J.R.R. Tolkien’s
The
Lord of the Rings is one of the most enchanting and successful tales
of all time. First issued in the 1950s, this famous trilogy could
just as well have emanated from the Dark Ages or medieval times, for
it has all the qualities and attributes of the most ancient Grail
and Ring traditions. This was made possible by the fact that Tolkien
(an Oxford professor of Anglo-Saxon and English language) had the
legendary wealth of ages at his fingertips and moulded his story
accordingly.
In considering the history of the Ring Quest, its parallel
association with the Quest for the Holy Grail becomes increasingly
apparent, as do the origins of fairies, elves, pixies, sprites,
gnomes and goblins. Ring lore is also deeply rooted in many of the
best loved nursery tales, and provides the essential facts behind
numerous time-honored characters of popular legend.
Grail stories are generally associated with Arthurian knights
roaming the Wasteland in search of the sacred relic. But the genre
also embodies many other questing tales, incorporating such
characters as Cinderella, Robin Hood, Sleeping Beauty and Count
Dracula. Each account holds its own separate mystery and
fascination, but it is not generally understood that they all stem
from a common historical base which is rooted in the ancient culture
of the Ring Lords.
Even though some of the themes have their origins in very old lore,
the majority of these tales were newly slanted from the Dark Ages
onwards, when the Church set its sights against the Ring tradition.
This was especially the case from medieval times when the
persecution of heretics was in full swing, leading to the brutal
Inquisitions which began in the 13th century.
From around 4000 BC, the Ring was a primary device ofthe Anunnaki
overlords, who were recorded as having been responsible for the
establishment of municipal government and kingly practice in ancient
Mesopotamia. In view of this, it is of particular relevance that, in
1967, when Professor Tolkien was asked about the Middle-earth
environment of The Lord of the Rings, he wrote that he perceived its
setting to be about 4000 BC.
In this respect, the root of Tolkien’s popular tale was extracted
directly from Saxon folklore and was not actually new in concept.
Indeed, the early Saxon god Wotan (the equivalent of the Sumerian
Lord, Anu) was said to have ruled the Nine Worlds of the Rings –
having the ninth Ring (the One Ring) to govern eight others.
The contested ownership of the One Ring, as related in The Lord of
the Rings, is little different to the enduring quest for the Holy
Grail; they are both quests for the maintenance of sovereignty. But,
in both fact and fiction, the Ring and the Grail are each seen to be
misappropriated by those who perceive them as weapons of power.
As the generations passed from ancient Mesopotamian and Egyptian
times, the ideal of dynastic kingship spread through the
Mediterranean lands into the Balkans, the Black Sea regions and
Europe. But, in the course of this, the crucial essence of the old
wisdom was lost and this gave rise to dynasties that were not of the
original kingly race. Instead, many were unrelated warrior chiefs
who gained their thrones by might of the sword.
The sacred culture of the ancients was, nevertheless, retained in
the Messianic line of King David of Judah (around 1008 BC), whose
significance was in his pharaonic heritage, not in his generally
portrayed descent from Abraham and the Shemite strain. It was
because of this particular inheritance that David’s son, Solomon the
Wise, was enabled to create his Egyptian-style Temple project in
Jerusalem.
This led to a Holy Land revival of the pharaonic and one-time
Mesopotamian Rosi-crucis movement at a time when Egypt was beset by
foreign influences, first from Libya, Nubia and Kush, and then from
further afield. Resultantly, the traditional marriage arrangements
of the pharaohs and princesses gave way to diplomatic alliances.
The Rosi-crucis (whose supporters were called Rosicrucians) is often
misidentified as if it referred to a Rosy (or Red) Cross - but in
fact the term has a rather different origin. It stems from the old
Greek ’rosi’, meaning ’dew’, and from ’crucis’ meaning ’fire-cup’
(as in the word ’crucible’). Hence, the Rosi-crucis was the dew-cup
of fire – or fiery cup of the waters.
In symbolic form, the Rosi-crucis was the original and longest
standing mark of sovereignty – and this is where the secondary Rosy
Cross definition comes into play, for this insignia was indeed a red
cross within a ring. The early Bible writers condemned this royal
device as being the Mark of Cain.
This same emblem was deemed to be symbolic of the Holy Grail, whose
representative form as the Dew-cup (or Chalice) emanated directly
from the Sumerian word ’gra-al’. This defined the ’nectar of supreme
excellence’ – the prestigious legacy of the Anunnaki queen
Nin-kharsag, great mother of the kingly bloodline.
Originally, and for the longest time, the Ring was a symbol of
perpetually divine justice, which was measured by the Rod. In
ancient depictions various Sumerian overlords, kings and queens are
individually portrayed holding the Rod and Ring devices - characters
such as Marduk and Lilith, Shamesh, Ur-Nammu, Ashur, Samael and
others from the 3rd and 2nd millenniums BC. In some instances
the
Rod is clearly marked in calculable units (like a modern ruler). In
Babylonia it was referred to as the Rule – and the one who held the
Rule was the designated ‘ruler’: which is from where the
governmental term derives.
In time, rather than holding the golden rings, the sovereigns began
to place them on their heads where, from a general course of ornate
embellishment through the ages, they ultimately became crowns, while
the Rod (or Rule) evolved into the royal scepter. In the course of
this, the Rosi-crucis emblem of the cross and circle also became a
solid object – a cross surmounted on a sphere – to become the Orb of
sovereign regalia.
In all the Grail romances, and in the tales of the Ring, the message
is relentlessly clear: in the wrong hands, both the Ring and the
Grail can bring disaster. The power of the Ring has to be withstood,
otherwise it will enslave its master, whereas the Grail will
retaliate with a vengeance if misused. Either way, the moral is the
same in that, ultimately, power is self-destructive when achieved
through selling one’s soul. Consequently, the Ring can be a halo or
a crown, but it can equally become a noose.
There is, however, an essential difference between Tolkien’s ’One
Ring’, which is portrayed as dark and divisive, and the Golden Ring
of Grail romance, which is a ring of love and enlightenment. The
latter (the ring with which Arthur made his vow to Guinevere) was
further symbolized by the iron-clad ring of knights who sat at the
Round Table – a Ring that was broken (leading the land into chaos
and waste) when Guinevere was unfaithful to Arthur with Lancelot.
Prior to the year 751, kings of the Grail succession were priests in
their own right; they were priest-kings, known as Fisher Kings. But,
when their rights to priesthood were undermined by the Church, the
legacy was forsaken in all but the Gaelic realms.
Before this, the representative substances of priest-kingship were
Gold (for nobility), Frankincense (for priesthood) and
Myrrh (for
knowledge). These were the very substances presented to Jesus by the
Magi in the New Testament, thereby positively identifying him as a
dynastic priest-king of the Grail bloodline. The significance of
this Magian presentation has been lost however, within a contrived
fable of humble birth in a stable, which is not mentioned in any
original Gospel.
Yet, for some obscure reason, the Grail symbolism was retained by
the Church in its Eucharist – the Communion sacrament, wherein the
wine (figuratively the Gra-al blood of Christ) is drunk from the
sacred chalice of the Rosi-crucis. In this regard, the true
symbolism of the ancient custom, which began
in Anunnaki times, has
been strategically veiled, while both Grail lore and
Ring lore are
denounced by the Church as unofficial heresies.
As confirmed in historical records, the disputes between the
descendant Grail family and the Church establishment prevailed for
centuries because of their conflict of interests. From the 1st
century, Imperial Rome had decreed that the Messianic heirs should
be hunted down and put to the sword. Then, once the Roman Church was
formally operative from the 4th century, the sacred dynasty was
forever damned by the bishops.
