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Ancient Myth Articles

   - General
Science of Comparative Myth
Myth Reconstruction Rules
Avoiding Reductionism
The Importance of Myth
Plausibility of Myth
Reliability of Myth as Witness
Myth as Foundation
The Meaning of Myth
From Myth to Model
Logic of Historical Evidence
Cosmic Symbol Development
Conjunction Themes
Memory of Planetary Upheaval
Natural References of Myth
Myth Memory Patterns
A case for Atlantis
   - Specific
Jupiter Worship Beginning
Saturn Worship Beginning
The Serpents of Creation
Mercury Mythology
The One Ancient Story
The Golden Age Myth
The Golden Age
Golden Age Interview
The Central Sun
Revolving Crescent on Saturn
The World Mountain
Variations on a Theme
Saturn-Venus Discussion
Localizing the Warrior-Hero
Heroes of the Iliad
Sacrifice & Amnesia
Labyrinth & Fortress Themes
Male Gods in Myth
Mars Rocks & Myth
Catastrophism Pioneers
Names of Suns & Planets
The White Crown
A Unified Mythology Theory
The Velikovsky Affair Journals
Thunderbolts-Myth & Symbol
The Polar Thunderbolt
Thundergods Celestial Marvels
Thunderbolts of the Gods

Saturn-Jupiter Myth

   Introductory Material
Ancient Saturn Worship

The Golden Age
The Saturn Myth
The Universal Monarch
   Velikovsky Articles
Jupiter Worship Beginning
Saturn Worship Beginning
   Central Polar Sun
The Central, Polar Sun I
The Central, Polar Sun II
The Central, Polar Sun III
The Central, Polar Sun IV
   Saturn Theory Series
The Saturn Theory I
The Saturn Theory II
The Saturn Theory III
The Saturn Theory IV
The Saturn Theory V
   Cardona Articles
Saturn Theory Demands
World with One Season-I
World with One Season-II
Saturn Capture Question
Reconstruct Saturn Model
Saturn in Genesis
Saturn, Sun of Night
Ultimate Polar Argument
By Jove

Venus-Mars Myth

The Star of Dawn
Velikovsky & Catastrophe
The Comet Venus
Velikovsky's Comet-1
Velikovsky's Comet-2
Velikovsky's Comet-3
Velikovsky's Comet-4
Velikovsky's Comet-5
Velikovsky's Comet-6
Velikovsky's Comet-7
Velikovsky's Comet-8
Velikovsky's Comet-9
Velikovsky's Comet-10
Velikovsky's Comet-11
Velikovsky's Comet-12
Velikovsky's Comet-13
Velikovsky's Comet-14
Terrifying Glory of Venus
The Warrior Athena

Note: The author of this site knows David Talbott very well, and considers him to be the foremost mythologist in the world, if not the foremost scholar. He is a polymath of extremely high intelligence and integration capability. More importantly, in scholarship his integrity and valuation of the truth is at the highest level.

Cosmic Symbols
By David Talbott

Saturnians didn't invent the "rites of Kings." In their earliest expressions, kingship rites are overwhelmingly COMMEMORATIVE. Same goes for the ritual aspects of war and sacrifice in their earliest documented expressions. The question isn't whether certain motives found in kingship rites (power, cooperation, allegiance, fear, whatever) may have existed among earlier human tribes–that would only require them to have been human. The question is: in the distinctive, heavily documented rituals of kingship, what is being commemorated? You don't have to believe a word of the "Saturnian" explanation to see that there are a hundred recurring patterns focusing on clearly presented cosmic images, including these most obvious motifs–

1) Celebration of the king as part of a blood-line tracing back to the rule of the central luminary himself, in a golden age;

2) The role of the king as the source of natural abundance (the duty to restore the golden age, or a semblance thereof);

3) The king's symbolic marriage to a mother goddess, identified as the eye-heart-soul of the central luminary;

4) The goddess in her terrible aspect as flaming serpent or dragon, raging in the sky;

5) The role of the king as the warrior-son, born in the eye- heart-soul of the central luminary;

6) The role of the warrior-son in defeating or pacifying the raging serpent-dragon;

7) Assimilation of kingship rites to memories of sweeping cosmic catastrophe, involving the death or ordeal of a primeval, celestial king, whose rejuvenation was synchronous with the regeneration of nature following the catastrophe;

8) Symbolic assimilation of neighboring tribes to the chaos hordes or retinue of the serpent-dragon.

These cosmological images, constituting a vast complex of kingship rites, are not present in the prior phases of human history. And the images do not answer to anything in our sky today. Therefore, the verifiable coherence of the images, each inseparably connected to the others, is an issue that cannot be swept aside.

The spiral form depicted in the Egyptian eye-glyph is also a part of many other sacred symbols, including glyphs of the White Crown and Red Crown. Nothing in our sky today can begin to represent the power of the idea. The depicted spiral is the vehicle by which the creator-king fashions his dwelling in heaven, the polar enclosure. In the Egyptian system, the spiral means "to fashion or create", in specific reference to the fashioning of the cosmic dwelling. The subject is the spiraling Venus comet, also depicted by the Sumerian pictograph for the goddess Inanna (Venus). The spiraling "tail" (enclosing serpent-dragon) comes to form the enclosure or boundary of the land of the gods.

Shu and Tefnut are two of my favorite mythical figures, and are intimately tied to the differentiation of the unified Atum (something we've discussed at some length in earlier threads). "From one god, I became three," Atum declares. That declaration signifies the birth of Shu and Tefnut, as the unified Atum is transformed into Ra, Shu, and Tefnut. For newcomers unfamiliar with the general thesis, Ra = Saturn, the primeval sun god and creator-king; Tefnut = mother goddess Venus, the central eye- heart-soul of Atum; and Shu = Mars, warrior-hero and unborn child in the womb (i.e., pupil of the eye).

In his birth, Shu descends to become the world pillar supporting Atum-Ra. The eye goddess, in turn, spirals out as the uraeus serpent, ultimately coming to form the polar enclosure.

The different motifs are summarized in the notebook, "Symbols of an Alien Sky", which presents a series of "snapshots" of the polar configuration, supplemented by numerous ancient drawings and explanatory text.

Ancient symbolism was multi-layered. The great mythical motifs were projected onto every available form in nature, be it a local mountain (symbol of the world mountain), or a prominent star group.

Most of the diverse figures of the mother goddess and warrior hero are paired in various ways, to represent the cosmic twins in later art. The good and evil brothers, dark and light, male and female, above and below, two faces looking in opposite directions, right and left - all are included in the mix. As I've suggested previously, these motifs are explicable by the concrete play of light and shadow off the polar configuration as the Earth turned on its axis.

Hence, I would say that Gemini has a global myth behind it, tying the constellation symbolically to the memory of creation.

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