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.
I speak from my own perspective of course, but isn’t Christmas a bore these days? Spending time with family and loved ones is wonderful for most, but sanctioning it as an official holiday has become tedious, draining and for many that have ‘woken up’ to the ‘reality of ‘reality’, just another focus for an ‘energy theft’ that has no bearing on the real plight of humanity today. It’s the perfect example of Ground Hog Days… Now before anyone says ‘Ba humbug’ (which is a word incidentally that means to act in a ‘deceptive’ or ‘dishonest’ way), I will say that there is a meaningful connection to the ‘introspection’ at this ‘time of year’. The winter period brings ‘clarity of focus’ for those that 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.
What’s that old saying, ‘when in Rome, do as the Romans do? We do and Saturnalia is now officially here once again.
The ‘Time’ when Ancient Rome Comes to Town
On one level, Saturnalia was a ’festival of light’ in Rome, leading through to the Winter Solstice (21st December), signified through an abundant presence of candles (fairy-lights) and pine trees. All of which are meant to be symbols of our quest for ‘knowledge and truth’ (light) at the darker end of the year. The other aspect of Saturnalia is more about the ‘giving and ‘taking’ of energy. However, when you look around our modern day 21st century ‘Saturnalia fest’, I think its safe to say that the ‘knowledge and truth’ has taken more of a back seat. The whole period of ‘time’ called Christmas can be an ‘unnecessary burden’ for too many and it also focuses our energy on the ‘polarisation’ of those that ‘have’ and those that ‘don’t have’. It’s magnified at this time of year, especially when we see the rich, the famous and the ‘gods of our time’ (celebrities) revelling in Saturnalia. The amount of presents being bought in some homes and the over indulgence by those that have discovered their ‘credit cards power’ of no return is beyond madness in my view. As Asterius wrtites in Oratio 4: Adversus Kalendarum Festum;
“This festival teaches even the little children, artless and simple, to be greedy, and accustoms them to go from house to house and to offer novel gifts, fruits covered with silver tinsel. For these they receive, in return, gifts double their value, and thus the tender minds of the young begin to be impressed with that which is commercial and sordid.”
If anything, Christmas (Saturnalia) can bring heightened emotions, stress, arguments, loneliness, drunkenness, suicide and the overpowering need to ‘keep on with the programme’ called Christmas. ‘Boxing Day’ in the UK can take on a very literal meaning for some. I know Christmas also brings laughter, love and hapiness too, which is why it has ‘two sides’. Christmas shopping, Black Friday’s, the sales, buying things and maxing up debt has become the norm for people that have ‘bought into’ the vibe of modern Saturnalia. When I was a kid people used to stock up on food at Christmas like there was going to be a war? Bread was frozen in quanties across homes all over Britain in the 80’s as though there was going to be a famine (the shops really did close for days back then). To understand the Christmas ‘vibe’ we have to go back in time to ancient Rome.
Inner Light – Outer light
Saturnalia is/was the Roman festival of the ‘renewal of light’ and the coming of the ‘new year’, celebrated as the Dies Natalis Solis Invicti, or the birthday of the ’Unconquerable Sun’. The date for this event was the 23rd of December, but the roots of this go further back into the ancient world and have more meaning in the attachment to Saturn (the Old Sun), and not necessarily the Sun. Of course the birth of the new ‘Sun (a Son) god was interchangeable with the ‘Son of God’ (born on the 25th of the month), not least thanks to Emperor Constantine… The rest is fable disguised as history. In 4th Century Christian leaders succeeded in converting to Christianity large numbers of Roman pagans by promising them that they could continue to celebrate the Saturnalia as Christians. The problem was that there is nothing very ‘Christian’ as such, about Saturnalia. The Jewish festival of Hanukkah (with its 9 to 8 candles) is another Saturn based focus at the same time of year.
