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Dragon’s Deep
Edmund Spenser is said to have flattered Queen Elizabeth I
by referring to her as the ’fairy queen’ though it is equally possible
that his was a veiled reference to the fairy wife of the alchemist,
the Earl of Desmond at whose seat - Castle Matres - Spenser and
Sir
Walter Raleigh resided during an expedition to retrieve the Wizard’s
library from a war zone on behalf of Dr. John Dee.
Castle Matres or Matrix as it is now known was said to have been
named after the Matres or triple goddess. The castle rests on the
banks of the river Deal in County Limerick and the library which was
housed there is said to have contained singular works on Magic and
Alchemy, works that Dee didn’t want, under any circumstances,
falling into the Queen’s hands because, as Laurence Gardner has
pointed out, Dr. John Dee, Edward de Vere, Francis Bacon,
Edmund
Spenser and William Shakespeare et al were well aware that
Elizabeth’s house were badly bred usurpers and despite the descent
from Margaret of Anjou, the blood wasn’t pure. I wonder what the
boys would have made of the successive packs of kein-kultur,
dynastic rabble that followed the Tudor Turnip Farmers.
Though Plantagenet descent and the fairy blood that ran in the veins
of Edward III in particular, appears to have been greatly desired to
legitimize the subsequent claims of the dynasties that superseded
them, the Plantagenets themselves and Edward I in particular, looked
to Scotland to legitimize their own claims to kingship. Scottish and
Irish Dragon Kings were invested on the Stone of Scone.
This Stone - the Lia Fail - the Stone of Destiny (or
Fate) of the Tuadha d’Anu once rested at the summit of the
Hill of Tara, the
ancient seat of the Elven High Kings in County Meath. When the
Milesian Dalriada left Eire for Scotland it is believed that they
took the Lia Fail with them.
Despite Edward I’s best efforts to conquer the Scots and wrest from
them the Lia Fail - the ultimate symbol of royal legitimacy -
thereby confirming, one suspects, his right to fairy kingship which,
retrospectively he had anyway and was thus wasting his time, the
Stone of the Elves never once rested under the gilded commode in
Westminster Abbey.
Because the Raven-Stone of the Phoenicians wasn’t the Stone of Scone
that Edward I stole, this fake lump of rock that the English thought
was the Lia Fail was nonchalantly and unceremoniously driven up to
Edinburgh Castle in the back of a Land Rover a couple of years ago.
Even select members of the Order of the Golden Dawn knew this over a
hundred years ago and descriptions of the Lia Fail can still be
found in the literature of their successors.
Part of the later Plantagenet ancestry included the descendants of
the Danish Jarl, Rollo Duke of Normandy. The senior Angevin dynasty
- the Vere - also have the Viking Rollo as an ancestor in the female
line.
The word ’Viking’ has been explained in various ways. Originally
spelt ’Wicking’ it was thought to derive from the word
’wic’ meaning the inlet or mouth of a Fjord,
whilst the earlier meaning of the word from the Old Friesian
and Old English had ’wic’ as an encampment. In
Russia however the ’Vikhr’ was a whirlwind, a
manifestation of the Zmei or Dragon king which is dealt with later.
The Vikhr is a character which is common to both the Russians and
the Irish and it will be remembered that Russia was actually founded
by the Viking Ruotsi Clan, intimating that the actual definition of
the word ’Viking’ is the same as the Irish word
’Sumaire’, a Dragon
and a Vortex.
Anciently the Danes and the Danaan were closely related and an
examination of the Royal Clan in both cultures will reveal the same
egalitarian system of self regulation that distinguished the Danaan
from the rest of Celtic society.
The similarity doesn’t end here. Like their Fairy cousins defenders
in Ireland and Scotland, the Danes warriors were utterly indifferent
to death and fought without mercy. Their overall belief system
engendered behavior that appears to have been almost nihilistic and
devoid of any moral conflict.
This system, based on the ’Nine Worlds’ or emanations of being, was
duplicated in earlier or contemporary variants of the Qabalah and
Kaula Tantra. As with the former where the spheres or
Sephirah were
incorporated into the Hebrew ’Tree of Life’, the Viking spheres or
worlds were thought to rest within the branches of a tree which, in
the Norse, was called Yggdrasil, the World Ash Tree.
Yggdrasil’s
roots were embedded in Hel or the Underworld, whilst its branches
brushed against the stars of Heaven.
