mirrored file at http://SaturnianCosmology.Org/ For complete access to all the files of this collection see http://SaturnianCosmology.org/search.php ========================================================== THE POEM OF ERRA Ev Cochrane p1 In our previous essay we presented the outlines of a comprehensive theory of the mythology of the hero. We began our investigation by comparing Heracles, the greatest of Greek heroes, with Gilgamesh, the most famous of Oriental heroes. Evidence gathered from ancient chroniclers, myth, and cult, indicates that Heracles and Gilgamesh were in reality but personifications of the planet Mars, and their mythological careers a commemoration of cataclysms associated with that planet.1 In this essay we would like to continue this line of investigation by consideration of the Akkadian Erra, the bellicose hero of the Poem of Erra. The Poem of Erra, one of the most remarkable documents which has come down to us from ancient times, was discovered in the nineteenth century and to judge by its diffusion throughout the ancient Near East one of the most popular poems of antiquity.2 The subject of the poem is Erra's attack upon Marduk, king of the gods, and his oppression of Suanna, the celestial city of Marduk.3 Erra's dire intentions are made known early on in the poem: "I will make prince Marduk wrathful: I will cause him to rise from his seat and I will fell the men."4 Later on in the poem Erra makes good on his threat. Erra's revolt not only causes Marduk to rise from his seat, but to abdicate his throne for a brief period. As a direct result of Erra's oppression of the Oriental Olympus, Marduk is enfeebled and the world temporarily thrown out of kilter and plunged into darkness.5 p2 Akkadian scholars have generally sought to understand the meaning of the Poem of Erra by reference to political events in the first millennium BCE. L. Cagni, for example, the translator of the poem, supposes that a Sutian raid upon Babylon inspired the imagery of the poem (the Sutians were a nomadic people whose periodic raids upon Mesopotamian cities represented a scourge to civilized peoples of the second and first millennia BCE). Other researchers have offered similar opinions.1 It is our opinion, however, that while political events may well be alluded to in several passages of the poem, the central theme of the poem Erra's assault upon the kingdom of Marduk is theogonic in nature and was inspired by great celestial cataclysms. Indeed it seems quite clear that the Poem of Erra describes a cataclysmic episode(s) involving several planets, the end result of which was a significant shake-up of the ruling powers in the heavens. We are not the first to raise the possibility that the Poem of Erra was concerned with celestial events. De Santillana and von Dechend drew a similar conclusion in Hamlet's Mill: "It is evident that the events of the Flood in the Era Epic, however vivid their language, apply unmistakably to events in the astral heavens and to nothing else."2 A few excerpts from the poem confirm this opinion. Thus Marduk is made to announce, with apparent reference to an earlier cataclysm, that should he rise from his seat flood and dissolution of the government of heaven would result: "I rose from my seat, and the government of heaven and earth dissolved. And the sky, lo!, it shook: the stations of the stars in the sky were altered, and I did not bring (them) back to their (former) positions."3 Here Gossman's translation may be more accurate: "When I stood up from my seat and let the flood break in, then the judgement of Earth and Heaven went out of jointÉThe gods, which trembled, the stars of heaven their position changed, and I did not bring them back."4 A straight-forward reading of this passage finds that as a result of Erra's assault Marduk rose from his seat, thereby changing the order of the solar system. Here de Santillana and von Dechend remark that this passage forms "the clearest statement ever uttered by men or gods concerning the Precession [i.e. the precession of the equinoxes]."5 This interpretation, however, while on the right track, is precluded by other events attending Erra's revolt. As noted earlier, for example, the world was plunged into darkness during Erra's assault, and Marduk was forced to descend to the Netherworld, the darkness and Marduk's displacement apparently being related.6 Thus Erra is made to announce: "I want to annihilate the brilliance of Sulpae [an epithet of Marduk]ÉI want to attain the seat of the king of the gods so that his counsel be not forthcoming."7 In an analogous passage Erra is made to state: "I shall quench the glory of the beams of SamasÉTo the king of the gods I shall say 'Dwell in Esagila' [the underworld] "8 Here it is scarcely necessary to observe that the precession of the equinoxes does not involve a darkening of the heavens. Raids by nomadic renegades like the Sutians are not likely to precipitate such events either. To interpret the Poem of Erra in this fashion is to misinterpret it and renders meaningless the carefully chosen imagery. Difficult as it is to accept, the clear meaning of the poem is that the heavens were disturbed and the planet-gods rearranged during Erra's assault. p3 The cataclysmic nature of Erra's assault finds ample proof in the imagery of the poem. To make our case it is necessary to review a few of the basic elements of Babylonian cosmology. To the ancient Mesopotamians, for example, heaven was compared to a bull led by a nose-rope.1 In accordance with this conception, the rulership of heaven could be symbolized by the king of the gods holding the nose-rope of heaven. In the Poem of Erra, it is related that Erra held the nose-rope of heaven, an implication, presumably, that he had wrested this distinction from the deposed Marduk.2 There Erra's reign of power is presented as being both far-reaching and oppressive: "Hero Erra, you are holding the nose-rope of heaven. You dominate the whole earth. You lord it over the country. You convulse the sea, you destroy the mountainsÉYou control SuannaÉYou gather all the divine powers to yourself. The gods fear you."3 Marduk's fall from power is alluded to throughout the poem. One passage makes Erra address Marduk as follows: "Until you enter that house, prince Marduk, and Girra purifies your garment, and you return to your place, Till then I shall rule in your stead and keep strong the government of heaven and earth."4 It is significant to note that Marduk's enfeeblement is attributed to the diminished luster of his regal garments, his robe and crown. Thus Erra is made to state: "What happened to your attire, to the insignia of your leadership, magnificent as the stars in the sky? It has been dirtied! What happened to the crown of your lordship,Éits surface is shrouded over!"5 On the issue of Marduk's attire Cagni observes: "Marduk's attire expresses the power to govern: without attire or with disfigured attire, Marduk is not in a position to govern."6 Only upon the restoration of Marduk's regal insignia is he empowered to resume the kingship of the gods.7 p4 A