Ancient Wisdom Hidden in the Stars: Internal Access to the Infinite Realm

Ancient Wisdom Hidden in the Stars: Internal Access to the Infinite Realm

I've just created a new video, entitled "Ancient Wisdom Hidden in the Stars: Internal Access to the Infinite Realm" in which I show the full-screen version of the presentation that I prepared for my recent conversation with Derek Lambert and Dr. Luther G. Williams of the WaterBoyZ podcast

The video of the conversation with Derek and Luther can be found here, and I recommend watching the interview because a conversation can bring out aspects of and perspectives upon a subject that don't always arise in a monologue video. 

However, for those wanting to see the visuals that I was presenting and discussing during that interview, in a full-screen format that is easier to see than the presentation in the above interview, please follow the above link and watch the new video, which covers much of that same material (while presenting a few insights which even regular visitors might not have heard previously).

I am convinced that one of the truths which the ancient wisdom of the myths and scriptures from cultures around the world are designed to convey is the awareness that we ourselves already have access to the Infinite Realm, which means that everything we need — far from being external to us — is available to us at all times.

I hope the message in the video will be a blessing to you.

Forty years after Jonestown, the people still refuse to wake up

Forty years after Jonestown, the people still refuse to wake up

November 17 and 18 of this year (2018) bring us to the 40th anniversary of the mass-murder of 918 men, women, boys and girls at Jonestown in Guyana.

The details of what that mass-murder represented have been lied about for forty years, and to this day the massacre continues to be described as a "mass suicide." 

For example, here is a piece which aired on NPR's "Fresh Air" this year, purporting to examine the Jonestown massacre. It begins by declaring:

This Sunday marks the fortieth anniversary of the Jonestown massacre, where cult leader Jim Jones convinced over 900 followers to commit mass suicide by drinking cyanide-laced punch.

However, as the above video makes abundantly clear, the story that continues to be pushed by controlled media outlets is demonstrably false, and the abundant evidence that it is false has been amply documented for decades. 

To continue to push the blatant lie that the 918 men, women, boys and girls killed at Jonestown "committed mass suicide" constitutes an insult and an injustice to those who lost their lives in that massacre, as well as to the memory of Congressman Leo Ryan and members of his delegation (including two members of the press) who were killed when Congressman Ryan, who represented a congressional district from which many members of the "Peoples Temple" cult had been recruited (and who was also a former mayor of San Francisco, where the Peoples Temple had been headquartered before it moved to Guyana) visited Jonestown to investigate the allegations of abuse and enslavement that had come to his attention.

In addition, to continue to refer to Jim Jones as an "itinerant preacher" (as the above-linked NPR piece does in its second sentence, immediately following the first sentence which is quoted above) is to ignore the undeniable connections between Jones and very powerful patrons, many of them mentioned in the video documentary. Such a description is absurd.

In order to disabuse yourself of the lies and ongoing cover-up regarding the events of that fateful day, I would recommend carefully watching the above video in its entirety, perhaps several times. It is a segment of a 2006 documentary entitled Evidence of Revision: The Assassination of America

You can also listen to a somewhat condensed, audio-only version of the same material by visiting the archive of Bonnie Faulkner's long-running show, Guns and Butter. You can scroll down to episode #188, which aired on November 18, 2009, and which you can listen to online (or download to a mobile device) by following this link.

If you pay close attention, you will understand why the truth regarding the Jonestown massacre continues to be deliberately obfuscated to this day. 

And, if you think about it, you will also perceive that the Jonestown massacre was not perpetrated by "the government." 

Congressman Leo Ryan of the House of Representatives was a representative of "the government" -- which is to say, a representative of the lawful power of the people (in a democratic republic). The fact that he was murdered demonstrates a desire by those responsible for the things that were going on at Jonestown to prevent the details of what they were doing from becoming known to the government. The massacre followed his murder and the murder of some of those with him.