Yggdrasil is a shamanic glyph which represents the macrocosm - the
universe both subtle and material - and the microcosm - the human
body. The tree glyph itself in all cultures represents the path the
shaman takes, from the roots, embedded in matter, up the trunk and
into the branches and the stars, to the rarified spiritual spheres
and beyond, to unite with godhead itself.
Such a journey inevitably must transcend mundane care, fear, greed,
opinion or morality, and he or she who embarks upon and completes
such a journey successfully becomes united with the One Unmanifest,
the True Will and the Total Self. As we shall see later, the
Tree is
actually a woman, a goddess incarnate or Avatar.
The individual who completes the journey is beyond mortal
conditioning or the short-sighted relativity upon which is based
human moral law. This system and its results duplicate themselves in
many other mystical systems and in early witchcraft in particular.
Perhaps therefore, when considering the behavior or attitudes of
the individuals in cultures like those of the Danes and the
Danaan,
it might be more apposite if scholars took more into account the
effects that philosophical systems like these actually had on people
like the Norse, and then rethought the etymology of the word
’Viking’ or ’Wiccing’, before settling on an answer that smacks of
over-specialization.
In tandem with their Aryan Hindu cousins, the Vikings used the
symbol of the swastika. An example of its utilization by the
norse
can be found in Iceland, whose early inhabitants emblazoned the blue
swastika sacred to Kali Azura or ’blue Kali’, the sister of the
Sumerian Cain or Qayin.
Variants of this figure, the hammer of Thor, fig 1, earlier a
copper, single-headed labrys or tomahawk common to the Ubaid,, which
is the shape of the fig 2 spinning and creating the vortex, the
spiral storm or tornado, can also be found at numerous
archaeological sites including Newgrange in its early spiralised
form fig 3. This is the spiral design of the Sumaire of
Sumeria. In
its variant form fig 4 the swastika represents the curved Scythian
sword reaping the whirlwind.
The swastika is also found reversed fig 5 and both forms
respectively are thought to be moon and sun symbols respectively. As
the author will continue to reiterate, when reading on such
subjects, particularly in relation to the philosophy of the Druids
and other Indo-European, Aryan philosophies, it is wise to bear in
mind that the teachings and symbols operate on both the macro and
microcosmic levels at the least. Often the symbolism is in fact
multi-faceted.
In the case of the swastika the moon and the sun symbolism applies
inasmuch as the sun radiates or pushes energy out whilst the moon
draws energy to it in the form of the sun’s rays. Its gravitational
field also pulls the tides. The fig 6 of Kali is the
Sumaire, the
whirlpool which is the sucker-in of blood and energy, like the moon
draws the suns rays and sucks up the tides, whilst the fig 7, the
solar swastika symbolizes the donor or benefactor who gives
willingly of their essence.
fig 8 = Inhale
fig 9 = Exhale
If we look closely we will also notice that the circular swastika is
the mark of Lilith given to Cain and also the mark of
Kali. In their
original form fig 10 they represent the scythe of the reaper, the
Golden Sickle of the Druids spinning on its hilt. Therefore the fig
11 is also the fig12. The swastika has another three-armed formed
which appears again at Newgrange and also as the badge of the
fairy
king Manannan Mac Lir, Lord of the isle of Man fig 13 and Lord of
the Waters of the Sea. As fig 14 it compares to the dragon’s eye of
the south ,fig 15 and also fig 16 the dragon’s eye of the north. In
the northern hemisphere, mimicking the pull of the whirlpool, the
rotation of these devices is to the left as you look at them, or
clockwise from the point of view of the one summoning the sumaire in
themselves.
If we think of the swastika as being a turbine, the position of the
arms, either fig 17 or fig 18: or fig 19 or fig 20, indicates not
the direction of rotation, but the angle at which the blades are
set. The difference between the four and three armed swastika is
that the four armed essentially represents the sowing or reaping of
"the four winds", the pneuma, the spiritual or
morphic energy,
whilst the three armed cross, the swastika of Manannan of the
waters, represents sowing (donating) or reaping (removing) the blood
and waters of the Fountain of Life - The Holy Grail.
The pineal gland is so-called because it is similar in shape to a
pine cone. The dragon’s eye fig 21 of the north looks similar to the
plan view of a three sided pyramid and also represents the pineal
gland that controls the secretion of the mystical fluids. In
relation to the pineal gland the Grail is
symbolized by the sacred
head, the Baphomet or source of wisdom.
