In my new book Orion’s Door, I weave together various strands of esoteric knowledge and symbolism significant to the connection between Orion and Saturn worship. The blog below is a sample of such material taken from the book.
But see, Orion sheds unwholesome dews; Arise the pines a noxious shade diffuse; Sharp Boreas blows, and nature feels decay, Time conquers all, and we must time obey.
The Ojibwa (Chippewa) Native Americans call the Orion constellation, ‘Kabibona’kan’, which means the ‘Winter Maker’, as its presence in the night sky heralds the coming of winter. Orion is the marker for the coming of the ‘time of death’ in nature and the eventual arrival of the new sun (new year). He is the ‘Year Maker’, and from late summer through to the Beltane (May Day), Orion dominates the sky above the horizon, along with Aldebaran, the Pleiades, Polaris and Ursa Major. Earth’s Pagan festivals marked by the passage of the Sun and the Moon combined, give us the equinoxes and solstices; but the constellations, especially Orion, seem to provide a ‘backdrop’ for some of the most important rituals (festivals) on Earth.
Orion leaves our night skies during the late spring months of May and into June. While out of sight, Orion is said to be in the Underworld. Orion’s passage through autumn into the heart of winter, and the symbols, festivals and other planetary bodies connected to the star man, not least through a collection of archetypes related to Gnostic hermetic mysticism, astrology, and symbols associated with the trickster, or the ‘fool’.
Tripartite (triangle) symbolism, the number three (see the points on the hat of the medeaval court jester) and the tripartite goddess connects to the notion of doors (gateways) into darker days (or the Underworld) and the nocturnal aspects of Orion. Hecate, was one of the principal deities worshipped in Athenian households as a protective goddess who bestowed prosperity and daily blessings on the family. The ancient Greeks honoured Hecate (or Hekate) during the ‘Deipnon’ – the evening meal, especially on a new moon, but generally, she was a ‘nocturnal’ doorkeeper goddess.
Hecate is sometimes associated with the cypress, a tree that is symbolic of death and the Underworld – sacred to a number of chthonic (under the earth) deities, not least the spider. The ‘Day of Hecate’, or ‘Soteira Nocturnal’, is the Winter Solstice (21st December) and ritual sacrifice was (and still is) a common practice at the solstices and equinoxes in many ‘underworld cults’, not least the Orion-Saturn Cult I highlight in the book. In Hekate Soteira: A Study of Hekate’s Roles in the Chaldean Oracles and Related Literature (1990), Sarah Johnston provides the chief attributes of this goddess. She writes:
Hekate was present whenever souls crossed the boundaries between life and death… In her role as the goddess of the crossroads Hekate’s control over passage of liminal points also included opening and shutting the gates of Hades.1
Beckoning Darkness & the Winter Door
Around 160 AD, the alchemists (or theurgist), authors of the Chaldean Oracles, linked Hecate to the Cosmic Soul in Plato’s Timaeus, whose form was also a celestial ‘X’ (there is a whole chapter dedicated to the ‘X’ symbol in Orion’s Door). The point here is that Hecate, as the ‘triple’ goddess, whether we see her as a personification of the moon, or the torch carrier at the gates of Hades, is the goddess of the ‘darkness’. Hesiod, the Greek poet (750 and 650 BC), one of the authors credited with Homer for establishing Greek religious customs, described Hecate as a ‘primal cosmic force, one that can be called upon when worlds cross’. Like the ‘Three Norns’, or the ‘Three Weird’ (Wyrd) Sisters found in Runic magic, all can be ‘drawn down’ at important dates on the pagan wheel at the equinoxes and solstices. Hecate’s wheel symbolism also relates to the ‘core star’, or ‘soul’, said to be at the centre, interacting with what the Gnostics called the ‘fire serpent’ and primordial energy that creates us. What I see with Hecate’s wheel is a ‘celestial compass’, tuned to the stars (especially Orion) and the moon in the darker days of the year.
The winter triangle formed between the stars of Orion (Betelgeuse) and Sirius (Procyon) form another doorway, which is part of two prominent winter asterisms: the ‘Winter Triangle’ and the ‘Winter Hexagon’. The other two stars forming the Winter Triangle, also known as the ‘Great Southern Triangle’, are Sirius and Procyon, which are the brightest stars in the constellations Canis Major and Canis Minor, respectively (see figure). The configuration is another version of the tripartite symbols associated with darker days.
Writing in his book, Stellar Magic (2009), Payam Nabarz mentions the moon goddess (Hecate) in myths associated with Sirius and the Winter Triangle:
The star Sirius or the Dog Star is part of the constellation Canis Major (Great Dog), in Greek myths he was seen as Orion’s hunting dog. After the death of Orion, Diana placed Orion’s dog in the sky at his heel to help with the stellar hunt. The star Sirius is part of the winter triangle; the two other points of the triangle are the star Betelgeuse in Orion and the star Procyon in Canis Minor. Sirius, the brightest star in the night sky, can be located in the night sky by following an imaginary line from the three stars of Orion’s belt to the left and down. The star Sirius is one of the oldest constellations described by man; the Fire Star is one of the stars in the Babylonian A Prayer to Gods of the Night (circa 1700 BC).2
Canis Major and Canis Minor are the ‘hunting dogs of Orion’ and with Betelgeuse (the reddish star), they are all symbolic of the royal hunt (see fox hunting) in the UK (especially in autumn and early winter when ‘darker days’ draw to us).