This point is extremely important to contemplate carefully. I am convinced that the best hope for the prevention of injustice, oppression, and everything associated with organized crime lies in the power of the people expressed through democratic government and its lawful organs of power. 

The murder of Leo Ryan demonstrates that, despite their great power and obvious control over many who are in the government, the forces behind what was taking place at Jonestown in Guyana understand the potential threat posed by the representatives and institutions of a democratic government. 

The continued repetition of egregiously, demonstrably false explanations of the Jonestown massacre as "mass suicide" demonstrates very much the same thing regarding the potential threat posed by the people themselves, should they ever wake up to what is going on.

Indeed, it is the power of the people themselves (should they ever become aware in large numbers to what is going on) which poses the greatest threat, because (as we have seen in the forty years since the perpetration of the massacre of more than 900 American men, women, boys and girls in Guyana), the representatives will not on their own do much of anything to confront the problem if the people themselves do not wake up and demand it.

On a personal note, Congresswoman Jackie Speier of the House of Representatives, who is seen in the video linked above and who was part of the delegation led by Congressman Leo Ryan to visit Jonestown forty years ago, is the currently-serving representative for the congressional district containing my hometown and the place where I was born. 

She was a legal aide to Congressman Ryan at the time. She was elected to this office in a special election following the death of the late Congressman Tom Lantos in 2008. Tom Lantos is the Congressman who appointed me to West Point back in 1987.

Below is a screenshot from the video documentary, showing Congressman Leo Ryan in Jonestown, on the night of November 17, 1978, the day before he was murdered. You can see this image at about the 0:49:49 mark in the video. 

As the camera pans out, we see in the background a hand-painted sign, affixed to the wall of the building within the Peoples Temple compound where Congressman Ryan was speaking that day. It speaks to the danger we all face if we continue to refuse to wake up.

1978 november 17 congressman ryan.png

Those who do not remember the past are condemned to repeat it.

Welcome to new visitors from The WaterBoyZ with Derek Lambert and Dr. Luther G. Williams

Welcome to new visitors from The WaterBoyZ with Derek Lambert and Dr. Luther G. Williams

Special thank-you to Dr. Luther G. Williams and Mr. Derek Lambert for inviting me over for a very enjoyable discussion of the celestial foundations of the world's ancient wisdom, contained in the myths, scriptures and sacred stories of cultures around the globe.

Derek and Luther named their program the WaterBoyz -- inspired, they explained, by the well-known interview with the great Bruce Lee, in which he says: "Be water, my friend."

Above is the video of our conversation, which was recorded on November 13, 2018.

Welcome to any new visitors who heard about this blog or website through this video!

Below are some links to previous blog posts which explore some of the topics which surfaced during the interview with Derek and Luther:

If this is your first time visiting this blog or website after hearing about this research on the show, I hope that you will find this discussion of the ancient wisdom, given to virtually every culture on our planet as a precious treasure, to be helpful in some way -- and hope you will visit again soon!

If you enjoyed the interview, please give some feedback to Derek and Luther at their YouTube channel, their websites, or below the video itself.

I certainly wish Derek and Luther great success with their own research and with their podcasting, and hope to cross paths with them again soon! 

On a personal note, it happens that Derek conducted the interview from Fayetteville, North Carolina, where he lives with his family -- and where I spent some very formative years while I was in one of the line battalions of the the 82nd Airborne Division, at Fort Bragg, during the early 1990s. 

After the interview was over, I ran across an old mug from my days at Fort Bragg (an ancient artifact), which I would have used during the interview had I come upon it earlier. Here's a photo of me unwinding by enjoying a nice cup of organic apple cider vinegar from the old mug (I don't drink coffee these days), immediately following the completion of the interview:

IMG_2468.JPG
 (as with many ancient pieces of pottery, the mug has a different design on the other side).

(as with many ancient pieces of pottery, the mug has a different design on the other side).