Saturnius Mons – Lord of the Golden Age
The oldest Roman religious calendars, which were thought to have been established by the legendary founder of Rome, Romulus and his successor Numa Pompilius, marked Saturnalia (Saturnius Mons) as a legal holiday in December. The 19th of December marked the dedication anniversary (dies natalis) of the Temple to Saturn in the Roman Forum in 497 BC (see below). Julius Caesar had the calendar reformed because it had fallen out of synchronization with the solar year, two days were added to the month, and Saturnalia then fell on 17th December, through to the 24th of December – Candle-mass Eve.
In Roman mythology, Saturn was an agricultural deity who was said to have reigned over the world in the Golden Age, (most likely a pre Atlantis world), when humans enjoyed the spontaneous ‘bounty of the earth’ without ‘labor’ and in a ‘state of innocence’. Any chance of that Golden Age now would be fine thing? Saturn was the first god of the Capitol, known since the most ancient times as Saturnius Mons, and ‘he’ was seen as a god of generation, dissolution, plenty, wealth, agriculture, periodic renewal, law and liberation. The death of a Sun and the ‘birth of a Sun’ (its light) are embroiled in the symbolism of Saturnalia. So are the notion of ‘old and young’, ‘Santa and children’ and the gifts given through life itself. Life is ‘given to death’, so that ‘death can live’. The BBC’s Children’s drama The Box of Delights in the 1980’s is another fine example of the symbolism evoked through Saturnalia. The ‘box’ or cube is another symbol of Saturn. See the images below.
In many ancient beliefs, the Sun (Saturnis Mons) was used as a marker for when the position of the Sun (as seen from Earth) would change simply to ‘mark’ lighter nights, darker days (solstices) and it is all based on the over arching mechanism of marking ‘time’. Who was the Lord of time? The old bearded bloke above, I will come back to ‘Time’ in a bit.
In Rome the revelries of Saturnalia were supposed to reflect the ’conditions of that lost mythical age’, not all of them desirable mind you, as much of it was connected to bestiality, human sacrifice and Satanic worship. In ancient Rome priests inside the ancient temple performed the rituals of Saturnalia, while homes were decorated with cyprus and pine trees, covered in candles. Health and Safety didn’t exist back then. Trees and the star at its top are all symbols of that bygone ‘golden era’ and quite possibly a memory of the ‘old Sun Saturn’ as it was seen from Earth. For more information see an excellent book called The Saturn Myth by David Talbot. The star on the tree ‘symbolism’ becomes very clear through understanding how the ancients saw Saturn and other planets in the skies.
Today these symbols and rituals are ‘continued’ through the focus of ‘mass’ media, ‘mass consumption’ and the ‘ethereal effect’ of the ‘lack of light’ that we ‘take in’ at Saturnalia. It has become Christmass hypnosis. And the official religions of ancient Rome have now become the religions of ‘buying things’. Shopping malls are the cathedrals decorated to the hilt with neon lights. Even as far away as Australia, where if we went back several thousands years, the Aboriginal people would not have heard of such ceremonies and pagan rituals. It’s all a ‘programme’ that has spread ‘world wide’ with good reason. Saturn’s influence over humanity is through ‘hypnosis and the connection to what we call ‘time’ and the ‘unseen’.
The Hunt, Pan & the Gingerbread Man
As I have already said, Ancient Rome was the epicentre of Saturnalia. The cities architectural symbols, not least the ‘phallic symbol’ or Obelisk relating to the ‘death’ and ‘resurrection’ of the Egyptian god Osiris (Orion) can be found placed in the Capitols of Europe. They are there to invoke the ‘sexual’ masculine energy, or the ‘randy old goat’ syndrome also known as the god Pan. Old Pan is connected to the myths associated with the Lord of Capricorn (Sex magic) and the Lord of Aquarius (Electronic Communications) through Mercury.