Lenaea of the Wild Hunt
Like Orion and Artemis, ‘Lenaia’ (Lenaea) heralded the hunting season, which is predominantly through the autumn leading up to Samhain or Halloween (Hallowe’en). Samhain is a major point on Hecate’s wheel, along with Kali and the Darker aspects of the Goddess. The end of October focuses our attention at the time of the ancestors, when the curtain between the dead and the living opens. As a goddess of the door, Hecate was also known as ‘Arianrhod’, ‘Catherine’ and ‘Persephone’ in other cultures and myths, as she ushers in the winter festival of ‘Lenaea’ and the time of the wild hunts. The wild hunt, popular in ancient Greece, was also akin to celebrating ‘dark forces’ that would run amok from their point of entry into our world at Samhain (Hallowe’en) through to mid-December or Saturnalia. The forces hunting were said to be ‘otherworldly’, captured brilliantly in Peter Nicolai Arbo’s painting, Asgårdsreien (The Wild Hunt of Odin) 1872 and by the German painter, Friedrich Wilhelm Heine, in his drawing, ‘Wodan’s Wild Hunt’ (1882), see figure.
The mantra of Halloween and Christmas in their modern guise, along with imagery connected to other calendar dates, serve as a ‘channel’ for otherworldy forces that feed off our collective energy, primarily through the darker nights as we head towards the birth of the new son (sun), or year. It’s as if a door is opened at the autumn equinox and as daytime gradually gets shorter, with an increase in darkness, we become more susceptible to sublime forces appearing in the visible world. Archetypes are at work in the collective mind, too, and at the time when the veil is thin (from Halloween onwards), we find ourselves starting to go inward.
The Renewal Twins
John the Baptist was said to be born six months before Jesus Christ, and both figures astrologically mark Orion’s arrival in the sky, along with the dog days of the Sothic Sirius calendar. They are the ‘Oak’ and ‘Holly Kings’ or ‘twin sun kings’ whose coronations coincide with the summer and winter solstices – 21st June and 21st December. In Pagan worship, they are also the ‘Green Man’ figure entwined with the goddess forming part of these coronations throughout the solar year, which is why Green Man symbols can be found all over Christian churches and cathedrals (see figure). The hairy woodwose figures, found in iconography and art from ancient Sumeria to 14th Century Christian literature, are also connected to the Oak and Holly Kings.
The bear and woodwose, often depicted in art, are symbols for the ‘Children of Hermes’, the original magicians and angelic humans. A house in Thiers (Puy-de-Dôme), France, shows an effigy of a bear-man (a woodwose) with the head of a Fool on his staff (see figure). The 15th century place is called the ‘House of the Man of the Woods’. The Fool, of course, is a link to Orion, or Kesil (below right); similar sculptures can be found on numerous Christian cathedrals, all of which seem based on the man of the woods – or the children of the bear. John the Baptist was often depicted as ‘hairy’ in canonic art due to ‘Hermes’ connection.
Whether pagan or Christian, the twin sun king (Jesus and John) reigns over the solstices in a perpetual cycle of life, death and rebirth. According to the biblical story, John loses his head, symbolic of the pumpkin (skull) at Halloween, of which some scholars speculate was in the month of ‘Tishre’ (October), sometime after Yom Kippur. Just as the leader of the ‘Sun and Fire’ clans, Pahana, of the Orion worshipping Hopi, also has his head removed on their ancient tablets. The Orion worshipping Hopi deity, Masau’u, was also said to carry a pumpkin-like mask (or head) and a sack of seeds (stars) and all of the symbolism relates to Orion’s appearance in the form of Masau’u between the summer solstice and winter solstice every year.
The twin symbols of the ‘skull and the crucifix’ also represent two prominent dates on the Christian calendar, especially in America – Halloween and Easter. And both festivities have a common denominator, which is ‘death’ and ‘renewal’ represented by the solar king guided by Orion’s passage across the skies.
Light and Darkness at Hallowe’en
The ‘dark side’ is exactly what we are looking at with Halloween and the days leading up to it. The symbolism relates to death, and sometimes the opposite, ‘the god of Life’ (from the light half to the dark half of the year). The imagery associated with the skull (the Halloween pumpkin-head), the scorpion and the ‘Day of the Dead’ was, and still is, a prominent symbol for the cults who focus on death.
As Stephen Arroyo writes in his book, Astrology Karma & Transformation: The Inner Dimensions of the Birth Chart (1992):
The Scorpio period of the year (at least in the Northern Hemisphere) is the time when the life force withdraws from all outer forms in nature and is concentrated in the seed. It is striking that the cultural symbol for this time of the year in the United States is the Halloween pumpkin with its insides removed, leaving only an empty shell with a blankly staring face. In fact, the Jack-o’-lantern is a symbol of death, a symbolic skull with the glimmering remains of the departed life-force represented by the candle within.3
The scorpion (or spider) is an important symbol, too, not only because it represents the astrological period of Scorpio (October – November), but it sits opposite to Taurus (Orion) on the wheel and therefore creates the duality of light and dark. Orion’s death in Greek myth is from the sting of the scorpion. The skull (a symbol of death) is still used as an image at festivals from Halloween through to Christmas, or Saturnalia. From mid December we pass through the final doorway (symbolically) to the ‘new sun’ (the new light) and in some of the Scandinavian folklores, Krampus, (the horned door-keeper), accompanies Father Christmas (see figures). Krampus is alos the goat Pan and represents the nefarious force at work through this period on the calendar.