Related to the Solar disc and the Ajna chakra in Tantra, in
Mithraism this stage of the Grail process is represented by the
Dragon of the sun and so here the three armed swastika is the
Dragon’s eye of the north fig 22 representing the pine cone shape of
the pineal gland and also the 15th letter of the Hebrew alphabet Ayin fig 23 the 15th path of the Tarot - the
Devil - and the number
of Ishtar or Venus in the roll of the seniority of the Gods. The
Ayin is the ’All Seeing Eye of God’ (Enki or
Samael) peering both in
and out of the void.
At the end of their journey from the brain, through its third
ventrical, down the spinal column to the womb, graffenberg gland and
urethra, here the fluids rest until naturally or manually
discharged. The womb becomes the grail Cup containing the waters of
life, the Cubic stone of the Philosophers. The Dragon’s eye of the
south fig 24 = fig 25 - the Cup.
Thus the Grail, amongst other things, is both the
Head and the Cup,
and both ’eyes’ of the dragon - north and south - are the eyes that
contain "The light that illumines the human spirit". It is also the
pineal i - D, the Delta or Hebrew Daleth or Tau - The Doorway to the
eternal.
In any form the swastika is an emblem of life, of breathing (the
breath of ravens) and of self-sacrifice. As such therefore, the
swastika is one of the primeval symbols of Priest-Kingship and
Dragon Maidenhood. Greatly to be abhorred then is the fact that the
Nazi Party of Germany hijacked the swastika of Kali and, along with
numerous other fairy symbols, made it the most hated and feared
glyph on the Planet.
The Death’s Head of the SS is the head of wisdom of the
Templars -
the Baphomet - whilst the Sig rune itself is the path of the serpent
of wisdom descending the Tree of life. The red banner with the white
circle and black swastika represents the bloody funeral ground of
the Aryan saints, who gave the last drop of their life’s blood to
Kali, represented by the white disc of the moon amidst the crimson
field of the banner and whose swastika is the sumaire drawing life
into it as the Moon draws the seas to her.
The red flag is thus intended to represent the self sacrificing Tantric priests of the
Kaula Vama Marg shedding the last vestige of
their egos and their lives, to be left drained. As empty vessels
they were then ready to be filled with the wisdom of the Cosmos and
with the power of the Siddhis.
In practice however the swastika represents the suffering of four
million people sacrificed to the stupidity of a nation duped into
thinking that a dysfunctional House Painter and a disaffected
Chicken Farmer, leading a doomed race of potato peasants, could
really be the vestige of the Aryan Peoples -Their so-called
Master
Race.
And feeling the pinch after the Weimar Republic had its debts called
in who, fuelled by the politics of envy, wanted to keep the good
times rolling by backing Mr. Adolf Menachim Schickelgruber, the
Aryan God-Hero of the Teutons who would get rid of all those nasty
Hebes and redistribute their wealth in the German people’s
favor?
Correct - the German bourgeoisie - the smug, Jew-hating, complacent
bloody middle classes. It’s nice to have a readership that keeps
itself informed in matters of contemporary history.
This Jewish Holocaust exactly replicates what happened to the Elven
families for over a thousand years and for exactly the same reasons.
Money and Power.
The Aryans, The Noble or Elven Race, were a king tribe and were
Ubaid Sumerian-Scythian in origin. These Dragon
Kings and Fairy Queens weren’t extensive in number, didn’t breed outside their caste
and weren’t nationalists or racists. How the Germans ever thought
they were all descended from them is beyond understanding.
The Fairy progeny, in small pockets, spanned the Earth from as far
distant as Japan
* to
Scotland and they rarely mixed with the
indigenous populations who invited their rule and their wisdom.
Germans, like any other tribe would have had their Aryan caste to
guide them but that doesn’t entitle a whole nation to consider
itself Aryan.
*
The Ainu of Hokkaido or North Island are a tall, fair-skinned
Caucasoid people, thought to have been the original inhabitants of
the Japanese Islands who were driven north by waves of immigrants
from China, Korea and South Asia. The Ainu (pronounced: Eye-Noo) are
animistic and shamanic and share many beliefs with the Amerindians
and the Scythian druids concerning the nature of life. Their
principal divine totem is the Swan.
