Esquire "disproves" 9/11 conspiracies, completely fails to mention Building 7

Esquire "disproves" 9/11 conspiracies, completely fails to mention Building 7

When investigating a mystery, a crime scene, or any other complicated situation involving large amounts of data for which many different possible explanations have been offered, the general understanding of the "scientific method" involves constructing a hypothesis which could explain the data or evidence which has been observed, and then to conduct a series of experiments or other observations which can assess how well the data observed appears to fit into the framework offered by that hypothesis.

If enough major data points do not fit into the framework of the hypothesis, then that hypothesis may need to be modified or rejected altogether, and a new framework constructed. It is often the case that when the correct framework is adopted, details which previously caused a major problem for incorrect theories will be found to fit very nicely into the new framework -- the "missing pieces" which didn't seem to fit before will suddenly be found to "have a home."

A metaphor for this process which might resonate with some readers could be the process of doing a major repair on your car (such as replacing the clutch). 

If, after hours of work, you get everything put back together and find a few important parts and a handful of bolts and nuts still lying around on the floor of the workshop, and you can't figure out where they could possibly fit (but they were not lying around without a home before you started your transmission work), then you may not have put everything together correctly! Your "framework" for re-assembly might have been faulty.

In such a case, it is probably advisable to take everything apart and try to put it back together again. Not exactly pleasant, but probably advisable. It may even be "less unpleasant" than the results of trying to drive that car at full speed down the highway, if you decide that putting it together correctly is just "too hard" and not worth the effort.

If one of the parts that is lying around after the first clutch re-assembly is a major part, then you would be even more likely to realize that you need to re-assess and try it again.

When you do figure out what you did wrong, there will probably be an "a-ha moment" in which the parts that previously did not seem to fit suddenly all fit together perfectly, and you realize how your previous attempt was slightly off, which led to flawed results. The correct "framework" often seems to "suddenly resolve" the outlying pieces (the outlying evidence, in the case of a crime scene or chemistry problem) that the incorrect framework left stranded.

Another visual illustration of this principle which I have written about on these pages in the past is the example of the old "nine-dots" puzzle, in which we are challenged to use only four straight lines to connect nine dots arrayed on a page in a "tic-tac-toe" pattern of three rows of dots stacked on top of each other. 

If you don't know the correct "shape" or "framework" to use, you will almost certainly "leave out" one or more dots during your first several attempts (here's a link to the previous blog post on this subject, from December of last year).  These "stranded dots" will be analogous to the "left out parts" in the clutch re-assembly described above. 

In terms of a scientific hypothesis or other attempt to explain a mystery (including mysteries of history), they represent evidence or "data points" that just don't seem to fit when a flawed hypothesis or faulty "framework" is tried out. 

If the dots (or data) that is left out is important enough, then (like the illustration of the automobile), we would usually be well-advised to back up and look for a better solution, rather than to just "ignore them" and hope that "everything turns out ok" when we go driving down the freeway at high rates of speed.

In light of the above discussion, the recent decision by a major American magazine to publish a story entitled "Disproving 9 of the Biggest 9/11 Conspiracy Theories" is remarkable in that it completely fails to mention (even in passing) one of the biggest sources of "data points" that conventional hypotheses have difficulty in explaining: the collapse of World Trade Center Building 7, a 47-story modern-steel skyscraper which also collapsed in dramatic fashion several hours after the Twin Towers fell, even though it was never hit by any aircraft.

That a major American magazine, purporting to publish a story "debunking" alternative hypotheses for what happened on that awful day, would completely ignore the entire question of Building 7, is extremely disturbing and is difficult to attribute to merely "overlooking" that datapoint by mistake. 

Building 7 is not really just "one datapoint" but a host of data points, but if we want to call it a "datapoint" for the sake of convenience, then it is an enormous datapoint and one that is so significant that we might want to revisit any hypothesis which leaves it out (it's like leaving the entire transmission on the floor after you are finished putting your car back together, and deciding you'll just ignore that little detail).

If one were not suspicious of the conventional explanations before reading the story, the fact that a major American magazine would publish an article on an extremely sensitive subject, a few days prior to the fifteenth anniversary of that horrendous day in which thousands of citizens lost their lives, and completely ignore the collapse of Building 7 as if it never happened, would seem to be sufficient to arouse suspicion. 

If you don't understand the significance of Building 7's collapse, the talk above by David Ray Griffin explains its significance at length, as do other lectures available on the internet. Another even more detailed video which discusses the significance of the collapse of Building 7 can be seen here.

The fact that Building 7 did indeed collapse (again, it was a 47-story skyscraper constructed with massive steel beams using modern construction techniques, which was not struck by any airplanes and yet collapsed entirely, supposedly due to a few fires which can be seen on just a few floors through just a few windows, not even engulfing the building at all) is not in dispute by anybody. In other words, the actual collapse of that 47-story modern steel building is not a "conspiracy theory." It did indeed collapse (you can see the reports by NIST, which are referenced in Professor Griffin's presentation above, and which is a federal agency responsible for investigation into the technological standards including those that govern the safety of buildings, right here on the internet).

The story published in Esquire magazine, for the record, chose to address the following nine questions (as captioned in bold print at the head of each sub-section): "Jet Fuel Can't Melt Steel Beams," "Controlled Demolitions," "Insider Trading," "The Stand-Down Order," "The Holes Were Simply Too Small," "The Inevitable Anti-Semitism," "No Debris at the Pentagon," and "The Hijackers are Still Alive."

