Mt. Meru, Thor’s hammer, etc.. All these are also symbols of the Flood and of the succession of the eras of mankind, the yugas. The second figure (b) shows a dish from Halaf, from about the same period. Halaf is located further north, with its chief center in Syria and Turkey, near the head of the Euphrates river, where it descends from the Taurus Mts.. This motif is even more interesting than the previous one. Here the shape is clearly that of Mt. Meru, the Holy Mountain of Hindu traditions.

Even the four subsidiary peaks of Mt. Meru are shown explicitly as the four diamonds around the central feature. Mt. Meru itself – the central mountain – also has the shape of a diamond with recessed sides. This is the standard shape Mt. Meru has in Hindu designs, often forming continuous frettings symbolizing the endless succession of the eras. And this shape is extremely ancient in India, being found in pre-Harappan ceramic vases dated from about this date or earlier.

At the center of the Holy Mountain we have the lotus, here stylized as a four-leaved rosacea. Around the whole we have a wavy line representing the ocean which allegedly encircled the site of Paradise, represented by its Holy Mountain. Beyond it we have a triple line which corresponds to the Triple Wall which the Hindus call trimekhala. We note that in the swastika formed by the four gazelles whirling around the central square also represents the same thing. The gazelles impart the figure an idea of motion which is closely suggestive of the Whirling Mountain which we comment in detail elsewhere, and which is no other than Mt. Meru, the Mountain of Paradise.

These Old World motifs should be compared to the ones of the burial mounds of Mississippi and Okalahoma shown in (c). In the first one, the swastikas are formed by four heads of birds (cranes?). These are attached to a square frame which apparently represents the Holy Mountain itself. At the center of the square frame we have the sun with across at the center. This type of religious symbolism survives in the sandpainted mandalas of the Navajos, the Apaches and the Pueblo Indians which we comment in the page just linked. Hence, their connection with the Whirling Mountain of Paradise cannot be doubted at all.

In the traditions of these Indians – reported by Joseph Campbell – the All-Creator (Black Hactcin) whirled the bird he had just created in a clockwise direction. The bird grew dizzy and started to see all sorts of birds such as eagles, hawks, cranes and small birds. And when he recovered they were all really there. Unfortunately, Campbell was misled by this type of imagery, and thought that Creation related to the naming of the celestial constellations. In fact, it relates to the start of the present era, when all thing started to exist all over again. ^[20]

As the Apaches themselves tell, when Black Hactcin started the process of Creation: “In the beginning, nothing was here where the world now stands: no earth – nothing but Darkness, Water, and Cyclone. There were no people living. Only the Hactcin existed. The world was a lonely place. There were no fishes, no living things”… In other words, the swastika and the related symbolism is telling of Creation, of the dawn of the world in Paradise, at the site of the Whirling Mountain, the Mountain of the Swastika. And this mountain – usually marked by the cross or the swastika, as in the above figures and many others such – is endlessly reproduced in this ancient symbolism that dates from even before the Neolithic start, some 10,000 years ago.

It is clear, though only in hindsight, that this symbolism can only refer to Paradise itself and its Holy Mountain, Meru. And the Holy Mountain is indeed no other than Mt. Atlas itself. What else fits the data as well? Celestial constellations such as Ursa Major or Ursa Minor which some experts have identified with the swastika when imaged in the four cardinal positions? Or the pramantha (Vedic fire-drill) postulated by Burnouf and others? Or the four positions of the Sun, which d’Alviella himself mistook for the true meaning of the swastika? But these are only symbols, or symbols of a symbol. And one should not explain a symbol by another symbol, as this only leads to a vicious circle.

In (d) we have two interesting swastikas from Mycenae. The second one apparently represents a sea star, rather than an octopus, another usual motif in Crete and Mycenae. The idea seems to be the one of submersion, so often attached to Atlantis. The first one apparently represents the whirling Mountain of Paradise (Mt. Meru), again as a stepped pyramid. The four curved arms of the first figure in (d) suggest a tetraskele, a motif related to the triskele. And the four “suns” around the Whirling Mountain again commemorate the four “firings” of the world, the Four Eras of Mankind.

In the triskele – so often represented as three legs – apparently symbolizes the same thing as the Three Steps of Vishnu (Tripada), as Goblet d’Alviella himself noted. The three steps of Vishnu, like the ones of Buddha or his footprints, in fact represent the Eras of Mankind. They symbolize the places where the gods landed, in their avatars, when they descended in order to bring about the end of the world, as we argued further above. In other words, the four steps of the swastika – as the fylfot (or fier föt) or tetrapada – apparently represent the Four Eras of Mankind, the ones the Hindus call the Four Yugas. We comment this issue in detail elsewhere, and the interested reader is directed thereto.

The pre-Etruscan swastika from Albalonga (Rome) shown in (e) is also interesting. It shows that the so-called Villanova Culture which preceded the Etruscans and the Romans in the site of Rome were indeed of Hindu provenance, since they used their type of religious symbolism. We note that the arms are bent four times, showing a connection with the Four Eras in a vivid way. So does in fact the fourfold symmetry of the swastika itself, as well as the one of the cross.

Some versions of Greek swastikas such as the first one shown in (f) also have the arms bent four times, probably meaning the same thing. We note that one of the arms is only bent three times, braking the symmetry of the figure. This is no accident, and probably intends to convey the fact that we still live in the Fourth Age (Kali Yuga), which has not ended yet. In the second figure of (f) we have a clockwise-whirling swastika in a Dorian vase from Athens. The vase portrays a burial ritual, vividly illustrating the connection of the swastika with death, more or less as now happens with the cross of the Christians. The third figure of (f) shows a swastika formed of four isolated Г (gammas). It figures in an archaic coin from Corinth, in Greece.

In (g) we have a beautiful swastika that figures in an early Cretan coin. Again, the arms are folded three times, representing the idea of the Three Steps of Vishnu (Trivikrama) just mentioned. At the center of the figure we have a lotus with eight petals. The lotus at the center of such mandalas is standard in Hindu symbolism, as shown in the beautiful Hindu mandala illustrated in our page on the Whirling Mountain of Paradise. Its presence here unequivocally shows its connection with the Hindu mandalas just mentioned, as well as with the ones of the Amerindian mandalas which we discuss in our page just mentioned.

In that figure, the lotus on top Mt. Meru also has eight petals, just like the one from Minoan Crete. To think that such exact parallels could arise by chance or by an inherent feature of the human brain borders irrationality, and is an utterly unscientific procedure. Only diffusion can reasonably explain the evidence such as the one which we are presenting here, and which extends to both the forms and the inherent religious symbolism of the swastika itself. And this symbolism in fact pertains to Paradise and its destruction by the Flood, itself caused by the fiery conflagration caused by its holy mountain, a volcano as treacherous as the serpents with which it is often associated.

Turning next to Fig. XXX below. In (a) we have the different shapes of the swastika as it appears in several spots of the world. In the first one of this series, we have four human feet. These closely evoke the name of “four-footed” or croix patée (“footed cross”) according to which we just interpreted the word fylfot. This is the Scandinavian name of the swastika, and points to its connection with the four yugas and the “four steps” of Buddha and Vishnu. This myth, which we comment in some detail in the next section, is itself an allegory of the War of Atlantis, waged between the gods or devas on one side, and the asuras or devils on the other. The strides of Vishnu are usually said to have been three, and those of Buddha are usually seven. Bu this number is in fact variable, being the number of ages or eras (yugas) which periodically afflict the earth.

Fig. XXX – Some Further Interesting Swastikas
(a) – Different Forms of the Swastika (E. Goblet d’Alviella, Migr. Símb., pg. 42)
(b) – Swastika and Sauwastika (ibid., pg. 41)
(c) – The Swastika Mountain of the Navajos (F. J. Newcomb, Sandpaintings of the Navajos pl. X)
(d) – Swastika With Waves and Double Spiral (ibid., pg. 44 bottom one)
(e) – Indian Swastika With Trishula and Tree (ibid., pg. 46 top+57)
(f) – The Jaina Nandyavarta (ibid., pg. 46 bottom one)
(g) – Swastikas With Solar Symbolism (ibid., figs. 25, 26 a,c)
(h) – Swastikas With Atlantean Symbolism (ibid., figs. 26b; Lam. II:13+11+15+8+18+6+17+19)

The other shapes of the swastika shown in (a) we have already discussed. In (b), we show the two main varieties of swastikas, the swastika proper, and the sauwastika. The first one turns counterclockwise and is auspicious (swastika), whereas the second one turns clockwise and is inauspicious. In fact, the direction of rotation and its effect is highly controversial. In our view, the swastika from Samarra discussed further above points to the true sense of rotation, which is interpreted as caused by jets issuing from the tip, more or less as in a Catharine wheel, with which the swastika symbolism is closely connected.

The counterclockwise direction is the one of the zodiac in the Precession of the Equinoxes, opposite to the daily motion, which is clockwise, from east to west. The counterclockwise direction implies the Dissolution of the Universe (Cosmos), whereas the clockwise direction refers to Creation. According to Plato and other such occultists, the universe normally spins in a clockwise direction, reversing its motion – Time itself included – when the eras are about to change. This subject is a difficult one, and will not be covered here.

In (c) we have the interesting Navajo swastika figure as some sort of sandpainted mandala. This is close to the other ones presented in our homepage on the Whirling Mountain of the Navajos, which we already commented. Here, the whirling motion is apparently clockwise, as the Indians prefer, alluding to Creation. But it could also be interpreted as counterclockwise, if interpreted according to the usual views just mentioned. At the center, we have the Whirling Mountain, which the four serpents cause to whirl. The four colors – white, yellow, red (or gray) and black, are the usual ones which the Hindus associate with the four varnas (“castes” or, more exactly, “colours”).

Such is exactly the symbolism attached to Mt. Meru in Hindu traditions, so that the identity is once again too close to be questioned. We note that the mountain is represented as a round-based pyramid. This is an attempt to “square the circle”, a subject we argue in more detail in our site just linked, and in other documents. Such is also the reason why the Great Pyramid of Egypt – which is indeed a replica of the Holy Mountain of Paradise – is also made to effect the squaring of the circle, given that its perimeter is exactly 2π times its height, just as in a circle.

Other shapes of such Amerindian mandalas show the swastika even more explicitly, some whirling in the counterclockwise direction. Still others show the Whirling Mountain with a lotus on its top, exactly as in the Cretan and the Hindu ones commented above. Again, some represent the Whirling Mountain as some sort of cup, a shape which brings to mind the myth of the Holy Grail, itself so intimately connected with the Holy Mountain in Judeo-Christianity (Mt. Golgotha). In fact, Mt. Golgotha – or Mt. Calvary, the “Skull Mountain” is in fact the Whirling Mountain at the exact center of the world, as we argue in detail in our site just linked.

In (d) we have a swastika with a double spiral and wavy lines. This comes from a Pagan altar found in Toulouse (France), and dating from Celtic times. These connections are highly interesting, as they confirm our conclusion on the connection of the swastika with the Flood. The wavy lines represent water in motion. In other words, they represent the Flood as a giant tsunami. The altar represents the idea of sacrifice. As such, it evokes the primordial sacrifice of Atlantis, deemed to be the archetype of all such.

The double spiral is yet another representation of the Flood. Here it corresponds to the giant waves issuing from the epicenter of the volcanic explosion, as we explained further above, in connection with the trishula. The wheel with the triple division apparently refers to the trishula itself, yet another symbol of the Flood and the destruction of Atlantis by Shiva-Poseidon, its founder and the father of Atlas himself, according to Plato’s account.

In (e) we have an ancient Indian coin from Krananda, one of the earliest known from the region. Here, the swastika is associated with several symbolic elements connected with the yugas. First of all, we have the trishula on top the Wheel-of-the-Law. Here, this stylized trishula also corresponds to a variant of the double spiral as the giant wave or tsunami just discussed. The circle under it apparently corresponds to the “rising sun” which is indeed the explosive volcanism which destroyed Paradise. This image of sunrise is reinforced with the one of the rising sun shown at the bottom of the coin itself. The fig leaf – an usual symbol of Paradise – is apparently connected with Tamraparna (“golden leaf”), as we argued elsewhere in this work.

The tree inside the pot is a recurrent motif in Indian art. It dates from the Indus Valley, where it often appears in exactly the same shape. The tree is the tree of Life, whose symbolism we already argued in the present work. It is really connected with the volcanic plume of the giant explosion which ravished Paradise, transforming it in the Land of the Dead. The meaning of the pot is unclear. It may refer to the fact that Paradise was deemed to be an island, and hence isolated from the other lands (?).

No matter what, the same potted tree also appears in Minoan Crete, apparently in the same context. There the theme is connected with the “felling of the tree”, which is connected with precisely the same ideas as the ones just commented here. As evidence of what we are adducing, we show in the second figure of (e) above an image of the Tree of Life reproduced from a Hindu allegory. Here, the tree has three suns in its three branches, which evoke the ones of the trishula.

The tree rises from the Cosmic Egg (Hiranyagarbha), afloat in the Primordial Ocean. The Egg is itself an usual symbol of Paradise. A fourth sun is shown rising at the intersection of the trishula. It probably represents the fourth era (Kali) just about to start. The Hindus have a myriad such deep allegories, some of which we comment in more detail elsewhere.

We well realize that it may seem to some readers that we indeed have an obsession for the theme, and tend to interpret all such allegories accordingly. This is not a fact. The obsession is not ours, but of the ancients, fascinated by the theme, which figured centrally in their Mystery Religions. In fact, they still do. Except that the inherent meaning has been utterly forgotten, and we now perform these rites and these prayers blindly, aping our ancestors, but far from understanding what they really meant by them, as we perhaps should, a the message conveyed seems of foremost importance.

In (f) we show the nandyavarta symbol of the Jainas. This symbol is a somewhat disguised swastika, as is apparent. But it also intends to represent a labyrinth, again somewhat disguised. This symbol is associated with the eighteenth of their Tirthankaras (“Saviours”), just as the swastika is associated with the seventh one. The Tirthankaras play for the Jainas the same role played by Vishnu and Shiva in Hinduism, by Buddha in Buddhism, and by Christ in Christianism. In other words, the symbols mark the descent of the Tirthankaras when the eras end.

In (g) we show some swastikas connected with the symbolism of the sun. In the first, we have three swastikas alternating with three suns, represented by dotted circles, its usual emblem. But this symbol may also signify the earth itself. Rather than really the sun, the dotted disk represents the “terrestrial sun” or “fallen sun”. And this is really the volcano we already mentioned. Apollo, who is the very image of the Fallen Sun, is often associated with the swastika.

In fact, Apollo is represented riding a chariot with a swastika drawn on his breast in a vase from Greece. Several early Greek coins likewise show Apollo along with a swastika or connect it with the tripod, his emblem. The connection is too obvious to require commenting. But the connection is, we repeat, with the Fallen Sun which, as Plato himself explains in his Critias, in connection with the myth of Phaëthon – an alias of Apollo – is in fact an allegory of the Flood and, even more so, of the destruction of Atlantis itself, in whose context the philosopher is speaking. The connection he gives can hardly be more direct, as we argue in more detail elsewhere.

With that, we turn to the final issue in this connection. In (g) we also show two more swastikas which are also connected with the sun, so it seems. In the first the swastika has a disk around its center which apparently stands for the sun. The strange wavy figures at the rim apparently represent the wave spreading from the center, her shape more or less as the usual representations of Mt. Meru. The other one represents a circle with a swastika (tetraskele) around itself. Roughly, this design recalls the one of Atlantis, distorted in order to become a rounded swastika.

In (h) we have some more swastikas connected with the more usual figure of Atlantis: a quartered circle or, again, three concentric circles. The first consists of a swastika at the center of three concentric circles, the usual emblem of Atlantis, exactly according to Plato’s detailed description of the Lost Continent. the dot around the circle apparently correspond to the many islands (or “mountains”) so usual in the Hindu renditions of the Lost Continent. In the second figure we have four images of Atlantis around the central and main one. They correspond to the usual rendition of Mt. Meru and its four subsidiary peaks or islands around itself.

In the third figure, the four subsidiary peaks are substituted by four swastikas. In the next one, the central Atlantis is missing, and the of the r four are placed at the extremes of the four arms of a cross or swastika. The idea seems to be the one that the real Atlantis disappeared, leaving the four subsidiary ones in its place. In the next, we have the quartered circle with a swastika in each quarter and the whole being surrounded by the ocean. In the next one, we have a beautiful swastika from Tibet. At its center we have the quartered circle which represents Paradise (Atlantis) again surrounded by the four dots which represent the four subsidiary continents. ^[21]

At the outside of each arm of this swastika we have the chandrabindu, representing the mystic connection with the OM glyph, as central to Tibetan symbolism as it is to the ones of the Hindus, the Jainas and the Buddhists everywhere. In the next figure we have Buddha’s footprint in one of their conventional representations. The four swastikas in the toes represent the four eras. The other symbols – the trishula, the Wheel-of-the-Law, the Sun (at the center), the lotuses, etc. – have already been explained in some detail further above.

The next figure is yet even more remarkable. Now that we have decoded it, it is easy to see what it indeed represents. This odd swastika is from India. Its crooked arms represent the serpent of the caduceus, a symbol that is originally Hindu (nagakal), as we already argued. Here, the two affronting serpents have become a single one, coiled upon itself in a figure resembling the numeral 8. In fact, this is Shesha, here represented as a twin-headed Ouroboros, with each head affronting the other one. Shesha is in fact the symbol of the Four Yugas, which it in fact brings about, with the fire that issues from its mouth, according to Hindu traditions.

As we already said, Shesha is indeed a personification of the Vadavamukha, itself an allegory of the giant volcanisms that destroy the earth when the eras end. As a matter of fact, this figure of Shesha has been adopted for the one of the numeral “four” in Devanagari (४), as we already commented in more detail elsewhere in the present work. As is clear, this odd symbolism is clearly establishing a link – which only the initiates can really understand – between the swastika and the Four Eras (yugas), so central in Hindu religion. In the last of these figures we have an image of Atlantis, distorted in order to form a rounded swastika. The four subsidiary peaks of Mt. Meru, its Holy Mountain, are shown as dots at the four quarters.

The Myth of Ashvatthama

We have come to the very negative conclusion that the “sun” in question here may well have been a nuclear device, at least to believe the myth of Ashvatthama, the true archetype of the Errant Jew. The name of Ashvatthama – often mistranslated as “who has the strength of a horse” – really means “who embodies the strength [or essence] of the Ashvattha”. The ashvattha is the sacred fig-tree [or Tree of Life] which we see in so many Hindu myths in connection with the “sun”, as commented further above. In fact, the name of the ashvattha means “the pillar where horses are tied” [for the aşvamedha sacrifice].^[22]

And this “pillar” is no one than the “somber pillar” of the horse sacrifice, the one which is indeed no other than the Pillar of Atlas which stays up the skies. This sacrifice means the sacrifice of the world, as we argued in our page on the aşvamedha which prompted the present discussion. In an article on the Secret of the Golden Flower symbolism we comment the Taoist traditions on the Golden Lotus which is yet another allegory of the “atomic mushroom” in an even clearer form.

As some have noted, Shiva’s altar in the skies certainly evokes the idea of an atomic mushroom, a fact that, real or not, cannot be doubted anymore, particularly with so many prophecies becoming true. Ashvatthama’s magical secret weapon is also called Brahma-śiras (or Brahma-śirsha = “Brahma’s head”). This name refers to Brahma’s fifth head, the one destroyed by Shiva.

This “head”, the central one, in fact corresponds to Mt. Meru, the Whirling Mountain of Paradise (Atlantis). And this is of course the same as Mt. Atlas, the Pillar of Heaven. Of course, all this may be just an enormous pile of coincidences. But when coincidences start to pile up, one must start looking for the hidden reason, as this seems contrary to the laws of Probability Theory. Shiva is the god of doomsday, the very personification of the Vadavamukha, the “Terrestrial Sun”.

In the relation of the Mahabharata, Shiva appears in the shape of a fiery golden altar in the skies, and incarnates in Ashvatthama, his devout. With this help and his magic weapons, Ashvatthama is able to kill every single person in the Pandava camp, with the exception of the five Pandavas and Krishna, who were away at the time. The day before, Ashvatthama had seen and attempted to fight a fiery monstrous creature which seems to have been the Sharabha monster, the figure in which Shiva comes in order to effect the Great Dissolution.

The Pandavas also had the Brahma-śiras, which had been given Arjuna by Drona. So, both sides had the terrible weapon, and in fact exchanged them, causing a global disaster and ending all such wars for a long time. In the words of the Mahabharata: “Flames crossed the skies, thirsting for destruction. The whole world quaked at the power of these weapons. The oceans retreated from the shores, and the mountains shook like flakes of cotton carried by the wind… If the weapons hit each others side they would destroy the entire world”.

But Vyasa and Narada, the rishis, intervened before it was too late and stopped the weapons in mid-course, saying: “This type of weapon should never been used on earth. We must make these weapons stop before it is too late”. Among its effects, are included rendering the females sterile, inflaming grass at a distance, causing skin burns and lesions, cancer, and so on. Are the ancient prophecies starting to come true? Has Kalkin come yet, or not? Moreover, has Ashvatthama recognized him for true?

The Three Steps of Vishnu

As we said above, the three steps of Vishnu refer to the third of his avatars or descents. Even more exactly, it refers to Vishnu’s fifth avatar, as Vamana, the dwarf. Whenever Evil threatens to overpower Good in the world, breaking the equilibrium, Vishnu descends, and destroys the world, restoring right. In fact, Vishnu’s descents are not only three or ten or twenty two, but infinity, according to Hindu doctrines. His next avatar, as Kalki, closely corresponds to the expected one of Christ as the White Knight of Revelation.

The three steps of Vishnu – called Tripada or Trivikrama, in Sanskrit – may hence be also interpreted as his “third step”, the one that inaugurated the Third Age or Treta, the Age of Triads. The word pada may also be interpreted as “foot” or “footprint”, in Sanskrit. The idea of “footprint” is full of esoteric significance in India. It is, as we shall see next, associated with the idea of “flood”, that is, of the cataclysms that terminate the ears of mankind. Likewise, the Sanskrit word tripada may also be interpreted as meaning “three-footed’. This is a more or less fescennine correlation, having to do with the phallus or linga, here interpreted as an extra “foot” (Fig. XXX).

Fig. XXX – Vishnu Humbling Mahabali
(W. J. Wilkins, Mit. Hindu, pg. 161)

In fact, the above iconography of Vishnu placing his extra “third foot” over the head of Bali, after he defeated the demonic king of the asuras. The idea here is the association of the phallus or linga with Creation, a recurrent symbolism in Hindu thought. The linga is more usually associated with Shiva, rather than Vishnu, who here replaces Shambu in the role of All-Creator. It may well be that Vishnu somehow borrowed the myth of the three steps from Shiva, just as he also borrowed the epithet of Mahabahu (“big-membered”) from that god, who is so often associated with triads. No matter what, the figure just shown leaves no room for doubting the fact that the third “foot” of Vishnu corresponds to his linga, which might well have been the one of Shiva originally

The first thing one might demand is why three, and not four, or ten or twenty two, etc.. the reason for the choice is actually due to the fact that Vishnu, in his Vamana avatar, was indeed bringing on the Third Age, the ones the Hindus call Treta Yuga. Treta means “third” in Sanskrit. The first age, called Satya Yuga, is the Age of Justice, also called Golden Age, because it was so perfect. The second age is called Dvapara Yuga, the Second Age. And the Fourth Age is called Kali Yuga, or Iron Age. Kali is the present age, attended by evil and falsity.

In Hindu thought, the progress of the ages is attended by increasing decay, and each is worse than its predecessor. After the Kali Yuga, the cycle is completed, and there is a return to the Golden Age. The end of each era is brought about by a descent (avatar) of the deity: Vishnu in Vishnuism, and Shiva in Shivaism. The god brings on widespread destruction – usually by Fire and Water – in order to effect the cleansing necessary as a prerequisite for the next age.

In his Vamana avatar, Vishnu is bringing on the start of the Third Age, Treta, the Age of Triads. In Dvapara, Justice had been decreased by 2/4, being reduced to just 2/4 that which prevailed in Satya Yuga. But Bali, the great king of that age, had conquered the whole world, and was threatening to conquer even the skies themselves, leaving no room for the gods to exist, and hence destroying the prevailing equilibrium.

Thus, Vishnu descended, in order to restore the equilibrium of peace and justice. It is to this fact that the myth refers. Having already accomplished his first two steps, Vishnu now completes the third stride. And he does it over the head of Bali and his clique, whom he imprisons in Hades below. As will become clear in the next lines, Vishnu is neither the sun itself nor a pure anthropomorphization of God as a proto-historical personage. Here, Vishnu plays the erode of Shiva-Agni, as the Destroyer of the World. Of course, Vishnu is also not the earthquake or the volcano itself, or the Flood which it causes, but the moral principle behind them, their cause efficient.

Vishnu is here, like Shiva (or even Jahveh), the Bringer of Justice, the God of Doomsday coming down in order to restore peace and justice for all the world. More atheistic thought schools such as Jainism and Buddhism attribute this agency to Dharma (Justice), which they represent by the Wheel-of-the-Law. Dharma is some sort of natural law. It is one which we Westerners would prefer to call the Law of Evolution which, in eastern thought, works more or less in the contrary direction as does Darwinian Evolution. There, it is the global cataclysms that really effect the selection of the species in a way that is not readily apparent to us humans, but which seems to work far better in practice, at least to judge from the paleontological and the geological record.

In other words, we could say that it is indeed the Bible that is right in regards to the Flood and other such global cataclysms and their effect on Life, rather than really Darwin and Lyell, who have been out ruled by the factual evidence provided by the geological and the paleontological record. It is also clear, from what we have been arguing, that the biblical doctrines – which are also identical to those of most ancient nations – were literally borrowed from the far earlier doctrines of Hinduism and Buddhism. And these, in turn, seem to have come down from Atlantis itself, really the great source of Wisdom and Understanding as the Hindu doctrines themselves affirm when they ascribed the Vedic teachings to a paradisial, ante-Diluvian source.

True or not, the Christian tradition on Kalki, the White Knight, was literally copied from the Hindu one just mentioned, as several experts think and as we argue in detail elsewhere. In the present section, we comment the myth of Vamana in some detail. It is clear the at this myth has something to do with the sun and the trishula, more or less in the way which we argued in connection with the above figures. We now attempt to euhemerize the myth of Vamana and Bali. It is true that similar attempts at the euhemerization of myths have been done since the times of Euhemerus himself, who ascribed the myths to historical records concerning ancient kings and priests.

In the 18^th. century, most authorities followed Dupuis in concluding that heroes such as Hercules and even Jesus Christ himself were nothing more than a solar myth. In the 19^th. century, the fashion changed a bit, and heroes and events became equated to ephemerides such as the colors of sunrise, the wind, sea waves, and so on. Most people believe that myths, like religion, indeed embody an important message for mankind as a whole. But, what message is that?

No one has really been able to make out the true meaning of myths, despite the concerted effort of many specialists of all sorts. It has become fashionable – in this epoch where Positivism is still the rule rather than the exception, particularly in Science – to effect a complete separation between Science and Religion. Science deals with Reality, whereas Religion became confined to the spiritual realm alone. But this separation is indeed schizophrenic, and should not hold at all, at least in principle. Religion is the base of human ethics, and hence crucial for our survival as a species.

Science devoid of Ethics becomes a weapon of oppression, as it indeed has, in recent times, if not always. The ancients did not separate Religion from daily events, and deemed all things sacred. And that was true not only of the ignorant people, but also of the sages, kings and philosophers as well. Even today, as always, essentially all greater intellectuals search for the hidden meaning in occult material such as our myths and symbols. Such was the objective of initiation, so crucial for all intellectuals until the advent of Positivistic thinking.

And such is precisely the reason why the great sages of all times seek, even today, the hidden meaning they all discern behind the veil of myths and symbols. These myths and symbols affront us, – as Baudelaire so masterfully said – from the dawn of times, more or less like the Sphinx’s challenge to Oedipus: “decipher me, or I shall devour thee”. In fact, this is what I very much fear is about to happen all over again, just as it did in the dawn of time, an epoch to which the myth of Vamana and Bali apparently refers. So, I take this opportunity to euhemerize this interesting myth in the light of Atlantean events, even at the risk of boring my readers with moral lessons which apparently no one bothers to believe anymore, now that the past is dead and done with.

As some versions tell, the events took place at the dawn of Treta Yuga, when Satya, the Age of Justice ended with the fall of Bali and his supporters. There is also a close correspondence of this myth with the one of Buddha and his seven steps, its Buddhist counterpart. Buddha’s footsteps also correspond to his descents, which are likewise numberless. In fact, the Sanskrit word pada means either “foot, step or footprint”, according to the actual context. One such footprint of Buddha is located in Sri Lanka, which is said to be the place where Buddha landed, when descending from Paradise. The Christians transferred this myth to Adam, after whom the holy mountain of Sri is named (Adam’s Peak).

In fact, it is highly probable that the footprint there – which seems to be real – belonged to Vishnu before passing for the one of Buddha, when the island adopted Buddhism. Sri Lanka is often confused with Taprobane (Sumatra), where, by the way, we also have another of Buddha’s footsteps. In fact, this myth is widespread and is encountered even in the Americas. In India it marks the exact spot of Paradise, which is really the real Taprobane.

The myth of the tripada of Vishnu dates from the Rig Veda (1:154), being hence extremely ancient. This hymn tells that these footsteps are “full of honey”, which upwells from a mountain, “the fountain of honey, in the highest place in the far extended abode of the wide-striding bull”. This “honey” is clearly the Elixir. But we believe that it is indeed the allegory of a volcano, the “honey” being its magma, which in fact intoxicates one and all in Doomsday.

This “fountain” appears in a myriad myths everywhere, the Americas included. In the Vedas, it is also equated to the Sun, itself “born of the Ocean (Samudra, Rig Veda 10:72:7).In Judeo-Christianism it becomes the Kadesh Barnea from where the Flood itself springs, in order to destroy the world. We comment this myth and its hidden meaning in detail elsewhere. Even today this pit or spring – safely closed out by the shetiyah (of “Foundation Stone of the World”) – can be seen in the Church of the Nativity, in Jerusalem.

We tell this interesting story elsewhere, and will not delve into it here. In Greece, this Source of the Elixir (or Ambrosia) is often referred to, for instance by Euripides (Hip.746). In Egypt, it becomes the Nun, the Primordial Abyss whence all things sprung. In the Epic of Gilgamesh it becomes “the source of the two waters” which is itself an allegory of the Vadavamukha, rather than really the sources of the Tigris and Euphrates.

The three steps of Vishnu are said to correspond to Agni (Fire) on earth, Vayu (Wind or Lightning) in the atmosphere, and Surya (the Sun) in the sky. Other experts affirm that the three steps correspond to the three positions of the sun (morning, noon, sunset). A comparison with the myth of the Trishula (Trident) will show that they must be equated in order to be understood. And the “sun” in question here is really the Fallen Sun, the volcano which we already discussed above, particularly in connection with the three-branched Tree of Life shown in one of our figures (e) connected with the famous Indian coin from Krananda. Agni’s main form is indeed the one of a volcano (the trishula or trikuta), as we argued there and, in more detail, elsewhere.

Bali as an Alias of Atlas and Hercules

The three steps are generally thought to have been the ones of Vamana, the dwarf avatar of Vishnu. The third one was taken over Bali’s head, as we just commented. Bali, a very virtuous king, was defeated by this ruse of Vishnu, who really cheated him, as the gods are usually held to have done in their war against the asuras. So much so, that, though a trickster by excellence, Vishnu is often said to be very much ashamed of his misdeed in regards to Bali and the asuras. We have founded reasons for believing that this trick in fact consisted of the destruction of Atlantis-Eden, perhaps by some sort of a nuclear device, as we argue in more detail elsewhere.