Saturnalia ‘Time’ – Two Sides of Christmas
On one level, Saturnalia was also a ’festival of light’ in Rome, leading through to the Winter Solstice (21st December). Saturnalia was ushered in and signified through an abundant presence of candles (fairy-lights) and pine trees in ancient Rome. The tree and the lights on them are meant to be symbols of our quest for ‘knowledge’ and ‘truth’ (light) at the darker end of the year. Another aspect of Saturnalia is about both ‘giving’ and ‘taking’ of energy. However, when you look around our modern 21st century version of the Roman ‘Saturnalia fest’, I think it’s safe to say that knowledge and truth has taken more of a back seat (see my Blog on Christmas). The whole period of ‘time’ called Christmas can be an unnecessary burden for too many and it also focuses our energy on ‘polarisation’ of those who ‘have’ and those who ‘have not’. Spending time with family and loved ones is wonderful for most, but sanctioning it as an official holiday becomes tedious, draining and for many that have ‘woken up’, or seen the light, it’s just another energy theft that has no bearing on the real plight of humanity. Before anyone accuses me of ‘Bah, humbug’ (a phrase incidentally that means to act in a ‘deceptive’ or ‘dishonest’ way), I will say that there is a meaningful connection to the ‘introspection’ aspect at this ‘time of year’. The winter period brings ‘clarity of focus’ for those who can look within. Being creative is important, too, as winter kicks in, but the modern day version of what was ancient Saturnalia is nothing more than a ‘massive energy grab’ (our human energy) just as it always was meant to be.
We Three Kings from Orion Are
In previous blogs, I have pointed out correlation theories relating to the three belt stars of Orion (Alnitak, Alnilam and Mintaka) and the pyramids of Giza – not to mention the Hopi’s Three Mesas of Arizona. However, many myths are allegories of the path of the sun through the zodiac signs, and the famous axiom, ‘As above and so below’, is so true. The word Orient, in the Christmas Carol We Three Kings from Orient Are, should be replaced by ‘Orion’ – ‘We Three Kings of Orion Are’. The three Magi, or ‘Drie Koningen’, who searched for the newly-born solar Christ are symbolic of the three stars in the hunter’s belt in the winter sky (see figure).
The Three Kings could also represent three divine aspects of ‘will’, ‘love’ and ‘intelligence’ (three lights) in some sources. The name, Orion, in Hebrew, means ‘the breaking forth of light’ and therefore symbolises the ‘place of light’. In ancient Akkadian, Orion was ‘Ur-ana’, the light of heaven and is the ‘place’ from where Saturn (Saturnalia) gets its interstellar instructions.
In some South American cultures, Orion’s Belt is known as ‘Las Tres Marias’ (The Three Marys) in honour of Mary of Nazareth, Mary Magdalene, and Mary of Bethany. Astrologically, the alignment of Orion’s belt (three Kings or Marys) as they follow Betelgeuse moving east over the horizon, towards the birth of the sun in the precessional cycle across the sky at night (on December 25th), adds another layer to the Christmas story. The shepherd’s dog (Sirius) and the ox (Taurus) in the stable all add another facet to the Christmas tale. It is a story that clearly seems to map the position of the stars and offer the idea of a ‘star being’ being born.
The Trickster Star Gods
In Greek myth, the Minotaur and Ariadne are aspects of the Underworld and associated with Dionysus, another Christ-Orion figure. It was Ariadne, according to Greek myth, that created the Labyrinth to hold the horned Minotaur. In fact, the giant spider-scorpion (see figure) and the Minotaur are symbolic of nefarious forces opposing Orion in Taurus. It is also interesting to note that in Lakota myth, there is a giant spider called ‘Iktomi’ who is a trickster spirit, and a culture hero for the Teton Sioux Lakota people. Alternate names for Iktomi include Ikto, Ictinike, Inktomi, Unktome, and Unktomi and according to numerous North American plains tribes, Iktomi represents a star deity. I would suggest Ikto is connected to nefarious forces originating from Orion’s star, Betelgeuse, just as are the Koshari clowns in Lakota belief (see my blog on Orion).
On another level, Lakota mythology itself is a ‘living belief system’ and the spider, Iktomi, represented a ‘living (alien) consciousness’ that would spread its web all over the land. Today, this has been interpreted by some contemporary Native Americans to be the telecommunications network, the Internet, or the World Wide Web. Some Lakota see the spirit of Iktomi as the patron of ‘new technology’, from the invention of language, to today’s modern cyber world of the computer, robots and I would add ‘artificial intelligence’. I would suggest that the ‘spider’ is a prominent image that could relate to an extraterrestrial intelligence that has hacked into our minds. The themes in so many science-fiction movies, not least The Matrix movies seem to suggest such a phenomenon.
The Fool and the Lord of Misrule
Another aspect to Saturnalia, is the ‘King of Saturn’ who ruled as the ’master of ceremonies’ for the proceedings through the Saturnalia period. He was appointed by lot and has been compared to the medieval ‘Lord of Misrule’ at the ‘Feast of Fools’, the last day of Saturnalia at Epiphany (6th January). In England, the Lord of Misrule (known in Scotland as the ‘Abbot of Unreason’ and in France as the ‘Prince des Sots’) was an officer appointed to preside over the Feast of Fools (see figure).