The importance of the evidence at the Pentagon is discussed in another full-length video by Barbara Honegger which is included below and available to watch in its entirety on the internet here.

The "data points" which are presented in those two videos are not addressed at all inEsquire's 9-point "disproving" article.

If the framework being offered does not address serious outlying information, then it is possible that another framework or hypothesis should be constructed. Deliberately ignoring evidence of such massive size, and then adopting a tone ridiculing those who point out the massive outliers, would appear to be counter-productive, if we are really trying to arrive at a correct understanding of an issue of extraordinary importance. 

Note that the article accuses those who question the conventional story (entertaining the possibility the attacks "did not happen the way the government or our media claim") of possible anti-Semitism, and also of "cheapening" the suffering of those who were killed in those attacks and the suffering of their friends, family and loved ones.

However, it must also be argued that, if the attacks did not happen the way the government and the media claim, then to accept explanations that leave out glaring pieces of outlying evidence, is an even worse "cheapening" of their murders. Those people were obviouslymurdered -- to ignore evidence that the "wrong murder suspect" is being convicted in the court of public opinion, and to refuse to examine evidence that someone else could be involved in the murder, is obviously reprehensible.

There is also the additional fact that the murders that took place on that day were used as justification to launch a war in which literally millions have been killed -- not just American citizens, of course, although there have been thousands of Americans who have died in the subsequent conflicts, but also literally millions of people in the countries where invasions have been launched, using 9/11 as at least partial justification.

There is also the fact that the atrocity of 9/11 has been used and continues to be used to justify enormous changes which affect our daily lives, in the form of increased surveillance and restriction on travel and anonymity in almost any transaction between individual citizens -- increases in surveillance which continue to grow and which can be argued completely upend the rights described in the Bill of Rights of the Constitution. 

The same can be said for the massive proliferation of war making equipment and tactics which have been foisted upon police departments in the fifteen years since that day in 2001 and which can be argued to have an extremely deleterious effect on liberty, as well as to violate the Bill of Rights.

Having the wrong framework can lead to huge problems. If you leave huge parts lying on the floor of your workshop before you drive off in your car, ridiculing those who point them out may not be the best way to proceed. Driving still faster and just ignoring the problem might not be a terrific idea either.

In fact, in a famous sermon entitled "But If Not" delivered only five months before he was murdered, Dr. Martin Luther King, Jr. explained that ignoring moral issues of great magnitude is absolutely self-destructive -- and everyone has a moral obligation to involve themselves in matters of moral principle. He declares that "looking the other way" causes us to die inside.

I am not telling anyone what he or she should conclude about the events of that horrible day. But I am saying that the evidence demands to be looked at seriously, and not "papered over."

Obviously, anyone who has taken an oath and sworn to support and defend the Constitution, as I myself have, has an obligation to look into these questions, and not be put off by articles claiming to "disprove" what they call "conspiracy theories" and casting aspersions on the morality of those who examine evidence which indicates that the "official" framework may be fatally flawed.

But as Dr. King explains, each and every man and woman actually has this duty as well.

Less than "one moon" until this year's Conference on Precession and Ancient Knowledge

Less than "one moon" until this year's Conference on Precession and Ancient Knowledge

Waxing crescent, September 04, 2016 (looking west).

Waxing crescent, September 04, 2016 (looking west).

The moon is now waxing, from the very thin crescent first visible on Friday and growing thicker each night and trailing behind the sun [or moving eastwards : ) across the night sky] a little more each night.

The tenth Conference on Precession and Ancient Knowledge will commence at the next new moon, on Friday the 30th of September. So, as you watch the moon grow towards full moon and then wane towards new moon, we'll be that much closer to the conference, if you are able to attend that in southern California this year.

Either way, I hope that if at all possible you are able to observe the dazzling array of stars in our night sky in the hours after sunset and again in the hours before sunrise.

This is a special time of year when you can enjoy the lineup of Scorpio and Sagittarius and friends after sunset, and then see Orion and Taurus and friends prior to sunrise. And, the best time to do so is when the moon is still relatively less bright (the moon of course will be brightening significantly as we move towards full moon).

Below is a star chart showing the night sky after sunset, with the outlines of Scorpio and Sagittarius labeled, and the glorious band of the Milky Way rising up between them (the brightest portion of the Milky Way is found between Scorpio and Sagittarius).

These charts are depicted for a viewer in the northern hemisphere, at about latitude 35.6 north:

The stars shown above are from the free open-source planetarium app stellarium.org. Due to the way the program depicts the sky, constellations in the center and bottom of the screen seem "farthest away" and are thus shown smaller relatively-speaking to the others -- in reality, you will see that Scorpio and Sagittarius and Aquila are much larger in the night sky than they appear in the above image.

Note the planets Saturn and Mars forming a bright triangle with the red giant Antares in the heart of the Scorpion (at the point where the "delta fan" of Scorpio's "multiple heads" branch out from the sinuous serpentine body of Scorpio). This triangle will widen over the course of the month.

If at all possible, rising early to see the pre-dawn lineup of stars is well worth the effort required. You will see the breathtaking form of the giant Orion rising well above the horizon in the east by 5 am (if you can get up by 5 am or just before, you should get a fantastic display of stars). Below is the star chart showing the most noticeable constellations in the pre-dawn lineup:

I hope to see you at this year's Conference on Precession and Ancient Wisdom at the start of the next new moon!

