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salome
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posted March 29, 2006 07:36 PM     Click Here to See the Profile for salome     Edit/Delete Message


The retrieval of the Divine Masculine as passionate, courageous, magical and joyful constitutes a step as important as the retrieval of the Divine Feminine for the wholeness of human psyche. Especially in the West, millennia of patriarchy has restricted the Divine Masculine to the vison of the father-and-the-son duo or the sacrificed king, thus reducing enormously the divine experience of Malehood in all levels and spheres for both men and women. Indeed, I would go further to affirm that there is a vital need today for the coming together of the vibrant, passionate, inspiring Divine Masculine and Feminine energies not as opposite forces, but as complements to create the conditions for real equality in all levels, mental, emotional, physical and spiritual for men and women alike.

Perhaps some of the most passionate, courageous, magical and joyful mirrors of masculine wholeness can be found in Ancient Mesopotamia. The brilliant civilisation that developed between the rivers Tigris and Euphrates at the dawn of history have legated to us a wealth of written sources that show us different ways of being divine, male and female, passionate, angry, even foolish sometimes, but always joyful and with incredible zest for life in all spheres. The focus of the present series of essays will be on the retrieval of some of the many faces of the Divine Masculine based on Mesopotamian archetypes or God forms, to try and show that there is much more to the True Face of the Male Divinity than first strikes the eye.

For the purposes of this work, archetypes are described as primeval images that are part of the human psyche and portray universal and spiritual truths. The analysis of the chosen archetypes for Divine Malehood will be based on Mesopotamian myths, which can also be described as the narratives by which civilisations continually struggle to make their experience intelligible to themselves by means of large, evoking images that carry philosophical meaning to the facts of life, from the mundane to the extraordinary. Basically, Mesopotamian myths approached here will show dramatic representations of human aspirations and awareness of the universe that will reveal the Divine Masculine as a multifaceted chaleidoscope representing several aspects of the experience of being male in all worlds: the All-Powerful Skyfather (who is also in love with the Great Mother Earth), the Lord of the Elements, the Divine Bridegroom, the Farmer-Warrior, the Master of Magic, the Prince of the Gods, the Blessed Child, the Lord of Nature and the Wild, the Soul Sibblings, the Priest-King who Prefers Life to make it Last for Eternity Here and now, the Lord of War and the Underworld, the Lord of Healing, to name just a few.

http://www.gatewaystobabylon.com/gods/lords/lords.html

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salome
Knowflake

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posted March 29, 2006 08:06 PM     Click Here to See the Profile for salome     Edit/Delete Message
Hail Enki, listen to my voice
Hail, Lord, listen to your soul.
Welcome please be to this company
O light that unfolds such a wondrous world
Yours the hand fitted to my glove
Needle to my thread, Friend the very best.
Welcome please be, Lord of my Desire, Candle to my Fire,
Come and kiss your Rose.

ENKI
THE FRESH WATERS LORD, MASTER OF ALL CRAFTS, MAGICK AND WISDOM

Enki is the Sumerian god of the sweet fertilising waters of the deep, patron of all crafts, magick and wisdom, later known as Ea by the Babylonians and Assyrians. Together with Anu, the Skyfather, Enlil, Lord Air/Wind, and Ninhursag-Ki, He is one of the ruling deities of Mesopotamia, the god who is friendlier to humankind and who interacts with Goddesses (and the Feminine) with graciousness unmatched in world myth and religion. Enki´s name can either be taken to mean Lord Earth, but KI also stands for Below in regard to the cosmic structure prevailing in Ancient Mesopotamia, where An (Sky and Skyfather) is the Above. Enki is present ever since the earliest documents from the Old Sumerian period, associated to the sweet fertilising underground waters, the apsu/abzu. One of His epithets is Nudimmud, or "He who Creates". In essence, together with older brother Enlil, Enki represents the fundamental values of Sumerian civilisation, because to Enlil´s vision manifested through the power of His Word, Enki gives form and substance. He is the one who can think, plan and organize, as well as advise and use Wide Understanding and Magick to solve what is apparently beyond possible solution, manifesting therefore His power through wit, wisdom, ingenuity and subtlety. Later, as in the Enuma Elish, the Babylonian Creation Epic, Enki is the son of Anshar and Kishtar, the primeval father and mother of the great gods.

In terms of genealogy, Enki is the son of Anu, the Skylord, and Nammu, the Sea, the primeval sea waters that caused An and Ki to be born in Her embrace. Enki and his twin sister Ereshkigal were born from the sadness that Anu felt when he was torn apart from Ki, from the tears the Skylord shed for his beloved Mother Earth. Here we have a first important clue to understand Enki´s depth. He is born from a longing greater than the heart itself, and thus grew to fulfil his destiny by connectedeness, fruitfulness and passion. Enki´s consort is Damkina, who can also be identified with Ninhursag-Ki. He is the father of Marduk, the God of Babylon, Dumuzi/Tammuz, the Divine Bridegroom of Inanna/Ishtar, Damu, the Mesopotamian Divine Child, Nanshe, the goddess of all fishes and good things, as well as Ningal, the Moon Lord´s beloved, to name just a few of his offspring. In many god lists, Enki occupies the third place, right after Anu and Enlil and on a par with Ninhursag-Ki. He is also well attested in personal names and seal inscriptions since the earliest times.

Enki´s main cult-centre was the lagoon-based Eridu, in South Mesopotamia, the oldest city in Sumer on the coast of the Persian sea. There He built His temple, the E-abzu or E-engurra. The temple, decorated with silver, lapis lazuli, carnelian and gold, was established on the bank of a river, and its foundations reached deep into the underground sweet. It was a building of wonder: the brickwork gave Enki advice, while the surrounding reed fences roared like a bull. The roof-beam was shaped like the bull of heaven, and a kion gripping a man formed the gateway. The overall effect was described as a lusty bull. Enki also filled the building with lyres, drums and musical instruments. Surrounding the temple was a delightful garden full of fruit trees, with birds singing all around and frolicking carp playing among the reeds in the streams. Archaeological records show that it is exactly in Eridu that are located the remains of the oldest temple and settlement in Mesopotamia. In the Sumerian King-List, Eridu is the place "where kingship descended from the Heavens" or the seat of the first dynasty of the land. Eridu remained an important city throughout Mesopotamian history, and temples to Enki could also be found in Ashur, Babylon, Isin, Larsa, Lagash, Mari, Nippur, Ur, Uruk etc. Many year-names refer to the renovation and dedication of temples to Enki, particularly during the Ur III and the Old Babylonian periods.

His symbols include the goat-fish, the sacred animal who can swim the deepest waters and climb the highest heights, the tortoise, a ram-headed staff, a ship and a vessel with overflowing water.