The Lord of Misrule was generally a peasant appointed to be in charge of Christmas revelries, which often included drunkenness and wild partying, in the pagan tradition of Saturnalia. The donkey, or ass, was another symbol of misrule and ‘mockery of law and order’, ‘title and kingship’. In Ancient Egypt, Seth, Osiris’s brother and slayer, was sometimes shown to have the head of an ass. That’s why Apuleius in ‘The Golden Ass’ describes a great metamorphosis, the transformation of Lucius to a donkey and his way back – spiritual evolution towards the human being. Jesus (like King Solomon before him) was also said to ride into Jerusalem on a donkey, which of could relate to Jesus as the Saturn figure, a Lord of Misrule, on one level. The ‘She-Mule’ could be also seen as ‘Donkey Pope’ found in anti-Catholic Satire during the Reformation in 16th-century Germany. Some of the oldest tarot decks also show the Pope as a Donkey.4 The ass and the Lord of Misrule go together at both Saturnalia (Christmas) and Ostara (Easter). There is also a connection to the character, Puck, from Shakespeare’s, ‘otherworldly’ A Midsummer Night’s Dream – from where the line, “Weaving Spiders Come Not Here” derives. A phrase that can be found at the infamous Bohemian Grove elite summer camp, a club motto which implies that outside concerns and business deals are to be left outside.
The idea of a Lord of Misrule during Saturnalia also reminds us of the Donkey Pope/Priest that the Church Fathers mention, including Tertullian. This ass-faced ‘scapegoat’ connects to Baphomet of the Oriental Knights Templars and the redeemed Gnostic archon, ‘Sabaoth’, also called the ‘Lord of Forces’ in Gnostic scripture, Hypostasis of the Archons and On The Origin of the World. This Donkey-like god was connected to Yahweh (Jehovah) by the Gnostics, as Epiphanius in the Panarion (26:12:1-4).
The Lord of Misrule gets more gruesome in Rome. In ‘Durostorum on the Danube’ (modern Silistra), Roman soldiers would choose a man from among them to be the Lord of Misrule for thirty days through December. The classic image of the Fool, or jester is also a Lord of Misrule figure (see figure). The three pointed hat seems to represent the triptite symbolism of Orion, or what I refer to as The Orion (interstellar) Cult, or the Orion-Saturn-Moon Cult in my book. At the end of those thirty days, his throat was cut on the altar of Saturn.
Similar origins of the British Lord of Misrule, as a ‘sacrificial king’ (a temporary king, who was later put to death for the benefit of all, have also been recorded. See the movie, The Wicker Man (1973) starring the late, Lord of Misrule himself – Sir Christopher lee. Christopher (Frank Carandini) Lee, who never got to play either ‘Santa’ or ‘Krampus’, as far am aware, often mentioned his ancient Roman ancestry (bloodline) in books and on TV interviews. His autobiography, Lord of Misrule (published by ‘Orion’ in 2003), hints at his knowledge of the occult and symbolism associated with Saturnalia, ancient Rome. I once stood next to Lee at a Eurostar waiting area over twenty years ago, at the time he had just finished filming the Lord of the Rings trilogy and he seemed both enigmatic and ‘strange’ to me. Whether ‘Sauroman’, ‘Lord Summer Isle’ or Count Dracula, his movies were very Saturnian, to say the least.
Roman Saturnalia was also best known for roles reversal and behavioural license (the Lord of Misrule again), allowing slaves to act like masters and vice versa. Roman slaves were treated to a banquet of the kind usually enjoyed by their masters. Role-playing was implicit in the Saturnalia’s status reversals, and there are hints of ‘mask-wearing’ or guising in ancient Rome. Historically, elite families would have loved all that role-play, hunting in masks and generally playing roles reversed? Maybe they did and still do? Slaves were set free just for the festivities… So ‘nothing’s changed then?’ See every Bank Holiday in the western world. Who is it that rules over the banking system astrologically? Saturn!
Who owns the banks? Those in power that seem to ‘adore’ Saturnalia. Henk Versnel writes in Saturnus and the Saturnalia (1994):
Gambling and dice-playing, normally prohibited or at least frowned upon, were permitted for all, ’even slaves’. Coins and nuts were the stakes. On the Calendar of Philocalus, the Saturnalia is represented by a man wearing a fur-trimmed coat next to a table with dice, and a caption reading: “Now you have license, slave, to game with your master.” Rampant overeating and drunkenness became the rule, and a sober person the exception.5
The festival time, or holiday season (from Thanksgiving to Christmas), is when you are allowed to feel free for a week or so, to drink (be merry) and pretend that you’re not a ‘slave to the system’. Under our current Corona restrictions, we seem to be in slave mode perpetually.
If people wish to make a change and want to really ‘vibrate’ to a ‘higher level’, and go beyond the religious symbolism and materialism connected to Halloween and Saturnalia, we may have to ‘come away from the ‘same old rituals’, programmes and polarised views that are tucked away within all of the ‘razzamatazz’. Symbols, icons, stories and legends are more powerful than we can imagine. We are still in ancient Rome (and Egypt) in so many ways; these rituals and festivals have been with us since then and linger still. I would prefer to focus on ‘introspection’ at this time of year (which is hard when you have small children, I know) but whatever you do, make sure you can get out of the ‘Saturn vibe’, even if it’s just for an hour or two, to contemplate the ‘bigger picture’ beyond the hold of Saturnalia in the darker half of the year.
We have to look beyond the overarching reach of Orion’s presence too, if we are to pass through the door into higher levels of consciousness.