Either way, if at all possible, I hope you have an opportunity to enjoy the dazzling panoply of constellations presently visible in the sky after sunset, and again before sunrise.

Esoterism, Mystery, and Schwaller de Lubicz: Interview on Beyond the Veil, September 02, 2016

Esoterism, Mystery, and Schwaller de Lubicz: Interview on Beyond the Veil, September 02, 2016

image: Veil Nebula in Cygnus (background), Wikimedia commons (link).Temple of Isis, originally at Philae on the Nile River (foreground), Wikimedia commons (link).

image: Veil Nebula in Cygnus (background), Wikimedia commons (link).
Temple of Isis, originally at Philae on the Nile River (foreground), Wikimedia commons (link).

Special thanks to Chris & Sheree Geo for inviting me over to their Beyond the Veil podcast at Truth Frequency Radio yesterday (September 02, 2016).

You can listen to the program here.

The portion of the program containing my interview begins at approximately 72:50 on the podcast, and the horizontal "listening bar" allows you to click anywhere along the bar and then press the triangular "play" button on the left, to access different places on the program's timeline.

The interview runs for approximately an hour, with some commercial interruptions, so we didn't get to quite finish the thought we were discussing at the end -- but it concerns an extremely important subject, which relates to the name of the show, "Beyond the Veil," and the implicit reference to the Veil of Isis, referred to by Plutarch in his discussion of the legend of Isis and Osiris, which I highly recommend reading in its entirety.

There, Plutarch makes reference to a famous statue of the goddess Isis at ancient Sais in lower Egypt, on one of the branches of the Nile's delta -- and to an inscription there which was referenced by other ancient authors and by later philosophers and esoterists down through the ages. According to Plutarch:

In Sais, the statue of Athena, whom they believe to be Isis, bore the inscription:
"I am all that has been, and is, and shall be, and my robe no mortal has yet uncovered."

The word translated "robe" is also sometimes translated "mantle," and sometimes as "veil."

The profound subject to which these lines are generally understood to be referring involves the mystery of the unseen realm, the invisible realm, the realm of spirit, the sacred realm (set apart from the ordinary realm) . . . the realm of the gods.

Anything we know of that sacred and ineffable realm clearly is never given to us by mortal or earthly agency.

This topic came up beginning around 1:15:00 in the interview, in discussion of the story of Isis and Osiris, and when I mentioned the Veil of Isis, Chris says at about 1:16:06 half jokingly, "Well, you're disclosing the Mysteries here, David!"

This is actually a very serious charge which I believe should be addressed, but because the interview only goes until about 1:17:15, I did not get an opportunity to explain the assertion by R. A. Schwaller de Lubicz that the Mysteries actually cannot be "disclosed" or unveiled by mortal means, just as the inscription described by Plutarch from the statue of Isis tells us.

The inscription quite plainly declares that no mortal can uncover the Mystery, and never has done so -- and so, whatever is conveyed to us concerning the divine realm must come from the divine realm.

In Esoterism & Symbol, first published in French in 1960 and first translated into English in 1985, Schwaller de Lubicz declares (in the very opening lines of that work):

Esoterism has no common measure with deliberate concealment of the truth, that is, with secrecy in the conventional sense of the term. 

He then goes on to say a couple of pages later:

Esoterism can be neither written nor spoken, and hence cannot be betrayed. One must be prepared to grasp it, to see it, to hear it. This preparation is not a knowing but a being-able, and can ultimately be acquired only through the effort of the individual himself, by a struggle against all obstacles, and a victory over the human-animal nature. 

There is a sacred science, and for thousands of years countless inquisitive people have sought in vain to penetrate its "secrets." It is as if they attempted to dig a hole in the sea with an ax. The tool must be of the same nature as the objective to be worked upon. Spirit is found only with spirit, and esoterism is the spiritual aspect of the world, inaccessible to cerebral intelligence. 3.

In all of this, everything which Schwaller is saying seems to be in accord with the declarations of the famous inscription at Sais.

If this is true, then, that no mortal power can reveal that which belongs to the invisible realm, the divine realm, then what is the purpose of the ancient myths and scriptures? What is the purpose of esoteric writings and stories in general?

Schwaller addresses that in Esoterism & Symbol, as one might expect from the title of the book. It is to facilitate that awakening to the gnosis of the other realm, or (to use a better term) to evoke the gnosis that comes from the other realm (from the other realm, and never from this one). 

The word "evoke" means to "call out for" or to "call forth" (and has as its root the same sound voc which we find in other words such as vocalvocabulary, and vocation).

Schwaller says:

Thus esoteric teaching is strictly evocation, and can be nothing other than that. Initiation does not reside in any text whatsoever, but in the cultivation of intelligence-of-the-heart. Then there is no longer anything occult or secret, because the intention of the enlightened, the prophets, and the "messengers from above" is never to conceal -- quite the contrary. 75.

This important passage shows us what the myths and sacred stories are for: to point us towards the place where the answer can be found -- but which we ourselves must experience for ourselves (no one else can "experience it for us" and then hand their experience over to us to have for our own -- they can only point the way). 

To use a metaphor which I believe is very helpful, the esoteric stories function in very much the same way that waxing the car and painting the fence function in the well-known first Karate Kid movie from 1984 (discussed here). Mr. Miyagi did not tell Daniel-san to wax the car and paint the fence in order to conceal -- quite the contrary. 

But neither does Mr. Miyagi say very much of anything in the famous scene in which Daniel finally gets his first glimpse into what is going on.