related conception, alluded to earlier, is that Marduk became enfeebled because his splendor (sarraru) was extinguished. Only upon the restoration of this splendor does Marduk regain his powers.1 The welfare of the world is elsewhere said to be dependent upon the state of the bond of heaven Dimkurkurra a euphemism for the heavenly kingdom of the gods, considered to be the "knot" of the universe and center of the world. In the Poem of Erra it is said: "It is you, hero Erra, who did not fear prince Marduk's name! You have undone the bond of Dimkurkurra, the city of the king of the gods, the bond of all the countries."2 Yet another barometer of the state of heavenly affairs, according to Mesopotamian conceptions, was the health and well-being of the World Tree. In Akkadian tradition this tree was known as the Mesu tree, described in the following manner: "The flesh of the gods, the ornament of the king of the universe, that pure treeÉwhose roots reached as deep down as the bottom of the underworldÉwhose top reached as high as the sky of Anum."3 In the Poem of Erra it is related that as a consequence of Marduk's discomfiture the Mesu Tree became disturbed. Indeed it is stated that the tree became permanently relocated.4 In summary, the consistent message of the imagery of the Poem of Erra indicates that Erra's uprising posed a severe threat to the kingship of the gods. The throne was wrested from Marduk; the bond of heaven the city of the king of the gods was disfigured; the crown of kingship was obscured (or cast down); and the tree of heaven, a visible sign of the god's Creation, was disturbed. The cataclysmic import of such imagery much of which strikes at the very heart of ancient conceptions of kingship has yet to be recognized. The Reversal of Order A common motive of theogonic myths is a reversal of order; typically, a period of chaos and instability following close upon the death, disappearance, or temporary disablement of the king of the gods in this case the enfeeblement and "death" of Marduk. During this period of reversed order several other mythological motives may be present as well, including the temporary replacement of the king of the gods by an usurper; the rebellion or desertion of the king's faithful servants or spouse; the suspension of the king's government and its laws; the abrogation of religious practices; the despoliation of the king's land (i.e., plague overtakes the land or the land turns to desert); etc. A careful reading of the Poem of Erra will find that virtually every one of these motives is met by Erra's assault. Erra usurps Marduk's throne; the people, incited by Erra's presence, gather about the hero who has assumed the powers befitting the king of the gods; the government of heaven is dissolved; customary religious practices are suspended; and, finally, under Erra's rule a dark pall hangs over the land, the land itself becoming barren.5 The following passage is indicative of this state of affairs: p5 I shall cut off the life of the righteous man who acts as intercessor. The evil man, who cut throats, him I shall put in the highest place. I shall so change men's hearts that father will not listen to son and daughter will talk to mother with hatred. I shall cause them to speak ill and they will forget their god and speak blasphemy to their goddess.1 A passage quoted earlier is in a similar vein: I shall quench the glory of the beams of SamasÉTo the king of the gods I shall say 'Dwell in Esagila' [the underworld]ÉI shall destroy the cities and turn them into barren landÉI shall get into the house of the gods, there where the evil man has no access. At the abode of princes I shall let the rogue dwell.2 Surveying the destruction wrought by Erra, Marduk laments: Of all the countries what is there left steady? He has taken the crown of his lordship: kings and princesÉforget their ordinancesÉthe bond between god and man is undone: difficult it is to knot again.3 Identifying Erra The key to the poem's interpretation centers around the identification of Erra. According to Cagni, Erra represents "the hellish aspect of every war."4 Another leading authority, J. Roberts, offers a similar opinion: "The most characteristic portrayal of Erra is as a warrior, and, more specifically, as a warrior whose main weapon is famine."5 The name Erra Roberts would trace to the Semitic root *hrr, "to scorch," Erra's relation to igneous phenomena being well-known. This evidence leads Roberts to the following conclusion: "Erra was seen as the personification of the natural phenomenon resulting from a grass or forest fire 'scorched earth'. "6 Yet if Erra was a personification of "scorched earth," how then do we account for the relationship between Erra and war or famine. Roberts' explanation is as follows: "Famine can be the result of crop or grass fires whatever their source which turn fields or pasture into 'scorched earth.'ÉThus there appears to be no difficulty in deriving Erra's role as a god of famine from his original character as 'scorched earth.' The same is true, of course, for Erra's martial character, since it would have been an all too common experience that 'scorched earth' often springs from the burning and devastation created by war. Erra, then, as the personification of 'scorched earth,' which often results from war and may lead to famine, develops quite naturally into a warrior figure closely associated with famine."7 While Robert's explanation seems more than a little strained, the question facing us here is whether the imagery of the Poem of Erra is made understandable by the interpretation of Roberts and/or Cagni. I, for one, find it difficult to reconcile the cataclysmic imagery of the Poem of Erra with the "raging of a forest fire." Does a forest fire blot out the sun? Or cause the powers in the heavens to become rearranged? Or cause great kingdoms and cities to change hands? Indeed, one would assume that forest/grass fires must have been fairly common occurrences in ancient Mesopotamia and thus unlikely to inspire the cataclysmic imagery which pervades the Poem of Erra. It is possible to offer a more satisfactory explanation of Erra's character, one capable of accounting for all of the essential characteristics of the god. A correct interpretation of Erra's original character, in turn, will allow us to reconstruct the cataclysmic scenario described within the Poem of Erra. Erra and Mars p6 Erra's identification with Nergal points the way. Thus both Cagni and Roberts have called attention to the resemblance between the two gods. They share the same consort (Mami); the same residence (Meslam); and an association with the same natural phenomena: war, pestilence, fire, etc.1 Neither scholar, however, considered the possibility that Erra might bear a relationship to the planet Mars, Nergal's identification with Mars being well- known. This is hardly to be wondered at as most scholars consider the identification of Nergal with the red planet to be entirely arbitrary in nature, a product of Oriental astrological speculation. It has been our purpose in this series of essays, however, to