For those interested in Egyptian-Mesopotamian parallels, like Osiris and the Nile River in Egypt, Enki bestows the powers of the fertile sweet waters upon Mesopotamia. Different from Osiris, who dies and resurrects in the annual floods of the Nile, Enki´s watery power never dies and is a living, joyous force. It is indeed said that the rivers Tigris and Euphrates were sprung from Enki´s own loins, and that "the Lord of the watery deeps filled the fertile channels of the waterways with his seed" (see Samuel Noah Kramer´s The Sumerians, p. 179). Semen and water share the same pictographic characters in Sumerian, by the way.

Enki´s sacred number is 40, and His atrological region is 12 degrees south in the sky (includes Pisces and Aquarius)

ENKI´S POWERS
Thorkild Jacobsen (Treasures of Darkness, Yale University Press, 1976, London, New Heaven) states that Enki represents firstly the numinous powers in the sweet waters in river and marshes or rain, and this assumption will be also reiterated in The Phoenician Letters, as quoted below in this essay. In iconography, Enki is usually pictured with two streams, the Euphrates and the Tigris rivers flowing out of his shoulders, or from a vase he holds. We could very well say that He holds a Grail that overflows with plenty, the Sumerian way! One of his epithets is the Productive Manager of the Soil, reflecting His leading role in fructifying and fertilising the land. Water, by the way, means also semen in Sumerian.

Secondly, Jacobsen states that Enki is the Image Fashioner, the one who gives shape to all, a power that makes him the patron of artists and craftspersons, such as potters, bronze casters, stone cutters, jewelers, seal cutters (very important) and others.

Thirdly, as water cleanses all, Enki is the god of ritual lustration and purification from polluting evil. A common pattern in Sumerian incantations has Enki´s son Asarluhi discover some evil. Thus His association with Magick and hidden knowledge that has the potential to create and alter realities in attunement with the Highest Will of the Universe.

The fourth power that can be attributed to Enki that relates to the Watery Deeps is Empathy and Depth of Feeling that takes action to affect necessary healing. Enki never refuses to help whoever comes to Him, in a vision of Altruism at service to existence. His emotions, nevertheless, are tempered by understanding, wit and humor. It seems that Enki is always in control of them: He feels deeply inside but does not necessarily display or overreacts in trying circumstances. His is a state of mind, heart, body and soul that connects, binds and is strong enough even in silence. Indeed, His is the listening silence, the helping hand that is there for us, when there is a need.

The fifth power is joy and sexyness. Enki seems to be at ease with the feminine, and even when confronted by the mighty figures of Ninhursag and the bossy youthfulness of Inanna the Sweet Waters Lord shows graciousness in victory and defeat. Joy is such a great power that is so little explored by post-Mesopotamians. Sadly, post-Mesopotamians lack the gifts of the Greatest of all Magician Gods, simply because of their denial of Magick as theurgy or the work of creation, of the Feminine, of their insistence in dichotomies that are fortunately very fast being eroded by us here and now.

Let´s face it: Semitic influence in Mesopotamia brought all the dualities and dichotomies that created the abyss between Matter and Spirit, Heaven and Earth, etc. It is not possible to conciliate both views, especially regarding High Magickal Arts.

But in Enki we have the link with a reality that only lived in the hearts, minds, bodies and souls of the true followers of the Tradition. For in Him we can find first the shaman/shamanka whose musings late at night led to the contemplation of the stars. This shaman later became the Wise Priest, the Adapa, who lived to serve the gods and the community, and the Adapa joined efforts with the Justified Ruler and Inspirer (symbolised by the vision of Enlil and the ruler metaphor whose center is Nippur).

Because in the end, in the most beautiful mystery of the Magician God is that in Him the artificer, the artist, the priest and the lover are united as One. He brings joy to the work and creativity to all planes. There is nothing that He cannot achieve, He is the Master of all possibilities, whose youthfulness is timeless, a devoted brother, friend, sexy lover, the god who relates to all and the Eternal Feminine in special in full equality. This is the way of High Magick, and how could it be otherwise?

ENKI IN MESOPOTAMIAN MYTHS

In almost all Mesopotamian great myths, Enki or His deeds play a decisive role. When in need, it is to Him that all gods come to solve the most intricate problems and moral dilemmas, trusting Enki´s wit, resourcefulness, wisdom and compassion. Below are some of His mighty deeds:

1) We need first to refer to myths that are not very much discussed in the literature but which may very well contain many seeds of historical information to explain metapoetically the success of Sumerian civilisation in Mesopotamia. The first myth we will refer to is Enki and the World Order, which is a creation myth from the standpoint of organisation, integrated development and prosperity as commanded by Enki, who was given authority to do all this by Anu, the Skyfather and Enlil, the proud Air God and Enki´s older brother. We have therefore clearly stated in this myth that the arts of civilisation, the institutions and crafts, as well as economies, are Enki´s gifts to humanity. What we also have and that is overlooked by many scholars is a creation myth from the time of the Sumerians explain the beginning of Sumer as a success story based on work and efforts in concert to shape up new realities. And the same foundation underlies the myth The Eridu Genesis, where we learn that "kingship descended from the heavens to Eridu" (Enki´s city) and that who teaches humankind to leave the nomadic state was Ninhursag-Ki, here called Nintur. The black-headed people in the myth refer to the Sumerians, whose origin is still disputed, but who left a beautiful imprint of values upon Mesopotamia as a whole;

2) We also learn that Enki sails to the Underworld presumably to rescue Ereshkigal, his twin sister, when She is taken by the spell of the Land of No Return. Thus, Enki´s Descent and return might be the first of the Underworld initiations in Mesopotamian mythology. We do not have many details on this journey, only that Enki risked his life to rescue Ereshkigal and was assailed by creatures with stones on his way. A retelling of might have been this adventure is in Gateways in Enki and Ereshkigal;

2) In one of my favorite myths of the Cycle of Inanna, Enki gives to Inanna the Me, the Sacred Measures of Heavenly and Earthly powers He received from Enlil for safekeeping. He also tests the limits of the young goddess to see whether She would be a worthy guardian of these great powers, which She was and is. The me were first assembled by Enlil in Ekur and given to Enki to guard and impart to the world, beginning with Eridu, his center of worship. From there, he guardeds the me and imparted them on the people, until Inanna´s arrival, when the Measures through Inanna are directed towards Uruk, symbolising a new sphere of power in South Mesopotamia;

3) Enki always succors other gods and perhaps the most flashing example of his resources is the creation of two genderless creatures to rescue Inanna/Ishtar from the Underworld on the occasion of Inanna´s Descent. Simply Enki is the god who knows and understands better than any other that Inanna/Ishtar, the archetypal Lover and Beloved should not go missing from the Heights Above forever, because as the twin brother of Ereshkigal he knows better than anyone else his sister´s longing for company in the Land of No Return;

4) With Ninhursag-Ki, Enki´s favorite Opponent and Complement, Enki creates humankind to carry on for the gods and with them the workings of existence in the physical plane. As humankind's patron, he is the instructor of all crafts, writing, building, farming, and magic.

