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The Crowns of Sages and Warrior-Kings (Part 3)
<./viewtopic.php?f=13&t=416&start=0&st=0&sk=t&sd=a>
Plasma formations in the ancient sky. The role of planets as charged
bodies in these formations. Ground-rules for drawing reliable
conclusions. A new approach to the mythic archetypes: is a unified
theory of world mythology possible?
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The Crowns of Sages and Warrior-Kings (Part 3) <#p3969>
New post <./viewtopic.php?p=3969#p3969>by *David Talbott
<./memberlist.php?mode=viewprofile&u=58>* on Mon Apr 21, 2008 7:16 pm
8-rayedSaturn.jpg <./download/file.php?id=560>
(35.72 KB) Downloaded 1858 times
To avoid redundancy, I'll assume here that readers have seen the
previous two Installments preceding this thread.
In this reconstruction, the movement of Mars along the shared axis
produced dramatic changes in the visual appearance of the planet. Mars
is the small red body in these images, and the discharging "star" in the
center of Saturn is Venus. Due to perspective, when Mars moved close to
Earth, it dropped visually from the center of the configuration. This is
the effect of "parallax": since Mars is about half the diameter of the
Earth, the viewer at the 30th (or even the 45th parallel or somewhat
higher), would see over Mars. But for each degree of visual descent, it
would grow much larger due to the viewers line of sight close to the
axis. This appearance of dropping below Venus would occur even if the
planet remained squarely on the shared axis (which it did not).
Here are three snapshots illustrating the changes in the appearance of
the configuration as Mars descended and a stream of luminous material
(dusty plasma) stretched between Mars and Venus. In other words, the
center of attention in this phase was not a discharge between Venus and
Saturn, but electrical activity between Venus and Mars:
MarsDescent.jpg <./download/file.php?id=501&mode=view>
Various conical crowns worn by the great warrior-kings of antiquity pose
a persistent unsolved mystery. What I intend to demonstrate is that a
simple reconstruction will explain the entire spectrum of symbols, down
to innumerable finite details. As a teaser, I'll leave with you the
illustration below, developed from the logic and perspective of the
model. This is just a first illustration of the way in which small
changes in planetary position and in the shape of the discharge streamer
between Mars and Venus produced variations directly reflected in the
ancient forms of caps and conical crowns. (These relationships should be
viewed at a higher resolution by clicking on the image).
Crowns_Overview.jpg <./download/file.php?id=500&mode=view>
The first image is from ancient Mesopotamia, while the second two are
the Red Crown and White Crown from Egypt, and the fourth shows the cap
of the Persian warrior Mithra. But will the details provided by the
ancient cultures support the proposition at stake here--that these and
numerous other crowns simply captured the nuances of a celestial
formation evolving through subtle changes? Generally, when a flawed or
blatantly incorrect hypotheses is subjected to critical analysis, it is
at the level of undeniable detail that it unravels. But If we're on the
right track, then as the tests become more specific, the results should
become all the more compelling.
David Talbott
David Talbott <./memberlist.php?mode=viewprofile&u=58>
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4103>
New post <./viewtopic.php?p=4103#p4103>by *David Talbott
<./memberlist.php?mode=viewprofile&u=58>* on Wed Apr 23, 2008 7:00 pm
The White Crown of Egypt
As noted above, the planetary configuration was dynamic. Every relative
movement of the participating planets produced significant shifts in its
appearance from Earth.
In the movements of the bodies, the most active form was the planet
Mars, both because of its motion along the axis, and its displacement
from the axis (initially a modest displacement, but much more extreme as
the general instability of the configuration grew). Additionally, a
discharge between Mars and Venus and between Mars and the Earth must be
tracked and tested against the global field of evidence.
To avoid misunderstanding, it’s essential that you know how the image of
the conical formation between Mars and Venus (shown above) was
constructed. It was based explicitly on the “White Crown” of Egypt, as a
test to determine whether the interpretation given by our reconstruction
would hold up under the closest scrutiny, in which both the larger
contexts (the universal themes) and all available information from Egypt
could be applied to the analysis. The results are, in fact, stunning.
Everything that the Egyptians themselves said about the White Crown,
though pointing to nothing in natural experience today, is precisely
what we should expect under the concrete model proposed.
WhiteCrown(1).jpg <./download/file.php?id=512&mode=view>
Below is a 3-dimensional rendering done for me by Rick Smith in 2000,
with arrow pointing to Earth. (click on image for higher res):

WC_Space.jpg <./download/file.php?id=513&mode=view>
WC_spaceCU.jpg <./download/file.php?id=514&mode=view>
In this case, I asked Rick to include the crescent on Saturn, which
arrived in close connection with the events we shall discuss here. If
you grant that the shared rotational axis placed the aligned planets in
the north polar sky, then north would be almost directly to the right of
Earth, and the Sun, illuminating a hemisphere of Saturn, would be in its
“noon” position:
WC_Noon(Small).jpg <./download/file.php?id=515&mode=view>
Evaluating this reconstruction requires one to compare every attribute
and implication of the model to the specific data given by the Egyptian
symbolists themselves. Within the context of the model, what would we
look for as acid tests? A red sphere at the base of the crown? Identity
of the crown itself with the mother goddess? Original identity of the
wearer as the “pupil” of the Eye? Appearance of the crown at the moment
of the warrior’s descent, or “birth”? By answering the obvious
questions, other, even more stringent tests, will arise.