show that the cult of Nergal cannot be understood apart from his identification with Mars, the planetary aspect of the god actually determining the god's distinctive characteristics.2 That Erra-like characteristics were associated with the planet Mars in Mesopotamian thought is undeniable, the forbidding nature of the red planet being everywhere apparent. Oriental skywatchers regarded Mars as the "disaster bringer," the star of rebellion, the star of misfortune.3 Consistently associated with the phenomena of war, Mars was the warrior-planet par excellence.4 And in light of Roberts' suggestion that the name of Erra derives from a root meaning "scorcher," it is significant to note that Mars was the fiery planet par excellence in ancient astrological thought. Indeed, p7 a name of Nergal/Mars in Babylonian texts was sarrapu, "scorcher."1 A Hellenistic name for Mars Pyroeis, "Fiery Star" indicates that similar conceptions prevailed among the Greeks.2 Names applied to the red planet likewise testify to its evil reputation amongst these earliest of astronomers. Consider the name harabu, meaning "to ravage, devastate, lay waste."3 This term is not only consistent with the ancient traditions associated with the planet Mars, it almost certainly traces to the Semitic root *hrr, "to scorch," that regarded by Roberts as the root in Erra. The Assyrian word mutanu, signifying "death," "plague," "pestilence," was also applied as a name of the planet Mars.4 Kugler translates this name as "he who brings an abundance of death by plague."5 Certain omens associated with the planet Mars in Babylonian texts are also reminiscent of the deeds ascribed to Erra. Mars is directly associated with the usurpation of the king's throne, for example: "If the Sun goes down (by a Darkness/Eclipse) and Mars stands in its place, there will be an usurpator."6 Significant here is the mention of the untimely going down of the sun, with Mars in attendance, not unlike the references in the Poem of Erra to Erra's role in the eclipse of Shamash/Marduk.7 Another passage links Mars (the red star) with the end of the king's reign: "If the Moon in Nisan has a halo, and the red starÉstands therein, the Reign of the king will end."8 Mars is elsewhere associated with the onset of famine: "If Mars reaches the road of the sun, scarcity of cattle. There will be famine."9 Thus the planet Mars is explicitly associated with war, famine, rebellion, fire, and the usurpation of the king's throne the very characteristics which distinguish Erra in the Poem of Erra. These ancient traditions associated with Mars compel us to consider the possibility that Erra was identified with Nergal precisely because of his identification with the planet Mars, a possibility never considered by traditional scholars.10 The objection will no doubt be raised that this confluence of features around the planet Mars stems from the diffusion of ancient Babylonian astrological beliefs and bears no relationship to the aboriginal Erra or to the past history of the planet Mars. To this critique there are several answers: (1) Mars will be found to be associated with war, famine/pestilence, death, and fire in cultures where a Babylonian influence would appear to be precluded (i. e., the Americas and Northern Europe); (2) ancient languages appear to reflect an archetypal relationship between the word Mars and these very same phenomena. p8 First we consider the evidence from ancient language.1 In "Apollo and the Planet Mars," it was argued that the most probable etymology of the name of the Latin god Mars refers it to the root mar. Here it is significant that the root mar appears at the base of words meaning "death" and "pestilence" throughout the Indo-European world. In Latin, for example, there appears to be a relationship between Mars and mors, "death."2 From the same root appears the Lithuanian maras and Old Slavic morz, both signifying "pestilence."3 Notice also the Latin word morbus: "disease", "sickness."4 In Sanskrit the root mar, "to die," appears as the base in maraka, a word signifying pestilence, plague, and murrain.5 The word mar becomes personified in Sanskrit mythology as Mar, a god of death, plague and pestilence.6 There is also the great Tamil war-god Marukan, intimately associated with pestilence and plague, discussed by us elsewhere.7 Similar names will be found throughout the ancient world, including the Avestan Mahrka, an agent of death and destruction, and the Maorian Maru, a god of war and pestilence.8 It is even possible that the same root has left a trace in Semitic languages as well. The Akkadian word marasu, for example, means "disease," "sickness."9 According to Astour, this word became personified as Maras, the god who brings disease and plague.10 p9 That these meanings are inherent in traditions associated with the planet Mars and not solely attributable to the cult of the Latin god of that name is indicated by the fact that other gods identified with the planet Mars lend their names to exactly these phenomena. It is well-known, for example, that the name of the Greek Ares was frequently used as a synonym for "war," "destruction," and "pestilence." Much the same phenomenon is attested among Latin writers, where the word Mars came to be used in the sense of "war," "battle," "fight," etc.1 An analogous semantic development occurs in the cultus of the Syrian god Reseph, identified by leading scholars with the planet Mars.2 Thus common meanings of reseph in Old Testament writings include "pestilence," "plague," and "flame." According to Fulco: "The meaning of rsp in the Old Testament, by way of demytholization, derived from the characteristics of the god."3 The Hero-Warrior In the Poem of Erra the characteristic epithet of Erra is qaradu, which is generally translated as "warrior," yet also carries the connotation of "hero. "4 While this epithet might be used of almost any god, it is especially conspicuous in the cultus of Erra (in the Poem of Erra alone the epithet is employed 28 times). Here too it is possible that ancient traditions associated with the planet Mars hold the key to Erra's status as a hero. Thus we have seen that ancient astrological systems generally identified the planet Mars as the warrior-planet (the celestial circumstances behind this motive were briefly alluded to in "Heracles and the Planet Mars," where the role of Mars as defender of the city was discussed).5 It is also the case that many of the ancient gods identified with the planet Mars were equipped with epithets signifying "warrior-hero." Heracles, for example, was the Greek hero par excellence. Thus Pindar called Heracles heros-theos, "hero-god."6 And since the time of Grimm scholars have called attention to the possible etymological relationship between the Greek word for "hero" (heros) and Ares.7 In Mesopotamia it is Nergal who is the preeminent "hero-warrior." A standard epithet of Nergal was ur-sag: "hero."8 The following passage from the epilogue of Hammurabi's Law Code is typical of his veneration: "May Nergal, the strong one among the gods, the fighter without peer, who