Hamlet, Hamlet's Mill, and Astro-Theology

Hamlet, Hamlet's Mill, and Astro-Theology

image: From Osiris and the Egyptian Resurrection, E. A. Wallis Budge, 1911 (link). Labels added to show correspondence to characters in the story of Hamlet. 

The previous post, entitled "Shakespeare and the Creation of Reality," examined aspects of Shakespeare's plays, and in particular Shakespeare's love of language and of playing with multiple meanings of words and phrases, relating to the concept of "reality creation" and human consciousness.

That post especially focused in upon one of the most famous scenes from Hamlet, which may well be Shakespeare's most famous play. It is particularly fitting that Shakespeare's Hamlet is so overtly concerned with the question of reality and epistemology (the subject of knowing, and the question of how we know what we know, or whether and what we can know), as well as the extent to which words and thoughts shape and even create reality, because the fundamental storyline of Hamlet is a celestial storyline, connected to the ancient sacred traditions of many cultures. 

As I endeavor to demonstrate in my latest book The Undying Stars, these ancient myths -- to which the plot of Hamlet is so closely connected -- are almost certainly deeply concerned with the exact same issues: the creation of reality, the nature of human existence, and the degree to which reality and in fact the entire cosmos is in some sense contained and even created inside the head of each individual man and woman (and thus the well-known scene of young Hamlet contemplating the skull is a beautiful dramatization of this very question).

The fact that the basic plot outline of Hamlet is a very ancient one, hearkening all the way back to the myths of ancient Egypt, is thoroughly established in the seminal 1969 study of ancient wisdom and astro-theology, Hamlet's Mill: An essay on myth and the frame of time, by Giorgio de Santillana and Hertha von Dechend. In that text, they demonstrate that the legend of Hamlet (or Amlethus, as he was called by Saxo Grammaticus, a Danish historian and scholar of myth and poetry who lived c. AD 1150 to c. AD 1220) in which a king-father is killed by a treacherous brother, and whose murder must be avenged by his son, corresponds directly to the outline of the myth of Osiris (murdered by his treacherous brother Set) and Horus.

The connections between these myths (and the connection to the plot of The Lion King) is discussed in this previous post, among others. 

Hamlet's Mill also demonstrates that this ancient myth -- like so many others from around the globe and across the millennia -- is based upon a common system of celestial allegory that can be perceived underneath the different costumes and cultural trappings of all the various sacred stories. 

However, as many readers of Hamlet's Mill are no doubt aware, it can be difficult to follow the argument at times, due to the book's tendency to come right up to the edge of making the connection before suddenly dancing away to take up a different angle or a myth from a different culture, always promising to come back and "close the loop" later on (the reader can be the judge of whether or not that promise is completely serious). 

This is not to say that Hamlet's Mill is not a valuable text that rewards multiple readings and careful study: it absolutely is and it absolutely does, and it has been seminal to my own understanding and to the work of many other researchers who cite it favorably and indicate its importance to their analysis. Contrary to the extremely biased entry on the text in Wikipedia

(and the rambling and completely negative essay that is the only "External Links" source that Wikipedia has featured in the bottom section in their misleading and unfair Hamlet's Mill page for some years now), Hamlet's Mill has not been "debunked," and I believe that its arguments are not only sound but are supported by so much evidence from ancient myth that the conclusion is practically undeniable at this point. My reply to the arguments in that sole reference selected by Wikipedia in their "External Links" for Hamlet's Mill can be found in the previously-linked blog post here.

All that aside, due to the fact that Hamlet's Mill is a somewhat difficult work which generally requires a few complete read-throughs, it may be helpful to read some more straightforward and systematic explications of the ancient system of celestial metaphor prior to tackling Hamlet's Mill itself (although I will say again that it is absolutely worthwhile to eventually tackle it, with the idea that you may have to tackle it again once you've tackled it once!). 

One such book, focusing particularly on the Osiris-Set-Horus conflict isThe Death of Gods in Ancient Egypt (originally published in 1992), by Jane B. Sellers.

Another, I would respectfully submit, is The Undying Stars, in which I endeavor to explain the ancient system in a clear and thorough fashion, as well as to examine the possible purpose and meaning for the widespread presence of star-myths at the heart of virtually every sacred tradition in the cultures of our planet. The outstanding teaching videos of Santos Bonacci, available on the web in various places including his website here, are also an excellent source and were fundamental to my own analysis as well, as are some of the texts he has listed on his site

Many previous posts (probably over fifty now) have treated specific myths and traced the connections to the motions of the heavenly bodies (sun, moon, stars and planets). Some of these have been listed in previous posts such as this one. Here is another convenient compilation, grouping them this time by general culture or ancient civilization, for those who would like a handy index to past posts dealing with star-myths and astro-theology:

ANCIENT SUMER AND BABYLON

ANCIENT EGYPT

ANCIENT INDIA

OLD TESTAMENT

  • Sarah (here).
  • Jacob and Esau (here).
  • Moses (here). 
  • A land flowing with milk and honey (here).
  • Samson (here).
  • Noah and the Ark (here).
  • Elisha the Prophet (here).

NEW TESTAMENT

  • The Cross (here, here and here).
  • Apostle Peter (here).
  • The Scorpion and the Smoky Abyss of Revelation 9 (here).
  • Hell (here).

ANCIENT GREECE

  • Demeter and Eleusis (here).
  • Delphi and the Pythia (here).
  • Okeanos or Oceanus (here).
  • Hercules (here and here).
  • Atlas (here).
  • Prometheus (here).
  • Ares and Aphrodite (here).
  • Ares and the Brazen Cauldron (here).
  • Zeus and Aphrodite (here).
  • Hermes and Aphrodite (here).
  • Zeus-Jupiter (here).
  • Pan (here).
  • Asclepius (here).
  • Amaltheia (here).
  • Phaethon (here and here).

NORSE MYTHOLOGY

JAPANESE MYTHOLOGY

SACRED TRADITIONS AND MYTHOLOGY OF THE AMERICAS

SACRED TRADITIONS AND MYTHOLOGY OF THE PACIFIC

ANCIENT CHINA

Many more in addition to these are discussed in The Undying Stars as well.

Shakespeare and the Creation of Reality

Shakespeare and the Creation of Reality

image: Sculpture of Hamlet, Wikimedia commons (link).

The previous post began with an examination of the special character found in certain of the plays of "William Shakespeare," known as the FOOL or CLOWN, and the role of this character in piercing through the artificial constructs of manufactured reality, using the instrument of language to wrench the perspective of those within the play to see the constructed world and its conventions from a different angle -- and to offer the same different perspective to us, the audience.

In fulfilling this role, the Fool or the Clown -- who may seem to be among the "lowest" or least "important" of the characters in the drama, perhaps just a figure tasked to provide some comic relief -- actually becomes the key to the entire endeavor, just as Jon Rappoport has argued that the "trickster god" is actually the most important and even the most powerful god in many ancient myth-systems, because he plays the same role of offering new and unexpected perspectives, challenging seemingly-entrenched paradigms (or "narratives" or "realities"), and revealing that the world is in some quite veritable way fabricated by our own mental and energetic creation of it, which means that the very barriers and chains which we forge to hold ourselves down can in fact be made to drop off like the cords upon the thews of the unshorn Samson, if we only heed the right message.

And, interestingly enough, the trickster-god is often the messenger god -- as he is in Greek mythology in the form of Hermes, god of thieves and divine messenger.

This fact is significant in that, as just mentioned, the trickster-god can be seen trying to convey this all-important message to us, a message which could set us free to create new realities, if only we could receive it. It is also significant in that, as the previous post explored briefly, the creation of realities is often done primarily through language.

But language is a tricky thing -- notoriously slippery, and nearly always capable of being read in at least two different ways simultaneously. Again, this connection should cause us to marvel even further at the ancient wisdom encoded and conveyed to us in myth, where the trickster-god is also the giver of writing and the carrier of language (slippery, trickery language).