King Bali is an impressive figure. So much so, that he is often called Mahabali (“Great Bali”, in Sanskrit). As the ruler of Patala (or Atala), he very much resembles Kronos-Saturn, the kindly serpent-king of the Golden Age. And Kronus is himself and alias of Atlas, the commander of the Titans, in their war against the gods. These figures are all hazy. But they are fundamentally one and the same, under several disguises. In fact, Atlas is an alias of Hercules, his twin brother (Gadeiros), according to Plato. As in Hindu myths, the devils (or dragons) are the old avatar of the gods (or heroes) themselves, as they get old and corrupt.

In fact, it seems that all these devils are just one and the same, much as Vishnu is one and the same in all his many avatars. So, in the Indian festivals such as Diwali and Onam, discussed further below, the different Indian states commemorate different gods and different events. Likewise, the many Hindu holy books often refer other avatars and other demons defeated by either Shiva or Vishnu, who often trade roles in defeating the demons in other avatars and yugas.

W. J. Wilkins (Hindu Mythology, London,1882, pg. 160) notes this peculiar confusion. When commenting the first four avatars of Vishnu, said to have taken place in the Satya Yuga (or Golden Age), Wilkins notes that if the history of Pralahda is representative of the Golden Age, it is hard to see how it could be considered the Age of Justice. Like Bali, Hiranyakashipu, the ruler of previous era, had conquered the three worlds and became arrogant and prepossessing. was deemed immortal and could not be killed either by man or beast, according to the promise of Brahma the supreme god, of whom he was a great devout.

But Vishnu descended in the shape of the Man-Lion (Nara-simha) – neither a man nor a beast – and killed the evil king, liberating the pious Prahlada from his oppression. Hiranyakashipu was another son of Diti, and hence a Daitya. As usual, he fought and defeated Indra, the mighty god of the Aryan Hindus. When all these different accounts are collated, it is easy to see that all these demons are one and the same, and that Vishnu fends in favor of the Aryans, in order to defend Indra, who seems to be the very personification of the Aryans themselves.

Most brahmans and brahmanical Hindus tend to dismiss this type of interpretation, which is, however, almost unanimously supported by the Dravidian Hindus. Without intending to engage in the ferocious disputes of the Aryans and the Dravidas – generally of an ethnocentric nature – we think that truth, as usual, lies in the middle of the road, more or less as Aristotle himself once said.

It is true that the Dravidas and the Aryans were once one and the same race, living together in harmony. But it is also true that they eventually decayed, became impious, and split in two moieties, the Aryo-Semites on one side, and the Dravidas on the other. They then fought the terrible war mythified as the ten avatars of Vishnu. Even the great Indian epics, the Ramayana and the Mahabharata – which are far more than sheer mythology – tell of this great war which is indeed the Great War of Atlantis.

Likewise, the war of the other myths – for instance the war interrupted by the Churning of the Ocean of Milk and the one of the gods and the devils told by Kalidasha in his magnificent Kumarasambhava – are also merely different accounts of the same event. It is also true that there were many further wars of the two moieties, fated to forever fight wherever they meet each other: in the Indus Valley, in the Americas, in Europe, and so on. In fact, all such wars are mere repetitions of the former one, the true archetype of all such wars.

Others such are apparently about to repeat the former ones: the disputes of the USA Judeo-Christians with the Muslims, that of the Jews with the Palestines, of the Indians with the Pakistanis, and so on. The war of the Nazi-Fascists with the Allies and the Zionists was likewise a repetition of this unfortunate repetitive pattern. It is only when the two sides come to realize the reality of this fact, and sit down to seriously discuss a settlement of the disputes and the seriousness of the consequences that we will be able to put an end to the sad reality of this pristine division.

The division between Shiva and Vishnu seems to be indeed just another aspect of this pristine division between Dravidas and Aryans. Vishnu is typically a brahmanical god (Aryan), whereas Shiva is typically Dravida and Tantric. This separation goes back to a great antiquity, for the Indus Valley people – almost certainly Dravida, rather than Aryan, as some think – worshipped Shiva, whereas the Vedic Aryans worshipped Indra, who is indeed the true archetype of Vishnu.

Color is really a secondary matter when this division is carefully considered. Originally, the two moieties seem to have been blondish or, rather, redheaded, as we have argued in detail elsewhere. When they parted company – after the great war and the division of the world in two halves – the Aryans went north and west, into north Asia and Europe where they met white natives (Alpines) with whom they mingled, becoming whiter in the process. The Dravidas moved into India and further east and south (Oceania), met darker natives there and became darker in the process.

This separation is what is meant by Vishnu granting the Dravidas (Bali and his asuras) the netherworld and its rule, while keeping the world for himself and the Aryans (devas). This is the myth of the separation of Heaven and Earth told in so many myths the world over. As can be seen in my Atlantis Homepage, the ancient Egyptians represented this separation as the one of Earth (Geb) and Sky (Nut) by Shu, the atmospheric god who seems to be an alias of Vishnu himself. The Polynesians represented this separation by the one of Rangi and Papa, whereas the Hindus represent it by partitions such as the castration of Shiva or the separation of Rahu an Ketu in two halves.

In fact, the remarkable picture of Kali, astride on Shiva’s dead body, which she is about to castrate with her sword also represents the same primordial partition, as can also be seen in my site or in other works of mine. Likewise, the one of Ouranos and Gaia (Sky and Earth) in Greek myths or the ones told in the Rig Veda also allude to the same primordial partition of the world in two halves. And this partition functioned more or less well, until the times of Columbus and the conquistadors, whose greed led to the conquest and the evils and cruelty which all know so well.

Many Hindus affirm the unity of Shiva and Vishnu, which are both part of the Hindu Trinity (Trimurti): Brahma, Shiva and Vishnu. These three correspond to the Christian Trinity and above all, to monotheistic doctrines: “all gods are but one god, as long as they all are my God”. In fact, the fact is that only Brahma was the true God, the god of both moieties. But he is now dead, and is hardly if ever worshipped in India or elsewhere. In fact, this dead god seems to have been Atlantis as a symbol of primordial unity. According to Hindu myths, Brahma was originally androgynous.

For some reason, he eventually parted into two halves, one female and the other one male. These two moieties correspond to Shiva and Vishnu, and hence to Aryans and Dravidas. Such is also the meaning of the biblical Elohim (also dual, and hence plural) as well as of Plato’s Androgyne and others such. A famous Androgyne that still survives in some esoteric fraternities is the Alchemical Androgyne. Others are the frightening deities such as the Baphomet of the Cathars and the Knights Templar and several others such worshipped in Tantric and other such nocturnal rituals.

Even deities and heroes such as Christ and Hercules are generally androgynous, though often obscurely divided into two moieties or halves, one male the other one female. So with Krishna and Arjuna, Krishna and Balarama, Hercules and Herakles, Castor and Pollux, the Ashvin Twins and so on. Though this fact is seldom realized, Hercules and Herakles were two different heroes, as Marcel Bréal has so conclusively demonstrated over a century ago. Herakles was the Greek hero, whereas Herakles was his Greek counterpart.

The two are as different as Indra and Vritra, the two contending deities of the Rig Veda. Indra fended for the invading Aryans, whereas Vritra was the defeated champion of the Dravidas, probably the Indus Valley people in its languescent days, when drought and famine had already rendered them incapable to resist the Aryan invaders.

The Meaning of the Ten Avatars of Vishnu

As we already said, the different villains of the ten avatars of Vishnu are apparently all one and the same. In fact, the number ten has an esoteric connection which we now explain. The number ten is specifically connected with Atlantis, which was divided into ten different kingdoms, as Plato explains in his Critias. These ten realms eventually parted into seven and three, which fought among themselves, the smaller number defeating the larger one, apparently by means of a dirty trick, as told in most related traditions, the one of Bali in particular.

When carefully collated, all the ten avatars of Vishnu, and the other versions just mentioned are visibly repetitions of this archetypical war. They may concern several different wars integrated into a single one, in order to show the unity of them all or, more likely, a way of referring all wars to the primordial pattern, more or less in the way claimed by Plato in his doctrine of the eideas (“archetypical patterns”). No matter what, the result is indeed one and the same. But we think it is more profitable to seek for the unifying archetype than for the individual exemplars, which tell very little when considered as isolated individualities.

That unity can be seen in many differnet accounts. For instance, the Skanda Purana tells the war of the Vamana avatar thus:

“In the war of the devas and the asuras or the possession of the Elixir (amrita) produced by the churning of the Ocean of Milk, the asuras were vanquished. Bali prepared a great horse sacrifice in order to regain the power he had lost. He presented his offerings to the sacred fire, and thus earned for himself a wonderful magic chariot pulled by four white horses, a standard with a lion on it, a celestial armour, and several secret weapons. When the rituals ended, Bali organized a great army which he transported in his magic chariot to Amaravati, the capital of Indra’s paradise, and put siege to it.

“The gods became terrified, and went to ask the advice of their preceptor. Their preceptor told them that their enemies had become invincible. Indra asked the preceptor what they should do, and was told to abandon Amaravati to their enemies, and flee, disguising themselves as animals. The gods followed his advice. Indra turned into a peacock, Kuvera into a lizard, and so on”…

This story is told in the Skanda Purana as an answer of the question why had Vishnu taken the strange from of a dwarf. The origins of the story is told in the Rig Veda (IV:3), in the passage which we already commented. And other texts tell that the devas then resorted to Vishnu, who took on the avatar of the Dwarf, and tricked Bali, defeating and humbling him, sending him away to Patala. In the Mahabharata, this avatar of Vishnu is the twelfth rather than the fifth. And he is there equated to the sun (Aditya), a name which corresponds to the different “suns” or eras of mankind.

This is the Aztec name of the eras, as we already showed. The Hindus often speak of different “suns” as avatars. So do the Greeks who talk of different “suns” such as Hyperion, Helios, Apollo, Phaëthon and Hephaistos (“the shiny one”) who fell from heaven like a bolide, a shiny meteor not unrelated to the myths of Bali and of Lucifer which we comment elsewhere in this paper. In several Hindu traditions, Bali is commemorated as an avatar of the sun, just as was Vishnu himself in his own ones. Rather than a devil, Bali is very much revered in India, particularly in the south.

So, what we indeed have in the different avatars is the succession of the eras or “suns”, very much as we had in America, for instance in Aztec traditions. Apparently, these eras or avatars also corresponded to major wars and major destructions leading to the world’s end. The humbled half prays for the return of the Golden Age, whereas the other half hides the fact, which might lead to rebellion, and suppresses the Truth in order to prevent the reversal of fates that inbound to occur then. Such is the reason why it is so difficult to write the occult history of mankind, the one which only survives in the subterranean realms hidden away in Patala.

The figure of Bali is often confused with the one of Ravana, the great ruler of Lanka. In fact, he is also confused with Vritra, the great demon of the Rig Veda who was defeated and killed by Indra, in their dispute for the Elixir and the possession of the world and the “cows” (the people). Lanka is really an alias and archetype of Atlantis, as we argue in detail elsewhere. The identity is too perfect to be ignored now that we have demonstrated it in far more ways than one, and basing ourselves not only in the ancient traditions, but in essentially all sciences both exact and human.

The main obstacle in the quest for lost Atlantis lies in its placement in the Atlantic Ocean by Plato and others. But as we have demonstrated not only with quotes of the original texts, but of ancient maps as well, the “Atlantic Ocean” of the ancients was not the one we now so named, but the world- encircling ocean which the ancient traditions from India really called aśayana. Above all, the aśayana included the Pacific Ocean, which they called “the Ocean of Milk” for reasons which we explain in excruciating detail elsewhere.

In fact, the ancients in general, and the Greeks in particular, ignored the existence of the interposed Americas, and believed that the Atlantic Ocean extended all the way to the East Indies. Columbus partook of this widespread conception, and indeed attempted to reach the Indies via the west, with the results which are well known to all. In fact, it was only after Americo Vespucci discovered that America was indeed a new world (Mundus Novus), rather than the islands of the East Indies, as all formerly believed, that the ancient conception gradually changed.

The newly discovered ocean was renamed Pacific, and became separated from the Atlantic Ocean, a name now reserved for the eastern half of the global ocean which is really connected to the Pacific via the seas in the south of South America. Since this mistake of Atlantologists has now been dispelled, thee is no further obstacle to placing Atlantis where it has always been from the start: in the East Indies. In fact, the conquistadors well knew this fact from remotest times.

The only thing they did ignore was the existence of the Americas and the fact that the East Indian seas were separated from the Atlantic ones by the interposed Americas. Only after Magellan’s navigation did they discover the way the East Indies could really be reached departing from Europe. And this is more or less the same that we have to do now, in order to rediscover Atlantis: to reach the East by going further beyond than the West, more or less in the way that Sir John Mandeville recommended in his famous Voyages.

Several Hindu festivals connected with Diwali and with Bali also commemorate Ravana, the ten-headed king of Lanka. One such is the Dussehra festival, commemorated all over India. It celebrates the victory of Rama over Ravana, the ruler of Lanka and indeed of the whole world. Dussehra is celebrated in October, more or less together with Diwali. In north India, giant effigies of ten-headed Ravana and his brothers are burnt, more or less as we burn effigies of Judas in the Christian countries. In fact the two traditions are really one and the same, as we argue here and, in more detail, elsewhere.

In north India, the Diwali festival is connected with Ravana. Better yet, it commemorates the victory of Rama over Ravana, the ten-headed king of Lanka. Ravana kidnapped Sita, the wife of Rama, who set out to avenge his honor. This story is told in the Ramayana, and has different accounts in other holy books of India. The first day of the festival there called Narakchaturdashi is associated with Naraka and his defeat by Rama or, in some accounts, by Krishna. As usual, Naraka is a mighty devil, who came to conquer the whole world. According to some accounts, Naraka had kidnapped 16,000 women, whom he added to his harem.

Naraka is also the name of hell in Hindu traditions. Even more exactly, Naraka is some sort of Purgatory, wher people expiate their faults before being admitted to Paradise itself. In south India, the Diwali festival is also often associated with the Narasimha avatar, when Vishnu kills Hiranyakashipu. As usual, Hiranyakashipu was an evil demon king. He was formerly very virtuous, and thus achieved an enormous power, which he used to conquer the whole world. We tell the story of the Man-Lion avatar elsewhere in the present document.

As we just said, the different avatars of Vishnu refers to one and the same story, told over and over again, under different allegories. They all correspond to the Christian rituals such as burning effigies of Judas and other reputed evil doers. So do the similar Celtic festivals such as Samain, where giant effigies of the evil fire demon were burnt, often with human victims in its interior. These victims probably represented the humans eaten by the cannibal rakshasas of Hindu traditions, a habit perhaps wrongly attribute to the people of Lanka, as told in the beautiful Ramayana.

Ultimately, the Hindu rituals commemorate either the defeat of the great Dravidian king (in the north) of the hope of his revival (in the south). And this event is associated with the rebirth of Atlantis, which is none other than the Celestial Jerusalem of Revelation. No one who seriously studies the matter with an open heart and mind will fail to reach this conclusion, we are sure.

Real or not, these different traditions are all one and the same: Celtic, Christian, Jewish, Hindu, and even Amerindian. The Hindus themselves consider the Diwali festival – which they equate to the New Year festival – to be the restart of the world in a new era, an event they also identify to Creation itself. Consider these words of Vijay Prashad in his article on Diwali and Decolonization:

Today we gather to celebrate Diwali, Dipavali [the row of (oil) lamps], the festival of lights. There is no single story which explains Diwali, for some traditions tell of Vishnu’s victory over the anti-God Naraka or of Bali while other traditions exalt Krishna or yet others, the most popular, tell of the return of Rama to Ayodhya after his long exile and his campaigns in Lanka. The day of Diwali is seen as a day of renewal, as the start of the new year… Diwali refers specifically (in these traditions) to the creation of a new kingdom, but more generally to a renewal. Diwali functions, therefore, as a metaphor rather than as the commemoration of any specific event. The tales of Diwali function as a smirti, as the process of remembering the past to gain wisdom.[My emphasis].

Despite the auspicious beginning, the article is a sad denunciation of the ancient hatreds which still survive in India, despite the many millennia that elapsed since they really happened, in the former site of Paradise itself. The unfortunate events between India and Pakistan – two halves of the earlier India – or those between Aryans and Dravidas just about everywhere there show that the old fire is really burning under the ashes.

And it takes smirti, recollection, as he says, in order to substitute Wisdom for the infamous practices of ethnocentric movements such as the ones he denounces in his article. And these of course include the so-called Neoliberalism which currently disgraces the entire world, being no more than a return to laissez-faire Imperialism. It is perhaps for this purpose that such a crucial information is so carefully hidden away from the public, and cleverly substituted by all kinds of systematic misinformation incessantly spouting from the media, from the textbooks, and even by Sunday school.

Now, the universality of myths such as the ones in question here poses a problem which, in our view, can only be explained by the hypothesis of Atlantis. What else? As a pious Hindu puts the meaning of the Diwali festival: “Whatever be the place, community, caste or creed, it is essentially spiritually redeeming. Utsava, the Sanskrit word for festival, means ‘to cause to go upwards’, the upsurge into this Ananda [world]. Happy Diwali”. In other words, the meaning of the festival is the one of the return of Atala or Patala, bringing back the Golden Age all over again.

Holi is another important festival of north India. Holi commemorates the victory of Prahlada over the demoness Holika. Prahlada seems to be an avatar of Vishnu, and Holika a female counterpart of Bali. No matter what, Krishna and his wife, Radha figure prominently in the festival. Its bonfires allude to the volcanic conflagration which destroyed the site of Paradise, whereas features such as the red powder and the red colored water really refer to the volcanic tephra (volcanic dust) which fell over the region at the time of this event.

In fact, this event is associated with the Ten Plagues of “Egypt”, indeed an allegory of Eden in the biblical traditions. The “frolicking” of Vishnu and his worshippers in fact alludes to the destruction of the world, and are the counterpart of Shiva’s wild tandava (“dance”) when he comes down in order to destroy the world.

The number ten is also associated with the ten days which correspond to the Dussehra festival. The several harvest festivals of India also allude to the end of the world, as we argued elsewhere in the present work. Such is the case of the Onam festival of Kerala, which last ten days, and includes the harvest festival.

Onam – the Keralan counterpart of the Diwali festival – also commemorates the end of the monsoon season, the one of the heavy rains. And these rains of course symbolize the far heavier ones of the Flood, which is the event really commemorated by the Diwali-Onam festival. In fact, as is known, volcanic eruptions cause heavy rains due to the suspended dust, which serves as condensation nuclei for atmospheric water vapor.

Larger volcanisms cause heavier rains, and this is particularly the case with large explosive eruptions of submarine volcanoes, which also evaporate a lot of water. These explosive eruptions suspend not only the dust, but also the water in huge sprays which soon vaporize and form heavy clouds which are later condensed, and rain down in the way just mentioned.

This is the way the heavy rains of the flood – which lasted for “forty days and forty nights” is to be explained. In fact, as we calculated in detail elsewhere, the explosive eruption of a supervolcano such as the Krakatoa can easily provide enough water and rain to account for the Flood, without the need of invoking the “water canopy” hypothesized by some creationists or even divine intervention, as believe by the more pious Christians.

Of course, this divine intervention (or theophany) needs not to be ruled out. God would naturally work in the most economical way possible. And so, he could very well have commanded the volcano to erupt and cause the destruction he wanted to do.

The regattas (boat races) of Kerala, so prominent in the festival, are also connected with the Flood. It refers to the survivors of the cataclysm leaving the site of the destruction in their boats and ships, more or less in the way Noah did in the Bible. It is interesting to note that these boats are called “serpent boats”, just as they are in the Flood traditions of many peoples, the Amerindians of brazil (Tucanos, etc.) included. We believe that these “serpents” are connected to the Serpent Shesha, also the “boat” in which Vishnu reposes on the occasion of the Flood.

In real terms we believe that these “serpent boats” were built from the pumice stone liberated by the explosion and shedding over the place as tephra. Since pumice stone nicely floats in water, the survivors could well enclose them in nets of cloths, and thus make efficient rafts to flee away from the site. These would have the advantage being not only waterproof, but also fireproof.

The local woods would all have been set on fire by the falling tephra, so that this material would naturally be missing in the destroyed region. Some traditions I know of mention this type of thing once they are read as closely as I have read them over all these years of research on the matter of Atlantis in the ancient traditions of all peoples.

Interestingly enough, the word regatta passed into the Italian in precisely the same sense as in India, and thence passed into English and other languages. Regattas were hotly disputed in ancient Venice, by rowers in their gondolas. They probably derive from similar competitions held in ancient Rome. The name and the custom of course suggest an ancient connection with the East Indies.

And it is quite likely that the Roman custom was actually connected with the flood, just as the Hindu one is. The red silk umbrellas used in the regattas during the Onam festival of Kerala may well refer to umbrellas used by the people on the boats in order to protect themselves from the falling tephra, very probably still candent or dangerous (radioactive?).

The elephants which so prominently figure in the festival are also connected with the myth and the destruction. Elephants are called nagas in Sanskrit. This word[ means both an elephant and a snake. As such, in specifically refers to Ganesha, the “son” of Shiva. Even more exactly, it refers to Shiva’s enormous linga, so often identified to a fiery serpent (Shesha).

In fact, the elephant or snake also refers to the Serpent Shesha, the effecter of the Flood and fiery conflagration according to Hindu traditions. But the two are probably one and the same. In fact, Shesha is also identified to Balarama, another alias of Bali himself. Shesha is a ten-headed serpent. In fact, Shesha is the serpent over whose coiled body Vishnu quietly sleeps in the intervals of Creation, when the whole world is destroyed and awaits for rebirth.

Moreover, it is not impossible that the name of the Onam festival is indeed connected with the word “OM”, which it closely resembles. The Hindus love playing on words and this is apparently the case here. So do the Jews, by the way, and it is not impossible that the biblical Onan – the patriarch who shed his semen on the ground (Gen. 38:9) – ultimately derives his name from the events in question here. The general idea is that Onam did not leave any progenies.

The name of Onan means “strong one”, just as does the name of Bali, the pious giant of the Hindu traditions. Onan and his brother (Er) were Canaanites and died in Canaan (Gen. 46:12). The “spilling of Onan’s seed on the ground” as well as his death in Canaan may well refer to the fact they all (or most died in the war and the cataclysm which destroyed the region, being buried under the falling tephra, more or less as happened in Pompey and Herculaneum.

As is clear, the Jews very probably came from India, just as did the Gypsies, another mystery people. So, it is reasonable to suppose that the biblical traditions should ultimately correlate with the Indian ones, as they indeed do. In both cases, the reference to “Egypt” of these “Gypsians” ultimately refers to the East Indies, as I argue in detail elsewhere.

In north India, Diwali is not associated with Bali’s defeat, but with the one of ten-headed Ravana by Rama. Lamps are lit and bonfires ignited. As the site just linked affirms in regards to the Diwali festival: “Tradition maintains that lamps are lit to keep alive the memory of Prince Rama’s return to Ayodhya after conquering the tyrant Ravana, the ruler of Lanka, who had abducted his consort Sita. The heroic deeds of Rama are recounted in the Hindu epic Ramayana and Diwali symbolizes the victory of virtue over vice”.

As is clear, the Dravidas of South India feast their king (Bali), and link him to virtue and truth personified. The Aryan north in turn feasts Rama (or Vishnu), his victorious enemy, and equate him with virtue, making his enemies into veritable devils. As long as this type of attitude persists it is hard to see how a consensus can ever be reached and peace and harmony return to all.

To attempt to restore union by means of falsehoods or by playing the ostrich and burying one’s head in the sand, will never resolve the issue, as it never has. Let us all try to restore Truth, and make it triumph, and then talk our differences away, in an honest way that endures and lets bygones be bygones. Otherwise, they will end up as these ancestors once did: killing each other and turning the whole world into a veritable hell.

So, the devils defeated by Vishnu such as Bali and Hiranyakashipu are his former selves who got old and corrupt, and have to be defeated and killed, so that their era gives place to the new one that they start ever and ever again. The name of Atala (or Patala) is in fact synonymous with the one of Atlantis, with which it closely assonates.

This name means, in Sanskrit something like “no land” (a-tala). This is synonymous with the Greek outopia (“no where, no land”). In fact, the myth of Utopia was created by Thomas More precisely as an allegory of Plato’s Atlantis, a theme in which the British poet was fascinated, like so many other intellectuals of the Renaissance period. In fact, More’s death (by decapitation) may well be due to the undue disclosure of such “secrets of state”.

No matter what, the name of Atlantis also derives from the same idea, being derived from a-tla meaning precisely “which did not stand” in Greek. We recognize in these roots the distant relatives of the Sanskrit ones. This name is usually interpreted as referring to the fact that Atlas did not stand the excessive weight of the skies, letting them fall, and destroy the earth. More exactly, however, the idea is that of a land that did not stand and got sunk, becoming the Lost Continent.

On the other hand, the eastern hemisphere was often equated to ‘heaven” or “Paradise” in the ancient traditions, in contrast to the western hemisphere, identified to “earth’ or, sometimes to “hell” itself. When the Ice Age ended, and the world was destroyed, the new era began, with a complete reversal. The “earth” became heaven itself, and the former Terrestrial Paradise became Hell itself (Patala), particularly in the portion sunken beneath the sea (Atlantis).

Hercules was, as we just said, the alias and counterpart of Atlas. It is thus that the constant disputes of the two heroes is to be interpreted in practice. The two are the Twins of all mythologies, as we argue in more detail elsewhere, in our Atlantis homepage.

The myth of the Twins is essentially universal, as we just said. In the New World, they are Nhanderikey and his twin brother, Tiviry. In Greece they are Atlas and Hercules or Castor and Pollux, or Zethus and Amphion, and a myriad such. In India they are Nakula and Sahadeva or Krishna and Balarama (or Arjuna) or Bali and Vamana.

In the Bible they become David and Goliath, Samson and the Philistines, Cain and Abel, Esau and Jacob, and so on. Even Christ and Lucifer (the Anti-Christ) do not escape this invariable rule. Invariably, they are one minuscule and (generally) black, whereas the other one is generally a blond giant, as is the case here. Such is also the case of Hercules and Atlas Bali may be an alias of Balarama, also called Bala (“mighty one”). In fact, this name originated the one of Baal (“Lord”), the great god of the Phoenicians. Baal, also called Melkhart (“Lord of the City”) was the true archetype of Herakles (Hercules), the Greek hero.

Hercules is generally portrayed as a minuscule, though mighty blond hero, whereas Atlas is invariably depicted as a mighty, dark titan. But the colors and even the roles of the Twins may be exchanged, as is so often the case. In fact, the two heroes represent the twin races of Atlantis-India and the eternal combat of the Sons of Darkness against the Sons of Light, etc., etc..

This unending war still goes on right now, as is clear, once one stops to ponder the matter over: Jews and Palestines, Hindus and Pakistanis, Dravidas and Sri Lankans, and so forth.

Bali and Atlantis in Indian Traditions

We see in the myth of Vamana and Bali the defeat of the Atlanteans, the rulers of the entire world by the Aryo-Semites and the turning of Atlantis into the very site of Hell by the agency of the Flood. In fact, the war of devas and asuras connected with the myth seems to have been the very war of Atlantis or, at any rate, the one of Dravidas and Aryo-Semites told in so many Hindu traditions.

And someone apparently used a proscribed method of making war, as hinted at by this type of myth and many others such which we comment elsewhere. As an example take the Diwali festival of Dravidian India. This festival is connected with Onam, the commemoration of King Bali’ return in Kerala and other regions of southern India. The meaning of the name of the Diwali festival is somewhat unclear. It is usually interpreted as a corruption of the Skt. dîpavali which the Hindus themselves usually interpret as “row of lights” (dîpa-avali).

In fact, the name of the Diwali festival seems to means “return of light”, the real meaning of the Skt. dîpavali. But Sanskrit etymologies are usually complex, and mean many things at different levels, as we already said, further above. No matter what, the idea of the Diwali festival seems to be a commemoration of the return of the Golden Age and perhaps the one of Atlantis itself so often commemorated in the traditions of essentially all peoples on earth. ^[23]

The Diwali (or Festival of Lights) is commemorated in essentially all of Dravidian India. The Aryans of north India also celebrate the festival, though in a different context, opposed to the Dravidian one. It is said to commemorate the return of light to the world, and the victory of Light over Darkness. This duel is placed at the spiritual level, as the victory of Wisdom over Ignorance. In mythical terms, the feast commemorates the return of King Bali to restore Justice to his people. In real terms it means the return of Atlantis and the Golden Age, the Satya Yuga.

Interestingly enough, the shape of the lanterns used in the Diwali festival, shown in Fig. XXX below are precisely the traditional one representing Mt. Meru in India, at least since the times of the Indus valley Civilization, where it appears in vases such as the ones found on its site. The identity is perfect, down to the cross shape and the four dots on the sides, and hence cannot be questioned. The direct connection with the traditions concerning the Golden Age and its return also establishes a direct link with Atlantis which also seems to be undeniable, as we have been arguing here and elsewhere.

Fig. XXX – The Diwali Symbolic Decorations
(a)- Diwali Lantern Shaped Like Mt. Meru With Candle Inside (in my files or here or the one above)
(b)- Mt. Meru Fretting, in M. Wheeler, O Vale do Indus, pg. 53, top)
(c) – Lakshmi Rising from the Lotus (my files and here and here)
(d)- Swastika on Diwali Greeting Card (my files and here)
(e)- Four Staged Lampholder (my files and above and here)

  

The enormous antiquity of the Diwali festival can be demonstrated by the fact that the festival – dated at Nov. 4 – commemorates the New Year which now falls at the midnight of Dec. 31. Even more exactly, it commemorated the Winter Solstice, when the sun starts to wax again, and which now falls on Dec. 21. So, there is a difference of 48 days which have elapsed since its start. This difference may perhaps be computed from the astronomical ephemerides associated with the date of the festival, and which are very difficult to carry out in practice. But these calculations may perhaps be performed by a talented astronomer or a skilled Indian guru.

The Hindus used a lunar calendar, a fact that considerably complicates the problem. But a clue is given by the festival itself, which commemorates the rise of Lakshmi from the Ocean of Milk, during its churning by the devas and the asuras.

This is yet another mythification of the War of Atlantis, and the rise of the goddess really means its rising again from the waves, when predicted long ago, and which will really happen in Doomsday, when the Ice Age again starts, sea levels again get lower, and the sunken continent reappears.

No matter what, Lakshmi is the same as Virgo, bringing us the cereals as a boon, the greatest legacy we got from Atlantis-Eden. Now, the Era of Virgo – which is the start of the zodiacs everywhere, as we commented in other works of ours – lasted from 12,960 BC to 10,800 BC, precisely the times of Atlantis. So, this is yet another indication that the festival really refers to Atlantis itself. Several other clues are given by the rituals themselves, as well as by its very name, which as we just saw is related to the sinking of the primordial Paradise of Hindu traditions.

We already saw how the lanterns used in the Diwali festival have exactly the shape of Mt.. Meru, the Holy Mountain of the Hindus. This mountain we have already identified as the Holy Mountain of Lanka and hence with Mt. Atlas, the Pillar of Heaven.

Now, the connection of this mountain with lanterns is telltale of the fact that Mt. Atlas-Meru was in effect a volcano, as we have discovered via alternative traditions. In fact, it was the explosive eruption of this Atlantean volcano that destroyed Atlantis, and also triggered the process which would result in the catastrophic end of the Pleistocene Ice Age.