achieves victory for me, burn his [i.e., the enemy's] people in his great power, like the raging fire of swamp-reeds!"9 p10 With this passage we might compare a passage from the Poem of Erra: "The hero reached Mount Hehe. He raised his hand and levelled the mountainÉHe destroyed the cities and turned them into desertsÉHe devastated reed and rush thickets and burned them like fire."1 It is such passages as the foregoing which have led scholars to emphasize the fiery, destructive power of Erra. At this point it may be relevant to reflect upon the personality of Erra as described in the Poem of Erra. There he is represented as a terrible, impetuous warrior, an appropriate adjective of which would be "fiery-tempered or hot-tempered." Students of comparative mythology will recognize that this is precisely the personality typically ascribed to Martian heroes throughout the ancient world, the Biblical Samson being perhaps the most famous example of the impetuous berserker.2 Is it not possible that the "fiery-tempered" Erra owes his bellicose personality to the fiery appearance of the red planet? The Nature of Erra's Assault The conclusion can hardly be avoided that Erra was originally but a personification of the planet Mars and that each of his characteristics warrior, hero, death-bringer, scorcher, rebel, famine agent, etc. corresponds to beliefs associated with the planet Mars. A logical deduction from this finding is that the events described in the Poem of Erra concern the planet Mars and its movements in the heavens. A major problem in the interpretation of the Poem of Erra is determining the locus of action. As we have seen, the theme of the poem is Erra's invasion of the sacred city of Marduk, known as Suanna. This event is described as follows: "The hero Erra turned his face towards Suanna, the city of the king of the gods. Entered Esagila, the palace of heaven and earth, and stood in his presence [i.e., Marduk's]."3 The same conception is expressed in several other passages: "You girded on your weapons and made your entrance into it [i.e., the city of the king of the gods]."4 "To the dwelling of the king of the gods I shall betake me there is none who can oppose me."5 "Hero Erra, you are holding the nose-rope of heaven. You dominate the whole earth. You lord it over the countryÉYou control Suanna, you give orders to Esagila."6 Cagni would have Suanna refer to Babylon, and thus he would understand the poem as describing Erra's movement from his temple (Meslam) in Kutha to the temple of Marduk (Esagila) in Babylon. Cagni's logic is as follows: p11 Suanna is one of the names of the city of Babylon and, in Sumerian, means 'Hand of Heaven'. The question arises at the point about the exact location of Erra at the moment of his departure from Babylon. It is certain that he moves from his temple Emeslam, to which it is said that he later returns. The very fact that Erra goes toward the city of Babylon implies that he leaves another city: so he ought to be in the Emeslam of the city of Kutha, sacred to Nergal and himself. It is not excluded, though, that Suanna here indicates the part of the city of Babylon sacred to Marduk, that is, the Esagila- complex, especially in consideration of the fact that there was also in Babylon a temple Emeslam, sacred to Nergal and to Erra, as at Kutha.1 That there are grave problems with Cagni's interpretation is immediately obvious. Who or what is it that moves from Emeslam to Suanna under the name of Erra? The god of that name? A statue of the god? A raging fire? The Sutean invaders? This is never explained. According to our thesis in which Erra represents the planet Mars the answer is very simple: it is the planet Mars that moves from Emeslam to Suanna. The key to the puzzle is the fact that Suanna and Emeslam are to be sought for in heaven, not on earth. Thus a wealth of evidence indicates that by the phrase "city of the king of the gods" the ancients made reference to a visible celestial apparition, a fiery band which appeared to circumscribe the ancient sun-god, actually the planet Saturn. The evidence for this remarkable conclusion was presented in D. Talbott's The Saturn Myth. According to Talbott's reconstruction, the band-like enclosure of Saturn formed at once the city, throne, crown, and divine garment of the king of the gods. Thus when the Poem of Erra invokes Suanna, "the city of the king of the gods," or Dimkurkurra, the bond of heaven and earth, the reference is to a visible reality, the band enclosing Saturn. That analogous terminology might be applied to virtually any Mesopotamian city is well-known and attests to the cosmological nature of the imagery.2 Emeslam is just as precisely defined. It is the underworld residence of Erra, literally the region beneath Saturn's cosmos. According to the reconstruction offered by Talbott and myself, this region necessarily included the pillar- like apparition associated with Saturn.3 That such a pillar played a prominent role in ancient conceptions of the underworld has been thoroughly documented by Eliade and other modern scholars.4 A common interpretation of the celestial pillar envisaged it as the World Tree, said to unite heaven, earth and the underworld. In Mesopotamia, as we have seen, this tree was known as the Mesu, a word cognate with Meslam. It is within this tree-like pillar that the residence of Erra is to be located, and it was from there that he rose to imperil the kingdom of the gods. According to this interpretation the assault of Erra upon Suanna involved an "uprising" of the planet Mars to the point where it appeared to move within the band-like enclosure of Saturn. The upward movement of Mars had several consequences. First the red planet temporarily obscured or displaced the massive Saturn. It is in this manner that we would understand Erra's replacement of Marduk upon the throne of Suanna, or his holding of the bond of Dimkurkurra. p12 Secondly, given the delicate celestial mechanics which must have existed in the case of the Saturnian configuration, the uprising of Mars must have resulted in an instability of the configuration as a whole. The fiery debris which composed the configuration was released from the forces which held it in place, resulting in a disfigurement of the configuration. It is the damages suffered by the band of Saturn which allow us to understand the references to the disfigurement of Marduk's crown and regal attire.1 This interpretation of Erra's uprising is supported by the omens associated with Mars in Babylonian astrology, cited earlier. Modern commentators, such as Jastrow and Thompson, have recognized that references to the sun (Shamash) within such omens frequently refer to the planet Saturn, rather than the usual solar orb. Consider the omen associating Mars with the onset of famine: "If Mars reaches the road of the sun, scarcity of cattle. There will be a famine. " Here Jastrow cites an ancient gloss on this passage: "Mars has reached Saturn."2 In our opinion the same interpretation that Mars reached Saturn (actually the band-like enclosure associated with