This slippery aspect of language was employed with unequalled joy and verve by Shakespeare (whomever "Shakespeare" was), both to create shimmering towers of imagination and "realities" so real that we continue to talk about them today as if they were real places inhabited by real people, and to expose them as mere constructs -- and in doing so to expose the "real world" as very much composed of the same kind of constructed imaginations. After all, in one widely-known line, did Shakespeare not declare that "All the world's a stage, and all the men and women merely players"? (Jaques, in As You Like It, II. 7. 138-139).  

A brief examination of some of the word-play in one of the most famous "fool-scenes" in all of Shakespeare, the grave-digging clown-scene in Hamlet V.1., will demonstrate Shakespeare's ability to call attention to the artificiality of the constructed reality of the play, and in doing so to call attention to the artificiality of the constructed reality of the "real world" at the same time.

The scene begins with the two Clowns entering, carrying (we are told) a spade and a pickaxe, with which (we soon learn) they are digging a grave for fair Ophelia. We meet them in the midst of a discussion of the nicer points of the law, and trying to determine whether or not under the law she is deserving of a Christian burial. After butchering the legalese and imitating the niceties of legal arguments used to find loopholes or justify certain desired outcomes (and in doing so exposing the law as completely artificial and composed of words which can be turned one way for those in one class or category, and another way for those less-well connected), the conversation proceeds -- led by the First Clown, who is clearly the more subversive and perceptive and trickster-like of the two -- to an examination of Holy Scripture (beginning, interestingly enough, in line 33 of the scene).

In that exchange, the First Clown seems to be employing a devoutly literalistic hermeneutic (a word which itself comes from the name of the trickster-god Hermes and refers to the system of finding the message in the text), and yet his arguments undermine his own apparently-literal approach, because they deliberately misuse the second meaning of common words in order to arrive confidently at his skewed conclusions:

FIRST CLOWN: [. . .] There is no ancient gentlemen but gardeners, ditchers, and gravemakers; they hold up Adam's profession. [FIRST CLOWNdigs]
SECOND CLOWN: Was he a gentleman?
FIRST CLOWN: A was the first that ever bore arms.
SECOND CLOWN: Why, he had none.
FIRST CLOWN: What, art a heathen? How dost thou understand the Scripture? The Scripture says Adam digged. Could he dig without arms? [. . .] Hamlet V.1. 28-35.

After some more of this, digging all the while, the First Clown gives one final punch-line about the grave-digger being the builder stronger than the mason, the shipwright, or the carpenter (because the houses he makes last till doomsday), and then says to the Second: "Go, get thee to Johan. Fetch me a stoup of liquor" (lines 55-56). Some commentators have interpreted this as an immensely comedic line which would bring a roar of laughter from the crowd, since they would have known Johan as an actual bartender in a nearby pub next to the Globe Theater itself (in London) -- and thus we have the First Clown in the play, tired out from all his digging and wishing to wet his whistle, sending the Second Clown around the corner of the theater itself to fetch him a drink!

If this interpretation is correct, it is in fact a truly humorous touch (equivalent to a character in a modern movie that you are watching on the home screen in your living room saying something like, "Isn't Jimmy's Deli right down the street from here? Morpheus -- hold on to those pills for a second, I need to go get a Coke"). It would be funny, and at the same time it would subvert the whole construct of the show, and wrench your perspective right back to the fact that you were watching a film or a play taking place on a screen or a stage, and the character you had been seeing as a character in a far-away world would suddenly be transformed into an ordinary person who just wants something to quench his thirst.

If Shakespeare was referring to a contemporary London pub or bartender there in line 55 rather than to some imaginary bartender in Hamlet's fictional Denmark, then this line is a remarkable example of the playwright calling the audience's attention to the fact that the play itself is an artificial construct -- but the Clowns have been doing that since they came on the stage about the artificial constructs (made primarily of language) which structure the world itself (and their own rather humble place within it).

The most famous aspect of the grave-digging scene, of course, comes when Hamlet himself (accompanied by the less mentally-flexible Horatio) come upon the First Clown digging away (the Second Clown having headed off to Johan to bring back a drink), and engage him in conversation -- giving the First Clown still further opportunity to show off his ability to stubbornly select the wrong meaning of key words in any communication, and thereby to subvert the intended message and demonstrate the unreliability of language, and hence the instability of anything that is upheld primarily by language, which of course includes the titles and privileges of the royalty and nobility to whom the Clown is speaking.

To reinforce the artificiality of the differences in the artificial hierarchies of the court and the state, the playwright has the Clown at this moment begin to toss up skulls out of the grave with his shovel, and the conversation turns to the way death and decay collapse most ignominiously all the worldly distinctions, and reduce them to dust.  The First Clown finally falls silent as Hamlet famously takes up the skull of "poor Yorick," and delivers a meditation upon the end of all flesh, including the lines, 

"Imperial Caesar, dead and turned to clay / Might stop a hole to keep the wind away" (V. 1. 196-197).

The image of Hamlet contemplating the skull held in his outstretched is one of the most famous in all of Shakespeare, and is certainly the defining pose of the Prince of Denmark (see for instance the statue above). Notably, we could in fact see this famous pose as ultimately emblematic of all that has been said so far in the foregoing exploration of the "construction of the world" question, for the construction of realities takes place in a very real sense within the "world" that is contained within the dome of the very object Hamlet is holding in his hand. 

If we stop and think about it, all of the outside universe is actually transmitted to the world within the sealed box of our skull by electronic impulses carried by nerves (sight by electronic impulses from the optic nerves, sound by impulses along the auditory nerves, taste and touch and smell as impulses along nerves as well) -- and once there, the the world we see around us, yes the entire universe outside, is constructed by the mind.  

Incredibly enough, Joseph P. Farrell (mentioned in these previous posts: 07/25/201104/02/201304/09/201302/10/2014, and 06/02/2014) as part of the wide-ranging historical investigation he conducts in his latest work Thrice-Great Hermetica and the Janus Age: Hermetic Cosmology, Finance, Politics and Culture in the Middle Ages through the Late Renaissance, has demonstrated, following the work of Frances A. Yates (1899 - 1981), that the Globe Theater itself (scene of Shakespeare's performances) was an esoteric model of the world and -- making further connections of his own based upon illustrations from the esotericist Robert Fludd (1574 - 1637) that its five stage entrances (three on the stage-level and two on either end of the upper balcony-area) might well symbolize the five senses of the human body (the very portals by which we have just seen that "reality" is "created" in the mind!)(193).

In other words, as Joseph Farrell argues, the stage depicts the Hermetic doctrine of the microcosm and macrocosm ("as above, so below") on multiple levels at once -- and he argues that this Hermetic design was very deliberately chosen as an important part of the transformative, paradigm-shifting, alchemical purpose of the Elizabethan plays themselves.

Of course, it need hardly be pointed out that the word Hermetica itself derives from the name of the trickster-god Hermes, the messenger and the transcender of boundaries and barriers, his "Thrice-Great" title a deliberate connection to the Egyptian god Thoth, giver of writing as well as the god of the Moon (among other attributes -- and note that the Moon is probably the most "shape-shifting" entity upon the entire heavenly stage).

All of this has profound import, both historically and as it pertains to our understanding of our own human condition, here in these human bodies upon this globe spinning through the cosmos.  Enough import, in fact, to fill several volumes (and thus far beyond the scope of this already over-extended post!).  But to conclude this brief examination, we can at least state that the self-conscious reality creation on display in the plays of Shakespeare (and the calling attention to that fact by the characters of the Clowns and Fools in many of his plays) was almost undoubtedly intended to awaken us to such reality creation in the world around us -- and in the world we carry around in our skulls.  

That realization is two-edged, in that it should awaken us to the danger of this reality-creation business: if "realities" are so easily created and so widely accepted, the process can be used to enslave, to bind, to restrict, and ultimately to limit human consciousness (the lack of consciousness being a common and crucial ingredient in most of the terrible downfalls depicted in Shakespeare's tragedies).