1) Hekate Soteira. A Study of Hekate’s Roles in the Chaldean Oracles and Related Literature (1990), & Sarah Johnston (Oxford University Press; 1 edition (May 1, 1990) Johnston, 1990, p150
2) Payam Nabarz is the author of numerous books on mythology and magic, including The Square and The Circle (2016), and Anahita (2012).
3) Stephen Arroyo writes in his book, Astrology Karma & Transformation: The Inner Dimensions of the Birth Chart. CRCS Publications, 1992, p59
The word ‘robot’ was introduced to the public by Czech interwar writer Karel Apek in his play R.U.R. (Rossum’s Universal Robots), published in 1920.1But the word ‘robot’ itself was not new, existing in the Slavic language as ’robota’ (forced labourer), a term used to classify peasants obligated to ’compulsory service’ under a feudal system. It certianly feels as though we are entering a futuristic ‘master and serf’ society at the moment. The mask and robots have recently merged, too. As face coverings become the madated ‘new norm’ amid the coronavirus pandemic, Japanese startup Donut Robotics developed an internet-connected ‘smart mask’ that can transmit messages and translate from Japanese into eight other languages.2As I show in the book, there are numerous connections to ancient-future gods, technology and the coming ‘AI controlled’ global Cyber-Grid Empire.
The word ‘mask’ seems to have appeared in English in the 1530s, from Middle French ‘masque’ (a covering to hide, or guard the face), derived in turn from Italian ‘maschera’, from Medieval Latin masca ‘mask, ‘spectre’ or ‘nightmare’. The oldest masks discovered are roughly 9000 years old, at the Musée ‘Bible et Terre Sainte’ in Paris, and the Israel Museum in Jerusalem. The mask also comes from Ancient Greek Bacchanalia and the Dionysus cults; it relates to ‘controls on behaviour’ being temporarily suspended, as ‘something else’ comes through the wearer to cavort; often causing mayhem. Have you been ‘challenged’ in a shop, supermarket or on public transport yet by the robot-like, mask wearing member of the Orwellian thought police? I have, and I have kindly told whoever to mind their own business. The mask is also symbolic of a ‘face without a body’, or a ‘head without a body’, often called the ‘faceless one’, or ‘Little Face’. All of this relates to Orion symbolism, as I show in great detail in the book. The Lone Ranger figure made popular as the fictional masked, former Texas Ranger who fought outlaws in the American Old West (with his Native American friend, Tonto) is another classic Orion archetype. Simillar concepts can be found in the American and UK Masked Singer – reality singing competition television series (part of the original South Korean Masked Singer by Munhwa Broadcasting Corporation franchise) see figure.
It was no surprise to see the word ‘Orion’ used in a movie called The Man Who Would Be King (2015). A film that tells the story of Jimmy Ellis – an unknown ‘masked’ singer plucked from obscurity and thrust into the spotlight as part of a crazy scheme that has him masquerade as Elvis, returned from the grave (see figure). The King, Queen, Empress or Emperor, etc., are all Orion archetypes related to empire building on Earth .
The use of carnivalesque masks in Jewish Purim festivities of the late 15th century also seem to have been part of Judaic tradition, and connected to the Orion archetype, Kesil Horeth (see Orion’s Door). Elsewhere, North American Iroquois tribes also used masks for healing purposes and in the Tibetan culture, masks functioned above all as mediators of supernatural forces.3 The Mayan bat God, Camazotz, which translates to either ‘death bat’ or ‘snatch bat’ relates to mediators of dark, supernatural forces connected to what the Mayans’ (in the Popol Vuh) referred to as, Xibalba, which is in Orion. The use of bat symbols concerning ‘dark forces’ operating from the shadows is common, see the ‘official’ narrative for the ‘origins’ of Covid-19. The archetypal Batman figure in movies like Dark Knight Rises (2012), which features the ‘masked’ villain, Bane, also seems to be symbolic of billionaire Cult operatives (see psycopaths like Bill Gates) and otherworldly forces behind the global problems we are currently enduring.
The psycopaths creating ‘malevolent’, dark, global problems we endure (which seems to be nothing but Covid at the moment) can be summed up in one image below.
Robots, or mask wearing gods/goddesses and technology are not entirely Science fiction, the concepts go back to the ancient world and can even be found in the Middle Ages, from Iron Maidens, to the technological inventions by fifteenth-century Venetian physician, engineer, and alleged ‘magus’, Johannes de Fontana (1395-1455). Author, Adrienne Mayor, in her book, Gods and Robots: Myths, Machines and Ancient Dreams of Technology (2018), even suggests that robots (like the goddess Pandora) lived amongst the gods of the ancient world.
Opening Pandora’s Box
It is said in Greek myth, after humans received the stolen gift of fire (knowledge of technology) from Prometheus, an angry Zeus decided to give humanity a ‘punishing gift’ to compensate for the knowledge brought by Prometheus. Zeus commands Hephaestus (the god of fire and technology) to mould from earth the first woman, a ‘beautiful evil’, whose descendants would torment the human race for millennia. After Hephaestus creates this beautiful figure, the goddess Athena dresses her in a silvery gown, an embroidered veil, garlands and an ornate crown of silver stars. As I mentioned in my previous blog, the crown relates to the ‘corona’ and the the ‘Keter’ in the Kabbalah, which connects to a higher state of awareness and therefore our ability to become conscious, or truly aware of our spirit.
The mysterious ‘synthetic’ woman created by Hephaestus remains unnamed in Hesiod’s poem, Theogony (c. 8th–7th century BC), but is presumably ‘Pandora’, whose myth Hesiod revisited in Works and Days in the same century.