It was this formal damnation which led to such events as the
Albigensian Crusade in 1209 and the subsequent Catholic
Inquisitions, for these brutal assaults by the papal machine were
specifically directed against the upholders and champions of the
original concept of Grail kingship, as against the style of
pseudo-monarchy which had been implemented by the Bishops of Rome.
In practical terms, Church kingship has prevailed from the 8th
century and has continued, through the ages, to the present day. But
the fact is that, under strict terms of sovereign practice, all such
monarchies and their affiliated governments have been invalid.
Church kingship is precisely that with which we have become so
familiar. It applies to all monarchs who achieve their regnal
positions by way of Church coronation by the Pope or other Christian
leader (in Britain, by the Archbishop of Canterbury). In terms of
true kingship, there was no necessity for coronation because kingly
and queenly inheritance were always regarded as being ’in the blood’
– to be precise, in the DNA of the Gra-al.
In order to understand the legacy of the Ring, we must look at how
Church kingship was made possible in the first place by way of a
document called the
Donation of Constantine – a document which led
to just about every social injustice that has since been experienced
in the Christian world. All monarchical and governmental practice
has, for centuries, been based upon the initial precept of this
charter but, in reality, its dogmatic precept is wholly invalid.
When the Donation of Constantine made its first appearance in the
middle 8th century it was alleged to have been written by
Emperor
Constantine some 400 years earlier, although strangely never
produced in the interim. It was even dated and carried his supposed
signature. What the document proclaimed was that the Emperor’s
appointed Pope was Christ’s elected representative on Earth, with
the power to ’create’ kings as his subordinates since his palace
ranked above all the palaces in the world!
The provisions of the Donation were put into operation by the
Vatican in 751, whereupon the Merovingian Fisher Kings of the Grail
bloodline in Gaul were deposed and a whole new dynasty was
supplemented by way of a family of hitherto mayors. They were dubbed
Carolingians and their only king of any significance was the
legendary Charlemagne. By way of this strategy, the whole nature of
monarchy changed from being an office of community guardianship to
one of absolute rule and, by virtue of this monumental change, the
long-standing Grail Code of princely service was forsaken as
European kings became servants of the Church instead of being
servants of the people.
The fact is, however, that over 500 years ago in the Renaissance
era, proof emerged that the Donation was an outright forgery. Its
New Testament references relate to the Latin Vulgate Bible – an
edition translated and compiled by St. Jerome, who was not born
until AD 340, some 26 years after Constantine supposedly signed the
document! Apart from that, the language of the Donation, with its
numerous anachronisms, is that of the 8th century and bears no
relation to the writing style of Constantine’s day. It is known
today as "the most famous forgery in the world", but despite this,
the Donation’s overwhelming dictate, which cemented the Pope as the
supreme spiritual and temporal head of Christendom, has prevailed
regardless.
Prior to the Grail’s formal subjugation by the Church Inquisition in
the Middle Ages, the victimized heterodox Christians (or ’heretics’
as they were called) included
the Cathars – the
Pure Ones of the
Languedoc region in the South of France. The Cathars were fully
conversant with the Ring Lord culture and, in accordance with
tradition, referred to the Messianic bloodline as the Elven race,
venerating them as the Shining Ones. This is of course wholly
indicative of the very same style afforded to the ancient Anunnaki –
the great sons of Lord Anu, also called the Anna-nagge:
the Shining
Ones.
In the language of old Provence, a female elf was an ’albi’, and
Albi was the name given to the main Cathar centre in Languedoc. This
was in deference to the matrilinear heritage of the Grail dynasty,
for the Cathars were supporters of the original Albi-gens: the
Elven
bloodline which had descended through the Grail queens of yore such
as Nin-kharsag, Eresh-kigal, Lilith, Miriam,
Bathsheba and Mary
Magdalene. It was for this very reason that, when Simon de Montfort
and the armies of Pope Innocent III descended upon the Languedoc
region in 1209, it was called the Albigensian Crusade.
Through some thirty-five years, tens of thousands of innocent people
were slaughtered in this savage campaign, all because the
inhabitants of the region were upholders of the original concept of
Grail kingship, as against the inappropriate style of monarchy which
had been established by the papal machine and its fabricated
document of charter.
The concept of calling the princely race of the Grail the Shining
Ones, while also defining them as Elves, dates well back into
ancient Bible times and can be traced into Mesopotamia (modern
Iraq)
and Canaan (Palestine). The ancient word ’El’, which was used to
identify a god or lofty-one (as in El Elyon and El Shaddai) actually
meant Shining in old Mesopotamian Sumer. To the north in Babylonia,
the derivative ’Ellu’ meant Shining One, as did ’Ilu’ in Akkad.
Subsequently, the word spread across Europe to become ’Ellyl’ in
Wales, ’Aillil’ in Ireland, and ’Elf’ in Saxony and England.
The plural of El was Elohim, the very word used in old Bible texts
to denote the gods, but strategically mistranslated to conform to
the Judaeo-Christian’One God’ image. Interestingly, in Gaelic
Cornwall, South West England, the word ’el’ was the equivalent of
the Anglo-Saxon ’engel’ and the old French ’angele’ which, in
English, became ’angel’.
There exists in Iran (ancient Persia) and the Canary Islands a large
plant called the Dragontree. This plant is of the lily variety, and
its resin is known as dragon’s blood. The red extract was used as a
ceremonial dye in the East, where it was referred to as ’lac’, whose
derivative ’lac’ or ’lake’ pigment is found today in the artists’
paint colour Scarlet Lake.
Dragonswere very important to the descendant Shining Ones, who were
anointed upon their kingly installation with the fatty oil of the
sacred dragon – essentially a large four-legged monitor native to
the Euphrates valley. In Mesopotamia, this creature was called the
Mûs-hûs, and in Egypt his equivalent was the Messeh. On anointing,
the kings were reckoned to gain the prowess of the sacred beast,
becoming Messehs in their own right – and it is from this that the
Hebrew term Messiah (meaning Anointed One) derived. Jesus was in no
way unique in this regard – all the successive kings of the early Albigensian line were Messiahs.
By virtue of the Dragontree, it is easy to recognize why the blood
of the dragon was always associated with the essence of the lily –
and indeed why the Grail queens of yore were often given applicable
names such as Lily, Lilith, Luluwa, Lilutu and Lillet. It is, in
fact from the very tradition of the ’lac’ pigment that the family
name of du Lac became prominent in Arthurian lore – as for example
the Burgundian dynasty of Queen Viviane du Lac, mother of Lancelot du Lac. This was translated into English to become Lancelot of the
Lake, but its more correct representation was Lancelot of the dragon
blood.
Alongside this, the Grail dynasty was also variantly styled the
House del Acqs, meaning ’of the waters’, from which came the queenly
tradition of the Ladies of the Lake. The Rosi-crucis (or Dew-cup) –
the emblem of the Holy Grail – was itself identified with the
Messianic blood held within the sacred chalice of the maternal womb.
It can, accordingly, be seen that the styles of du Lac and del Acqs
are entirely synonymous, as are the historical traditions of the
Dragon and the Grail. These conjoined traditions are especially
significant in the story of the ’blood and water’ which flowed from
Jesus’s side at the Crucifixion – being emblematic of the fact that
he (Jesus) was truly a kingly dynast of the Shining Ones
(Anunnaki).
The concept of fairies (the fair folk) was born directly from Dragon
and Ring Lord cultures, being a derivative of the Greek ’phare’,
meaning ’great house’. (it is from this that the word ’pharaoh’ also
derives). In the Gaelic world, certain royal families (especially
those of the Pendragons) were said to carry the fairy blood – that
is to say, the fate or destiny of the Grail bloodline and of
humankind at large – while the Elf-maidens of the Albi-gens were the
designated guardians of the earth, starlight and forest. It is for
these reasons that fairies and elves have so often been portrayed as
shoemakers and lamplighters, for the fairy cobblers made the shoes
which measured the steps of life, while the Shining Ones of the elven race were there to light the way.