It is perhaps for this reason that the Diwali festival is attended by fireworks which illuminate the skies, just in the way New year is also celebrated in the other countries. It is interesting to note that the Diwali festival is said to lead to truth and enlightenment. Atlas was said to have been “enlightened” (oloophon) by the tragedy that befell him. So much so, that he sat to meditate, and invented Philosophy, the consolation of the wise and the enlightened as the science that leads to Wisdom and Understanding (Vidya and Karuna).

The connection with the New Year is also important. It commemorates the start of a new era, of which the one of the year is the symbol just about everywhere. The Diwali festival is celebrated not only all over India, but also in countries of Southeast Asia and even the Americas, where it has been take by the Hindus. The Bengalis link the Diwali festival with Kali, the goddess who seems to be the feminine avatar of Shiva.

The devils were menacing the gods, and the Great Mother descended in her terrible form (Kali) to restore the equilibrium. But after killing the demon Mahishasura, she continued her destructive spree, threatening to annihilate the whole world.

So, Shiva descended to put a stop to her, witch only ended when she put a step on the breast of the dead god, her own husband, whom she probably killed herself. Kali’s dance is called the vilaya tandava, a name that closely corresponds to Shiva’s own tandava. Vilaya means “dissolution” in Sanskrit, and refers to the dissolution of the universe that takes place at the end of the yugas.

Kali is the Great Mother of the Hindus (Durga). This myth closely evokes the one of Hathor (or Nut) in Egypt, which is obviously derived from the Hindu archetype. Hathor, normally the kind Cow Mother (as in India), went in a wild spree at the Flood, and was threatening to destroy the whole world, in a blood bath. The gods became afraid of her fury, and Ra decided to put an end to it, which they achieved by getting her drunk.

The name of the demon, Mahishasura, means “the great devil”. But Mahisha also means “the sun, a buffalo”, in Sanskrit. Hence, the death of the demon – said to be the patron deity of Mysore – in fact corresponds to the one of the previous sun. The name also applies to a greet king, particularly of the solar dynasty.

The word, particularly in the feminine, also designates the earth (Mahi or Mahishi) as “wide, great, abundant”. This name evokes the term “wide-earth” or “fertile earth” used by Homer and Hesiod. In the from of Mahat, it closely evokes the Egyptian goddess Ma’at, also representing the wide earth as well as “Justice or Universal Harmony” (Dharma). Ma’at is often equated to the Primordial Mound, the Holy Mountain of Paradise. And the “wide earth” in question here is the one of Paradise, the vast fields of Atlantis-Eden which the Greeks called Elysian Fields.

The idea of Lakshmi rising from the lotus is also telltale. Lakshmi – also called Shri in India – is the archetype of Fortuna, Lady Luck herself. In fact, she is also Venus and Aphrodite, who also rises from the sea in just the way Lakshmi did. The “froth” or “scum” from which they rise untainted is an allegory of the pumice stone (“mud” or ilus or pelos) which covered the seas of Atlantis after its destruction, just as told by Plato.

Covered with dead fish and with rotten human corpses, this “mud” offered a fearful sight, and ended up causing the plague that finished of the doomed place. Lakshmi-Venus rising from the waves closely recalls the beautiful figure of Botticelli’s Venus rising from the seas, as charming as Shri herself. The goddesses really personify Atlantis as the Great Mother of both gods and humans.

The first day of the festival – which falls on the thirteenth day of the month of Karttika – is called Dhanteras. The word dhan– means “gold, fortune, wealth, cereals, the prize or booty of a winner”. The second portion apparently means “a very large quantity, a profusion” (tela). More likely, this name – which has no etymology in Sanskrit – is derived from the Dravida #3821 tan– (“gold”) + #3419 tera– (“to become manifest, clear, pure, pellucid”).

The idea is one of an avatar (or apparition or theophany) of a god or goddess like Lakshmi. But Lakshmi is gold itself, and the donor of excellence. Hence, the meaning can be interpreted as “profusion of gold”. Another name of this particular day of the festival, which is the 13^th. of Karttika, is Dhantrayodashi. This word literally means “lucky thirteenth”. This interesting connection may well explain the mysterious reason for the idea of unluckiness associated with the umber thirteen. Very clearly, what one moiety considers lucky is deemed unlucky by the other one.

The above bases also express the idea of “purification by fire” (as gold usually is) and of a new start or an auspicious event marked by the rise of a star, etc.. The radix tan– also means the idea of something that was beaten or stamped, like a plate (Skt. dham), as well as the one of “earthquake”. Hence, it seems related to Tamraparna, the sacred island whose name means more or less the same (“beaten plate, stamped gold”).

All in all, the name of the first day of the festival designates the return of the Golden Age and the reappearance of Fortuna (Lakshmi), who is no other than Atlantis itself under her name of “wealth” and of Taprobane (Tamraparna). In preparation for the festival, everything is cleaned up and renewed. The houses are painted, renovated and redecorated. Streets are covered with colored sawdust and flowers. Everything bespeaks of a new era bringing happiness to all.

Small footprints – attributed to Lakshmi – are drawn with rice flour and vermilion all over the houses. Lamps are kept lit throughout the nights. These lights and lamps correspond to the volcanism, as we already said. It may well be the case that he footprints of Lakshmi or Vishnu – or even the equivalent ones of Buddha – ultimately also refer to the volcanism.

We are all reminded of the impact caused by the footprints of the first astronauts to land on the moon, and left imprinted there, in the dust which covers our satellite. Volcanism of the explosive kind likewise covers the soil with dust coming from the tephra suspended by the explosion. Anyone walking over it would of course leave his/her footprints impressed in this dust in a similar way.

First crops (of the winter season) are offered to the gods, which vary from place to place in polytheistic India. These commemorations closely correspond to the Jewish festivals connected with first crops (Shabaoth, etc.). Now, crops symbolize the end of the world (Mat. 13:39; Joel 4:12, etc.).

They also closely evoke the All-Hallows Day (Halloween), which is also the Day of the Dead (Nov. 2) of Christian traditions. This date is the same as the one of Diwali, and the rites, in Celtic-descended countries such as England and the USA closely evoke the ones of India. The Dead are of course the Ancestors.

And they are also the same as the pitris (“ancestors”) of Indian traditions. The jack-o’-lanterns (pumpkin lamps) closely recall the lights of Diwali. The date was also the one of the Celtic New Year, Samain, of the rekindling of fire, of crops, of fiery human sacrifices, and so on. In other words, the Celtic festival is more than just close to the Hindu one. They are clearly commemorating one and the same thing. The only difference is that he Hindus recall a little bit of what they are commemorating (the death of Bali), whereas the British and the Irish utterly forgot what it is all about.

Gold and silver objects are bought or exposed by all but the poorest. Candles are lit in order to drive away the evil spirits lurking in the night. Cattle is decorated and worshipped as avatars of Lakshmi, deemed the Cow Mother of humans, as so many goddesses. People gamble freely, relying on Lady Luck whom they are feasting.

Tales are told to children of the defeat of Yama (Death), perhaps as an allegory of his defeat by Yamantaka (Shiva as the Defeater of Death) or other gods who rose from the dead, more or less in the way Christ also did, after defeating the infernal lords. Again, this tale seems to relate tot eh rising of Atlantis from the Realm of the Dead where it now lies.

Ritual baths are taken, a ritual recollecting Baptism, an allegory of the Flood itself. The third day of the Diwali festival is dedicated to Lakshmi herself. This day commemorates the entrance of the sun in Libra, the Balance of Justice. This day is held to be the one in which all debts are settled, and Justice is restored do on earth. In practice this means Doomsday.

In other words, this ritual means the day Bali and Lakshmi will rise again, bringing back Atlantis in their wake, a most auspicious day. On this day, Lakshmi – Justice, as holding a balance – is held to descend from heaven, illuminating the earth.

As Diodorus Siculus (Hist. Lib. II:4) tells us in his detailed account of the myth of Atlantis, Basilea was the first queen of Atlantis. Her name means “queen” in Greek. Basilea is the same as Astrea, also called Cybele or Great Mother. She may also be the same as Asteria, which became the floating island of Delos, where Apollo and Diana were born, and which seems to be an alias of Atlantis itself, as a dvipa which sinks in the sea and rises again, later.

When her son, Helios died, murdered by the Titans, Basilea went mad, and disappeared during a terrible tempest which seems to have been the Flood. Others say Astrea ascended to heaven, and became the Libra constellation, from which she is fated to return, with her balance to conduct the Last Judgement. We note that Helios is, like Apollo, a counterpart of the sun, of whom (Hyperion) he is also the son.

This lineage of “suns” closely evokes the Aztec ages or eras, also called “suns”. We also have the same type of succession in India, from where the myths apparently came. In fact, the death or fall of the sun commemorates the one of Atlantis, as Plato himself tells us in his Critias.

And who can doubt the word of the Prince of Philosophers, himself the very person who divulge the secret of Atlantis’ existence as more than a pure myth? It is indeed a surprise to find in India and its sacred traditions, the very source of the myths of Atlantis whence it somehow passed into Greece, Egypt, and other places. But this find only confirms what we have been saying all along concerning the real locations and source of the myth of Atlantis.

As a matter of fact, the luminous descent of Lakshmi from heaven closely evokes the one of the Celestial Jerusalem of the Book of Revelation (12:1). Even more so, it seems to be the same as the “woman clothed with the Sun”, which appears in the sky, in the day Lucifer was precipitated from heaven by Michael and his angels, an allegory of the war between devas and asuras which we already identified as the one of Atlantis. In other words, all these myths agree to perfection.

An interesting story, told in the Katha Upanishad, recounts how a boy called Nichiketa (“unknowing?”) believed that Yama – the Lord of the Dead who seems to be the same as Bali himself – was black as the night of Amavasya itself. One night, that of Amavasya itself, when he was musing the matter, Yama himself appeared to him, and he was puzzled to see how tall, dignified and white-skinned the great lord was.

Yama then told the boy that only by passing through death, do humans attain the highest wisdom, and get integrated in the body of Brahma himself. With this, Nichiketa realized the meaning of life and death, and all his doubts and ignorance vanished, so that he merrily partook of the commemorations of that night.

The Diwali Festival in Other Places

In Bengal, Diwali coincides with the Kali Puja, the celebration of Kali, the goddess of death. Lights are lighted and music sounds throughout the night. Images are ceremonially consigned to rivers, as if to commemorate the submergence of Atlantis and its people.

It is believed that this night is the one when the pitris (“dead ancestors”) come back to the world, to haunt the living. Lamps are lighted on top tall poles in order to drive away the bad spirits. Maybe someone there has a bad conscience tormeting him. No matter what, this practice closely evokes the one of the Romans in their day of the Lemuria, their festival of the dead ancestors, attended by very similar customs.

The festival is there called Dipabali, a name which of course evokes the one of Bali himself. And they honour Kâli (Durga), who seems to be a counterpart of Vishnu in his role of a black dwarf or boy of extreme beauty, according to some versions.

In fact, the Dravidian word dipa implies the same idea as the Sanskrit dvipa, a sinking island-paradise, as we commented elsewhere in this paper. So, the meaning of the Bengali name of Diwali may be interpreted as meaning “the sinking of the White Island (dipa-bali)”.

Now, the White Island is Shvetadvipa, precisely the site of the dvipa associated with Paradise in Hindu and other traditions. The Hindus love this kind of playing on words, by means of which they hide the true meaning of their feasts and rituals from all but the true initiates. The same is true of other peoples both ancient and modern.

For instance, the Aztecs call their Paradise Lost by the name of Aztlan, a word that means “the Land of the White Herons”. The white heron is of course an immaculate white, such being the real name attached to the name of Aztlan, as several experts have determined from the available evidence. But the word Dipabali may alternatively be connected in Dravida with the idea of the fall of a meteor or a star or comet, that is, an avatar (Skt. ava-tara).

In other words, what the Bengali name of Diwali suggests is a connection with the myth of Lucifer as the Morning Star who fell from heaven like a shooting star (Isa. 14:12), as we explain on our essay on the Whirling Mountain of the Navajos. Isaiah is speaking of the fall of the mighty nation which oppressed all others on earth, more or less as told of Ravana, Bali, and other rulers identified with Atlantis itself. Isaiah’s words: “How hast thy fallen from heaven, O! Lucifer, Son of Morning. Morning” clearly refer not only to Lucifer, but to Dawn herself (Ushas = “Morning, Dawn”), the Great Mother of Hindu traditions.

Ushas is of course Dawn herself, alias Diti.And diti is the mother of the Daityas, who are precisely the giant Titans of Hindu mythology who made war to the gods and were defeated and thrown down into Hades. How can anyone doubt a connection, now that it has been demonstrated in so many excruciating details?

In Nepal, Diwali is named Tihar and lasts for five days. They honor Shri (Lakshmi) and Ganesha, the son of Shiva. Ganesha is really an alias of Ketu, itself the giant dragon or serpent or elephant (naga, all three) which impersons the giant linga of Shiva afloat on the waters of the Primeval Ocean as the Serpent Shesha. And the linga, of course, really represents the Holy Mountain, decapitated by the giant volcanic explosion, which voided its magma chamber and transformed it into a giant submarine caldera. This giant caldera is the one of the Krakatoa volcano, the one which sunders Java and Sumatra, in Indonesia, the very site of Atlantis-Eden.

The first day of the Diwali festival there is dedicated to cows (as aliases of the Great Mother). The second day is dedicated to dogs (aliases of Shiva and the Chamites). The dog is the vahana (mount) of Bhairava (Shiva). Lamps and candles and fireworks are lit on the third day. The fourth day is dedicated to Yama, the Lord of the Dead. Yama is an alias of Bali or Shiva in their dead aspect. The fifth and final day is called Bhhaya Dooj and is dedicated to brothers and sisters, who tie in their wrists in order to be spared from death (Yama).

This ritual is also Indian in origin. It was already commented in its connection with Setubandha, the bridge by means of which Rama and Hanumant reached Lanka and destroyed the place with fire and water (the Flood). In Malaysia, as in most of Southeast Asia, the traditional bath ritual of the Hindus is taken in midnight. This bath is the equivalent of the Christian Baptism as an alias of the Flood, as we already argued. Lamps are lit in order to commemorate the victory of Rama over the demon king Ravana, the likewise virtuous king of Lanka.

This is precisely the great war of the Ramayana, which is thus seen to be the same as the one of Bali and Vishnu. In other words, the Ramayana – which is extremely popular all over India and Southeast Asia, Indonesia included – seems to have been adopted in India from there, being the East Asian counterpart of the myth of Bali and Vishnu. The Muslims and the Christians forbid or replaced the celebration of Diwali over most of Indonesia, and the festival is celebrated only in Bali, nowadays, the sole remaining Hindu country in the entire region.

In Singapore – at the very heart of former Atlantis –the Diwali festival is called Deepavali, a name they derive from Dravida as dîpam (“lamp”) and voli (“light”). Singapore is located right at the entry to Paradise , in the Pillars of Atlas and Hercules themselves. This derivation (“lamp lighting”) is apparently popular and lacks rigor. Its etymology is somewhat faulty, as is so often the case with popular etymologies.

The brahmans – who of course know far better – teach those popular etymologies to the people, while reserving the really meaningful ones for themselves and the initiates. The lay experts – for instance, the linguists – seldom if ever possess the knowledge to engage in sacred etymologies, which are not only confusing, but require a mastery of mythical and religious connections, which they usually ignore or haughtily disdain. So, they never go beyond the elementary ones, and are never abe to discern the deeper levels of meaning.

With this, the sacred etymologies will have to wait for the marriage of Science and Religion which is, we hope, forthcoming. But it is useful, and in fact guides us into one of the most beautiful themes related to the traditions of Atlantis: the one of Lucifer and his fall. The etymologies are so exact and so literal, that it is essentially impossible that they may be unreal, as we argue in mathematico-statistic terms elsewhere.

We call the reader’s attention to this work of ours not only because it shows, in an unequivocal (linguistic) way, the Dravidian origin of the Etruscan predecessors of the Romans, but also proves, with the help of Probability Theory the fact that random linguistic coincidences are utterly small, in contrast to what professional linguists hold, affirming instead that they are “quite likely”, which is false. In fact, the calculations they make and the computer programs they use, and which are based on them are utterly wrong, as I demonstrated in great detail elsewhere. ^[24]

The etymologies which may be formed in Dravida from the bases given in the below footnote are in fact myriad. These etymologies are only a part of the many more available in the Dravidian tongues and, hence, in the possible proto-Dravidian recompositions. Dravida is a far more pliable tongue than Sanskrit, and words are sort of fluid, with the meanings rendered precise by means of agglutinative suffixes, so that etymologies may be formed almost at will. What is more, Dravida is a polysemic language like Sanskrit, and hence the etymologies are further multiplied.

And here these all compound to tell the whole story, the one of Bali-Balarama, the Serpent of Eden. Unfortunately, a fuller discussion would take us too far afield, and is left for a better opportunity. But an attentive reading of the below Dravidian roots will show that not only the given etymology is possible, but above all, the ones of Bali, the arrogant, though rightful and charitable giant king of the world. Bali became enclosed in Hell (Patala or Atala), more or less as happened to Kronos, to Atlas and, above all, to Varuna, to Ravana, to Ketu-mala, to Vritra, and so on, after being defeated and humbled by Vamana, the dwarf avatar of Vishnu.

Through these etymologies, Bali is explicitly identified to Lucifer himself (as the son of Dawn and as the Morning Star), to the sun, the moon, the planet Venus, a white-skinned person, the King of Justice; to riches, gold, silver, shiny coins, light, stars, the light of the world, and so on. The idea of the “fall” associated with his name also implies the subsidence of Atlantis in the Flood and the firing (Conflagration) of his formerly paradisial abode, in Jambudvipa, the very site of the Terrestrial Paradise and, of course, of Atlantis-Eden.

The etyma just provided, along with the rituals discussed in some detail, provide a direct connection with this destruction. They also identify Bali with Balarama, the twin of Krishna, who is really Vishnu. So, what we indeed have here is the eternal dispute of the Twins, which we find in all mythologies, those of the New World included. Bali is further identified with Ravana, the king of Lanka of the Ramayana, in the related traditions of Southeast Asia, with the devil (Sainhikeya) who became Rahu and Ketu after being decapitated by Vishnu at the churning of the Ocean of Milk (an allegory of the Flood), and perhaps with Pandu (“the pale one”), in the Mahabharata.

In Maharashtra, these lamps are placed facing south, because they believe that the realm of Yama is placed towards the south. This is interesting, as south is precisely the place of the Vadavamukha and the Kumeru in relation to India. And Indonesia is, of course, placed to the southeast of India. The Jains consider Diwali the day of the death of Mahavira, their 24^th. Tirthankara. Mahavira (“great hero”) seems to be the same as Bali, whose name means precisely the same in Dravida (val, vali, Bali)..Sacred scriptures related to the events of that festival are recited and all illuminate their houses and temples. Thousands of Jaina pilgrims flock to Mt. Girnar in Gujarat, their sacred mountain.

It is interesting to note that the name of this mountain (Girinagara, in Skt.) means like “mountain city”. In fact, the name plays with naga (“serpent”), the name of the serpent-people of Atlantis, precisely the Titans (or Daityas) led by King Bali. These nagas are also called Adityas (“sons of Diti”). And Diti is precisely the Great Mother whom we commented above. In fact, the word is connected with the Skt. root dî– from which the name of the festival derives (dîpa-avali), and means the same thing (“light, shine, luster, gold, riches, fortune”).

In fact, Bali is also called Daitya-pati (“Lord of the Daityas”). So is Varuna, called Daitya-deva (“God of the Daityas”). Diti is also the personification of the planet Venus. As such, she is the alias and counterpart of Hesperus, whom Diodorus makes the brother (and lover”) of Atlas in the passage just quoted. Daitya-dvipa (“Island of the Daityas”) is a name of a Hindu Paradise which some experts (Jwan-Micel Angebert, etc.) identify with Atlantis.

Daityâri or Daityantaka (“Destroyer of the Daityas”) is a name of Vishnu. Daityêndra (“Lord of the Daityas”) or Patala-ketu is a name of a king of the nagas in Patala, perhaps King Bali himself.

No matter what, this shows the fundamental identity of Diti with Aphrodite – a name perhaps derived from aphro-dîti (“produced from the froth” or “gold from the froth”). And Aphrodite is Venus, the alias of Shri-Lakshmi. Hence, we discovered the origin of the mysterious Greek love goddess, the charmer of both gods and humans. Bali is also seen to be Varuna, the god of the Daityas. Varuna, formerly celestial, fell from the skies and became the Lord of the Ocean. As is clear, he is also an alias of Shiva, the Linga, and of Yama Dharmaraja, the king of the dead and of justice itself.

We see, moreover, that his realm, the one of the nagas, is in fact Patala (or Atala), which is also the same as Atlantis. The Hindus of course separate all these hells and races in order to confuse the layperson, who gets lost in the details, while missing the essential message. Ketu means “shine, brightness, light, apparition, falling star, meteor, sign, mark, banner”). Patala is also said to be the site of the Vadavamukha, the very Submarine Mare of Hindu traditions.

The Vadava is in fact the submarine volcano which becomes active and explodes in Doomsday, bringing the end of the world or rather, the return of the next Ice Age. And this volcano we have identified with the ferocious Krakatoa. Ketu-mala is a dvipa (sinking island or continent) equated to one of the paradisial abodes in Jambu-dvipa, which some Hindus confuse with India but which is indeed no other than Atlantis itself.

By extension, the word Ketu means “judgement, discernment, justice, wisdom”, more or less as in the name of Bali and the one of Yama as Lord Justice himself. Ketu is the name of the tail portion of Rahu, the dragon or serpent decapitated by Vishnu during the Churning of the Ocean of Milk. Ketu is said to be the descending node of the moon or the ninth planet. Ketu is also the god associated with the winter solstice, the main day of the Diwali festival.

As such, Rahu-Ketu is no other than the demon Sainhikeya, a son of Sainhika, the lioness which is often identified to Kali. This lioness is the Great Mother in her terrific avatar, as the Kalamukha the all-devouring chasm more commonly called Vadavamukha, the Fire of Doomsday. It is clear that all these different names and rituals and myths are intended as clues given, as some sort of jigsaw puzzle, to the adepts for decipherment. When this complex puzzle is assembled, we get the beautiful picture of the world in the Golden Age, the times of Atlantis-Eden, before war broke out caused by the excessive greed of the Aryans.

The Gifts of the Diwali Festival

It is interesting to observe how History keeps repeating itself over and over again, just as was with the insatiable gold fever of the European conquistadors both in the Americas and in the East Indies. Is this the reason why these guys so falsify History, hiding away and censoring the ugly portions which can only find publication under the shape of myths they are utterly unable to clearly understand being hence prevented from falsifying or even censoring away, as they are all well disguised as Religion or as sheer absurd? Take, for instance, the rites and commemorations of Christmas and those of the Diwali festival.

No one familiar with Comparative Religion will fail to realize their essential identity both in date and in the traditions commemorated then. The date is that of the New Year centered in the Winter Solstice in both cases. In fact, the festivities of Christmas were copied from the Pagan ones of the Invincible Sun (Sol Invictus) in the Greco-Roman world. But the Sol Invictus is really no one but Bali himself as the Fallen Sun of so many mythologies.

Christ – or at least the myth attached to his person – is not a historical personage at all, and the non-Christian references to him have all recognizedly been forged by zealous – but not entirely trustworthy – Christian theologians such as St. Jerome. It is only by studying the History of Religions objectively and unbiasedly – as Sacred History that belongs to all of us humans – rather than to the zealots who have appropriated it for their personal that we will recover the invaluable treasures that is hidden in the holy books and sacred traditions everywhere on earth.

Who knows what these treasures may be: the Elixir of Life, the Panacea, the Love Philter, the recipe for making gold, the secret of the ancient Magi and Astrologers and, who knows for sure, even Atlantis-Eden itself? Perhaps we will also discover – as some pious Hindus long ago discovered – that all gods, demons, angels, sprites etc., are all really one and the same in a myriad avatars, just as we humans – blacks, whites, yellows and reds – are also really one and the same copy of the primordial Prototype Man or, more pessimistically, of the Primordial Ape, the ape of God.

Some call him Adam, others Purusha, others Yima, others Manu, others Pan-ku, and so on? What creates all these partitions is really what the Hindus call kamarupa, the “embodiment of desire”. We all want to be right, so that it is our god who is right, and all others are demons. We want to be better, so it is our skin color which is fitter, and all others are inferior. Above all, we want to be rich, so that the whole earth belongs to us alone, and the inferior guys have to be dispossessed of their land, their life, their property, their liberty, their erroneous religion.

The Gifts of Diwali

The gifts of Diwali are as interesting as are its rites. Candies – which are freely distributed on this day, just as in Christmas – apparently refer to the name of Sveta-dvipa, the “White Island” which is no other than Paradise itself. The word also refers to sugar as the white, sweet, crystalline substance (vela or vali, in Dravida). The candles of Diwali mean the same as the lamps posted on lofty poles: they represent the fiery peak of the supervolcano before its superexplosion.

The greeting cards sent on this date embody Hindu sacred symbols such as the swastika, candles, and lotuses. The lotus, as we already saw, means the “Golden Flower”, the gorgeous fireworks associated with the volcanism which destroyed Paradise in the dawn of time itself, the start of the present era. And no one can say that these cards are “modern” so that their message means nothing, and are mere falsifications of ancient Hindu symbolism.

Diwali is a sacred religious ritual everywhere it is celebrated in the world. And the symbols used in it, even today follow the traditional designs all over India.. One instance is the so-called rangoli, a traditional mandala used in the Diwali festival. Detailed instructions are given in this text for the construction of rangolis, which follow the ones for traditional mandalas sandpainted or not, given in the holy texts of India. In particular, the rangoli mandala represents a model of Paradise which closely resembles the picture of the Celestial Jerusalem of Revelation and, even more so, the sacred geometry of Atlantis as given in Plato’s Critias.

The other motifs associated with Diwali shown here and in the above figure also have a mystic signification connected with this auspicious event. Like the Judeo-Christian rites and symbols, Hindu symbols and rites are never touched even for profane purposes such as postcards. No pious Hindu would ever dare to forge a symbol that is not really sacred and traditional. That would inevitably anger the gods and the devils, and bring about their terrible ire over the profaners.

And to the Hindus, all such acts and rites are sacred repetitions of the primordial events. One such is the return of Kali riding her tiger, as usual, but here shown in her auspicious character, as Golden Gauri, an alias of Lakshmi (Fortuna) herself as the goddess of Luck. Again, the goddess’ return symbolizes the one of Atlantis and the Golden Age, here symbolized by her golden attributes: the trident, the sword, the scepter, etc..

These events are the ones which took place in the dawn of the world, when the present era started, after the end of the Pleistocene. This perspective can be observed, for instance, in this site here, written by a pious Hindu lady from India, who is selling nothing or in the literally hundreds of Hindu sites one can now find over the Internet. This attitude of the Hindus is very much the one of the primitives they civilized in the far past, perhaps before the present era, the one brought about by the defeat of Lord Justice, alias Bali.

That event is connected with the Flood, which is indeed the first avatar of Vishnu as the Fish (Matsya) who rescued Manu from the cataclysm. The Hindus celebrate this event – which is really a commemoration of Atlantis’ subsidence – in the month of Karttik, the same as the one in which Diwali is commemorated. This is the most sacred of Hindu months, just as December is also the most sacred to Christians, who place the birth of Christ in it

Like most people, the Hindus do not really understand the myths and rituals they actually live by, limiting themselves to endlessly repeating them blindly, without ever fully understanding their real meaning. How could one forge a myth or a symbol if one does not understand the technique and the hidden meaning behind them? Try to falsify a coded message, and see if you can do it in a way that really makes sense either to you or its intended recipient.

Diwali, Naraka and the Origin of the Vikings

The perfect continuity of the Hindu symbolism even in European mythologies can be traced back to several thousands of years in the past This fact proves their authenticity insofar as the shape, and hence the meaning, is preserved verbatim, as no one can falsify a message which is so safely encoded as the one of myths. An example is the death of Naraka by Krishna. Naraka is also called Narakasura (“the devil Naraka”) His mother was Bhudevi (“Earth Mother”). The demon had achieved enormous power and conquered the whole world, Indra (the Aryan) included. This fact closely evokes Plato’s reference to the fact that Atlantis had conquered the whole world, most of Europe included.

Due to his great piety, the demon had acquired a virtual immortality, and could only be killed by his own mother, the earth. Again using a dirt trick (feigning death) Krishna defeats the demon with the help of a later avatar of his mother. Jubilant with his victory, Krishna smeared his own brow with the giant’s blood. This act became a ritual nowadays reenacted over all of India. The meaning of this act seems to have been forgotten by all in India.

That this tradition dates from extreme antiquity is demonstrated by the fact that it is also encountered among the Germanic tribes, in the myth of Siegfried and the Dragon, rendered famous by Richard Wagner in his opera The Ring of the Niebelungs. Shortly after killing the dragon who kept the gold of the Niebelungs – the perfect counterpart of the evil Panis and the likewise somber Daityas or Rakshasas – Siegfried wipes the dragon’s blood upon himself, so as to become an immortal himself.

In fact, the doomed gold of the Niebelungs is no other than the one of Atlantis, which brings doom to its owners, just as does the fatidic ring. We comment this story in detail elsewhere, and will not delve into it here. The story is originally Nordic (Volsunga Saga), and derives from the Eddas. It also originated the Beowulf classic and even the modern Lord of the Rings of J. R. Tolkien.

It is extremely interesting to see in ancient India – or rather in Indonesia and, better yet, in Atlantis, the origin of the mysteries Vikings, who are visibly the same as the “reds” of so many ancient traditions which we comment in detail further below in this paper. Even the story of the Niebelung ring itself originated in Indian traditions. There it takes the shape of the Kaustubha jewel, acquired by Krishna and perhaps by Rama in more or less the same way that the ring of the Niebelungs was gotten by Siegfried.

This jewel also brings unhappiness to its owner, a fact that explains Rama’s unhappiness, for instance at the unfaithfulness of Shita, his wife, etc.. It is interesting to verify that this story is also connected with the eternal fight of the Zionists and the Nazis and, of course, with the one of the Dravidas and the Aryans, in today’s India. It is said that Wagner’s operas inspired Hitler in his crusade against Judaism, a fact that even now brings backs fits of anger on both sides. Such was recently the case in Israel, when the Ring of the Niebelungs was played there.

As we said above, only truth can really liberate us all from this type of revival of ancient hatreds, apparently dead, but hotly burning beneath the cinders which cover them everywhere. When people go around suppressing information – truthful or not, it does not matter – or spreading misinformation things often get real dangerous. It is always better to present the case of both sides, and let people decide for themselves, even if this information consists in the real causes of WWII and the terrible holocausts it led us all into.

No matter what, the story told as sheer myth or fable in the Germanic countries is just the one told as historical fact in India, for instance in the rtes and traditions of the Diwali festival. If you doubt my word, read the Hindu commentaries on that which are amply available in the Internet or, even more simply, ask a Hindu person if these sacred traditions are historical or not. Their answer will invariably be “yes”. Much the same result will be gotten from a Christian or a Jew if asked about the historicity of Jesus Christ and of the biblical personages. In fact, myths such as the one in question here are truly historical, though mythified for several good reasons. Of course, this does not mean that they should be taken as verbatim History, just as History should not be taken as verbatim truth.

The fact that the Ring of the Niebelung is considered “The Battle of Truth and Error” is also telltale of its connection with India, where the main theme of the Diwali festival is literally the same. Of course, both contenders believe themselves to be “Truth” or “Good” and that of their opponents to be “Evil” or “Falsehood”. Who is right and who is wrong? In my view, both sides are wrong, as they both hide away the truth, and hence lie in more ways than one, wronging all the people on earth. This only leads to war and hatred, both religious and racial.