Consider, for example: For an observer on Earth you cannot create the
image of the White Crown above by placing Mars squarely on the axis. It
can only be produced by moving Mars off axis slightly. And that movement
carries with it inescapable implications. Does the Egyptian evidence
explicitly support the precise movement required by this off-axis
position? It’s one thing to construct a three-dimensional model based on
a single Egyptian symbol. But it’s a quite different matter to confirm
every implication that follows.
What, for example, would the "crown" look like as the view from earth
moved toward an on-axis position? The movement is represented in the
computer graphic below. The precise on-axis position is given on the far
right:
CrownLibrations(1).jpg <./download/file.php?id=522&mode=view>
Click on the image to get a higher-resolution look. (I've tinted the
images turquoise a bit because of a general association with turquoise
or green, along with the "white" or gold [hieroglyphically, meaning
"brilliance"] of the White Crown.)
As the observer moves to the on-axis position, the conical form has
completely disappeared and all that is seen of the “crown” is a bright
band around the red planet. So put yourself in the position of one
determined to discover where the Egyptian evidence leads. In particular,
what would you want to know when considering the three Egyptian symbols
below? Would you not ask whether, against all apparent reason, the
Egyptian symbolists recognized a hidden identity of these symbols with
the White Crown?--
Aten.jpg <./download/file.php?id=517&mode=view>
David Talbott
David Talbott <./memberlist.php?mode=viewprofile&u=58>
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4137>
New post <./viewtopic.php?p=4137#p4137>by *David Talbott
<./memberlist.php?mode=viewprofile&u=58>* on Thu Apr 24, 2008 7:09 pm
Returning to the Egyptian symbols noted at the conclusion of the
previous post. Is it possible to test the proposed identity of the Aten,
Uraeus Serpent, and Shen Bond? And more specifically, can it be
demonstrated that these involve nothing more than an on-axis view of the
White Crown that appears from an on-axis view.
As for the form on the left, the Aten, Egyptologists uniformly claim it
means the Sun, giving no thought to explicit texts that make clear this
was not the original meaning, only a later meaning when, in the absence
of the original reference, the Sun progressively displaced or distorted
various archetypal symbols. As a rule, Egyptologists will treat each of
the three symbols above independently, as if no underlying identities
are involved to give deeper meaning and context. The problem of
identification is pervasive because, once the specialists identify the
red sphere as the Sun, none of the distinctions inherent in the literal
language makes any sense. The literal language is shouting at us about
things never seen in our sky.
In the Egyptian illustration below, symbols of the Aten are repeated
dozens of times. 
Aten(3).jpg <./download/file.php?id=520&mode=view>
My contention is that the early Egyptian priests and artists knew very
well that the three symbols I noted above meant the same thing. But
Egyptologists will not even distinguish between the tight band and the
red disk it encloses, though the texts themselves make crystal clear
that the two are separate “personalities” in dynamic relationship. The
band is the goddess, and the red disk is the warrior king, an identity
that holds up through all of the variations in the symbolism. Of course,
the fact that the goddess and the warrior-king came to be conceived in
human form could only add distortions to the original ideas rooted in
observed formations; but it did not destroy them.
By following the implications of the model, we are drawn back to the
original relationship of these forms to the primeval Sun. In common
treatments of Egyptian religion, this theme is as confused as any
subject could get. So how do we determine the predictive ability of our
reconstruction? This is where the tests become increasingly demanding,
making certain that the model will be refuted if we’ve gotten seriously
off track. According to the model, the three forms above must refer to
the central eye, heart and soul of the primeval Sun. Seen inside, or in
front of that central star was a small red sphere, the innermost,
masculine heart of the radiant feminine heart. If for any reason you do
not see that this is a testable and inescapable prediction of the model,
then you need to speak up, and I’ll see if I can clarify the point. :)
Four immediate tests:
Was the Aten the mother goddess? The Aten was, in fact, synonymous with
the womb of the mother goddess. Hieroglyphically, it was a band, whose
meanings include “consort,” “mistress.” “My Aten has given me birth,”
states the warrior-king.
Was the Aten an enclosing band around the “head” of the warrior king?
Yes, the king’s head is enclosed by and protected by the Aten. A title
of the warrior-king Horus, prototype of the warrior-king on earth, is
thus, “the dweller in his Aten.”
Was the Uraeus serpent (second image of the three shown above) the
mother goddess? Yes, the Uraeus was the most common symbol for “goddess”
throughout all of Egypt. As we should expect, this serpent was regularly
presented as a tight band around the head of the warrior-king. And need
I repeat that nothing in the character of the Sun would give any meaning
to this relationship?