The Ancient Greek Pandora is nothing like the Pandora in the American science fiction television series, of the same name that aired in 2019; the ancient Greek Pandora was ‘totally’ artificial. She had a key position on the Acropolis in Athens, with a massive line-up of gods and goddesses on either side of her. Pandora was eventually brought to earth by Hermes (Mercury), according to the myths; her jar, or ‘pythos’, was thought to be made of metal (possibly bronze) and considered unbreakable. Pandora’s jar (mistranslated as a box) probably contained both benevolent and malevolent ‘non-physical’ life forces, possibly the Jinn, likely where the notion of the genie in the bottle originates. Fate, duality and hope were also said to be contained within Pandora’s jar but the releasing of these forces created pain and suffering on humanity. The Gnostics, as I have mentioned in other blogs and talks, called these non-physical forms, ‘chaos’, the home of the Archons, demons and the ‘ghosts in the shell’ that still haunt human life. Another story is the ancient myth of ‘Pygmalion’ and his love for a nude, ivory statue of his own making, probably the first ancient ‘adult doll’. The amount of female celebrities (singers) adorning robot imagery gives credence to the theme of robot (artificial intelligence) controlling the elite, too. Beyoncé, Kylie Minogue, Christina Aguilera, Lady Gaga to name just a few have flaunted the Pandora-Maschinenmensch look (see figure).
When Pandora first appears before gods and mortals, it is said ‘wonder seized them’ as they looked upon her. But she was ‘sheer guile, not to be withstood by men’. Hesiod elaborates (590–93):
From her is the race of women and female kind: of her is the deadly race [of robots] and tribe of women who live amongst mortal men to their great trouble, no helpmates in hateful poverty, but only in wealth.
Of course, Hesiod is limited by the perceptions of his time, referring to an ‘artificial life force’ that supposedly ‘animated’ Pandora and her kind. The concept of the Jewish Golem, an animated stone, or clay manikin is similar in concept. One ancient story concerns the bringing-to-life of inanimate objects by fiat. At the time of the great deluge, Deucalion (Noah) and his wife, Pyrrha (Naamah), would toss rocks over their heads that turned into men and women. So are the concepts found in Goethe’s play, Faust and his homunculus (a fully formed ‘replicated’ individual). So are the 14th century Kabbalistic teachings of Rabbi Loew on how God created Adam (Orion).4 Was Hesiod referring to a ‘race of robots’? We cannot know for sure but Pandora is clearly depicted as a classic ‘kore’, a Greek statue of a young woman (maiden), standing and clothed in long robes, with an unusual ‘Stepford Wife-like’ stare (see figure).
Like the original 1972 movie The Stepford Wives, there is a ‘gentlemen’s club’ (the Cabal) working ‘behind the scenes’ creating the fawning, submissive, impossibly beautiful ‘android wives’. There are so many movies and TV series in recent years that have pursued themes relating to future human life-like androids populating the world, from HSBO’s Westworld (2016), to the Channel 4 and Kudos production Humans (2015-2019). The synthetic humans in Humans are identified by enhancing the ‘eyes’ only.
The third series of Westworld actually has a ‘Transformer-like’ robot in the plot which makes me wonder if there is more to know about such sentient machines. Interestingly, the original Westworld (1973) poster featuring Yul Brynner’s half exposed robot face offers a visual connection to the obsession with ‘mandatory mask wearing’ across the world because of the coronavirus pandemic (see figure). I go into the Transformer subject in more depth in Orion’s Door.
Only the logic of fear can be applied to compulsory ‘mask-wearing’, which came into effect in the UK at the time of writing. You have to ask, if it is crucial to wear a mask, then why was it not made mandatory at the beginning of the ‘Lockdown’ in March 2020, or in June when the population were taking Boris Johnson’s confusing ‘baby steps’ back to normality? As many are starting to realise, the Covid-19 pandemic is more about mind control and has nothing to do with a ‘disappearing’ coronavirus, if there was a deadly virus at all? At the time of writing, 95% of the world’s population lives in countries that require or ‘recommend’ mask wearing (including China, the USA, Germany, Russia, South Korea, Brazil, India, and France). What happened and why did this all change so rapidly, especially after the ‘curve’ was flattened from May onwards? Total propaganda happened. In March, a group of researchers and scientists started #Masks4All after realising (yeah, right!) that there was clear scientific evidence showing that ‘cloth’ masks limit the spread of Covid-19.5Again, its all propaganda! The personnel fronting Masks4All include an Australian ‘data scientist’ and ‘entrepreneur’, Jeremy Howard, who is ‘connected’ to the World Economic Forum (WEF), a 1% (elite) front for the Cabal (Cult). There is an agenda beyond ‘stopping the so-called virus’ for mandatory wearing of masks, etc., which is clearly about ‘eradicating’ what we considered ‘normal’ before March 2020. Hence the constant use of the phrase in the media, ‘The New Normal’. You’d be forgiven for thinking the whole Covid Circus was a ‘psyop’ designed to alter behavioural patterns of nations. Look around, we are becoming ‘robot-like’.
It’s time for people to get informed, debate politely with anyone who attempts to enforce such insanity. Adverse health issues, caused by the constant wearing of masks, will have huge repercussions on the populace, as many medical experts are now saying. Covering the mouth and nose is akin to denying ourselves the ‘breath of life’, which is a crucial symbol or statement that the psycohpaths want to reinforce. Our breath is our soul, our spirit; therefore, forced mask wearing is an attempt to deny our true spirit.