This is because Mr. Miyagi cannot write it down, or speak it -- Daniel-san has to feel it, and once he feels it, then he grasps it. See again the first line quoted from page 3 of Schwaller's work: "Esoterism can be neither written nor spoken, and hence cannot be betrayed. One must be prepared to grasp it, to see it, to hear it."

Daniel-san had to be prepared to grasp it. To be prepared to grasp it, he first had to wax the cars and paint the fence.

Thus, I vigorously deny that I am "disclosing the Mysteries here," as mentioned at the end of that interview. 

No mortal can disclose the Mysteries. 

But just as Daniel-san needed (desperately) what Mr. Miyagi was pointing him towards, I believe that we also need (desperately) that towards which the ancient myths are pointing us.

And I do not believe the myths are trying to conceal anything from us.

As Schwaller de Lubicz says: "Quite the contrary."

----------

I'm very excited to be participating in the Conference on Precession and Ancient Knowledge, which begins at the end of this month on September 30, and which will also be attended by John Anthony West, whose landmark book Serpent in the Sky was my first introduction to the work of R. A. Schwaller de Lubicz.

Celestial Liberation: exploring the "why?" of Astro-theology

Celestial Liberation: exploring the "why?" of Astro-theology

Above is a new video I just made entitled Celestial Liberation, exploring the "why?" of Astro-theology.

It briefly discusses some of the possible explanations that have been offered by those who have encountered the evidence showing that the world's ancient myths, scriptures and sacred stories are built upon the celestial motions of the stars and planets.

The possible explanations are numerous -- and it may well be that the secret of the original purposes of the myths still lies buried beneath the sands of time.

However, several possibilities have been put forth (often in a very "declarative" tone, as if the one telling us the reason has somehow determined the only possible solution to the mystery).

Some which are commonly offered include the assertion that "early humans" from previous millennia held the mighty celestial bodies of the sun, moon, planets and stars in such awe that they just naturally worshipped them. A related assertion in the same category would be the notion that as humanity gained more sophisticated understanding of the seasonal cycles and other celestial patterns which impact life on our planet (particularly the growing of crops), they encoded the knowledge of these patterns into the myths, accompanied by a reverence for the powers which generate those patterns by their motions.

While the importance of such knowledge is undeniable, as is the dependence of all life on earth upon these heavenly cycles and upon the ongoing motion of the heavenly bodies which generate those cycles, there exist numerous clues in the writings of ancient philosophers and initiates including Plato, Ovid, Plutarch, Macrobius, and Lucian (among others) which indicate that the system was intended to convey knowledge of a world which goes far beyond the physical exigencies of this one.

The more we learn to listen to the celestial "language" that the myths are speaking, the more we will be able to appreciate their incredible message -- a message which may be badly distorted if we try to interpret the scriptures using a language that they are not speaking at all. As we gain in understanding of the code of their celestial correspondences, we will increase in our ability to perceive the subtle details of the spiritual metaphors which they employ, which are intended to impart truths relating to the Invisible Realm -- the realm of spirit; the realm of the gods.

For more on the system of celestial metaphor, through which the world's myths convey profound truths regarding the spiritual-material universe we inhabit, and regarding our own journey through it, please see this previous post, as well as the volumes in my latest series entitled Star Myths of the World, and how to interpret them.

I hope that you will enjoy my latest short video, Celestial Liberation: the "why?" of Astro-theology.

You may have a Higher Self (according to the ancient myths & scriptures), and He or She wants you to know it

You may have a Higher Self (according to the ancient myths & scriptures), and He or She wants you to know it

image: Wikimedia commons (link).

image: Wikimedia commons (link).

If the world's ancient scriptures and myths are not literal but rather allegorical, then it is quite likely that attempts at literal interpretation risk serious mis-interpretation.

For instance, I have written previously that the dramatic encounter described in the Fourth Gospel, in which Thomas (often referred to as "Doubting Thomas") encounters the risen Lord, may well represent a teaching about the existence of a Higher Self, a Divine Twin -- and that the two figures portrayed as two different persons in that story may actually have been intended to convey to our understanding the true situation of each and every man or woman in this incarnate life (see for example extended discussions and illustrations herehere and here). 

They are not two separate persons: that is a mistaken interpretation which comes from reading the story literally.

In another example, previous posts have also explored the possibility that the Battle of Kurukshetra described in the ancient Sanskrit epic of the Mahabharata may be celestial allegory and not literal, terrestrial history (or even a "mythologized" or "supernaturally enhanced" version of literal, terrestrial history) -- meant to describe the experience of each and every human soul which descends into the "battlefield" of this incarnate life.

Some of those discussions have examined the possibility that the depiction of the semi-divine hero Arjuna with his divine charioteer being none other than the Lord Krishna himself may also be a dramatization of the proper relationship with what some translations of the teachings of that tradition have labeled the Higher Self or the Supreme Self: see for example this previous post entitled "Self, the senses, and the mind" in which quotations from the Katha Upanishad or Kathopanishad were cited which use the image of the chariot to illustrate the goal of bringing the senses and even the mind under the direction of the Higher Self.

The Kathopanishad says that the senses are like powerful horses, which if not properly guided by the mind (which acts as the reins) under the control of the Higher Self can run off after their desires, out of control.