One year after the revelation of the Pylos Combat Agate: an astonishing ancient artifact with undeniable celestial correspondences

One year after the revelation of the Pylos Combat Agate: an astonishing ancient artifact with undeniable celestial correspondences

Pylos_Combat_Agate_Photograph 02.jpg

One year ago this week, articles in newspapers, magazines, and academic journals around the world began to appear, showing images of the amazing ancient artifact that has come to be called the Pylos Combat Agate, shown above.

This hard gemstone was unearthed in a tomb discovered near the city of Pylos, on the west coast of the Peloponnese in Greece -- an ancient city, mentioned in the Iliad and the Odyssey. The tomb, a "shaft grave," was found in an olive grove outside the ancient ruin known as the "Palace of Nestor," and had apparently not been disturbed since being sealed, fully 3,500 years before. The tomb contained a complete skeleton of a male warrior, with armor and swords and over 3,000 artifacts -- including more than fifty "sealstones."

One of these, the stone shown above, was initially encrusted with mineral deposits and had to be carefully cleaned in a process that took some months, but which revealed a scene of incredible artistic sophistication and detail. The artwork is even more astonishing because the entire stone on which the scene is engraved is only 37 millimeters in length!

Some of the articles which describe the significance of this find are listed below. Note that the grave has been dubbed "the tomb of the Griffin Warrior" based on artwork discovered in the tomb on a different artifact:

A friend on Twitter alerted me to the articles describing this incredible discovery when these articles were first appearing, in early November, 2017.

I immediately recognized that this scene, which had lain under the earth for 3,500 years (and which was executed with a level of detail and precision that astonished scholars and historians) was also remarkable for another reason.

The scene on the stone can be shown to be based on specific constellations, using a system of celestial metaphor that informs other artwork from other cultures and other centuries -- indeed, even from other millennia!

Part of the reason that the constellational connections in the scene were so obvious to me was that I had previously published discussions of the celestial connections in other scenes patterned upon the same constellations -- in books discussing the ancient myths, scriptures and sacred stories that can be shown to be based on celestial metaphor (such as Star Myths of the World, Volume Two: Myths of Ancient Greece, and Star Myths of the World, Volume Three: Star Myths of the Bible, both of which were published in 2016, before the existence of the Pylos Combat Agate became known to anyone living in  modern times).

Believing that this connection would be of interest to scholars, I wrote an article describing the patterns in the artwork which match the characters in the scene to the constellations Hercules, Ophiuchus, Scorpio and Sagittarius in the night sky (as well as to the star Vega in the constellation of Lyra the Lyre). I sent this article to one scholarly publication after another, including those focused on art history, as well as those focused on ancient Greece and Rome. 

After receiving polite rejections from all of them, I published my analysis on my own blog and in online sites interested in the research of ancient history and the evidence that the conventional paradigm of ancient history is in need of revision. You can find links to blog posts discussing the celestial connections below. These blog posts also contain links to articles on the celestial connections in the Pylos Agate which were published on Ancient Origins and on Graham Hancock's website, as well as links to one version of the articles that I submitted unsuccessfully to various scholarly publications:

I also created a video illustrating the celestial connections in this ancient artifact, which I titled "The Pylos Combat Agate among the Infinite Realms" and which I embedded below. That video contains some footage showing the "sandy beaches of Pylos" mentioned in the Odyssey, as well as of the ruins of the grand edifice dubbed the Palace of Nestor, which is nearby to the grave site of the Griffin Warrior.

You will see that specific details in the artwork on this ancient stone point to an undeniable celestial connection -- including the "extended leg" and body posture of the triumphant swordsman, the "overhead weapon" of that swordsman (matching the outline of the constellation Hercules in the night sky, who carries a weapon brandished overhead as well), and the grasping by that same swordsman of the crescent-shaped crest of the spearman's helmet with his other arm (matching the many myths in which a figure associated with Hercules grasps another figure associated with the crescent-shaped constellation of Corona Borealis, which is just beyond the downward-reaching "other arm" of the constellation Hercules in the heavens).