During the 12th century the Ainu were almost extinct following
continued hostilities with invaders. Their mythology tells them that
their race was saved by a swan who descended from heaven and mated
with the last living Ainu Lord. This coupling produced the
Ainu who
still occupy Hokkaido today.
The Swan Maidens are the Dragon Princesses of the Grail, the
Scythian Druid Queens and the Nordic Andvarinauts. In
Irish lore
they can transform from swans into maidens and so, anthropologically
speaking, it would appear, and the assertion is supported by
academics, that the Ainu; born of the womb of a Swan Maiden: are of
the Royal, Elven Dragon Blood - the Blood of Anu! The
Ainu have dark
hair and almond eyes and are distinctly Asian despite their
complexions. Nevertheless, the remnant of the Ainu who retain pure
blood, no more than 17,000 of them are left, are of Aryan
extraction. So much for the 20th century blue eyed, blonde haired
German fantasy. The pure, insular Ainu have more right to the
epithet Aryan than any German chicken farmer ever had.
Well dressing
Yggdrasil, the Tree of Life of the Viking Kabala or
Nine Worlds
system, is coiled about at its base by the serpent-dragon Jormangr
the encircler. At Yggdrasil’s roots there is a pool. In
Ireland,
Scotland and Wales this symbol is repeated as the
Hazel Tree by the
well, in which lives the Salmon of Knowledge. Atop the branches of
the Hazel tree there sits an eagle who drops a blood red nut of
wisdom into the well 13 times a year. There it is consumed by the
Salmon of Knowledge.
Because of this story, real wells and trees eventually became the
focus of devoted rituals that we now now as well-dressing, a
misunderstanding of the idea that the tree and the well were
figurative and that their curative properties were obtained not from
well water, but from something entirely different.
Because these waters were considered therapeutic and rejuvenating
the wells were blessed and venerated and, one supposes in order to
make the forgotten approximation closer to the reality of the
symbol, the trees adjacent to these wells were decked in coloured
patches of cloth. These symbolized the Chakras or Sephirah of the
tree of life of the female body which the druids were really
symbolizing in their use of the tree and the well glyph.
In the case of the Gaelic form of Yggdrasil, the nut of the Hazel
represents the pineal discharge. Dropped by the eagle, representing
the spirit or the Sun God Llew (the Ajna Chakra or
Kether Sephiroth),
it descends through the tree of life (like the lightning bolt of
inspiration) and falls into the well or womb. Here it is consumed by
the salmon of Knowledge. In the Irish story it is Nechtan (meaning
’pure one’) the God of ’waters’ who catches and eats the salmon, a
euphemism for cunnilingus. Repeating the entreaty of the grail story
however, it is only the pure one who may see or benefit from the
’Grail’, which is here, as anywhere else, the female genitalia and
the mysterious essences they bestow.
This story and its variants can be found across Europe in one
suppressed or hidden form or another. Whilst the eagle represents
the spirit we are clear on the nature and identity of the secretions
represented by the nut. The spirit was said to be located in the
pineal gland by Descartes, who was repeating an ancient gaelic
belief. The salmon however represents the vulva, resting at the
’bottom’ of (eg. beneath or below) the womb.
Both in contemporary and in classical and historical colloquialism
the fish represents the female vulva. This usage is universal. If
eating fish is said to be good for the brain, then eating Nechtan’s
salmon takes on a whole new meaning for us. The fish crops up as a
Christian symbol, that of Ichthys (meaning ’fish’ in Greek) which
latter day Christians believe means Iesus Christos Theos, or
’Jesus
Christ God’. And on the subject of fish and fish women or Mermaids,
we enter the labyrinth.
The Labyrinth
The word labyrinth has an etymology of which there are two
interlinked variations
i) derived from
labrys, a pre-Hellenic word
said to mean ’double headed axe’
ii) derived from the Latin labia
meaning ’lips’ or ’folds’
The double-headed axe was sacred to
Zeus;
the Grecian Thor, whose hammer was a variant of the labrys. The
spinning hammer was thought to form the shape of the swastika as it
flew through the air, whipping up the whirlwind.
This whirlwind and the spiral swastika that
symbolized it were the
figurative progenitors of the stylized maze or labyrinth.
Nevertheless the hammer, shaped like two opposed crescent moons was,
like the labrys, a female emblem. At the highest level the labyrinth
symbol works on several different but interconnected strata as:
We will be
concentrating upon the vampiric symbolism in relation to
samadhi or
transcendence.