The worship of Pan began in Arcadia (Greece), which was always the principal seat of his worship. Arcadia was a district of mountain people, culturally separated from other Greeks. The hunt, the Shepard, the cave and the woods where all abodes of Pan. Hermes (Mercury) was considered the great grandfather of Pan. Symbolically Mercury goes ‘between’ worlds and is the messenger of what we the Romans called the gods. These gods are ‘personified energetic realms’ and it has become clear to me that the imagery and symbols associated with ‘the gods’ are portals into that ‘energetic field’. Hermes, as the father/grandfather of Pan connects Pan (the goat) with the titan Saturn in Capricorn. The Gävle Goat (Swedish: Gävlebocken) is a traditional Christmas display erected annually at Slottstorget in central Gävle, Sweden (below). It is a giant version of a traditional Swedish Yule Goat figure (Pan) made of straw, which often is attacked by arsonists during Saturnalia.
Saturnalia is also a time for family visits, trips and all communication (electrical or otherwise) especially over the festival period. Mercury is currently retrograde this December 2016, so watch out!
Catch me if you can?
Saturnalia as recorded by the Greek writer poet and historian Lucian (in his dialogue entitled Saturnalia) observes the festivals in his time. Lucian mentions human sacrifice, ‘widespread intoxication’, ‘going from house to house while singing naked’, ‘violation’ and other ‘sexual activities’. He also mentions consuming human-shaped biscuits (still produced in some English and most German bakeries during the Christmas season as the gingerbread man). “You can’t catch me!” takes on another meaning when you consider the deeper meanings behind Saturnalia and the horrors some might have suffered at that time. There is another side to Christmas that invokes both the ‘good and the bad’, where children become the focus for this tussle. Chitty Chitty Bang Bang and Hansel and Gretel (with the ginger bread house) come to mind! I’ll come to Krampus too shortly.
We Three Kings from Orion are …
In previous blogs I have pointed out the connection to three belt stars of Orion (Alnitak, Alnilam and Mintaka) and the pyramids of Giza – not to mention the Hopi’s Three Mesas of Arizona. Many myths are allegories of the path of the sun through the signs of the zodiac, 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’. The three Magi who searched for the newly born Christ are symbolic of the three stars in the hunter’s belt in the constellation of Orion.
Egyptians also knew Orion as ‘the father of the ‘First Time’ of Osiris (as Adam/Ptah) and the Egyptian trinity also connect to Orion. The Three Kings represent the three divine aspects of Will, Love and Intelligence in some sources. The name ‘Orion’ literally means ‘the breaking forth of light’ and therefore symbolizes the ‘place of light’. I feel that ‘place’ is where Saturn 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. One od the first Christmas cards I made was of Mary and Josepth (Isis and Osiris) being visted by an alien loosely based around the song ‘A Spaceman Came Travelling’ by Chris De Burgh.
Born in a Cave
Kronos (Saturn) as I mentioned above was the Sun in the cave and it is said in myth that his mother Rhea carried Kronos ‘the stone’ wrapped in swaddling clothes, as though he were the babe to which she had given birth. The Babe in a manger born among animals (not least the Ass and Ox) in a stable or a cave and wrapped in swaddling clothes was common in many ancient religions. The mother of Kronos in the Hindu myth equivalent was known as Chaya, meaning ‘shadow’. She represented the unconscious, other-worldly, the unseen and the light of the aura. You could see her as the Queen of the fairies (fairy lights). In a small an intriguing book called The Greatness of Saturn, by Dr Robert E Svoboda (below), that covers Eastern Vedic myth, Chaya is represented as ‘material things’, the illusion of the material life and how the shadow allows this ‘fake light’ to be seen for what it is – illusory.
The Gnostics also talk of the ‘light of Christos’ and its penetration of the dark, the shadow world (see my other blogs here)
According to legend, Hermes was also born in a cave on Mount Cyllene in Arcadia (see Pan and Mercury above). Zeus had impregnated Maia at night while all the other gods slept. When Hermes was born at dawn (like the Sun), Maia wrapped him in swaddling clothes. The Roman version of Jesus (before Jesus) Mithras, was also born in a cave, with shepherds in attendance, all on the 25th of December. Mithras was known to his followers as ‘The light of the world,’ or ‘The Good Shepherd,’ and urged his followers to share ritual communion of bread and wine. Mithras’s priests were called ‘Father.’ Add the word ‘Christmas’ after ‘father’ and there you have it.