In the illustration from the Bhagavad Gita (a portion of the Mahabharata detailing the discussion between the Lord Krishna and Arjuna just prior to the start of the great battle) shown below, we see that the Divine Charioteer (Lord Krishna) is between the horses and Arjuna, and we see Arjuna placing his palms together in recognition and acknowledgement of the divinity of Krishna:

image: Wikimedia commons (link); labels added, based partly on the Katha Upanishad, Part I chapter 3. 

image: Wikimedia commons (link); labels added, based partly on the Katha Upanishad, Part I chapter 3.

 

It is very easy for the "horses" to run away with us, so to speak, and we have all experienced this first-hand (probably later regretting what happened). For example, if in a discussion or a debate, if someone makes a pointed insult (as a deliberate tactic to incite emotion such as anger in the other person), all clear thinking can go out the window as the horses stampede (blood rises to our head, we might even begin to literally "see red," and what we say or do at that point may be more driven by anger or emotion than anything else -- that is, if we are holding the reins ourself, without the Higher Self in between). 

Another common example might be our performance in a sporting event, in which we are about to take a crucial shot at the goal, and the mind is suddenly seized with doubt. Through training, we can actually learn to observe the impulse of the horses in a more dispassionate way, saying in effect, "I see these emotions arising -- that's interesting, but I am not going to let them take me wherever they want to go."

These are mundane examples (although quite important ones -- in which letting our doubts or our anger have full control can lead to various levels of disaster). The ancient myths of the world, however, demonstrate over and over that the existence of a Higher Self goes far beyond these examples (as helpful as those examples are for understanding the concept). The world's ancient myths, scriptures and sacred stories appear to show us that integration with the Higher Self -- the divine or Supreme Self -- is one of the critical missions in this incarnate life, if not the critical mission (period). 

However, if we insist on trying to read the stories literally, we may well miss that message altogether. Because if we read the above episodes literally, we will mistakenly conclude that the duo of Thomas and the risen Lord, or the duo of Arjuna and Lord Krishna, are separatepersonages -- and that the human figures at least (Thomas in the gospel account and Arjuna in the Mahabharata) represent people who lived thousands of years ago, and who probably have little or nothing to do with us and our own personal situation, whatever that may happen to be.

The message is so important, in fact, that the myths of the world present it to us in hundreds or thousands of different ways. And, although many previous posts have cited illustrations which use "male" characters to illustrate the principle, that is by no means always the case either. Several important and dramatic illustrations employ female figures to illustrate very much the same message -- for example, the Sophia cycle, or the memorable myth of Psyche and her divine lover, Eros (or Cupid), relayed for us in written form in the Metamorphoses of Apuleius (most commonly called The Golden Tale of the Ass, or more simply, "The Golden Ass"), although earlier statues and mosaics and shorter references from earlier texts show us that the myth predates Apuleius himself by at least some centuries.

The story of Cupid and Psyche occupies a very prominent position in the tale of Apuleius, who himself appears to have been an initiate of the Mysteries of Isis, and whose Metamorphoses should be read very carefully, because it appears to be the work of someone who understood the deep truths which his seemingly "idle tales" were designed to convey. A 1924 edition is available online in its entirety here, which contains the original Latin text alongside the English translation, although I personally am partial to the 1960 translation by Jack Lindsay, which I believe is far superior, although it does not provide the Latin text for comparison, which is a definite advantage of the online version linked above. 

I would personally recommend obtaining a physical copy of the Lindsay translation for your own library, if possible, and then the Latin version can be seen online if desired for comparison (Latin scholars or Apuleius aficionados may want to obtain the original Latin in hardcopy as well).

The Psyche story deserves to be read as Apuleius tells it -- I will not spoil it by giving a summary here. I will say, however, that I believe the story is spiritual allegory, and that we should be extremely careful about forcing it into service to make modern points about supposed relationships between genders or sexes (the entire text of the Metamorphoses of Apuleius consists of stories within stories within stories, all related to us by a narrator who spends most of the book transformed into the outward appearance of an ass -- which itself can be seen as a metaphor relating to our incarnate experience in this material plane of existence).

However (and if you wish to stop here and read the story as told by Apuleius first, now would be a good time to do that), I will point out a few aspects of the story which clearly relate it to the discussion above. 

First, the story clearly has parallels to the story of "Doubting Thomas." In the story, Psyche lets her "doubts," so to speak, run away with her -- to her great sorrow, and temporary estrangement from her divine lover.

The reconciliation of that relationship between Psyche and Cupid (or Eros, as he is called in Greek myth, a name which Gerald Massey hints may well be related to the Egyptian deity Horus, and who may play the same role in the story that Horus plays in the myth-cycle of Isis, Osiris and Horus -- this observation is found in Massey's Ancient Egypt: the Light of the World, Volume One on page 223) takes up the majority of the tension in the memorable tale. 

In all of the mythical illustrations -- Thomas and the risen Christ, Arjuna and the divine Krishna, Psyche and Eros -- the proper relationship is seen when the divine and the human are in harmony, and  when "control" is turned over the divine twin in the relationship.

The story of Cupid and Psyche also contains two "awakenings" -- first, Psyche awakens Cupid (shown in the illustration above, as well as in numerous ancient and Renaissance depictions of the myth), when she lets the doubts and insinuations of her two sisters get the better of her. In the illustration, Psyche is about to accidentally spill burning oil from a small lamp or cruse onto the god's sleeping form.

Later, however, Cupid awakens Psyche, from a sleep that is described as a deathlike sleep. This precedes the ultimate union of the two in a divine marriage at which all of the assembled gods and goddesses are present. 