The suppression of the truth will never do, as it is bound to triumph in the end, as we all know. It is in this spirit that I attempt to bring Truth from its hideout, the one of myths and rites, where it survives, if only barely. It is interesting to note that some circles – for instance the Rosicrucians, are also starting to discern the connection of this type of myth with Atlantis itself and the Flood. This work dates from Max Heindel, and his interesting book entitled: Mysteries of the Great Operas.

As usual, the readers are warned that whatever they buy is done at their own risk. So, they must judiciously pick the chaff from the wheat, before swallowing it, as they may choke. As is clear, most roads lead not to Rome, but to Atlantis itself, its true archetype. Beware not to take the wrong road, though, particularly the ones which lead nowhere. And, above all, be skeptic of being too skeptical, for otherwise you can make a fool of yourself, like some guys I know of. Arrogance was perhaps the sole mistake of Bali. And it was this sin which ultimately led him to his doom, so much like the one of Lucifer himself, as we point out in the present work.

Naraka as the site of Hell

The fact that Naraka is said to be a “son of the Earth” is also telltale. This means he is a “giant”, (gigas) a word literally meaning “son of the earth” (ge-gens). This theme also evokes the giant Anteus killed by Hercules, who also used a ruse to kill the giant who was immortal as long as he touched his mother, the earth. It is clear that this myth, like the Germanic variant, all ultimately originated in India, where the related traditions are far older and far more complete than in Europe.

Since it is hardly believable that India herself ever attacked Europe, as Plato affirms, it is far more likely that the Germans and the Scandinavians, like the Greeks, brought along these myths from the East Indies when they still lived there, in the dawn of times. Even more exactly, it seems that their common original abode was indeed Indonesia or, rather, the sunken continent beyond it, the one of Atlantis, as we have long been arguing.

In fact, the ritual bath and anointing which follows the above bloody ritual also commemorates the sinking of Atlantis. It is some sort of Baptism, which the Church Fathers themselves identify as a symbolic repetition of the Flood itself, the very event we have connect with Atlantis’ demise. The word Niebelung actually means “beings of the hazy region” (niebel-ung). This corresponds to Nieflheim, their gloomy abode. And that abode is no other than the gloomy Naraka of the Hindus, the murky Tartarus of Homer and Hesiod, or the mysterious, nebulous Haunebut of the Egyptian traditions.

In more realistic terms, Niefelheim also correspond to Homer’s Cimmeria, where the sun never shone, being permanently obscured by a dark, suffocating haze. This in turn corresponds Atala or Patala where Bali and his people were imprisoned by Vishnu, or the Greek Hades, where Kronos and the Titans were imprisoned by Zeus, after their defeat in their war against the gods. As Homer explains, this great war is indeed an allegory of the real one between the Greeks and the Atlanteans. For “Greeks” one should read Aryan, and for “Atlantean” the Dravidas.

The swastika used in the Diwali festival – here marked with the four subsidiary peaks around Mt. Meru, and hence showing the esoteric identity – is indeed a representation of the Whirling Mountain of Paradise. The four dots around its cardinal points leave no room for doubt about this identification. Other symbols used in the Diwali greeting cards are likewise telltale: swastikas with candles on them; a six-petalled lotus with a lamp at the center forming a Star-of-David; a triple lampholder; the two hands forming the anjali-mudra, etc..

Turning to the deities of Diwali. One card represents Ganesha as a lotus placed between two fiery pillars; Shri over a lotus within her shrine showering gold coins; Shri and Ganesha over a six-petalled lotus; a Cross with four swastikas (not Christian) and the footprints of Vishnu, OM syllable and Ganesha at the center; idem with other symbols (sculpted mandala); idem with the Full-Vase (Purna-kumbha); idem as a falling-star; the OM glyph surrounded by the fires of Diwali; Diwali lamp decorated with Atlantis’ symbol surrounded by four flames and topped with symbolic fire; OM glyph inside a lamp; lamp with Atlantis symbol at bottom; rose (lotus) inside Atlantis symbol in water; radiant mandala with Atlantis symbol at center; twin fiery pillars (of Hercules and Atlas?); etc..

[<<<ONAM FESTIVAL OF KERALA Onam. The connection with bands (bandha) in the Hindu festivals is also interesting. Bandha is precisely the site of Lanka. And Lanka was Atlantis’ capital, as we have argued. The fireworks of the festival (Onam), in Kerala, perhaps evoke a giant volcanism and the boat races, the people leaving the destroyed place in their ships. The Shatapatha Brahmana (1:2:5), in telling this myth of Vamana and Bali, starts by telling that it was indeed the war between the devas and asuras. It also affirms that the demons (asuras) had taken possession of the whole world, cornering the gods, whose fortress in Amaravati (Paradise) they also assailed and were about to take. http://www.maxyellowpages.com/india-infoline/indian-festivals/onam.html The Devas or Gods were worried over the wise and good rule of Mahabali, the Asura king, thinking that he might become too powerful. They sought the help of Vishnu (the Preserver in the Hindu trinity) to curb Mahabali’s power. Vishnu, in the form of a dwarf called Vamana, approached him and was offered a boon by the king. The Vamana asked for three paces of land and the king agreed to it. Soon the dwarf began to expand and with the first step, he covered the sky, blotting out the stars, and with the second, he straddled the netherworld. Realising that Vamana’s third step will destroy the earth, Mahabali offered his head as the last step. The Gods were glad, but since Mahabali was so attached to his kingdom and the subjects and was very much loved by the people, he was allowed to return once a year. Onam (Thiruonam) is considered to be the day when King Mahabali comes from exile to visit his beloved people. This festivities begin ten days before Thiruonam. A magnificent procession of elephants enthrall you at Trichur (Thrissur). Every festival’s end is marked by the bursting of firecrackers. The Kathakali dancers adorned in their colorful garb and bright make-up entertain the crowds at Cheruthuruthy. They depict stories from the epics, Pulikali, also known as Kaduvakali which is a common sight during the Onam season. Performers painted like tigers in bright yellow, red and black, dance to the beats of instruments like udukku and thakil. The Vallamkali (boat race) is one of the main attractions of Onam, and is best seen at Aranmulai and Kottayam. About a hundred oarsmen row huge and graceful odee (boats). Oars dip and flash to the rhythm of drums and cymbals in each boat. The songs are generally typical in character and concern people well known in Malabar. Above each boat silk umbrellas are perched : their number denotes the affluence of the family owning the boat. Gold coins and tussles hang from the umbrellas. In the evening girls perform the Kaikottikkali (Thiruvathirakkali) in the open, dancing around the traditional brass Onam is a four-day harvest festival celebrated in Kerala. It falls in the Malyali month of Chingam, marking the end of the life-giving monsoon and the advent of spring.

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The Connections with Greece

The connection of Bali with the Atlanteans and with Hercules and Atlas is visible not only in the perfect correspondence of the Greek and the Hindu myths on the sunken realm, but even in that of their very names. An example are the ones of Atlantis (Atala or Patala), of Atlas (a name of Shiva, Atalas), of Hercules (Bala, Bali = Baal = Hercules = Belus), of Gadeiros (“cowherd” = Govinda = Krishna), and so on. Bali is a great hero, worshipped even today in Tamil Nadu, in festivals such as the one of Onam. The fact is that the Dravidas even today recognize Bali – that is, Baal, Bala, Balarama, Shesha, Atlas – as their former great king.

This fact leaves little room for doubting our identification of the Dravidas with the Atlanteans, whom the Greeks and other Aryans fought so bitterly precisely when they were attempting to conquer the whole world, just as King Bali once did. True or not, the fact is that the two stories are essentially identical. And now that we have demonstrated in a myriad ways that the traditions on Atlantis in fact originated in India, where they are even today alive, the connection cannot be doubted anymore.

Now, why would the pious Hindus cherish personages such as Bali if they were indeed demonic or purely virtual? Would they be so stupid as to base their sacred traditions on a sheer lie? Vishnu is, instead, the great Aryan deity, the modern counterpart of Indra as the water principle and the eternal enemy of the asuras. The fact that Vishnu is mainly worshipped in the northern part of India, whereas Shiva and Bali, his other self, are particularly worshipped in southern India is telltale of a former dispute and division between the Aryans – who rule the north – and the Dravidas, who preponderate in the south.

Though hotly denied by many Indians – in particular the militants of Indutva (“One India”) and, above all the brahaman (Aryan) caste – the former division is too obvious to be denied, particularly when one considers the traditions just mentioned. It also seems that the former Dravidian kings sought refuge in Indonesia and perhaps Sri Lanka. Indonesia came to be regarded as some sort of Hell or Patala, a name that means something like “sunken land”.

Now, this name – which so befits Atlantis – is really based on fact, as we have been arguing for two decades now. This fact has been recently confirmed by the actual charting of the seafloor of the region done recently by NOOA’s spy satellites, which confirmed in great detail our own map of the seafloor of the region done earlier by carefully compiling the then available evidence obtained by sounding and other methods such as sonar.

Our map shows the reality of a former continent of immense extent now submerged in the Indonesia region. This vast continent – whose real existence was long suspected by former naturalists – also figures in the local traditions, particularly those of the Dravidas themselves. So, for the first time ever, we obtained a perfect match between Plato’s description of the Lost Continent, the local traditions and the geological reality. It would be foolish to discard the massive amount of evidence we have compiled on this issue, which is so utterly obscure and which seems to be so crucial for the clarification of the earliest prehistory of human civilization.

Perhaps the real reason for this a priori rejection and censorship is due to inconfessable reasons such as an inherent shame of some past misdeeds vaguely hinted at in many mythical traditions. One such concerns the Original Sin, whose nature is never really disclosed, except to say that it was indeed an act of hubris or démesure and “unwisdom” (nepia). This hypothesis would nicely explain the reason why this theme is taboo both in regards to History and Religion, being excluded from all “serious” enquiries in the prehistoric human past. But it is fast becoming evident that the catastrophic end of the last Pleistocene Ice Age was caused by a giant volcanic paroxysm.

Moreover, this event was also attended by a dramatic increase of the atmospheric contents of C¹⁴ (radiocarbon), which is produced by neutrons and can only be explained by this sort of event, if at all. Perhaps someone had the stupid idea of dropping a nuclear divide inside the Krakatoa volcano in order to destroy Atlantis, and ended up destroying the entire world.

The connection with bands (bandha) in the Hindu festivals is also interesting. Bandha is precisely the site of Lanka. And Lanka was Atlantis’ capital, as we have argued. The fireworks of the festival (Onam), in Kerala, perhaps evoke a giant volcanism and the boat races, the people leaving the destroyed place in their ships. The Shatapatha Brahmana (1:2:5), in telling this myth of Vamana and Bali, starts by telling that it was indeed the war between the devas and asuras. It also affirms that the demons (asuras) had taken possession of the whole world, cornering the gods, whose fortress in Amaravati (Paradise) they also assailed and were about to take. In its own words: ^[25]

“The gods and the demons, both born of Prajapati [Brahma], were warring against one another. The gods seemed to be losing, and the demons claimed: ‘All the world is ours’. They said: ‘let us divide the earth among ourselves, and when we have done it, let us live upon it [all]’. Then they set out to divide the earth from west to east with hides of oxen. The gods heard about this and said: ‘The demons are dividing the earth. Let us go where the demons are dividing it’…

“They placed Vishnu, the sacrifice, at their head and went there and said: ‘Let us also share in this earth. Let a portion of it be ours. For where would we be if we do not share in it?’. The demons, rather jealously, replied: ‘As much as this dwarf [Vishnu] is able to cover [by lying upon], we will give you’. Now, Vishnu was a dwarf. But the gods did not contest this offer, for they thought: ‘They have given much to us, for they have given us a space as large as the sacrifice’. They placed Vishnu on the east and enclosed him all around with the Vedic meters”…

On the south they put the gayatri meter, on the west the trishtubh meter, and on the north the jagati meter. “Then”, the text adds, “they placed Agni on the east, and went on worshipping him until they exhausted themselves. And with him they obtained this whole earth. And since they obtained the whole earth with him [samavindanta, from vid], therefore he is called the altar [vedi]. And so it is said: ‘the altar is as great as the whole earth’, for with the altar they obtained this whole earth. He who knows this, wrests this whole earth from his enemies and exclude them from a share in it.”.

The text goes on to tell that Vishnu was exhausted and that since he was wrapped all around with the Vedic verses, and by Agni on the east, he could not get out, and went into the roots of plants. The gods searched him and found him there, under three fingers of earth. “Therefore, let the altar also be three finger high”. We quoted this remarkable text in some detail and verbatim for reasons that will now become apparent. First of all, this text is quaintly reminiscent of the one of the Aztecs on the birth of the Sun as an avatar of the dwarf who sacrifices himself in the fire for that purpose. ^[26]

But what really interests us here is the exegesis of this curious Hindu myth. First of all, note that the demons – called asuras, rakshasas, daityas, panis, etc. in India – are often equated to the Dravidas, whereas the “gods” are, instead, identified to the Aryans, their eternal opponents. Second, the myth is telling that the demons, that is, the Dravidas, had taken possession of the whole world, including the Aryan territory.

Only a single nation on earth could in fact cover, let alone master, the entire world in antiquity. And that nation, if it really existed, could only have been Atlantis itself. The division of the world is a recurrent theme in Hindu myths. It tells of the separation of the world in two hemispheres, one allocated the gods, the other one to the devils. It seems that one moiety was attempting to intrude in the territory of the other, and war resulted, with the Aryans losing. And so, they appealed to a last resource which seems to have been the weapon so often equated with nuclear devices, as told in the ancient mythologies of several nations which we comment elsewhere.

The “dwarf” and the “giant king” somehow evoke – at least in my mind – the actual names of the two nuclear devices thrown over Hiroshima and Nagasaki: “Fat Boy” and “Thin Man”. The equating of Vamana with the “sun” and with Agni is specific here, and cannot be doubted. The “east” where they planted Vishnu – so often connected with the Doomsday Fire, like Shiva and Agni – seems to refer to the site of Paradise, which, as all know, “lay towards the Orient” in essentially all traditions. The word “sacrifice” is standard in sacred texts both of India and elsewhere.

It invariably refers, when used in the present context, with Atlantis-Eden itself as the site of Paradise Destroyed and turned into the gloomy Land of the Dead, as we argue in detail elsewhere. This “sacrifice” is also identified to the sun itself and to the god who, like Nanahuatzin and Tecuciztécatl, sacrificed themselves in order to become the sun and the moon. In the myths the two correspond to the twin Atlantises, often equated to the Mother and the Sun or, in India, to Matsya and Matsyâ, his mother-lover.

As we already said further above, the name of Bali, the Primeval Serpent King means precisely “Sacrifice”. As such, he is the Primordial Sacrifice”, just as Vishnu, his defeater, is the Primordial Sacrificer”. In fact, the sacrifice, the Sacrificer, the Altar and the Sacrificial Knife are all one and the same thing in the surreal language of myths. Here it is said that the sacrifice is Vishnu himself, and that it did cover the entire earth. The idea seems to be the one that the sacrifice extended itself to the entire earth. And this can only have been a global cataclysm such as the one of the drastic end of the Pleistocene Ice Age, which is really the cataclysm which the ancients called the Universal Flood in essentially all traditions.

The connection with the verses in fact refers to the three Vedas, Vishnu figuring as the fourth one, the counterpart of Agni and the Sun. The three [or four] Vedas often figure as the aliases not only of the Sacrifice himself, but also of the three [or four] yugas equated to the three steps of Vishnu. The wordplays with vid– and vedi [“to obtain” and “altar”] also extends to the Veda itself [vid– = “to know”]. Hindu myths thrive on this type of pun, which here serves as a way to identify the earth, the Vedas and the altar.

Hence the assertion that “the altar is as great as the whole earth”, meaning that the sacrifice was indeed global. The myth also asserts that in this way the Aryans” wrested the whole earth from their enemies and excluded them from a share in it.”. It is perhaps in this way that events such as the taking over of Oceania, the Indies, and the Americas is really to be understood in the light of myths. And these myths unfortunately include pseudo-scientific ones such as “the survival of the fittest”, so often invoked for this purpose, often by both sides of the dispute.

The rest of the text is more obscure. Why would Vishnu be exhausted? Wrapped in the Sun? Entered the roots of plants? Became the Vedas? Became identified to the Vedic altar? We are forced into guessing, at least as a preliminary hypothesis, pending further research on the elusive matter. If Vishnu was the bomb or, more likely, the volcano which is also identical to Agni and the Sun, it is understandable that he got spent after shedding its energy and/or its magma [if the bomb was really thrown inside the volcanic crater, as we suspect it was].

And if Vishnu was indeed the bomb or the volcano, it is also easy to understand how he would be likened to the sun, at least for the brief instant of the explosion, whose intensity obscures even the day star itself. Is Vishnu the same as the “woman wrapped with the sun” of the remarkable text of Revelation? This is not highly unlikely, as Vishnu is, in similar occasions – for instance, at the Churning of the Ocean of Milk – identified to a very beautiful woman, who is indeed no other than Lakshmi herself.

The “entering the roots of plants”, which Agni and Indra also do, by the way, apparently means that, like Atlantis, Vishnu became the Soul of the Universe, the principle which, according to Hindu religion, animates all things, humans included. But we believe that the idea is that we humans live in the shadow of the legacy that came down to us directly from Paradise itself: the seeds of the domestic plants we use, of the domestic animals, of the Vedas [scripture], of the arts and sciences, etc..

Strangely enough, this fact – so emphatically affirmed in all traditions, the ones of the Bible included – has apparently been utterly forgotten by one and all. Most people nowadays think that the story of Adam and Eve, and their life in Eden is just a cock-and-bull story or something that is an allegory of purely spiritual events that do not belong to the material realm. But this view is false, at least to believe the traditions of essentially all peoples on earth.

These traditions all spoke of a terrestrial Paradise where Man evolve and grew up to be a semi-angelic being akin to the gods and the angels themselves. It is only after the rise of Positivism – perhaps fostered above all, by Colonialism – in the 18^th. century that religious ideas became superseded by Science and got divorced from it, as some sort of buncombe. But myths are indeed no other thing than Sacred History told under the guise of allegories, the way the ancients chose in order to guarantee that they would not be falsified and adulterated in the way that Science is, both in the “human” and in the “exact” fields by all sorts of illusions and delusions of grandeur.

Most experts think – O’Flaherty included, as can be seen in her book – that, in this myth at least, Vishnu is to be interpreted as the sun in its triple aspect, its “three steps”: rising, noon, and setting”. But why would the ancient Hindu and the other peoples whose myths follow their in detail – go to all the trouble to wrap the sun in such a mystery and then reveal this secret to one and all? One thing seems certain insofar as myths and symbols are concerned. They are not what they seem to be. Failure to realize this fundamental fact has led to the sort of absurdity we encounter in the literature since the times of Dupuis and, as a matter of fact, the far earlier ones of Euhemerus himself.

The Account of the Vayu Purana

In the account of the Vayu Purana (2:36:74f.), it is again told that Vishnu becomes a dwarf in order to trick Bali, the king of the demons. Rather than devilish, however, Bali was an extremely pious king, and a great devout of Vishnu, just as his grandfather, Prahlada had been. It is from here that the usual account of his ruse is usually taken. Once granted the boon by Bali – who was so pious that, even though forewarned, refused to deny Vishnu whatever he asked, as he had made a vow of charity – Vishnu becomes as big as the universe, which he covers in three strides. The text goes on to say:

“He, the famous one, the individual soul, surpassed the sun in its own energy, illuminating all the regions of the sky, and the intermediate points of the compass. The great-armed Vishnu, who animates men, shone forth, illuminating all the worlds, and stole away the demon’s prosperity just as he stole away the three-worlds. He sent the demons, with all their and grandsons to Hell… The cruel ones were destroyed by Vishnu, and scattered in all directions. Madhava [Vishnu], the individual soul, is the essence of all the great elements, and Time with all its parts… There is nothing in all the worlds that is not pervaded by the noble one… Bali with his friends and relations, was bound with great cords… and was sent to Hell. Then, Vishnu gave the noble Indra kingship over all the immortals.

The terms used in this text are crucial for a good understanding of the myth. In fact, they are the keys to decoding its real meaning and hidden message. It is not stated that Vishnu is actually the sun itself. Rather, the text says that Vishnu: “surpassed the sun in its own energy, illuminating all the regions of the sky, and the intermediate points of the compass”. How could he surpass the sun if he were the sun itself? Even a supernova or something of the sort would not do, as it is hard to suppose one so close as to become brighter than the sun itself, and yet let most things survive the conflagration.

A giant volcanism or a giant asteroidal fall is far more like it. We opted for the first hypothesis, mainly because the nature of Vishnu is usually subterranean, just as the previous myth tells. The term “great-armed” (maha-bahu) is also crucial. It means the idea of “a strong-armed or a big person”. It is an usual epithet of Vishnu, of Shiva (Mahadeva), of Arjuna, of the Aryans, of the Danavas and rakshasas (as giant beings), etc.. It also probably refers to Bali himself, so often called Mahabali.

The epithet also suggests the figure of Purusha, the Primordial Sacrifice, whose giant arms encompassed the four regions of the compass. In fact, we believe the epithet is mystically alluding to Vishnu assuming the role of the Great Sacrifice, of Purusha, who is no other than Atlantis-Eden itself. Properly interpreted, then, the above text seems to equate Vishnu to the Fire of Doomsday itself, the shiny event who not only illuminated the whole world with its fire, but really sent all or most demons and their children literally to Hell itself. Even more exactly, Vishnu is the Primordial Sacrificer, whereas Bali – whose name means precisely “Sacrifice”– is indeed the personification of Atlantis as the Primordial Sacrifice.

Of course, it is always the demons who are “cruel”, and those who dispatch them are only cleansing away the rubbish. The allusion to time (Kala) is again an indirect allusion to the end of the world. In this aspect Vishnu is really assuming the role of Shiva (Kala = “Time”) as the Fire of Doomsday that terminates the eras when their allotted time expires. The idea of “pervasion” so often associated with Vishnu is again the one of soul of the world just discussed further above. Indra is the Aryan hero of excellence, and the immortal gods are no other than the Aryans themselves, in the usual Indo-European account.

The myth of Lucifer, the Titans, etc., being bound in Hell is a widespread one. We encounter it in Plutarch in connection with Kronos. Atlas, Prometheus and several other heroes of Greek mythology were also chained in Hell or Hades after their defeat by the Olympian gods. In the Book of Revelation, it is told how “the Dragon, the Ancient Serpent” was chained in Hell (Abyss) for a thousand years”, after which he will be liberated.

The gloss “it is the Devil, Satan” is a later interpolation of the text, as several experts have concluded. In fact, this Serpent or Dragon is Lucifer, the Fallen Angel (cf. Rev. (9:1). Now, Lucifer should never be confused with Satan, the slanderer who attempts to pass for him. Lucifer is the very Serpent of Paradise, according to the opinion of experts. Anyone who studies the story of Bali in detail and compares it with the ones of Kronos-Saturn and Bali, will not fail to observe the essential identity.

And these Titans are the same as the Danavas of Hindu traditions, the nagas or “serpent” found all over the mythologies of the Far East, all of them copied from ancient India. As we commented further above, these mythical serpent gods even reached the distant Americas with personages such as Quetzalcoatl, Kukulkan, Viracocha, Sumé, Bochica, and so on. These heroes were all of them “serpents” or “dragons”, more or less like Cadmus, Neoptolemos, etc., the Civilizing Heroes of Greek traditions. As such, they are indeed the Atlanteans in their angelic, undecayed state, before enemy propaganda turned them into cruel devils. And one should not heed war propaganda, should one?

The Decoding of Myths

Again, I emphasize the fact that Hindu myths are very hard to decode, and must be analyzed in the entirety of their many versions and variants before the essence starts to show through. And such is particularly the case with themes having to do with the secret doctrines concerning Atlantis-Eden and its terrible fate. So much so, that this decoding has never been done before, despite the many attempts of all experts on such matters. It is clear that in his three strides, Vishnu is being compared to the sun, an image exploited in more detail in the Shatapatha Brahmana, as just commented. But we have to go one step further, and see that the “sun” in question here is really the Fallen Sun and, hence, the volcano which the Hindus equate to the Vadavamukha.

In fact, the name of Trivikrama ultimately refers to the Sun itself, which is said to cover the skies in three strides. But the name also designates the Wheel-of-the-Law (Triparivarta, as “thrice-turning”), Trikuta (the triple-peaked mountain of Lanka = Mt. Meru, also so called), Indra’s thunderbolt (as “three-pronged”), Shiva (“three-bodied” (Trikaya) or “three-eyed” (tri-netra)), Agni (Trinaman or Tridhaman, as “shining in the three-worlds”), the Sun (Trimurti), etc.. In this connection, Shiva is called Trayi-deha (“having the three Vedas for a body”), and is identified to the Sun itself. This is probably the verse shapes referred to with poetical license in the above myth of the Shatapatha Brahmana. Shiva is also called Tripurantaka (“destroyer of Tripura”), the city of the devils which is so like Atlantis’ capital itself, also a triple-city, as disclosed by Plato.

Vishnu is often confused with Shiva in this context. As such, he is also called Trivikrama, “the one of the three steps”. But the word vikrama also means “valour”. Above all, the name of Trivikrama designates the “Invincible Sun” (Vikramaditya), also the name of the most famous of Hindu kings. The idea is again the three eras of mankind and the three “suns” which finished them. In this context, the name “sun” and “era” are synonyms, just as they were in America, for instance in Aztec traditions. In fact, the idea of “invincible” – which alludes to the rebirth of the sun after the cold of winter – ultimately refers to Atlantis itself as the “light of the world”.

Just as the Celestial Jerusalem of Revelation, Atlantis is fated to rise again, and resurge with all its many dead. This prophecy is also told in the references just given. It concerns the Resurrection of the Dead, a myth that is referred to by Plato (Statesman, 268e) and which is indeed universal. In Plato, this connection is quite direct, and indeed refers to the Golden Age and its great serpent king, Kronos-Saturn, who seems to be no other than Bali, also a serpent or naga (Balarama-Shesha)

The Indus Valley Evidence

One of the most intriguing evidences from the brilliant Indus Valley Civilization concerns the so-called proto-Shiva from Mohenjo Daro whose figure and meaning we already showed in Fig. XXX (c) above and also commented in connection with the trishula crown he is wearing. We now return to it in order to provide more information on its real meaning in connection with the Zodiac, which is highly interesting. In the figure – which is also portrayed in other seals from the Indus Valley.

Its interpretation is important both because it can provide a subsidy to the decipherment of the script of this enigmatic civilization which seems to have been the precursor of all known ones, Sumer and Egypt included. In this remarkable seal Shiva, with his phallus erect as usual, is quietly seated among a circle of varied animals: tiger, elephant, man, bull, fish, rhinoceros, stag, etc.. Several experts have recognized this figure as portraying his aspect as the Pashupati, “the Lord of the Tamed Animals”. Shiva is quietly seated in a yoga posture known as vajrasana, highly uncomfortable for all but the adepts of yoga.

This type of representation is standard. The circle of animals represents the Zodiac whose Greek name (zôdiakos kuklos) actually means “circle of animals”. The central position is that of the Pole Star considered the lord or ruler of the zodiacal stars, which whirl around it like the planets around the sun. Unfortunately, the scripture above Shiva’s head cannot be read, though it certainly embodies an important message, probably a prayer.

But one thing is quite clear in the above figure. The main position next to the one of Shiva is occupied by the tiger, who is rampant. What does this fact signify? First of all, we note that this zodiac – a most useful device insofar as Astronomy and Astrology are concerned – is perhaps the oldest known. As such, the evidence points to the fact that the zodiac is a Hindu invention which somehow passed to Greece and Mesopotamia, rather than vice-versa, as usually supposed.

The central position occupied by the tiger is likewise peculiar. It apparently intends to convey an important message now lost, but which may perhaps be recovered, as we now attempt. The tiger is the zodiacal counterpart of the lion (Leo) in the Hindu zodiac. The Europeans and the other nations of the Mediterranean region did not know the tiger, a ferocious animal which they replaced by the lion, which then existed in the region. So, what the figure is trying to say is that this zodiac started in Leo, the Lion constellation.

This is highly interesting, particularly when we keep in mind that the famous zodiac of Dendera (Egypt) also starts by Leo, which there assumes a similar projection above the other zodiacal creatures. So does, by the way, the likewise famous zodiac of Notre Dame cathedral, in Paris. We discuss these zodiacs (and others) in detail elsewhere, so that there is no need to redo this discussion here. The tiger or the lion is also the vahana (“mount, vehicle”) of Kali, who is indeed no other than the female avatar of Shiva (Shivâ) himself.

When we consult a properly dated zodiac, we see that the Era of Leo corresponds to the interval from 10,800 BC to 8,640 BC. The rampant position of the tiger suggests that the era was in midcourse, that is, 9,720 BC. Now, this date, so ancient, is actually quite close to the one of 9,600 BC given by Plato as the one of the Atlantean cataclysm.

Of course, this might well be a coincidence, even though it is a quite unlikely one. Moreover, we also show, in the work just mentioned, that there is a lot of confirmatory evidence of a connection with the Atlantean cataclysm. One such is afforded by the trishula itself and the OM symbolism which we have been discussing. So, it seems safe to conclude that this remarkable seal is a vivid portrayal of the actual date of Atlantis’ demise.

This fact shows that the Indus people were also in possession of this important sacred tradition which would later acquire so much importance in essentially all others such. With this we now turn to another piece of evidence which compellingly shows that the OM symbolism originated in the Indus Valley Culture several millennia ago. In Fig. XXX below we show the reproduction of an Indus seal bearing what closely seems to be an OM glyph even though somewhat disguised. This disguising is usual in sacred symbolism everywhere.

Fig. XXX – An OM Glyph from the Indus Valley?
(M. Wheeler, O Vale do Indo, pg. 40, bottom left)

The main reason for the secrecy of religious symbolism – only revealed to the initiates – was preserving the secret of Atlantis and the one concerning the reality and true location of the Terrestrial Paradise. The ancients well knew that once revealed, the fabulous riches of the Land of Gold would attract all sorts of pirates and greedy conquistadors who would sack and defile the sacred site, as they indeed did in the Renaissance, in the so-called Age of Navigation and of “Discovery”.

The Indus Valley seal just shown is intriguing. As several experts pointed out before, it apparently represents the OM glyph. In order to visualize the glyph, turn the figure by 90^o towards the left. The two long-necked bull-heads now become the 3 of the OM glyph, whereas the trunk of the tree from which they issue becomes the rotated 1 which, in our view corresponds to the linga inserted in the yoni represented by the 3. It is possible that this odd figure represents something else.

If so, what? The figure is not only absurd, but apparently meaningless. It clearly represents the Tree of Life, another universal symbolism which is closely connected with Paradise and its destruction. If so, the serpentine bulls may well represent the Serpent of Eden – two-headed here – coiled around the tree. But why would the figure be so distorted except in order to obtain the desired symbolism just mentioned?

In our opinion, it seems that the figure was cleverly distorted in order to portray the connection between the OM symbolism and the Tree of Life which grows in the middle of Paradise and which is indeed a deed symbolism of Indian origin. Another connection with Paradise is provided by the leaves at the top of the tree. These are pipal tree, pipal being the Indian fig-tree (Ficus indica), the one that the Hindus identify with the Tree of Life. ^[27]

We note that in the tree of the figure we are now discussing the leaves are grossly exaggerated. The leaves of the pipal tree are deemed sacred in India, and are often used to draw pictures of their gods and other religious symbols. But here the symbolism is quite another. In fact, there are seven leaves in the tree. Seven is a most sacred number, particularly in Hindu symbolism.