But, at the same time that the examination of reality-creation opens our eyes to its potential to keep us pinned down with imaginary chains, it invites us to consider our ability to use the reality-creating engine within our same skulls to discard false chains forged by others (and forged by ourselves) and in doing so to transcend them, to walk through the barriers between us and greater levels of consciousness, to step with Truman off the set of the Truman show (or with the Second Clown to step around the corner to grab a quick beer), and to create worlds along with the trickster gods of sacred myth (like the trickster-god Maui who creates the worlds of Hawai'i and Aotearoa when he dredges them up with his magic fish-hook).  

Ultimately (in a brilliant metaphor crafted by Jon Rappoport and described in many of his stories and articles), we can look at the stage-props and sets that others are constructing for our lives and say:

Oh! Oh -- I see: you guys are artists, right? You're artists, and you've got your own museum and your own theater, and you're making reality because you think that's what I want! You think you can sell me your infomercial about the cosmos! I get it! No thanks. Not interested.
Why? Ultimately, because I'm making up my own. Yeah, I'm making up my own. I don't need yours. [. . .] Because, come into my studio -- you see what I'm painting here? Come into my office -- you see what I'm building here? Come into my . . . whatever, my pasture, you see what I'm creating here? Come into my world -- you see what I'm creating here? This is far more interesting to me than what you're making for everybody.
-- Jon Rappoport: Mind Control, the Space Program, and the Secret Theater of Reality, June 29, 2014. Quotation begins at 1:07:38. Cited in this aforementioned post.

The great comedian

The great comedian

In some of William Shakespeare's most well-known plays, often plays in which the lead character is crushed within the anaconda-like coils of the social and cultural bonds and duties and hierarchies and conventions, culminating in a final scene in which these powerful forces result in the death of everyone on the stage, Shakespeare will often employ an important character identified as the CLOWN or the FOOL to expose the artificiality of the very structures and conventions that are inexorably leading to the ultimate tragedy.

Two of the most famous examples of Shakespearean clowns and fools are found in the tragedies of Hamlet and King Lear. In each case, the character of the Clown (in Hamlet) and the Fool (in Lear) dare to speak truths which question, challenge, and subvert the "social constructs" upon which the societal order is built -- those artificial rules and mental structures which are created primarily by the force of unquestioning and uncritical belief among the vast majority of the populace. 

In almost every play, it is these very "mental structures" which can be seen to be directly responsible for the oppression of the lower classes from which the Fool (and definitely the Clown) typically originate, and these very same artificial structures -- given the force of "reality" by the almost hypnotic obedience with which everyone in the society accedes to them -- are also generally responsible for the terrible dilemmas which tear apart the families of the kings and princes in the "noble" and "royal" classes in those very same plays.

Even as everyone else in society seems to treat these artificial barriers and facades as if they are solid and unbreakable, the Clown or the Fool ignores them altogether, or (even more damaging) walks around behind them (figuratively speaking) and points out the fact that they are nothing but false fronts, stage sets, clever fabrications. 

Shakespeare's Fools and Clowns generally do this by their use of language -- especially through the use of words with two or more meanings, and by jokes in which a different meaning suddenly wrenches the audience's perspective from the conventional to the subversive (some of the characters in the play can perceive the subversive vision offered by the fool's new perspective, while others are blissfully impervious to seeing things from a different angle).

The main reason language serves as such an incredible tool for dissolving false realities is that these "realities" are themselves primarily constructed from language: the legalese language of (artificial) law, the modes of speech which declare one to be in authority (whether an airplane pilot, game-show host, president, prince or general), or which create the lines which define the various classes or identities which Shakespeare's plays demonstrate to be far more fluid and artificial than they first appear (even if they take on a terribly binding "reality" when collectively allowed to do so).

Like the Fool and Clown characters in the plays of Shakespeare, great comedians have the ability to expose the artificial barriers and facades in their society, using their own methods to wrench their audiences from their conventional perspective to a new paradigm, even if for just a second. 

Perhaps no comedian's repertoire of skills for transcending boundaries, exposing "social constructs," offering new perspectives or paradigms, and playing with the "languages" that give identity or authority to various groups and roles can ever match that of the exuberant Robin Williams, who tragically left this material world only yesterday.

Above, in a clip from Whose Line is it Anyway, he plays along with fellow comedians Wayne Newton, Drew Carey, and Ryan Stiles to delight the audiences by giving them a rapid-fire series of new "perspectives" using a couple of props which the comedians successively "turn into" whatever their imagination can dream up. If you go back and watch any of his many stand-up routines available on the web, you will find numerous lines in which the joke requires the audience to see the sentence from a completely different perspective, based on a secondary meaning of one or more of the words (often using double-entendre which relies on some bodily function). And of course, in all of those routines he flexes his unrivaled protean ability to transform from one voice and speech pattern and way of walking and standing and gesturing after another, exploring the ways in which identities and groups are defined (or define themselves) with language, voice, and patterns of delivery and movement.

In doing so, he undoubtedly performed a Shakespearean role in holding these boundaries and constructs up for examination and critique -- but like the Shakespearean Clown who was allowed to speak truths that would never be otherwise tolerated, his skill as a comedian allowed him to offer iconoclastic or even subversive perspectives that those forced to operate "within society" (that is to say, within the artificial barriers) were not allowed to say (or rather, that they  themselves would not allow themselves to say). 

But it was in his movies that Robin Williams reached even wider audiences with his incredible demonstrations of the liberating power of language and its ability to demolish false boundaries and barriers and to explode the collective illusions which uphold injustice, oppression . . . even war itself.

In Dead Poets Society (1989), in a role that earned him an Oscar nomination for best actor in a leading role, his English-teacher character uses language and compassion to help a group of young men on the brink of adulthood begin to question the barriers and constructed roles they have uncritically accepted all their lives -- although, as in the plays of Shakespeare, the constrictor-like grip of those constructs is shown to have crushing and tragic consequences. 

In Good Morning Vietnam (1987), in a role which also earned him an Oscar nomination for best actor in a leading role and for which he won a Golden Globe for best performance by an actor in a motion picture, his character demonstrates that the sanitized artificial reality that those in control of the Armed Forces Radio broadcasts wanted him to reinforce and portray on the air was far removed from the reality experienced by those who were actually risking their lives in the Vietnam War, and he subverts and calls into question that artificial "official" vision and in doing so enables his audience (including the audience of the movie itself) to question such societally-imposed and sanctioned "realities." Once again, Mr. Williams' primary weapon in the battle to wake up the hypnotized and mind controlled is . . . language (in this case, wielded through the microphone of disc jockey Adrian Cronauer).

Perhaps one of his most incredible performances was in the Walt Disney film Aladdin (1992), for which he won a Golden Globe special award for his truly virtuosic vocal performance as the Genie (and as the merchant who introduces the entire story as a literary "frame" at the beginning of the show). His ebullient shape-shifting Genie demolishes boundaries one after another as he transmogrifies into everything and everyone under the sun, and in doing so finally conveys to the film's young hero and heroine the truth that individual men and women actually do have the ability to create their own reality and to defy the voices who say "you can't do that," or "you'll never amount to anything," or even "without that Genie, you're nothing."  

The role was perfect for Mr. Williams, and was in many ways a career-defining one -- because it revealed that he was in fact himself a very real Genie, using his own inimitable form of magic to change people's minds, show them new vistas, allow them to think new thoughts and challenge self-imposed limits . . . and in doing so to create new realities, break free of shackles, and change their lives.

Rest in peace.  Respect.

Truth Warrior interview now available as a podcast

Truth Warrior interview now available as a podcast

For those not able to watch the entire interview as a video, the Truth Warrior interview linked in this previous post is now available as a podcast, which can be downloaded to a music player such as iTunes, where it can then be loaded to a mobile device or a compact disc for listening while not stuck in front of a screen.

To download, you can "right-click" or "control-click" (for Macs) on the yellow title in the above Spreaker bar, and then "download linked file as" in order to save it. You can also find additional downloading, listening and sharing options here at Spreaker.com.