Alvin Boyd Kuhn, following and citing the arguments made earlier by Gerald Massey, says plainly in Lost Light that the story of Cupid and Psyche represents the "welding at last in blissful harmony of the mortal and immortal elements" (587).

Discerning readers might be wondering at this point, however, if we are supposed to understand all of the gods and goddesses found in the ancient myths as representative of our Higher Self, our divine invisible nature, our Christ within. 

The answer, I believe, is no

Psyche got into trouble, at the beginning of her story, when everyone for miles around began to pay more attention to her than to Venus herself, the actual goddess of love and beauty. So it would probably be a mistake to conclude that the myths are teaching us that the gods and goddesses (including Krishna) are always representative of our own Higher Self.

However, Kuhn does make the very important argument on page 550 of Lost Light, based on passages found in the Pyramid Texts (specifically some of the Pyramid Texts from Teta or Teti, which can be read in the Budge translation on page 139 of Osiris and the Egyptian Resurrection) that:

man is to summarize in himself the qualities of the whole scale of being, denominated gods. All their powers and virtue have to be embodied in man's organic wholeness to make him, like the resuscitated Osiris, "Neb-er-ter, the god entire."

Obviously, although Kuhn (writing in 1940) uses the word "man" (as was common in previous generations to indicate "humanity in general"), he means men and women (and he says "men and women" and "male and female" explicitly in other parts of the same discussion, such as on pages 551 and 587). 

The point being made is absolutely critical, and worthy of deep consideration, as a guide to what we are supposed to be doing here in this life in the (seemingly) material world in which we find ourselves. But we are apt to miss this message altogether if we attempt to read the ancient myths and scriptures as if they were intended to be taken literally as opposed to esoterically. 

Note that the presence of all the gods and goddesses at the conclusion of the story of Psyche and Cupid can be seen as a visual dramatization of the very teaching which Kuhn articulates above.

Finally, it must be noted that the entire story of Psyche in The Golden Ass is presented with what I would argue to be very clear indicators of celestial allegory. Readers of the series Star Myths of the World, and how to interpret them (particularly Volumes Two and Three) will find extensive discussion (and illustration) of other myths and sacred stories which involve high cliffs and personified divine winds, such as are found in the tale related by Apuleius.

Note also that the critical moment in the story, in which Psyche spills hot oil upon the sleeping god (at a true low-point in the narrative, when she has succumbed to her all-too-human doubts), can be seen to have very specific celestial correspondences. The cruze of oil is found in many Biblical stories (discussed in Star Myths of the World, Volume Three) and it has powerful spiritual meaning, as well as clear connections to the outline of the important zodiac constellation of Sagittarius, as discussed in Volume Three.

I believe that the understanding of where certain scenes can be found on the Great Wheel of the zodiac gives us additional insight into the deeper meaning of the myths and sacred stories (see previous discussion here). The fact that this "low-point" (which is also a "turning point" in the story, and in the life of Psyche) takes place at Sagittarius -- at the bottom of the Wheel -- has deep spiritual significance (also outlined in depth by Alvin Boyd Kuhn, most notably in a 1936 lecture entitled Easter: the Birth-day of the Gods).

The absolutely profound importance of the fact that the ancient myths and scriptures of the world are in fact speaking to us in the language of celestial metaphor may sometimes be difficult to relate to our individual lives -- but I believe that the above discussion should help demonstrate the awe-inspiring and potentially life-changing (as well as exciting) message these ancient myths are telling us: they seem to be saying quite clearly that each and every man and woman does indeed have a Higher Self, and that he or she wants you to wake up to that fact.

What I describe in Star Myths of the Bible has already been proclaimed in art for centuries -- even millennia!

What I describe in Star Myths of the Bible has already been proclaimed in art for centuries -- even millennia!

Image: The Finding of Moses, Giovanni Francesco Romanelli (1610 - 1662).

Image: The Finding of Moses, Giovanni Francesco Romanelli (1610 - 1662).

My new book, the third in the series entitled Star Myths of the World, and how to interpret them, explores the incredible abundance of evidence that the stories in the Bible are built upon the very same system of celestial metaphor which appears to form the foundation for virtually all of the world's ancient myths, scriptures, and sacred stories.

Because it deals with the stories in the scriptures of the Old and New Testaments, this third volume in the series is subtitled Star Myths of the Bible. Volume Two deals almost exclusively with the myths of ancient Greece, and Volume One explores a very small sampling of the myths, scriptures and sacred stories from a wide variety of cultures around the globe, including from Australia, Africa, the Malay Peninsula, the islands of the Pacific inhabited by the cultures of Polynesia, and the Americas, as well as from ancient Egypt, ancient Mesopotamia, ancient India, ancient China and ancient Japan. 

It would, of course, be beneficial to come back and explore in much greater depth the myths of each of the cultures surveyed very briefly in Volume One, with an entire volume (or series of volumes) on the myths of ancient India, and another on the myths of ancient Mesopotamia, and another on ancient Egypt, ancient Japan, the myths of the cultures of the Americas, and of Africa, and so on. The material is so vast and so rich that even an entire series of volumes can hardly begin to do justice to the myths of just a single cultural tradition. 

The main purpose of the series, however, is to provide evidence that this celestial system of metaphor is in fact present, and that it is in fact worldwide -- as well as to guide the reader through the system almost as if learning a new language, with its own grammar and its own vocabulary of symbols, and beginning with a few symbols and celestial "phrases" before building on those to gain greater and greater fluency.    