It is said to ultimately derive from the Seven Cardinal Directions – the usual four plus the Center, the Zenith and the Nadir. Other attribute its origin to the Seven Pleiades, called Krittikas in Hindu traditions. But these, and others, are purely arbitrary and conventional in nature. Hence, they are derived, and we must fetch their origin elsewhere. We believe – as we argued in detail elsewhere – that this sacredness of the number seven ultimately derives from the Seven Islands of the Blest.

These islands are indeed the same as the Seven Dvipas of Hindu traditions, a name which means something like “island Paradises”. These islands are also seven in other traditions, for instance the Greco-Roman ones on the Seven Isles of the Blest. Ultimately, these seven islands are the ones of Atlantis. The number refers to the insular remains of the sunken paradise.

Hence their name of Atlantides or Pleiades, that is, of “daughters of Atlas”. These “daughters” or remains now from the seven greater islands of Indonesia, the ones which we have identified with Atlantis, according to the map in our Atlantis site [LINK TO MAP IN MY SITE]. These islands are: Java, Sumatra, Borneo, Celebes, Philippines, New Guinea and the Malay Peninsula (traditionally counted as an island or dvipa). This number is real and fixed, and hence far from conventional.

Moreover, there are many local traditions connecting this region with the sunken continent where both the Aryo-Semites and the Dravidas originated, as well as with the site of Paradise itself. The factual coincidences are too many to be idly dismissed, and hence must be taken by far more seriously than up to now.

We also believe that the representation of the islands or dvipas of Paradise by fig leaves is far more than accidental. In fact, these fig leaves evoke the ones used by Adam and Eve as a vestment when they discovered their nudity in Paradise, after the Fall. But the message here is quite another. In Sanskrit, Paradise is often called Tamra-parna (Taprobane). Now, this name literally means “red leaf” or “copper leaf”, a probable reference to laurel leaves (Laurus cassia) and cinnamon, the main produce of the region in earlier epochs.

So, the connection of Paradise with leaves such as laurel and pipal is undeniable, as we argued here and elsewhere in more detail. The word parna – which means both “feather” and “leaf” (considered as “feathers” of plants) – is of obscure derivation. The roots provided for it (parn-, pri) being probably artificial. As is so often the case in such circumstances, the real source seems to have been Dravida itself. Here we have bases such as pača (“to be green or verdant or golden, leaf”) and parn– (“a broad expanse”), both of land and of large, broadleaves such as the pipal’s.

In other words, the base parna and the name of Taprobane probably originated in Dravida, and was somewhat poorly adapted to Sanskrit as “copper leaf”, as we argue in detail elsewhere. The idea originally meant a wide expanse of land such as the one of Paradise (Taprobane, the Land of Gold) which later sunk (Atlantis),turning into the islands of Indonesia, the Isles of the Blest. So, at least symbolically speaking, the Dravidian terms for “leaf” and “lowland, expanse” are more or less synonymous in that language, but not in Sanskrit. Since the Indus Valley people used this sort of pun – as so visibly attested here – this fact provides a compelling evidence that their tongue was Dravida rather than Sanskrit, as some experts think.

The Celtic Parallels

With this fact hopefully established – at least to the more kindly readers who had the patience to follow us through – we now turn to the Celtic parallels. As several researchers have established [LINK TO SITE WITH SHIVA SEAL = CERNUNOS], there are many links between the Celts and the Indus Valley people. The first of all, in our opinion, is provided by the mysterious Druids, the officiating priests of the Celts. It seems to us that their name means the same as the very close one of the Dravidas.

The ancient Magians or Chaldeans who served as Astrologers and Magicians to many nations were indeed Hindu priests, as we argue in detail elsewhere. So, it isn’t strange, after all, to find these guys at the service of the Celts, who entrusted them with the education of their children and the conduction of religious rites in general. Other pieces of evidence concerns the Celtic symbolism.

One of the main symbols of the Celts and other Aryan nations was the swastika, a well known Hindu-Buddhic symbol also particularly favored by the Jainas. Another one was the Double Spiral. Others that can be mentioned are the coiled mustaches, popular in both Celtic nations and in Dravidian India; the triskele; the bull and the horse sacrifice; the horned gods; the horned horses (capped to their heads); the Celtic Cross, the cult of pillars, etc..

Most of these symbols are connected with Atlantis and the eschatological doctrines concerning the yugas. Other close parallels consist in the use of dolmens and menhirs; the statues of rigidly standing almost aniconic gods roughly carved in stone pillars, and so on. But the closest parallels are, in our opinion, provided by nearly identical statues such as the nude dancing girl from Harappa and the Celtic one found in Neuvy-en-Soullias (Loire, France) and now kept in the Musée Historique of Orleans. The provocative poses and the sculptural details are so close as to suggest copying.

Another puzzling coincidence concerns the Tarvos Trigaranus of Celtic myths. This name means “the bull with the three cranes”, really the shape of the figure of a bull with three cranes on its back. But this is just a variant of the three-headed bull which is so often portrayed in Indus Valley seals. According to tradition, when the heads of such monsters are cut off, they turn into birds and fly of to Paradise. In fact, the “birds” are the souls often so figured everywhere, India and Greece and Egypt included. The three-headed bull is Shiva. In Celtic mythology the figure of Garanus (“Crane”) corresponds to the one of Hercules who is in turn an alias of Shiva himself. So, the correspondence is exact, rather than accidental or superficial, as some think.

We now turn to a most remarkable parallel between the Celtic and the Hindu traditions attested in the Indus Valley. This evidence consists of the alias of the Indian proto-Shiva and the horned god of the Celts (Cernunnos?) shown in the famous Gundestrup Cauldron found in Scandinavia. This image shown in Fig. XXX below, is so like the one of Mohenjo Daro as to let no room for doubting their symbolic identity. So much so, that many experts [LINK TO GUY OF THE PROTO-SHIVA FIGURE BELOW] have also reached the same conclusion that we did on close contacts between the two civilizations.

Fig. XXX – Cernunnos Seated Among the Zodiacal Animals
(P. MacCanna, Celtic Myth., pg. 42-3)

As in the Indian seal, Cernunnos is seated in a yoga pose (vajrasana). His manner of seating is highly uncomfortable for the common person, and requires training in Yoga techniques. Again, the figure of the god is horned, as in the above seal. The god holds a torc in the right hand and a ram-headed serpent in his right. The serpent is the emblem of Shiva, and represents his castrated linga, of enormous size. The meaning of the torc is more obscure. But it closely evokes the bangles used by Shiva in the Hindu counterpart.

This ring apparently represents the Serpent Shesha in the coiled from (Ouroboros) representing Cyclical Time and the recurrence of the eras. If we are right in our interpretation, the origin of the symbolism is obviously Hindu, and has to do with the doctrine of the yugas. Such is also the real meaning of the zodiac here represented by its animals. These again closely correspond to the ones of India: lion, bull, stag, serpent, wolf, fish, etc..

We note that, as in India, the lion assumes a preponderant role, and culminates above all other animals. We already explained this fact as a reference to the Ear of Leo, the zodiacal lion, some 12,000 years ago, the very date of Atlantis’ demise. The man riding the fish seems to be a reference to the Flood and the famous Hindu myth of Manu and the fish (Matsya). This theme also evokes Jonas and the Whale and the myths of Dionysos and Apollo turning into fishes in order to rescue their worshippers. Interestingly enough, the Gundestrup Cauldron is decorated, in the background, with triple leaves whose shape closely evoke the one of the pipal.

The Trinity is the emblem of Shiva himself in his aspect as the embodiment of the Trimurti. Such is the apparent meaning of the decoration in question here. In fact, the Celts organized – as do the Hindus – their deities as triads. In fact, the Irish even today organize all things n triads. As examples, we mention the three Brighids (goddesses), the three sons of Uisnech. Again, the Celts worshipped a three-headed god who seems to be the counterpart of Agni or Shiva, also so represented in Hindu traditions.

All in all, all these parallels compellingly suggest a close prehistoric contact between the Celts and the Hindus, probably in Indus Valley times or even earlier still. As we argue elsewhere in detail, the Indo-Europeans in general, and the Celts and the Germans in particular apparently came from the Far Orient (Mongolia), where their remarkably well-preserved mummies have recently been found by the hundreds. Even their clothes have been remarkably preserved in the desertic climate of the region.

These tissues, made of wool are, remarkably enough, colored with the tartans which are so characteristically Scotch. Some statues and other artifacts found in the region are also too characteristically Celtic to be explained otherwise. So much so, that several experts have recently proposed a Celto-Germanic incursion in the distant region. Since this is a wild guess, and fails to provide the obvious local adaptation and fixity of the Aryan culture, the notion may perhaps be dismissed as foolish.

Their presence there is continuously attested for many millennia, as proven by the detailed Chinese records and by archaeological artifacts, including their Buddhist religion. Their name there, Tocharian, is an adaptation of the Dravida tokaru (“red”). As such, the Tocharians are indeed the same as the other “reds” which we discuss in detail elsewhere: the Phoenicians, the Amorites, the Dravidas (kshatryas = “reds”), the Chamites, the Chaldeans, an so on. These guys are the Pious Ethiopians of Homer and Herodotus as well as the “blue-eyed Chinese” of Pliny and Solinus.

The Phoenicians are often said to have been Semites by most modern authors. This is probably because of the fact that Lebanon appropriated the name of Tyre along with the one of the primordial Phoenicia. But this primordial “Phoenicia” and this “Tyre” indeed lay beyond the ocean, as innumerous traditions attest. Some – for instance Ezekiel (28:13) – even affirm of Tyre and its king that: “you were in Eden, the Garden of God”. This means that this primordial “Tyre” or “Phoenicia” was indeed the site of Paradise.

Other passages in Ezekiel (27:12f.), etc., also suggest its connection with India and the “reds” (Edom), particularly in connection with the merchandise imported from this “Tyre”. Moreover, the List of Nations (Gen. 10:6) makes the Phoenicians – that is the Canaanites or Amorites and other such “reds” – the sons of Ham (Cham) and not of Shem. This means that they were Chamites rather than Semites. Other sons of Ham (Cham) include the Kushites or Ethiopians (that is, the Hindus), Mizraim (the Egyptians) and Put (probably the Punt or Paradise of Egyptian traditions).

This list further affirms that “Cush became the father of Nimrod”, the legendary founder of Babylon. We believe that this is an esoteric reference to the fact that the Sumerians came from the East Indies, just as the Phoenicians also did. And it is very likely that these Phoenicians of the primeval “Tyre” also brought along the alphabet with their many imports from the region of Eden. Some authors see in the Sumerian cuneiforms the origin of the alphabet.

The idea is not so far fetched after all, if the Sumerians indeed came from the Indus Valley, as we think they indeed did. In this hypothesis, the Sumerians merely adapted the alphabet into cuneiforms for the purpose of writing in clay tablets, highly inadequate for cursive writing. Interestingly enough, some assert that the Celts were originally Phoenicians rather than really Semitic, and that they originally came from the Indus Valley, as we have been arguing for years.

Are the Celts Phoenicians?

It seems that the truth is finally emerging after all those years. No matter what, it now seems that the Celts were really composed of two moieties, one blond, the other one darker, like the Indian people (Dravidas and Aryans). The Picts called themselves “Khaldis” or “Khaltis”, a name highly suggestive of “Chaldees”. The term “Van” or “Fein” apparently derives from the Dravida ven-, meaning “white, fair”. It is related to names such as “Fén(e)lon”, where the first element means “white, fair”, as well as: Finn, Finnegan, Wen-, Gwen, Gwin, Gwyn, etc., all meaning the same.

The Celtic root fen– or ven– also seems to be related to the word “Phoenician”, which is also spelled “Phenician”. This word is actually pronounced “fenicia”, the Dravidian v- being often confused with the f- or ph-. In fact, it seems that the word Phoenicia is ultimately derived from the Dravida ven-ičči, meaning something like “the surviving whites”. The idea seems to be that the Phoenicians were the survivors of the Atlantean cataclysm, who moved to their present location crossing the Indian Ocean.

It is also no coincidence that this ocean was called Erythrean by the Greeks, and Rubrum by the Romans. These names mean “Ocean of the Reds” rather than really “Red Ocean”, as most experts think. And the Reds are of course the same as the Phoenicians, as we already argued in detail. These coincidences are too exact to allow its dismissing as a mere coincidence. Moreover, the Dravidian word also means “pure, holy” just as it does in Ireland. And it also means “red”, the name of the Chaldeans and the Phoenicians, as we just saw.

Even the habit of the Picts of painting their bodies with figures or dyeing their hair blue or red with moat is apparently derived from East India, as Pliny and others describe the habit that these blond Ethiopians had of doing the same. No one really knows whence the Phoenicians originally came from. So, why not accept our thesis a working hypothesis and start researching the matter more scientifically than up to now? This is what a Hindu, Rajeswar Gupta recently did, finding evidence in the Vedas that the Phoenicians originally came for the East Indies. And why not?

According to him, the Phoenicians – called Poeni by the Latins – were the Panis of the Rig Veda, defeated by the Aryans, and expelled from India or, better yet, from the Indus Valley, and probably removing to Mesopotamia (as the Sumerians) and to the British Isles (as the Celts or Britons). He also asserts, perhaps with reason, that the Asuras became the Assyrians of Mesopotamia.

In fact, the Sanskrit word pan also means “merchant, trader, bargainer, clever”, a meaning probably acquired from their habits. Trading, we should recall, was the main activity of the Phoenicians. This word later acquired a pejorative sense, probably because the Phoenicians were also prone to sack an steal, particularly females and children, whom they sold as slaves. We believe that the word Sanskrit pani in fact derives from the Dravida pani meaning more or less the same, as we argue in detail in the next section.

The Origin of the Phoenicians

Words are more or less like the archaeological and the geological records. In their many layers of meaning they often preserve the vicissitudes and migrations of the peoples who created or borrowed them. These “linguistic strata” are called “diachronic changes” by the linguists, a name that means something like “changes (or evolution) along time”. These diachronic changes contrast with the “synchronic changes”, which are the ones observed at a given time or epoch over the diverse regions which speak the specific tongue in question.

Unfortunately, the science of Linguistics is relatively new, and is far from exhaustive in regards to the possibilities of exploitation of these diachronic changes. The few attempts which have so far been made in this regards have yielded formidable results, however. Unfortunately, these studies seldom refer to the languages of the Far East, particularly the Indian tongues, which are not only numerous, but also. extremely complex. Such is particularly the case of the sacred tongues such as Sanskrit, Pali, Dravida, etc..

These tongues are polysemic, a name which means that each specific word has several different meanings. These different meanings depend on the specific context and even on the level at which the communication is intended. To the profanes they mean one thing, while simultaneously conveying a far deeper, esoteric message to the initiates. Since linguists are seldom familiar with these esoteric aspects of the texts they study, these deeper strata are usually as invisible to them as they are to the ordinary layperson.

In the next sections we study the different meanings of the word “Phoenician”, particularly in its relation with the Sanskrit pani which, as we just saw, seems to be its ultimate source. Though our study is essentially linguistic and more or less rigorous, it enters the anthropological aspects of the question, a fundamental requirement for the understanding of the deeper meanings. We also study in some detail the origin of Tyrian purple, and important dye whose origin is indeed something of a mystery and is only very poorly understood.

For this purpose, we here use –where necessary and in contrast to our usual practice – the diacritical marks such as macrons and cerebrals, as normally used in the standard transcriptions of both Sanskrit and Dravida. These marks only tend to becloud the actual pronunciation for the layperson. But they are important in the present context, as these subtle changes in pronunciation are specifically intended to convey the hidden aspects of the esoteric connections.

As such, they are interpreted as altogether different words, even when this is not the case at all. At a first contact, the reader is advised to simply ignore these markers, and just read and pronounce the words in the normal way they would without them. Of course, the present study is far from exhaustive. This endeavor would demand a thorough discussion of initiatic texts such as the Vedas, the Mahabharata and the Ramayana, not to mention the several other religious or traditional texts which so abound in India. Now, this study would take us too far afield, and is hence left for a better opportunity.

The readers who dislike this type of discussion of obscure subjects in even more obscure languages are advised to skip this whole section. Of course, if they have the patience to follow us through, we believe that they will be amply rewarded and will have an opportunity of seeing by themselves how myths and esoteric traditions actually work in practice. But they will not lose much if they skip this linguistic excursus which is really somewhat Byzantine in its scope.

As we said above, the name of the Phoenicians derives from the Greek and has three basic meanings. One, the word refers to the elusive people called by that name who seem to be the same as the “reds” such as the Chamites, the Tocharians, the Amorites, the Canaanites, the Edomites, and so forth. The legendary Phoenicians are quite distinct from the Lebanese of Palestine, who are Semites, rather than Chamites, as the Canaanites or Phoenicians are said to be in the List of Nations of Gen. 10.

In this context, it seems that the word actually refers to the fact that the Phoenicians were – at least originally, before mingling to the darker races of dominant genes – blond or redheaded blue-eyed people. As such, they were the Pious Ethiopians of Homer and Herodotus, and the “blue-eyed Chinese” of Pliny and Solinus. In fact, these authors, and others we comment in detail elsewhere, affirm that these Pious Ethiopians lived in Taprobane, which is precisely the India Extra Gangem or Indonesia (“insular India”), rather than sri Lanka itself.

If this identification of ours is accepted, we have a direct connection of the Phoenicians with India and, more exactly, Indonesia. Now, Indonesia is precisely the spot where we have located Atlantis after a great many years of researching the difficult matter. Truth, like beauty, in fact lies in the eyes of the beholder. Those who are not prepared to believe will never be convinced by any arguments whatsoever, valid or invalid, and scientific or not.

Moreover, ordinary people usually mistake the doctrines of pre-historians and archaeologists for proven facts even though these doctrines are merely wild guesses attempting to correlate events which are widely spaced in time and distance. The second (Greek) meaning of the word “Phoenician” relates to the red dye called “Tyrian purple”, in whose commerce the Phoenicians specialized. This is usually believed to have been extracted by them from the murex shellfish, of which several species exist in the tropical seas just about everywhere.

It is true that murex shells have been found in archaeological deposits in Lebanon and even in Greece and Spain (Balearic Islands). But the number of these shells is by far too small to explain the enormous quantities of the purple dye used in antiquity, as there were required ten thousand whelks to produce a single gram of dye. It even seems that the Phoenicians and the Greeks attempted to farm the mollusk. But we believe that they truly imported the purple dye from the East Indies, and feigned to produce it locally in order to elude the competition, as they usually did. ^[28]

No matter what, it seems that the ancient Minoans, Egyptians and Mesopotamians learnt the art of dyeing – which dates from remotest antiquity –from the Hindus themselves. The Indian origin of the techniques of dyeing tissues is rendered even more likely by the presence in America of techniques identical to those of ancient India: the cochineal insect, brazilwood (campeche), and even the murex mollusk. Vopiscus (Aurelianus 29:1) mentions that the statue of Capitoline Zeus wore a short mantle (pallium breve) of purple-dyed wool imported from India: “which caused the mantles of the Roman ladies and of Augustus himself to pale and gray of shame at the shine of the divine one”.

Augustus sent his men to search for the source of this dye, but to no avail. So did several other later Roman emperors, Nero included. Vopiscus adds that the name of this purple dye was “sandyx”. The nature of “sandyx” is explained by Aelianus (Varia Historia, 4:46) according to whom the Persian kings wore mantles of wool dyed with a purple dye obtained from the lac insect. Cf. also Filliozat and P. Flobert, La signification de “sandyx”, Rev. Phil. (1964) 38:239. Cf. also Vitruvius (7:13-14), and Lewis and Short sv: ostrum, murex, purpura.

Herodotus (Hist. 3:20) also tells the interesting story of the embassy sent by Cambyses to the Long-Lived Ethiopians carrying presents which included a purple robe [dôra pherontas porphureon te heima]. Their king found that the dye was false and inferior, and hence unfit for a king. The word sandyx (or sandix) is Greek. But it apparently derives from the Skt. čand (“bright, shiny”) and, even more likely, from the Drav. #1931 čem-, čand *čand (“red, dawn, red dog”).This base is the same which gave the name of Cham and of Khemis (Egypt). The connection with “dogs” is also interesting, as it is said that Hercules’ dog accidentally discovered purple dyeing when it ate some whelks on the beach, which dyed its mouth red.

We also note the connection with dawn and hence the Orient, the Land where the sun is born (Indonesia). And Indonesia (or Taprobane) is in fact the land of the Pious Ethiopians of whom Herodotus is speaking. Another name of sandyx (the purple dye) is “harmenion”. This word refers to the plant whence it is produced, rather than to Armenia itself, which never produced the dye. In fact, it apparently derives from the Dravida aru-min meaning something like “shiny as dawn”, a reference to its bright red color. Again this brings to mind Cadmus, the Phoenician who brought the alphabet to Greece. Cadmus married Harmonia, a strange name for a girl engendered by Mars and Venus.

Harmonia received, as bridal presents a golden necklace and a crimson robe, “dipped in blood” (that is, purple) by Hephaistos or of Tyrian purple, according to the Dionysiaca (3:373f.), where she is also called “rosy-cheeked”. In other words, Harmonia is Dawn herself, just as Cadmus is in fact no other than Orion himself, her lover, in his character as Oriental (Kadmean). Dawn is often described as “crimson-robed” and as living in Ethiopia. All in all, the evidence unequivocally points to the East Indies (Indonesia) as the site of origin of purple (or sandyx or armenion) which is indeed lac.

We also add that the word lac is not really derived from the Skt. lâkshâ (“a hundred thousand”), which is a fanciful derivation from the alleged number of insects needed to produce a single gram of the dye. In fact, the word derives from Dravida: #199 arak– (lac), with the loss of a– and lambdacism. Sanskrit also has râkshâ and alakta, both meaning “red, lac”. We note that the Dravidian base is also related to #201 arač– (“king, royal”). Hence the connection of Tyrian purple and royalty, again confirming the Indian origin of the dye.

We note that this radix is also connected with are– or aur– of Aurora and harmenion, the red dye. The fanciful connection with a lac (laksha = “a hundred thousand”) is visibly connected with the “ten thousand whelks” required to produce a single gram of Tyrian purple. It seems that the mendacious Phoenicians even imported this cock-and-bull story from India, along with the dye itself. They probably fostered the extraction from the mollusk in order to make people see in practice how difficult its production really was in actual practice. We also believe that the radix raksh– of Râkshasa is really connected with rakta and raj- (“red, royalty, lac”) rather than with the idea of “guardian” (rakshas), as usually claimed. ^[29]

The Romans called the Phoenicians by names such as Poeni, Puni, Punicus, etc.. As we argued above, the Panis of Vedic India seem to be the same as the Phoenicians.

The Phoenix and the Land of the Palm Trees

The other meaning related to the word “Phoenician” in Greek comprise the Phoenix as well as “palm tree”, called phoinix in Greek. In fact, the word Phoenicia is often held to mean “Land of the Palm Trees”. This name is interesting as it implies a tropical country, where this type of tree normally grows. The word also refers, in Greek as in English, etc., to the Phoenix. The name of the Phoenix is said to derive from the Egyptian Benu, the archetype of the Phoenix, as we argue in detail elsewhere.

In fact, Heliopolis, the “City of the Sun” is really Atlantis-Eden as the Land of Dawn. The Heliopolis of Egypt (Om) was indeed a replica of the primordial city as we argue in yet another document. The sun was, in ancient mythology, said to have his home in the Far Orient. There he lay with Dawn, and left in the morning, to start the new day. Hence the name of “Land of the Sun” (or of the Rising Sun) which we normally encounter in this region of the world, for instance in Japan.

In other words, the reference to the Phoenix seems to imply the idea that the Phoenicians or Cadmeans were indeed an Oriental people, just as we concluded above, by means of an entirely independent evidence. In fact, the Phoenix bird derives its myth from the one of Garuda, the golden eagle of Vishnu. Garuda is often confused with Aruna, often said to be his twin brother and the charioteer of the sun. This word means “red, dawn”, and is clearly an allegory of Dawn herself.

Another name or alias of Garuda is Vena, who is no other than Venus, that is, the Morning Star (Dawn). Yet another is Suparna, meaning something like “golden feathered”. This name refers to cassia (Laurus cassia), and is indeed a wordplay with the name of Taprobane, which means the same. The myth of the Benu Bird (Phoenix) is too complex to comment here, and we direct the interested reader to our work on the Phoenix and its meaning in connection with Atlantis.

We also comment the myth of the “Land of the Palm Trees” in detail elsewhere. Here, we review only the most important conclusion we reached in connection with this theme. The connection of the primordial Phoenicia with Paradise is extremely widespread. It even reached the New world, where the Tupi-Guarani, for instance, call their Paradise Lost by the name of Pindorama, meaning just that. In fact, this name relates to the one of Pâtâla or Atala, the Hindu hell which is indeed no other than Atlantis itself.

These names mean something like “sunken land”, and refer to the sinking of the Lost Continent. Patala also means “hidden one”, an usual epithet of Hades, the Greek hell which is really an alias of Paradise Lost (Elysian Fields). In fact, the word tâla means not only “land”, but also “palm tree”. The reference is indeed to the palmyra palm (or toddy palm, Borassus flabellifer). This palm tree has the leaves opening like a spread out hand, from whose image it took its name.

The word Phoenicia also assonates with the name of Poanit (or Punt), the Egyptian Paradise. Poanit was located in the Far Orient, and lay beyond the Indian Ocean somewhere. As we show elsewhere in detail, the site of Poanit-Punt, the Egyptian Land of the Gods was indeed Indonesia. This is attested by the commodities the Egyptians fetched from there: gold, precious woods, ivory, alabaster, perfumes, cosmetics, metals, and so forth. And these were all typical Indian produce. The correspondence could be no closer.

Interestingly enough, the Dravidas also refer to Taprobane or Ceylon, their primordial homeland, as “the Land of the Toddy Palms”. Their legends tell how this land sunk away under the waves, forcing them to leave the place towards India. The ancient Greeks had more or less identical traditions concerning Hyperborea, the Paradise where Apollo spent the winter. Hyperborea was the same as Delos, the floating island where Leto gave birth to the twins Apollo and Diana, holding to a giant palm tree. ^[30]

This giant palm – which stretched to heaven itself – is indeed no other than the Pillar of Heaven ad the Tree of Life. No one familiar with the many useful products obtained from palm trees will ever find it strange that this tree is indeed the archetype of the Tree of Life in the South Seas region. In Hindu myths, the tree of Life is often called Indra’s Palm Tree. As such, it is mentioned in the Ramayana as marking the divide between East and West, in the exact center of the world, precisely as was the case with Delos’ palm tree.

As usual, the correspondence is too perfect to be ascribed to chance alone, and we have to resort to diffusion as the sole valid explanation of the exact coincidence. The Land of the Palm Trees which the Hindus call Pâtâla is also called Pañčâla. It is one of the seven dvipas, which they also equate to the seven hells, after they are foundered. It is said that Nârada visited Patala and found it paradisial. Its warm sensuous pleasures and delicious females, he affirmed, are even more pleasant than the cool delights of Indra’s paradise, the Svarga.

Pañčâla or Pâtâla is also the site of the terrific Vadavamukha, the fierce volcano equated to the fiery Submarine Mare, witch seems to be the Krakatoa volcano, perhaps the most dangerous in the whole region of Indonesia, itself the most volcanically active in the whole world. Pañčâla is also a name of Shiva, the very personification of the Vadavamukha itself. Pañčâla derives its name from pañčam, meaning “five” in Sanskrit. In fact, this word derives from the idea of a hand spread out with its five fingers (pač). Hence, the word is essentially synonymous with the palmyra palm.

In other words, Pañčâla is no other than the fabled Land of the Palm Trees, that is, the primordial Phoenicia. This region is said to be located the north of India, where most people think that that the Mahabharata war was waged. Such is not the case at all, as we jus argued. First of all, north India has no volcanoes at all. Secondly, this mountainous region hardly serves the description of places such as the Kuruksehtra plains. In fact, the location in north India is purely exoteric, more or less like the one of Sri Lanka, another alias of the primordial Paradise of Hindu traditions, which we have located in the region of true Taprobane, that is, Indonesia.

Actually, the word pañčam plays with the name of the panis, which, as we just saw are indeed the same as the Phoenicians or Puni. In Skt., the word paņ means “to batter, gamble, bet”. In turn, the derivative paņi means “bargainer, trader, merchant, miser” whereas paņa means “trafficking, praise, bartering”. These words ultimately derive from paņ-, meaning “five, hand”. From this derives pâņika, meaning the same, and closely assonating with “Punic”.

In an alternate derivation, we have the idea of “bright, shiny, fiery, pure”, as in puņ-, puņya, pû, etc.. These etymons are probably connected with the idea of Dawn and of the fiery Vadavamukha, the main feature of the region. In fact, the idea of “purified” is derived from the root pur– meaning “fire”, as in the Greek pyros, the Latin purus, etc.. What this means is that this region was “purged by fire” in the tremendous conflagration that only ended with the Universal Flood it triggered at the end of the last Pleistocene Ice Age. After this, the world entered a new age, the one the Hindus call the Kali Yuga (or Age of Iron). Hence the idea of “dawn” associated not really with the day, but the eras of mankind.

The word pându (“yellow, white, pale, golden”) is also related to the base just given. By extension, this word means “golden, fair”, relating to the white races. Pându is, in the Mahabharata, the father of the five Pândava princes, the rivals of the Kurus (or Kuravas). These kings and their armies fight to the bitter end, as told in excruciating detail in the monumental epic, one of the greatest masterworks ever in both size and depth. The conch, so central in the epic is, as we said above, possibly related to the idea of “purple” and, hence to the one of “dawn”.

Likewise, the “gambling” which is the central to the dispute, is perhaps connected to paņ- and paņi meaning “gambler”, as well as “Phoenician”, as we just saw. But even this is secondary. The connection is with the yugas or ages. In ancient India, dice were made in the tetrahedral shape, having hence four sides. These four sides corresponded to the four yugas, named respectively satya, treta, dvapara and kali, and meaning “four”, “three”, “two”, “one”. Hence, what was really at stake in the Mahabharata epic was the era transition from Treta into the Kâli yuga.

The radix pû– which we just saw is also related to pav-. And this in turn generates the name of Pâvana. Pâvana is the same as Vâyu, in his aspect of “Purifier”. As such, he is Agni, the Hindu fire god. And Agni is in turn Shiva in his fiery avatar, when he comes as Fire in order to destroy the world. This base is also related to the name of Durga as Pûta, the Purifier. And Pût is the name of a Hindu hell. This name closely evokes the one of Punt, the Egyptian Paradise, likewise destroyed by fire. Sanskrit also has pûni or pûnita meaning “purified”, an epithet often associated with Poanit and with Dilmun, the Paradise of the Mesopotamian traditions. This etymon also means “destroyed by fire”. And this base also evokes the one of Put, one of the sons of Cham, along with Kush (Ethiopia), Mizraim (Egypt), and Canaan (Phoenicians). All these four races are Chamites or “reds”, and hence akin to the Phoenicians. The Kushites are the Pious Ethiopians whom we already commented. They should not be confused with “blacks” or, even less, with the people of the country now so named, which is a second hand replica. In fact, Sanskrit also has the base puņ meaning “pious, virtuous, pure, saint”. This alludes to the Pious Ethiopians of Homer and others.