At the time of the coronavirus outbreak a leading Chinese AI firm, SenseTime, were enabling contactless temperature detection software deployed across underground stations, schools and community centres in Beijing, Shanghai and Shenzhen. The technology used can recognise faces, even if they are wearing masks, with a relatively high degree of accuracy. Another Chinese AI firm, Megvii, boasts a similar temperature detection product, deployed in Beijing at the time of the coronavirus outbreak. The Chinese newspaper, Global Times, reported in 2020 that officials in Chengdu city, Sichuan province, had been issued with ‘smart helmets’ that could measure the temperature of anyone within a 5m radius, sounding an alarm if they were found to have a fever. The world is being moved into an AI dystopian society where those who control the Cyber-Grid Empire will control everyone on earth. China is the model for such massive surveillance and control and it’s coming to us all unless we wake up fast!
What next? The Handmaid’s Tale? We are been forced to wear mouth covers (muzzles) just as the handmaid’s mouths were forced shut by ring piercings in that dystopian narrative. It seems, tyranny-in-the-making has never been so fashionable for some folk.
Cyborg Queens – Controlling the Hive Mind
The Maschinenmensch (German for ‘robot’ or literally ‘machine-person’) is a fictional character in Fritz Lang’s film Metropolis (1927), played by German actress Brigitte Helm, in both its robot form and human incarnation (see figure). In the movie, she is a gynoid (a female robot or android) created by the scientist, Rotwang. Named Maria in the film, and ‘Futura’ in Thea von Harbou’s original novel Metropolis (1925), she was one of the first robots ever depicted in cinema.
The Maschinenmensch has been given several names through the decades: Parody, Ultima, Machina, Futura, Robotrix, False Maria, Robot Maria, Roboria and ‘Hel’ (from where the word ‘Hell’ originates). Maschinenmensch and Metropolis, symbolic of Pandora’s presence over her otherworldly jar, uses conceit, creating a reality where workers (worker bees) live below the ground. In contrast, the aristocracy live in skyscrapers high above the worker slaves of ‘Metropolis’. Pandora and Maschinenmensch are the ‘fallen Eve’, revealed to the world as the robot Sophia, a citizen of Saudi Arabia in 2017 (see figure). Similar themes can be seen in the 2014 movie, Ex Machina. The American Cyberpunk action film based on the 1990s Japanese manga series, Alita Battle Angel, seemed to connect all the dots in terms of symbolism and themes relating to human cyborgs. Produced by Jon Landau and James Cameron, the movie depicts another ‘fallen’ Eve/Sophia figure who emerges from the wreckage of one world to become a beacon in a new ‘tyrannical world’, ruled over by an unseen technological dictatorship and policed by cyborg serial killers. The word ‘Elita’, in Latin, means ‘chosen one’ and in Hebrew means ‘high above’ or ‘most excellent’.
In the American science fiction franchise Star Trek, the ‘Orions’, also known as the ‘Orion Syndicate’ (a fictional extraterrestrial humanoid species) made their first appearance in the original TV pilot series Star Trek: The Cage (1965). In this episode, the USS Enterprise, under the command of Captain Christopher Pike (not Kirk), receives a radio distress call from the fourth planet in the ‘Talos’ star group, Talos IV from whence the ‘Talosians’ originate. The use of the word ‘Talos’ again hints at the exoskeleton, Tactical Assault Light Operator Suits, otherwise known as ‘TALOS’, being built by the US military (see figure). There is much more to the symbolism relating to the Greek god, Talos, Knights (living armour) and the ancient race of gaints, which is covered in my book.
More engagingly is the portrayal of Orion females in these episodes of Star Trek. They are often Osiris (Orion) green and renowned for their use of pheromones to influence men sexually, so to ‘distract’, and in this scenario, used for an attempted theft of the starship Enterprise. You could say they are ‘Pandora-like’ in their approach. The Talosians are portrayed as a subterranean race of humanoids with bulbous heads that use ‘technology’.
They are described as sentient humanoid natives, who over 100,000 years ago, fought a nuclear war, leaving most of the planet’s surface uninhabitable – a common theme in many movies since 2010. Living under the surface of their planet, the Talosians developed powerful psychic abilities, able to create illusory realities through the use of memories. The Talosians also seem to appear as part human, part-grey, part reptilian in appearance and I am certain the Grey alien is a ‘hive mind’ species, connected to the Zeta Reticuli star system and Rigel in Orion. Orion women have also been portrayed in the movies Star Trek (2009) and Star Trek Into Darkness (2013), where one is seen seducing Captain Kirk. The Pandora aspect of these fictional characters is obviously hinting at the power of ‘sex magic’ and also the mesmerising allure of such otherworldly creatures. I’ve met a few in my time and you have to wonder how many males and females we encounter who are not under the influence of some kind of mind control. The Orion’s in these science fiction narratives operate a mafia-style syndicate (in space) where aliens are ‘trafficked’ and Orion women/girls are seen as (sex) slaves (see figure).