5) In the Enuma Elish, the Babylonian Creation Epic, Enki aligns with the younger gods to defeat Tiamat and Apsu by putting Apsu under a sleeping spell, and slaying him to prevent the killing of the younger generation of gods. He then retires to build his quarters, naming it the Apsu, the underworld ocean that supports the world. There, in his private chambers, with beloved consort Damkina, Marduk, the great god of Babylon, is conceived. Enki´s advice to Marduk is also of paramount importance for the defeat of Tiamat in the same epic;

6) Enki helps Nergal to outwit Ereshkigal twice in the happiest and most passionate of all love stories in the Underworld;

7) He instructs Ninurta on how to kill the treacherous Anzu bird, who had stolen from Enlil the Tablets of Destiny in the Myth of Anzu;

8) He aligns with humankind outwitting Enlil in the Flood myth, and the proud Lord Air is made to revise his ways in the same myth. Enki first refuses to send the flood to exterminate humans and advises Atrahasis/Ziusudra/Utnapishtim to build a boat, the predecessor of Noah´s Ark, and thus save the living from utter destruction;

9) In the Epic of Gilgamesh (which also contains an account on how Enki saved humanity from the flood), He tells Nergal to allow Enkidu´s spirit to visit Gilgamesh in the 12th Tablet;

10) To Adapa, the archetypal priest-king of early Sumer, Enki teaches all crafts of the wise.

In short, Enki/Ea is the god that best personalises the joy, passion, courage and resourcefulness of Everlasting Babylon, and these myths provide plenty of examples to ground this affirmative.

DEBUNKING THE IMAGE OF ENKI THE TRICKSTER

Although Trickster gods play an important role in world myth and religion, it is very important to stress that a closer examination of Enki´s character and deeds in myth disprove the assumption that He may be a trickster god. Let´s proceed to examine the issue in detail and we start with a defining what the literature says about trickster Gods.

According to Joseph Campbell (The Hero with a Thousand Faces, 1988, Princeton University Press), trickster Gods are liars, cheat, jokers and fool. They are cruel, lecherous and without pity on their victims. As shapeshifters, they often disguise themselves in many human or animal forms. They epitomize disorder and destruction. These are the negative aspects of trickster gods, and Loki in the Teutonic pantheon can be seen as one, Hermes/Mercury, who are also patron of thieves and merchants, as well as Coyote in Native American mythology, who teaches mostly by a wry sense of humor.

Now, in the light of the above traits of character which prevail in trickster gods, we can see that none of these negative aspects can be attributed to Enki. Enki does not lie, but as we proved in our indepth analysis of the myth of Adapa, we need to look deep within and go beyond appearances to the Essence to follow Him fully. Enki is never a cheat, nor a joker, neither a fool nor a shapeshifter. I repeat: none of these traits are present in Enki´s myths or apply to His character, thus making it utterly wrong to place Him on a par with trickster deities.

On the contrary, Enki always uses Magick altruistically when called upon to succor a god/dess or another being (Ereshkigal he went to rescue first when She was taken by the spell of Kur, Inanna and Nergal in their descents to the Underworld for example, or Ziusudra/Utnapishtim and Atrahasis in the several accounts of the Flood Story). Enki never shapeshifts, although He can help others do so (as Nergal in Nergal and Ereshkigal). Indeed, Enki is always true to His own essence, as well as is fundamentally a trouble-shooter god, never a troublemaker who brings conflict and death to the world. On the contrary, He is the mediator whose compassion and sense of humor breaks the wrath of Enlil, who immediately has to review his ways in the Flood myth for example; He is the stern Challenger who tests the limits of Inanna in Enki and Inanna and the Me and then concedes graciously defeat to the young goddess of Love and War, by strengthening the bonds between Eridu and Uruk. So The Challenger becomes the Empowerer of Inanna.

A trickster god hides his actions, and this is not Enki´s way of dealing with the situations at hand. Indeed, the contrary takes place: Enki is always direct and upfront. He teaches Nergal on how he should build the magick chair that would represent him to Ereshkigal in the Underworld, we know how He proceeded to create the genderless creatures to save Inanna from the Underworld, and the operations for the creation of humankind are also stated step by step, even if we cannot fathom their full depth. In short, Enki does not hide, neither has a hidden agenda.

Finally, it is also said that trickster gods bring humor and joy with Them, and this is true for Enki, especially in his passionate dealings with Ninhursag-Ki, or the loving but slightly patronising way He behaves towards Inanna (i.e. Inanna and Enki and Enki and the World Order).

It is therefore clear that Enk/Ea is not a Trickster god. As far as my experience of Enki is concerned, He has taught me a great deal especially by stretching my limits to try and see hope, wholeness and healing beyond life´s hardest trials. And from the start He has brought to me the gifts of the Holy Fool, laughter, understated sexyness, passion and enthusiasm for the Great Work in all spheres and worlds I thread upon.

Thus, I am delighted to say that we can put aside as wrong and superficial all analysis that has placed Enki into the trickster category. This is a major balance and healing Gateways to Babylon is proud to restore in all levels and spheres in the Light and Living Force of the Mesopotamian Tradition.
ENKI IN "THE PHOENICIAN LETTERS"

Enki/Ea corresponds to Letter 6, and these are his main attributes according to The Phoenician Letters:

1) He is primarily hailed as the Lord of all forms which are ever made, changeable and yet remaining always the same in essence, as the master explains:

"Consider water in its many states, mist, cloud, rain, hailstones, snow, ice, streams, rivers, seas. The one thing that is the same in all states is suceptibility to change, it is the nature of water to change. Put it into a skin, and it fills the skin into a pot, it takes the shape of the pot, into air, mist and cloud, snow and ice, into earth, streams and rivers. Even so it is water."

2) Enki brings the understanding of the nature of things and whence they come:

"Ponder on the nature of wood. It is not sharp, it is not brittle. It may be burnt, it can make columns, tables, chairs, chariots and bows, wheels, clubs, spears, rods, canes, beds, baskets, altars, fire, all things for living. What are its characteristics? How can you describe the source of all these things? If you can, you can see the real nature of wood, the laws under which it can operate, what can be mde from it, its strengths and weaknesses, all that its form makes of it. ".

2) Enki teaches us to see the qualities in men and in nature so that we can better judge our deeds and our fates:

"You must learn to see in men their qualities. How material their nature. What joins them to others. What keeps them apart. What direction they move in. To what do they flow. What is their fate. Depend not upon the stars nor upon livers, or the smoke, or upon omens. Each man´s omens are the thing that move him. A monarch must observe the omens that others depend on. He must see the wellspring of all men´s activities.When he sees the laws of his people and their nature he knows by what they are bound, and the fate of the nation. Such understanding is most dangerous, for a king who tells what he sees is already overthrown. Few people can face the knowledge of their actions and their consequences, and if the fate of a man is know, he has no hope. Do not force the understanding upon all, but only upon those who can take their fate upon themselves.