Because of the history of the world over the past centuries, and because of the ongoing impact of the scriptures of the Old and New Testaments upon the lives of literally millions of men and women, the subject of exploring the celestial foundations for the Star Myths of the Bible may carry a greater potential for "strong emotional reaction" among many readers than, for instance, a similar discussion about the celestial foundations of the myths of ancient Greece. 

Very few people today have been raised to revere the gods and goddesses described in Hesiod's Theogony or to observe the practices for honoring them which are dramatized in many of the scenes of the Iliad and the Odyssey. But the stories described in the Hebrew Scriptures and the canonical New Testament have of course been absolutely central to the upbringing and experience of a great many men and women to this day, and form a central part of their identity in one way or another (for some people, a very positive experience, and for others a very negative or even oppressive experience).

I personally believe that a close relationship with the ancient myths and scriptures and sacred stories given to humanity (whether in the scriptures found in what we call the Bible or in the scriptures of ancient India or of ancient Japan or in the myths and sacred traditions of the Maya or other cultures in the Americas, the Pacific, Africa, Australia, or other parts of Asia or Europe) can and should be extremely positive, and that they can and should be a daily source of wisdom and inspiration in our lives. 

However, I also believe that their message is given to us in esoteric language, and that trying to interpret them as if they are speaking a literal message instead of a metaphorical language has led to very damaging misinterpretations, misunderstandings, and distortions of their intended message. That is why I believe that learning their celestial language will be of great value to all those who love the ancient scriptures and myths which were given to humanity, or who turn to them for guidance, wisdom, or assistance in their lives and personal situations.

In spite of this belief, I nevertheless realize that there will be those with a deep attachment to the literalistic approach to the scriptures (particularly the scriptures of the Old Testament and / or the New Testament) who will be most dismayed or disturbed at the demonstration of their celestial foundations, and at the presentation of hundreds of pages of evidence which points towards the conclusion that the  stories of the Bible are built on celestial metaphor. 

To them I would first say that I myself was very resistant to accepting this conclusion, even after I first began to encounter the evidence presented by sources such as the authors of Hamlet's Mill (such as in their discussion of the Samson story). 

Second, I would say that it is my experience that, once we begin to hear them in the language that the myths and sacred stories are actually speaking, we will be even more amazed and enthralled at the truth and beauty of their ancient message than we were before, when their "signal was distorted" by our attempts to hear their broadcast through a literalistic signal processor, so to speak. 

And, finally, I would argue that I am by no means the first person to point out the celestial foundations of the stories in the Bible (the authors of Hamlet's Mill did it in 1969, of course, but before that there were others who taught versions of the same argument, including the Reverend Robert Taylor in the first half of the 1800s, and there have been others who have hinted at the same doctrine, going all the way back to Macrobius and to Lucian of Samosata and even back to Plato himself -- and probably much further back beyond Plato).

In addition to those who have presented hints of the system of celestial metaphor in their writings or teachings, I have also grown more and more astonished at the incredible wealth of evidence that this ancient system of metaphor continued to be understood by someonedown through the centuries, and even down through the millennia, in the visual media of the fine arts. 

As readers of the Star Myths of the World series (and readers of this blog) know, there is abundant visual evidence in sculpture and in pottery and especially in painting that the constellational characteristics associated with specific figures in the myths (specific gods, goddesses, and mortal personages described in the sacred stories) have been preserved in art down through the ages, to a startling degree. 

This fact does not necessarily mean that the artists themselves were privy to the system of constellational metaphor, or even to the fact that the characteristics they were told belong to this or that figure were celestial characteristics -- although the artists may have been privy to the system, for all we know. However, it is equally possible that they were simply taught, during their years of training in the approved schools and colleges of fine art, that "King Solomon must always have a hand extended in this manner," or that specific gods and goddesses must always carry this type of staff or spear or wand, and that certain figures carry their spear at one angle and others carry it at a different characteristic angle.

Whatever their level of understanding of the system, the fact remains that the fine art down through the centuries proclaims in staggering abundance the undeniable connection of the gods, goddesses, and other figures of myth and sacred story to the constellations of our night sky.

In other words, I am not expounding something that is not already staring millions of visitors in the face in the hallways and galleries of museums around the world, on a daily basis.

Above is one of many possible examples that could be offered from the various scenes depicting the discovery of baby Moses among the bulrushes. The positioning of the human figures, and even the positioning of the River Nile, directly evokes a very specific part of the night sky, and very specific and well-known constellations, along with their distinctive features (that painting, from the 1600s, is discussed in my new book, Star Myths of the Bible).

Below are several more scenes from the stories found in Biblical scripture -- all of them with very strong constellational elements in their artistic composition, and all of them discussed in Star Myths of the Bible. First is a scene from the Judgment of Solomon, which has been discussed in detail in previous posts (see here, for example):

image: The Judgment of Solomon, Peter Paul Rubens (1577 - 1640).

image: The Judgment of Solomon, Peter Paul Rubens (1577 - 1640).

And here is another by the same artist (and thus also from the first half of the 1600s) showing David about to slay Goliath:

image: David Slaying Goliath, Peter Paul Rubens (1577 - 1640).

image: David Slaying Goliath, Peter Paul Rubens (1577 - 1640).

