extracted from 'The Origin of The Dragon Lords of the Rings'


Roland de Vere’s sword was called Durandel. An earlier spelling of this curious name, from the Oxford Dictionary of English Literature, is Durindana.

The word dwarf appears in old Norse as ’dvergr’, (Dva-Righ) with no apparent etymology. The closest word to it in English is Dwale which, in Danish is spelt ’dvale’ which is a soporific drink made from Deadly Nightshade or Belladonna, an ingredient of the witches flying ointment.

Tolkien took names for his dwarves from the Icelandic ’Prose Edda’. these names included Dwalin or Dvale, the shamanic flying potion, and Durin, who was creator of the nordic Dwarves. Durin is perhaps -Dva-Rign implying Death’s King, or the King of the Otherworld which seems appropriate in relation to The Scythian cult of Nergal etc. Dwar turns up in Transylvania as the god Thor of the (smith’s) Hammer. Dwalin was the Elf-Smith who forged the head of Odin’s spear, Gungnir, perhaps with meteor iron.

The word dwarf has nothing to do with midgets. Like the Troll - whose name simply means migrant wanderer - the dwarf has become an underground-dwelling spirit of diminutive proportions, when once they were probably, like the trolls, of "giants" size. We must appreciate such a term in the same way as we would think of Titans as being gigantic or "great" men of renown. The dwarves represent an early class of Danish god.

The dwarfes were miners and smiths and, as such they are identical to the cyclops’, Titans, kobolds and therefore, they are human sized Elven alchemist-smiths. Their habit of drinking dwale to contact the Otherworld gave them the name dwarfes. In every respect they are of normal height or perhaps taller, and the same as Robin Hood, Robin Artisson, the sprite, the pict-sidhe, the red cap, the boggart, the troll and so on. They are the ’sons of stone’ and the children of Anu. They are the Elf Lords of the Scythians. The "dwarf’ is just another branch or ’ritual characteristic’ of the Scythian tuadhe. In relation to the Danes, the dwarfes were like the Fir Bolg of Scandinavia, representing an earlier wave of Danaan migration.

Durin d’Ana is probably the original spelling of the name of Roland’s sword, meaning perhaps Elf-Father of Anu. The alternative spelling - Durandel likewise could mean; Durin Dail - (Lord Durin) Lord-father of the Elves. This, during the European ’Age of Heroism" seems an entirely appropriate name for the sword of an Elven Prince and a Brudhe-Bard of the Druids, who was a son of Melusine. (Michael Hunter).

This confirms him, as it says in the Vere charts, as the weapon’s ’custodian’’ as it is likely to have been passed down to him as the sword of a hero, very much like the sword Gram, which was given by Regin to Sigurd, who killed Regin’s brother, the Dragon Lord Fafnir. Hence we have Roland as - ’Keeper of the Sword of the Durin Dail’, the Durin d’Anu or Elf Father.

As the sword of the Elf Father, this reinforces the Durandel’s heroic identification with Gram, the weapon Odin thrust into the Oak Bransock. Charlemagne, Roland’s uncle, had a sword named sword Joyeuse which was forged by the pagan god Wayland or Volund the Smith. It is not unreasonable to assert therefore that Roland’s sword, probably forged by his ancestral forebear, the alchemist and druid Kai ap Emrys- Durandel - was made by a type of Andvari, the Elf King who lived in the original Scandinavian ’Mirkwood’ and was the final keeper of Andvarinaut, the Draupnir Ring of Midgard (or Tolkein’s ’Middle Earth’) which he kept hidden in a pool adjacent to that forest.. Roland appears in Lord of the Rings as Boromir, whose sword and horn are smashed at the last stand against the Orcs on Amon Hen, Boromir’s Roncevalles.

In defense of Charlemagne, he is, as David Day points out, a supposedly Christian king with a Pagan Ring and a Magical Sword, whose capital is founded on the Mere in which, like the Andvarinaut, that ring rests at the centre of his kingdom. To my mind, like so many other kings during the christian period, Charlemagne’s throne is positioned under the Damoclesian sword of the Catholic Church.

If one reads his letter to Pope Leo III, written in 796, one can see, as the commentary suggests, that Charlemagne was no fool. He appears to have anticipated the continued rise of the Church, and its desire to interfere with and ultimately control the secular world. It is very possible that in this respect, he was aware that the Church had sponsored the counterfeiting, in his kingdom, of the Donation of Constantine’.


His response was to assert that it was the king’s job to defend the Church from pagan hordes (by which he really meant protect his kingdom), whilst it was the Pope’s job to pray for the success of the king. In a sense, in his words, he reduces the rank of the Pope to that of a glorified ’canting cleric’.

The letter goes on to engineer a psychological scenario in which the Pope accepts Charlemagne’s authority and control over the Church, rather than that of the Church over Charlemagne who, it is asserted, never agreed to be emperor and would have avoided the Cathedral of St Peter’s that day, if he had known that the Pope had intended to exceed his authority by crowning Charlemagne. His genteel diplomacy was necessarily addressed to an institution that had sponsored the murder of Charlemagne’s ancestor Clovis. (Ehler and Morral, ’Church and State through the Centuries’, p.12).

Roland’s descendant Alberich I is supposedly named after the dwarf of the German hero cycles. However, a curious passage appears in David Day’s ’Tolkein’s Ring’:

"In many German Hero Cycles, the most persistent character in the ring quest tradition is the guardian of the ring and the treasure. This is the dwarf known as Andvari in the Norse tales and Alberich in the German legends. Although capable of being tamed, he is usually a sinister figure; however in late romances his appearance and powers often change. He often lends help to other heroes under alternative names: Alferich, Laurin and Elbeghast. Increasingly this character supplied all the supernatural elements in German romance: dwarf; wizard, elf, smith, guardian and god.