In the forms of all things are written their fate. Learn to recognise it, not repeat not memorise it, for this you cannot hope to do. All changes, and only by recognition of the law under which things operate at the moment of understanding can the fate of anything be seen, and even this may change. It is the fate of the stone in the river to be rolled around by water. But man pick that stone to use in a sling, and the fate of it has been changed. It does not change the form of the stone, and the form of the stone includes ability to kill and the power of being rounded by rubbing, and the ability to be thrown. Each thing has its nature, its own form, its own law under which it must act in order to be what it is."

3) Enki as the Lord of Archetypes or Primeval Forms:

' From all this it can be seen that the god Enki/Ea has no need to act, for from the form, which he gives, all necessary forms of action arise. From the one form, many arise. So that from a basic form of table, all the possible forms of table will in course of time appear. Now the fate of all is a result of two things; when the creative will strikes the receptive power of Ea/Enki, it does not reproduce exactly the form of that will´s power. "

4) Enki as wider understanding to affect present time:

" ... for each event is a new event and must be understood anew. Past understanding which is not brought up into present understanding is bondage of the worst sort, and may be the cause of great injustice and can cause even more unjust action. All events must be seen, judged and understood as they take place, clearly and clearly, each moment anew."

5) Enki as the sustaining power of the fertile waters to bring forth life:

"... for in the water and the soil lie dormant all the shapes and colours and sizes and uses of the seed; for if they were not there, how could even the seed call them forth into being? ... Now, therefore, we can see why Damkina, His wife, is worshipped as the great Mother of all, even greater than resplendent Ishtar, for She is the womb of all, from which all are born in their time. In Her womb, all the seeds of all stars, suns, planets, earths, moons, are nurtured and brought forth when quickened by Enlil, for She is the seed mother, the Great Lady. Ea-Damkina".

6) Enki as the source of occult/hidden knowledge:

"So that it is easy to see that our Lord Ea/Enki, Lord of the Water and Earth, is the lord of the hidden source of form, and by seeing Him in truth we are able to create new knowledge, new science. He is the supporter of truth, for that which is true now and was also true in former times, is both new and old truth and that is His real nature. For the men of former times made good buildings, good pots, good roads, which although they need renewal and repair, still embody good principle which has not changed."

The master closes then his explanations with a blessing, where Enki´s presence is felt all the way:

"May the one guide your actions in all worlds. May your decisions take place at the correct point. May you be enabled to see the principles of all things that underlie the faces which the world wears. May your language be properly composed to the greater glory of the one".

ENKI´S GIFTS

Enki´s gifts are fundamentally awareness and insight of truths that may not be so obvious at first sight, knowledge and knowing seasoned by compassion, wit, humor and empathy to share.His is a vital power that overlfows with generosity to the whole of creation, divine and human alike, embracing the fulness of all Realities.

Personally, I find Enki the most complete and modern mirror of masculine wholeness in Mesopotamia and world religion. His values and attributes are timeless, and it is not surprising to see that He is one of the most beloved gods of Mesopotamia. How can He be so whole? Because in Him the passionate and joyous Lover, the Mystic, the Strategist, the Sorcerer, the Divine Manager, the Keeper of World Order and Rescuer of Humankind and Gods alike are all One.

I have also known Him under the names of Hermes, Odin and Thoth, but Enki is the Name my Sumerian Heart, Mind, Body and Soul connection loves best: the gallant, impetuous, energetic Lord of Wisdom, the Seeker after truth,and Master Adept in sorcery, enchantment and seduction.

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salome
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posted March 29, 2006 09:03 PM     Click Here to See the Profile for salome     Edit/Delete Message
The Masculine Cross and Ancient Sex Worship

by Sha Rocco
(pseudonym of Abisha S. Hudson)
1874

I.
ORIGIN OF THE CROSS.
FAR back in the twilight of the pictured history of the past, the cross is found on the borders of the river Nile. A horizontal piece of wood fastened to an upright beam indicated the hight of the water in flood. This formed a cross, the Nileometer. If the stream failed to rise a certain hight in its proper season, no crops and no bread was the result. From famine on the one hand to plenty on the other, the cross came to be worshiped as a symbol of life and regeneration, or feared. as an image. of decay and death. This is one, so called, origin of the Cross.

The cross was a symbol of life and regeneration in India long before this usage on the Nile, and for another reason. The most learned antiquarians agree in holding it unquestionable that Egypt was colonized from India, and crosses migrated with the inhabitants. "Proofs in adequate confirmation of this point

p. 6

are found," says the learned Dr. G. L. Ditson, "in waifs brought to light in ancient lore. Waif originally signified goods a thief, when pursued, threw away to avoid detection. Many of the facts to be brought forth in our inquiry were doubtless intentionally scattered and put out of sight to prevent apprehension of the proper subject to which they belong."

The cross bespeaks evolution in religion. It is the product of time, and the relic of the revered past. It begins with one thing and ends with another.

In seeking for the origin of the cross it becomes necessary to direct attention in some degree to the forms of faith among mankind with whom the cross is found. Retrogressive inquiry enables the religio-philosophical student to follow the subject back, if not to its source, to the proximate neighborhood of its source. Like every item of ecclesiastical ornament, and every badge of devotion, the cross is the embodiment of a symbol. That symbol represents a fact, or facts, of both structure and office. The facts were generation and regeneration. Long before the mind matures the generative structure matures. The cerebellum attains its natural size at three years of age, the cerebrum at seven years, if we accept the measurements as announced by Sir William Hamilton. Throughout the realm of animal life there is no physical impulse so overbearing as the generative, unless we except that for food. Food gives satisfaction. Rest to tired nature gives pleasure. To the power of reproduction is appended the acme of physical bliss. How natural, then, that this last-named impulse should, early in human development, take the lead, give direction and consequence to religious fancies, and lead its votaries captive to a willing bondage,--as it did in India, Egypt, among the

p. 7

[paragraph continues] Buddhists, Babylonians, Phœnicians, Assyrians, and ancient Hebrews.

The ancients personified the elements, air, water, fire, the earth, the sea, the celestial orbs; in imagination gave superintending Deities to some and deified others. The Sexual ability of man and Nature was also personified, and likewise supplied with a governing Deity, which was elevated to the niche of the Supreme. Once enthroned as the ruling God over all, dissent therefrom was impious. A king might be obeyed, but God must be worshiped. A monarch could compel obedience to the state, but the ministers of God lured the devotee to the shrines of Isis and Venus on the one hand, and to Bacchus and Priapus or Baal-Peor on the other, by appealing to the most animating and sensuous force of our physical nature. The name of this God bore different appellatives in different languages, among which we find Al, El, Il, Ilos, On, Bel, Jao, Jah, Jak, Josh, Brahma, Eloihim, Jupiter, and Jehovah. Being God of the genital power, he became the reputed sire of numerous children, and numberless children were born under his auspicious rule. The names of his dutiful descendants were composite in signification, and in many, ways characterized the honored Deity. Hence, derived therefrom, we meet with the El God in Michael, Raguel, Raphael, Gabrael, Joel, Phaniel, Uriel, Sarakiel, Bethel, Chapel, Eli, Elijah.