Was the Shen-bond a symbol of the goddess? Yes, Egyptologists themselves
acknowledge that it is synonymous with the womb of the mother goddess,
beginning with the primeval form of Nut, “mother of the gods.” Nut was
the “womb of the sky, with the power of the seed of the god which is in
it.” Thus, the Shen-bond appears as a cord tied around the forehead of
the warrior-king, in exactly the fashion of the Uraeus serpent, and in
many instances the two are juxtaposed so completely as to remove any
possibility of separating the two. See the image of Amenhotep III below,
in which the Uraeus entwines about the Shen-cord:
AmenhotepIII.jpg <./download/file.php?id=521&mode=view>
(Here I must caution the reader from drawing too many conclusion from
the limited narrative so far. Why was the band of the Aten also
conceived as a fiery serpent and an encircling cord? The answer to that
question comes from what happens to the Aten-Uraeus-Shen, which involves
a much larger story. Getting to that phase of discussion will require us
to take up the subsequent spiraling of the material stretching between
Mars and Venus, the very stream that, in the phase under consideration,
took the form of the conical crown. It is the later spiraling form that
will fully explain why the Crown came to be celebrated as a spiraling
serpent and a coil of rope.)
And let us not forget one of the most demanding requirements at this
juncture. If our reconstruction is correct, the Egyptians must have
known something utterly preposterous (when seen through the lens of
modern perception). They must have known that all three symbols were
nothing else than an appearance of the White Crown. On this point, our
model is uncompromising. The radiant band is what observers on earth saw
when looking straight up the axis of the White Crown, as demonstrated in
our 3-dimensional rendering of the Crown viewed on axis:
AtenCrown.jpg <./download/file.php?id=528&mode=view>
(See the stills from the animated sequence, posted above, 4-23-08)
In the Theban ritual, the gods Horus and Set say to the newly crowned
king, “I will stablish the crown upon thy head, even like the Aten on
the head of Amen-Ra.” The White Crown and the Aten-band are the same
thing. And in no uncertain terms the texts identify the crown as the
goddess, precisely as predicted by our reconstruction. Thus, the Pyramid
Texts say, “I know my mother, I have not forgotten my mother, the White
Crown.”
Seeing this in terms of our model, it can only mean that the “birth” of
the warrior-king (the visual descent of the red sphere, bringing the
full crown into view) is nothing else than the “crowning” of the newborn
king--i.e,, the king is “born” fully crowned, which is exactly the
language used by R.T. Rundle Clark in discussing the symbolism of the
White Crown and the rites of kingship. Osiris “emerged fully crowned
from his mother’s womb.” Again, it could not have been otherwise
according to our reconstruction. And until seen in these concrete terms,
the language will appear entirely nonsensical.
But if the Aten is simply the White Crown seen from the on-axis vantage
point, and the Uraeus serpent, wrapped around the “forehead” of the
warrior king is precisely the same thing, then another “absurd” identity
is forced upon us. The priests, knowing the story, must have known that
the conical White Crown was a form taken by the very goddess who became
the fire-spitting Uraeus. The Pyramid Texts say: “Oh King [in the king’s
role as the warrior Horus], the dread of you is in the intact Eye of
Horus, the White Crown, the serpent-goddess who is in Nekheb.” So what
can only appear as gibberish in standard interpretations actually
harbors a unified story. The very relationships and identities required
by the reconstruction are in fact confirmed in explicit terms. And
that’s a good reason to wonder just how far this predictive power of the
reconstruction might take us.
David Talbott
David Talbott <./memberlist.php?mode=viewprofile&u=58>
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4174>
New post <./viewtopic.php?p=4174#p4174>by *David Talbott
<./memberlist.php?mode=viewprofile&u=58>* on Fri Apr 25, 2008 7:38 pm
White Crown and Ostrich Feather
Let’s start with the mystery of the Egyptian god Shu and his
relationship to the White Crown. I want to demonstrate why the testing
of predictive power must follow specific tenets of the reconstruction
into the finest details available.
Our reconstruction identifies Shu as the fist form of the warrior-hero
Mars, originally seen as a small reddish sphere inside the “Great Star,”
which is Venus. The Great Star is globally depicted in the center of a
larger circle or sphere (whom we identify as Saturn), in what I’ve
called the “Great Conjunction of the Golden Age.”
To focus on the god's relationship to the White Crown, we must
temporarily set aside the most familiar role of the god. Following the
first episodes of creation, the god becomes the pillar of the sky--a
role repeatedly assigned to warrior figures worldwide (a subject we’ll
take up when we get to the world mountain). But right now we want to
look closely at the relationship of the god to the “creator” Atum or
Atum- Ra and to the goddess, whose first form (Tefnut) plays an
essential role in the first phases of creation as well.
Curiously, the name for Shu was commonly written with a hieroglyph of an
ostrich feather, and the ancient contexts suggest that this feather
signified much more than the sound of the gods name:
Shu-Feather.jpg <./download/file.php?id=554&mode=view>
Shu-Feather(2).jpg <./download/file.php?id=555&mode=view>
Here is part of the enigma: Though Shu himself wears the ostrich
feather, as seen above, and the complex of meanings clearly connect to
the mythic “birth” of the god, the ostrich feather was, above all else,
the hieroglyph of a goddess called Ma'at (Mayet). No one can tell us
what a feather has to do either with the birth of Shu or the character
of the goddess, but the vast symbolic role of the ostrich feather in
Egyptian symbolism is undeniable. And since our reconstruction offers a
concrete and testable interpretation of the White Crown worn by Shu, the
closely-related "feather" could well be a window to even deeper layers
of detail.
It happens that, way back in the early 70s, I formulated a “first guess”
as to the meaning of the ostrich feather. The guess had to do with light
falling onto a "White Crown" formation in the sky. I was a bit off the
mark in envisioning the planetary arrangement giving rise to the
formation, but the underlying concept seems to have been on target.