Krampus (Santa’s Claws) – Sakwa Hu
Krampus, the horned, anthropomorphic folklore figure described as ‘half-goat, half-demon’, is another symbolic deviation of Pan. Santa or Saint Nick in Nordic and Germanic versions can be often seen together. They are two halves of the same symbol.
During the Christmas season, Krampus punishes children, just like the Hopi Kachina Sakwa Hu, who arrives at the winter solstice or Soyal (Soyalang-eu) to do the same? A group of about thirty “official” kachinas, called Mong Kachinas, takes part in five major ceremonies held during this period: Soyalang-eu (Winter Solstice Ceremony) in December, Pamuya in January, when the sun appears to move north again. During Soyal, which lasts nine days of what we call Christmas, sacred rituals are performed in chambers, called kivas, and many ceremonies involving dancing and singing take place; the kachinas may even bring gifts to the children. And the Christian’s think its all about Jesus, you have to laugh really.
Soyal time is when stories are passed down to children from the elders and children are taught pivotal lessons like respecting others. The Hopi believe that everything that will occur during the year is arranged at Soyal (New Year Resolutions as such). Children are also given replicas of the kachinas (dolls), intricately carved and dressed like the dancers, to help them learn about the hundreds of kachina spirits. Sixteen days before the winter solstice, one of the chief kachinas enters the house. He appears as a tired, old man who has just awakened from a deep slumber, teetering and on the verge of losing his balance. Santa is so old he’s loosing it! The Hopi god Masauwu (see my other blogs on Orion) is massively connected to the symbols of Orion, Saturn and Father Time (see below).
Cottontail was a symbol for both the ‘hare’ and ‘time’. Interestingly, the hare was said to be a ‘child of Pan’ and in many myths she (the Hare) was wrapped in goats skin. Of course the ‘hare’ and the ‘Moon’ are symbolically connected in much folklore and the hare also takes on the role of a ‘demiurge’ in some myths. See an interesting book called The Lady of the Hare by John Layard. The constellation of Lepus runs alongside Orion and there is more to know about this connection.
Krampus is also another version of Ba’al Hammon, the Carthaginian god who was regarded as the counterpart of the Roman Saturn and Greek Cronus. Krampus is one of the companions of Saint Nicholas in regions including Austria, Bavaria, Croatia, Czech Republic, Hungary, Slovenia and Northern Italy. The song Santa Claus is Coming to Town is based on the Germanic pagan folk tales of Krampus
He sees you when you’re sleeping’ He knows when you’re a wake He knows if you’ve been bad or good So be good for goodness sake…
The modern figure of Santa Claus (Saint Nicholas, Saint Nick, Father Christmas, Kris Kringle) is derived from the Dutch figure of Sinterklaas, whose name is a dialectal pronunciation of Saint Nicholas, the historical Greek bishop and gift-giver of Myra. During the Christianization of Germanic Europe, this figure may have absorbed elements of the god Odin, who was associated with the Germanic pagan midwinter event of Yule and led the ‘wild hunt’, a ghostly procession through the sky. Of course the hunter Orion is observed clearly in the winter sky from November through to the Winter solstice, along with the constellations of Sirius and Lepus. The winged serpents in the image below infer a Hermes connection to Saturn.
Telling a child that Santa, (who is essentially an old bloke, a stranger with magical powers), who sneaks into your house to leave gifts, in the child’s early years, is creepy enough. But to then say it was all a fib later on, is the power of Ba-humbug; and we have all partaken in this myth making. The creeping around at night while children sleep is harmless to those from loving families, but consider the amount of ‘creeping around’ in orphanages and children homes over the years by figures that are more like Krampus? Saturnalia is a time of year when both the good and the bad are magnified ‘energetically’.