More on the spiritual significance of firesticks

More on the spiritual significance of firesticks

In light of the foregoing post examining the profound importance anciently attached to the bringing of fire to humanity, its association with the constellations of Orion (who may well represent Prometheus-Kronos-Saturn-Osiris) and Gemini (who may represent the "celestial fire sticks" and the hollow reed in which Prometheus hid the fire when he stole it away from the realm of the gods and brought it down to earth) and the lost Golden Age, and its esoteric and spiritual significance, it is more than noteworthy that numerous Native American prophets or medicine men in past centuries reported visions in which they received a message from the spirit world to stop using the white man's steel and flint to kindle fires, and to return to the traditional fire sticks.

In his first-hand account of the Ghost Dance Religion and the massacre of Native Americans by the US Army at Wounded Knee, James Mooney (whose work of trying to record and preserve details of Native American culture and spirituality was also mentioned in this previous post) goes back to the mid-1700s in his examination of the roots of the Ghost Dance.

Mooney begins his examination of prophets who were given visions which advocated a union of all the various tribes and "a return to the old Indian life" with an individual known to Mooney only as the Delaware Prophet but identified today as Neolin or "the Enlightened One," who in 1761 sought a spirit vision and fell into a deep sleep in which he went on a long journey to the other realm, where he received specific instructions that he brought back and began to relate, and which subsequently spread from tribe to tribe, eventually playing a central role in the conflict known as Pontiac's War.

According to the account of John McCullough, who had been captured at the age of eight and adopted into a family of the Delaware people in northeastern Ohio, and whom Mooney cites at length regarding the details of the message of the Delaware Prophet:

It was said by those who went to see him that he had certain hieroglyphics marked on a piece of parchment, denoting the probation that human beings were subjected to whilst they were living on earth, and also denoting something of a future state. They informed me that he was almost constantly crying whilst he was exhorting them. I saw a copy of his hieroglyphics, as numbers of them had got them copied and undertook to preach or instruct others. The first or principal doctrine they taught them was to purify themselves from sin, which they taught they could do by the use of emetics and abstinence from carnal knowledge of the different sexes; to quit the use of firearms, and to live entirely in the original state that they were in before the white people found out their country. Nay, they taught that that fire was not pure that was made by steel and flint, but that they should make it by rubbing two sticks together.  . . . It was said that their prophet taught them, or made them believe, that he had his instructions immediately from Keesh-she-la-mil-lang-up, or a being that thought us into being, and that by following his instructions they would, in a few years, be able to drive the white people out of their country.
I knew a company of them who had secluded themselves for the purpose of purifying from sin, as they thought they could do. I believe they made no use of firearms. They had been out more than two years before I left them. . . . It was said that they made use of no other weapons than their bow and arrows. They also taught, in shaking hands, to give the left hand in token of friendship, as it denoted that they gave the heart along with the hand. [Mooney, 668; ellipses in the original].

Superficial accounts of the message of the Delaware Prophet will typically include the restrictions against drinking the white man's alcohol (mentioned in numerous other accounts of Neolin's message) and the admonishment to return to the bow and arrow and to traditional garments of skin rather than using European clothes, but the specific requirement to abstain from making fire with steel and tinder, and to use none other than the rubbing of two sticks, is often omitted. 

And yet it is no doubt of great importance, for the exact same admonishment was received in a vision reported in 1805 (forty-four years after the vision reported by the Delaware Prophet) by the Shawnee prophet Tenskwatawa, the brother of Tecumseh. Based upon contemporary reports, Mooney relates the vision of Tenskwatawa as follows:

[. . .] one day, while lighting his pipe in his cabin, he suddenly fell back apparently lifeless and remained in that condition until his friends had assembled for the funeral, when he revived from his trance, and after quieting their alarm, announced that he had been to the spirit world and commanded them to call the people together that he might tell them what he had seen. When they had assembled, he declared that he had been conducted to the border of the spirit world by two young men, who had permitted him to look in upon its pleasures, but not enter, and who, after charging him with the message to his people already noted, had left him, promising to visit him again at a future time. [Mooney, 673; my ellipses].

The details of the message with which Tenskwatawa said he had been charged were related by various witnesses of the era as follows:

The firewater of the whites was poison and accursed [. . .]. The young must cherish and respect the aged and infirm. All property must be in common, according to the ancient law of their ancestors. [. . .] The white man's dress, with his flint-and-steel, must be discarded for the old time buckskin and the firestick. More than this, every tool and every custom derived from the whites must be put away, and they must return to the methods which the Master of Life had taught them. 672.

Whether or not this message was derived from the message of the Delaware Prophet, which it resembles very closely in almost all of its details, the fact remains that the admonition to use only fire generated by the old method of using firesticks was a central part of the teaching. In fact, in the portrait of Tenskwatawa painted by the American artist George Catlin in 1830 or 1831, the prophet is shown holding his fire-sticks in his right hand, and his sacred string of beans in his all-important left hand, the hand which was connected to the heart, the beans with which those who accepted the vision would pass through their own left hands in a solemn ritual known as "shaking hands with the prophet" (described in Mooney 677-679).

image: Wikimedia commons (link).

It is certainly interesting as well to note the similarities of this account with contemporary accounts given by many survivors of near-death experiences, in which many have reported that they met personages at the entrance to the other world who allowed them to see some things but then explained that they had to go back now and could not go further, as it was not their time to leave this world. For further examination of the NDE phenomenon, see previous posts such as this one and this one, as well as Chris Carter's outstanding examination of the topic in Science and the Near-Death Experience.

In light of the discussion in the previously-linked post about Prometheus and the gift of fire, and the identification of the fire-sticks found in mythologies the world over with the stick-like constellation of Gemini the Twins (almost certainly the constellation being depicted in the Panel of the Wounded Man in the Cave of Lascaux as a figure composed of two parallel lines, an identification brilliantly argued by William Glyn-Jones and discussed here and here), is it not also most remarkable that in the vision reported by Tenskwatawa in 1805 his guides in the spirt world are "two young men"?  

In light of the undeniable importance attached to using two sticks to kindle fire in the historical accounts of the visions reported by both Neolin and Tenskwatawa, it is not unreasonable to conclude that there may have existed an ancient sacred tradition, passed down through the generations, of the spiritual significance of the kindling of fire using the two sticks -- and perhaps also the connection of this tradition to the heavenly Twins of Gemini.

For those who wish to follow the visions received by the Delaware Prophet and Neolin, and use no fire but those derived from a fire that was started with firesticks, the method is demonstrated in the video above (as well as many others available on the web today).  If you were to kindle a fire using this method every day, you would no doubt become an expert at it in short order.

Two different methods of fire making without matches using a vertical fire-stick along a horizontal fire-stick (pramantha and arani in the Vedas of ancient India, whose importance as a spiritual symbol of human existence simply cannot be overstated, and which are also discussed in the aforementioned post about Prometheus) are shown in this page from the Air Force survival manual that I used to read frequently while I was growing up (and mentioned in this and this previous post):

Of course, the methods shown in the top panel (flint and steel) and in the left-hand lower panel (burning glass and electric spark from a live storage battery) would not be approved methods according to the visions of Neolin and Tenskwatawa; those in the square panel at the lower right of the page all involve two sticks and thus would be -- that panel is enlarged below:

Of course, the 1960s Air Force clothing depicted would probably not be looked upon with favor by those eighteenth-century and nineteenth-century visionaries.

Below is a recent music video from the fantastic musician, poet, songwriter, teacher, and advocate for human freedom and justice Michael Franti (and SOJA) in which he is seen making fire using a version of the two-sticks method. He holds the lower stick between his feet -- Michael Franti has chosen to walk this world barefoot for at least the past fifteen years:

The concept of the fire-sticks has deep connections to the concept of human consciousness, of raising greater awareness of our purpose here in this incarnation (in which we can be seen as sparks which have come down to inhabit the matter of our bodies within this material realm), and -- as can be seen from its importance in visions which centered around resistance to the injustice which was being inflicted upon the Native American inhabitants of this continent and the destruction which was being wrought upon their way of life -- of the mindfulness we should take in our lives to align ourselves with the right path.