Below is one example of ancient artwork in which the hero Heracles is depicted grasping such a helmet-crest, while standing in a posture reminiscent of the outline of the constellation Hercules in the night sky:

 image: Wikimedia commons (  link  ).

image: Wikimedia commons (link).

Below is another, in which Heracles is even more clearly depicted in the posture suggested by the outline of the stars in the constellation Hercules -- and in which one hand brandishes a sword overhead while the other reaches out towards a crescent-shaped helmet crest (although the artist does not have Heracles actually grasp this crest, in this particular scene):

 image: Wikimedia commons (  link  ).

image: Wikimedia commons (link).

Here is another depiction of a very similar scene, but on a different ancient vase (you can see that it is a different piece of artwork if you look closely, particularly if you look at the shields carried by the Amazons whom Heracles is battling in the scene). Obviously, this particular mythological encounter, which can be shown to be based upon specific constellations in the night sky, was very popular among ancient artists:

 image: Wikimedia commons (  link  ).

image: Wikimedia commons (link).

Finally, here is yet another piece of ancient artwork, this one dated to about 450 BC, which shows the hero Heracles in a similar posture (based on the outline of the constellation Hercules in the sky), once again brandishing his weapon over his head, but this time reaching out with his other hand towards a different crescent-shaped object: the massive curving horn atop the head of a figure who is usually identified as the god Achelous (a very important figure in ancient mythology, discussed in my 2014 book The Undying Stars):

 image: Wikimedia commons (  link  ).

image: Wikimedia commons (link).

In all of these scenes, the figure of Heracles is associated with and depicted in the same general posture as the outline of the constellation Hercules in the heavens -- and is reaching out with his lower arm (the arm not brandishing a weapon) towards a crescent-shaped object, which is usually a helmet crest but can also be envisioned as the great curved horn of Achelous, and which clearly corresponds to the beautiful crescent-shaped arc of stars known as Corona Borealis, or the Northern Crown.

The same posture, and constellational connections, can be seen in the artwork depicted on the newly-discovered Pylos Combat Agate, albeit on an artifact that was made over a thousand years earlier. And there are many other details in the artwork which point to an undeniable celestial connection, such as the location of the enlarged "sphere" or "globular" tip of the scabbard of the swordsman, which corresponds to the location of the bright star Vega in the heavens, in the constellation Lyra which is also adjacent to the constellation Hercules (see star-chart below, with comparison to the figures in the Pylos Combat Agate):

figure 10 Pylos_Combat_Agate_Photograph 04 vega indicated.jpg

And those are just a few of the correspondences (mostly those associated with the figure of the swordsman in the Combat Agate) -- many more can also be discussed, and these also have parallels to other artistic depictions of mythological scenes and figures from other centuries and other cultures.

I would have thought that, given the importance of this archaeological find, and the radical revision of the conventional understanding of history that this artifact should engender, that the undeniable parallels between the scene on the Pylos Combat Agate and the constellations of the night sky (as well as undeniable connections to other artwork from other cultures, depicting other figures based on those same constellations, including David slaying Goliath as described in 1 Samuel and as depicted on artwork from many different centuries, and Hercules or Heracles slaying a variety of opponents as depicted in literally hundreds of pieces of ancient Greek pottery) would be of interest to scholars and art historians, as well as to some of the same publications that were interested in the discovery of the Combat Agate in the first place.

Thus far that does not seem to be the case. There seems to be a widespread reluctance on the part of academia to investigate certain lines of inquiry, despite overwhelming evidence which points in those directions.

I remain confident, however, that the truth will not remain suppressed forever.

Star Myths: the ancient system

Star Myths: the ancient system

Here's a new video I just published entitled "Star Myths: the ancient system" which describes what I mean when I assert that virtually all the world's ancient myths, scriptures, and sacred stories are based on a system of celestial metaphor -- that the characters and events can be shown to be founded upon specific constellations.