‘Coke’, Magic Mushrooms and Flying Reindeer
In his book Mushrooms and Mankind (The Book Tree, 2003) the late author James Arthur points out that Amanita muscaria mushroom (below), also known as fly agaric, lives throughout the Northern Hemisphere under conifers and birch trees, with which the fungi (which is deep red with white flecks) has a symbiotic relationship. Some say that this explains the practice of the Christmas tree, and the placement of bright red-and-white presents underneath, which look like Amanita mushrooms. Arthur wrote.
“Why do people bring pine trees into their houses at the Winter Solstice, placing brightly coloured (red and white) packages under their boughs, as gifts to show their love for each other…?” he wrote. “It is because, underneath the pine bough is the exact location where one would find this ‘Most Sacred’ substance, the Amanita muscaria, in the wild.”
I would suggest that it has more to do with Saturn’s pole position in that Golden Age mentioned earlier, but there maybe some truth in this across certain cultures.
Reindeer are common in Siberia, and seek out these hallucinogenic fungi. Donald Pfister, a biologist who studies fungi at Harvard University, suggests that Siberian tribesmen who ingested fly agaric may have hallucinated into thinking that reindeer were flying. The use of ‘red and white’ for Christmas and Santa is clearly connected to the Coca Cola imagery and their 20th Century campaign to associate Saturnalia with this drink.
The Time of the King of Saturnalia
The King of Saturn ruled as the ’master of ceremonies’ for the proceedings through Saturnalia. He was appointed by lot, and has been compared to the medieval Lord of Misrule at the Feast of Fools. 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 (below).
The Lord of Misrule was generally a peasant or sub-deacon appointed to be in charge of Christmas revelries, which often included drunkenness and ‘wild partying’, in the pagan tradition of Saturnalia. Sunds like every town in the UK to me? The Roman emperor Nero played the role of Saturnalia in his youth. Where as the first emperor Augustus celebrated the ‘Golden Age of Saturn’ it was eventually lost.
Saturnalia and misrule makes a ‘mockery of a world’ in which law was determined by one man and the traditional social and political networks are reduced to the power of the emperor over his subjects. In general terms, Saturnalia was the celebration of the longing for Saturn to reign again, as in ancient times. The donkey or Ass was another symbol of misrule and ‘mockery of law and order’, ‘title and kingship’. In Ancient Egypt Seth, the enemy of Osiris (his brother) had the image of a donkey. That’s why Apuleius in his Golden Ass describes a great metamorphosis, the transformation of Lucius to a donkey and his way back – spiritual evolution towards the human being. Jesus also was said to ride into Jerusalem on a donkey (see below).
In this case donkey represents sexuality, instincts, sensuality, ignorance. A red donkey was said to be one of the dangerous creatures that the soul met in its journey after death – possibly an archon of sorts? The Ass and the Lord of Misrule go together at both Saturnalia (Christmas) and Ostara (Easter).
According to the anthropologist James Frazer in his book The New Golden Bough, he says there was a darker side [and the rest] to the Saturnalia festival. 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. 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, as Frazer puts it) who was later put to death for the benefit of all, have also been recorded. See the movie The Wicker Man starring the late Lord of Misrule himself – Christopher lee (above). I once stood next to Lee at a Euro star waiting area over a decade ago and he seemed a very ‘strange’ man to me.
The sordid and sinister rituals that are hinted at in the Kubrick movie Eye’s Wide Shut also happen at Christmas (see below). Note the Sun (Saturn) Star featuring in the Illuminati-style Elite parties early on in the film. Sex is a big part of Saturnalia and of course it plays a big part in Kubricks film too.
Father Time Magazine
The infamous American Time Magazine, which was created by Henry Luce, a member of Alpha Delta Phi and Skull and Bones secret society, is another example of the subtle symbolism of Saturnalia ‘end of year celebration’. As I have shown, Chronos is usually portrayed as an older, wise man with a long, grey beard, similar to ‘Father Time’. Both the ‘father figure’ aspect can suffice in terms of symbolism, and in other years from ‘time to time, more obvious imagery sums up the connection to Saturn through, death, royalty, the Moon and ‘hidden worlds’ (space).Just look at some of the covers of Time Magazine?