Prometheus, Bringer of Fire

Prometheus, Bringer of Fire

Previous posts have explored myths from around the world regarding the origins of fire which center on the stars of the fall equinox, particularly the constellations Virgo, Boötes, and Centaurus (see for example "The Old Man and his Daughter").

However, there is another well-known ancient myth regarding the obtaining of fire by mankind: the myth of Prometheus.

As related by Apollodorus in the seventh section of Book I of his Bibliotheca (translated by James George Frazier, 1921):

Prometheus moulded men out of water and earth and gave them also fire, which unknown to Zeus, he had hidden in a stalk of fennel. But when Zeus learned of it, he ordered Hephaestus to nail his body to Mount Caucasus, which is a Scythian mountain. On it Prometheus was nailed and kept bound for many years. Every day an eagle swooped on him and devoured the lobes of his liver, which grew by night. That was the penalty that Prometheus paid for the theft of fire until Hercules afterwards released him, as we shall show in dealing with Hercules. 1.7.1.

Note that as in the case of the Old Man and his Daughter, the bringing of fire to humanity involves a theft -- one for which Prometheus in this case is severely punished. This aspect of the myth recalls the theft of the mead of poetry by Odin from the maiden Gunnlod -- another myth which, like that of the Old Man and his Daughter and the theft of fire -- is based around the constellation Virgo, and one which also features an eagle (in this case, two eagles, as well as the additional twist that Odin and his adversary each transform into eagles, which adds a shamanic element to the story as well).

In Hamlet's Mill, authors Giorgio de Santillana and Hertha von Dechend explore the evidence which suggests that poetry -- which Odin had to go to so much trouble to steal -- was anciently regarded with the most profound respect, and treated as a high technology connected to the order of the cosmos. Poetic versification was not something to be trifled with, and they cite evidence that poets took great care to align their use of the technology of metaphor and meter with the deep patterns of the universe:

Every era, of course, has freely invented its own ballads, romances, songs and fables to entertain it. That is another matter. This concerns the poet, poiētēs, as he was understood in early times. There was an original complex of meaning which comprised the words poet, vates, prophet, seer. Every knowledge and law, Vico wrote with a flash of genius two centuries ago, must once upon a time have been "serious poetry," poesia seriosa. It is in this sense that Aristotle in a sophisticated age still refers respectfully to "the grave testimony of [early] poets." 119.

Note that Hamlet's Mill is available to read online here (although every home library should probably have a physical paper copy!); the passage cited above can be found in chapter 8, here.

In light of this role, we can understand why the ancient myths described poetry as something which came down to earth from the heavens, and which "properly belonged" to the celestial regions (hence its portrayal in Norse myth as something which must be stolen, or which drops to earth from the gods). If poetry somehow relates to the motions of the cosmos, then we begin to sense the thought process behind the ancient requirement that the poetry must conform to certain patterns ("as above, so below"). The Edda of Snorri Sturluson, one of the most important sources for Norse myth, spends most of its time explaining the technology of poetry, kenning, and naming.

We can further surmise that the "stealing of fire" may somehow be describing the same concept as the stealing of poetry, in that it is bringing down to humanity something which properly belongs to the heavenly spheres -- and that these myths are about much more than supposedly-primitive humans trying to explain the discovery of the method of kindling fire in their supposedly-primitive past.

This suspicion that the stealing of fire and the stealing of poetry might be pointing us to the same esoteric truths is further bolstered by the fact that Hamlet's Mill  spends a good bit of time examining the importance of the rebel Titan Prometheus, and finds evidence that he is also somehow closely associated with the ancient figure of Kronos-Saturn, "the giver of measures."  In support of this assertion, they cite the thirteenth Orphic Hymn:

So the (13th) Orphic Hymn to Kronos addresses the god as "Father of the blessed gods as well as of man, you of changeful counsel, . . .  strong Titan who devours all and begets it anew [lit. "you who consume all and increase it contrariwise yourself"], you who hold the indestructible bond according to the apeirona (unlimited) order of Aiōn, Kronos father of all, wily-minded Kronos, offspring of Gaia and starry Ouranos . . . venerable Prometheus." 132-133. Bracketed material appears as such in the original text by de Santillana and von Dechend.

Here Prometheus is specifically identified as an aspect of Kronos, giver of measures. The ominous figure of Kronos-Saturn appears in the myths of the world with specific characteristics shared across the globe: he is in one sense a benevolent figure, who came and dwelt among men in a distant Golden Age, teaching them the civilizing arts, but he is also a doomed figure, destined to be imprisoned beneath the earth or beneath the sea (or, in the case of King Arthur, beneath the surface of the Lake), a figure bound in chains, a figure who simultaneously gives the measures of time and space, and is at the same time bound by them. Saturnian figures discussed in Hamlet's Mill include Yama, Varuna, Phaethon, Ea, Enmesharra, Osiris, Hephaestus, Pan, Jamshyd, Yima xsaēta, Balder, Attis, and the Yellow Emperor of ancient China (268-286).

Saturn "gives the measures" because he is the furthest visible planet, with the longest orbit -- a fact which can be observed from earth by seeing that it takes him the longest to return to the same zodiac constellation in the night sky (presently he is in Libra).

We can immediately see that the one who "gives the measures" is related to the gift of poetry -- which is almost by definition a metrical form of language. There is also, as de Santillana and von Dechend discuss, a clear connection to the shaman, whose drum is an important part of the shaman's paraphernalia the world over and which helps connect the shaman to the celestial motions of the universe, and to traverse the ladder to the "other realm" or "spirit realm" -- the realm of the gods.

As noted above, many myths from around the world describe Saturn (or their Saturnian figure in their system) as ruling over a vanished Golden Age, in which he walked among men and women and taught them the civilizing arts, including the growing of crops (in some accounts, in the Golden Age men and women abstained from eating the flesh of animals -- and in some accounts, the Saturn-figure is the one who taught them to not eat one another!). We can immediately see why Prometheus the Giver of Fire fits into this pattern of the god who came down to give higher technology to mankind.

In Hamlet's Mill, the authors provide evidence (without stating it explicitly or at least systematically) that this lost Golden Age corresponds to the Age of Gemini. The key piece of evidence they cite to support this identification is their discussion of the Galaxy and the fact that in the Age of Gemini, the band of the Milky Way would have aligned with the two points of equinox (the spring equinox then being located in Gemini -- hence the name of the Age of Gemini -- and the fall equinox then being located in Sagittarius, who is located next to the other end of the Milky Way band). They note that with such an alignment the "gates" of the equinox would align with the "gates" of that shimmering path of souls (the Milky Way in the night sky). Also, there would have been a satisfactory poetic harmony in the fact that the fiery path of the sun (the ecliptic path, which crosses the celestial equator at equinox) was then aligned with the smoky path of the Galactic band.

As you can see for yourself in the predawn sky at this early-August time of the year, and has been discussed previously (see this post for example), the prominent constellations above the horizon in the Age of Gemini are Gemini (of course) and Orion, who is so close to the Twins that the end of his upraised club (or mace) nearly touches the bottoms of their feet. Below is an image of those constellations arranged on the horizon, first without lines drawn in and then with the outlines as suggested by H.A. Rey:

Above is the view of the eastern horizon: you can see the stunning figure of Orion (look for the three stars of his nearly-vertical belt, directly up from the number "19" in the date-time window of the Neave Planetarium controls). Above him you can see the dazzling "V" of the Hyades, and above them the shimmering cluster of the Pleiades. To the "left" of the "V" of the Hyades are the two stars that make up the long "horns" of the Bull, and above them is the lantern-jawed charioteer of Auriga. 

To the "left" of Orion (towards the north, along the horizon) are the Twins of Gemini, their two brightest stars being their two heads: Castor and Pollux. Below is the same sky-shot, with the lines drawn in as I like to imagine them (following primarily along the recommendations of H.A. Rey, with some slight deviations mainly in Taurus):

If you are able to go have a look for yourself tomorrow morning before the sun begins to lighten the eastern horizon, you will see that as the massive Orion looms above the eastern horizon, he really steals the show, in spite of the fact that this is the lineup of the Age of Gemini and it is the Twins who give their name to that Age. These stars are on the predawn horizon now, in early August, due to the "delaying" motion of precession but they were in their current predawn lineup at the time of the March equinox four long Ages ago (prior to the Age of Pisces, which followed the Age of Aries, which followed the Age of Taurus, which followed the Age of Gemini).