By the sixteenth and seventeenth centuries, he is entirely transformed. In Britain he becomes Auberon, and by Shakespeare’s time he is the remarkable Oberon, the King of the Faeries. In this role in A Midsummer Night’s Dream, he is said to be the radiant god of love, and the Immortal son of Julius Caesar and Morgan La Fay".

end quote.

All herein concerning midget miners and the like supports the evidence that dwarves, elves, fairies, pixies, witches dragons, vampires, druidhes, magi, gods, gnomes, sprites, pucks, pouccas and god knows what else are all the same species, variously caught or observed, at different times and in different places, in the commissioning of one or other weird or nauseous act after which they are then named, and for which they then become remembered for all time!

  1. Andvari is Andurin or Durin.

  2. Alferich is Elf King.

  3. Laurin is C12H2402 a crystalline substance obtained from the berries of the Bay Tree or Laurus Nobilis. Compounds derived thereto mclude Lauric Aldehyde, Ether and Chloroform. The Bay Tree, the Elder and the Yew comprise the sacred grove of sleep in Ogham. Laurin, like Dwale and dwarf is a name that derives from yet another way that the pixies got stoned out of their faces. Laurin is also ’the tunnel’ or labyrinth.

In Tolkien’s world Lorien was a Lord or Vala (see previous book) called Irmo and Lothlorien, in ’Lord of the Rings’ was the garden of Lorien, or the land of Elphame. Tolkien’s description of Lothlorien is identical to numerous descriptions of the state of being variously named Union with Godhead, Samadhi and the Kingdom of Heaven.

The reader is strongly advised to read Cohen and Phipps’ ’Common Experience’ (Rider and Co. London) in relation to this concept.

Lothlorien is a place, as Elphame is, that can only be seen in a special state of being. The whole universe is Lothlorien or Drakenberg
* - the Kingdom of the Elves - one just has to see it for what it is. Lothlorien translates into English as the Loth or Lot of Laurin, ’The Sorrow of Laurin’. Laurin is the Kingdom of the Elves, the Labyrinth: the Gateway to Heaven, Atman or Kether.


The Sorrow of Laurin is the sorrow of a place departed from. The whole world is becoming Grey as the living death of consumerism takes hold across the planet. The Wolves really are at the borders and soon Laurin will be gone forever. Hidden under a gigantic pile of discarded Macdonald’s cartons, Coke cans and reams of printer paper from former trees, covered in corporate consumer bollockspeak.

* Drakenberg is the legally recognized name of the Nation State of the Dragon Peoples. Drakenberg was officially recognized by default in 1997, by one Western Government. The Dragons wanted to see whether they could get their old enemies to recognize the Kingdom of the Elves, they having spent 1000 years attempting to eradicate all trace of it from the public consciousness. The exercise was successful and Drakenberg - The Dragon Sovereignty - (Lothlorien, if you like) exists with all the powers of an incorporeal state of peoples as defined by the United Nations. Essentially therefore, being an Elf or a Dragon is a recognized nationality! This was a serious political move undertaken for serious environmental and social reasons. Enquiries in this regard concerning DNA tests should be directed to Dragoncourt.org.

Richard Dufton has contributed some research he did on the subject of the Holy Mountain. Before the Black Sea flood the water level was obviously a lot lower than it is now. Richard Dufton has maintained, having studied the soundings, that in the centre of the Black sea there was an elevated piece of land. This he asserts must be the original home of the Ogdoad, the eight gods of the Ubaid who attempted to restore this little bit of high heaven on earth after the deluge but failed and scattered with their tribes to the four winds.

Additionally it is also of interest to note that the ’Bay of Belfalas’ in Tolkien’s ’Middle earth’ appears to have an identical contour to a bay on the eastern shore of the Caspian Sea. Essentially this region is "Middle Earth" in geographical terms we would understand. Whilst I would not, for one moment use Tolkien’s work as an "academic source", it is worth pointing out again that Tolkien borrowed a lot from myth and history. Although he denied an allegorical component in his work, it does nevertheless plot the fortunes of the Elven families, simply because of the material he used. In some works his Third Age was said to correspond with the period of earth’s history corresponding to roughly 10,000 BC, I believe.

It is usual to think of this time as being highly primitive and entirely dissimilar to anything Tolkien described in Lord of the Rings. However, if we take a fresh look at our own history and disregard the old school indoctrination we received that discounted anything as being historically significant or culturally evolved before the time of the Greeks and Romans, we will discover that the new archaeological evidence would point to there being a fantastic level of social, cultural, spiritual and industrial civilization in Eurasian history as far back as 22,000 years BC.

Richard Ridgley’s recent work in dismissing the myth of primitive ancestry is truly inspiring in this respect and gives birth in the mind’s eye to a world of incredible antiquity which, nevertheless, is far closer to ours than we could have ever previously envisaged. Tolkien’s Third Age could have sat as comfortably in 22,000 BC as it was said to have done in 10,000 BC. Although we cannot use Tolkien as a scholarly resource, we should remember that the human mind has an imagination and Tolkien’s work, because it is not too far off the mark and uses aspects of lore that exist in human history, does stimulate the mind to imagine what things were like so long ago.

This is no bad thing if objectivity is exercised, because if we dismiss imagination and vision as fantasy, we dismiss a tremendous creative faculty. The imagination unlocks doors to racial and genetic memory; and a wealth of information that we might call anticipatory, inasmuch as it seems to appear out of the blue.


Einsten is said to have used creative imagination to assist in formulating the Theory of Relativity and without imagination and reverie, Kekule would never have discovered the indole ring and chemistry as we know it would never have existed.