Some of the current English words whose etymological root is khronos/chronos include ‘chronology’, chronometer, chronic, anachronism, and chronicle. The Time Magazine is the Chronicle with its cover of the Person of the Year ‘in December’. No mattter where you look, its ”Saturn everywhere’, especially at Saturnalia.
Saturnalia’s Slaves & Masters
The phrase Saturnalia was also a characteristic shout or ’salutation’ of the festival, in Roman times. The ’Yo ho ho’ is connected to this Salutation. Seneca looked forward to the holiday of Saturn, if somewhat tentatively, in a letter to a friend:
“It is now the month of December, when the greatest part of the city is in a bustle. Loose reins are given to public dissipation; everywhere you may hear the sound of great preparations, as if there were some real difference between the days devoted to Saturn and those for transacting business. & Were you here, I would willingly confer with you as to the plan of our conduct; whether we should eve in our usual way, or, to avoid singularity, both take a better supper and throw off the toga.”
Roman Microbius also writes in his work titled Saturnalia.
“Meanwhile the head of the slave household, whose responsibility it was to offer sacrifice to the Penates, to manage the provisions and to direct the activities of the domestic servants, came to tell his master that the household had feasted according to the annual ritual custom. For at this festival, in houses that keep to proper religious usage, they first of all honor the slaves with a dinner prepared as if for the master; and only afterwards is the table set again for the head of the household. So, then, the chief slave came in to announce the time of dinner and to summon the masters to the table.”
That’s your Christmas dinner! I am sure some people feel like a slave when it comes to cooking?
Back then a suckling pig was sacrificed (and still is eaten in large quantities in more Latin, Hispanic countries). The Turkey replaced the ‘pig’ over the centuries, unless you were munching on flesh in Tudor times, you might have a combination of both ‘sown together’ as a ‘cockenthrice’, just one of the many twists of Saturnalia. How lovely!
Roman Saturnalia is best-known for roles reversal and behavioral license, which allowed slaves to act like masters and visa 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’. The Elite families would have loved all that role play, hunting in masks and genrally 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 too. Who is it that rules over the banking system? Saturn! Who owns the banks? The Elite familes that adore Saturnalia.
Versnel writes in Saturnus and the Saturnalia;
“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.”
Yeah, your allowed to feel free for a week or so, to drink (be merry) and pretend that you’re not a ‘slave to the system’!
Some things change, some things don’t
In his many poems about the Saturnalia, the poet Marcus Valerius Martialis names both expensive and quite cheap gifts, including writing tablets, dice, knucklebones, moneyboxes, combs, toothpicks, a hat, a hunting knife, an axe, various lamps, balls, perfumes, pipes, a pig, a sausage, a parrot, tables, cups, spoons, items of clothing, statues, masks, books, and pets. Writing today he would be mentioning ‘Pound Land’ and ‘unwanted socks’ too! In ancient Rome gifts might be as costly such as a ‘slave’ or ‘exotic animal’, but Martialis suggests that ‘token gifts’ of low intrinsic value inversely measure the high quality of a friendship. You were being judged by the gift you gave? Patrons or ‘bosses’ might pass along a gratuity (sigillaricium) to their poorer clients or dependents to help them buy gifts. A ‘Christmas bonus’ for some, and ‘bugger all’ for others like today? Some emperors were noted for their devoted observance of the Sigillaria (19th December), when small pottery gifts were given. Some say that the giving of Christmas cards came from Sigillaria in Ancient Rome?
I wrote this blog not to focus on the darkness of Saturnalia but to simply say that if people wish to really make a change and want to really ‘vibrate’ to a ‘higher level’, we may just have to ‘come away from the ‘same old rituals’, programmes and polarised views that are tucked away within all of the ‘Christmas 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, as these rituals and festivals have been with us since then. 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 its just for an hour or two, to contemplate the ‘bigger picture’ beyond the claws of Saturnalia.