Thus Orion is also associated with that lost Golden Age, and hence with Saturn and Saturnian figures in the myths of the world (most notably perhaps with Osiris). But the constellation of the Twins is extremely important too: Prometheus is described as bringing fire to mankind hidden inside a smoldering reed. There is reason to believe that the stick-like figures of Gemini represent this "fire-reed" -- and that they are also associated with the "fire sticks" mentioned in so many ancient myths in conjunction with the bringing of fire to humanity, including the Vedas of India -- fire sticks which belong to the gods.

In the Vedas, these fire-sticks are described with specific names -- Pramantha for the "upper fire stick," the active drill, and Arani for the passive stick in which the fire is kindled. It has been noted by many previous authors that the name pramantha may well be linguistically connected to the name of Prometheus (Hamlet's Mill discusses this connection on pages 139-140).

Having examined all of these connections, we can begin to understand that the star myths surrounding Prometheus and the bringing of fire to mankind -- like all star myths -- are not "simply" about hiding a message about the stars inside of a mythological story. On the contrary, these stories and their celestial connections were designed to impart life-changing truths about who we are as human beings and what we are doing here in these bodies, on this earth.

The fact that the Twins can be seen as fire-sticks, through which fire is kindled by the action of one vertical stick turning in one horizontal stick, can clearly be seen to relate back to the concept of the "raising of the Tat-cross (or Djed column)," discussed at some length in this post on the most-recent summer solstice. In that post, we saw that:

the horizontal line between the two equinoxes was seen by the ancient sages as representative of the soul of the man or woman "cast down" into incarnation, as if the spirit had "fallen upon its face" or was going about horizontally like an animal (because the spirit was now incarnated in an "animal" body), but that the vertical line which ascends from the winter solstice up to the pinnacle of the summer solstice represents the spirit ascending again, overcoming its "death" in the body, reclaiming its divine nature even though for a time it was imprisoned in the flesh of the material world.
The two lines together, of course, form a cross (as can be seen on the zodiac wheel).

The two sticks of the fire-drill, one vertical and one horizontal, can also be seen as forming a cross, and one which poetically embodies the kindling of the divine spark of the spirit within the inert or passive animal (or horizontal) body. It has been noted by many commentators that in ancient India those fire-sticks have long been understood in just such an esoteric manner, kindling the divine fire within the individual, and then raising the inert or animal nature (figured by the horizontal) to the vertical. The raising of the kundalini along the spinal column, through the seven chakras, can be understood as the raising of this divine spark within the body of our incarnate material form.   

Hence, we can understand that the myth of Prometheus bringing the fire imparts the esoteric understanding that each man and woman consists of a divine spark or fire from heaven, plunged into a body of water and earth (a body of clay -- look again at the passage quoted earlier from Apollodorus describing the Prometheus legend). The important constellations of the Twins of Gemini convey this message in their role as the hollow reed or narthêx stalk (Frazer in his 1921 translation has an extensive footnote in which he discusses the possible genus and species of the plant in question, when of course the reed with which Prometheus brings the fire in the myth is actually a constellation in the sky). 

But the personage of Prometheus himself also embodies the same esoteric message! The bringer of the spark of fire down from heaven, Prometheus ends up chained to a rock, or nailed to a mountain: crucified, that is, upon the cross of matter. Note that in the version cited by Apollodorus, he is nailed there by Hephaestus himself -- another Saturnian figure! All those within the wide orbit of Saturn, of course, are metaphorically Saturn's children, bound during this incarnation within the coils of time and space. He is the one who gives the measures, and he is the one who himself figures our imprisonment, by being bound himself and cast down to the depths, where he sleeps in the cave of Ogygia (in Greek myth) or beneath the waves of the Lake (in the Arthurian legend), or lies bound as a mummy within the underworld (in the form of Osiris).

Returning to the myth as we see it in the book of the heavens, we see that if Gemini can be seen to play the role of the fire sticks or smoldering reed in the story, the imposing figure of Orion must play the role of the fire-giving Titan himself. And we know from Egyptian mythology that Orion corresponds to Osiris: this fact, and the evidence we have already seen which establishes the connection between Prometheus and Saturn-Kronos, supports the conclusion that in this myth, Prometheus is also Orion.

Note that, just as we saw with the horizontal and vertical fire-sticks, Orion begins his journey across the sky in a horizontal posture -- suggestive of Osiris lying inert in the underworld, or Saturn-Kronos chained and asleep in the cave of Ogygia beneath the waves. However, as the video above entitled "Orion rising and crossing the sky" (which I made using the Neave Planetarium online) demonstrates, his very motion figures the esoteric teaching of the "raising up of the Djed column" or the "Tat cross" -- the backbone of Osiris. You can see in the video (or in the procession of the actual stars shining against the backdrop of infinity in the actual sky above our heads) that Orion begins his journey in the east and horizontal, but by the time he reaches his zenith above the due-south-point on the southern horizon (for viewers in the northern hemisphere), he has been raised-up like the Djed column of ancient Egypt to a vertical posture.

This silent message, which the stars give forth "night unto night" (in the words of the 19th Psalm), proclaims to us that we -- who are ourselves like stars that have been cast down from the fiery heavens into this world of earth and water (this world of miry clay) -- will and must raise up this divine spark which is hidden inside of us, and that this process is an essential part of our sojourn here in this incarnate existence.

That the stars of Orion and the constellations around him are being allegorized in the ancient Saturnian myths is quite evident from the artwork of the ancient Egyptians, which often depicted Osiris lying horizontal in the underworld and yet retaining distinctive features of the constellation Orion, as in the artwork below from Dendera which was reproduced in the 1911 text by E.A. Wallis Budge entitled Osiris and the Egyptian Resurrection:

Note the "striding" position of the legs, very characteristic of Orion (whom the Egyptians named Sahu -- a name which may in fact have etymological connections in the syllable Sa with the name of Saturn).

Below is another image of the supine Osiris. Note the attendance in the image below of the jackal-headed god Anubis (at the feet of Osiris):

Note that the constellation we know as Canis Major (the Big Dog) closely accompanies Orion on his journey across the sky. The outlines of Canis Major in the video above and in the various free planetarium apps (such as the Neave Planetarium and the downloadable stellarium.org) do not really do justice to the constellation of Canis Major. As with many other constellations, the outlines suggested by author H.A. Rey are in my opinion far superior (and far more helpful for actually identifying the constellations in the night sky).

Below I have added the outline to the stars of Canis Major as suggested by H.A. Rey in The Stars: A New Way to See Them. Once you know the outline, you should be able to identify this majestic celestial hound in the video above showing Orion rising from the horizon towards zenith before sinking back down towards the west. Better yet, you should be able to identify the outline of the Big Dog in the sky, with the Dog Star Sirius in the upper forward shoulder of the constellation.

Sirius is the brightest star in the sky, and was associated with the goddess Isis in ancient Egypt (Isis can be seen in the above image, hovering over the dead Osiris in the form of a falcon). Even though Sirius is associated with Isis, it does seem from the image above that the position of Anubis in relation to the supine Osiris suggests that in this image at least Anubis might be associated with the outline of Canis Major. I have left the stars of Orion as they appear without the lines -- he looks best that way, the way he actually appears in the night sky:

From the foregoing discussion, it is evident that the ancient star myths describing the bringing of fire from the heavens (its proper dwelling-place) down to earth concern far more than simply "legends to explain how humans first obtained fire." The fire in question is divine fire -- the spark of divinity -- and the legends are there in part to remind us of a truth which we have forgotten, in our dizzying plunge from the world of spirit into this deadening world of animal nature, this world of muddy clay. 