  1. Elbeghast is white ghost or Elf Spirit, giving Sprite, or Puck or Robin.

  2. Shakespeare’s Oberon was Aubrey de Vere. Thus Aubrey and Alberich were Dragon Ring Lords as was Robert the third earl, who was Robin Hood. Robin’s father was Oberon, Oberon’s father and mother were Caesar and Morgan La Fey. In real life Robert’s Father was Aubrey, who’s father and grand father were Alberic. This is how Alberich became Auberon who became Oberon, father of Robin or Puck. Alberic de Vere’s ancestors included Melusine’s great great grandmother; Morgan La Fey and Julius Caesar’s family!

Edward de Vere seems to have been Bill the Bard, and as such he seems to have written A Midsummer Night’s Dream as a genealogy of his family! As the ancestry Edward gave for Robin aka Puck aka Pan (the witc d) is accurate in the play, it seems fair to assert that Melusine was directly descended from Morgana. Therefore the marriage between Morgana and Julius Caesar in MSND is the marriage together, in reality, of the bloodlines of Morgana and Julius, both in the union of Melusine and Raymond, and in the union of Elinus and Pressina

This makes sense. Having such an accurate knowledge of his family history makes it even likelier that Edward’s Stag Ride was intended to assert his dynastic descent, just as as A Midsummer Night’s Dream did. The star therefore that alighted on Alberic I’s lance was indeed the falling star, Lucifer’s emerald, the Lia Fail, the cubic stone of the Grail, thus making the Robin Hood of England identical to the Robin Artisson of Ireland, as Art’s Son or Mac Art, son of the Lia Fail. It also confirms Robin Artisson, like Jesus, as son of the tekton or craftsman.


The legendary Alberich was a smith-tekton.


Perhaps the star on the lance tip of Alberic de Vere also symbolized its forging from star iron, like Odin’s Gungnir.

  1. Oberon as the god of love directly corresponds with Odin as a god of love, and both connect with Herne and the parasexuality of the Wild Hunt. Oberon is Andvari in the Danish cycle, the possessor of a Ring of red gold called Andvarinaut - "The Web of Andvari". This ring of red-gold itself made gold, a bio-alchemical allusion to wisdom through the possessing and the imbibing of royal blood.


    The Ring symbolized the ’rose’ of the Swan or Dragon Maiden, whilst the web was the interwoven mass of blood vessels of her body, symbolized by the branches of the Tree of Life. A similar symbol is the Ring as a pool nestling at the foot of Yggdrasil, like Nechtan’s Well.

In this way the Dragon Ring becomes the Holy Grail and the Cross and the Circle unite as one. Odin possessed an identical ring called Draupnir "The Dripper of Gold" which gave him power over the Nine Worlds, the nine spheres that are the sephiroth of Yggdrasil, making Odin, Andvari and Oberon or Alberic, Lords of The Rings. In the Volundarkvitha of Iceland Volund, or Wayland the Smith married a Valkyrie who appeared to him as a Swan Maiden.


To keep her he stole her Swan Guise which, after nine years she found hidden. Making her escape she leaves Volund a Magic Ring which, after a series of adventures, is the one that ends up in Alberich’s laands.

Swan Maidens

In Germany these are identified as the Nixes or mere maids, thus Melusine and the ladies of the Lake. To confirm them as the Valkyries we have the foregoing example and also the Vaikyrie habit of hanging the heads of the fallen nobility (not rank and file warriors) from their Horse’s harnesses in very early depictions of them recently discovered, exactly like the Morgana’s or Morrigans, the Swan Maidens or ladies of the Lake.

Brunhilde, Sigebert’s wife, was a Valkyrie. At some point in her adventures she ends up enclosed in a ring of fire by Odin. This brings us to the Phoenix. The Phoenix is the Raven, the Morrigan of the Scythians and the national emblem of the Danish vikings.


This black bird became the double-headed eagle of the empire, but began in Tartaria or Transylvania as the two headed Raven or Phoenix.


The Phoenix

Ravens and the Corvidae (corpse-watchers) family in general like nothing more than to sit and fumigate themselves over a smoking fire. Often, as history attests, they will take burning brands back to the nest which inevitably bursts into flames itself. The Raven rising from the flames gave rise to the legend of the Phoenix, whose sun dappled plumage, like the Raven’s, is red-gold and rainbow hued.

The Raven as a badge of the Scythians became associated with Phineas Farsidhe and in consequence was named after him. If we think of Phineas’ clan as being both the root and the head of the Tuadha d’Anu and its most wise, then the double-headed Raven or Phoenix would be the senior totem of the Danaan. It makes sense then that in terms of explaining the levels of wisdom, a serpent eating a serpent became a dragon, and a dragon eating a dragon became a phoenix.

The phoenix rising from the ashes reborn, as a symbol of youth and eternal life is related to the Morrigan’s and The Danaan Chieftain’s habit of sustaining youth and wisdom by drinking noble blood, like Odin (Samael-Hearne-Oberon-AIberich-Wotan) and Freja-Lilith-Venus-Diana-Titania) and the Valkyries or Morganas. Shakespeare links the Phoenix and the Turtle as does Hebrew magical literature which links both with the serpent N’H’sh and the Qlipphoth of the Kabala. in essence the Raven or Phoenix consumes the blood of the Turtle Dove, symbol of the Holy Spirit, Sophia, Venus-Lilith (the falling star or Lia Fail), Magdalene and The San Graal.

The Raven as a symbol of death is counterbalanced through the Phoenix as a symbol of life. In a sense this reinforces the Life through Death philosophy of the Nergal cult of the Scythians. The Morganas and Valkyries are the Angels of Death in their black, Raven Feather cloaks. In Their Swan Feather cloaks however They become the Repha’im, the Angels of Light, The Swan Maidens and fountain fairies whose blood gives life and wisdom.