Here is an image from the selling of Joseph to a caravan of merchants by Joseph's brothers, which is one of several depictions of this scene that is discussed in Star Myths of the Bible: in Star Myths of the Bible:

image: Joseph sold by his Brothers (Jose Vendido), by Antonio del Castillo y Saavedra (1616 - 1668)

image: Joseph sold by his Brothers (Jose Vendido), by Antonio del Castillo y Saavedra (1616 - 1668)

And, one from a different part of Biblical scripture, and from an artist in a different century, here is an image of the famous scene of Jesus washing the feet of the disciples at the Last Supper:

image: Christ Washing the Disciples' Feet, Bernhard Strigel (1465 - 1528).

image: Christ Washing the Disciples' Feet, Bernhard Strigel (1465 - 1528).

All of the above images can be seen as proclaiming quite loudly that the scenes have celestial originals, in which constellations play the various figures in the story. And literally hundreds more could be offered in addition to these. 

But, as readers of previous volumes in the series (and readers of this blog) will know, the sacred art from relatively recent centuries in Europe are by no means the only examples of art which exhibits the distinctive celestial characteristics of various constellational characters. Recent posts have presented some images from the fine art of ancient Greek pottery displaying constellational references, such as this hydria (water jug) from this previous post:

And also this beautiful bell-krater depicting Artemis and Actaeon, discussed in this previous post:

Both of the above artistic treasures depict mythological episodes using figures whose constellational correspondences are undeniable, once the observer begins to develop a certain level of fluency in the world-wide celestial system and in the characteristics and body-postures unique to each important constellation. These works of art are from hundreds of years BC.

But the system goes back still further, and can be shown to be at work in the artwork of ancient Mesopotamia and of ancient Egypt, artwork of incredible antiquity from even a thousand years earlier than the Greek masterpieces above. For example, the scene below comes from a temple at Abydos attributed to the time of Seti I (thought to have lived until the year 1279 BC, nearly 3,300 years ago) shows the goddess Isis receiving the tree-trunk pillar containing the body of the slain Osiris (the pillar itself has "Djed-column" characteristics):

image: Wikimedia commons (link).

image: Wikimedia commons (link).

I believe that certain very distinctive features which are attributable to specific constellations can be detected in the outline of the goddess herself, and certainly in the outline of the smaller figure kneeling at the base of the Djed-column as it is removed from its recent location. 

Again, the above images constitute just a very small sampling of the artwork down through the centuries which proclaim the celestial connection of the world's ancient myths. Thousands more could undoubtedly be provided. Serious students and scholars of art history and theory may wish to devote some research and exploration of this incredible evidence, in order to formulate hypotheses regarding the transmission of this ancient knowledge down through the millennia.

In other words, the work of those who have testified to a connection between the myths and the stars of heaven is all around us, piling up over the centuries, impossible to deny. My latest book is by no means the first such proclamation of this undeniable connection -- not by many thousands of years!

It is my sincere hope that greater understanding of the language of celestial metaphor will open new perspectives for you, new perspectives not only upon the beautiful masterpieces of art from previous centuries and millennia, but new perspectives and new insights from the myths themselves, when you are able to go to them and hear them speaking to you in their original tongue.

Introducing STAR MYTHS VOLUME THREE: Star Myths of the Bible

Introducing STAR MYTHS VOLUME THREE: Star Myths of the Bible

Introducing the third volume in the series Star Myths of the World, and how to interpret them, which is just now hitting the "bookstands" and focuses on the

  Star Myths of the Bible

For a complete table of contents and several pages of selected preview content, please follow this link (pdf file will open in a new browser tab or window).

Note that this volume has 766 pages, including hundreds of full-color images and star-charts, as well as nearly 200 end-notes, and contains detailed exploration of the evidence for the celestial foundations of the sacred stories involving:

Adam and Eve and the Serpent
The Garden of Eden
The Flood
Shem, Ham & Japheth
Abraham and Sarah
Melchizedek
Isaac
Jacob
The Children of Israel
Moses
Samson
David
Solomon
The Vision of Ezekiel
The Angel Gabriel and the Annunciation
The Visit of the Magi
John the Baptist
Selected Miracles
The Triumphal Entry
The Scourging of the Temple
The Last Supper
Gethsemane
The Crucifixion
The Resurrection
Apocalyptic Visions
Michael the Archangel
and
"Doubting Thomas,"

. . . among others.

Barnes & Noble is presently offering free shipping to some geographic destinations and says they can have it in your hands by Thursday (see link here).

Amazon is presently also offering free shipping to some geographic destinations (see link here).

You can also support your favorite local bookseller by asking them to order it for you, or support your favorite library by asking if they can add it to the collection for you and others who are interested in these subjects.

It is my belief that the evidence overwhelmingly supports the conclusion that the myths and sacred stories of the world are based upon a common, world-wide system of celestial metaphor -- and that the evidence in the scriptures of the Old and New Testaments supports the same conclusion regarding the sacred stories in the Bible.

I am not the first person in history to reach this conclusion; versions of this argument can be found as early as the writings of Plato, in varying degrees of directness. 

However, Star Myths of the Bible seeks to present a very thorough examination of the evidence that this system of metaphor is operating in the Biblical scriptures, as well as a systematic explanation of the principles underlying this celestial "language" in order to enable readers to become fluent in the system so that they can converse with the myths directly and hear for themselves their ancient wisdom and the profound truths that they contain for our benefit and blessing.

It is my hope that as we gain greater understanding of and fluency in the celestial language of humanity's ancient myths, we will gain a new and deeper appreciation and reverence for all of the world's sacred stories, to include those found in the scriptures of the Bible, and that as we do so, the Star Myths which form a precious inheritance for the human race will have a vital and positive impact on our daily lives . . . and on the world in which we find ourselves.