Al, El, Il, are used interchangeably, one for the other; likewise Jah, Ju, Jao, Yho, Iah, Iao, Iu. On expresses the idea of the male Creator. Am, Om, Um, or Umma, represent the female Deity. From Am we have Amelia and Emma. On is an integrant of many names, as Abdon, Onan, Aijalon, Ashcalon, Ezbon. From Ra, Re, or Ri, arise Rebekah, Regem, Rehoboam, and Reba,

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which signifies "sexual congress." The cognomens in which Jah enters are almost unlimited, as in Isaiah, Hezekiah, Zedekiah, Padiah, Maniah, Jehu.

The attributes of this presiding Deity were characteristic of his office. Her was strong, powerful, erect, high, firm, bright, upright, happy, large, splendid, noble, mighty, hard, able. Corresponding to the same idea, he was often, indeed nearly always, associated in pictured relics with animals which denoted the above qualities. These were the bull, elephant, ass, goat, ram, and lion, which were typical of strength and salacious vigor. When a large and strong man appeared, he at once resembled the prevalent idea of God, and was most naturally called the man of God, or the God-man; also large, strong animals were noted as the bulls of God, the rams of God.

The meaning of a large number of Bible names verifies this view. From Dr. Inman's Vocabulary of Bible Names I set out to copy those the signification of which related to "divine," sexual, generative, or creative power; such as Alah, "the strong one"; Ariel, "the strong Jah is El"; Amasai, "Jah is firm"; Asher "the male" or "the upright organ"; Elijah, "El is Jah"; Eliab, "the strong father"; Elisha, "El is upright"; Ara, "the strong one," "the hero"; Aram, "high," or, "to be uncovered"; Baalshalisha, "my Lord the trinity," or, "my God is three"; Ben-zohett, "son of firmness"; Camon, "the erect On"; Cainan, "he stands upright"; but after copying over one hundred names with their meaning--some of which related to feminine qualities--I found I had advanced only to the letter E of the alphabet, and gave up the undertaking for these limited pages.

We must look at this curious subject as we find it. Quaint though most of it is, we hope to treat it with all

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the decorum of philosophic inquiry, and in the chaste language of scientific precision.

That the cross, or crucifix, has a sexual origin we determine by a similar rule of research as that by which comparative anatomists determine the place and habits of an animal by a single tooth. The cross is a metaphoric tooth which belongs to an antique religious body physical, and that essentially human. A study of some of the earliest forms of faith will lift the vail and explain the mystery.

India, China, and Egypt have furnished the world with a genus of religion. Time and culture have divided and modified it into many species and countless varieties. However much the imagination was allowed to play upon it, the animus of that religion was sexuality--worship of the generative principle of man and nature, male and female. The cross became the emblem of the male feature, under the term of the triad--three in one. The female was the unit; and, joined to the male triad, constituted a sacred four. Rites and adoration were sometimes paid to the male, sometimes to the female, or to the two in one.

From motives of improved modesty, or the less commendatory motive to gain prestige through the power of superstition, much truth bearing directly upon our subject has been suppressed by an interested hierarchy. Stripped of euphemisms, we find "the Chaldees believed in a Celestial Virgin, who had purity of body, loveliness of form, and tenderness of person; and to whom the erring sinner could appeal with more chance of success than to a stern father. She was portrayed with a child in her arms. Her full womb was thought to be teeming with blessings,

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and everything which could remind a votary of a lovely woman was adopted into her worship."

The worship of the woman by man naturally led to developments which our comparatively sensitive natures shun, as being opposed to all religious feeling. But among a people whose language was without the gloss of modern politeness, whose priests both spoke and wrote without the least disguise, and whose God, through his prophets and lawgivers, promised abundance of offspring and an increase in flocks and herds, as one of the greatest blessings he had to bestow, we can readily believe that what we call "obscenities" might be regarded as sacred homage or divine emblems. What were these emblems? When plainness of speech is restored to its original office, and the meaning of words is defined or traced to their primitives, names of natural objects give us this wonderful answer, and tell us the homely story of these emblems.

EMBLEMS.
THE Phallus and Linga, or Lingham, Stood for the image of the male organ; and the Yoni, or Unit, for the female organ.

PHALLUS.
PRIVY member (membrum virile) signifies, "he breaks through, or passes into." This word survives in German pfahl, and pole in English. Phallus is supposed to be of Phœnician origin, the Greek word pallo, or phallo, "to brandish preparatory to throwing a missile," is so near in assonance and meaning to phallus that one is quite likely to be parent of the other. In Sanskrit it can be traced to phal, "to burst," "to produce,"

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[paragraph continues] "to be fruitful;" then, again, phal is "a plowshare," and is also the name of Siva and Mahadeva, who are Hindu Deities. Phallus, then, was the ancient emblem of creation: a Divinity who was companion to Bacchus. Figure 1 is a copy of a statuette of this Hindu Devi. The figure holds a phallus, or lingham, in the left hand, formed after an imaginary lotus bud. The coarsely carved unit of the feminine figure completes ale dogma of masculine and feminine powers combined in one. The son of Reuben, Phallu (Gen. xlvi, 9), signifies "a distinguished one," "he splits, divides," "he is round and plump," all of which point to a religion of sensual love.

Phallic emblems abounded at Heliopolis in Syria, and many other places,
Fig. 1.
even into modern times. The following unfolds marvelous proof to our point. A brother physician, writing to Dr. Inman, says: "I was in Egypt last winter (1865-66), and there certainly are numerous figures of Gods and kings, on the walls of the temple at Thebes, depicted with the male genital erect. The great temple at Karnak is, in particular, full of such figures, and the temple of Danclesa likewise, though that is of much later date, and built merely in imitation of old Egyptian art. The same inspiring bass-reliefs are pointed out by Ezek. xxiii, 14. I remember one scene of a king (Rameses II.) returning in triumph with captives, many of whom are undergoing the operation of castration, and in the corner of the picture are numerous heaps of the

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complete genitals which have been cut off--many hundreds in all, I should think." This shows, first, how largely virility was interwoven with religion; second, how completely English Egyptologists have suppressed a portion of the facts in the histories which they have given to the world; third, it tells us of the antiquity of the practice, which still obtains among the negroes of North Africa, of mutilating entirely every male captive and slain enemy. See 2 Kings xx, 18; Isa. xxxix, 7. This vindictive usage was practiced by Saul and David, as may be seen in 1 Sam. xviii, 25, 27, when the king demands a hundred foreskins.

David, more heartless than Saul, doubled the quantity and brought two hundred of the vulgar trophies. Also Isaiah (xxxix, 7) intimidates the people, and says, "Thy sons that shall issue from the . . . shall be eunuchs in the palace of the king of Babylon." The Apache Indians of California and Arizona delight in perpetrating the same barbarous mutilations upon captives and the slain.