As the Romans, formerly and anciently the Scythian Trojans,
continued to follow Hellenic customs, the word labrys would have
been known to them. Consequently the construction of their Latin
word labia would have had incorporated into it any of the original
suggestions intimated by the pre-Hellenic word labrys.
This assertion is borne out by an inspection of the glyph
representing the double headed axe. It is constructed in an hour
glass configuration by placing two equilateral triangles of equal
dimension together point to point, with the points meeting on the
vertical plane, equidistant from the two horizontal planes.
From the central meeting point of the two triangles, a horizontal
line extends out, twice the length into the plaster of the walls of
the labyrinth at Knossos and it is this figure, the
labrys, which
authorities present as giving the Knossos labyrinth its name.
With the handle removed and placed upright before the double
triangle we have the figure 18 which, when the numbers are merged
into a monogram, form the caduceus of Hermes, the "phallus" of
Baphomet, the fennel stalked thyrsus of Bacchus-Dionysus, the fennel
stalk in which Prometheus gave the gift of "fire" to man and the
flying reed-stalk of the witches (the original witches broom).
It is also the ribbon entwined maypole, the serpents Lilith and
Samael entwined around the tree of life and the rise of kundalini up
the helix encased spinal cord to the ajna chakra of the brain, all
of which the foregoing also represent.
The witches flying reed stalk suggests soaring consciousness in the
same way that the caduceus does, which has wings attached to what is
thought to be the solar disc, which is rather the sephiroth
corresponding to the brain. The fire given to man by Prometheus
might be thought by some to have been the fire serpent kundalini,
who features as a maiden in the service of the evil Klingsor, in the
stories relating to Amfortas and the knights of the Holy Grail.
Klingsor represents the perversion of the vampire rite into an act
of base sexual lust. He is the aspect of male human nature who, like
the Minotaur, represents the danger of capitulation to sexual drives
when the knight, like Theseus, is presented with the true
quasi-erotic nature of the Grail in the form of the virgin vulva.
However Kundalini promotes the production of noradrenaline and the
sexual hormones which work in direct opposition to the Grail and if
the pilgrim allows his baser nature to prevail, the "Grail" will
destroy him by producing in him the opposite hormonal response to
that which engenders wisdom and spirituality.
In the story of Amfortas, Kundalini realizes her true function and
dies (to a former physiological capacity in which she was ever
active in the service of "Klingsor") meaning that she becomes
passive and receptive to her other, deeper spiritual role, and
capitulates to the service of the Grail, symbolized by her expiry at
the Fisher King’s feet
This simply means that she, the spinal column, accepts her role as
the conveyor of Grail chemicals from the pineal to the
womb, instead
of only sexual ones, from the genitals to the brain. With the
expansion of knowledge in the science of Endocrinology, it is
possible now for the informed outsider to restore these stories to
their original meaning.
So the fire of Prometheus is not the fire of
Kundalini going up the
spine to the brain, but the fire of wisdom going down the spinal
column to the womb to become Starfire, which is shed from thence and
drunk in the ’Rite of the Vampire’.
The double triangle labrys design, identical with the one
found in the labyrinth of Knossos but without the
handle, was used up until medieval times to denote the womb and
vagina. One of the medieval sexual talismans incorporated into the ’Clavicula Salomanis’
includes this axe-head glyph as a representation of the female
principle, encircled by the Latin phrase "Exeat et Replete Terrum",
taken from Genesis. The talisman cited was used to attract female
lovers, one might speculate for what purpose precisely. Certainly no
purpose that would serve a vampire.
The genital symbolism is therefore quite clear and whether the word
Labyrinth is derived from either labrys or labus, it strongly
indicates that the maze or labyrinth was originally a graphic
representation of the womb and vaginal channel, at least on one
level of relationship to any attendant symbolism.
The following figures demonstrate the relatedness between the
labrys, the caduceus and other historical symbols and objects.
fig. 26 The labrys or double-headed axe. fig 27 the talisman of
Solomon (medieval text)
.....continued
fig 28 The symbol of Isis-Osiris with numerical and gematric values.
fig 29 The maypole, the Thyrsus, the Caduceus of Hermes the Phallus
of Bafomet and the witches Reed stalk.