In the story of Volund as in may others, men often win Swan Maiden wives by acts of deception and theft. The common scenario is the descent of the maidens to some private mere where they divest themselves of their swan’s skins and bathe naked, as humans, in the secret pool. The peeping tom, having fallen madly in love and desirous of taking one of these women to wife, steals her skin which prevents her from leaving the mortal realm. The truth behind the myth is that the swan skin is in fact a ritual garment, a cloak or mantle of office upon which is laid a heavy geis.

It is The raiment of a Bruidhina (Vruidhina or Veruidhina - a truth or law speaker), a Repha’im, and as significant then in social terms as would be the authority implied within a royal staff or seal ring. The wearer would have been invested with all the power implicit within the Swan Cloak, as a shaman, a priest princess or king and a member of the Tuadhe of the supreme overlords.

To lose one would indeed bind the maiden or knight to "this world" until she or he recovered it. To have one stolen, with the possible implication that it might be worn by someone outside ones own caste, would have been a reversal of all that was understood to be governed by the natural laws of the cosmos, and therefore a reversal of the naturally ordained social structure of the time. To have one stolen and possibly worn by a thief would be an abomination.

The very essence of the identity of the Valkyries, the Morganas and the Bruidhinas was that they were Oath-Keepers and Truth-Speakers. Valkyrie is related, like Valhalla, to The Goddess of Truth -Var; and to Va or Vere, the Oath, The Truth and Verte, the Green.

To these Ladies of the Green, the Law of Nature was the Law of Truth as the words Var and Ver suggest, and to have someone posing as a swan maiden or knight, in effect to be lying in the very act of wearing a Swan Cloak, was a loathsome impertinence to a race that loathed liars. It would bring a curse upon the wearer and the owner. The unfortunate princess would be bound to tarry until the cloak was recovered. To return without it would have been unthinkable and could have exacted extreme penalties.

If we look at the role of the angels in biblical myth they are derived, originally from the Nephilim and later the Repha’im. In popular art these beautiful, almost asexual, angelic figures are shown with swan’s wings. The Repha’im whose cult was found in Idumaea and the region around Scythopolis, were ancient Dragon Queens and Kings who, so it was thought, had passed into the Otherworld, from whence they emerged from time to time, to aid or judge in the affairs of mankind.

In fact they were the mound dwelling fairy royalty whose practices included living in tombs and Beth Seathans or Sacred Mounds which, like all temples in classical pagan belief, actually were thought to be the dwelling places of the gods. Historians believe that the early believers believed that the ’gods’ ( inhabiting carven images) lived in the statuary.

This may have been the case later on, but originally the gods were the royal priestesses and priests themselves. Acting originally as the ambassadors of the Anunnaki, the Nephilim and later the Repha’im were the police of the ancient world. The Swan Cloak which represented the height of the wisdom of the dragon, was the symbol of their authority which, like an angel’s wings denoted that they soared above the common realm of mortal understanding and concern.

If we think of them as starting out in history as a kind of royal-blooded police force, then one might equate the loss of the Swan Cloak with the loss by a modern police officer of his or her warrant card and uniform. The social havoc a police impersonator can wreak is considerable. The druidic Repha’im were much more than modern police officers, they were judges and lawgivers as well, and had the power of life and death over all men and thus the loss of a shamanic cloak was a disaster.

Loosely speaking then, we can think of the Raven Cloak as the Blood-Hunting or War Cloak of the Angel of Death, and the Swan Cloak as the Blood-Giving or Peace Cloak. The Swan Guise is often associated with the fairies appearance as a boon or help to mankind, as in the case of Lohengrin. Sirnilarly the Swan Guise is often associated with Love as well, as with Caer and Oenghus and Volund.


So we can think of the Swan Cloak as the mantle of the Elven Lord or lady in their role as the giver of wisdom, the giver of sacred blood and life, and the Divine Lover.



The word is said to come from the old Irish luchorpan, lu=small + corp=body. However, as we know, the Irish leprechauns or Sidhe were the Danaan, and these were full sized people. Old Irish would have been spoken in a time when the Danan were still around, if only as a remnant. St Patrick was the guardian of a Danan Princess and her descendants are recorded as witnessing the battle of Clontarf, for insance.


So Irish people would have known that leprechauns weren’t midgets. The leprechauns are most commonly depicted wearing green, Robin Hood or Artisson’s colour. In the case of leprechaun the lepre stands for lepra meaning scaled, as in leprosy, rendering leprechaun as ’scaly-bodied’, not small-bodied.

For an explanation of this we must refer back to the main body of notes and remember that the Zmei or dragon lords, the Sarmations, the Cimmerians and the Dacians (who had a winged serpent or Dragon cult going back to the post-migrational Ubaid culture of Transylvania in 3000 BCc), as well as the later Danes, all wore fish-scale armour.

It is also possible that as Dragon Lords they would have worn serpentine or draconian helmet-masks not too dissimilar to the animal-masked helmets of the Roman gladiators and the masked helmets of the Greek Warriors, which may account for the Ubaid pottery figurine’s snakish looks and the descriptions of the Anunnaki as having "serpentine" faces. Additionally certain cults wore snake masks.

The Sumaire of Ireland are the serpent vampires. The scaled skin of the serpent or dragon is the armor of the Leprechaun who is thus the Sumaire, as is Robin Artisson and hence Robin Hood. The same may be said of the Fountain fairies who appeared as Dragon Women. It is likely that they were similar in function to the Danish shield maidens, dressed in the scale armor peculiar to their race. Contemporary descriptions from Russia, have the scales made of bull’s horn or bone fillets which would give the impression that it was a reptilian skin, and not a suit of armor.