Virtually all of the characters and episodes described in the Bible, for example, are based on specific constellations -- from the characters of Adam and Eve (and, for that matter, the Serpent) all the way through to the visions described in the book of the Revelation of John.

This fact by itself is not at all widely understood, and has tremendous implications -- but even more astonishing is the fact that the same can be said for the characters and events described in the myths of ancient Greece, and of ancient India, ancient China and Japan, ancient Egypt, ancient Mesopotamia, and those of other parts of Europe including the Norse myths, and of other parts of Asia, and of cultures from Africa, Australia, the Americas, and the Pacific.

Still more astonishing is the fact that the system of celestial metaphor used in these ancient myths appears to be a world-wide system: it envisions the constellations in the same way, and ascribes to them similar characteristics, from one culture and mythology to another, even though separated by mighty oceans. Evidence is presented in this video to establish the commonality of this system -- and hundreds more such examples could be offered.

The ramifications of this evidence are profound, and should change our understanding of humanity's ancient history. Additionally, it is very likely that this ancient system was using these celestial metaphors to convey esoteric truths intended for our benefit -- truths we still need in our lives, to this very day. The more we learn to understand the language that they are actually speaking, which is a celestial language and a metaphorical language, the more likely we are to be able to hear what they are trying to tell us.

A Festival of Lost Meanings

A Festival of Lost Meanings

 image: Wikimedia commons (  link  ). Background: Butterfly Nebula (  link  ).

image: Wikimedia commons (link). Background: Butterfly Nebula (link).

Halloween is one of the most important and esoterically meaningful days of the entire annual cycle, and yet according to Alvin Boyd Kuhn it has become "a festival of lost meanings," in which although "the form survives, the meaning is lost."

In an essay entitled "Halloween, a Festival of Lost Meanings," Kuhn explains that the great cycle depicted in the zodiac of the heavens serves in the ancient wisdom of the world as "a pictorial or semantic representation of man's divine soul as it swung round the repeated cycles of life in many incarnations on the earth" (7 - 8, original pagination).

This great cycle, representative of the cycle of the soul in its own cycling down into incarnation and back again, multiple times, was divided into quadrants by the four stations of the two solstices and two equinoxes, and festivals associated with those four stations conveyed profound truths about the corresponding turning points in our soul's own cycle. 

As a festival associated with one of these four very significant points, Kuhn argues, Halloween thus "carries one-fourth of the symbolic representation of human life depicted in the great zodiacal figure or graph devised by the sapient genius of ancient Sages" (7).

Celebrated forty days after the day of the September equinox -- a period of time equating to the gestation of the child inside the womb of the mother, which is forty weeks (see page 10 in Kuhn's essay) -- the ancient tradition of Halloween (which has parallels in other ancient festivals given different names in different cultures) depicts our predicament when plunged into the incarnate world, in which incarnate souls "enwrapped in the coats of animal skins, their divine potential reduced if not smothered by the deadening blanket of the body's sensuous life" forget their true nature and believe themselves to be "the physical creatures they outwardly were" (26). 

The costumes worn on this night, often grotesque, sensuous, or animalistic serve to picture the reality of our incarnate situation, by conveying the metaphorical juxtaposition of, in Kuhn's words, "a being potentially of god stature glaring out through the eyes and features of an animal, a god grimacing like a beast" (26).

And yet, as Kuhn also discusses in this important essay, the descent into this life is essential for our development and growth:

For it is out of reflection of the consequences of our acts that mind is born. And only when mind assumes full direction of the soul's employment of the life forces will the still higher birth of spirit be brought to pass. Even the fool's folly becomes in the end, through the pain that follows it, life's appointed schoolmaster, our pedagogue in growth. Out of our wildest orgies eventually emerge the principles of wisdom. 33

Later in the same discussion, he argues that soul and body may seem to be at odds with one another, but their apparent battle is not meant to "terminate in the victory of the one and the destruction of the other" but rather that "It is going to eventuate in the wedding of the two when they have learned to like each other well enough to harmonize their opposing forces in equilibrium and stabilization in complementary fulfillment of the functions of both. All polar opposition is to be consummated in the union of the two . . ." (35).