In national terms, although fairies present a widespread image, they
are particularly associated with Ireland, where they are epitomized
by the ancient people of the Tuatha Dé Danann. This formidable king
tribe was, nevertheless, mythologized by the Christian monks, who
rewrote the majority of Irish history to suit their own Church’s
vested interest in Eire. From a base of the monastic texts (which
arose onwards from medieval times) it is generally stated that these
people were the supernatural tribe of the agricultural goddess Danaë
of Argos, or perhaps of the Aegean Mother-goddess Danu. But their
true name, rendered in its older form, was Tuadhe d’Anu – and as
such, they were the people (or tribe) of Anu, the great sky god of
the Anunnaki.
Onwards from the year 751, the Church sought all possible measures
to diminish the status of any royal strain emanating from the
original Ring Lords so that the fraudulent Donation of Constantine
could be brought into play. Henceforth, only the subjugative Church
could determine who was and was not a king, while the elves and
fairies of the Albi-gens were maneuvered from the forefront of
history into a realm of apparent fantasy and legend.
In this regard, it is significant that the Elves in Tolkien’s
The
Lord of the Rings are quite unlike the cute little characters of
many fairy tales; they are actually larger and more powerful than
average mortals. They are also endowed with greater powers of
wisdom; they ride magical horses and closely resemble the ancient
king tribe of the Tuadhe d’Anu. Settling in Ireland from about 800
BC, the Tuadhe d’Anu hailed from the Central European lands of
Scythia, the Black Sea kingdoms which stretched from the Carpathian
mountains and Transylvanian Alps, across to the Russian River Don.
They were strictly known as the Royal Scyths and their
classification as fates or fairies occurred because they were
masters of a transcendent intellect called the Sidhé, which was
known to the druids as the Web of the Wise.
As the Church rose to power following the 8th-century implementation
of the Donation of Constantine, so the ’underground stream’, which
supported the true Albi-gens, found strategic methods of preserving
the old culture of the royal bloodline. In the course of this, and
based upon a traditional principle of folklore and legend, the fairy
tale concept was born – stories which were not unlike many of the
parables inherent in the New Testament Gospels. They were likewise
contrived ’for those with ears to hear’, while others among the
uninitiated would perceive them simply as fanciful children’s
entertainment.
A key focal message built into these fairy tales was an
understanding of the importance of perpetuating the family line of
the Sangréal (Blood Royal), regardless of the power of the bishops
and the Church’s puppet kings. The whole scenario was presented,
time after time, as if it were a struggling nightmare, wherein the
female (the Elf-maiden who carried the essential mitochondrial DNA)
was out of reach of the Grail prince, so that his torturous quest to
find her was akin to the quest for the Holy Grail itself.
Consequently, many of the tales which emanated from this base were
stories of lost brides and usurped kingship, based upon the
Church’s
subjugation of the Grail bloodline. The fairy tale ideal was
essentially geared to relate the truth of these persecutions. They
were allegorical accounts of the predicament of the Messianic family
– the Ring Lords of the Sangréal, whose fairies and elves (having
been maneuvered from the mortal plane of orthodoxy and status quo)
were confined to a seemingly Otherworld existence. They emerged as
tales of valiant princes who were turned into frogs; of Swan knights
who roamed the Wasteland and of Grail princesses locked in towers,
or put to sleep for hundreds of years. In the course of their
persecution, the Elf-maidens were pricked with bodkins, fed with
poisoned apples, subjected to spells or condemned to servitude,
while their champions swam great lakes, battled through thickets and
scaled mighty towers to secure and protect the matrilinear heritage
of the Albi-gens.
These romantic legends include such well-known stories as the
Sleeping Beauty, Cinderella, Snow White and Rapunzel. In all cases,
the underlying theme is the same, with the princess kept (through
drugging, imprisonment or some form of restraint) out of reach of
the prince, who has to find her and release her in order to preserve
the dynasty and perpetuate the line.
It was during the period of France’s Carolingian dynasty (the
dynasty of Emperor Charlemagne), which began in 751, that the seeds
of most of these popular stories were planted, and it is because of
the inherent truths which lie behind the stories that we find them
so naturally appealing. Some academics argue that fairy tales
survive and thrive because they are often based upon a
’rags-to-riches’ doctrine, but this is not the case. They survive
because deep within the Western psyche is an inherent, inbred
awareness that the Grail (symbolized by the Lost Bride) has to be
found if the Wasteland is to return to fertility.
The Rapunzel story relates that, in order to function as an
effective seer, Rapunzel was confined to a tower by an enchantress
as a measure of protection against the world at large – in essence
to preserve her maidenly virtue and the supernatural power related
to that virtue. Hence, as in all similar stories, although the lost
bride has been confined (whether by fair means or foul), she always
emerges in a fit mental and physical state for the Grail prince.
Another important facet of the desired virginal portrayal, as
evident in the tale of Rapunzel, is the allegorical symbolism of
long hair. Rapunzel’s golden locks are presented as being plaited
into a lengthy braid which the prince used to scale the tower.
Before eventually being freed, however, Rapunzel’s hair was cut off
by the enchantress, thereby implying the release of the maiden’s
chastity to the wilderness. The importance of very long hair was
that it afforded an appropriate veil of modesty even when in a naked
state. Although perhaps physically or metaphorically divested of
clothes (as symbolized by the willing or compulsory subordination to
another), the Elf-maiden with tresses was never vulnerable; her
dignity was always preserved and neither her body nor soul was ever
bared until the appropriate time.
The oldest complete version of the Ring Cycle comes from the Norse
mythology of the Volsunga Saga. This was described by the English
poet and designer William Morris as "the great story of the North
which should be to all our race what the tale of Troy was to the
Greeks". Compiled from more than forty separate legends, the
13th-century Icelandic tale relates to the god Odin, to the kingdom
of the Nine Worlds and to a dark forest called Mirkwood – a name
later repeated by Tolkien in The Lord of the Rings.
It also tells of how Prince Sigmund of the Volsung dynasty is the
only warrior able to pull the great sword of Odin from a tree in
which the god had driven it to its hilt – as replicated in the
Arthurian story of the sword and the stone. Additionally, we learn
of the Water-dwarf Andarvi, whose magical One Ring of red-gold could
weave great wealth and power for its master – precisely as depicted
in all related Ring legends.
Contemporary with the Volsunga Saga was a very similar tale which
appeared in and around Burgundy in the 1200s: a Middle High German
epic called The Nibelungenlied. In this account, which follows a
similar path, the hero is called Siegfried and the tale is given a
knightly gloss of the Gothic era, while unfortunately losing some of
the pagan enchantment of the Northern legend. No musical composer
has done so much to preserve the legacy of Ring lore as Richard
Wagner, whose renowned opera, The Ring of the Nibelung, was largely
drawn from the Burgundian folklore of The Nibelungenlied and, to
some extent, from the Volsunga Saga.
Over the years, many people have likened Tolkien’s wizard, Gandalf,
to Merlin of the Arthurian tales. At the same time, Tolkien’s
Aragorn has been likened to King Arthur but, as Tolkien himself
pointed out (in a letter written in 1967), there was really a closer
similarity between Aragorn and the historical Charlemagne. The
challenge which faced Charlemagne in the 9th century (having been
charged by the Pope to establish a viable Empire from various
disunited kingdoms) was not unlike that which confronted Aragorn,
who reunited the divided kingdoms of Middle-earth in The Lord of the
Rings. But there was a marked difference in practice, for Aragorn
was far more like Arthur in having an advisory wizard, whereas
Charlemagne did not because the Church would not consent to royal counsellors outside its own appointees.