In Hindu traditions they are the Agnishvatthas, the ancestors whose name means “purified by fire”. This name also refers to gold, a metal which is in fact purified by fire, since all other metals in solution burn out under a flame, leaving pure gold as a residue. In other words, this myth refers to the Atlanteans Formerly pious, like the legendary Ethiopians, they decayed and turned into evil râkshasas. But they were punished by the purging of their land with fire, and became again pure and virtuous like gold. Hence, their name of “golden” and the association with “fire”.

Likewise, the name of Put or Punt recalls the one of Poanit and, hence, the Phoenicians. The Egyptians consisted, like the Hindus, of two nations intermingled, one red (“Phoenician” or “Greek”), the other one dark (Dravida). When they mingled they average their color or separated into races such as the present day Aryans, Semites and Dravidas.

We finally go a little further than Sanskrit itself. The above roots may all be ultimately derived from Dravida. We leave part of this exercise to the interested reader, limiting ourselves to pointing out the way. Dravida is indeed a magic tongue, where the words still maintain the fluidity that let them express almost any desired idea, which is rendered precise by the context or by compounding with other different roots. Sanskrit is a little more fixed, even though it is by far more flexible than Indo-European languages, where the primitive meaning of the original roots is generally lost and forgotten for good. In fact, we believe that Dravida was, as we argue in detail elsewhere, the mother tongue from which Sanskrit was derived, perhaps artificially, as its name suggests (sam-skrit).

In Dravida, we have: pû-, put (“blooming, flower, flourishing, creation”). From it derive words such as pûta (‘flowering”), pû- (“spark, fire, ember”), pû- (“lac tree, lac dye”),put- (“to incend, set fire to”),etc.. Furthermore, we also have bases such as: put- (“to winnow, thresh” > “to purify”), punai, pont- (“ship, boat, to float”), punai (“flood”), punai (“laurel”), pund- (“pundit, sage”), put- (“to bury, hide, veil”) pond- (“palmyra palm”), pon-tt (“gold”).

Turning to the words related to paņi, we have: paņi (“worker, carpenter, artificer, businessman”), paņai (“palmyra palm”) pat- (“flatness of the hand or palm”), etc.. These words are ancestral to the Skt. ones connected with “hand”, “palm”, “merchant”, etc.. They correspond to Skt. kara, that is, the hand as the creative organ > ‘doer, maker, creator”. This base corresponds to Karana (“Creator”), the name of Shiva as the All-Creator. As Max Müller and others demonstrated, this name corresponds to the one of Kronos (Saturn), the king of the Golden Age. Kronos and the Titans were defeated by Zeus and the other gods, and was thrown down into hell.

As such, we have the Hindu myth of the war of the devas and asuras all over again. And, as Plato explained in his Critias, the myth of the war between Gods and Titans is no other than the War of Atlantis itself. Or, as Mme. Blavatsky and others concluded, this is also the same as the great war of the Mahabharata. In other words, the Greeks and the Romans cribbed from the Hindus who, in turn, cribbed from the Atlanteans themselves. So did the Jews and the Christians, by the way. The war of the angels – the one between Lucifer and his angels versus Michael and his own is a verbatim copy of the Hindu myths, for instance, he one of the war of the gods and the asuras told in Kalidasha’s charming Kumarasambhava (“The Birth of the War God”).

Om, Uma, Momos, Rhombos

King Momos (or Momus) perhaps derives his name from the Greek momos, meaning “mockery, mirth, folly, sarcasm, deceit”. In fact, it seems that the etymology of the word is obscure, as Junito Brandão affirms, and that it is the meaning that is derived from the name of the deity, rather than vice-versa.. In Hesiod (Theog. 214), Momos is made the brother of the Hesperides and the son of Nix, the Night. In a different tradition, the earth, overloaded by the insane multiplication of mankind, decided to reduce the population on earth, in order to alleviate the burden of the Great Mother.

For that purpose, Zeus devised the war of Thebes, and a great many people perished in it. But even that did not suffice. So, Zeus decided to send the Flood. But Momos advised the father of the gods to act otherwise. According to the plan, Zeus should engender Helen of Troy, the epitome of beauty and Achilles, the greatest of warriors. Helen would provoke the war of Troy, and Achilles would carry it to the end, killing a lot of people in the process.

The war lasted for ten years, and in fact drastically reduced the world’s population. But it apparently did not suffice, as the Flood was sent shortly after the War of Troy, destroying the place with fire, water and the plague. Momos’ sarcasm was so great and stirred so much trouble that he was eventually expelled from heaven by Zeus himself. The meaning of King Momos and his gay reign is closely connected with the destruction of Sodom and Gomorrah or its alias and counterpart, the world destroyed by the Flood.

The “impiety” of Momos alludes to the one of the Atlanteans of latter times, as described by Plato. The obscure name of Momos probably derives, not really from the Greek mokan (“to mock”), and the radix mou– (“derision ”) as P. Chantraine proposes, but from a wordplay with OM – or rather OM-OM – much in the way the Hindus both ancient and modern so love. As we already argued, OM is connected to the flood, and so is Momos, as we argue next.

Actually, Momos is closely connected with Atlantis, as will become apparent next. As one of the Hesperides – identified with the Islands of the Blest, and located in the far west, in the realms of Night – Momos is in fact apparently the same as Atlas himself, since the Garden of the Hesperides is known to have been located in the slopes of Mt. Atlas, the Pillar of Heaven. Night here alludes to the region of permanent darkness, which is indeed Tartarus or Erebus.

The insane multiplication of prehistoric humanity that led to its destruction in the Flood is a recurrent motif in myths. It perhaps refers to the overpopulation of Atlantis. No matter what, both the war of Troy or the one of Thebes are indeed allegories of the great war of Atlantis which, according to Plato, led to the destruction of the world.

Momos seems to be the alias and counterpart of Kali and Narada in Hindu traditions. As such, the etymology of his name also evokes the figure of the “slanderer”, who is no other than Satan in Judeo-Christianity. Kali – who should not be confused with Kâlî, the wife of Shiva – is the god of strife and of the Kali-yuga (or Age of Strife). Narada is one of the seven rishis. He is called Pishuna (“Spy”), also an epithet of Satan as the Prince of this world. In other words, all these mysterious figures seem to be indeed one and the same: a personification of the Atlanteans in their decayed condition of evil angels. Uma is an epithet of Parvati, the wife of Shiva. It is possible that she is to be identified to Kali, after all, since she is the same as Kali-Durga. Uma is also the same as Mu, which assonates with OM. Her name means “mother”, and she seems to be the female personification of the first Atlantis, the Virgin Mother (Kanya-Durga) as we explain in detail elsewhere.

The rhombos is the bull-roarer. The name refers to the sacred instrument of the cult of Dionysos Zagreus. Its name is onomatopoeic, and apparently refers to the humming sound produced by the instrument, itself an alias of the sound of thunder. In antiquity, the rhombos had the highest mystic and religious significance. It was used in the mystery celebrations of the Orphics, in connection with the death of the god by the Titans. Its connection with thunder and tempests betrays a relationship with the Flood, the “tempest” of excellence in all traditions.

The bull-roarer was also used as a religious instrument by the Australians, the Polynesians, and by the Amerinds of both South and North America. We believe that the name of the rhombos ultimately relates to the humming sound of OM. Moreover, we believe that the WHIRLING AND sounding of the bull-roarers in the religious rituals of Dionysos and in those of the primitives is akin in spirit to the “praying machines” of the Tibetans, themselves closely related with the mantra OM MANI PADME HUM (O!, the Jewel in the Lotus, rise!)

There seems to be a connection with the sacrament of Confession, as we argue in our site, under this item (4). Interestingly enough, the Australian ritual bull-roarers carry decorations which closely resemble the map of Atlantis’ citadel, as described by Plato: a series of concentric rings of land and water. The connection with the OM sound, the Flood, and Atlantis is, now that it has been mooted, perhaps too close and too detailed to be explained away as simple coincidences.

The Hidden Meaning of Carnival

Momos is generally made the patron deity of follies such as the one of Carnival. In Brazil, Momos reigns supreme during the festival, which lasts for three days of revelry and mirth. In fact, the grotesquely fat figure of Momos, and his cortège of whores during the feast of Carnival (carna-vale = “farewell to flesh”) commemorate the last impious days of the former era. Carnival, as we argue elsewhere, is indeed an offshoot of the Holi Festival of India, where both the commemorations themselves and the thing commemorated – the end of the corrupted world and the start of a new era – are exactly one and the same thing.

The message is more or less the same as the one of the Bible in regards to the Flood: “at the end of times there will be mockers who scorn religion and follow their own impious lusts”. The “mocking” here is an allusion to the name of Momos, the “mocker”. Or, rather, Momos is the personification of these “mockers” and “debauched” who characterize the last days of Atlantis.

The reference is to the “Day of the Lord”, the one of Doom. And the cataclysm awaited is the Flood which, according to the Hindu doctrines on the Yugas, will inevitably come, again and again. In reality these cataclysms are the drastic onsets and terminations of the Ice Ages, a dire, inescapable reality, as is fast becoming evident. The passage in Peter 3:3 deserves to be quoted: ^[31]

“Note that, in the last days, there will come men who mock religion and lead an impious life, and they will say: ‘where now is the promise of his coming? Our ancestors are long dead, and everything remains exactly the same since the day of Creation’. They voluntarily ignore the fact that there was once another heaven and another earth, long ago which, from the middle of the waters and by means of water, arose at God’s command and that, by this same agency, this former world was destroyed, by the agency of the waters of the Flood.

But the present earth and the present sky, by the same command, has been set aside and reserved for fire for Doomsday, when the impious will be destroyed… It will come, the Day of the Lord, like a thief. In this day, heaven will collapse with great noise. The elements, ablaze, will be dissolved in flames. The earth, with all that is inside it, will be laid bare. Since all things will thus be dissolved… we expect a new heaven and a new earth, according to his promise, inhabited by Justice”.

Our aim here is not to threaten people with fire and brimstone or, even less, to thump the Bible at them, in order to intimidate all and everyone. But it is at least quaint to verify the fact that the Greco-Roman tradition (Momos), the Hindu one (the Yugas) and the Judeo-Christian one (Doomsday) converge so perfectly. Even more scary is the diagnostic of Science itself, which supports precisely the same, as we just said.

A close reading of the above remarkable passage will show to anyone’s satisfaction that the land rising out of the waters, and then sinking back again, is no other than Atlantis itself rising and falling as the Ice Ages come and go, regardless of divine intervention. In our day and age, the mockers, the impious, the deceivers have become the scientists, the arrogant Positivists of the Victorian Age which espoused precisely the doctrines which are condemned here.

In fact, the Jerusalem Bible, comments that passage in a note which affirms: “the author arguments here against the false doctors who invoke the immutability of the Universe in order to deny the reality of the Parousia”. Space does not allow a full discussion of this extremely important theme here. But it is clear, at least to those in the profession, that the idea is precisely the so-called “Principle of Uniformity” of Darwin and Lyell. This is the foundation of the Theory of Evolution as well as of Uniformitarian Geology, which is the one consensually accepted by Science.

Though many experts have now realized that this principle is sheer buncombe, it is even now being taught in the academic institutions as the very epitome of truth, as supported by the empirical evidence. But the fact is that unusual catastrophes of global proportions are the rule, rather than the exception in nature and are amply attested in the geological and the evolutionary record. Among these we have not only the cometary and asteroidal falls, or the supervolcanoes which cause periodic global havoc, but also the recurrent Ice Ages, whose causes no one really knows, since the theory of Milankovitch is merely an unproven theoretical speculation.

In other words, what we actually have in practice is Catastrophism, rather than Uniformitarianism, in contrast with what Darwinian Evolution stolidly holds. This theory goes against the now irrefutable evidence of observed facts, both geological and paleontological, and must hence be discarded. So, at least in this particular instance, the “Bible is right” and the textbooks and academic institutions are all wrong. Actually, as we argue in detail elsewhere, the fiery catastrophes announced in the Bible seem to be supervolcanic eruptions rather than asteroidal falls, though by no means are those excluded from the possibilities of the fiery cataclysms envisaged by the ancient traditions.

EXTRA

Some Early Forms of the OM Glyph

 

Earliest form of OM Glyph compared to the Pancha-Mahabhutas (Five Elements) [depicted graphically starting from below]: earth, water, fire, air and ether (sky). An Early form of the OM glyph? It is our impression that the Triple Mountain is Trikuta, the triple-peaked mountain of Lanka, which is the archetype of Atlantis in the Ramayana epic. Above it are depicted the Sun and the Moon, as they often are in relation to Mt. Meru, the alias of Mt. Trikuta.

Dravidian Form of the OM Glyph

One of the most curious forms of the OM glyph is the Dravidian one of the Shatkona Yantra shown in the figure below, from the site of Patrick Harrigan. The reader is directed to go to Patrick’s excellent page just linked, and look for the figure itself. The Shatkona Yantra consists of the Mogen David (Star of David), in whose center figures the Dravidian OM. The six-pointed star is surrounded by a ring of fire.

 

Fig. XXXThe Ṣatkona yantra, cut into black stone with the diagram of the Kataragama deity.

Representation of flames along the periphery, the Tamil OM in the centre. In the Museum für Völkerkunde, Basel. From Wirz (1954)

 

The symbolism of the Shatkona Yantra is the usual one. The six-pronged star✡ – formed by two interlocked triangles represents the linga Δ (upright triangle) inside the yoni ∇ (inverted triangle). The same symbolism also apparently passed into the Mogen David, which represents the two races in the eternal union of opposites. The Skt. word shatkona means “six-cornered”, and alludes to its shape.

What is most curious in this Hindu quaint symbolism is the form of the OM glyph written in some non-descript Dravidian alphabet. A close inspection of this curious composite glyph will disclose the fact that it also represents the linga inserted into the yoni, just as does the six-pronged star.

APPENDIX I

SOME QUOTES ON THE MEANING OF THE SACRED SYLLABLE OM

 

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“Om! Blessed be the animal,
With its horns and members.
Om! Tie it to the somber pillar,
That sunders Life from Death
Om! Tie this animal very well,
For it represents the universe”.

Markandeya Purana (91:32)

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The goal which all the Vedas declare, which all austerities aim at, and which men desire when they lead the life of continence, I will tell you briefly: it is OM. This syllable OM is indeed Brahman. This syllable is the Highest. Whosoever knows this syllable obtains all that he desires. This is the best support; this is the highest support. Whosoever knows this support is adored in the world of Brahma.

Katha Upanishad 1:2:15-17

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The sound OM is Brahman. The rishis and sages practiced austerity to realize that Sound-Brahman. After attaining perfection one hears the sound of this eternal Word rising spontaneously from the navel. “‘What will you gain’, some sages ask, ‘by merely hearing this sound?’ You hear the roar of the ocean from a distance. By following the roar you can reach the ocean. As long as there is the roar, there must also be the ocean. By following the trail of OM you attain Brahman, of which the Word is the symbol. That Brahman has been described by the Vedas as the ultimate goal.”

The Gospel of Sri Ramakrishna

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[To Mahima:] “You explain ‘Aum’ with reference to ‘a’, ‘u’, and ‘m’ only.”

Mahima: “‘A’, ‘u’, and ‘m’ mean ‘Creation, Preservation, and Destruction’.”

Master: “But I give the illustration of the sound of a gong: ‘tom’, t-o-m. It is the merging of the Lila in the Nitya: the gross, the subtle, and the causal merge in the Great Cause; waking, dream, and deep sleep merge in Turiya. The striking of the gong is like the falling of a heavy weight into a big ocean. Waves begin to rise: the Relative rises from the Absolute; the causal, subtle, and gross bodies appear out of the Great Cause; from Turiya emerge the states of deep sleep, dream, and waking. These waves arising from the Great Ocean merge again in the Great Ocean. From the Absolute to the Relative, and from the Relative to the Absolute. Therefore I give the illustration of the gong’s sound, ‘tom’. I have clearly perceived all these things. It has been revealed to me that there exists an Ocean of Consciousness without limit. From It come all things of the relative plane, and in It they merge again.”

The Gospel of Sri Ramakrishna

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“The Sandhya merges in the Gayatri, the Gayatri in Om, and Om in Samadhi. It is like the sound of a bell: t-a-m. The yogi, by following in the trail of the sound Om, gradually merges himself in the Supreme Brahman.”

The Gospel of Sri Ramakrishna

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“In my understanding, a Tamil version written by a Christian: OM (AUM) is a sound, “a material sound of which all other sounds must be manifestations”, one of which is the most natural sound: the basis of all sounds… Then “we” is connected with Him. So it means: “The manifesting word of God is OM”. So Christians in India, see the similarity with John chapter 1, “In the beginning was the Word and the Word was with God and the Word was God” (John 1:1). However since the word OM has a definite Hindu connotation, it is still not recognized in Christian circles in India.

“Some Christian scholars say Aum (OM), the letter A in Tamil, means Creator, U means Redeemer, and M is completion of Salvation. So it is a very ancient word and no one is able to tell the exact significance of the word. The sounds A…U…M… is an explanation that the Creator Himself comes as a redeemer and saves souls to make them His own. Some other people think OM is the bow, soul is the arrow and Brahman is the target. Just like the arrow merges with the aim, the soul with Brahman. The soul shoots with good aim by constant meditation. I find that Tamils were extraordinary clearer in that the word ‘OM’ is inbuilt in the language itself”.

Jayapaul Azariah, Ph.D., The Symbol OM (AUM)

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“To discover what Awen is, we should first look at what the word means. The feminine noun, Awen, has been variously translated as ‘inspiration’, ‘muse’, ‘genius’, or even ‘poetic frenzy’. The word itself is formed by combining the two words, aw, meaning ‘a fluid, a flowing’, and en, meaning ‘a living principle, a being, a spirit, essential’. So Awen may be rendered literally as ‘a fluid essence’, or ‘flowing spirit’. The next stage of our quest takes us to the surviving works of the Bards of medieval Britain, who were both the inheritors and the medium of transmission of remnants of pagan Druid tradition.

“The so-called Four Ancient Books of Wales; the White Book of Rhydderch, the Red Book of Hergest, the Black Book of Caermarthen, and especially the 13th century Book of Taliesin, contain a number of poems which refer to Awen… Reference to “three Awens” and to the “ode of Ceridwen” remind one that chanting the word Awen three times is one of the methods employed by some Druid groups for opening the individual spirit to the spirit of the Goddess as source of inspiration. The chant takes the form of a long, low, vibratory mantra, similar to the Hindu Om, or Aum.

“That Awen was sung, or chanted, in the past is clear from a number of medieval poems, including ‘The Hostile Confederacy,’ Awen, the ‘flowing spirit,’ is here referred to as a river, apparently drawn from the sea by the poet’s singing. The ‘sea’ may be taken as a reference to the all-encompassing spirit that surrounds us, the ‘river’ being that portion of it which the Bard draws to himself through his invocation.

Awen: The Holy Spirit of Druidry

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Om, interj. & n. [Also Aum, Um.] [Skt. Om]. A mystic syllable or ejaculation used by Hindus and Buddhists in religious rites, – orig. among the Hindus an exclamation of assent, like Amen, then an invocation, and later a symbol of the trinity formed by Vishnu, Siva, and Brahma.

Om mani padme hum, a sacred formula of Buddhism (esp. of the Lamaists) translated “O!, the Jewel in the Lotus, Amen!,” and referring to Amitabha, who is commonly represented as standing or sitting within a lotus.

Information on Aum. From: Webster’s Revised Unabridged Dictionary

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Archetypes as symbols can have multiple meanings and the symbols of Alchemy along with its linguistics are no exception. However, due to a phenomenon referred to as ‘Hermetic Drift’ and the forming of a phonetic Qabalah, these symbols can rely on a similarity either visually or phonetically that unfortunately can also obscure their meaning. This demonstrates the importance of an unbroken oral tradition that was lost to western occultism. And this had brought Alchemical documents to a point where they became incredibly difficult if not impossible to understand with their value to the modern Occultist being rendered almost worthless…And Alchemical practices have not been completely eradicated, as the Eucharistic ceremony is still common in exoteric religious practices as well as occult practices…

Aleph, transliterated as A’a and pronounced ‘ah’, contains for the Rosicrucians, the principle of the three characteristics of creativity; power, wisdom and love. It is also a rendition of the Sumerian god Enki also called Ea; representing the ‘One True Existence’ as the ‘Word’ or ‘Divine Thought’, that is BAL, the Canaanite name for the ‘Lord’ who was a son of EL, an elderly deity who stayed away from the daily affairs of humanity and an early Hebrew god as well… BAL is 33 in the Hebrew Qabalah and there’s the Rosicrucian word AUM (also Hindu as OM and Thelemic as AUMGN) for the divine thought that is god. It is an anagram for the Latin phrase: Artifex Universus Mundi (Great Architect of the World) and also equals 33 by a much more convoluted process.

Frater Zephyros, The Alchemical Half of the Jewsby

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“This mystic symbol is also the most powerful Hindu mantra. It is composed of five elements: the syllables a, u, m, the dot or bindu and sound (nada), and is revered as the representative of the gods. All aspects of speech are believed to have come forth from this word. Om first appears in the Upanishads as a mystic monosyllable and is regarded as the seed or basis of all mantras. According to the Mandukya Upanishad, the past, present and the future are all included in this one sound and all that exists beyond these three forms of time is also implied in it. In fact this entire Upanishad deals with the understanding and symbolism of OM

“According to the Chandogya Upanishad, Prajapati created the first three Vedas, from which arose the three letters of ‘AUM’. This word is therefore a representation of the Supreme Being. Like the word OM, the Supreme Being is also indivisible. OM is said to be the first sound to have come from the Creator’s mouth. Its sound is said to be the foundation of all sounds… The three constituents of OM also represent the deities of the Trimurti: ‘A’ represents Vishnu, ‘U’ Shiva and ‘M’ Brahma. Hence it also represents Creation, Preservation and Destruction. The Vaishnavas and the Shaivas however describe it according to their own theological notions. The sound form of Om is identified as Vishnu by Vaishnavas and as Shiva by Shaivas.

OM

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“AUM has been said to be the sound of the cosmic vibration of creation, preservation and destruction. The first reference to AUM was seen some four to six thousand years ago in the writings of the Vedas… Patanjali’s (Aphorisms of Yoga) states that “He who knows AUM, knows God”. In modern times Sri Yukteswar (The Holy Science), states that AUM is seen as the power which gives rise to the natural world. And that, in Sanskrit, is called prakriti.

“The essence of AUM is universal and literally found in all scriptures. They all contain a sacred word and appear to have a common theme: The Hum of the Tibetans, the Amin of the Moslems, the Amen of the Christians. The gospel according to John begins with “In the beginning was the Word. And the Word was with God and the Word was God”. In the Hebrew tradition, Amen is used to conclude all prayers. “These things saith the Amen, the faithful and true witness, the beginning of the creation of God”.”

Meditation Research Page #1- Aum Meditation Research

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“The most sacred mystic syllable of the Vedas is Aum. It is the first letter of the Sanskrit alphabet, and by some it is thought to be the sound made by a new born child when the breath is first drawn into the lungs. The daily prayers of the Hindu Brahmin are begun and ended with it, and the ancient sacred books say that with that syllable the gods themselves address the most Holy One. In the Chandogya Upanishad its praises are sung in these words: “Let a man meditate on the syllable OM, called the udgitha,…it is the best of all essences, the highest, deserving the highest place, the eighth”.

In verse 10 is found: “Now, therefore, it would seem to follow that both he who knows the true meaning of OM, and he who does not, perform the same sacrifice. But this is not so, for knowledge and ignorance are different. The sacrifice which a man performs with knowledge, faith, and the Upanishad is more powerful”…

“When considered as a triliteral word consisting of अ (a), उ (u), म (m), it implies the three Vedas, the three states of human nature, there three divisions of the universe, and the three deities: Brahma, Vishnu, and Siva, agents in the Creation, Preservation, and Destruction of this world; or, properly speaking, the three principal attributes of the Supreme Being personified in those three deities. In this sense it implies, in fact, the universe controlled by the Supreme Spirit.”

AUM! – A Theosophical Article by William Q. Judge

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“India is a land of innumerable beliefs, rituals and religious symbols. These beliefs and symbols are highly respected and revered. As a devout people we normally do not go into the meaning and interpretation of our many beliefs. It is sufficient for most of us to know that they are part of the heritage handed down to us by our ancestors and in deference to tradition it becomes our duty to scrupulously and meticulously adhere to them. But by doing things without knowing the meaning behind them do we not deprive ourselves of an insight into our heritage?

“The origin of the syllable OM is lost in the misty past. Its not being specific to any one country or civilization is indicative of its being an universally perceptible sound for the human race. This reason for this universal perceptibility possibly lies in the fact that AAAH is the most natural sound that issues from the human larynx. This is evident when a man cries out naturally in extreme pain, anger or fear. When emotions reach an extreme pitch the articulate sounds evolved by man are not the ones that are heard, but the syllable natural to man which is AAAH”…

“The syllable OM is not specific to Indian culture. It has religious significance in other religions also. The word Amen used among Christians at the end of a prayer is also said to be derived from the syllable OM. Although OM is not given any specific definition and is considered to be a cosmic sound, a primordial sound, the totality of all sounds etc… Amen is said to mean ‘May it be so’. In Arabic a similar term ‘Amin’ has a religious significance. This indicates some link between the various symbols and perhaps a common origin”.

Hindu Culture – Omkar and Swastika, by Sudheer Birodkar

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“AUM (Sanskrit): The ancient Indians held that OM, when considered as a single letter (Sanskrit character) was the symbol of the Supreme. When written with three letters – AUM – it stood among other things for the three Vedas, the three gunas or qualities of nature, the three divisions of the universe, and the deities of the Hindu Trimurti – Brahma, Vishnu, and Siva – concerned in the Creation, Preservation, and Destruction of the universe or the beings composing it… These three letters are supposed by some Hindus to have correspondences as follows: “The letter A is the Sattva Guna, U is the Rajas, and M is the Tamas; these three qualities are termed Nature (Prakriti)… A is Bhurloka, U is Bhuvarloka, and M is Svarloka; by these three letters the spirit exhibits itself” (Laheri in Lucifer 10:147). This word is said to have a morally spiritualizing effect if pronounced during meditation and when the mind is at peace and cleansed of all impurities.

“OM (Sanskrit): In Brahmanical literature, a syllable of invocation, considered very holy: “Om is the bow, the Self is the arrow, Brahman is called its aim” (Mandukya Upanishad, 2:2). It is placed at the beginning of scriptures considered of unusual sanctity. “Prolonging the uttering of this word, both of the O and the M, with the mouth closed, it reechoes in and arouses vibration in the skull, and affects, if the aspirations be pure, the different nervous centers of the body for great good” (Fund. 28). The virtue or spiritual and magical properties attributed to this word, however, arise out of the purity and devotion of the one uttering it.”

Encyclopedic Theosophical Glossary, Theosophical University Press

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“Om, Aum, Ohm is a holy meditation symbol of Hinduism, Buddhism, and Jainism with a profusion of esoteric and exoteric meanings. In modern usage Om means the Word, the pranava, the eternal. Various accounts are given of its origin; one that it is the term of assent used by the gods, and probably an old contracted form of the Sanskrit word evam meaning “thus.” The Laws of Manu say that the word was formed by Brahma himself, who extracted the letters “a”, “u”, “m” from the Vedas, one from each; and they thus explain its mysterious power and sanctity. “Om” is also the name given by the Hindus to the spiritual sun, as opposed to Surya, “the natural sun”).

“The [syllable] Om is also often referred to as the sound of the Earth…creation…the heart of existence. To become one with the sound of the Om, through visual meditation and sounding of the vibration, allows one to become one with the source of all…to become “realized”…a “master.” This last perspective of “Om” is how most westerners experience the “Om” and why it is used as an ending to many New Age ceremonies and gatherings… If you choose to experiment with this sound for your own meditation and realizations, be sure to resonate the word (long o….m….)in the deepest range of your vocal register, with a single breath. Elongate the o with an open mouth and then vibrate the m through closed lips. Keep the repetition of the sound even in duration, breathing in between soundings… See the symbol as a “seed”. With each OM-AUM it grows inside you…until you become the OM-AUM.”.

School of Spiritual Integrity – Aum Om Ohm Article

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“It is thought that the Great Name was comprised in the letters “A.U.M.” It is the root of the name of the Sun-God “Yama” of the Vedas and the “Yang” of the Chinese. In Sanskrit it is “Yama”. It is the Chaldean name of the Day-Sun “Ioma”. In Hebrew it is the word for day “Iom” or “Yom”. It becomes a very early term in Chaldean philosophy as “Aoum” or doubled as “Moum”. It is the Hindu word of creation, the word of light “Om” and “AUM”, the Slavonic “Um” or “Oum”, meaning Spirit or Soul. “Ium” is the name of the Scandinavian Thunder God; “Ium-Ala”, “Ium-jo”, “Iumio”, the Thunder Goddess; “Ami” or “Ammi” and “Ammi Shaddai” – Hebrew proper names;

“Oma”, the Holy Fire. “Omannus” or “Ammon” or “AMUN”, the Persian Fire God’s name. The “Aom” in the Hebrew proper names “Immer” and “Aomar” and the Dorian “Amar” means “day”. It appears also in “Mar,” the Phoenician word for “Sun”, and in “Baal Aum” and “Ah-iam,” Hebrew names, also in “Iam”, meaning “day” in Egyptian. It is the same as the Egyptian God “Amun”, also in the old Germanic Sun God “Am.” In Asia Minor it took the feminine form “Amma” and “Ma”; the moon, “Ammia”, “Amaia” and “Maia”, the earth, and in “Ma” the Egyptian Goddess of Truth”.

Aum, Amen, So Mote It Be

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“Aum (Skt.): The sacred syllable; the triple-lettered unit; hence the trinity in one… Says the Nada-Bindu Upanishad translated by the Kumbakonum Theosophical Society: “The syllable A is considered to be its (the bird Hamsa’s) right wing, U, its left, M, its tail, and the Ardha-matra (half meter) is said to be its head”… A mystic syllable, the most solemn of all words in India. It is “an invocation, a benediction, an affirmation and a promise”; and it is so sacred, as to be indeed the word at low breath of occult, primitive masonry. No one must be near when the syllable is pronounced for a purpose. This word is usually placed at the beginning of sacred Scriptures, and is prefixed to prayers. It is a compound of three letters a, u, m, which, in the popular belief, are typical of the three Vedas, also of three gods – A (Agni), V (Varuna) and M (Maruts) or Fire, Water and Air…

“Om: the name of the Deity, considered as sacred by the Brahmans and Buddhists alike. Its sounds are said by them to contain a mystery and to symbolize the universe. Its full form is Aum. The first sound, in its utterance, – a sound of a – represents Brahma, and signifies Creation; its second sound – a sound of u – represents Vishnu, and signifies the Preservation of the universe; the third, or “stoppage” – the sound of m – represents Siva, and signifies Destruction. Its occult significance is very great. Its substitute word is Pranava… It is said that by prolonging the uttering of this word, both of the o and the m, with the mouth closed, the sound re-echoes in and arouses vibration in the skull, and affects, if the aspirations be pure, the different nervous centers of the body for good.

“H. P. Blavatsky in her Theosophical Glossary writes of Om or Aum as follows: “A mystic syllable, the most solemn of all words in India… In esoteric philosophy these are the three sacred fires, or “the triple fire” in the Universe and Man, besides many other things. Occultly, this “triple fire” represents the highest Tetraktys also”…In her Isis Unveiled, Volume II, page 31, she further states of this syllable: “the mystic formula, resume of every science, contained in the three mysterious letters,
AUM which signify creation, conservation, and transformation“. Hum is a Tibetan mystical syllable equivalent in meaning to Om. It is usually placed at the end of a Mantra”.