It is possible that if the fairy maidens didn’t wear scaled armor, they wore a ceremonial outfit constructed along similar lines, but far lighter and more functional. In such ritual regalia, they and their ancestors, both Samael and Lilith, would have looked like serpents.

In the image of Samael and Lilith in Eden there is an intimation of the later image of Odin and Freja in the Forest Hall of Valhalla. Where God was a physical presence in the Garden, Samael and Lilith were like its spirit, resting in the Tree. Similarly this spiritual presence in the Forest is echoed in one of Odin’s epithets - "The wind in the Trees". (The spirit in Valhalla).

As a type of paradise, Valhalla, the hall of 390 doors (30x13 blood moons), represents Eden or Avalon, and in Freja of the Apples, we have a contemporary variation of Morgana of the Isle of Apples and a later version of Lilith of the Apple Tree of wisdom.

In very early versions of Norse myth it is only the Noble Dead that end up in Odin’s Forest Hall. Once there, he and Freja split this human booty 50-50. We could imagine the Valkyries, of which Freja seems to be a High Queen ({ike Morgana), to be like Shepherdesses and Grim Reapers of the blood and souls of mortals, and this brings us back to a theme in earlier notes.

The image of the Shepherd Kings of Kish suffers from association with the fluffy bunny image of gentle Jesus, meek and mild as the kind, compassionate shepherd and teacher of his flock. In not a few instances, the dragon blood has treated humankind with imperious indifference as a separate species, below its own on the food chain. I ask myself again, in the light of more recent data, what do shepherds do for a living.


We know that the Shepherd Kings of Kish were Transylvanian Dragons and thus of the Scythian Blood Royal. Consequently they were predators and in the totem guises of werewolf and panther, they preyed on human beings for food.

Yggdrasil is "the steed of Ygg". Whilst a ’steed’ is a mode of transport, a method of getting to the Otherworld in this case, Ygg is Odin who obtained the runes from the stone tablet that lay next to the pool at the base of the Tree. The stone tablet is the Cubic Stone, the womb within which is the blood within which is all wisdom. The Stone is the Uterus, the Utterer of whispered secrets, the Runa.

Like the Fisher King and Jesus, Odin was pierced in his side by a lance and hung from the tree. After nine days and nights, the holy completion of the Scythian mystical three and the number of the dragon, Odin obtained the Runes or whispered secrets, which were revealed to him by the Elves who made them.

The whispered secrets are the province of Odin as the (whispering) wind in the grove and, as the ancient letters of the Birch forests of Carpathia and Scythia, are the property of those who first carved them, the Scythians or Sidineans. As a Forest &ript~ Runic is an Elven language of the Trees and a variation of Ogharn which was discovered by Ogma or Ogg or Ygg or Odin, who is the later invocational priest of the Danaan God-King Ogmios who first invented them.

In the sense that Yggdrasil is the same as the apple tree on the microcosmic level, then Odin’s partner in Valhalla - Freja (Iduna) of the apples, is both Yggdrasll and Andvarinaut, and her apples, like those of the ladies of Avalon, who are also themselves the Apple trees of the Sacred Orchard, are the endocrinal centres or chakras of her sacred body.

She is then the steed of Ygg and corresponds symbolically to Slepnir and to the role of Rhiannon in the Mabinogian, and Epona as the white mare who carries the rider to the otherworld, the grave or womb wherein is all wisdom and where Odin, the breeze, whispers gently through the branches of the trees in the sacred grove.

The Breeze is the biblical Sophia or holy spirit, signified by the Greek Pneuma or breath of God and the branches of the trees of life, are the blood vessels of the bodies of the Freja and the Valkries and Morgana and the Swan Princesses. The symbol denotes that the spirit of sovereignty is carried in the blood of the Queens of Hell.


The deified Odin, the Ogmios or spirit of wisdom then, is the spirit of absolute kingship, he is the fully realized being, the priest - king who has mastery over the Nine Worlds, which represent also the various divisions of experience and energy within the individual being.


The Carolingian Ring Myth

In the story of Holger Dansk or Ogier the Dane and his meeting with, at a vast age, and restoration by Morgan 1* Fey, we have a variation of Ogier as Odin (Og or Ygg) and Morgana as Iduna-Freja of the Apples. One of Roland’s de Vere’s brother knights in the Court of Charlemagne was Holger Dansk. Holger, like Roland, was one of the great Paladins or Counts Palatine of the Franks, celebrated in the ’Chansons de geste’ and hailed as the greatest warrior of all the Danes and is still a national hero of Denmark.

Ogier has obviously become a composite figure like Robin and Alberich. He could not have been of a vast age when he met Morgan La Fey because Morgan was born 200 or so years before Ogier. She was the great great grandmother of Maelasanu, Roland’s mother, and so if Ogier had met her, it would be she who would have been of a great age. In this case it is possible that he has inherited the attributes of another historical figure:

Waeldeg, the Odin or Odin priest-king or Royal Godthi who married the daughter of Cormac Mac Art in 300 ad. if Waeldeg the Odin or Ogg had met Morgana, a descendant relation of Cormac’s, then indeed Ogg or Ogier would have been of a great age indeed. It appears to me that Holger or Ogier was, like Waeldeg, an Odinic Goddil and the legend attributed to one Odin priest, as history has shown in other cases, can become the legend attributed to all Odinic priests.

Often they become the actual God. The finer details are not important and nor are the discrepancies. The story relates that, at a great age Ogier the Dane set sail on one last adventure before returning home from Jerusalem. He travelled to an island with a castle built of lodestone.

As he sailed nearer all the iron on his ship was ripped away and the ship itself was wrecked. Making his way to shore he entered the castle, which was lit by a magical light, and made for the central court. There he discovered a great serpent guarding a tree at the centre of the court garden. Resting in the shade beneath the tree was the most beautiful woman he had ever seen, and on her hand was a gold ring.