Saturn) applies to the omen associating Mars with the usurpation of the throne: "If the Sun goes down (by a Darkness/Eclipse) and Mars stands in its place, there will be an usurpator." In what must be regarded as a classic example of unconscious knowledge, Cagni describes the uprising of Erra as follows, completely oblivious to the planetary nature of the god: "Like a starÉit is fated that Erra be a cunning destroyer at the vertex of the orbit and just as fated that he descend and wane."3 We could hardly have put it better ourselves. Marduk A final question remains, and an important one at that: the identification of Marduk, Erra's antagonist in the Poem of Erra. That Marduk is to be identified as a celestial body is difficult to deny; the question is which one. Babylonian astronomical texts generally identify Marduk with the planet Jupiter, although the name is also applied to the planet Mercury. Jastrow, however, regards the planetary identification as secondary, and would understand Marduk as originally a sun-god: "Marduk appears to have been, originally, a solar deity. This identification with Jupiter is, therefore, artificial and entirely arbitrary."4 p13 Jastrow's hypothesis is supported by several considerations. First there is the fact that the Poem of Erra refers to the dimming or eclipse of Marduk and Shamash in alternate passages, each of which appears to reflect a common conception, understandable if Shamash and Marduk were one and the same celestial body.1 There is also the fact that Marduk and Shamash shared certain epithets in common. Sulpae, for example, could be ascribed as an epithet of both gods. Indeed the name Shamash is applied to Marduk.2 Jastrow is well aware, however, that the ancient sun-god of the Babylonians Shamash was originally identified with the planet Saturn. If Marduk was the ancient sun-god, as Jastrow supposes, he would presumably be identifiable with the planet Saturn, a conclusion supported by several other factors as well.3 Erra, Apollo, and Heracles Having sufficiently demonstrated the relevance of ancient traditions associated with the planet Mars to the cult of Erra, we proceed now to a comparison of the Poem of Erra with certain incidents in the careers of Apollo and Heracles, both of whom, in our opinion, are to be identified as personifications of the planet Mars. In Hesiod and the Near East, P. Walcot documents the widespread influence of Oriental ideas on the religion and mythology of the Greeks. A subject of discussion was Apollo's stormy entrance into Olympus: "The hymn to Apollo opens with a description of how the gods react when Apollo arrives at the house of Zeus. They tremble and all dash from their seats as Apollo enters, stretching his bow The apprehension felt both by the other gods and by the island is hardly what we expect of a god often said to be the most Greek of all the Olympians, and a rumor which suggests that he was destined to usurp the prerogative of Zeus is more than a trifle surprising. It has been argued, therefore, that such ideas must be referred to an oriental source."4 Walcot goes on to compare this passage with the Enuma Elish, proposing that Marduk was the Oriental prototype of Apollo. There Walcot cites Marduk's role as dragon-slayer and the fact that he could be equipped with a bow. This hardly seems a sufficient amount of evidence on which to base an identification however. It would appear that Walcott overlooked the most obvious Oriental parallel to the passage in the Hymn to Apollo; namely, the Poem of Erra. Marduk's rising from his seat upon the assault of Erra offers a remarkable parallel to the gods of Olympus rising from their seats upon Apollo's approach. In each case the gods are said to tremble before the intruding warrior. We also recall here Erra's boast: "I want to attain the seat of the King of the gods so that his counsel be not forthcoming." Is this not a precise parallel to the rumor that Apollo would usurp the prerogative of Zeus? p14 Why Walcott overlooked the Poem of Erra in discussing the Homeric Hymn to Apollo is not easy to say. Certainly the aboriginal Apollo, being a god of war and pestilence, bears a strong resemblance to Erra.1 Like Apollo, with whom he shares much in common, Heracles was also rumored to have threatened the gods with his arrows. Thus Homer indicted Heracles as follows: "O that hard violent man! that worker of evil! who distressed the Olympian gods with his arrows!"2 An especially famous episode saw the Greek strongman threaten Helios that he might borrow the latter's celebrated goblet-like ship. It is tempting to compare Heracles' assault of Helios with Erra's assault of Marduk in which he wrested the latter's celestial throne. Is it possible that the solar cup of the Greek Helios was actually that god's throne? Talbott's analysis of the ancient iconography of the sun-god, documenting that the crescent of the sun- god's band-like enclosure served a dual function as the god's throne and boat, makes this conclusion a virtual certainty.3 Conclusion The imagery of the Poem of Erra, despite numerous attempts to penetrate its meaning, remains a puzzle. And so it will remain until the day comes when the astral basis of ancient mythology is accepted. At that time, and at that time only, can the interpretation of the poem move beyond the current stalemate. In the meantime, the Poem of Erra stands as the most complete account of the "uprising" of Mars. Many of the otherwise obscure details in the careers of Apollo, Heracles, Gilgamesh, Samson, and other ancient heroes receive illumination through comparison with the Poem of Erra. Those who would investigate the mythology of the hero-warrior will do well not to overlook Mars and its intimate relationship with the planet Saturn. NOTE: After the Footnote Section there is a contact list for ----- further information on current Velikovskian research. pl 1 E. Cochrane, "Heracles and the Planet Mars," Aeon I: 4 (July, 1988). 2 Luigi Cagni, The Poem of Erra (Malibu, 1977), p. 5. 3 Ibid., pp. 31-32. 4 Ibid., p. 30. 5 Ibid., p. 40. p2 1 Ibid. , p. 20. This invasion has been dated from 1400 to 750 BCE. See the discussion in D. O. Edzard, "Irra (Erra) - Epos," Reallexikon der Assyriologie, ed. by E. Ebeling and B. Meissner (1957-1971), Vol. 5, pp. 168- 169. See also P. Walcot, Hesiod and the Near East (Cardiff, 1966), p. 51. 2 G. de Santillana and H. von Dechend, Hamlet's Mill (Boston, 1977), p. 323. 3 Cagni, op cit., p. 32. 4 de Santillana and von Dechend, op cit., p. 325. 5 Ibid., p. 325. 6 Cagni, op cit., pp. 34-36. 7 Ibid., p. 56. 8 Ibid., p. 40. p3 1 Ibid., p. 48. 2 Ibid., pp. 48-49. 3 Ibid., p. 48. With Erra's oppression of Suanna we would compare Gilgamesh's oppression of Uruk, long one of the most difficult puzzles of the Gilgamesh Epic. 4 Ibid., p. 34. 5 Ibid., p. 32. Kramer translates this passage as follows: "Lord, the nimbus, the symbol of your lordship, full of brightness like a heavenly star - darkened is its light, the crown of your lordship is cast down." S. Kramer, "Mythology of Sumer and Akkad," in Mythologies of the Ancient World (Garden City, 1961), p. 129. 