Collation of Theosophical Glossaries

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“To those who are already aware of the eastern origins of Judaism, it may appear that I am belaboring a point below, or unnecessarily over-demonstrating my case in showing the prominence of the East in ancient Jewish thought and culture, that is in the minds of the earliest Jews. So be it. At this point in time, when only a small minority of people are aware of Judaism’s eastern or Indian origins, it is better to document fully than it is to understate one’s case… Cabtah, Sabta or Sabtah, the name of a son of Cush, and the country occupied by his posterity: Sabta, Sabtah. The word Sabda has a range of meanings to the Hindu. Sometimes means the word of God as expressed by a pure teacher, similar to the notion that Jesus’ teachings were the Word or Logos. In Hinduism there is not – to my knowledge – the sense that the word is personified as a divine being as there is in orthodox Christianity.

“Sometimes Sabda is also explained as the divine sound Om or Aum. Sometimes it means simply a sound, word, or tone. The term Sabda-Brahman means the divine word of Brahma manifesting on the earth plane… Sheba, Seba, and Saba of the inhabitants of the land of Sheba, Ethiopia and Palestine is the same deity as Shiva or Siva of the Hindus… When focusing on Shiva as the Destroyer, let us remember that Shua and Shiva in the Old Testament are used interchangeably. Beersheba and Bathsheba easily become Beershua and Bathshua.

“Historically we may explain it at least in part from the fact that in ancient Egypt Shu was the father of Seb, so that the Shu or Shua root and the Seb or Seba roots may be regarded as literally being of the same family, Seb being the son of the father deity Shu. Pillars were erected to Shu in Egypt just as pillars were erected to Seba or Saba. Note the numerous Shiva root words and Shu words that relate to destruction [in Hebrew]: shavah, to destroy; sheva, to destroy; show’, show’ah, and sho’ah, to rush over; a tempest; by implication, devastation; desolate, desolation, destroy, destruction, storm, wasteness; shav’ or shav, from the same as [the above] in the sense of desolating; evil (as destructive), ruin; sheva; to destroy; shavah, to destroy”…

The Hindu Origins of Judaism

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“Aum is a Sanskrit word. Sanskrit is one of the oldest known written languages on Earth. It originated in India. Aum first appeared in The Vedas, he holy books of ancient India. Aum (pronounced Om) is considered to be the universal symbol for God in Hinduism. To the Hindu’s, The Aum, is even more significant. The Aum is The Sound of Creation, Aum is the omnipresent sound emanating from the Holy Ghost, God as Creator. The Gayatri Mantra: Aum bhur bhuvah svah; Om Tat savitur varenyam bhargo devasya dhimahi. Dhiyo yo nah prachodayat. Om”.

“Summary [translation] of the mantra: “Oh God! Thou art the giver of life, Remover of pain and sorrow, The bestower of happiness, Oh! Creator of the universe, May we receive thy supreme sin-destroying light. May Thou guide our intellect in the right direction”. Word for word meaning of the mantra: bhuva = destroyer of sufferings; svaha = embodiment of happiness; tat = that; savitur = bright like sun; varenyam = best choicest; bhargo = destroyer of sins; Aum = Brahma; bhur = embodiment of vital spiritual energy (prana); devasya = divine; dhimahi = may; imbibe; dhiyo = intellect; yo = who; naha = our; prachodayat = may inspire”.

Aum and Gayatri Mantra

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“Hari Aum. Aum ityetadaksharam idam | sarvam tasyopavyakhyanam | bhutam bhavad bhavishyaditi sarvam Omkara eva. | Yachchanyat trikalatitamtadapyomkara eva. [“Hari Aum. Aum, the word, is all this. A clear explanation of it is the following: ‘All that is past, present and future is verily Aum. That which is beyond the triple conception of time, is also truly Aum’ ”.]

This is the opening mantra of the Mandukya Upanishad, the shortest, and subtlest of all the major Upanishads, the most revered scriptures of Hinduism. In this Upanishad, we have the classic exposition of the meaning of Aum, the most sacred of all mantras…Sarvam hyetad Brahma Ayam Atma Brahma Soyam Atma chatushpat. [“All this is verily Brahman. This Self is Brahman. This Self has four quarters”]. This next mantra again uses the term idam (this). It states that all this is Brahman. Brahman is the Sanskrit word for Ultimate Reality”.

OmEssay

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“Om or “Aum” is the basis of all sounds in the universe. The “Aum” of the Hindu Vedas became the sacred word of “Hum” of the Tibetans; Amin of the Moslems; and “Amen” of the Egyptians, Greeks, Romans, Jews and Christians. “Om” is the all-pervading sound of emanating from God in His aspect of Creator, the voice of all things in creation, testifying to the Divine presence in every atom. The great Hindu sage Patanjali said: “He who knows ‘Om’ knows God.”

Paramahansa Yogananda, The Meaning of OM

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“AUM: (Sanskrit) or (Sanskrit). Often spelled OM. The mystic syllable of Hinduism, placed at the beginning of most sacred writings. As a mantra, it is pronounced ‘aw’ (as in law), ‘oo’ (as in zoo), ‘mm’. AUM represents the Divine, and is associated with Lord Ganesha, for its initial sound “aa,” vibrates within the muladhara, the chakra at the base of the spine upon which this God sits. The second sound of this mantra, “oo,” vibrates within the throat and chest chakras, the realm of Lord Murugan, or Kumara, known by the Hawaiian people as the God Ku. The third sound, “mm,” vibrates within the cranial chakras, ajna and sahasrara, where the Supreme God reigns.

“The dot above, called anusvara, represents the Soundless Sound, Paranada. Aum is explained in the Upanishads as standing for the whole world and its parts, including past, present and future. It is from this primal vibration that all manifestation issues forth. Aum is the primary, or mula mantra, and often precedes other mantras. It may be safely used for chanting and japa by anyone of any religion. Its three letters represent the three worlds and the powers of creation, preservation and destruction. In common usage in several Indian languages, aum means “yes, verily” or “hail.” See: nada, Pranava, sound.

Hinduism’s Online Lexicon

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“Before the beginning, the Brahman (absolute reality) was one and non-dual. It thought, “I am only one – may I become many.” This caused a vibration which eventually became sound, and this sound was Om. Creation itself was set in motion by the vibration of Om. The closest approach to Brahman is that first sound, Om. Thus, this sacred symbol has become emblematic of Brahman just as images are emblematic of material objects”.

The Meaning of Om

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“Om, the supreme combination of letters denotes the Supreme Entities Sri Radha Krishna and indicates the acme of spiritual tendency inherent in all jiva souls… One who chants Om, which is the closest form of Brahman,approaches Brahman… In the Rig Veda we find the following information: “O Vishnu your self-manifested name, Om, is the eternal form of cognizance. Even if my knowledge about the glories of reciting this name is incomplete, still, by the practice of reciting this name I will achieve that perfect knowledge. He who has unmanifested potencies and is fully independent, manifests the vibration omkara,which indicates Himself. Brahman, Paramatma,and Bhagavan are the three forms He manifests.”

      

. “As a tree or fruit bearing creeper begins with a seed so everything begins with Om; the gayatri mantra begins with Om,the Vedas begin with Om,the Upanishads begin with Om,the Vedantabegins with Om,and the Srimad Bhagavatam begins with Om.Therefore, it can safely be said that our search for Sri Krishna begins with Om. In the Bhagavad Gita, Krishna Himself says, “vedyam pavitram omkara, I am the syllable Om.” As such Om is known as the maha-vakya [maha-mantra] in the Vedas. “The sound vibration Omdenotes the chatur-vyuha-tattva of Sri Balarama, Pradyumna, Aniruddha, and Sri Krishna… The Gopala-tapani Upanishad further enlightens us that from the devanagari script Om we find the conjunct of four sounds to form one sound A U M…

                 

“The letter ‘A’ denotes Balarama, the son of Rohini, who is the substratum of the entire universe. The letter ‘U’ denotes Pradyumna who is the super soul of the universe. The letter ‘M’ denotes Aniruddha, who is the super-soul of each individual being in the universe. And the ‘dot’ above the ‘M’ denotes Sri Krishna, the fountain head of all Vishnu incarnations.”

OM – The Supreme Combination of Letters
Emanating from the Flute of Sri Krsna

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Note: The following 11 quotes are reproduced from the below site, which has many more similarly beautiful quotations. These quotations – as well as the original sources linked to – show that the Doctrine of Sound – which the Hindus call Nada – is indeed universal and has everywhere the same esoteric meaning. This meaning is of course never revealed, but is only subtly suggested, as the full disclosure is only made to the great initiates themselves.. A close study of these quotes, and others, as well, will show that the Sound, the OM, indeed represents the process of Creation symbolized by Shiva’s Dance, as Fritjof Kapra shows in his delightful book, which is also quoted below. Above all, the Amerindian Wisdom shows that the Primordial Sound – which is also the very last we will ever hear – is something colossal that causes the whole world to quake like a drum’s membrane. And this “drum” is indeed no other than Shiva’s damaru, which should not be feared, but welcome, as he himself tells us.

Sacred Mystery – The World is Sound

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“As I sat on that beach my former experiences came to life, I “saw” cascades of energy coming down from outer space, in which particles were created and destroyed in rhythmic pulses; I “saw” the atoms of the elements and those of my body participating in this cosmic dance of energy; I felt its rhythm and I “heard” its sound, and at that moment I knew that this was the Dance of Shiva, the Lord of Dancers worshiped by the Hindus.”

Fritjof Capra, The Tao Of Physics
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“The knower of the mystery of sound knows the mystery of the whole universe. Whoever has followed the strains of this sound has forgotten all earthly distinctions and differences, and has reached that goal of truth in which all the Blessed Ones of God unite.”

Hazrat Inayat Khan, The Sufi Message

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“In the beginning was the Word, and the Word was with God, and the Word was God.”

John 1:1

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“In the beginning was the Sound, and the Sound was with God, and the Sound was God.”

The Essene Gospel of Peace

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wn

“In the Beginning was the Dreaming… and the worlds were sung into existence … Energy and vibration patterns from the exploits of the great Ancestors congealed the initially limitless space into the topology and forms that we now experience as the material aspect of the universe. The land, its form and features as well as the subtle vibrational energy emanating from an earthly place is the imprint or record of the Dreamtime Episodes.”

Wise Women of the Dreamtime
Aboriginal Tales of Ancestral Powers

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“The Kabballah teaches that God used certain sounds or vibrations to create the Universe and that these vibrations underlie all existence. The modern science of super string theory adopts a strikingly similar viewpoint when it teaches that fundamentally the Universe is pure vibration.”

Shulamit, The Sounds and Wisdom of the Kabballah

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“An ancient wall of stone. Eyes to the sky. In cupped hands, the veiled Holy Grail. Remove the veil and there is nothing to behold with the eyes. Awareness,.. the sound of silence,.. like the gentle healing sound of a gurgling brook in a cavern.”

Raymond St-Martin, Grail Mystery Insight – April 22, 1994

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“The drum represents the heartbeat of our Creator, of Creation, and of Mother Earth. Also representative of the heartbeat of the people, the drum is considered a sacred instrument of prayer able to set free the song of spirit from within. Some say that the last sound to be heard upon the Earth, will be the sound of the drum.

Indian music is the first music of this part of the world. It is the original folk music of America. The sound of the music is the sound of Creation itself.”

Eddie Benton-Bana, Ojibwe Music

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“All the vibratory centers along the earth’s axis from pole to pole resounded his call; the whole earth trembled; the universe quivered in tune. Thus he made the whole world an instrument of sound, and sound an instrument for carrying messages, resounding praise to the Creator of all.”

Book of the HOPI, Following the Path of Peace

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“Think on the streams that are born in the desert after a sudden storm, and the roaring sound of the waters as they rush past. Truly, this is the voice of God, if you did but know it. For as it is written, ‘in the beginning was the Sound, and the Sound was with God, and the Sound was God”. I tell you truly, when we are born, we enter the world with the sound of God in our ears, even the singing of the vast chorus of the sky, and the holy chant of the stars in their fixed rounds; it is the Holy Stream of Sound that traverses the vault of stars and crosses the endless kingdom of the Heavenly Father. It is ever in our ears, so do we hear it not. Listen for it, then, in the silence of noontide; bathe in it, and let the rhythm of the music of God beat in your ears until you are one with the Holy Stream of Sound. It was this Sound which formed the earth and the world, and brought forth the mountains, and set the stars in their thrones of glory in the highest heavens.”

The Essene Gospel Of Peace

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“What is Silence? It is the Voice of One Above. Sound is the voice of the created, not the Creator. Keep a Silence often to hear Creator’s Voice.” “Understand first silence, then the sound –
first the symbol, then the word.”

Thoughts from Vnewetv Elders

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ANNEX II

MY CORRESPONDENCE WITH PROF. SUBHASH KAK*

*From Wikipedia:

Subhash Kak is an Indian-American computer scientist and historical revisionist.^[1] He is the Regents Professor of Computer Science Department at Oklahoma State University–Stillwater,^[2] an honorary visiting professor of engineering at Jawaharlal Nehru University,^[3] and a member of the Indian Prime Minister’s Science, Technology and Innovation Advisory Council (PM-STIAC).^[4]

Kak has published on the history of science, the philosophy of science, ancient astronomy, and the history of mathematics.^[2] Kak has also published on archaeoastronomy, and advocated the idea of Indigenous Aryans.^[5] Many scholars have rejected his theories on these topics in entirety, and his writings have been heavily criticized. Kak has been associated with Hindu fanatics and many scholars do not take his opinion seriously.^[5][6]

In 2019, the Government of India awarded him the Padma Shri,^[7] the fourth highest civilian award in India,^[8] for his contributions on the history of mathematics, science, ancient astronomy and philosophy of science.^[9])

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Thursday, June 06, 2002 4:06 PM

Hi Arysio,

…I’m writing because someone told me about your theory related to the OM sign. The way it is written is actually the way the Devanagari a + u + m work out. Your speculations on its form are erroneous.

With regards,

Subhash Kak

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Saturday, June 08, 2002 6:02 AM

Hi, Subhash,

Thanks a lot for taking time to write me… Turning to the OM glyph. You may be right in that I may be wrong. It is all a matter of guessing, of solving difficult riddles posed of old for us to decipher. And they are ALL very difficult to decode. So much so that it has never been done before. But I have long specialized in the Science of Symbolism and Mythology, and have acquired a good experience on the subject, if I am allowed to boast a little bit. I may err in the details, but I am sure I succeed in the gross, for instance, in my decoding of the Indus script and my decipherment of Etruscan, Pelasgian, etc.. But you know how Kamarupa and Maya often leads us into illusions of all sorts, as you Hindus discovered long ago. I would be highly interested in hearing your views concerning the OM glyph, and where I am wrong. However, I learnt two basic facts about Symbolism and Myths and Religion:

1) They are never what they seem to be, and hence cannot be euhemerized or interpreted historically or literally, be they the Vedas, the Bible or the Gospels or the alphabet, another most useful Hindu invention.

2) They work at several different levels, and can be interpreted according to several disciplines and according to different views. So, the Indus script may indeed embody the Vedic messages some see in it and, at a deeper level, the Dravidian ones which are also quite clear and undeniable.

So, what seems to be wrong at one level may be right at another, and vice-versa. Hence, the OM glyph could well be written in Devanagari or another Indian alphabet, and still embody the sexual symbolism I referred, which is quite explicit and undeniable. Tantra is the essence of Hinduism, though the Aryans have done their best to efface it. It means far more than sex itself, and I think I know why this symbolism has been so central to Indian thought, though I don’t mention it in my site very explicitly…

Returning to the OM/AUM glyph. The script does not seem to be Devanagari to me, at least originally, as it is widely different from the usual forms. But I am far from a specialist in these matters, and it may well be an earlier form of the script. It is true that the “derrière” resembles some forms of Devanagari A, Â, U, Û, L, O, AU, but is different, as it misses certain essential components. It corresponds to the Bengali O, and roughly to its AU, and may have been adopted from it, though I doubt it. Again, it roughly evokes O and AU in Tamil, Malayalam, Kannara, Telugu, Simhala, etc., again with the same differences.

All in all, I would say the glyph was cleverly altered to evoke the sexual symbolism I point out. Or a particular, unusual form was chosen for the purpose and later adopted by Devanagari. The “linga” portion roughly recalls the Tamil M turned around, but only very roughly. As concerns the anusvara itself. Its shape – in the AUM (alone?) – corresponds to the one of the Lunar Crescent, itself a deep ancient allegory and a riddle (how could the Pole Star ever show thru the lunar orb?). Hindu symbolism is VERY difficult, and works at several levels, as I just said.

And it is invariably chosen to seem naturally integrated into the context, so as to be disguised and go unnoticed by the profanes, even if they be experts in lay matters such as Linguistics. As you certainly know, the AU glyph corresponds to Shesha, who is no other than the Shivalinga itself, another deep symbolism having a lot to do with the Flood, just as the OM syllable also does. And the M corresponds to Mâ (“Mother”)or Mû (Mû-dêvi), who is no other than Umâ or Pârvati, Shiva’s shakti. As such, they represent the linga and the yoni, just as I said. And this symbolism in turn has to do with the Flood, also known in symbolism as the Cosmogonic Hierogamy, another encoding of the crucial event so central to ALL religions, Amerindian included…

Cheers, and thanks for writing.

Prof. Arysio Nunes dos Santos

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Saturday, June 08, 2002 5:17 PM

Hi Arysio,

Your stuff is so interesting that it is impossible to respond to the many threads by e-mail. Perhaps, when we meet, we would be able to exchange ideas quicker. I’ll mail you a note explaining how OM is derived from the Devanagari characters. It is too complicated to do it in this e-mail…

With regards,

Subhash

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Monday, June 10, 2002 3:55 AM

Hi, Subhash,

Thanks for the prompt answer and kind interest in my research… I am most interested in what you have to say on the OM glyph. And if you allow it, I would like to put what your writing in my site, as illumination for my readers. We can, of course have different views on matters such as this or even larger ones and still be friends, right? And we can even polemicize as good friends, and come out more enlightened both of us, perhaps enlightening others as well… Myths are so complex and so difficult that they can only have come from a superior civilization where Religion once united with Science to yield something far deeper than any of us can even dream about, and which is envisaged in, say, Sankhya and Vedanta…

As I told you in my previous e-mail, I am an adept at Symbolism, and have learnt that they work at several levels, and has something for all and everyone of us. The crucial message has to do with the great events of which the AIT and the present events in Kashmir or even WWII are mere facets. But others such as Nuclear Physics, Cosmology and so on are all there, I think, to be rediscovered when humanity reaches the point and deserves it [for better or for worse]…

Cheers, and thanks for writing.

Prof. Arysio Nunes dos Santos

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Monday, June 10, 2002 12:12 PM

Hi Arysio,

I have already put a letter in the mail on the OM glyph. It should reach you soon, perhaps next week. You’re right, myths communicate at so many different levels. I have been working on some of them myself for many years. I recently finished a book on the Ashvamedha, the horse sacrifice, on which you have also written. It is listed in the book list: www.ece.lsu.edu/kak/books.html. The Vedic sages say: paroksha priya iva he devah, pratyaksha dvishah, “the god’s love the paradoxical, and detest the obvious”. I think this carries a profound truth, namely that there are no simple formulas of meaning, but layers of explanations which sometimes run in circles.

With regards,

Subhash

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Monday, June 17, 2002 10:16 AM

Hi Arysio,

Check out this new column of mine:

http://www.sulekha.com/column.asp?cid=211324

Subhash

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Sunday, June 23, 2002 2:11 PM

Hi Arysio,

I mailed my letter last week, so it should reach you by the end of next week or so. I don’t bother about the insecurity on the Web. What can the bad people do? Steal our ideas? That would transform them into good people, which would be nice!

Subhash

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Wednesday, June 26, 2002 11:07 AM

Hi Arysio,

See this: http://www.sulekha.com/column.asp?cid=214668

Subhash

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Wednesday, June 26, 2002 7:08 PM

Dear Prof. Subhash Kak,

Just received your appreciated mail. So, please disregard the below mail. I will analyze it in more detail, and am writing a detailed monograph on the mystic meaning of the AUM syllable and its relationship with the yoni-lingam, in which I will comment your appreciated critique. I stand corrected in my assertion that the OM glyph cannot be derived from the Devanagari script, in contrast to what you so clearly showed. Thanks for the lesson. Such is the danger of following some authorities [van Lysebeth] more or less blindly, as I did in this.

But I still think that the glyph was carefully doctored – with typical Hindu subtlety – in order to suggest the yoni-lingam. This is directly supported by the meaning of the OM MANI PADME HUM, which means just this as I asserted in my site. As we already agreed, Hindu symbolism can — and indeed must – be interpreted at many different levels. Moreover, it is not impossible that Devanagari, was shaped on purpose when Sanskrit was composed by the talented Tamil grammarians such as Panini, etc..

And I think I discovered the true meaning of the Yoni-Lingam which is indeed hard to believe, as I well realize. It has to do with Mt. Atlas [Meru] and its collapse, etc., etc.. Look at this photo of the Toba Volcano – which exploded some 75 kya [kiloyears ago] causing one of the direst catastrophes ever, one in which humanity barely escaped extinction, as is now becoming clear [only a few thousand people survived the “bottleneck” – and see how closely it resembles the Cosmic Yoni of the goddess [earth] in the Uttanapad position, ready for the birth of the next era. I also enclose a photo of why volcanoes such as the Aetna, in Sicily [and others] were called the Pillar of Heaven, and equated to the cosmic Linga. In fact, the two are in fat the two Pillars of Hercules [and Atlas], often so figured.

The Horse is Pegasus, alias Vena, alias the giant volcanic eruption and the fiery pillar it created. Of course, it is also the Sun, the Morning [or Evening] Star, the Pole Star and so on. above all, it is the volcanic god [Agni] imprisoned under the mountain by Shiva, his own fiery self so often figured as Ravana, the Lord of Lanka, the true archetype of Atlantis.

Cheers, and thanks for writing.

Prof. Arysio Nunes dos Santos

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Date: Friday, July 05, 2002 8:16 AM

Dear Prof. Kak,

As I told you, I am writing a detailed note on the OM glyph and its relationship with the Flood, etc., which I think enlightening. It includes a response to your welcome and informative critique. But I am somewhat at a loss with the literally hundreds (about 2) of Hindu alphabets and their

variation along time. If it is not abusing your patience, your note fails to explain how come the Devanagari A lost its vertical bar to become 3, Isn’t that the U? Could it be that the glyph portrayed is the Bengali O, which is thus shaped, or its AU which somewhat resembles the one of OM? If you are

interested, I would be glad to send you the work, as soon as it is finished.

Cheers, and thanks for your attention.

Prof. Arysio Nunes dos Santos

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Saturday, July 06, 2002 2:58 PM

Dear Arysio,

You’re right, there are a variety of Indian alphabets. I don’t believe that the Devanagari A lost its bar to become 3. If you see the excellent book by Georges Ifrah, From One To Zero, you will find that the symbol for 3 is simply 3 horizontal lines that have been joined together. It is so complicated writing about the alphabets using the keyboard. I would await your paper and then send you my comments.

With regards,

Subhash

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Tuesday, July 16, 2002 2:50 PM

Arysio, In case you haven’t seen it already:

http://www.sulekha.com/column.asp?cid=219759

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Friday, July 26, 2002 5:09 AM

Dear Subhash,

Congratulations on your article on Darwinism and on your new column. As you must well know, this Victorian doctrine is, like the AIT, part of the concerted effort by the British and others such to morally justify the spoliation of India and indeed all such “inferior” nations, mine included. It is all part, like AIT of the dividere ut imperare policy, like AIT. Btw, I highly recommend that you read C. C. Gillispie, Genesis and Geology (1951), a formidably lucid book.

Gillispie is a historian, and shows how clearly the geological record attested former global cataclysms, as is now fast becoming evident. Anyone who reads Cuvier’s masterpiece [and others] will readily realize that this reality was well known then. Velikovsky [though “maverick”] also shows compelling evidence for these catastrophes, though taking the wrong conclusions. Darwinian Evolution – in contrast to Hindu Evolution, based on Catastrophism – is based on the so-called Uniformity Principle [of Lyell] which is sheer buncombe, as the Ice Ages [and the dinos, the moon, etc.] so clearly attest.

In other words, Darwinian Evolution provided the moral justification – nay, the obligation – of the British to alleviate the Indians, etc. of their excess riches, obviously ill-deserved. More or less as in Coon’s Polygenism which led to Nazism and similar diseases caused by Aryanoid Kamarupa. Again, as you mention in your article, random evolution is essentially nil. As any cattle breeder well knows, you have to crossbreed different races in order to obtain variety and hence allows selection, natural or artificial. And this is caused by the Ice Ages [populational movements], more or less as happened in the Indus Valley when the place got dry, and the guys moved out to create Sumer, Egypt and other such magnificent civilizations. The Aryans in fact moved into the vacuum this migration created.

Human evolution is – as I have discovered and argue in great detail elsewhere – the result of this Catastrophism, which forced the African blacks to move into the Far East [Negritos, etc.] and mingle with the white Asians, engendering the human races, as is fast becoming evident. At all times we had several different human “species” [sub-species, really] evolving in parallel though in distant places, as the Ice Ages recur at a rate of ~100 kyears, an interval short enough to preclude speciation. The selection that occurred was mainly the result of Sexual Selection, a far more important factor than Darwin supposed.

In other words, Darwinian Evolution is a pseudo-scientific lie, and the attempts to save it [Neo-Darwinism] are part of the usual lies intended to misinform the people, as so many. It is, I believe, the moral obligation of us scientists to alert the public about these attempts. Darwin well realized that Evolution either stands of falls with Uniformity, which reverses all laws, much as war also does. Even its name is a lie. What you have is Adaptation, rather than really Evolution [I am a skeptical Materialist]. That is why you have blacks in Africa [adapted for sunny Interglacials] and whites in Asia [adapted for cold, sunless Glacials].except for global catastrophes, they would in time speciate, etc, etc..

Turning to the OM glyph. I did some more research on the matter, and now believe that the glyph is really derived from the Gupta alphabet. This era concentrated on sonic symbolism [Nada], and created many such glyph mandalas, which mainly survived in China, Japan and Tibet. The letters are highly ornate, and closely resemble the OM glyph, the chandrabindu included. But I was unable to obtain one such mandala with the OM itself. Though unfinished, I will send you a copy of the work soon.

Cheers, and thanks for writing,

Prof. Arysio Nunes dos Santos

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Friday, July 26, 2002 8:37 AM

Dear Dr. Kak,

Here is, as promised, my work on the OM glyph. As I mentioned, it is incomplete, and in the process of completing. I have a lot written on most issues mentioned, which I may send you in case you so desire. As usual, truth probably lies in the middle of the road, as it is very hard to determine where one form of the alphabet ends and the other one starts: Devanagari, Sharada, Gupta, Brahmi, etc.. I now believe that the Gupta alphabet was the one in question, though I have been unable to prove it with actual instances.

Maybe you have access to better sources than mine. I don’t yet have the figures ready [from the books quoted], and am in the process of scanning them. But the “mandaras” mentioned have several similar instances probably related to forms such as HUM, HRIM, etc.. There is no doubt in my mind whatsoever that the secret of OM in fact relates to the giant wave or tsunami equated to the Flood in myths. It is now fast becoming apparent, as I argue in detail elsewhere, that the so-called Heinrich Events were caused by giant maritime invasions, in turn caused by giant submarine volcanisms.

Volcanic paroxysms also occur at era transitions due to the stresses induced on earth’s crust by the overload of the seafloor and the release of the continental mass, which rise, according to the Isostasy Principle. these giant tsunamis float the glaciers and carry them back to the ocean when they return. It is all unbelievable but true, as narrated not only in Hindu myths but also in the universal traditions, mainly had from ancient India.

Cheers, and thanks for writing.