Early in the year 2000 I asked Rick Smith to provide me with a 3-D model
to test out an interpretation of the White Crown that had crystalized
over the previous decade or so. The casting of a crescent on Saturn
would be very important to the exercise. Here is the view from space
(arrow pointing to the Earth):
WC_Space.jpg <./download/file.php?id=542&mode=view>
A closer look:
WC_spaceCU.jpg <./download/file.php?id=543&mode=view>
At noon the configuration would look like this:
WC_Noon(Small).jpg <./download/file.php?id=544&mode=view>
But the punchline for discerning the root connection of the
Ma’at-feather to the White Crown is the dual appearance of the
configuration at sunset and sunrise:
WC_Sunset-Sunrise_Maat.jpg <./download/file.php?id=545&mode=view>
Is it possible that the hieroglyphic ostrich feather signified the
illuminated portion of the “White Crown” at opposite points in the daily
cycle? This would, of course, make the ostrich feather inseparable from
the White Crown, in diverse ways that would be certain to show up in
wide-ranging symbolic associations. So the apparently absurd placement
of the ostrich feather on two sides of the White Crown becomes more
interesting--
AtefCrown.jpg <./download/file.php?id=546&mode=view>
At the very least one would have to say that this placement is
“consistent with” our reconstruction. But to see that the imagery is
more than just "consistent" with a model, the logic needs to be pursued
to its conclusion. In ancient Egypt, one of the most oft-celebrated
themes is that of a daily cycle, though virtually every symbol is filled
with apparent contradictions and unanswered questions. If the Ma’at
feather was in fact seen in the sky in the manner proposed, we would
certainly expect to find the unique and symmetrical appearance at sunset
and sunrise to be of particular interest. And in fact we do see, in
innumerable celebrations of the daily cycle, that the Ma’at feather is
duplicated and placed in opposition exactly as we would expect.
Ma'atTwins.jpg <./download/file.php?id=547&mode=view>
But that should not be the end of it either. In the model, the two
illuminated portions of the crown (a full daily cycle) add up to the
full crown. Strictly speaking, the two ostrich feathers must constitute
the Crown. It’s a pretty hilarious concept: that a conical
crown--authenticating the king’s role as avatar of the former
warrior-king in the sky--would be equated with two ostrich feathers. But
the question is forced by the line of reasoning. And it is readily
answered by the Egyptian artists--

WC_2Ma'at.jpg <./download/file.php?id=548&mode=view>
Exactly as the model would predict, the twin feathers form the White
Crown, rising from the red disk of the Aten. (Yes, I do need to grab a
color illustration for proper emphasis here.)
But remember that we set on this path by creating the White Crown in a
3-D model that cast light on a polar Saturn, producing a revolving
crescent. At the midnight position of the crescent, the point at which
the configuration was its brightest (clearly the most revered moment in
the daily cycle), the configuration looks like this:
WhiteCrownMidnight.jpg <./download/file.php?id=549&mode=view>
So here is another prediction that must be investigated. The model
implies that the Egyptians should have remembered a concrete association
of the White Crown and its red disk below, with a crescent-horn, the
crown and disk resting between the two horns:
WhiteCrownHorns.jpg <./download/file.php?id=550&mode=view>
Whatever one may think of the image, it does make clear that artists
conceived the red disk of the White Crown as resting on, and centered
upon an upright pair of horns.
Note also how the mythical interpretation of the crescent as the horns
of a bull encouraged the artists to fill in the natural detail:
WhiteCrownHorns(2).jpg <./download/file.php?id=551&mode=view>
Indeed, every unique and fully documented feature of the White Crown
presents a striking accord with our model. And to register this point
more completely I'll next go back to the beginning, to take up the
concrete relationship of the Ma'at feather to the eye, heart, and soul
of Atum. It's a baffling complex of make-believe, all completely
disconnected from natural observation- -until it is seen in its
relationship to dynamic formations in the heavens.
David Talbott
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4251>
New post <./viewtopic.php?p=4251#p4251>by *David Talbott
<./memberlist.php?mode=viewprofile&u=58>* on Sun Apr 27, 2008 6:59 pm
The "Weighing of the Heart"
Continuing the discussion of the White Crown and its special
relationship to the “ostrich feather” that the Egyptians identified as a
goddess--Ma’at.
The most reliable rule is to look first for the archaic and literal
meanings, and to see whether, in their literal contexts, they confirm
the predictive ability of the reconstruction. The subsequent evolution
of human thought beyond these root meanings can then be traced to show
the power of the archetype across the millennia, as human beings
struggled to find meanings in words and symbols no longer connected to
anything actually observed.
In the context of our reconstruction, the feather is inseparable from
the White Crown. It is the illuminated portion of the White Crown at two
critical junctures in the cycle of day and night: the sunset and sunrise
appearances. From this tenet, numerous deductions follow that are every
bit as testable as the features of the Crown noted in the posts above.
These deductions would include:
Appearance of the feather with the appearance of the Crown.
Appearance of the feather with the first activity (birth) of the warrior
hero. (In the Egyptian system, this first activity is personified by the
god Shu.)
Inseparable identity of the feather with the central eye, heart, and
soul of the Universal Sovereign.
Inseparable identity of the feather with the mother goddess.