Ogler slayed the serpent and went to the woman, who was none other than Morgan La Fey. She gave him the ring from her finger and he was magically restored to youth, health, vitality and life immortal. Morgan and Ogier then sail off to the land of the immortals, which is Tir Na n-Og. The island with the castle is a common image which is repeated in the castle of Loreli on the Rhine, whose maiden is a fatal siren who lures sailors to their doom and wrecks their ships on the rocks.

This motif has numerous variations in the cycle of stories concerning Sirens and Mermaids. The Island itself is a form of Avallon and the garden, the Garden of love, is repeated in the medieval story of the maze of Melusine. At the centre of the garden or maze is the source of life and love, either a tree or fountain pool guarded by a maidein This story works on two levels, Inner and Outer, singularly and relatedly.

The first level is psychodynamic and the second level is psychobiologlcal. The first level is identical to Beauty and the Beast and Sleeping Beauty. Morgan’s castle is the mind-brain of Ogier. It is magnetic and attracts all experience, learning, opinion, fear, hatred, attachment and prejudice, which create a huge serpent, much like the Mithraic bull. The serpent like the bull, is Ahriman, the serpent of darkness or human ego-consciousness. It is the unregenerate experiencer and judge, the critical censor.

The garden is the right brain and the suppressed side of consciousness. Morgan is the Anima in Jungian terms, the tree is the symbol which joins Morgana, the anima, to the second level of the allegory. She is the Tree. An Apple Tree and an Yggdrasil, the method by which Ogier or Odin gains access to Elphame.

On this level the ring symbolises the gaining of consciousness of the eternal, the new bond forged between the left and right brain and the subsequent integration of the whole being leading to the voyage to the perception of the eternal. On the first level the aim of the alchemical rite is outlined and the steps to transcendence are mapped out. Arriving at the island is answering the inner call for transcendence.

Ogier’s slaying of the serpent with yet another Magical Sword, which he named Courtain, is like slaying the Mithraic Bull, it is the obviating and neutralizing of the ego. Taking the ring is joining the left and right brain, and travelling to Tir na nog is gaining enlightenment: Zero, the One Ring that rules them all.

In the tales of Loreli and the other mermaid or siren stories, in answering the call of the mermaids that leads to doom, one does not experience the doom of death, but the doom of the ego and the rebirth of the whole being into the light.

On the second level the Tree and the Ring are aspects of Morgan herself and in taking the ring, the Aridvarinaut, one takes from the essence of the priestess whose vitality spreads through the branches of her tree. The ring is also the spout at the base of Melusines cubic stone, it also symbolizes the union that occurs with her as hierogamy and the perception of the eternal.

The ring as the Orobourus is Mazda, the serpent of life and light which, when accepted and symbolically worn, returns the slain serpent of darkness to life and to a new relationship with the serpent of light. In this sense Ogier was Ahriman, the left brain, and Morgan was Masda the right brain and joined in hierogamy, they become the twin serpents entwined around the tree which they both also become.

This symbol is emphasized in the Baphomet of the Templars and witches and in the caduceus of the swans winged disc and the serpents. It is the symbol of the single soul transcended and of twin souls joined in divine union, all at the same time.

In Sleeping Beauty the hero has to find his way through a thicket which is the confused tangle of thoughts, fears, attachments and so on which hides the castle in which the maiden, or right-brain Anima sleeps. when he reaches her and kisses her, this is his acceptance of her, this is his desire to be united with the other aspect of himself.

The kiss, the acceptance, brings her and the entire castle to life. In other words the suppressed element of his consciousness is reawakened and integrated into the individual who becomes a whole being and transcends. Beauty and the Beast, Theseus and the Minotaur and The Frog Prince are variations of this acceptance theme which however can work when the characters in the stories are in fact real people enacting the roles.

In this case one states that the Anima is externalized as a Grail Princess and union with her causes union with the internal Anima. This is a central characteristic of the second level, where ’Beauty’ is a real person with real psychodynamic power and real psychobiological essence. The tantric union with such a person does lead to transcendence and a glimpse of Tir na n-og. Both partners entwine in spirit to become the caduceus. By becoming one being they negate the dynamic within each other and become still. This stillness is the Nix or Nil point where the minds are silent and observing ’what is’, not the internal dialogue of what they think ’should be’.

The story of Ogier and Morgan appears to be the joining together of two seemingly separate racial traditions, the Danish and the Danaan which are, in fact related both by blood and by philosophy, both being in essence from the exact same Scytnian root. The tremendous advantage here is that we can assess the earlier Danaan culture and synthesize elements of it from the later variant expressed in Danish Viking culture, thereby enriching our view of the fairy race as a whole.

With so many Magic Rings, Swords and Fairy Maidens attached to Charlemagne’s Court it becomes difficult to accept the historical view of his devout christianity. He seemed to surround himself and elevate people whom the Church were at odds with and to whom he supposedly was an avowed enemy.


Increasingly I see Charlemagne’s christianity, like Constantine’s before him, as being a political convenience and not a heartfelt belief.


The Dragon’s Deep

A legend exists that, a couple of miles from Bamburgh Castle, there once lived a serpent who occupied a cave in a magic mountain. Beyond the cave there was situated a raised stone, out of which had been carved a large bowl-like receptacle. On occasion the local people filled this bowl with cow’s milk, as a voluntary gift-offering to the serpent. (Deike Rich and Ean Begg - ’On the Trail of Merlin’ - Aquarian Press 1991).