Dr. Ginsingburg, in "Kitto's Cyclopædia," says: "Another primitive custom which obtained in the patriarchal age was, that the one who took the oath put his hand under the thigh of the adjurer (Gen. xxiv, 2, and xlvii, 29). This practice evidently arose from the fact that the genital member, which is meant by the euphemic expression, thigh, was regarded as the most sacred part of the body, being the symbol of union in the tenderest relation of matrimonial life, and the seat whence all issue proceeds, and the perpetuity so much coveted by the ancients. Compare Gen. xlvi, 26; Exod, i, 5; Judg. viii, 30. Hence the creative organ became the symbol of the Creator and the object of worship among all nations of antiquity. It is for this reason that God claimed it as a sign of the

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covenant between himself and his chosen people in the rite of circumcision. Nothing therefore could render the oath more solemn in those days than touching the symbol of creation, the sign of the covenant, and the source of that issue who may at any future period avenge the breaking a compact made with their progenitor." From this we learn that Abraham, himself a Chaldee, had reverence for the phallus as an emblem of the Creator. We also learn the rite of circumcision touches phallic or lingasic worship. From Herodotus we are informed the Syrians learned circumcision from the Egyptians, as did the Hebrews. Says Dr. Inman: "I do not know any thing which illustrates the difference between ancient and modern times more than the frequency with which circumcision is spoken of in the sacred books, and the carefulness with which the subject is avoided now. To speak of any man as being worthy or contemptible, as men and women did among the Jews, according to the condition of an organ never named, and very rarely alluded to, in a mixed company of males and females among ourselves, shows us that persons holding such ideas must have thought far more of these matters, and spoken of them more freely, than we have been taught to do. Abundance of offspring is the absorbing promise to the faithful; a promise liable to fail except the parts destined to that purpose were in an appropriate condition."

We can compass some idea of the esteem in which people in former times cherished the male or phallic emblems of creative power when we note the sway that power exercised over them. If these organs were lost or disabled, the unfortunate one was unfitted to meet in the congregation of the Lord, and disqualified to minister in

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the holy temples. Excessive was the punishment inflicted upon the person who should have the temerity to injure the sacred structure. If a woman were guilty of inflicting such injury, her hand should be cut off without pity (Deut. xxv, 12). It was an unpardonable offense, a sin not to be forgiven, for it was a calamity that bumbled their God and made him of no esteem. When his ability failed, respect for him failed. Such a man was "an abomination."

With a people enslaved to such groveling tenets, it was an easy and natural step from the actual to the symbolical; from the crude, and, perhaps, to some, offensive, to the improved, the pictured, the adorned, the less offensive; from the plain and self-evident, to the mixed, disguised and mystified; from the unclothed privy member to the letter T, or the cross; for these became the phallic analogues. The linga is the symbol of the male organ and Creator in Hindostan. It is always represented standing in the yoni, as in Figs. 4 and 23. Obelisks, pillars of any shape, stumps, trees denuded of boughs, upright stones, are some of the means by which the male element was symbolized. Siva is represented as a stone standing alone.

TRIAD.
To know exactly who is who, and what is what, it will be necessary to explain the Triad, or Trinity, its origin and its changes or metamorphoses: then the tria juncta in uno--the three in one--can be recognized in the cross more readily than most people see the "three persons in one God." The triad generally belongs to the male, although the female Divinities were sometimes of triple constitution. If we turn to the analysis of the subject according to Rawason, we find that the first and

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most sacred trinity--three persons and one God---consisted of Asshur, or Asher, or Ashur, whose several names were Il, Ilos, and Ra; Anu and Hed, or Hoa. Beltis was the Goddess associated with him. These four, that is, Asher, Anu, Hea, and Beltis, made up Arba, or Arba-il, the four great Gods, the quadrilateral, the perfect Creator. Asher was the phallus, or the linga, the membrum virile--the privy member; the cognomen Anu was given to the right testis, while that of Hea designated the left testis. When Asher was canonized a Deity, it was but right and natural his ever-attendent appendages should be deified with him. The idea thus broached receives confirmation when we examine the opinions which obtained in ancient times respecting the power of the right side of the body compared with the titles given to Ann. It was believed that the right testicle produced masculine seed, and that when males were begotten they were developed in the right side of the womb. Benjamin signifies "son of my right side;" thus the name of a member of a family attests the reigning notion. The name Benoni, given to the same individual by his mother, may mean, literally, either "son of Anu," or "son of my On." The male, or active, principle was typified by the idea of "solidity," and "firmness"; and the female, or passive, principle by "water," "fluidity," or "softness." It is then, a priori, probable that Anu was the name of the testis on the right side. To inspect the perfect man, or a correctly designed statue of Apollo Belvidere, will detect the fact that the right "egg" hangs on a higher level than the left, for which there is an anatomical reason. The metaphors we sometimes hear, such as "king of the lower world," "the original chief," "father of the Gods," "the old Anu," relate to these parts, and are

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of phallic import. "King of the lower world" cannot refer to the "infernal regions" of modern orthodoxy, since that mythical Hades had not then come into existence,

How about the gland on the left side, the third divinity of the triad? Rawlinson states, as best he could determine, this was named Hea or Hoa, and he considers this Deity corresponds to Neptune. Neptune was the presiding Deity of the great deep, "Ruler of the Abyss," and "King of Rivers." He also regulates aqueducts, and waters generally. There is a correspondence between this Deity and Bacchus.

As Darwin and his coadjutors teach, mankind, in common with all animal life, originally sprung from the sea, so physiology teaches that each individual bas origin in a pond of water. The fruit of man is both solid and fluid. It was natural to imagine that the two male appendages had a distinct duty: that one formed the infant, the other the water in which it lived; that one generated the male and the other the female offspring; 1 and the inference was then drawn that water must be feminine, the emblem of the passive powers of creation. The use of water would then become the emblem of it new birth--"born of water;" and it would represent the phenomenon which occurs when the being first emerges into day. The night, which favors connubial intercourse, and the dark interior of the womb, in which for many months, the new creature is gradually formed, are represented by the "darkness brooding." It was night when the world was formed out of chaos; likewise it was thought


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to be obscure when the mingling of the male and female fluids started a new being into existence. Favoring food fed the tiny speck for months, and its emerging as male or female into the world of men was the prototype of the emergence of animal life from the bosom of earth, or the womb of time, into actual existence.

Having dwelt on stem and branches of the god Asher, it is proper to give his definition as a personality and function; in other words, as a God. Asher (Gen. xxx, 13), "to be straight," "upright," "fortunate," "happy," "happiness," i. e., unus cui membrum erectum est vel fascinum ipsum--the erect virile member charmed with the act of its proper function. Says Dr, Inman: "While attending hospital practice in London, I heard a poor Irishman apostrophize his diseased organ as 'You father of thousands'; and in the same sense Asher is the father of the Gods. I find that a corresponding part of the female (pudenda) is currently called "the mother of all saints." Asher was the supreme God of the Assyrians, the Vedic God Mahadeva, the emblem of the human male structure and creative energy. This idea of the Creator is still to be seen in India, Egypt, Judea, the East, Phœnicia, the Mediterranean, Europe, Denmark, depicted on stone relics.