The essay goes on to discuss the importance of symbols strongly associated with Halloween, including the Moon, the jack-o-lantern, witches, ghosts, and masks. 

Kuhn's essay also approaches the awe-inspiring goddess Hecate of ancient Greece (pictured above, in her triform aspect), who is associated with crossroads (and thus, Kuhn argues, with the union of the forces of soul and sense -- and by "sense" Kuhn means the body, the senses, sensuality, and physicality). He examines the possible connection between the name of the goddess and the number six, as well as with the word "hex" (which, of course, signifies the number six), as well as with the descent into the darkness but also with the guiding of the soul by the light of her twin torches (and see another ancient depiction of the triform goddess Hekate or Hecate, this time with three Kharites or "Charities," who were known as the Gratiae or "Graces" in Latin -- bringing the number depicted to six).

The importance of the descent into the darkness is also explored in great depth in the profoundly important book In the Dark Places of Wisdom, by Peter Kingsley (which has been discussed in previous posts such as this one and this one).

There, Peter Kingsley writes:

Those people realized there's something very important hidden in the depths. For them it wasn't only a question of confronting a little bit of darkness inside themselves -- of dipping their feet in their feelings, paddling in the pond of their emotions and trying to bring them into the light of day. It was a question of going right through the darkness to what lies at the other end. 69

Later in the same discussion, he says: "To reach there, you have to go down into the darkness [ . . . ]" (71).

Indeed, his description has many echoes of the cross-road described by Alvin Boyd Kuhn in his discussion of the importance of the goddess Hecate -- particularly when Peter Kingsley writes that this journey takes the one who pursues it "to the point where all the opposites meet" (70).

There is a deep teaching in this descent into the darkness and the quest for the place "where all the opposites meet." Alvin Boyd Kuhn argues that Halloween is a festival designed to feed and nourish our spiritual health -- but that we are practically starving our minds because we now chew only on the "dead outer husk" of what was given to us to serve as "sublime truth" (6).

This Halloween, in addition to observing the season's festivities, I would recommend taking the time to visit Alvin Boyd Kuhn's essay on "Halloween: A Festival of Lost Meanings" which can easily be read in an hour or so, as well as meditating on Peter Kingsley's In the Dark Places of Wisdom, which takes more than a day to read but which is best consumed slowly (in my opinion) and savored and chewed upon rather carefully.

Even if you have read them previously, this point in the year's annual cycle is an excellent place to visit them again.

 image: Wikimedia commons (  link  ). Background: Pelican nebula (  link  ).

image: Wikimedia commons (link). Background: Pelican nebula (link).






New video: Shipwrecks and Stars

New video: Shipwrecks and Stars

Here is a new video that I just published entitled "Shipwrecks and Stars: from the Depths of the Sea to the Oceans Above."

The video explores the amazing and recently-published discovery of the oldest intact shipwreck in the world, a ship from ancient Greece found at the bottom of the Black Sea by the Black Sea Maritime Archaeology Project.

Articles discussing this extremely significant find can be found herehereherehere and here (among other places on the web).

The ship, which has been dated as being about 2,400 years old, has drawn numerous comparisons to the ship depicted on the famous Siren Vase, which depicts a scene from the Odyssey in which Odysseus and his companions must pass by the island of the Sirens, supernatural beings who lure sailors to their deaths with bewitching songs.

The video discusses this comparison, and its significance, in light of the fact that ancient myth from around the world (including this episode from the Odyssey) can be shown to be based upon a common esoteric system of celestial metaphor -- and the fact that ancient artists appear to have encoded such celestial metaphor into their art as well.

 image: Wikimedia commons (  link  ).

image: Wikimedia commons (link).