Ma'at Feather.jpg <./download/file.php?id=562&mode=view>
Egyptian goddess Ma'at wearing the feather that was her essential
identity
The goddess Ma'at and the feather are one and the same. But a mystery
arises. Every self-respecting Egyptologist will tell you that the
feather of Ma’at means “truth.” It was a symbol of “law and order,”
particularly in matters of justice. Numerous references to the role of
the feather in a ritual called the “weighing of the heart” underscore
the sense of “final judgment.” Those who failed the test were assigned
to oblivion, being devoured by the goddess Ammit or thrown into the
fires of primeval chaos. Those who passed the test were allowed into the
fields of the blessed.
HeartWeighing(3).jpg <./download/file.php?id=563&mode=view>
Popular ideas about the feather underscore the importance of looking
past the surface of the cultural expression to the radical core. The
specialists have no idea how a feather rose to such prominence or became
a hieroglyph for a goddess and for the birth of the god Shu.
But answers are available to us if we will go back to the myths and
symbols of the “creation.” In the beginning the creator Atum stood alone
in the celestial waters. The male and female principles that would arise
had yet to be differentiated. Atum was the all-containing Unity, and
what would become the first forms of the goddess and warrior-hero were
nothing more than his central “heart” (undifferentiated feminine
principle) and innermost ab-heart--the (masculine) heart or "heart of
carnelian" enclosed within the feminine heart. Strictly synonymous with
this heart-symbolism was the language of the god’s central Eye (unborn
goddess) and the pupil of the Eye (unborn warrior-hero).
In the first events of creation, which I shall soon describe,
instability, noise, and chaos are the prevalent condition. And yet out
of these events, there arose, at least for a time, the remarkably stable
condition of the White Crown, associated with the coming of a
distinctive cycle of day and night, this cycle written in the heavens by
the circling round of what appeared as a luminous feather upon the
Crown. (See illustration in previous post.)
When Egyptian texts say that “Truth circles round,” the problem lies
with the translation. It is the Ma’at feather that circles round, and
the axis of its circling is the Crown itself, appearing as an emblem of
order, stability, and most importantly, alignment. It’s an extraordinary
thing to consider, but in the context of the remembered tumultuous
events, this alignment of the Crown formation permitted the light of the
Sun to divide the Crown vertically with a straight line, the demarcation
of light and shadow. (Visual reference in the previous post is essential
here.) It is the alignment, the “straightness” of this demarcation, that
inspired the reverence for the feather, with its perfectly straight
spine, set back to back as a symbol of two halves of the daily cycle. It
was a mind-altering contrast to the confusion and disorder that preceded
it (as I’ll explain).
Not just symbolically, but architecturally, we still say that what is
aligned is “true”. And in our language of justice we say that what is
“crooked” is not right. Out of the initial commotion of creation, the
planetary configuration nevertheless found stability. It moved into
balance, and this was the balance of visual alignment.
In the “weighing of the heart” ritual it was in fact a balance that was
used, and the arms of the balance extended from a perfectly vertical
pole. Often this very pole terminated in the feather-goddess Ma’at, as
in the illustration below.
HeartWeighing.jpg <./download/file.php?id=564&mode=view>
“Balance” was clearly a part of the symbolism that gave rise to the
later language--the feather circling round, the feather of truth or
cosmic alignment and balance--the unique characteristic of the
configuration when it moved into a visual alignmen allowing the light of
the Sun to cast a perfect “feather of Ma’at” onto the White Crown.
For this to to make sense, you must remember that to produce the image
of the White Crown in our 3-D rendering, it was necessary to place Earth
(or Mars, or both) slightly off axis. This would mean that the visual
alignment required for the perfect “feather” to fall on the White Crown
may not have been the norm. At least for a time, the norm may well have
been a churning motion of the Crown suggestive of instability. In
contrast, the arrival at a position of balance, which allowed the
feather to turn symmetrically in a daily cycle would have been a
wondrous thing to behold.
Did the Egyptian symbolists know that Ma’at originally appeared as the
eye, heart and soul of Atum-Ra? Of this there can be no doubt, not only
because Ma’at was called the “Eye of Ra” (as were virtually all Egyptian
goddesses) but because the Eye and heart-soul were the same thing. In
fact, the equation of feather and heart is the essential theme in the
“weighing of the heart.” On one side of the balance the symbolists
placed the “heart” of the deceased. On the other they placed a feather.
The ritual “weighing” of a heart and a feather on a balance thus
established the ideal equivalence of the two in the Egyptian vision of
the afterlife. As above so below; as before so again. It was the
archetypal event in the lives of "gods" that established the model. In a
remarkable display of celestial “balance,” the feminine heart of the
primeval sun acquired the form of an ostrich feather, displayed
symmetrically upon the White Crown in a daily cycle. (Again, reference
to illustrations in the previous post is required here.)
In a few additional notes in the next day or two, I'll see if I can
clarify the concrete sense in which the symmetrical feather of Ma'at
meant a victory over the chaos-powers, a theme that affected all of the
Egyptian images relating to the goddess and to the "weighing" of the heart.
David Talbott
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4297>
New post <./viewtopic.php?p=4297#p4297>by *MGmirkin
<./memberlist.php?mode=viewprofile&u=55>* on Mon Apr 28, 2008 12:42 pm
David Talbott wrote:Note also how the mythical interpretation of the
crescent as the horns of a bull encouraged the artists to fill in
the natural detail:
Image
I wonder, then, with respect to Hathor: is that how Hathor came to be
regarded as the cow deity...?