This much for Asher seemed necessary to explain the origin of the Trinity. So we find the male privy member and the adjacent twin testes made the Triad..

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With this glossary we can now understand the hidden meaning of Psa. cxxvii, 3, "Children are an heritage of the Lord, and the fruit of the womb is his reward." Exactly! Anu is Assyrian. There is a God in Babylon by the name of Anu. Asher is only another name for Al, On, Ra, Il, El, Hos, Helos, Bel, Baal, Allah, Elohim. These are also sometimes given to the run as the representative of the Creator and the phallic emblem. Asher, Anu, and Hea, three persons and one God, or, as modern theologians have been led to speak of the Trinity, "the more three because one, and the more one because three." One, by himself, is of no value, but "all work together for good."

VOCABULARY.
IN all ages and all localities of the world, people conferred names which imply some one or more characteristics of person, feature, faith, place, or event. Among defectively educated people, and those of rough manners, we find "Long John," "Broad Bottom," "Squinting Dick"; and names for helpless children, "Makepeace," "Faithful," "Freelove" and "Praise God Barebones." In this matter the people of antiquity appear to have set the example. The Greeks had "Theodore," "the gift of God"; "Theophilus," "the friend of God." The analysis of the following vocabulary of Bible names throws a flood of light on the subject in hand. It unvails an interesting question, the nudity of which, for the most part, has been clothed with the vesture of words.

Ahumai (I Chron. iv, 2), "ach is mi," or "semen"; Baal-Shalisha (2 Kings iv, 42), "my Lord the trinity," "my Lord is three," "the triple male genitals."

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Amorite, "speaking, flowing"; "erecting, or swelling up."

Ankura, "a sprout, or intumescence," "an erection."

Aram, "high," "to swell up," "to be uncovered or naked."

Aras, "to erect," "to build," "a nuptial bed."

Asahel, "to create," "to beget," "El-created."

Baal-Peor (Num. xxv, 3), "the maiden's hymen opener," "my Lord the opener."

Baal-Perazim, "Baal of the fissure."

Baal-Tamar, "Baal the palm tree," "my Lord who is or causes to be erect."

Benoni, "son of Anu," or "son of my On," "son of my God."

Ben-zoheth, "son of firmness," "to set up," "an erection," "a cippus."

Beren, "the womb," "the round belly," "the female organs."

Boladan, "my Lord of pleasure and delight."

Buli, "the vulva," "the belly,"

Cainan, "he stands upright," "Hermes."

Camon, "the erect On."

Chesil, "the loins or flanks." Loins is an euphemism for the male genitals.

Cyrus, "the bended bow," "the abdomen of a pregnant woman."

Dimon, "river, place"; "the semen, or viscous discharge of On."

Dodai, "loving, amatory."

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Ehud, "conjugation, union"; "strong," "powerful," "the one."

Eliasaph, "El the fascinator."

Elisha, "El is," "the erect El."

Elkana, "El the erect One," "the tall reed," "El burning with desire."

Elkoshi, "El the hard One."

En-am, "the eye or fountain of the mother."

En-an, "the eye of On, or Anu."

Epaphroditus, "Love was my parent," "given by Venus."

Epher, "a calf," "a faun," "to join," "be strong."

Esau, "to make, to press, to dig, to build up, to squeeze immodestly," "the hairy El."

Eshek (1 Chron. viii, 39), "he presses, squeezes, penetrates into."

Eshton, "the power of woman."

Ether, "fullness," a God in the second Assyrian triad, his colleagues being the Sun and Moon. His name may be read as Eva, Iva, Air, Aer, Aur, Er, Ar, also Vul.

Ethnan, "a harlot's fee," "begotton by harlotry."

Eve, Chavah, havah, or hauah, "to breathe," "to blow," "eagerness," "lust"; "a cleft, fissure, or gap really, a fissure." (Concha).

Evi, "desire."

Ezem, "to fit firmly to one another," "hard."

Gaal, "the proud or erect Al."

Galah, "To be," or "to be naked," as in gala days.

Gath, "A wine press," also "a slit, pit, hole, well," or the euphemism for the vulva.

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Gaza, "strong," "the trunk of a tree," "a phallic emblem."

Gilboa, "the sun is Baal."

Gilgal, "a wheel," a "circle, "the sun's heap of stones," "a phallus"; see Fig. 2.
Fig. 2.

Giloh, "the revealer," "to be or make naked," "to uncover," "to disclose."

Ginath, "the virgins," "the goddesses."

Ginnethon, "the power of the virgins."

Gomorrah, "a fissure, a cleft."

Habakkuk, "embrace of love."

Hai, Assyrian ai, "female power of the Sun."

Hamor, "the swelling up one," or "the red one," to be dark red," "sudden in rising," also "an ass"--which is notorious for salacity. "My beloved is white and ruddy" (Sol. Songs, v, 10).

Hashupa, "uncovering," "nakedness."

Hephzibah, "pure delight," "my delight in her."

Jaaz, "he is hard, firm, stiff," "he rules," "decides."

Jabal, "he rejoices," "he flows out," "he is strong."

Jabok, "running, or flowing forth."

Jabash, "a stout, fat one."

Jachin, "he strengthens," "to be hot with desire," "to have intercourse." Boaz has the same phallic meaning.

Jahdo, "he unites."

Jahaz, "Jah shines," "to be fair," "to be proud," "he is firm."

Jahdial, "El makes glad."

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Jair, "enlightens," "shines," "blooms," "flows." Jair is united with Eros (erotic desire).

Jakim, "he set up," "standing erect," "raising seed to."

Japho, "beauty," "widely extending," "seduce," persuade."

Jehoaddan, "Jah is lovely," "Yeho is the provider of sexual pleasure."

Jepthel-el, "El is a begetter."

Jeroham, "a beloved or favored One."

Jesher, "he is upright."

Jesimel, "El creates."

Jeziah, "He is son of Jah."

Jonathan, "the gift of Jao" (a God).

Jhoharaph, "Jah is juicy, vigorous, strong or proud."

Joshar, "he is straight," "upright."

Jurah, "he boils up," "to glow, to burn," "to pour out largely."

Kishon, "the firm or hard On."

Maon ,"pudenda of On."

Tamar, the palm, an euphemism for the male organ.

It "ill be observed, a few of the above name,; refer to the Sun Deity, and solar worship. In some, the solar and phallic tenets are combined in the same, name, and depicted in the same figure. Such an illustration will be found in Webster's Unabridged Dictionary, under the name Agnus Dei. The figure--lamb, rain, or goat--is in the impossible attitude of holding a cross with the foot--sometimes a crosier, or shepherd's crook, either of which

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are phallic emblems. The head of the animal is surrounded by a circle, or with rays, which are always typical of the Sun God. For the Hebrew text of the above names the reader is referred to "Inman's Ancient Faiths."