As we have seen, the myths are telling us that we must ascend and transcend the earthly nature, and in doing so raise the material nature and transform it (as the horizontal or passive fire-stick is imbued with the spark from above, and blazes into something completely new, possessed of something it did not appear to have before).

We have also seen that the descent of the fire -- a gift from the gods -- parallels the descent of the mead of poetry from heaven down to earth, and that poetry too is in some way meant to convey a transformative message. Poetry, properly understood, has to do with creating new realities, creating new worlds, transcending limits (poetry by its very nature makes metaphors which connect two disparate things or disparate ideas -- thereby busting through boundaries, smashing down literal thinking). See the explication of the inspiring speech given by Jon Rappoport on this subject, here

As such, we can finally see that the subjects we have been discussing lie at the heart of the message of the myths: consciousness, the realization that we can transcend the chains which bind Osiris, the nails which pin Prometheus to the rock.

"Just following orders"

"Just following orders"

Spoiler alert: do not watch the above clip if you have not seen the film Breaker Morant yet. Instead, go watch it as soon as you can possibly find a way to do so.

Foreword note: Let me state at the outset that, while the essay below primarily deals with the responsibilities of the individual, on the larger scale I believe that war in itself is a criminal act under the concept of natural universal law except in the very limited cases in which it is undertaken in self-defense to stop an ongoing act of invasion or killing, just as individually using force against someone else is only justified to when one's own person or home is actually attacked, and only until the aggressor stops (you cannot keep going after that, or you become the aggressor). Further, it is not self-defense if you are actually invading or taking the land of another people and they offer resistance: it is proper to use force against someone who breaks into your home at night, and the person breaking in cannot claim to be acting in accordance with natural law if that person points to your legitimate use of force and calls it aggression and calls their subsequent actions "self-defense." The idea that individuals can violate natural law when acting in groups or on behalf of a "country" or other entity is a form of mind control.

When I was a young cadet at West Point, we received countless classes in a variety of subjects related to the standards of morality and honor expected of an officer, including numerous classes devoted to one particular subject: the absolute duty of an officer to refuse to carry out an unlawful order.

Ask any of my classmates and they will attest to the fact that this particular subject was stressed over and over, and to the fact that the film which we would watch almost every time this subject was going to be discussed was Breaker Morant (released in March of 1980). I believe I can safely say without exaggeration that my classmates and I were shown Breaker Morant at least five times in its entirety in conjunction with classes on and discussions about the topic of unlawful orders, and probably closer to ten or even twelve times during our four years at the Academy.

Fortunately, Breaker Morant is an outstanding film, and anyone who has not seen it should do himself or herself a favor and go watch it immediately. I think the first time I saw it I did not understand a word that anyone said in the movie (Australian being a very difficult language when first encountered by non-native speakers) but after seeing it so many times I can probably recite the entire movie from memory.

The point of showing Breaker Morant to young future officers was that in the film (which is based on true events which took place during the horrendous Boer War, 1899 - 1902) young lieutenants and captains are given orders that Boer prisoners caught wearing British uniforms are to be shot, an order which Lieutenant Morant carries out. Although one of the most powerful issues explored in the film is the fact that the junior officers who carried out the orders were court martialled while the high-ranking British officers who actually issued those orders are never tried and were not even made available to provide testimony despite the requests of the defense lawyer, the consuming focus of all our "honor classes" on this subject was

the clear and unequivocal teaching that an officer must never obey an unlawful order, and that if an officer commits an unlawful act, saying "I was just following orders" is no excuse.

In one sense, it might be said that Breaker Morant was not the best choice of films to use to try to hammer this point home: after all, Lieutenant Morant (played brilliantly by the inimitable Edward Woodward, leading an outstanding cast), Lieutenant Handcock, and Lieutenant Witton are extremely sympathetic characters who are clearly being railroaded in a gross miscarriage of justice, and as noted above the film is really about the treachery of the British high command in leaving young officers to swing in the wind for political reasons. While the shooting of prisoners who are no longer enemy combatants is clearly a crime, deliberately withholding material evidence from the defense in a capital murder trial is of course also a crime which could also have been profitably discussed in those classes (it never was), and in fact the entire Boer War can be argued to have been a criminal undertaking by the British Empire, in which a populace which wanted to remain independent and had every right to remain independent was forcibly brought to its knees in order to annex their country (using brutal tactics including concentration camps). 

On the other hand, the use of that particular film can be seen to have been an outstanding choice, in that it explores the subject of "unlawful orders" in great depth and with considerable dexterity, and powerfully dramatizes the tremendous pressures which threaten to sweep the individual off of his or her moral foundations, especially when he or she is caught up in a society which is actually being run by leaders who themselves are in gross violation of natural universal law. The irony of the events dramatized in the movie, and an irony of which the participants themselves are fully aware, is that they are being tried for murder by a system which continually demonstrates that it does not uphold the very laws that it is trying them for breaking.

While it may seem that the subject of Breaker Morant is rather far removed from the "ordinary experience" of those of us who are not exposed to the rather extreme situations Lieutenants Morant, Handcock, and Witton had to face, the subject of unlawful orders is actually incredibly relevant to all of our daily lives, and to the subjects discussed in this blog.

First, the subject has direct application to the discussion in the previous post regarding the use of the atom bomb to kill noncombatants at Hiroshima and then Nagasaki, exactly sixty-nine years ago. As that post revealed, the majority of high-ranking officers in the armed forces of the United States, all of whom had endured years of bitter fighting, believed that the use of those weapons was wrong, including the seniormost officer on active duty during the war, Admiral William D. Leahy, the Chief of Staff to the Commander-in-Chief, who stated unequivocally that dropping the bomb was barbaric and unethical.

Many of them expressed the belief that the use of the atom bombs was not necessary to convince Japan to surrender, and several of them stated that even if it was determined that their use was necessary, they could have been dropped on an uninhabited area as a demonstration of their power, with one stating that if they were to be dropped on a built-up area, civilians could have been warned some weeks in advance in order to allow them to leave before the bombs were dropped.

However, the question remains: if so many of these high-ranking officers opposed the use of the atomic bomb, and if the seniormost officer in the armed forces felt that it was actually ethically wrong and barbaric to use it, then how is it that they allowed it to be dropped? The answer is that there is a very strong tradition of civilian control of the military, and that these high-ranking officers were obeying the orders of the civilian commander-in-chief. They caused these orders to be carried out not just once, on August the sixth against Hiroshima, but again a second time on August the ninth, against Nagasaki.

That these officers believed it was their duty to carry out orders with which they strongly disagreed is quite clear from several of the quotations cited in the previous post.

General Henry H. "Hap" Arnold (West Point Class of 1907), the commander of the US Army Air Corps, stated publicly within days of the bombing that he felt the use of the atom bomb had been unnecessary. His deputy, General Ira C. Eaker, stated that:

Arnold's view was that it was unnecessary. He said that he knew the Japanese wanted peace. There were political implications in the decision and Arnold did not feel it was the military's job to question it.

There are several important points in that quotation: Arnold knew that Japan was already looking to surrender. He therefore concluded that militarily, further attacks were no longer necessary. He realized that there were apparently political reasons, but believed that there were no longer military reasons to do so. If one knows that one's opponent wants to stop the fighting, then continuing to attack (for instance, in order to push for "unconditional surrender") is no longer self-defense, but actual aggression (this situation can be argued to be directly analogous to the shooting of prisoners after they have surrendered). Further, the quotation, from someone who knew General Arnold well, indicates that Arnold believed it was not his place to question orders from the civilian politicians, although he clearly had strong misgivings about this fact.

Another indication of the same sentiment is the account in the previously-linked series of quotations from high-ranking military leaders who opposed the bombing of General Carl "Tooey" Spaatz (West Point Class of 1914), the commander of US Strategic Air Forces in the Pacific at the time of Hiroshima. He suggested dropping the bomb over the water to demonstrate its power without dropping it on civilians, and was so upset when he was told he was (in his words) "supposed to go out there and blow off the whole south end of the Japanese Islands" that he insisted on having the order in writing, saying: "I would not drop an atomic bomb on verbal orders -- they had to be written."