(Hathor)
http://en.wikipedia.org/wiki/Hathor
Among other things, Wikipedia wrote:Hathor was an ancient goddess,
and was worshipped as a cow-deity from at least 2700 BC, during the
second dynasty.
[...]
Hathor is referred to as She with Two Faces, which is not yet
understood. Speculation about its meaning ranges from it being
symbolic of life and afterlife to being the mirror and the face seen
in it, but no clarification of this religious euphemism for the
deity has arisen.
I think a clarification has just arisen...
In the Saturn model, it seems to be essentially the literal illumination
of opposite faces of the proposed Venus-Mars+ discharge pathway.
Image
With the full "white crown" (bowling pin shape)
Image
probably being visible between the times when the left- and right-facing
"feathers" (illumination of opposite faces of the discharge pathway)
were in evidence? If that makes sense.
Wikipedia also wrote:The name Hathor refers to the encirclement by
her [...] of the god of the sky, Horus
who was said to be her son.
There also seems to still be a mythological link back to the
"encirclement" (crown motif) mentioned elsewhere...
Image
Interesting,
~Michael Gmirkin
"The purpose of science is to investigate the unexplained, not to
explain the uninvestigated." ~Dr. Stephen Rorke
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4304>
New post <./viewtopic.php?p=4304#p4304>by *MGmirkin
<./memberlist.php?mode=viewprofile&u=55>* on Mon Apr 28, 2008 3:24 pm
Or, I suppose that if one wanted to go through the trouble, one might
toss out the full "day" / "night" cycle of the white crown... (view from
right to left, for reasons that should become relatively obvious.)
WhiteCrownPhases.jpg <./download/file.php?id=570&mode=view>
"Phases" of the white crown modeled as a day / night cycle, under a
Saturnian interpretation. For discussion.
Helps make the final outcome(s) a bit more straightforward (my opinion)...
Cheers,
~Michael Gmirkin
"The purpose of science is to investigate the unexplained, not to
explain the uninvestigated." ~Dr. Stephen Rorke
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4306>
New post <./viewtopic.php?p=4306#p4306>by *David Talbott
<./memberlist.php?mode=viewprofile&u=58>* on Mon Apr 28, 2008 3:32 pm
The twin aspects of various deities constitute a major puzzle for modern
scholars. In the Saturn reconstruction, the play of light off a
configuration in a daily cycle is fundamental to the imagery. The
symmetry of sunset and sunrise appearances--rotating luminous feather on
the White Crown, revolving crescent on Saturn--offers a direct and
testable answer, though there is more to cosmic twin features than these
attributes alone. (e.g., twin filaments of an axial Birkeland Current,
flaring out at the upper termination.)
If you think of the revolving crescent as the "horns" of a cow or bull,
the first thing to look for would be artistic renderings suggesting a
duality that could not have been inspired by anything observed in
nature--as in these two images, the first form Egypt, the second from
Mesopotamia (gotta confirm that; memory fails):
TwinBull(1).png <./download/file.php?id=572&mode=view>
TwinBull(2).png <./download/file.php?id=573&mode=view>
The predicted meanings would include two halves of the daily cycle; and
two halves of the celestial theater. Both predictions can be readily
confirmed (are confirmed in The Saturn Myth). I do intend to discuss the
crescent at length in these summaries.
Back-to-back twins, such as Isis-Nephthys, are acknowledged to signify
two halves of the daily cycle. I'll see if I can put up a pic later
today. Considering their identification with the White Crown, your
surmise was on target Michael, though the revolving crescent adds a lot
more to the subject as well.
David T
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4314>
New post <./viewtopic.php?p=4314#p4314>by *moses
<./memberlist.php?mode=viewprofile&u=116>* on Mon Apr 28, 2008 6:53 pm
The feather was the sunlit side of Saturn ? Which makes me wonder whether
this sunlit area increased of decreased over time ( years ). For
instance, was
there a time when exactly half of Saturn was sunlit ?
Mo
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4315>
New post <./viewtopic.php?p=4315#p4315>by *David Talbott
<./memberlist.php?mode=viewprofile&u=58>* on Mon Apr 28, 2008 7:24 pm
moses wrote:The feather was the sunlit side of Saturn ? Which makes
me wonder whether
this sunlit area increased of decreased over time ( years ). For
instance, was
there a time when exactly half of Saturn was sunlit ?
Mo
Mo, if you'll look back over the discussion above, you'll see that the
"feather" was the sunlit portion of the White Crown. The crescent on
Saturn is another matter. It simply means the observer on Earth was not
seeing the entire sunlit hemisphere of Saturn that is evident in the
external view of the configuration above. (Imagine the planets on an
axis intersecting the Saturn-to-Sun radius at 135 degrees)
The polar station of Saturn was due to the axial alignment of Earth with
the configuration, such that as the Earth rotated, the crescent turned
visually around the polar center with the daily cycle. So there are two
distinct "twin-like" features to the sunset and sunrise appearances of
the configuration illustrated above. One is the feather rotating around
the crown; the other is the crescent visually rotating around the polar
Saturn; both are due to the rotating Earth.