6 Cagni, op cit., p. 33. See also Edzard, op cit., p. 166. 7 Ibid., pp. 32, 46. p4 1 Ibid., p. 46. 2 Ibid., p. 48. 3 Ibid., p. 32. 4 Ibid., p. 32. 5 Edzard, op cit., p. 167. p5 1 Cagni, op cit., p. 42. 2 Ibid., p. 40. 3 Ibid., p. 46. 4 Ibid., p. 9. 5 J. J. Roberts, "Erra - Scorched Earth," Journal of Cuneiform Studies 24, (1971), pp. 13-14. 6 Ibid., p. 13. 7 Ibid., p. 15. p6 1 While both Cagni and Roberts accept the ultimate identification of Erra and Nergal, the consensus of opinion seems to be that the two gods were identified in relatively late times, originally being separate entities. I, however, favor the hypothesis of Schretter and others which sees Erra as simply another name for Nergal. See M. Schretter, Alter Orient und Hellas (Innsbruck, 1974), pp. 52-55. 2 E. Cochrane, "Apollo and the Planet Mars," Aeon I:I (January, 1988), p. 4. See also E. Cochrane, "The Spring of Ares," Kronos, XI: 3 (Summer, 1986), pp. 19-20. 3 P. Gossman, Planetarium Babylonicum (Rome, 1950), p. 5. Note also Mars' name sarru, "the rebellious one," Ibid., p. 129. 4 P. Jensen, Die Kosmologie der Babylonier (New York, 1974), p. 477. p7 1K. Tallquist, Akkadische Gotterepitheta (Helsingforsiae, 1938), p. 462. 2 F. Cumont, Astrology and Religion Among the Greeks and Romans (New York, 1960), p. 27. 3 F. Delitsche, Assyrisches Handworterbuch (Leipzig, 1896), p. 288. 4 Ibid., p. 395. 5 F. Kugler, Sternkunde und Sterndienst in Babel (Munster, 1935), p. 304. 6 Gossman, op cit., p. 82. 7 For traditions associating the planet Mars with eclipses of the sun see E. Cochrane, "Heracles and the Planet Mars," Aeon I: 4 (1988), pp. 97-98. 8 Gossman, op cit., p. 73. 9 M. Jastrow, "Sun and Saturn," Revue d' Assyriologie et d' Archaeologie Orientale, Vol. 7, 1909, p. 165. 10 With the notable exception of de Santillana and von Dechend, of course. p8 1 The evidence from the Americas and Northern Europe will form the subject of a future essay in this series. 2 W. Roscher, "Mars," Ausfuhrliches Lexikon der griechischen und romischen Mythologie (Hildesheim, 1965), p. 2437-2438. 3 J. Pokorny, Indogermanisches etymologisches Worterbuch (Bern, 1959), p. 735. 4 Ibid., p. 351. 5 M. William, Sanskrit Dictionary (Oxford, 1872), p. 748. 6 Ibid., p. 772. 7 E. Cochrane, "The Spring of Ares," op cit., p. 17. 8 A. Keith, Indian Mythology (Boston, 1917), p. 84. E. Best, Maori Religion and Mythology (New York, 1977), pp. 124-125. 9 Delitsche, op cit., p. 426. 10 M. Astour, Hellenosemitica (Leiden, 1967), pp. 273-4. That the same root is to be found in the Egyptian language is indicated by a curious tradition found in the Egyptian document entitled "Destruction of Mankind," where a mysterious "fiery" illness befalls Ra, the sun-god. The word for Ra's affliction is mer, translated by Budge as meaning "sickness." The enfeeblement of Ra, the king of the gods, might be compared to that of Marduk in the Poem of Erra. p9 1 Notice also the Greek words marnamai: "to fight, battle;" and maryayo: "to rage, especially in battle," pp. 885-886. Other Indo-European words apparently preserving a vestige of the war-like propensities of Mars are mariannu and marauder. 2 J. Sawyer and F. Stephenson, "Literary and Astronomical Evidence for a Total Eclipse of the Sun Observed in Ancient Ugarit on 3 May 1375 B. C.," BSOAS 33 (1970). Reseph, in fact, offers a remarkable parallel to Erra. Especially intriguing is Reseph's role in causing eclipses of the ancient sun-god, mentioned in several Ugaritic texts, not unlike the eclipse-like phenomena associated with Erra in the Poem of Erra. 3 W. Fulco, The Canaanite God Resep (New Haven, 1976), p. 65. 4 Cagni, op cit., p. 15. 5 The role of Mars as hero of the gods will be dealt with in a forthcoming essay. 6 Pindar, Nemean Odes 3: 22 7 J. Grimm, Teutonic Mythology (New York, 1966), p. 341. 8 E. von Weiher, Der babylonische Gott Nergal (Berlin, 1971), p. 17. 9 Fulco, op cit., p. 37. p10 1 Cagni, op cit., p. 56. 2 In Judges 14:19 there is a reference to Samson's hot-anger. See also de Santillana & von Dechend, Hamlet's Mill (Boston, 1969), pp. 165-178. Similar personalities were ascribed to Heracles, Thor, and Indra as well. 3 Cagni, op cit., p. 32. 4 Ibid., p. 48. 5 Kramer, op cit., p. 132. 6 Cagni, op cit., p. 48. p11 1 Ibid., p. 31. 2 E. Burrows, "Some Cosmological Patterns in Babylonian Religion," in The Labyrinth, ed. by S.H. Hooke (1935), p. 46. 3 E. Cochrane, "The Spring of Ares," Kronos, XI: 3 (Summer, 1986). 4 M. Eliade, Myths, Rites, and Symbols (New York, 1975), p. 380. p12 1 This interpretation is supported by the fact that the usual word for Marduk's attire - sipru - designates an enclosure. Delitsche, op cit., p. 509. 2 Jastrow, op cit., p. 165. 3 Cagni, op cit., p. 10. 4 M. Jastrow, Religious Belief in Babylonia and Assyria (New York, 1911), p. 217. p13 1 These passages might be compared to the diminution of Huwawa's splendors at the hands of Gilgamesh. 2 Tallquist, op cit., p. 364. This evidence amounts to little, however, due to the widespread assimilation of other gods and their functions by the cult of Marduk. 3 Marduk's title of king of the gods, for example, is a title generally reserved for gods identified with the planet Saturn. Marduk's role as holder of the bond of heaven and earth is also a trademark of Saturn's in ancient cosmology (notice that Shamash also bears this distinction in Babylonian cosmology, yet another indication of Marduk's identity with Shamash, perhaps). Marduk's role in the production of the flood is also reminiscent of certain traditions associated with the planet Saturn. My own opinion with respect to Marduk's origins is somewhat different than Jastrow's. While I would agree that Marduk assumed the role of the sun-god in the Poem of Erra, I would reserve judgement as to his ultimate identity. The reason for this is the well-known evolution of Marduk's cult in Babylonian culture. Should Marduk eventually turn out to have been a different planet than Saturn, however, our argument with regard to Erra would be little affected. 4 P. Walcot, Hesiod and the Near East (Cardiff, 1966), p. 48. p14 1 E. Cochrane, "Apollo and the Planet Mars," op cit. 2 Iliad 5: 392-404. Lattimore translates this passage as follows: "Brute, heavy-handed, who thought nothing of the bad he was doing, who with his archery hurt the gods that dwell on Olympos!" 