Welcome to Space News from the Electric Universe, brought to you by The
Thunderbolts Project™ at Thunderbolts.info. The global themes and patterns in
world mythology have a story to tell. It's an astounding fact that the origins
of the global mythical archetypes from the warrior hero, to the mother goddess,
to the world mountain, to the Sun as a great celestial wheel, and countless more,
remain unexplained by academia to this day. A great barrier to an understanding
of any archetype is the assumption that it does not actually describe physical
reality, as witnessed and experienced by ancient people. For many decades, the
comparative mythologists David Talbott and Ev Cochran have worked to reconstruct
an epoch of celestial catastrophe on Earth. To date, this forensic
reconstruction is the only scholarly effort to successfully explain the
origins of the global archetypes. In previous interviews Ev has outlined the
evidential case that the planet Mars was globally remembered as the archetypal
warrior, while the “feminine” Venus was remembered in her various phases as
the mother goddess or a fiery serpent, among other identities. Today, Ev
expands his presentation to explore the role of the respective planets in the
extraordinary events which are described globally in the images and stories of
creation. The conventional view holds that ancient mythology has next to no
historical content or scientific value. Planets play next no role in modern
schools of comparative mythology. Myths of creation, according to this view,
represent early man's primitive attempts to deduce how the world came to be,
commonly described familiar natural phenomena, through analogical or
speculative means. Thus, Egyptologists hold that the ancient Egyptian myth of
creation, described the Sun's daily appearance from the
terrifying clutches of the nocturnal darkness. So far as I know, David Talbot
was the first researcher to claim that myths of creation described real
memories of catastrophic events, as actually witnessed and experienced by
ancient man. That singular insight, in my opinion, represents a major breakthrough
in the scientific understanding of mythology. The truth is that catastrophic
motifs are pervasive in global myth in general. In ancient Mesopotamia, for
example, the planet Venus as the goddess Inanna, is described as rampaging around
the sky, while assuming a dragon-like appearance and raining fire and flood.
The Egyptian myth of creation likewise, includes an analogous tradition in which
the Eye of Horus, Venus, wages a destructive campaign against mankind
while raining fire and flood from the sky. Yet on the rare occasion that they
actually attempt to discuss the myth in question, Egyptologists not only ignore
the striking parallels with the Inanna traditions, they offer superficial analyses
in which the eye’s destructive rampage is interpreted as a metaphorical
description of the Sun's searing heat. Now perhaps the most familiar image of
creation in ancient Egyptian tradition, finds the Horus child seated atop a
lotus flower. According to Erik Hornung, the Dean of
Egyptologists, “The sun-god on a lotus blossom... was an image of the first
emergence of shapes at the creation.” James Allen offered a very similar
summary of the voluminous evidence, noting “It was from this flower that the
sun could blossom into the world.” Predictably, Egyptologists identify the
Horus star with the Sun but they essentially ignore the fundamental role
of the Lotus. At no point do they ever seriously address the elephant in the
room namely, where in all of heaven is a lotus flower to be found in the
immediate vicinity of the present Sun? The mere fact that analogous myths will
be found around the globe, ancient Indian lore for example, reports of the
primeval Sun God appearing atop a Lotus at the time of creation, suffices to
confirm the fundamental veracity of the Egyptian tradition and underscores the
need to find a natural historical referent for the flower-like celestial
structure. It's well known that the rosette served as one of the earliest
symbols of the planet Venus in ancient Mesopotamia, appearing already at Uruk,
circa 3000 BC. This idea is evident in the royal inscriptions of the Sumerian
ruler Gudea, “And he placed the rosette, the standard of Inanna, in front of them.”
Significantly, an archaic Sumerian kenning linked the rosette, which in their
language is ‘Ul’, with creation “Since the day when the first blossom came forth’.
The rosette refers to the beginning of life, the creation of the world.” In
addition, the rosette flower however, ‘Ul’ also denotes ‘star’. So it's certainly
possible that the Sumerian kenning in question preserves an arcane reference
to a stellar flower. That the rosette itself represented a stellar form, is
commonly acknowledged; witness the conclusion offered by the renowned art
historian Elizabeth van Buren. “The eight-pointed star of Ishtar... was an
adapted form of the archaic rosette...” How interesting then to find that, in
striking contradiction to modern astronomical reality, Mesopotamian
cylinder seals routinely depict the Sun disc in conjunction with an eight-
petaled flower. And much as would be expected, given the rosette’s fundamental
structural affinity with the eight- pointed star, it is common to find the
so-called sun-disk depicted in conjunction with an eight-rayed star. For
Talbot and myself, such images reference an extraordinary conjunction of the
planets Mars and Venus during the formative events remembered as creation.
In the computer-generated image depicted in figure 5 for example, which finds
remarkable analogues already in the tell Brock temple of Inanna in 2,500 BC,
Mars is the red orb, set within the center of the eight-petaled Venus flower.
Here it must be emphasized that in the present sky, it is quite impossible for
Mars to appear in front of Venus since, as an outer or superior planet, the red
planet can never orbit between Earth and Venus, an inferior planet. This is but
one of dozens of predictions that follow directly from our model that directly
contradict modern empirical reality. Hence the bold nature of our challenge
to modern science. In future installments in this series, we will discuss other
glaring anomalies in the ancients’ descriptions of the primeval solar
flower. [Music]