Aragorn’s was, therefore, more of a Gaelic-style environment, with
his enemy being the evil Sauron of Mordor. Charlemagne, on the other
hand, was supposedly a champion of the Roman Church whose
adversaries were the supporters of the unlawfully ousted Merovingian
establishment – an establishment to which Aragorn would personally
have been well suited. The difficulty one has in understanding
Charlemagne is that, for all the apparent Carolingian attachment to
the Vatican, he does not seem to have been wholly committed to the
Roman ideal and clearly inherited a strong contrary legacy from his
mother, who was a daughter of the Merovingian Princess Blanche
Fleur.
Undeterred by the Donation of Constantine, which had enabled his
father, King Pepin, to usurp
the Merovingian throne, Charlemagne
retained advocates of both the Grail Church and the Roman Church at
his Court. He was not even too keen on the idea of becoming Holy
Roman Emperor but, on Christmas Day in the year 800, while in the
Roman Basilica of St. Peter’s in the company of several bishops,
Pope Leo III crept up behind him and placed the Imperial crown on
his head without warning!
Traditionally, the Albi-gens (Elven bloodline) has been identified
with water – a concept that can be traced back some five millennia
to Tiâmatthe Dragon Queen. Her Akkadian name actually means ’salt
waters’ and had its equivalent in the Hebrew ’tehôm’ (or ’tehômot’
in the plural), as used in Old Testament references to ’the deep’.
The name Mary, which is associated with the Messianic line (as in
the Blessed Mary, Mary Magdalen, etc.), was itself linked to the sea
(as in the French: ’mer’, and its Latin equivalent) – also with
water in general. It is an English form, based upon a Greek variant
of the Hebrew Miriam along with the Egyptian Mery, meaning ’beloved’
(as in Merytaten: Beloved of Aten). For this reason, in some
conventual orders, the nuns still use the titular style of Mary in
front of their baptismal given names: Sister Mary Louise, Sister
Mary Theresa and the like.
Alongside the Mary Magdalene movement in 1st-century Provence was
that of her colleague Mary Jacob. She was the New Testament wife of
Cleopas (as given in the Gospel of John) who had accompanied the
Magdalene to Gaul in AD 44, as detailed in The Acts of Magdalene in
the Vatican Archives. St. Mary Jacob was a Nazarene priestess, who
became better known in Europe as Mary the Gypsy or Mary the Egyptian
(from which the word ’gypsy’ derived). In England her cult was
widespread in medieval times and her Oath of Wedlock was referred to
as the Merrie – from which the verb ’to marry’ derives, as does the
tag applied to Merrie Englande. Often depicted with a fish-tail,
Mary the Gypsy was an original ’merrie-maid’ (a mermaid), and she
was given the attributive name Marina in the Middle Ages. She is
portrayed as such alongside Mary Magdalene in a window at the Church
of St. Marie in Paris, and her memory is preserved in Maid Marian
and the Merrie Men of the Robin Hood legends.
In ancient Egypt it was common practice for the pharaohs to marry
their sisters in order to progress their kingship through the female
line. These wives were often the pharaohs’ half-sisters, born of
their mothers by different fathers, for it was the mitochondrial DNAof the matrilinear succession that was important to the dynasties.
(Although mitochondria is inherited from mothers by both sons and
daughters, it is only passed on by the daughters, since this DNA
resides within the female egg cells.)
It can be seen from plotted genealogical charts of the era that,
although Egypt had many successive kingly dynasties, these houses
were only renamed and renumbered when a pharaoh died without a male
heir. The important thing was that his queen had a female heiress,
and it was upon that daughter’s marriage into another male line that
a new dynasty began. Many pharaohs had a number of strategically
chosen wives and often married into the various strains of the
original royal blood of Mesopotamia from which the early pharaonic
dynasties were themselves descended. In such cases, the crown
princes would marry the daughters of their fathers’ second or junior
queens, thereby perpetuating an apparent patrilinear descent, but in
fact heightening the female blood of their line in favour of
successive generations.
The story of matrilinear royal descent traces back thousands of
years to the very dawn of recorded time when the great Anunnaki Lord
of the Sky wasAnu. He is documented on clay tablets and cylinder
seals from the 3rd millennium BC, discovered in the Sumerian delta eden of the Persian Gulf. His queenly consorts were his sisters:
Antu, Lady of the Sky, and Ki, the Earth Mother.
Anu had two sons: Enlil (whose mother was Ki) and Enki (whose mother
was Antu). Enki had two wives, one of whom was his half-sister
Nîn-khursag, the Lady of Life. By the same token, Enlil similarly
had two wives, including Nîn-khursag who was, therefore, consort to
each of her brothers. This deiform family had descended from the
great Mother Goddess Tiâmat – described in
the Enûma elish (the
original Creation account which preceded the writing of the Old
Testament’s book of Genesis by more than 2000 years) as ’She who
bore them all’.
The rule of kingly descent through the senior female line appears to
have been established from the outset when a dispute over
entitlement arose between the brothers Enki and Enlil.
The Anunnaki
overlords were said to have governed by way of a Grand Assembly of councillors who sat at
Nippur. They consisted of eight members
(seven males and a female), who held the Rings of divine justice,
along with their president, Anu, who held the One Ring to bind them
all. This conforms precisely with the Nine Kingdoms of the Volsunga
Saga, which cites Odin as the ultimate presidential Ring Lord. As
the original god-kings of Mesopotamia, this Assembly was said to
have introduced kingly practice which, according to the
Sumerian
King List (dating from before 2000 BC) was ’lowered from heaven’.
The Anunnaki fraternal dispute arose when Anuresigned his
presidency of the Grand Assembly, at which point his elder son
Enlil
became the apparent candidate. His brother Enki challenged this on
the basis that, although he was younger than Enlil, he was the
senior son and royal successor because his mother, Antu, was Anu’s
senior sister, whereas Enlil’s mother, Ki, was Antu’s junior.
Therefore, claimed Enki,
"I am the great brother of the gods. I am
he who has been born as the first son of the divine Anu".
As such, it was his mother
Antu who held the primary office of
queenship, and among her variously recorded titles, the later
Kassite Kings of Mesopotamia (from around 1750 BC) called her the
Lady of the Fire-stone, granting her the name Barat-Anna. This
derived from the Kassite royal stem BRT (rather like the modrn
HRH)
and from the Akkadian An-na (meaning Fire-stone).
Barat-Anna (Barati to the Phoenicians) was the Great Mother of the
Air and Sea, the Goddess of Light and Fire who was later identified
with Diana of the Nine Fires. Her symbol was the Rosi-crucis (the
Cup of the waters) – a cross within a circle which, as we have seen,
was the original emblem of the Grail bloodline from the 4th
millennium BC. On early Phoenician coins, it is significant that
Barat-Anna is portrayed sitting on the sea-shore with the Rosi-crucis emblem beneath her chair. This very same image was
transported by the Kassites into the Gaelic realms of Europe and,
eventually, found its way onto the coins of Britain, where Barat-Anna
was redefined as Britannia and given a torch to signify her
fire-alchemy status.
From the 17th century, when Frances la belle Stuart (the daughter of
Lord Blantyre) modelled for the updated Britannia image used on
British pennies until recent times, the Rosi-crucis emblem was
enlarged and adapted to become the Union Jack shield, but it
remained a rounded device. Also, the torch of fire was replaced by a
lighthouse and Britannia was given a trident but, in all other
respects, this supposed unique symbol of Britain’s tribal goddess is
not British at all; it is ancient Phoenician.