As illustrated above, the "horns" of the Bull of Heaven presented a
twin-like appearance at sunset and sunrise, thus accounting for the
biologically impossible image of a twin-headed bull in connection with
the twin aspect of the celestial theater (revolving crescent).
And Michael G: I see your post went up as I was composing my own earlier
this afternoon. I think you're right. Seeing the four phases of White
Crown illumination in one pic probably makes it a bit more clear. Good job.
David Talbott
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4335>
New post <./viewtopic.php?p=4335#p4335>by *David Talbott
<./memberlist.php?mode=viewprofile&u=58>* on Tue Apr 29, 2008 2:07 pm
Concluding Notes
Before moving on, I’ll leave a few concluding notes on the crown motifs
discussed here.
Conjunction and displacement
We start with universal mythic themes, then allow the earliest-recorded
examples of the themes to lead the way in a systematic investigation. By
this process, the underlying unity of myth is gradually exposed, and we
discover that there are no isolated archetypes. All are connected.
I’ve emphasized that every influential symbol can be followed in any
direction to see its link to every other influential symbol. In their
concrete details, the “crowns of sages and warrior kings” are a window
to the full story of world mythology. They are the story of the original
unity of “heaven,” giving way to phases of “creation,” placing the
spotlight on the active roles of the mother goddess and warrior hero in
these events. The crowns worn by the warrior hero, originally a cosmic
figure, are the prototypes of crowns worn by kings on earth. On
examination, these crowns turn out to be the hero’s own mother or
consort, the mother goddess. And though the symbolism reveals increasing
levels of coherent detail, none of the crowns have a meaningful
connection to things observed in nature today
My claim has been that the core details can all be rendered concretely
in terms of a visual model of planets in alignment, one that can then be
tested against the entire field of historical evidence.
In the images of the White Crown above, one notes an interplay of the
mother goddess and the warrior-hero, always reflecting the dynamics of
conjunction and displacement. The Egyptian Aten (conjunction) leads to
the White Crown (displacement, but with surprising balance and
symmetry). In the same way, the radial discharge of Venus in the center
of Saturn, with Mars directly in front of Venus, is a story of
conjunction. But the primary forms of the radial discharge are also seen
from a displaced position off axis (scallop shell, 7-headed serpent,
hand of God).
Fundamental to the integrity of the Egyptian images considered in this
final installment is the original identity of the goddess and hero prior
to their differentiation as separate personalities: they are the eye,
heart, and soul of Atum-Ra, the universal sovereign. What happens to
these powers in their differentiation is the archaic story of
“creation,” recounting how the creator brought forth his dwelling in the
sky. (I will try to summarize the underlying idea in the next few weeks.
No archaic myth has been more misunderstood than the “creation.” The
original subject was the bringing forth of the place par excellence, the
cosmic temple, city, or kingdom, celestial prototype of sacred dwellings
on earth.
Additional nuances worth noting
In the 3-D representation of the transition between the White Crown and
Aten, the metamorphosis itself exposes the underlying identity. But one
point in particular must be emphasized. Though observers on Earth would
have almost certainly enjoyed a near-perfect on-axis view of the Crown
at some point in the planetary movements, we have to distinguish between
perfect planetary alignment and perfect visual alignment of the
observer. As I mentioned, it is necessary to keep in mind the phenomenon
of parallax. When the planets are in perfect alignment, an observer
would see this form at noon:
Aten_Axial.jpg <./download/file.php?id=574&mode=view>
Visually, it is a not a perfect alignment because the observer is not
precisely on axis. For the observer to be perfectly on axis, he’d have
to be standing at the geographic pole. Because Mars is only about half
the diameter of Earth, a viewer at the 30th parallel (our reference)
would see over Mars slightly, creating a hemispheric crescent-like form
or “claw” wrapped around Mars from above. In the perfect planetary
alignment, that is what would be seen day and night, always reaching
from above. (i.e., not revolving in the fashion of the Saturnian
crescent, an effect of the rotating Earth).
When I saw this 3-D rendering (done for me by Rick Smith in 2000) I
asked myself where I’d “seen” this before. Then I remembered the “claw
of Atum”, said to have stopped the commotion or strife in the celestial
city. In the Pyramid Texts, Utterance 229, the claw is said to be set
upon the neck of the serpent power Neheb Kau, called “The Provider of
Attributes” (all of which will make more sense as we take up the
creation). Protective amulets of a claw were worn by female royalty. And
that reminded me of the “vulture” goddess Nekhbet and her relationship
to the shen-bond discussed above. The artists depicted the goddess
holding the shen in her extended claws, as in the full color rendering
below.
Aten(2).jpg <./download/file.php?id=575&mode=view>
The Shen (= Aten, = Uraeus) was the rope which, in the creation,
stretched round to form the boundary of the celestial kingdom. Thus, in
writing the names of kings, the Egyptians enclosed the name within a
cartouche, which is itself nothing more than an extended Shen-cord,
symbol of protection. Hence, both the claw and the cord within the grip
of the claw can be seen in terms of the goddess’ role as great
protectress. And in the symbolism of the cartouche the connection to the
claw was maintained when the artist placed it in the clutches of the
"vulture" goddess' claw.