3 Heracles' assault of Hades is also relevant here in light of the identification of Helios and Hades; according to the Iliad, Heracles wounded Hades at the gate of the underworld with an arrow. In the Poem of Erra an obscure passage relates that Erra injured the wall of the gods with an arrow. /////90 MINUTE VIDEO DOCUMENTARY\\\\\ Kronia communications has completed a 90 minute video documentary on "Saturn Myth" author Dave Talbot's startling discoveries about destructive perturbations in the planetary arrangement of the solar system. "Remembering the End of the World" give a clear insight into the very different world that ancient peoples inhabited and told about in their myths and art. The video is profusely illustrated with computer animation and a beautiful gallery of archaeological photos and ancient art. ----------------------------------------------------------------------- Direct inquiries about ordering to our toll free number 1-800-230-9347 Internet: http://www.kronia.com/~kronia email: inquiries at kronia.com ----------------------------------------------------------------------- ///// CONTEMPORARY VELIKOVSKIAN SCHOLARSHIP \\\\\ On Nov. 26, 1994, Portland, Oregon hosted an international symposium on ancient myth and modern astronomy dedicated to the pioneering work of Immanuel Velikovsky, author of "Worlds In Collision". Over 20 researchers spoke on the need for a reinterpretation of the archaeological, astronomical, geological and anthropological records in light of growing evidence that The Earth's recent history witnessed catastrophic encounters with a number of planetary and comet-like bodies. Kronia Communications is making the proceedings of that symposium available both on audio cassette and as ASCII text 3 1/2" diskettes. We also have a collection of representative text files from the pages of historic and ongoing Velikovskian journals including Pensee, Kronos, The Velikovskian, AEON, SIS Review and Catastrophe & Ancient History. A partial list of the contributors and their bios is below. Prices are as follows: 20 Cassette set of audio tapes from the International Symposium: "VELIKOVSKY- ANCIENT MYTH AND MODERN ASTRONOMY" $60.00 PROCEEDINGS on 3 1/2" IBM floppy- ASCII text, no illustrations $10.00 30 + ARTICLES from the above journals on floppy $10.00 ----------------------------------------------------------------------- KRONIA, box 403, Beaverton, Or 97008 email: walter at teleport.com ----------------------------------------------------------------------- ///////\\\\\\\ AEON is a journal of science devoted to the collection and exploration of archaeo-astronomical traditions and analysis of common patterns in ancient myths from around the world. Topics include: Reconstruction of standard archaeological dating systems Evidence for cataclysmic evolution and extinction Common elements in the myths of the planets, the Deluge and comet-like dieties associated with quakes, volcanos, tempests conflagrations, ice ages, plagues, mass destruction and migration in Egypt, India, Assyria, Akkadia, Chaldea, Medea, Minoa, Sumeria, Judea, Greece, Rome, Babylon, Persia, China, S.E. Asia, the Pacific, Scandanavia, the Americas and among contemporary native peoples. Please send all manuscripts and inquiries to: ----------------------------------------------------------------------- AEON, 601 Hayward St., Ames, IA, 50014. email: ev at eai.com ----------------------------------------------------------------------- ///////\\\\\\\ THE VELIKOVSKIAN is a journal devoted to Myth, History and Science. Topics have included: origin of the Moon, ice core dating evidence, the suppression of science, the nature of Venus' heat, gravity and electrical properties in space, ancient maps, "dark matter", calendar dating, planetary magnetic fields, the dating of ancient ruins, etc. ----------------------------------------------------------------------- THE VELIKOVSKIAN, 65-35 108TH St., Ste D15, Forrest Hills, NY 11375 ----------------------------------------------------------------------- ///////\\\\\\\ SIS- THE SOCIETY FOR INTERDISCIPLINARY STUDY REVIEW is a journal about chronology and catastrophism- the evidence for catastrophic events in archaeology, history, anthropology, and evolution. Other topics include: celestial mechanics, myth and tradition, historic dating, erratic events in the Solar System, meteors, ancient planetary dieties, problems and new interpretations in Greek, Persian, Hebraic, Egyptian, Babylonian history, etc. ----------------------------------------------------------------------- SIS REVIEW, 10 Witley Green, Darley Heights, Stopsley LU2 8TR, Bedfordshire,England ----------------------------------------------------------------------- ///////\\\\\\\ SCIENCE FRONTIERS- William Corliss' bimonthly collection of digests of scientific anomalies in the current literature. Hundreds of short abstracts in many areas including: Archaeology, Astronomy, Biology, Geology, Geophysics, Psychology, Physics, Chemistry, Mathematics and Esoterica ----------------------------------------------------------------------- THE SOURCEBOOK PROJECT, P. O. Box 107, Glen Arm, MD 21057 ----------------------------------------------------------------------- ///////\\\\\\\ Speaker Biographies - International Symposium "VELIIKOVSKY- ANCIENT MYTH AND MODERN SCIENCE" DWARDU CARDONA- Electrical engineer, founder Canadian Society of Interdisciplinary Studies, senior editor of AEON. Researcher and prolific writer on comparative mythology having published over 100 articles in various journals. VICTOR CLUBE- Dean of the astrophysics department at Oxford University, England. Co-author of two books, "Cosmic Serpent" and "Cosmic Winter", claiming that major cometary disasters have occurred within historic times, devastating early civilizations. His current work is aimed at alerting government agencies to such perils as comet Shoemaker/Levy and encouraging governments to mobilize the technologies necessary to identify potential cometary intruders and to provide terrestrial defenses against them. EV COCHRANE- Associate Editor Kronos; executive editor and publisher AEON; published many articles in Kronos and AEON from comparative mythology, to planet/comet catastrophism and biological evolution; currently finishing major work: "The Many Faces of Venus". VINE DELORIA- An American Indian activist, lawyer, historian, educator author screen writer and consultant. He is author of "Custer Died For Your Sins", "God Is Red", "Indians of The Pacific Northwest", "The Nations Within", and 10 other books on native peoples issues. He has served on the editorial boards of the American Historical Society, the National Geographic Society, the American Heritage Dictionary of the English Language, the Journal of International and Comparative Law, and over 15 other publications. He has over 5 honorary degrees, has authored 8 special government reports on Indian affairs., and has over 100 periodical articles including articles in Pensee and Kronos. ROBERT DRISCOLL- Graduated Caltech (physics) and Case Tech (mechanical engineering) (cum laude); author "Unified Theory of Ether, Field and Matter", 1964; member American Physical Society and his articles on physics have appeared in The Bulletin of the American Physical Society, Hadronic Journal, Physics Essays, AEON, author of numerous journal articles. CHARLES GINENTHAL- Editor-in-Chief, The Velikovskian;; contributor to Kronos, AEON, Meta Research Bulletin; author: "Carl Sagan and Immanuel Velikovsky" and "The Continuing Velikovsky Affair: The Second Generation". Charles is also working on a cosmology invoking electromagnetism as a counterforce to gravity in interplanetary and interstellar space. ROBERT GRUBAUGH- Structural Dynamicist 1967-1990 at TRW Ballistic Missiles Division, San Bernardino CA, Section Chief, Department Manager, Senior