The Kassites of Mesopotamia, who venerated the goddess Barat-Anna,
were kin to a line descended from the biblical Esau. The book of
Genesis explains that Esau had a number of wives, one being a
princess of the old line called Bashemath, by whom he had two
prominent grandsons: Nahath, Lord of Edom, and Shammah-si, also Lord
of Edom. Despite their listing in the Bible (only to be sidestepped
in favour of pursuing a junior course from Esau’s brother Jacob),
the powerful Lords of Edom are still given an amount of temporary
prominence, being cited as ’The kings that reigned in the land of
Edom before there reigned any king over the children of Israel’ .
Not only did the family of Esau inherit Edom, but they became
Kings
of Assyria and Lords of the Babylonian Sea Land from around 1780 BC.
Later successors of the line were the Hyksos Kings of Egypt: the
shepherd-guardians who reigned in the Nile Delta simultaneously with
the 17th pharaonic dynasty of Thebes. During that same era, from
about 1750 BC, their cousin line of Kassites governed Greater
Mesopotamia, bringing a return to law and order after some 200 years
of turmoil since the departure of the Anunnaki overlords.
Subsequently, from around 1600 BC, they ruled more specifically in
Babylonia and Sumer for another 500 years.
What emerges from these coextensive tribal histories is that there
were common Sumerian roots in Anunnaki times between the Kassites
and the biblical family of Esau who, as Genesis explains, descended
from the patriarchs of Ur. Their mutual interest in horse-drawn
vehicles is also significant since it pulls the families back beyond
Sumerian times to the Kurgan race of Scythia and the Russian
steppe-lands who originated the concept.
In recent times there have been some astonishing discoveries in this
regard – discoveries which prove that Sumerian was not the first
written language as is commonly portrayed, and that the Sumerian
culture (generally held to be the earliest cradle of civilization)
had an older origin of its own. Indeed, the Ring Lord culture and
the notion of earthly kingship did not begin in ancient Sumer; it
began long before in the Balkans, specifically in Transylvania and
the Carpathian regions.
Since these discoveries are especially relevant to the fairy lore of
the druidic Sidhé, we shall consider them at a more appropriate
later stage of our investigation. Meanwhile, in preparation for
this, we should continue our journey with the Kassites. These people
gained their name from the word Kassi, which meant ’Place of Wood’ –
the place in question being a sacred royal mound dwelling, variantly
called a Caddi. By virtue of this, the Kassites were designated
Wood
Lords.
In the 12th century, Melusine’s descendant, Robert de Vere, 3rd Earl
of Oxford and legal pretender to the Earldom of Huntingdon, was
appointed as King Richard I’s Steward of the forest lands of
Fitzooth. As Lord of the Greenwood and titular Herne of the Wild
Hunt, he was a popular people’s champion of the Sidhé heritage - as
a result of which he was outlawed for taking up arms against King
John. It was he who, subsequently styled Robin Fitzooth, became a
prototype for the popular tales of Robin Hood.
Of all the monarchs who ever sat upon the Throne of England, the
Tudor Queen, Elizabeth I, was by far the most in tune with ancient
cultures and wood lore. She was even called the ’Fairie Queen’ and,
before being formally crowned, she was installed by the people as
their Queen of the Greenwood. This was an ancient ritual of theShining Ones - the elven race of the Albi gens. The ceremony was
conducted in the mist of early dawn in the depths of Windsor Forest
and, to facilitate the installation, the customary Robin Hood legacy
of the House of Vere was brought into play.
At that time the Queen’s Lord Chamberlain was Edward de Vere of
Loxley, 17th Earl of Oxford, and it was his office to invest
Elizabeth by first deposing the Caille Daouine. This was the
traditional King of the Forest (whose name had given rise to
Scotland’s Pictish realm of Caledonia) - the mighty Stag of the
Seven Tines, upon whose back Lord Vere rode into the ceremonial
clearing.
Edward de Vere of Oxford was a friend and student of the Rosicrucian
alchemist and Secret Service operative,
John Dee, and he worked
closely with the statesman and philosopher,
Francis Bacon (later
Viscount St Albans). Between them (along with others) they comprised
the Royal Court Syndicate, which was responsible for providing much
of the material for the works of their playwright colleague, William
Shakespeare.
As mentioned in connection with Melusine, fountains, springs and
water in general were always associated with the Ring Lord female
line. This stems from the very earliest times of the Anunnaki, whose
founding mother (as explained in ancient Mesopotamian literature)
was Tiâmatthe sea-dragon. In later times these queens were commonly
represented as mermaids (mere maids), and were often called
Ladies
of the Lake. This was a style granted to Mary Magdalene when she had
settled in Provence from AD 44.
While the male descendants of her and Jesus became the noted
Fisher
Kings in Gaul, the female line retained its Dragon Queen status, in
a quite separate dynasty, as the matriarchal Queens of Avallon in
Burgundy. They were known as the House del Acqs (the House of the
Waters) and among their number was the great 6th-century
Queen
Viviane, revered as the Lady of the Lake in Arthurian romance. This
heritage was so important to the Celtic Church that, when King
Kenneth MacAlpin united the Scots and Picts in 844, his extant
installation document made special mention of his descent from the
Queens of Avallon.
The true significance of King Arthur was his immediate joint descent
in both the male and female lines of the Albi gens. His father was
King Aedàn of Dalriada, the Pendragon of Britain in the year 559 - a
descendant of the Wood Lord, Beli Mawr. His mother was Ygerna del
Acqs, the daughter of Queen Viviane, whose grandson (by Ygerna’s
sister, Viviane II) was the legendary Lancelot del Acqs. Ygerna
(sometimes called Igraine in the Grail tradition) was the High Queen
of the Celtic kingdoms and her daughter, Morgaine (by her first
husband, Gwyr Llew of Carlisle), was High Priestess of the Sisters
of Avallon.
There have, over the years, been any number of speculations
concerning the historical Arthur, but these are mainly fronted by
tourist establishments endeavouring to claim the Arthurian heritage
for their particular parts of England or Wales. The fact is,
however, that (in line with the traditional accounts) there was only
ever one High King of Britain called Arthur. There was only ever one
Arthur born as the son of a Pendragon. There was only ever one
Arthur whose mother was Igraine of Avallon and whose grandmother was
the recognized Lady of the Lake. There as only ever one Arthur with
a son named Modred, and there was only ever one Arthur with a sister
called Morgaine (or Morganna as some of the stories refer to her).
In this regard, the old annals of Scotland and Ireland, along with
the records of the Celtic Church, are unanimous in identifying
Arthur mac Aedàn of Dalriada. He was invested as Sovereign Commander
and High King in the year 575 by the druid, Merlin Emrys, and his
primary seat was at Carlisle in the north of England, from where he
controlled the military defence of the English-Scottish Border
country.
Reverting, once more, to the Raths (or royal mound dwellings), we
should perhaps consider the fact that, as mentioned, these Portals
to the Netherworld were called Tepes - for this was the very style
afforded to one of the most enigmatic of all Gothic figures - Count
Dracula. Historically, and quite outside the Christian propagandist
mythology which surrounds the vampire character of Bram Stoker’s
famous novel, Dracula was Prince Vlad III of Wallachia, who is often
referred to as Vlad Tepes.
Since the word ’Tepes’ relates to wooden poles, it is often thought
that Vlad’s descriptive nickname relates to his individual method of
executing enemies of the State by impaling them upon wooden stakes.
Hence, Vlad Tepes is sometimes said to mean Vlad the Impaler. This,
however, is completely untrue. He was called ’Tepes’ (as were many
other druidic elders before him) because, within the ancient Ring
Lord culture of the Sidhé, he was an appointed Creachaire Portal
Guardian.