Dragon’s Deep
The labyrinth of Knossos is thought to be a later version of the
temple labyrinth of Amenemhet III (ca. 1818 - 1772 bce) built at
Faiyum. This was a mortuary temple complex consisting of some three
thousand rooms and halls resting beneath the shadows of the Pyramid
of Hawara, a name which itself is reminiscent of the ancient
Sumerian Dragon Queen Hawah of Elda who was an ancestor of the
builder.
The Hawara labyrinth was adorned with carvings of the dragon god Sobekh, to which the labyrinth was principally dedicated, which is
not surprising when one learns that Hawara, formerly
Arsinoe
Ptolomais, was also named Crocodilopolis, the cultic centre of the
veneration of this Egyptian dragon god of sovereignty and the
protector of the royal caste, which was also the Sumaire of
Sumeria
and the Scythians. The 22 kings of Egypt of the XIIth dynasty met
there and it is within the precincts of this palatial labyrinth that
Amenehemet’s daughter, Sobekhnefru, held the
Royal Dragon Court.
Although vast in size, it was not unique, as many pyramids
themselves had labyrinths built into their structure. We are
reminded of the nature of pyramids as sacred mountains, echoing
Egypt’s cultural origin in an earlier mountainous region of Eurasia,
and we will also remember the sacred hill of the Ogdoad and the
links between the pyramids, raths, sidhes, tells, tepes, kurgans and
ziggurats.
The labyrinth, like the pyramid and its collaterals, is thought to
be a development of the idea of the mountain cave itself and
examples in support of such a theory are to be found in the
intricate passages and designs of Palaeolithic sanctuaries. As we
know, each of the pyramids and their related structures had funerary
and living quarters and were representations of the "cave in the
mountain".
From the kings or queens habit of living in these funerary
buildings, we obtain the myth of the vampire as one of the undead.
Labyrinths have been discovered as far afield as
Siberia (north-east
Russia) and Wales suggesting strongly, because of the locations,
that the concept was of a Fairy origin. In support of this theory we
find in Iceland various turf mazes and labyrinthine stone structures
called Volsunghausen or ’Wayland’s Homes’.
Wayland or Alberich (Aubrey/Oberon) was also called
Laurin and this
name, meaning a Bay tree, has a double entendre when it is
translated as ’passage’ in relation to the maze cult. A spiral path
can be trod to the top of Glastonbury Tor, which is said to be the
home of Oberon.
Frequently these structures are associated with barrows and atop one
of these outside St. Anne’s Well (a sacred site dedicated to
Black Annis) in Nottinghamshire is a turf maze named "Robin Hood’s Race"
which is virtually identical with another which was sunk in a
depression at the top of "The Fairies’ Hill", a barrow outside
Asenby, Yorks.
It was the custom up until 1908 to tread the Asenby maze of an
evening and sit in the centre to hear the Fairies sing. The design
of these mazes, which are of considerable antiquity, some say Bronze
Age, are lately called "Shepherds Races", (many with a distinct
spiral pattern towards the centre of the structure), and were copied
by the church during the medieval period.
The labyrinths at Chartres and numerous other churches in France,
Germany, Spain and Great Britain, are of an identical design with
these far more ancient mazes which invariably were placed adjacent
to or in the midst of originally prehistoric sacred sites, often
forming the centre of the Groves. The labyrinth of Chartes
Cathedral, built by the Knights Templars in the 13th century, like
many ritual mazes, has no blind alleys or fake routes.
At its centre there is a six petalled "Plantagenet"
or wild rose,
carved into which there seems to be an M figure reminiscent of the
symbol of Virgo -c- which is the
M for "Our Lady", the Virgin Mary
Magdalene, to which the Ichthys or Salmon of Wisdom has been
appended, denoting the genital nature of the whole glyph itself. As
the maze is situated in a cathedral dedicated to Notre Dame, it
seems appropriate to think of it in these terms, as the womb of the
Virgin.
The Rose Garden symbolism of the core of the labyrinth of
Chartres
is an echo of the Garden of Solomon and the Rose of Sharon, meaning
’Blood of the Virgin Princess’, and also of the later forest
labyrinth of Melusine, with its fountain, mentioned in medieval
French literature.
The Labyrinth of Solomon is in fact a medieval alchemical symbol
doubtlessly denoting the "scented fountain garden" of
Sheba. In the
French stories Melusine lies in hiding at the centre of her maze
garden, waiting to prey on victims returning from the Hundred Years
War. She would draw them in and drink their blood. Conversely she
also lay at the centre of the maze, as the prize of the quester for
the Grail.