He later wrote: "The dropping of the atomic bomb was done by a military man under military orders. We're supposed to carry out orders and not question them." Obviously, General Spaatz was still very upset about this decision, and was explaining his reasoning for carrying out an order with which he deeply disagreed.

By the time my class went through West Point, new classes had been implemented (at some point in time) which emphasized the exact opposite: that an officer is never supposed to carry out unlawful orders and in fact has a duty to refuse to do so.

This subject relates directly to the arguments put forward by nineteenth century abolitionist, lawyer, and philosopher Lysander Spooner (1808 - 1887). He argued that an artificial law (that is to say, a "man-made law") which violates natural law is in fact an illegal law and hence no law at all, and that all men and women have a duty to refuse to honor an illegal law. He made this argument quite forcibly prior to the American Civil War (so-called, although it was not actually a "civil war" in that one side was not trying to take over the government of the nation, but rather to leave the nation), in which he argued that the Fugitive Slave Act was an illegal law in that it demanded upon penalty of imprisonment that people turn in runaway slaves, and Spooner argued that the holding of men and women as property (as slaves) was a gross violation of natural law.

Notice that he did not argue that men and women had to obey the Fugitive Slave Act, since it had been signed into law, until they were able to overturn the law through the due process of legislative action: he argued that the so-called "law" was illegal and hence no law at all. He further argued that those who argue that people are required to uphold an illegal law until it was overturned through legislative action are actually arguing for tyranny, because under that view a law is binding just because someone says it is, even if that law is illegal (such as laws enforcing slavery). In A Defence for Fugitive Slaves against the Acts of Congress of February 12, 1793, and September 18, 1850, Spooner argues that the Fugitive Slave Acts are unconstitutional (it can be demonstrated that Spooner sees the boundaries of the constitutional protections of individual liberty as co-located with the boundaries of natural law 'sprotections of individual liberty), and then goes on to say:

An unconstitutional statute is no law, in the view of the constitution. It is void [. . .]. If this doctrine were not true, [. . .] congress may authorize whomsoever they please, to ravish women, and butcher children, at pleasure, and the people have no right to resist them. 27.

By the word "ravish," it should be obvious, Spooner is describing what we would today term "rape." By offering such extreme examples as laws which would permit the raping of women and the butchering of children, Spooner was demonstrating the untenability of the position of those who argue that men and women must obey "laws" the moment they are placed on the books by a legislative body, regardless of whether or not those so-called laws violate natural universal law.

Clearly, in Spooner's eyes, even a military officer would not be required to obey the orders of the president, if that president ordered something that was clearly a violation of natural universal law (such as the employment of atomic weapons against noncombatant women and children). We could rephrase this argument as follows: "An order from a president which violates natural law carries no force of law -- it is void. If this doctrine were not true, the president could order whatever arbitrary injustice he wanted, and military officers would have no right to oppose him."

While the discussion above clearly applies to the duty of those in militaries to refuse to obey unlawful orders, Spooner argued with great moral clarity that this duty applies equally to citizens during peacetime, and particularly with regard to participation on juries. Spooner advocated a position known as "jury nullification," in which he argued that a member of a jury has an obligation to oppose a law which violates natural law or which is unconstitutional (in his eyes, they were very nearly the same thing, since he saw the US Constitution as being largely premised upon natural law, and rejected its authority in any places where it was used to support violations of natural law, such as in its toleration of the institution of slavery).

In a sense, one could argue that Spooner's position on jury nullification is very analogous to the teaching of the Breaker Morant classes I received at West Point, in that Spooner argues that a jury member had a right and even a duty to refuse to obey the instructions of a judge regarding the enforcement of an unlawful statute.

In a trial by jury, after all the arguments have been presented, the judge typically issues instructions to the jury which state that the jury has an obligation to determine whether or not the defendant has violated the law as it is written and as it has been explained by the presiding judge: they must not try to rule on whether or not the law itself is right or wrong. See for example the discussion of "instructions to the jury" on this web page of the American Bar Association, which declares that:

The judge will point out that his or her instructions contain the interpretation of the relevant laws that govern the case, and that jurors are required to adhere to these laws in making their decision, regardless of what the jurors believe the law is or ought to be. In short, the jurors determine the facts and reach a verdict, within the guidelines of the law as determined by the judge.

In other words, it is up to the judge to tell them the law, and for them to accept it and not question it, but only to determine whether or not the law was broken. But Spooner strenuously objects to this interpretation of the role of the juror: he argues that the juror is the last and most important obstacle to the imposition of arbitrary and tyrannical law. By the exact same arguments cited above, the position articulated by the American Bar Association, that the juror has no right to decide if a law is valid, could and would be interpreted to mean that a juror must vote to lock a defendant away if the law said that walking about in one's house without a shirt on was punishable by imprisonment, if the evidence presented proved that the defendant did so, regardless of the fact that such a law would be quite against natural universal law, not to mention the Fourth Amendment and various other parts of the Bill of Rights.

The arguments of the American Bar Association and the instructions they outline for the judge to give to the jury are equivalent to telling officers in the military that they must not judge whether or not an order is illegal: their duty is simply to carry it out.

In An Essay on the Trial by Jury (1852), Spooner says that such a teaching would be tantamount to tyranny, in that it would obligate men and women to uphold criminal laws. He writes of juries:

It is also their right, and their primary and paramount duty, to judge of the justice of the law, and to hold all laws invalid, that are, in their opinion, unjust or oppressive, and all persons guiltless in violating, or resisting the execution of, such laws.
Unless such be the right and duty of jurors, it is plain that, instead of juries being a "palladium of liberty" -- a barrier against the tyranny and oppression of the government -- they are really mere tools in its hands, for carrying into execution any injustice and oppression it may desire to have executed. [page 1, italics in the original].

Under the doctrine of jury nullification, juries could decide not to send someone to prison for life under the "three strikes" law for the crime of stealing a piece of pizza, or they could decide not to take away someone's liberty for possessing a plant which is "legal" to possess in one state and "illegal" in another. This position does not mean that Spooner is arguing that juries can simply decide what laws they "like" or don't like: note carefully that he argues that jurors have a duty to hold invalid those laws which are unjust or oppressive, which is to say those which violate natural universal law. The doctrine of jury nullification no more means that jurors don't have to uphold valid laws than the classes we received at West Point taught us that we didn't have to obey lawful orders (they absolutely taught that we did have to obey lawful orders). The classes taught us that we had a duty to resist unlawful orders, and Spooner is arguing that jurors have a duty to nullify unjust laws (those which can be demonstrated to violate the higher law of natural universal law).

We now see that we do not need to find ourselves in the rather extreme circumstances of risking arrest for refusing to tell the whereabouts of a fugitive slave, or fighting a guerrilla war on the high veldt at the turn of the century (the last century), or facing orders to drop an atomic bomb, in order to think about the importance of refusing to enforce an unlawful order, and to apply the teaching that we each have a duty to refuse to carry out illegal orders.

We should hope that, had we faced those extreme situations, we would not have turned in a runaway slave (even though the law said we could go to jail if we did not), and we would not have shot prisoners after they surrendered (even though our superior officers had told us that this was now the official policy), and we would not have acquiesced to the decision to use the atom bomb (even though we received unequivocal orders to do so). But, even if we never are put to such a drastic test, there will be times in each of our lives (perhaps on jury duty, perhaps in some other capacity) when, in Spooner's words, we must be "a barrier against the tyranny and oppression of the government" rather than "a mere tool in its hands for carrying into execution any injustice and oppression it may desire to have executed."

Afterword:  If you read the evidence in my latest book, The Undying Stars, regarding aspects of world history which are not well known (and which in fact have been carefully covered up) and the mechanisms of mind control (including literalist religious dogmas but also political structures and hierarchies) which have been used by a relatively small number of people in positions of power to influence the majority of people (who generally know natural law more or less innately) to permit atrocious violations of natural law, you will understand that the above discussion is not a departure from the normal subject matter discussed on this blog, but is instead actually quite central to it. Some discussion of the connections can also be found in this interview.