MARKS AND SIGNS OF THE TRIAD.
THE triad is parent to the idea of Trinity. It is met with in the most distant countries, and is traced to Phoenicia, Egypt, on the west, and Japan on the east, of our hemisphere, and to India. Constituting, as the triad and yoni did, the ever-dominant thought, and actuated by the narrow realm of an absorbing self-personality, they formed the basis and spirit of religious observance. They were referred to openly and broadly, or more generally and in later times by a mark, a metaphor, a motion, or a sign. For this sign the letter T became typical, and still later the figure of the cross became that sign. "It is most remarkable," says Payne Knight, that "the letter T and the cross, symbols of symbols, are made to represent the male procreative powers, which are emblems of generation and regeneration."

Reverse the position of the triple deities Asher, Anu, Hea and we have the figure of the, ancient "tau" ✝ Of the Christians, Greeks, and ancient, Hebrews--not of the modern Hebrews. It is one of the oldest conventional forms of the cross. It is also met with in Gallic, Oscan, Arcadian, Etruscan, original Egyptian, Phœnician, Ethiopic and Pelasgian. The Ethiopic form of the "tau" is this ✝ the exact prototype and image of the cross; or, rather, to state the fact in order of merit and position in time, the cross is made in the exact image of the Ethopic "tau." The fig-leaf, having three lobes to it, became a symbol of the triad. As the male genital organs were

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held in early times to exemplify the actual male creative power, various natural objects were seized upon to express the theistic idea, and at the same time point to those parts of the human form. Hence, a similitude was recognized in a pillar, a heap of stones, a tree between two rocks, a club between two pine cones, a trident, a thyrsus tied round with two ribbons With the two ends pendant, a thumb and two fingers, the caduceus. Again, the conspicuous part of the sacred triad Asher is symbolized by a single stone placed upright--as in Gilgal in "Vocabulary," Fig. 2--the stump of a tree, a block, a tower, spire, minaret, pole, pine, poplar, or palm tree. While eggs, apples, or citrons, plums, grapes, and the like, represented the remaining two portions; altogether called phallic emblems. Fig. 3
Fig. 3.
portrays a triad found on a medal of Apollo. The triple points at the summit are in multiple of the Trinity, as they but repeat the same idea the structure would express without them. Baal-Shalisha is a name which seems designed to perpetuate the triad, since it signifies "my Lord the Trinity," or "my God is three."

We must not omit to mention other phallic emblems, such as the bull, the ram, the goat, the serpent, the torch, fire, a knobbed stick, the crozier: and still further personified, as Bacchus, Priapus, Dionysius, Hercules, Hermes, Mahadeva, Siva, Osiris, Jupiter, Molech, Baal, Asher, and others.

If Ezekiel is to be credited, the triad T, as Asher, Anu, and Hea, was made of gold and silver, and was in his day not symbolically used, but actually employed; for he bluntly says "whoredom was committed with the images of men," or, as the marginal note has it, images of "a male" (Ezek. xvi, 17). It was with this god-mark--a cross

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in the form of the letter T--that Ezekiel was directed to stamp the foreheads of the men of Judea who feared the Lord (Ezek. ix, 4). In China, Tau is Nature's absolute unity.

Thus we find the cross is the Ethiopic and ancient Hebrew "tau" ✝. The T is the triad, the triad is Asher, Ann, and Hea--the male genitals deified--the genitals are pudenda, pudenda means shame or immodest, and so we arrive at the unavoidable conclusion that the cross is of sexual origin and purely masculine. It is the sign of a man-God.

This is not all of the cross. In ancient days it had a natural counterpart little suspected by moderns. This essential opposite was denominated the Yoni.


http://www.theology101.org/sex/asw/asw01.htm

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Priapus

Priapus is the personification of the fruit- fulness of nature. Sailors invoked him in distress and fisnermen prayed to him for success. He gradually came to be regarded as the god of sensuality. His symbol was the phallus, an emblem of productivity and a protection against the evil eye. The first fruits of the gardens and fields, goats, milk and honey, and occasionally [donkeys] , were offered to him. He was sometimes represented as an old man, with a long beard and large genitals, wearing a long Oriental robe and a turban or garland of vineleaves, with fruit and bunches of grapes in his lap. Amongst the Romans, rough wooden images, after the manner of the hermae, with phallus stained with vermilion, were set up in gardens. His image was placed on tombs, as symbolizing the doctrine of regeneration and a future life, and his name occurs on sepuldiral inscriptions. In his hand he carried a bill-hook or club, while a reed on his head, shaking backwards and forwards in the wind, acted as a scarecrow.

http://www.1911encyclopedia.org/P/PR/PRIAPUS.htm

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Athens Museum, c. 400 BCE

Satyros/Priapus: Liberator of Sensual Inhibitions

From 550 BCE onwards, his libidinous form on vases and amphoras accompanies most depictions of Dionysos and his maenads. Wildly dancing, hugely endowed, satyrs were shown with horse's tail and hoof, sometimes garbed as female, often engaged in pranks or contorted sexual coupling with each other, with men or with women. The Satyros persona was adapted by costumed men during annual vintage rites of Dionysos and gave license for bacchanalian revelry and ceremonial stage dancing, out of which developed the Greek chorus as well as the genres of comedy and tragedy. As the emotional and sexual core of the ancient agrarian religion became repressed by rationality and patriarchy, Satyros energy created an erotic rebalancing. Celebrations such as Fasching, Carnival or Mardi Gras are modern expressions of Satyros' wild legacy. Ithyphallic image.

http://www.sacredsource.com/prodinfo.asp?number=BZ-STY

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Boston Museum, c. 400 BCE

Hermes bears a Message to the God within you!

The sign of the cross originally invoked the four sacred directions of Hermes, and phallic stones, called herms, protected all Greco-Roman crossroads. He is shown wearing an Etruscan peasant hat, carrying a sacrificial ram, holding a caduceus and wearing winged sandals. He was considered the Master Philosopher in Arab, Greek and medieval cultures. Note the inward-staring gaze of hermetic knowledge.

http://www.sacredsource.com/prodinfo.asp?number=HERM

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fayte.m
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From: Still out looking for Schrödinger's cat. fayte1954@hotmail.com
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posted March 30, 2006 12:15 AM     Click Here to See the Profile for fayte.m     Edit/Delete Message

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maklhouf
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posted March 30, 2006 11:42 AM     Click Here to See the Profile for maklhouf     Edit/Delete Message
Stirling work Salome

------------------

And I will give thee the treasures of darkness
Isiah 45:3

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26taurus
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posted March 30, 2006 01:21 PM     Click Here to See the Profile for 26taurus     Edit/Delete Message
I didnt get to read it all but wow, great info. Yes, men = Divine.

(and I must say, the last two figures look quite yummy.... dark and white chocolate... )

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MysticMelody
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posted June 06, 2008 07:37 PM     Click Here to See the Profile for MysticMelody     Edit/Delete Message
hmm...

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Mannu
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posted June 06, 2008 09:05 PM     Click Here to See the Profile for Mannu     Edit/Delete Message
>>> divine masculine


its a wrong way of saying it...

it must be masculine is divine ...

actually better wud be masculine and feminine both are divine together.


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