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4349>
New post <./viewtopic.php?p=4349#p4349>by *moses
<./memberlist.php?mode=viewprofile&u=116>* on Tue Apr 29, 2008 6:42 pm
The feather - I see it ! The elongated plasma cell connecting Venus and
Mars
had spiralling Birkeland currents going around it. This created darker and
lighter stripes and Venus was the bulby bit at the end of the feather.
And it
was at sunrise and sunset that the straight line of the feather was
produced.
This is really exciting and well worth the wait.
Mo
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4356>
New post <./viewtopic.php?p=4356#p4356>by *MGmirkin
<./memberlist.php?mode=viewprofile&u=55>* on Wed Apr 30, 2008 1:03 am
I thought I'd seen this (or something like it) before...
Image
Now that I've had a quick poke around, this seems to be very similar to
several Egyptian motifs:
WingedDisk.jpg <./download/file.php?id=578&mode=view>
The Winged Disk (associated with the orb bounded by Uraeus serpents).
Which is mirrored in several images:
WingedIsis.jpg <./download/file.php?id=581&mode=view>
The Winged Isis (with flat wings and red orb; paralleling the Winged
Disk).
WingedDiskScarab3.gif
/The Winged Scarab (with flat wings and red orb; paralleling the
Winged Disk)./
WingedDiskScarab3.gif (4.37 KB) Viewed 1535 times
WingedDiskScarab.jpg <./download/file.php?id=580&mode=view>
The Winged Scarab (with curved wings and red orb [Aten]).
The Saturn hypothesis would, I assume, say that these are all pretty
directly related, one motif to the other?
Cheers,
~Michael Gmirkin
"The purpose of science is to investigate the unexplained, not to
explain the uninvestigated." ~Dr. Stephen Rorke
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4364>
New post <./viewtopic.php?p=4364#p4364>by *David Talbott
<./memberlist.php?mode=viewprofile&u=58>* on Wed Apr 30, 2008 7:30 am
MGmirkin wrote:The Saturn hypothesis would, I assume, say that these
are all pretty directly related, one motif to the other?
Cultural images of extended wings, in particular the "winged disk," do
indeed have underlying elements in common, but a single explanation does
not work for a "wings" as a whole. Due to the role of wings in
protecting gods and heroes, plus many indications of a symmetrical,
twin-like juxtaposition of opposing wings in relation to the daily
cycle, I originally explained the mythic wings as a revolving crescent.
(That ancient imagination could see a crescent as a pair of wings is
clear from the phrase, "long-winged moon.") But after publication of The
Saturn Myth in 1980, I began to realize that the explanation was only
partially correct--well, more incorrect than correct :) , due to the
abundance of images for which the explanation does not work.
Long story short for now. I eventually came to place the wings of the
Egyptian and Mesopotamian winged disk in a phase of catastrophe and
"wandering." At least two concentric bands with radiating spines, seen
substantially off axis, are implied. In fact, this phase involves many
episodes that are far too complex for reliable modeling in the
simplified means I've used for earlier phases. Fortunately, however,
this gets you into events that were recorded on stone by the millions.
And this is where, IMHO, the Saturn Hypothesis meets up with the work of
Tony Peratt. Before ever meeting Peratt, I had identified certain key
formations relating to the "disaster and wandering" phases-- Caduceus,
Eye Mask, Chain of Arrows, Backbone or Ladder of the Sky, Tower of
Heaven, Goddess' Flounced Skirt, etc.
But I was never confident the forms could be satisfactorily modeled
until after the Peratt meeting, which was the catalyst leading to his
present life's work. He immediately recognized what I had called "upward
spiraling twin-serpents" and a "stack of toruses" as a plasma discharge
instability. The results of this meeting will be more significant than
most folks could ever imagine. The winged disk is just one of dozens of
forms that should find a full and complete explanation through computer
reconstruction based entirely on rock art images, with no dependence on
human interpretation.
And please, everyone, always remember that Peratt's work is entirely
independent, in cooperation with a substantial team of scientists.
Whenever we cite his work, we must not imply any endorsement of the
Saturn hypothesis or any principle equating planets and ancient gods.
David Talbott
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Re: The Crowns of Sages and Warrior-Kings (Part 3) <#p4373>
New post <./viewtopic.php?p=4373#p4373>by *MGmirkin
<./memberlist.php?mode=viewprofile&u=55>* on Wed Apr 30, 2008 11:00 am
David Talbott wrote:
MGmirkin wrote:The Saturn hypothesis would, I assume, say that
these are all pretty directly related, one motif to the other?
Cultural images of extended wings, in particular the "winged disk,"
do indeed have underlying elements in common, but a single
explanation does not work for a "wings" as a whole. Due to the role
of wings in protecting gods and heroes, plus many indications of a
symmetrical, twin-like juxtaposition of opposing wings in relation
to the daily cycle, I originally explained the mythic wings as a
revolving crescent. (That ancient imagination could see a crescent
as a pair of wings is clear from the phrase, "long-winged moon.")
But after publication of The Saturn Myth in 1980, I began to realize
that the explanation was only partially correct--well, more
incorrect than correct :) , due to the abundance of images for which
the explanation does not work.
So, long story short, it's a bit more complicated than that... Gotcha'. ;)
Cheers,
~Michael Gmirkin
"The purpose of science is to investigate the unexplained, not to
explain the uninvestigated." ~Dr. Stephen Rorke
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