Vlad Tepes, a 15th-century Prince in Romania, founded the capital
city of Bucharest. His popularized name, Dracula, means, ’Son of Dracul’, and
Dracul (or Dragon) was a style by which his father was
known within the Grail fraternity of the Ordo Draconis (The Imperial
Court of the Dragon) from 1431. During this past century, ever since
the 1897 novel, Dracula, was published, Vlad has become an archetype
of the Church-promoted Gothic tradition. However, the
establishment’s real fear of Dracula was not his harsh treatment of
enemies, as is so often cited, nor that he was a blood-sucking
vampire in the Stoker tradition. What they feared was his in-depth
knowledge of alchemy and the fact that he was truly an operative
Oupire - a venerated Overlord of the Rath - a Portal Guardian in the
ancient Yulannu manner of the Ring Lords.
Those of you who have read
Bloodline of the Holy Grail, or maybe
even
Genesis of the Grail Kings, will be familiar with the
terracotta portrayal of the Sumerian goddess, Lilith (below
image), from around
2000 BC. In this depiction (as in those of other Anunnaki hierarchy) Lilith is seen to be holding the
Rod and Ring of Divinely Measured
Justice. The Rod was actually an instrument of measure - and in some
portrayals it is very clearly marked in calculable units (like a
modern ruler). By Babylonian times, it was referred to as the Rule,
and the one who held the Rule was the ’Ruler’ - which is from where
our governmental term derives.
The Ring (as mentioned at the beginning of this talk) was a
symbol
of wholeness, unity and eternity. It represented a continuance of
divine justice - a justice that was measured by the Rod (or Rule).
Hence, the Ring was the ultimate insignia of the Anunnaki overlords
- the enigmatic Oupires who were responsible for the establishment
of municipal government and kingly practice - for they were the
progenitors of civilization from about 4000 BC.
In view of this, it is of particular interest to note that Tolkien
answered (when asked about his book’s Middle Earth environment) that
he perceived its setting to relate to somewhere around 4000 BC.
"The
cauldron has always been boiling", he said, "We simply add new
ingredients to the soup".
In this respect, his popular tale,
although enthralling, was not actually new in concept. From the
earliest of European times, the Saxon god, Wotan (or Odin - the
equivalent of the Sumerian Anu), was said to have ruled the world
with eight rings - having one more, the ninth ring (the One Ring),
to govern the others.
During the medieval days of the Church’s persecution of heretics
and, indeed, through the Middle Ages and beyond, all manner of
Grail-related subject matter fell prey to the wrath of the bishops
and friars. Unsuspecting victims were accused of any number of
apparently unsavoury practices, and any association with the Ring
culture was proscribed. Indeed, when Joan of Arc was accused of
witchcraft, one of the charges laid against her by the bishops was
that she used magical rings for enchantment and curative purposes.
As a result, she was burnt at the stake in 1431. But recently, in
1920, the Church reconsidered her case and she was pardoned and
canonized!
As detailed in Bloodline of the Holy Grail, not only were
proscriptions levelled against the Prophesies of Merlin - with a
good deal of other literature confined to the supposedly ’lost’
coffers of the Dark Ages - but pictorial art also came under close
scrutiny and many new rules were made. One of these was that the
Virgin Mary must only be portrayed wearing blue and white (just as
she is commonly depicted today). The reason for this was that other colours, especially the
red of the cardinals, might have implied
that she held some form of ecclesiastical office within a Church
that afforded no clerical status to women.
What is not so commonly known is that the Church’s regulations also
applied to music - in particular ancient music which could be traced
to cultures other than that of Rome, Greece or Lydia. It is by
virtue of these implemented regulations that so many of today’s
reference books determine that, for the most part, music evolved
either from Greece, or from various parts of the Roman Empire.
It is precisely the same with the English language, which is
largely, but quite erroneously, said to derive from Greek or
Latin.
To cement this notion very firmly into our culture, we are taught
from the classical literature of Homer and Virgil - but what is
always forgotten is that both the Greek and Roman languages
themselves evolved from other, far older, sources. Much of the
language of Europe, including the English language, can be traced
back into Phoenicia, Syria, Egypt, India and
Mesopotamia - with many
of the word stems being thousands of years old.
In the world of music, we have the very same scenario and, by virtue
of discoveries made in the past few decades, there is no doubt that
structured and sequenced music played a major role way back in the
days of the Babylonian kingdoms and beyond. Silver pipes, bells and
drums, along with beautifully ornamented harps and lyres, have all
been unearthed in ancient Sumer from graves dating back five or six
thousand years, and it is known that lutes were also used.
Buried along with kings and queens of the Dragon succession, these
finely produced instruments were clearly ceremonial, and would
appear to have been used in ancient Star Fire and Fire-stone rituals
described in Genesis of the Grail Kings. The Fire-stone ritual (the
ritual of the goddess Antu - or Barat An-na) was largely a
levitation ceremony conducted with the monatomic, superconductive
element of the Highward Fire-stone (the
White Powder of Gold).
Even in modern times, music has been used to perform levitational
feats - notably in Tibet, where prohibitively large stone blocks
have been lifted and positioned high in the mountains by using
anti-gravitational sound frequencies. The ritual involves 19
musicians and, behind them, 200 monks, radiating outwards in lines
(in groups of five) at 5-degree intervals facing towards a mountain
cave.
The musicians use 13 barrel-drums of variant sizes (weighing up to
150 kilograms apiece) - suspended from wooden frames and directed
towards a bowl-shaped cavity in which the required boulder is
placed, between the musicians and the cave. Also, there are six long
trumpets positioned at intervals between the drummers. On command,
the trumpets and drums begin, with the monks at the rear providing a
baffle whilst chanting. The time-span before levitation of the stone
occurs is four minutes and, in this manner, stones have been lifted
some 400 meters to be lowered into their necessary mountain temple
positions.
Having made an intensive study of the intricacies of this ancient
procedure,
Adrian Wagner has recreated a musical enactment in
The
Phoenix and the Fire-stone track of the Genesis of the Grail Kings
album - strategically breaking the sequence with a Golden Mean
partition and concluding immediately before the four-minute
deadline. Locked within this are frequencies that are so low as to
be inaudible to conscious awareness, but which resonate directly
with the frequency of the pineal gland. This, as many of you will
know, is the gland responsible for heightened states of awareness
and perception.
Compilation Track
from 'Realm of the Ring' by Adrian Wagner
Also included within the
Genesis album are aspects of musical
harmonics which were banned by
the Vatican in the Middle Ages,
subsequent to their use by the Knights Templars and Cistercian monks
in the construction of their Magdalene-dedicated Notre Dame
cathedrals, which are noted for their architectural defiance of
gravitational theory. The Knights of this particular branch of the Templars (constituted by
King Baldwin of Jerusalem in 1118) were
called The Guardian Princes of the Royal Secret.
One of these musical sequences is the most famous of all - a Tritone
dubbed by the Church as the ’Devil’s Interval’. This is a direct
extraction from the discovered harmonic scales of ancient
Mesopotamian deities, which include the Enki Scale, Enlil Scale, Anu
Scale, Marduk Scale, Kingu Scale, Inanna Scale and others.
No composer has done so much to preserve the legacy of Ring lore as
Adrian’s great-great-grandfather, Richard Wagner. His renowned
16-hour, 4-part Nibelungen Ring Cycle (The Rhinegold, The Valkyrie,
Siegfried and Gotterdamerung - The Twilight of the Gods) was largely
drawn from Burgundian folklore, and to some extent from the very old
Norse mythology of the Volsunga Saga.