The serpent is reminiscent of the story of Melusine and the tale is significant in the light of the fact that the legends concerning her say that she walled up her father in a cave near there, fled to a place called Avalon, and then decamped for France. Perhaps the serpent was a folk memory not of her, but of her father who was, despite the legends, not a "mortal" but a Sidhean of Druidic Royal Blood, of the Ver Boig House of Ulidian

The folk story of the Dragon in the Cave is universal. The scenario runs as follows. A Dragon takes up residence in a cave near human habitations and begins to terrorize the countryside. In order to bring an end to the killing and destruction, the rural inhabitants appeal to the Dragon for mercy and leniency. Negotiations are undertaken between humans and Dragon and a compromise is reached.


If the villagers regularly select a virgin female as a sacrifice, offering the same at selected intervals for the Dragon’s sustenance, the Dragon agrees to spare the others. The virgin is to be tied to a stake at the mouth of the cave and left there for the monster to collect. When he is peckish, he emerges from his cavern and eats her whole. This is the story that has come down to us.

The truth behind it conveniently excludes the rest of the bargain, that being that in exchange for ritual food, the "Dragon", a Scythian Priest King or Priestess Queen probably accompanied by his or her entourage of Druids and Warriors would, in exchange for a regular supply of live royal virgin blood on the hoof; undertake to settle permanently in the region. This Dragon Clan, the custodians of sovereignty and fertility, wise seers and indomitable, terrifying warriors, would elect to protect their clients and organize more efficiently their social structures and industries, in exchange for material support and Starfire.


The legend of the hoard of gold, which the Dragon uses as a bed is as alchemical in origin as the tales relating to the Dragon and the virgin.

Pure gold as well as "red gold" or virgin’s menstruus, was used to enhance consciousness and the Dragon is not a Dragon without her or his magical vision and transcendent being. So in alchemical Dragon tradition, the symbol of the Dragon sleeping on a hoard of gold signifies that the dynamic of the Dragon identity "rests" upon the foundation of blood and gold ingestion. The Dragon is the ultimate guardian and fons et origio of the Sacred Wisdom.

Often these Dragons were sought out and especially invited to take on the overseership of other tribes, who provided them with gold, food, provisions and virgin menstrual blood, which was drunk to enhance the Dragons magical performance and longevity. The Virgins rarely died, except perhaps from a surfeit of what the outsider might think of as amorous attention.

That Elinus was given gift offerings voluntarily, perhaps by a grateful clientele, tends to suggest that the ’Dragon in the Cave’ story has been twisted from being a common social arrangement into a terrifying bogey story. In any event we can say with certainty that Elinus wasn’t a mortal, but a Dragon of the Elven Blood.


Clerical Connivance

The Scythians or Sidheans instituted Pharaonic Marriage in order to prevent the dilution of the Titanic, Royal Elven Blood. As an insular group in Eire and the far northern reaches of Britain it is therefore highly unlikely that they would have habitually married out of their race in Gille Sidhean’s time, either from choice or by necessity. And the frequency with which it occurs in the story of his family is fast becoming suspiciously habitual.


Therefore the stories of mortals marrying Fairy Princesses have to be questioned, because the motives for suggesting that such alliances took place as regularly as medieval chroniclers purport, might not be prompted entirely by the desire to record historical or received legendary events faithfully.

In the received story of Elinus or Gille Sidhean, he is the mortal, whilst his betrothed is the elf. They first met at a fountain, of which his future spouse, the fairy Princess Bruidhina or Pressina, was said to be the guardian. Their daughter Melusine also married a mortal who encountered her at another fairy fountain over a thousand miles away from where her parents reigned. This is a bit of an unlikely coincidence, isn’t it?

Two elements emerge from this story.

  1. The fairy females both married mortals.

  2. The mortals just happened to chance upon the fairies at magical, and therefore one would assume secret, fountains.

The Church hated Fairies because they carried the only true, royal Dragon blood and thus the sovereign rights to kingship, that earlier in history, these piety peddlers coveted so much. However in the subsequent position of power that the church held in the medieval period, they could direct myth-mongers to write exactly the sort of "history" that served the church’s purposes best, on pain of death.


Conversely those who voluntarily took up the church’s cause were often rewarded handsomely for their complicity, be they the chroniclers who fabricated the church’s image of sanctified authority, ubiquity and omnipotence, or the churls with ecclesiastically enhanced, fraudulent family histories, who were raised from the bourgeoisie and promoted as the grateful, slavish puppet kings and false nobility of the church state.

It is interesting to note that despite the fact that the church has condemned outright the Dragon blood and its culture, it still recognized that only through that blood and culture could kingship be retained. Such a recognition is borne out by their fraudulent ’Donation of Constantine’. The church claimed that emperor Constantine had given it the right to crown kings and institute governments across Eurasia.


Constantine was a direct descendant of the British Pendragon Kings, themselves of Danaan origin from the Scythian Dragon King Tribe. Their choice of fraudulent donor clearly indicates that the church itself actually admitted that only descendants of the Dragon culture were rightfully permitted to exercise such powers and bestow such dignities.

In the case of Elinus in the first principal; a) above - as the only true royal blood is elven, the Pressina - Melusine story was doctored to make the two male partners mortal and therefore, quite frankly, commoners.

In the first instance this would make Melusine appear to be only half fairy and, as the church thought, only half royal in the eyes of the people. That the elven blood was of Titan origin and the Titans bore Mere Maids such as Melusine, as full blooded Titans, instead of half fairy, half mortal, has escaped the modern commentators who have used literary sources doctored by the Roman Church. The symbol of the woman with a human torso and the tail of a fish or dragon has lately been assumed by writers to mean that the figure has human attributes. The earliest myths would contradict such a view.