The centre of the maze incorporated a black cubic stone
n from which
spurted the waters of life, La fonteine de soif, and the blood of
the virgin womb. At Chartres the Rose in the centre of the maze can
be seen bathed in the sanguine light of the sun beaming through a
strategically placed pane of red stained glass, making the combined
Grail symbolism apparent.
Gematria, a system whereby attributive numbers are added together to
give the lowest figure and thus reveal the essence or spirit innate
in any particular beings, words, higher numbers or objects, to which
there have been traditionally attached a numerological component,
was an integral part of Hermetics and Kabala, which was used
extensively, as part of sacred geometry, in many Templar buildings.
The Chartres Maze, was also called the Jerusalem mile and was used
as a symbolic substitute devotion in place of an actual pilgrimage
to the Levant. The mile, though here only suggestive, is 1760 Roman
yards which, when added together gematrically gives 1+7+6+0 =
14.
The multiple component of the mile is X 3, as the mile is measured
in yards or 3 feet spans. In order to calculate the number of feet
in a mile one times 1760 by 3 which gives 5280 feet. In reality the
maze path is far shorter, but the inference is implicit.
It actually measures 150 yards which was a Gaulish measurement of
1500 paces, called a leuca, leuga or leuva, which is a term
remarkably close to Lucca, whom Professor Margaret Murray states was
the god whose name the reputed royal sacrifice, William Rufus,
invoked in oaths. Lucca is related to Loki and
Lucifer, the bringer
of light, also known as Mazda or Ormuzd.
The cult of the Mistletoe Bard and his journey to the
Elysian
labyrinth of Persephone is clearly documented in the author’s notes
on Cai ap Emrys and the Vere dying kings.
If one multiplies the gematric sum of a mile (14) by the number of
feet in a yard (3) one obtains 3 X 14 = 42, the diameter of the
maze. In the medieval period three types of calendar were used:
Solar, Lunar and terrestrial.
The calculations of both Solar and Lunar calendars are well known.
Gematrically the symbolic Chartres "mile", if it actually were a
mile in feet, added together would give 5+2+8+0 = 15, which is the
number of the path of the devil or Baphomet, the head of wisdom, the
skull and crossbones, the androgynous god of the Templars
(Mercury-Venus or Hermes-Aphrodite) whose combined male and female
gender celebrates Enthea: Hierogamy or divine union.
However, it is 150 yards which added gematrically amounts to the
same thing: 15. 150 yards is 450 feet which adds to 9: N’H’Sh, the
tripartite triple goddesses of "The Love that is Death" and the
Vampire Sumaire: the Spiral Serpent of the Vortex.
When the Catholic faithful walked the symbolic 5280 feet of the
Jerusalem mile, as the maze is called, kabalistically and
gematrically they were following the path of the Devil (15) and
walking down the road to Damnation. Which was nice.
The actual measurements used vary from modern scales but the
component measurements remain the same. The scale used was medieval
and the diameter was 42 old feet, each comprising of 11.5 inches per
foot, which still relates to Venus and the cubic stone,
Melusine and
so forth, without actually changing the meaning of the design. This
measurement also seems to be a regularly occurring standard for early
turf mazes in Britain. These usually display the 10 or 11 concentric
circles which correspond to the sephiroth of the Qabalistic Tree of
Life.
The Chartres Maze was probably based itself on earlier patterns
associated with Melusine and Sheba, which themselves were based on
the swastika, the pre-eminent glyph of the Vortex or
Sumaire, the
"sucker-in" and source of life and life’s blood.
Associated with this is the concept of the maze as a dance pattern
which, similar to the original sacrificial sword dance of the Danes
and the Scots, was an echo of the spiraling witches’
dance around
the vortex and a celebratory rite of the Wild Hunt.
For some, entry into the maze would result in their life being
drained away by the virgin occupant, whose repast she would pass on
to her kind, as she acted as the fountain of thirst and fed them in
turn from her holy blood. In a sense then, where the Minotaur at
Knossos is concerned, (who is frequently interchangeable with the
Scythian Centaur in classical art), he is also representative of the
vampire king.
Thus at the highest level, as a whirlpool attracting and
distributing life and life’s blood, the Labyrinth was both tomb and
womb, life taker and life giver. In that order. On at least two
occasions in England labyrinths have been euphemistically referred
to as "fish traps" or Veres (Norse:
’Ver’).
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