The Ring’s ultimately key character is the warrior Siegfried who,
while under the spell of a potion, betrays the woman he loves - a
goddess turned mortal called Brunhilde - who then masterminds his
death. Subsequently, however, she realizes her error and throws
herself upon Siegfried’s funeral pyre to be with him in eternity.
The magical Ring that Siegfried gave to Brunhilde is retrieved from
the ashes by the Rhinemaidens - the rightful water guardians of the
gold. And, by virtue of this, along with Brunhilde’s self-sacrifice,
a hitherto curse (placed upon the Ring by Alberic the Nibelung,
Dwarf-lord of the Underworld) is lifted.
The Ring had originally been stolen from the Rhinemaidens by the
Nibelung, who lost it to Brunhilde’s father, the sky-god Wotan. Then
Siegfried had won it by killing a dragon. But, upon the final
cleansing of the Ring by the Rhinemaidens, Wotan perishes, together
with his dream kingdom of Valhalla. With the Ring now back in its
rightful hands, the world is redeemed and the Cycle is complete.
And so, once again the traditional Ring lore is apparent - just as
in Tolkien and the Grail stories, for the Ring is finally seen to
destroy those who hold it without the right of affinity. The golden
Ring itself (forged from the enchanted flat-stone of the Rhinegold)
had the power to afford its master the lordship of all the world,
but only at the cost of forsaking love and selling his soul to the
Ring’s awesome power. In terms of the straightforward Messianic line
of King David and Jesus, the most powerful of the Ring Lords was
King Solomon who, in the traditional Judaic writings of the Talmud,
was said to be the mightiest magician of his age. His great wisdom
and considered judgment as a sorcerer-king were directly attributed
to his ownership of an enchanted ring, and the legend of King
Solomon’s Ring was clearly a major inspiration for Tolkien.
In the same manner as Solomon, Tolkien’s Ring Lord, Sauron, used his
One Ring to command all the demons of the earth. Solomon used the
demons to build a Temple of Jerusalem, whilst Sauron used them to
build the Tower of Mordor. The rings were also similar (as is usual
in the tradition) in that each had the power to corrupt and destroy
its master. Solomon’s ring achieves his downfall through the agency
of the demon Asmodaeus, whereas Sauron is, in effect, his own
destructive demon.
Along with the rings, there are also story similarities concerning
the possession of light-radiating jewels, with Solomon’s being the
Schamir and the Elf-king Thingol’s being the Silmaril - each of
which is said to be an heirloom of the respective King’s race.
By virtue of such Jewish writings, the Dominican wrath of the
Spanish Inquisition (from about 1480) was largely directed against
the Jews - especially those connected with Kabbalistic studies - and
it was really as a direct result of this persecution that the
witch-hunts began.
Prior to that, the Roman Inquisition had been more concerned with
heterodox Christians: those heretics who were Christians of one sort
or another (Arians, Nestorians, Nazarenes, or whatever), but were
not members of the Roman Church and whose culture revolved, to some
extent, around traditions of magic and alchemy that were outside
Church control. But, here were the Jews putting forward their own
versions of the old lore - particularly those in the Narbonne region
of the Spanish Marches, where the House of David had once been given
privileged rights of princely independence by Emperor Charlemagne.
It was recognized, therefore, that the net should be cast over a
wider arena, so as to take account of those of completely different
persuasions. It was no longer a matter of the Church simply endeavouring to clean up the Christian house. What of the Jews? What
of the Muslims? What of the pagans in general?
And so, from the late 15th century, the Inquisition began a thorough
process of ’ethnic cleansing’. No one who was other than a
full-blooded and obvious Catholic was safe. But, there had to be
some new form of classification to pull all the prey into the ever
expanding net. The Grand Inquisitor at the time was the brutal Tomâs
de Torquemada, senior confessor to Ferdinand II and Queen Isabella
of Spain. Under his direction the answer was found and, very soon,
the friars had set their sights upon what it called ’the most
diabolical heathens who ever conspired to overthrow the Roman
Church’.
In 1484, two Dominicans, Heinrich Kramer and James Sprenger,
published a book called The Hammer of Witches. This evil but
imaginative work gave full details of what was perceived to be the
hideous new threat posed by all the practitioners of satanic magic.
The book was so persuasive that, two years later, Pope Innocent VIII
issued an official Bull to authorize the suppression of this
blasphemous sect. Up to that point, the cult known as ’witchcraft’
(to the extent that it existed at all) had not really constituted a
threat to anyone. It rested mainly in the continuation of pagan
ritual and fertility rites by the peasant classes.
In real terms, it
was little more than the vestige of a primeval belief in the divine
power of natural forces, focused above all on Pan, the mischievous
Arcadian god of the shepherds. Pan was traditionally portrayed with
the legs, ears and horns of a goat, but the creative Dominicans had
other ideas about the pipe-playing Horned One, and they blackened
his image so that he was seen to correspond to the very Devil
himself. However, since the Inquisitors were all men, it was
determined that witchcraft must be a form of depravity linked to the
insatiable wantonness of women!
The problem was that nobody really knew who these presumed witches
were - and so a series of ludicrously tragic trials and tests was
devised to root them out. In the midst of all of this, the harsh
Puritan sect became politically allied to the Roman strategy,
implementing their own witch-hunts in England and, later, in
America. Over a period of some 250 years, more than a million
innocent men, women and children were murdered by the delegated
authority of the witch-finders.
It was against the backdrop of this religious fanaticism and
persecution that the Renaissance movement was born - an era of
rebirth and resurrection facilitated by an environment of democratic
free-thinking. This era (with its height in the early 1500s) was the
age when Leonardo da Vinci, Raphael and Michelangelo developed the
harmony of classical art to its highest form. And it was the age in
which the excitement of pagan-orientated scholarship re-emerged in a
burst of colour to cross new frontiers of science, architecture and
design.
During the course of this, in 1614 and 15, two tracts known as the
Rosicrucian Manifestos emerged from Germany. These were immediately
followed by an associated romance called
The Chemical Wedding,
written by the Lutheran pastor Johann Valentin Andreae. The
publications announced a new age of enlightenment and Hermetic
liberation in which certain universal secrets would be unlocked and
made known.
In view of the advent of Britain’s scientific Royal Society and the
inspired work of Isaac Newton, Robert Boyle, Robert Hooke, Edmund
Halley, Christopher Wren and others a few decades later, the
prophecies were correct enough but, at the time, they were veiled in
allegory and appeared to convey an even more pertinent message. The
writings centered upon the travels and learning of a mysterious
character named Christian Rosenkreutz - a Brother of the Rosy Cross.
His name was plainly designed to have Rosicrucian significance, and
he was depicted wearing the apparel of the Knights Templars.
The action of The Chemical Wedding takes place in the magical Castle
of the Bride and Bridegroom - a palace filled with lion effigies,
where the courtiers are students of Plato. In a setting worthy of
any Grail romance, the Virgin Lamplighter arranges for all present
to be weighed on the scales, while a clock tells the motions of the
heavens and the Golden Fleece is presented to the guests. Music from
strings and trumpets is played throughout, and all is cloaked in an
atmosphere of chivalry, while knights in Holy Orders preside.
Beneath the castle stands a mysterious sepulchre bearing strange
inscriptions, and outside in the harbour lie twelve ships of the
Golden Stone flying their individual flags of the Zodiac. Amid this
curious reception, a fantasy play is conducted to tell the
compelling story of an unnamed princess who, cast ashore in a wooden
chest, is discovered by a prince, whom she marries, thereby causing
a usurped royal heritage to be restored.
This is another Lost Bride fairy story of the type we have already
seen. But, when combined with the two earlier publications, The
Chemical Wedding’s Grail significance was blatantly obvious, and the
Church wasted no time in bringing the full weight of its
condemnation against the Rosicrucian movement.