To the Church, who deliberately propagated these myths, consciously intending to lead audiences to these conclusions, this falsely attributed human element to the fairy nature of the Mermaids meant that, as these individuals had human blood, and thus the blood of Eve in their veins, they were no better than anyone else, they were culpable for original sin, capable of mortal sin and thus consigned to damnation, unless administered a salvation that could only be sanctioned by, or more importantly derived from obedience to, Holy Mother Church, just like anyone else.

If this didn’t work, they could always turn the people against their rightful Dragon queens and kings by claiming that they were half human monsters, beyond the christian pale and thus evil emissaries of Satan, to be feared and vilified. By degrees and in turns, the church has used all these tactics. On the point of Original Sin, this was Eve’s disobedience to "God". As the Elven blood was descended from Lilith, who was not "guilty" of Original Sin, all Dragons and Fairies and their descendants to this day were and are sinless and had and have no need for salvation. Somewhat of an irritant to the pious Popes.

In the second instance Melusine, Bruithina the younger or Bruithina Maelasanu, is questionably recorded as marrying, like her mother, yet another mortal, making die royal blood that subsequently flows through her descendants’ veins appear to be of no significance at all. Such diluted blood would thus present no threat which might otherwise have derailed the church’s materially motivated gravy train, in acting as an inspiration to a down trodden populace, by contrasting its praeternatural wisdom and ethos of service, against the miserable example of the church’s intellectual paucity, spiritual vacuity and insatiable greed.

Such a propagandist tactic has been used by the church in numerous instances. Beyond this they took practical steps to annihilate these, their sovereign rivals and spiritual enemies, by falsely claiming jurisdiction over the choice of so called "noble" and "Royal" marriage partners, insisting that such marriages be sanctioned and licensed by the Pope.


In this way they could pressurize the true nobility into marrying the church’s burgeoning bourgeoisie and encourage these bourgeois, lately elevated puppets, to marry each other, thereby attempting to breed the dragon blood out of Europe, replacing it with a parvenu class of false, tradesman nobility, selecting their sychophants from within the ranks of the tinkers and merchants.


Any Dragon or Grail families they couldn’t intimidate, pay off or breed out, they either murdered, discredited, genealogically disinherited, ridiculed or wiped out of the history books altogether.

In the case of the second principal in; b) above, the women, Pressina and Melusine were in fact the fountains themselves, as evidenced by the mediaeval depiction of Melusine’s fountain issuing from a Cubic Stone.

In any event two identical chance meetings, separated by time and geography, but occurring in exactly the same circumstances are not likely and we are led therefore to the conclusion that the fountain scenario is quite probably, an elven, royal "courtship" ritual. As these women were themselves the fountains, like Sheba in the Song of Solomon, we are led to the further conclusion that the courtship ritual was bound up within the Starfire cycle, a magical fairy rite so secret that no human would have been permitted to attend anyway, making the idea that either men were "mortal" untenable. Throughout history and in any of its forms, Starfire was reserved for Queens and Kings alone, and the only true Queens and Kings are those of the fairy, Dragon blood.

To have met the women ’at the fountain’ was to have engaged in the most intimate and profound magical intercourse with them, forbidden to those outside the holy race. The reference to the fountains indicate that both the couples were involved in a special form of alchemical relationship which was common before marriage amongst the Dragon royalty, and so they all knew each other intimately prior to wedding, perhaps for some years, from the point where, as girls, both Pressina and her daughter in their turns were serving as "fountains" or Grail Maidens, up until the time when they were physiologically in their marriageable prime, as Dragon Queens, capable of bearing children without too many complications.

Considering these points and the fact that Gille Sidhean, Pressina’s husband; and Raymond, Melusine’s husband, and also both the women themselves, all had comparable Vere descent, it is quite clear that the men were related to their spouses, by blood, race or name. In the case of Gille Sidhean as stated, his descent was from King Erc of the 4th century Ulidian house of the Ver Bolg of Ulster and Strathclyde, druids whose tribal badge was the Blue Boar.

Likewise, Raymond de Verrieres, or Ver-en-Forez, Lord of Pictavia and Anjou, also had the Druidic Blue Boar as his family badge. Furthermore, Pictavia was founded by Melusine’s maternal forefathers, the Ver Kings of the Danaan remnant, and so the assertion as fact that the House of Vere, The First Royal House of Anjou, was of the pure elven, Royal Dragon Blood appears inescapable.


Much to the annoyance of the church and its chroniclers, who appear to have attempted to eclipse the pure origins and thus the genuine sovereign status of the Royal House of Vere by various means, as they did with many other Royal Dragon families of the Sang Real and the San Graal. For the Dragon and the Grail, for the Vere it is of some considerable importance that we maintain our royal status and assert our Elven, Dragon origins.

Otherwise, to allow the church or the church backed establishment, retrospectively or contemporarily, to continue to suppress or marginalize our singular royal heritage or to ridicule our ancient magical legacy, is to conspire in the victory of all their lies and declare as acceptable, the last thousand and seven hundred years of hypocrisy, greed and terrorism and sanction, by our silence, the inhuman oppression of generations of defenseless, disenfranchised human beings. in so doing we share their ecclesiastical guilt and capitulate to their murderous, immoral, megalomaniacal ambition, perhaps for even more years to come; accepting the defeat of truth, wisdom, kindness, social equity and personal responsibility.

By asserting, and having popularly accepted, historical sovereign Dragon identity, its rights and its magical, elven, genealogical legacy, the Dragons provide by counterpoint, another small nail in the establishment’s coffin, one more small example of how the church-state and the establishment have committed fraud, even genocide to protect their historical interests. They have twisted or concealed the truth concerning many issues for centuries, in order to control information.


By which strategy, to this day they still continue to exercise significant subconscious control over the minds of the public, over a population which formerly they have oppressed for centuries, a people over whom they have no sovereign authority and no divine sanction or innate, moral right to rule.