Staff Engineer- Analyzed trajectories in relation to stipulated orbital conditions; inventor of a rotational shock measuring device, now being used by the Japanese for earthquake measuring. RICHARD HEINBERG- Velikovsky's personal assistant and editor of his unpublished manuscripts. Heinberg's popular book, "Memories & Visions of Paradise" was hailed by Jean Houston (noted authority on the great religions) as "...a new classic in the study of the world's psyche." He is also the author of two other books and numerous articles on mythology, anthropology, and ecology. GUNNAR HEINSOHN- Masters Sociology 1971, Doctorate Social Sciences 1973, Doctorate Economics 1982, Freie Universitat, Berlin; tenured Professor, University of Bremen 1984. Author of over 15 books and 300 articles since 1969 in the fields of history, economics, theory and chronology of civilization, the separation of modern man from Neanderthal, Bronze Age Mesopotamian civilization, Greek city state economics, origins of Jewish monotheism, recontructions and revisions of Mesopotamian, Egyptian, Akhaemenid and Indus-Valley civilizations, the European witch hunts, and the 20th century Jewish Holocaust. EARL MILTON- BS 1956, MS inorganic chemistry 1958, doctorate gas phase spectroscopy University of Lethbridge, Montreal; staff University of Saskatchewan, photometrics of the aurora borealis; founding faculty member and head Centennial University at Lethbridge where he engaged in laboratory research on the aurora and stellar spectra and developed an all-electric theory governing cosmic and terrestrial events; currently completing manuscripts on astro-catastrophism including collaboration on an Encyclopedia of Quantavolution and Catastrophes; editor of "Recollections of a Fallen Sky, Velikovsky and Cultural Amnesia" and co-author of "Solaria Binaria: Origins and History of the Solar System" WILLIAM MULLEN- Recognized as one of the world's leading classicists, Dr. Mullen is currently Professor of Classics at Bard College. Undergraduate study- Harvard, Magna cum Laude, Phi Beta Kappa, and Bowdoin prize for best undergraduate essay; Ph.D. University of Texas at Austin; Assistant Professor of Classics, University of California, Berkeley. Dr. Mullen is the author of "Choreia; Pindar, and Dance" (Princeton University Press, 1982), and articles on "Dithyramb" and "Choral Dancing," in the "INTERNATIONAL ENCYCLOPEDIA OF DANCE," in addition to many other articles and published works. DONALD PATTEN- B.A. and M.A. degrees in geography from the University of Washington. Author of The Biblical Flood and the Ice Epoch (1966), The Long Day of Joshua and Six Other Catastrophes (1973), and Catastrophism and the Old Testament (1987). He is also a principal in the production of two videos, "Cataclysm From Space 2800 B.C." and "The Discovery of Noah's Ark." LYNN E. ROSE- Professor of philosophy, State University of New York at Buffalo; B.A. cum laude, Ohio State University, 1955, in ancient history and Classical Languages (Greek), Phi Beta Kappa; .M.A. in Philosophy, Ohio State University, 1957; Ph.D. in Philosophy, University of Pennsylvania, Author of over a half-dozen books on Classics and several dozen journal articles. DAVID TALBOTT- Founder and publisher of Pensee magazine's ten-issue series, "Immanuel Velikovsky Reconsidered," which helped to spark international interest in Velikovsky's work in the mid seventies. Author of "The Saturn Myth" (Doubleday, 1980), and founder of the journal AEON: A Symposium on Myth and Science. WALLACE THORNHILL- computer systems engineer with IBM and the Australian Government; postgraduate Astrophysics studies at Queen Mary College, University of London; papers on Venus and the origin of chondritic meteorites have been published in the UK Society for Interdisciplinary Studies (SIS) Review and the Proceedings of the National Australian Convention of Amateur Astronomers; Past committee member of SIS. ROGER W. WESCOTT- B.A. Princeton, (linguistics, summa cum laude); Ph.D. Princeton, linguistics 1948; Rhodes Scholar; anthropological field work in Nigeria; director African Language Program, Michigan State University.; Author of over 40 books and 400 articles; listed in Who's Who; Professor of Linguistics in the Humanities Division of the Graduate School and Professor of Anthropology in the Social Science Division of the College of Liberal Arts at Drew University in Madison, New Jersey; first holder of The Endowed Chair of Excellence in Humanities at the University of Tennessee.; current President of the International Society for the Comparative Study of Civilizations. SAMUEL WINDSOR- Windsor is a mechanical engineer previously employed by Boeing and by the Department of the Navy in building nuclear submarines. Currently working as a naval architect and marine engineer. His essays have appeared in the journals Catastrophism and Ancient History and AEON. TOM VAN FLANDERN- Phd 1969 Yale, celestial mechanics; former director U. S. Naval Observatory, Celestial Mechanics Branch; teacher of astronomy and consultant to the Jet Propulsion Laboratory; frequent contributor to scholarly technical journals and astronomy magazines. Author- "Dark Matter, Missing Planets, & New Comets". DUANE VORHEES- Doctorate in American Culture Studies from Bowling Green State University. His dissertation was "A Cultural and Intellectual Biography of Immanuel Velikovsky." Dr. Vorhees is currently with the University of Maryland, Asia Division, teaching American History, literature and related courses. He is the author of numerous articles in Kronos and AEON. IRVING WOLFE- B.A. English and Philosophy 1956, M.A. English 1958, doctorate Drama 1970 McGill University, Montreal; Professor of Drama, McGill University 1978 to present; author of over 25 articles and 50 papers on Velikovsky and the role of global catastrophe in the shaping of ancient and contemporary dramatic themes, in the formation of cultural amnesia, in the creation of world religions and other forms of collective behavior; frequent lecturer and consultant outside the university. NANCY OWEN- B.S Michegan State University, M.E. University of Texas; author "Astronomical Events on the Dates of the Dresden Codex" and "Archeoastronomy in Pre-Columbian America", contributed papers to Sobretiro de: Estudios de Cultura Maya Vol VIII, SIS Review, , Il Coloquio Internacional de Mayistas, ESOP, Memorias del Primera Coloqueo Internacional de Mayistas; presented papers at the Museum of Natural History, NY, AAAS- Mexico City. ERIC MILLER- Poet, playwright, writer; former Trustee of Island Campus (Pacific Institute for Advanced Studies); correspondent with and performed research for I. Velikovsky; author of "Passion for Murder: The Homicidal Deeds of Dr. Sigmund Freud" (1985 New Directions), "Venus Worship In Ancient China" (manuscript), "The Errors of Einstein" (manuscript). CHARLES RASPIL- B.A. Political Science. 1967, City College of NY; currently working as a Fair Hearing representative for the City of New York; published in Horus, The Velikovskian, Proceedings of the International Forum on New Science.