Having considered the historical fairies, pixies and elves, we can
now take a look at some others of the so-called Shining Ones: the
sprites, goblins and gnomes.
The definition ’sprite’ means no more nor less than a ’spirit
person’ - one of the transcendental realm of the Sidhé. The
original
Sprites were the ancient Scythian ghost warriors, who painted their
bodies grey-blue to look like corpses when they entered the
battlefield.
In Shakespeare’s A Midsummer Night’s Dream, the character, Puck, is
described as a ’sprite’ and, in traditional English wood lore, Puck
is identified with a certain Robin Goodfellow, who was said to be a
’goblin’. His father was Herne the Hunter. Hence, Oberon and Herne
are one and the same. The name, Oberon (a variant of Albrey the
Elf-king, as we have seen) is itself a derivative of the Scythian
Oupire (meaning ’over’) and Ron (meaning ’reign’). Oberon,
therefore, means ’Over Reign’ - which is the same as High King or
Pendragon.
The description of ’goblin’ stems immediately from the Germanic
word, ’kobelin’ - and the ’kobelins’ were said to be
mine-workers or
those who worked underground. In the context of the Ring culture,
goblins were, in essence, attendants of the Oupire Portal Guardians
of the Rath - the mound dwellings of the Tepes gateways to the
ancestral Netherworld - and they were just as human as the Oupires
themselves.
Gnomes, like goblins, were said to be the guardians of the
underground treasures - which is why the word is today associated
with banking, as in the Gnomes of Zurich. The word root is in the
Greek equivalent of gno, from which we get gnosis and
gnoble
(noble). The gnomes were, therefore, once again, of the noble race
and were referred to as the Wise Ones. Their job was indeed one of
guardianship: they were guardians of the gnosis (the knowledge) and
of the sacred bloodline of the Albi gens. It is by way of the noble
(or gnomic) distinction that the fairy race in general was referred
to as the ’gentry’ - particularly the druidic caste of the
Pict-sidhé (the pixies) who were the ultimate custodians of law and
culture. Their female counterparts were the Behn-sidhé (the
Banshee), which, in old Irish, simply means ’wise women’.
In life, when presented with a seemingly unsurmountable problem, one
can either submit to the stress and pressure that it causes or,
alternatively, one can mentally diminish the problem. That does not
mean that it goes away, but it can appear less harassing and more
controllable. Well, that was precisely what the Church did with the
Dragon succession: the Ring Lords of the Albi gens - the sacred
Bloodline of the Holy Grail.
By way of redefining all the original
names: fairies, elves, pixies, gnomes, goblins, sprites or whatever,
they diminished the problem by miniaturizing the nominal
significance. In so doing, the transcendental race of the Sidhé were
portrayed as minute little figures and were moved into the realm of
mythology. The fraudulent
Donation of Constantine was then brought
into play and, henceforth, only the Church could determine who was
and was not a king!
If this strategy did not work sufficiently on its own, as was indeed
the case in the Renaissance (a period of a more general awareness
and enlightenment), then Par t-2 of the plan was brought into
operation. This was more specifically targeted at the key members of
the Messianic strain - the ultimate Dragon succession of the Albi
gens: the dynastic kings and queens of the Sangréal and their senior
Oupires. These people were real, and everyone knew that - so they
could not be confined to the superficial realm of fantasy. They
could, however, be portrayed as if (being of the Dragon blood) they
were of a weird, half-human strain, beyond the Christian pale. At
best, they were perhaps mermaids and, at worst, they were vampires
but, either way, they were the evil shapeshifting emissaries of
Satan!
The fact that anyone believed such nonsense is difficult to
comprehend in these more level-headed times. However, the myth is
still operative and, to some extent, it is still working with a
vengeance. It is even working on some whose apparent mission in life
is to expose such propagandist dogma, but who (by way if its own
cleverly contrived strategy) have actually fallen prey to it. In
this regard, at this very moment, there are some well-known,
supposedly intelligent folk, who should know better, claiming that
the British Royal Family, along with myself and others, are really
hideous reptiles from another planet!
One of the most surprising things about the Scythian Ring Lords is
that their preserved remains from thousands of years ago (discovered
even as far north as Siberia) show their bodies substantially
tattooed with ring-tailed lemurs. Lemurs, we are led to believe, are
native to (and pretty much restricted to) Madagascar and the Comoros
Islands off Mozambique - but here they are, where we are told they
never were, in Northern Europe and the Black Sea regions!
It has long been known that there was once a continent, inhabited by
a great king-tribe, which was noted for its lemurs. Hence, it has
been dubbed ’Lemuria’ - setting a good many enthusiasts searching
for its sunken whereabouts beneath the Atlantic, Pacific or Indian
Oceans, as if it were the
Lost City of Atlantis. Maybe such a
concealed territory does exist. However, the fact is that (by
whatever name it was once known) the mightiest Lemurian land tract
was never lost. It was the great mainland continent which still
exists today - stretching across eastern Europe through the one-time
USSR.
This was the original realm of the great Ring Lords - tracing back
to about 40,000 BC - the homeland of the Oupires of the Pict-sidhé.
It was the land of the mighty Warlords of the Dragon before they
migrated and battled their way southwards in the ever cooling
climate of the last Ice Age. Undoubtedly, the environment was once
very warm there, as is proved by the fact that the lemurs travelled
about as far south as they could possibly go by land before
Madagascar and the Comoros broke away from the southern African
mainland.
What did these early God-kings look like? Well, they are now
thoroughly identifiable from their preserved remains, which have
been excavated at various sites from as far afield as Transylvania
and Tibet. With their light-brown to red hair and pale eyes, the
leather-clad men stood at least 6ft 6ins and upwards, while even the
women were over 6ft tall. Undoubtedly, these forebears of the Gaelic
and Celtic High-kings were among the most awesome warriors of all
history.
Of particular interest is the fact that
the Anunnaki gods were as
much a part of the Sidhé culture as they were of the Mesopotamian
tradition. It was not for no reason that the settlement of Anu was
hundreds of miles north of Sumer on the Caspian Sea. It was not for
no reason that the ancient centre of Scythopolis (Sidhé-opolis),
which the Syrians called Beth-Shean (the House of Power), was 800
miles away in Galilee.
Indeed, It is now suspected that the Ubaid culture of southern
Mesopotamia - the culture which introduced municipal structure from
about 5000 BC - was actually the ’Uper-ad’ culture: that of the
Scythian Overlords - the Upers (or Oupires). It is also reckoned
that the subsequent culture of the region, phonetically called
’Sumerian’ (pronounced Shumerian), was actually Sidhé-murian (Shee-murian).
In fact, the case for this is now considerable, since the early Ring
Lords of Scythia (the Tuatha Dé Danann king-tribe) were actually
called the Sumaire. And in the language of old Ireland - to where
many of the caste migrated - the word sumaire meant ’dragon’.
So, why have we not learned about these people in our histories? The
answer is straightforward. They were, in practice, the real Elves
and Fairies of our heritage, but their story was quashed from the
earliest days of Roman suppression and subjugation - as the
diminution of their figures caused a parallel diminution of their
history.
The fact is, however, that for all we have been told about our
cultural identity being from the classical scholarship of Greece, or
from the imperial majesty of Rome, these things are entirely untrue.
Such establishments appeared very late in the day.
The true
sovereign heritage of our culture - the culture from which derived
all the so-called myth and legend which sits so comfortably within
our race memory (no matter what the Church and academics might say
in their attempts to sway us) - comes from one place alone. It comes
from a place and time that might just as well be called Middle Earth
as by any other name. It comes from the long distant Realm of the
Ring Lords.