Prof. Arysio Nunes dos Santos

 

 

ANNEX

SEVERAL OM GLYPHS:

 

                                          

 

                   

 

             

(Sidenote References left by the author):

1) The Sacred Syllable OM
2) ###Shaking the Tree
3) OM -ROBERT BOYD [Chandrabindu)
5) Candrabindu
6) Bengali Alphabet [with OM symbol]
7) Dict. Sanskrit-Français
8) OM in Several Indian Tongues
9) 🕉 [Wingding OM Symbol from WORD]
10) VAHINI.ORG: RAMAKATHA RASAVAHINI CONTENTS
[FIGURE OF RAMA WITH OM-TRIKUTA ON HIS HAND]

 

 

1. Note that Fig. 1 actually shows five different instances of the OM glyph, plus its usual spelling in Devanagari (the Sanskrit alphabet), at the center right. This and the next footnote also figure in the site’s original: “Indeed, mani (“jewel”) is an euphemism for the phallus, just as padma (“lotus”) is one for “vagina”. Moreover, OM (or AUM), the sacred syllable, indeed means “Rise”. So, the mantra in question is a verbal expression of the Yoni-Lingam, the most sacred of all Hindu symbols. And the holy syllable indeed expresses the idea that the OM represents the Cosmogonic Hierogamy, the mystic marriage of Fire and Water that ended the former era, starting the present one. As we see, the Hindu allegories are often quite explicit, though they are never explained in full to the profanes”. ↑
2. The following note figures in the original: “The OM glyph is a clever adaptation of the usual Hindu alphabets such as Devanagari and Bengali, apparently in order to represent the yoni-lingam. The curved shape resembling a woman’s derrière corresponds to earlier forms of the Devanagari A, whereas the phallic O shape apparently corresponds to the U. The dot (bindu) is the anusvara or nasal sound. It also represents the creative bija or “drop of semen” that engendered Creation. The Lunar Crescent represents the Ark that carried the bindu, the “seeds” saved from the former era. The esoteric meaning of the Sacred Syllable OM (or AUM) is too complex to explain here. It results from the contraction of A-hum and means something like “the Beginning and the End”. This is precisely the same as the Christian symbolism of the Alpha-Omega, also copied from it. Ultimately, it refers to Atlantis and to the Flood as the source and end of all Creation”. ↑
3. The science of Phonetics arose in ancient India out of the need to preserve the purity of the ancient Vedas. The Hindus believed that any mistake in pronunciation would be fatal to the worshipper, and in fact reverse the effect of the mantra or imprecation in question. The oldest known Hindu work on the subject is Yaksha’s Nirukta, and dates from the 5^th. century BC. But it followed far older works now lost, but which he mentions himself as his sources. Panini’s work, the Astadhyayi dates from the 4^th. century BC. Panini’s Grammar is deemed the most perfect work on the subject ever written, even by European authorities.Likewise, the Sanskrit alphabet – with fully 50 letters – is also deemed a masterpiece of perfection, being able to express all sounds and nuances in essentially all Indian tongues. It is organized very scientifically, with the vowels and the consonants linguistically organized according to their nature: aspirates, sibilants, stopped, gutturals, palatals, and so on. It was only after Sanskrit’s discovery by the European linguists that this science arose in the West. Panini organized the Sanskrit vocabulary according to the roots from which the individual words derive (2000 or so), as well as the prefixes, suffices, infixes, inflexions, and so on. ↑
4. Note that the WORD program has, in its Symbol menu, the Devanagari alphabet (under Mangal) as well as other Indian ones. It also has Tamil (under Latha), Kannada (under Tunga), etc.. Note also that Devanagari has several different ways of expressing these letters, particularly when in composition. Most Indian alphabets can be seen in the sites linked to above. Other sites which can be accessed via the Internet even have actual fonts for these alphabets. As we argued above and elsewhere in more detail, we believe that the word aleph – which is not Semitic at all, and which calls bulls by the name of taur – is indeed Indian, and designates the elephant (elephas, in Greek).This word perhaps came via the Sanskrit ibha with a prefix al-. Better yet, the word can be derived directly from the Dravida #258 alli– (“elephant”) + #3986 pas > *phas (“tusk, ivory”). Thus, alli-*phas (“elephant’s tusk, ivory). There was probably a confusion of ivory with the animal’s name, more or less as happens in the Latin ebur (“ivory”), from which derives the English “ivory” via the French ivoire. Cf. also the Egyptian abu (“elephant”) and other similar words. It is reasonable to conclude that, since ivory was imported from the Indies, the name of the commodity should also have been imported from there, as is usually the case. Africa too has elephants. But these do not seem to have been ivory’s ancient source.In fact, the Greek glyph for alpha, α closely resembles an elephant’s head with its tusks and its trunk raised. Greek calligraphists often considerably prolong the lower end, so that the resemblance is even better. The early Phoenician aleph – obviously derived from the identical Brahmi alphabet for that letter – also resembles an elephant’s tusks and trunk rather than a bull’s head, as can be seen in the site just linked. It consists of a recumbent V having a vertical, often curved bar near the corner. As Février and other experts remark, if this glyph corresponded to a bull’s head, the horns should be in the vertical, rather than the horizontal, as is the case for an elephant’s tusks. Look at the glyphs just linked, and see for yourself. It is true that some alphabets have an ox head for the aleph. But this seems to be a substitution, rather than an original borrowing. ↑
5. These glyphic mandalas are reproduced from V. F. Weber, Ko-Ji Hô-ten, Paris, 1922. They also figure in Manly P. Hall, Meditation Symbols in Eastern and Western Mysticism, Los Angeles, 1988, pg. 106. A more thorough reference in the subject of syllabic mandalas and their esoteric meaning is: A. Avalon, The Garland of Letters (Varnamala), Madras, 1963. ↑
6. Hindu symbolism is as usual highly complex and apparently self-contradictory, as the Hindus, like the gods, love metaphor and paradox. Bhuvana (or Bhu) means “world” or “universe”. There are three worlds (Tri-bhuvana), often made into two (Heaven and Earth) or seven or fourteen. As such they often correspond to the Dvipas (or Primordial Paradises). Bhuva (or Bhuvar) means the Middle Region (“atmosphere”), whereas Bhu (or Bhur) means the Earth and Svar (or Svarga) generally means “sky” or “Paradise” or “heaven” or “Sun”. Heaven (Paradise) is often located on the summit of Mt. Meru (Suvarga-giri = “Celestial Mountain”).The Tribhuvana also corresponds to the Hindu Trinity, with each of the gods of the Trimurti ruling one of the three realms, with the AUM often interpreted as the abbreviations of their names Agni, Varuna (or Vayu), Mitra (the Sun), respectively ruling Hell, Earth (the Atmosphere) and Sky. Others interpret the Sacred syllable as composed of the end vowels of ShivA, VishnU, and BrahM(a). The Trimurti (Hindu Trinity) was of course the origin of the Christian Trinity, as well as of all such Supreme Triads encountered everywhere. On the Hindu interpretation of the symbolism of the Sacred Syllable click also here and here and here and here. ↑
7. For this and other such Tantric symbolism, cf, the excellent book by P. Rawson, The Art of Tantra, London, 1973. Tantric symbolism is highly complex, and should be studied carefully before conclusions as the ones reached here can indeed be safely made. These are the fruit of 20+ years of study, until the true meaning started to emerge from the chaos that usually surrounds myths and symbols. Tantric symbolism is also important in understanding the true meaning of Hindu symbolism in general, and others related to it, for instance, Alchemical, Jewish, Christian and Cathar symbolism, particularly in what concerns their mystical meaning. We may err in matters of detail, but not really in the essential conclusions and interpretations, as they are supported by an enormous amount of evidence cohering to form a most beautiful picture.In fact, the type of esoteric meaning being disclosed here by ourselves underlies all such mystic symbolism everywhere, as it all ultimately derives from the Hindu one, itself directly stemming from the Primordial Mystery Religion which came to us from Atlantis-Eden. We well realize that this claim may seem vaunted to most people. But it is absolutely true, and is indeed the only way in which the Mystery doctrines make sense, and become a congruent whole, as we have verified in literally thousands of instances. The skeptical reader should perhaps closely read what René Guénon, Mircea Eliade, and Joseph Campbell, among others have to say on the subject, before condemning our work, which, if some immodesty is allowed us, we deem seminal for the understanding of the esoteric doctrines of our pristine elders. ↑
8. It is interesting to mention in this context that even René Guénon – perhaps the greatest of symbolists ever – was himself misled by the allegories which place the Pole Star directly above Mt. Meru, the Mountain of Paradise. So much so, that he believed, down to his death, in a Hyperborean paradise placed right at the North Pole. This mistake was also shared by many other experts who think that Thule (or Hyperborea) is placed at the North Pole. This doctrine is even today supported by some Rosicrucians such as Raymond Bernard, who preach the Hollow Earth doctrine. This doctrine had many supporters in Nazi circles during WWII, and in some Theosophical circles. Even sadder is the current misconception that places Atlantis under the ices of the South Pole. Their mistake is no lesser, as Antarctica has been under ice for a million years or more, as is now known beyond reasonable doubt, given the results of Antarctic ice core analysis recently obtained. ↑
9. Cf., for example, an interesting study, the book by J. N. Powell, The Tao of Symbols, N. York, 1982. Though Powell, like so many, argues for the innate origin of such universal archetypes, more or less along the lines of Plato, Jung and Eliade, his presentation of the related myths and symbols is masterful, principally when arguing their global universality. Of course, the whole concept of archetypes is wholly unscientific and hence unacceptable as science. One could argue that the ideas got indelibly imprinted in the human mind by some actual event of great import, more or less as Freud argued. We would readily accept that alternative, as a substitute for diffusion, which is how we think it really happened.But if we accept the pristine event as a reality, our case is proved, and Atlantis is real. In any case, this alternative would explain experiments such as the ones described by Powell, where people spontaneously reconstructed such archetypes independently. But the fact is that such “archetypes” surround ourselves all the time in all sorts of subtle shapes from tenderest infancy: the Christmas Tree, the Christmas Star, Santa Claus living in the North Pole, the pictures of the Solar System, and so on. So, they could have entered our minds as part of the superego, that is, of our external conditioning. Since these traditions are absolutely universal, a valid experiment would require someone created in total isolation, more or less as narrated by Herodotus in relation to the discovery of the pristine human tongue. ↑
10. An Ondine (or Undine) is some sort of a siren. The myth refers to the Naginis or Apsaras of Hindu traditions, which passed into the West in figures such as Mélusine and others such which we discuss in detail elsewhere. Skeat, in his Etymological Dictionary of the English Language, affirms that the word “undulate” (to wave) derives from the Latin unda or undula, and is related to the Greek hugros; the Skt. und (to wet) and udan (water); OPrus. unds (water); Lith. wandu, Port. onda, IE wed, Eng. “wet”, etc.. Ultimately, this radix is derived from the Dravida. In fact, there are two different Dravidian bases, one expressing the idea of “wave” (un-, und-, undla), and the other the one of “water” (ih-, ig-, ing-).Dravida also has am, amm (water). It seems that the word AUM is actually a composite “or derivation) of am-un meaning “watery wave”. This tongue also has ame meaning: “ritual purification after childbirth”. This seems related to the idea of Baptism which, as we explain here, is a ritual enactment of the Flood. In contrast, the word OM or AUM does not seem to be originally Sanskrit. In contrast to Dravida, there is no compelling etymology in that tongue, except the contrived, popular ones. According to Monier Williams, the word OM is an interjection derived from â and meaning “assent”. A better explanation derives the word from the Skt. radix av– (“to impel”). More likely, the idea is av-um or av-am, combining Skt. and Drav. and meaning “impelled water”. If this is allowed, the idea again seems to be the one of a tsunami, impelled by a giant volcanism. ↑
11. Shiva is the same as Agni, his fiery avatar. As such, Shiva’s figure dates from the Rig Veda, that is, from the earliest epochs. Shiva is often represented by his trident (trishula = “three-pronged”), or as a three-headed or three-bodied man (Trikaya), particularly in his shape as Agni. Shiva is also called “three-eyed “(trinetra, etc.), because of his third eye (urnâ). In fact, Shiva’s third eye represents the Doomsday Fire which destroys the world at the era ends.The story of Shiva incending Kama, the Hindu love god is indeed an allegory of the destruction of the world by the Fiery Lord. The three forms of Fire are: Celestial (the Sun), Aerial (Thunderbolts) and Terrestrial (Fires). But even this is exoteric in character, as Agni-Shiva really personifies submarine volcanisms, here allegorized as the vajra itself. In RV 10:121, Agni (Fire) is identified with the Golden Embryo (Hiranyagarbha), the “fiery seed” in the waters. As such, Agni-Shiva is Apam Napat, the “fire in the waters” or “child of the waters” (RV 2:35, etc.).This symbolism is central to Vedic (and later) Hinduism as an allegory of Creation and Destruction, all in one. In this hymn, Apam Napat is equated to a winged horse (Tarkshya) and to the Sun itself. This winged horse is also the Hiranya Garbha and Vena, aliases of the sun. But, as we argue in detail elsewhere, this “fiery womb” is the bindu, itself the essence of OM, “blazing without fuel inside the waters”. What else but a submarine volcano like the Krakatoa? In fact, this fire is the Submarine Mare, the Vadavamukha itself. ↑
12. Gen. Couto de Magalhães, O Selvagem, Rio, 1875. There are many different Flood myths in Brazil, some of which we comment in detail elsewhere. Most of these show a clear, undeniable correlation with Old World Flood myths. The names of the Flood heroes here are extremely interesting. The Jesuits early identified the name of Sumé with the one of Thomé, that is, St. Thomas, the evangelizing apostle of the Indies. The early Jesuits somehow managed to include the West Indies as a part of India, more or less as Christopher Columbus himself did. The name of Sumé (Zumé, in Spanish authors) closely evokes the name of Ziuzudra of Sumerian traditions. However, unless further research confirms this relationship, it should be deemed accidental.The name of Sumé apparently means something like “issued from the sea” (su-mé), which may also be the mystic etymology of the name of Ziusudra, according to some experts. The name of Moñam is apparently related to the one of Sakya Muni (Buddha) as the All-Creator. Even more lkely, it derives from the Dravida Munnam or Munnôn, who is the name of Shiva (or Ganesha) as the All-Creator and First Cause of all things in Hindu traditions. The epithet Maire (or Mairy) of Moñan means something like “white man”. It was applied by the Indians to the French and other such whites invading their land.What this means is that Maire Moñan was indeed a white man, a naga, like Quetzalcoatl, Kukulkan, Viracocha and others such civilizing heroes of the Amerindian traditions. The word later became applied to their settlements, and came something like “city”, in contrast to the Indian camps. The word ultimately derives from the Tupian mara (“war, death, strife”). It also alludes to the idea of “sea”, and to the fact that the Europeans came from beyond the sea. Again, this Tupian base derives from the Dravida #4750 mara, meaning more or less the same. The base also implies the idea of “paleness”, as well as “ghost”, an etymon often applied to the whites by the American Indians. No matter what, this epithet may explain why Moñan later died. Such is the case with essentially all primordial celestial Sun gods such as Brahma, Dyaus, Ouranos, Kronus, etc..And these gods are all apparently an allusion to Atlantis-Eden, later turned into Hades, the Land of the Dead. In fact, the allusion is to Varuna or Bali, who seem to be the real archetypes of Kronos and Yama as the Lords of the Dead. Interestingly enough, these monarchs of the Golden Age are usually described as “white” in Hindu traditions. The name of Irin Magé – the second Supreme Creator of the Tupi-Guaranis – is also extremely interesting. Majé or Magé is a variant of Pajé, the Tupian word for “shaman, medicine-man, magic”. This word apparently derives directly from the Dravida and the Sanskrit maga or magu, designating a magus or magian, that is, a shaman or astrologer.The word is connected with maha, expressing the idea of “big one, great”. Caraiba means something like “white one, ghost, spook”. The Brazilian Indians in fact traditionally killed the white recessives, whom they deemed diabolical. The name of Tamandaré (or Tamandonaré) is a bit harder to interpret. It perhaps derives from the Dravida tamman– or *tammanan– (“younger brother”) + tarè (“to be on top, head, be superior, rule”). As such, Tamandaré is the junior brother who ends up topping the evil elder one.Aricuta in turn apparently derives his name from the Dravida and Sanskrit ari (“evil, inimical”) and kutta (“associate, friend, helper, twin brother”). These two are the visible counterparts of Cain and Abel. Tupan was the god of tempests and thunderstorms. His name is usually explained as meaning “what is this” (tu-pan) in Tupi-Guarani. More likely, the word also derives from the Dravida, where it can be derived from tu (“recompense, karma”) and pan (“deed, work, action”). In other words, Tupan was the very personification of the Flood tempest, the recompense of sinners for their evil deeds. ↑
13. Several experts find the derivation from the Tupi-Guarani pindó-retama (“Land of the Palm Tees”) somewhat fanciful. But the etymology is traditional, and clearly alludes to the primordial Phoenicia, which the Indians themselves equate with Paradise. Silveira Bueno, one of the greatest authorities on the matter of Tupian Linguistics, emphatically affirms, after Frederico Edelweiss: “Pindorama may be more euphonic than Pindoretama; but it certainly never was a Tupian word. However, the fact is that this name entered the Brazilian tongue and figures in many texts”.Far more likely, the suffix relates to the Greek –orama, as in panorama (“a global or scenic view”). If so, the name means more or less the same as “belvedere”, a lofty place whence the whole world can be seen as a panorama. As such, the base also relates to the Greek oros (“mountain”), meaning the same idea, again as in the Dravida #5274 varai (“mountain, summit”). This mountain is the Holy Mountain of Paradise, the one from whose top the saviours are tempted: Jesus, Buddha, Lot, and so on. This mountain is also the same as Mt. Atlas or Meru, the lofty mountain associated with the Pillar of Heaven and the Tree of Life. ↑
14. The Flood myths of the Araucan Indians are commented in more detail in our monograph on the famous Egyptian Tale of the Shipwrecked Sailor. This sailor visits, more or less as Sindbad would later do, a floating island which seems to be the very site of Paradise as a floating island, like Delos and such. This document of ours is crucial for the understanding of the present note on the OM glyph, and should be read in connection with this one. In fact, Flood myths and others such should be read in a global context, as each version adds new crucial data which adds up to compose the whole story as some sort of a giant jigsaw puzzle. By themselves, they tell very little, and fail to make sense even to experts.Taken together and properly exegetized, these myths on Creation tell the beautiful history of man’s origin’s in great detail. This sacred, secret history we have fully uncovered, perhaps for the first time ever. What may seem wild inductions and ill-founded guesses to the layperson are in fact the result of many years of dedicated research, often impossible to explain and to argue in detail in any simple manner, though we have tried to condense and to simplify them in every possible way. Any complex science – particularly the one of Comparative Religion –demands many years of training before one is really able to become master.The Araucan traditions are closely related to the Tupi-Guarani ones we are here reporting. In fact, as Couto de Magalhães argues in detail, our Indians originally came from Chile, Peru and Ecuador, which they reached after crossing the Pacific Ocean in their giant sail rafts, in fact rather adequate for the task, as proved by Thor Heyerdhal and other such anthropologists and explorers. From the Pacific coast, these Indians descended the Amazon and other such giant rivers of the region, to people Brazil and Argentina, along with the other countries of South America. ↑
15. D. E. Ibarra Grasso, Cosmogonia y mitologia indigena americana, Buenos Aires, 1980, pg. 262-3. In fact, Grasso is reporting the Araucan Flood myths collected by B. Koessler-Ilg, Cuentan los araucanos, Buenos Aires, 1954, a book he affirms to be “quite rare” (mucho agotado). No matter what, the original compiler of the Araucan traditions could not be inventing anything, as she failed to make the connection with the East Indies, which was left for Ibarra Grasso to discover and argue.Another authority quoted in the present context by Ibarra Grasso is Prof. R. Orta Nadal, Sobre dos aspectos de la mentalidad quaterna, Santa Fe, Argentina, 1968. Nadal argues in detail the quatenary structure of the Araucan cosmogony, a fact Grasso is unwillingly to concede, until furter proof is produced by someone. But we find Nadal’s arguments quite convincing and rather sufficient. ↑
16. In fact, the King’s version is even more inconsequential in its calculation of these dates. The version I have places Creation at 4,004 BC, and the Flood at 3,679 BC, that is, only 325 years later. This date contradicts the ones given in the list of Patriarchs of Gen. 7, as anyone can verify on his/her own. When we add the ages the of the Ten Patriarchs had when they bore their sons, we get a total of 1,556 years and hence a date of 4,004 – 1,556 = 2,448 BC, rather than 3,679 BC, as given there. In fact, Noah was 600 years old when the flood hit, accoridng to Gen. 9:28. Then, the date of the Flood calculating according to this data is 2,348 BC. This brings us directly into historical times, far later than the actual accounts of the Flood given in Egyptian and Mesopotamians traditions, which are actually older than the is date. The Bible speaks in metaphors, as Christ himself warns us. Hence it should not be taken literally, particularly in its pseudo-history. When this foolish literality and unilaterality are abandoned, all things start to make sense and become real events rather than sheer foolishness. ↑
17. A. Febrés, Arte de la Lengua General del Reyno de Chile, Lima, 1765. Cf. also B. Havestadt, Chilidungu, Sive Res Chilensis, Lima, 1777. These interesting Flood myths are commented by Lehmann-Nitsche, in his account of the Araucan Flood myths of Chile and Argentina which we comment in detail elsewhere, as already mentioned above. These myths were collected directly among the Indians themselves and are hence immemorially old. The details and the etymologies are all-important, as they tell the hidden message which the initiates alone are able to discern in them. So is the open-minded person, once they are explained to them as they are to the initiates themselves, just as we are attempting to do here. ↑
18. The is told in the Markandeya Purana (10:3:1) and in O’Flaherty, whose book on Hindu myths we already referenced. The best commentary is from J. Herbert, La mythologie Hindoue, som message et son interprtation, Paris, 1953. The sources and authorities named are referenced in Herbert and in O’Flaherty. ↑
19. Cf. R. P. Greg, The Fylfot and the Swastika, Archaeologia (London, 1885), vol. 48, II, Atlas, pg. 298. In fact, cf. the Swed. fyra, the Dan. fire, the Germ. vier, the Icel. fijor-, etc., all meaning (and related to English) “four”. The word “full” is in turn related to AS ful, Icel. fullr, Dan. fuld, Swe. full, Germ. voll, etc.. Likewise, the word föt is closely related to the Eng. “foot”, from AS föt. Cf. Swe. fot, Skt. pâd, etc.. The l often changes or is confused with r, so that the alteration proposed is rather likely. We should not forget that the usual linguistic derivations are all based on mere hypothesis, and hence subject to alternative explanations such as the present one. But this is merely a suggestion which is rendered plausible not only byte fourfold symmetry of the swastika, but also with its inherent symbolism, as we argue next. ↑
20. J. Campbell, The Masks of God – Primitive Mythology, New York, 1959, pg. 233. Campbell – the incomparable expert on Comparative Mythology – has no doubts about the connection between the Amerindian mandalas and their related symbolism with the Old World, particularly the ones of Samarra and Halaf just commented. In his own words, after he tells the Amerindian Creation myths just mentioned, Campbell affirms: “the clockwise whirling image from which the birds of the air were produced suggests those designs on the earliest Samarra pottery of the Mesopotamian high neolithic (4,500–3,500 BC [see figure (a) above]), where the forms of animals and birds emerge from a whirling swastika. And it is surely by no mere accident or parallel development that similar designs [figure (c) above] occur among the prehistoric North American mound-builder remains, or that in the ritual life and symbolism of the present Indians of the Southwest – the Pueblos, Navajos, and Apaches – the swastika plays a prominent part”.And he adds this conclusion: “This circumstance, however, may supply us not only with additional evidence of a broad cultural diffusion, but also with a clue to the sense of the swastika in the earliest neolithic art and cult both in the Old World and the New”. It is interesting to note, on this context, that the great experts on the sciences of Symbolism and Comparative Religion and Mythology – among whom we may cite not only Campbell, but also Mircea Eliade, René Guénon, Karl Jung, Count Goblet d’Alviella and many others – unanimously came at essentially the same conclusion concerning the early and universal diffusion of religious symbolism, particularly the one in question here.But the academics have unanimously chosen to ignore their voices – and ours as well – despite the massive amount of evidence such as the above which we have provided over the years. It seems that it is not the mere evidence of facts that will change such deep-rooted convictions. The worst blinds are those who refuse to see. And the worst part is that they are the ones appointed to guide us all. Into what? Into doctrines whose veiled purpose is boosting the veiled interests of the powers that be? ↑
21. It should be recalled that this symbolism is as obvious (on hindsight) as can be. In fact, we have five continents on earth: America, Asia, Africa Europe and Oceania. But Oceania is really a virtual continent, more or less as is Europe, a mere peninsula of Asia. Oceania is in fact the sunken continent, reduced to a number of islands (Indonesia, Polynesia, etc.), and a subcontinent (Australia). Such is exactly the symbolism of Paradise and its four subsidiary continents (dvipas). ↑
22. In the Mahabharata, (ch. 10), Ashvatthama is the name of a famous general of the Kurava clan. The son of Drona, the general fought for Duryodhana. Having survived the great war, he kills the sons of the Pandavas by means of a magic weapon called Shika-astra. For that evil deed, Ashvatthama was condemned to an eternal life of misery, from which he will only be liberated at the end of the Kali Yuga, the present era, when Kalki will come to restore justice to the world. Ashvatthama’ weapon’s name, Shika-astra means “crested weapon”. This name is the same as the one of Shiva’s coke, which sometimes assumes the shape of an “atomic mushroom”, particularly in Polynesia, where it is also used. ↑
23. The Sanskrit word avali meaning “row” is derived from the Skt. root val– which is connected with others such as bal– and vri-. This expresses the idea of “to encircle, go round, enclose”, which is the primary one. By extension, it means the idea of “to return, to come back home, to resurge, to rise or arise”. In turn, dîpa means “light, lantern, fire, shine, blaze, resplend, excel”. Hence the etymology of dîpavali is really: “return of light”, rather than “row of lights”, which, though popular, indeed makes no sense.We suspect that the name of Diwali (Dîpavali) is really derived from the Dravida, and means something like “the sinking of the island”. In fact, the name of Bali, “the strong one” derives from Drav. #5276/5304 val-, bal-, meaning more or less the same. But this root also means “bigness, excess, abundance” and, by extension “flood”. We will see, further below, the derivation from the Dravidian bases in precisely the same context, which is connected with the Fall of Lucifer.The idea of “light, shine, splendour” is also given by B&E’s entry #5377 vâl-, and the one of “return, surrounding” by #5279/5313 val-. In turn, avali apparently derives from #265 avali (“pain, sorrow”) or, more probably, from #273 ava– (“mother”)+ #236 alai (“grief, suffering”) or #302 ali (“to melt, dissolve, decay, subside”). In turn, dipa apparently drives from #3229 tippa, dippa, etc., meaning more or less the same as the Skt. dvipa (“island, continent”).This word really designates a sinking island like an atoll and, more exactly, and island which, like the ones of Paradise, sink and rise again, more or less as is said of Atlantis. A detailed analysis of all these and other possible etymologies is impossible here. But the idea seems to be the one of a mother island or continent which melted away and sunk under the seas, as the Hindu paradises are wont to do. The reference to the suffering of the “mother” evokes the Mater Dolorosa of Christian traditions and others such as Isis, Durga, etc.The base root is dîp-, which also expresses the idea of “gold” (dîpta), as the shiny metal. So, the allusion seems in fact to be to the return of the Golden Age. As such, the root val– (or bal– or vri-) also relates to the name of Bali, precisely the monarch of the Golden Age. Bali is as we already said, an alias of Kronos-Saturn, the king of the Titans and the Golden Age. As such, he is also an alias of Varuna or Shesha, the Primordial Serpent, and of Bala (or Balarama), the twin brother of Krishna, in the Mahabharata.The name of Varuna in turn derives from the rot vri-, akin to val– or bal-, and meaning the same thing. Varuna is the archetype of Poseidon, the marine god who was the founder of Atlantis and is said to encircle the earth as the Ocean. The real acception of the word is a reference to Atlantis not only as encompassing the entire world within its power, but also as the realm of the Nagas (or “Serpent-People”). ↑
24. The article in question is a FAQ posted by the sci.lang group, which is mainly composed of a panel of experts answering questions, etc.. It is signed by “Zompist” and is entitled: How likely are chance resemblances between languages? And he answers: “in general the answer is: ‘Quite likely’ ”, and provides the (mistaken) calculations which led him to his conclusions. As we just said, both his calculations and his conclusions are wrong. Ours, instead is that chancy coincidences are in fact “extremely unlikely”, a fact we proved in practice by comparing languages from different families.Turning to the Dravidian etymologies in question here. In fact, the first base may be derived from #3266 tîv– (“to be burnt, charred, singed, fire, lamp”), etc.. This radix closely corresponds to the Skt. root dîv-, from which the Skt. etymon of dîpa (“lamp, lantern, fire”) discussed above ultimately derives. Dravida has (essentially) no d, so that its t words with frequently pass into Skt. as d words, just as is the case here. The second root given as: ‘voli’ meaning ‘light’, is even more interesting. The base seems to be #5364/5496 vâl-, vâla, vân-, ven-, vel-, pol-, bol– (“whiteness, paleness, shiny, bright, clear, silvery, coin, to dawn, to brighten, burn, flash, enkindle, candle, lamp, light, luster, purity, glitter, star, Morning Star, Venus (planet, as the “shiny star”). Moreover, this base also means: Balarama (Vâliyôn, as “white or pure”), Friday, white-skinned (like an European), redhaired”).At an abstract level, the base also means: “to make clear, pellucid, honest, famous, illustrious, manifest”. Other related bases add the idea of “flood, deluge” (as haughty, mighty”); “liberal or prodigal or charitable king or person, virtuous” (#5304 val-, vala); “rich, riches, wealth, wealthy person or king, good, generous, prodigal, charitable” (#5304 val-, vala); “valiant, brave, hero, dexterous, skilled, firm, correct, just” (#5304 val-, vala); “burning desire, passion, love, lust, Kâma, copulation, begging, entreating, longing” (#5528 vên-, vêl- = Skt. vena); “to bend, bow, curve, submit, fall down, subside, surround, bangle (#5313/5314 valai– = Skt. val-). ↑
25. The myth of Vamana and Bali – who is indeed no other than Bala or Balarama and, hence, the Serpent Shesha – has many different versions in Hindu mythology. We limit ourselves to mentioning the splendid works of W. D. O’Flaherty, Hindu Myths, London, 1975, and W.J. Wilkins, Hindu Mythology, London, 1900. Both are collections of the main Hindu myths, this one in particular. They also list a considerable bibliography, including the original sources, which both quote extensively. The interested reader may find many of these texts and commentaries in the Internet itself, for instance, in the links given above, in the text. In fact, the assailing of Amaravati, the “City of the Immortals” is told in the Skanda Purana, rather than the Shatapatha Brahmana itself. ↑
26. Cf. W. Krickeberg, Mitos y Leyendas de los Aztecas, Incas, Mayas y Muiscas, Mexico, 1928. In fact, this excellent compendium has several variants of the birth of the sun, which is how the Aztecs called the birth of a new era. In one, Tezcatlipoca becomes the sun. but he is deposed by Quetzalcoatl, who becomes the new sun. This story recalls the one of Vishnu replacing Bali as some sort of king or sun. But the myth we mentioned is the one of Nanahuatzin and Tecuciztécatl. The first hero is humble, poor and small, whereas the second is arrogant, rich, and powerful, more or less like Bali and Vamana. Both are ordered to throw themselves into the fire in order to become the sun and the moon. Tecuciztécatl tries four times, but lacks the courage to throw himself into the enormous bonfire. It is then the turn of Nanahuatzin, who becomes the new sun, rising in the east. The more cowardly Tecuciztécatl becomes ashamed and throws himself into the fire, becoming the moon. ↑
27. In fact, Hindu traditions speak of two sacred trees, just as do the Judeo-Christian traditions. One is the Tree of Life, the other one is the Tree of Knowledge (boddhi), again exactly as in Judeo-Christianity. The boddhi tree (Ficus religiosa) is the so-called “fig of the pagodas”. It is highly sacred to Buddhists, who invariably plant them in their pagodas. To the Hindus, the boddhi is likened to the Tree of Death (strangling fig). Its seeds, dropped by birds, grow on top the host as a parasite. It throws down roots which, upon reaching the soil, grow around the host – generally a pipal – killing it by asphyxia. ↑
28. The murex mollusk is also called “rock whelk”. The dye is produced by a small gland in the body of the mollusk. Purple dye was extremely expensive and its use was confined to royalty and to priests such as cardinals, as even today. The Phoenicians imported from the East Indies and reexported to Europe and the Near East all sorts of stuff, dyes in particular. And they did their best in order to elude the competition, which was ferocious on the part of nations such as Greece, Rome, Etruria and, in earlier times, of Minoan Crete. These dyes included brazilwood (Cisalpinea sappan), lac dye, indigo blue, woad, madder and so on. It is even likely that murex purple was also imported from the East Indies, where the mollusk abounds. In fact, this may be one of the reasons why the conch (śanka) is so important in the Indies, and so central to the Mahabharata itself. ↑
29. The Râkshasas were deemed to be terrible cannibal demons. The Râkshasas are more or less the same as the Yakshas or Titans. They haunt cemeteries and are said to devour corpses and to be the enemies of the gods. In the Ramayana, the Râkshasas are the inhabitants of Lanka. In fact, the word seems to mean the ruddy races of primeval Taprobane (Lanka), and designated the Pious Ethiopians who, after their decay, became the demonic Titans called Râkshasas. The cannibalism may be for real, and refers to the sad story of the survivors of the Atlantean cataclysm being forced to eat corpses and other humans in order to survive in the wilderness of their destroyed country, ravished by the Flood.The word also designates the violent rape of a girl, a practice common with the piratical Phoenicians. In many relations, the Râkshasas are presented as pious yoguis and sadhus doing incredibly difficult penitences. We comment the story of Lanka and the Râkshasas in detail elsewhere. The Yakshas and Râkshasas are often called “good people” (punyajanas). And they are associated with Rohinî (or Rhoitâ = “Red One”), who is no other than Dawn herself. Dawn (Ushas, Rohinî, etc.) is a very important goddess in India. She is the daughter and spouse of Brahma and the mother of all creation. This fairy people closely evokes the ones of the Irish. In particular, the Râkshasas evoke the golden Fomoré, also described as titanic cannibals. ↑
30. As usual, these references are somewhat garbled. Most people think that Ceylon is indeed the same as Sri Lanka, a mistake we disprove in detail elsewhere. In fact, Taprobane-Ceylon is no other than Indonesia, the true site of Lanka. The Dravidian name of Ceylon-Taprobane is # 550 iram or ilam. This word corresponds to the Skt. Simhala-dvipa. It also corresponds to Ceylon, a name probably derived from the Drav. cey-ilam, where the first element (#2747 cey-) corresponds to the Skt. śri (“holy, sacred, hallowed, saint”). In turn, the second root means “toddy-palm, toddy arrack”. The word is identical to the Skt. ila, ira, and indeed alludes to the Elixir which, as all know, originates in Paradise. The identification of palm-wine with the Elixir is ancient and widespread, being encountered all over the world (eau-de-vie, etc.). ↑
31. Jud, 17. Cf.: II Pet. 3:3; I Tim. 4:1; II Tim. 3:1; Mat. 24:37; Luk. 17:26, etc.. ↑