The Orion girl slave image is popular amongst the bizarre Japanese Cosplay characters. Such topics seen in these science fiction scripts makes me wonder if they are inspired by the very real, and utterly vile, global sex trafficking activities that have come to the surface in recent years. The late Jeffrey Epstein story of underground facilities (dungeons) on Little St. James in the Caribbean is one such story of such vile activities.6 Male Orions also made their first appearance in the Star Trek: (the Animated Series) episode The Pirates of Orion (1974), but did not appear in live action until the Star Trek: Enterprise episode, Borderland, which also featured female Orions. I feel that the so-called ‘Orion Federation’ talked about in numerous books and channelled texts is an actual empire very similar to the Galactic Empire seen in George Lucas’ Star Wars movies. Orion’s stars could be home to a vast array of alien species and I am convinced that sentient mechanical beings are part of that mix of alien life, along with other human types including reptilian-greys. The movie Jupiter Ascending(2014) gives a fictional peek into the vast array of alien lifeforms operating through a hive mind hierarchical structure affecting other planets, including earth. Ridley Scott’s Prometheus (2012), the Alien prequel, includes the android, ‘David 8’, who is responsible for unleashing the ‘Alien’ species on humanity. The symbolism around the biblical figure, David, is hugely relevant to the bloodlines connected to the giants, are also covered in the book.
AI Controlled Borgs
The plan to turn humans into AI-controlled cyborgs has been symbolised many times in science fiction movies and television series, and few more accurately than Star Trek and its concept of the ‘Borg’. These are portrayed as a ‘collective species’ – part biological, part technological – that have been ‘turned’ into cybernetic organisms functioning as drones within a hive mind called the ‘Collective’, or the ‘Hive’. The Nefilim, Watchers, Reptilians, Greys and others Archontically-controlled are also a ‘hive’ species. The Borg are portrayed as emotionless drones, malevolent just like the Gnostic Archon entities; all are coordinated by a ‘Borg Queen’ in the way a queen bee controls a hive.
Similiar themes appeared in the movie The Great Wall (2016), where a collective reptilian species called the ‘Tao Tei’, all controlled by a Queen that had come to earth in ancient times, directs her hoard to feed off humanity. The aliens and their hybrids (like the Greys and Reptilians, found in so many books and literature) are said to have a similar structure based on a Queen. Therefore, would it be too much of a stretch of the imagination to think of the archetypal alien ‘Queen’ as pure artificial intelligence? Are we being manipulated by a technological species that is also using other alien species to create a technological prison on earth? Cyborg Orions, as I call them are also epitomized in the I Robot movie (2004) which shows ‘VIKI’ (Virtual Interactive Kinetic Intelligence) as the central ‘Queen intelligence’ controling all of the robots. She makes Google’s Alexa look like an Abacus compared to a Cell Phone. The Alexa-like cyborg world is where we are going in the not-too-far distant future. ‘Skynet’ is waiting unless we become conscious and awakened to our true state. When the likes of Bill Gates, likens AI to “simply better software”, then we all need to be worried. Especially in relation to autonomous weapons systems controlled by AI.
The key to understanding alien life is to look at the devices we are now using and if you’re of my generation, when there was no digital world, no Wi-Fi interference or none of this ‘other’ intelligence, the world felt very different. All of this technology has come from ‘somewhere’ – it hasn’t just evolved. Humans haven’t decided that they’re suddenly going to build robots that are artificially intelligent, this is not a ‘natural’ evolution for humanity. As I am hinting at here, we’re dealing with an infusion of artificial intelligence giving us the tools to ‘reconstruct’ our world to the detriment of future generations. The coronavirus pandemic is playing its part, but, reconstructing our world to the detriment of future generations, is the conspiracy! We are destroying our world, courtesy of alien (artificial) intelligence (which operates through an elite) that wants the world to resemble a synthetic playground, such that alien intelligence can purely interact with and control – the goal being the end of the organic human species as we know it. I think we will reach a point that hasn’t happened yet – where it’s going to be very difficult for a highly-evolved human, interacting with their Superconsciousness (or Infinite Awareness), to NOT see the alien, the digital beast for what it is – pure evil.
It’s time to bring this madness to an end, or our children will have to live in a dystopian Covid movie indefinitely.
1) Roberts, Adam. Introduction to RUR & War with the Newts. London, Gollancz, 2011, pp.vi–ix 2) https://economictimes.indiatimes.com/small-biz/startups/newsbuzz/japanese-startup-creates-connected-face-mask-for-coronavirus-new-normal/articleshow/76643686.cms 3) François Pannier, Stéphane Mangin. Masques de l’Himalaya, du primitif au classique. Paris: Editions Raymond Chabaud, 1989, p44 / Lisa Bradley & Eric Chazot. Masks of the Himalayas. New York: Pace Primitive Gallery, 1990. 4) Wilson, Eric G. The Melancholy Android: On the Psychology of Sacred Machines. State University New York Press, 2006, p80-81 5) https://masks4all.co/about-us/ 6) https://www.dailymail.co.uk/news/article-7294665/Jeffrey-Epstein-doomed-dome-Pedophile-Islands-mysterious-temple-lost-golden-dome.html
What is Gnosis, and what prevents humanity from achieving higher states of consciousness? In a 2 hour lecture, Neil Hague offers a personal insight, knowledge of the Gnostic Cathar, as well as the deeper symbolism connected to dualism and Orion Symbolism. The lecture looks at the origins of symbolism, consciousness and the plight of humanity as a whole.
Neil talks about the Archetypes and symbols of the Gnostics.
In Part One he shares his views on subjects such as – megalithic mysteries, the origins of the Gnostics, the Cathars, giants, gods, goddesses and the symbolism of Orion.
In Part Two Neil goes much deeper into the interstellar subjects connected to Orion, it’s symbolism, the Kaballa, Adam Kadmon, American Indian myths connected to Orion and how humanity needs to become a bridge between the earth and the stars.