Welcome to Space News from the Electric Universe, brought to you by The Thunderbolts Project™ at Thunderbolts.info
Today, comparative mythologist Ev Cochran continues his series on his
lifelong research into the themes and archetypes of world mythology. In
previous discussions, Cochran has explored the extraordinary identities of
planets in myth, including Mars as the warrior’s hero, and Venus among other
identities, as the mother goddess, the great comet and the fire-breathing serpent.
The reconstruction that Cochran and colleague David Talbot have produced,
leaves none of the global archetypes unaddressed. Archetypes which could only
exist as the result of real celestial events, witnessed and experienced by
ancient peoples. Previously, Ev presented his investigation into ancient
Egyptian traditions, which describe the Sun appearing atop a lotus flower at the
time of creation. According to both Talbot and Cochrane, such traditions
describe a particular phase in the history of the polar configuration, one
in which Mars, as Horus, was positioned in front of Venus as the lotus flower. In
this episode, Ev continues his discussion on the lotus flower in myth, a symbol and
probably linked to the Sun gods of various cultures. A familiar image in
ancient Egyptian iconography finds the Horus child seated atop a lotus flower.
According to Eric Horning, 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 this fascinating thematic
pattern, noting it was from this flower that the Sun could blossom into the
world. Why an infant sitting atop a lotus should be an archetypal symbol of
creation is rarely addressed and has yet to receive a satisfactory answer.
Predictably, Egyptologists identify the Horus child with the
present 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 motif is attested in other cultures as well. In
ancient India for example, we read that ”The world Lotus originally blooms in
response to the rising of the Sun ‘in the beginning’.” Here is in ancient Egypt: the
blossoming of the Lotus is explicitly placed at the time of beginning. In other
words, creation. Analogous traditions are evident in Mesoamerica where the sacred
Mayan text known as the book of Chilam Balam describes the Sun as residing
within a four-petaled flower. “Four-fold was the plate of the flower and the Sun was
set in its center.” So too in a hieroglyphic Mayan script, the Sun is depicted as a
four-petaled flower. The Mayan Sun sign in turn, finds a remarkable analog
in ancient Mesopotamia, where the Sun was represented as a four-petaled flower. To
bring the argument full circle, this particular image forms a close
structural parallel to the Egyptian wnb flower described as follows. “The wnb
flower is none other than the primordial lotus from which the Sun emerges at dawn
in the east.” We see many examples of similar imagery in ancient artworks and
religious iconography from around the world.
We asked Ev how one might distinguish between depictions of four-petaled
flowers, which can be explained in familiar terms, versus depictions of
celestial phenomena. Naturally, it's important to pay careful attention to
context. In prehistoric artwork, such as those from the famous passage tombs at
Loughcrew, Ireland, four-petaled flowerlike forms appear alongside a wide variety
of suns and starbursts, a sure indication that celestial forms are being depicted.
So too in Mesopotamia four-petaled flowers are routinely depicted in conjunction
with a recumbent Crescent, and alongside four-rayed stars, thereby
confirming their fundamental affinity. Equally important is the fact that the
so-called Ra sign also appears in conjunction with a recumbent Crescent.
All modern scholars, except for Talbot and myself, accept that the image
depicted in Fig. 6 is that of the present Sun. If we grant that the
four-petaled floral forms are celestial in nature, how can we rule out the
conventional view that the present Sun is being depicted? A systematic analysis
of the respective artworks and mythological traditions, will inevitably
point to a catastrophic context of the archetypal theme of the blossoming Sun.
The myths of various cultures for example, make the central heart of this
or that God suddenly blossom into a Sun amidst great fireworks. It is this
cataclysmic background that alone can explain the otherwise anomalous fact,
whereby in numerous ancient languages words for ‘to blossom’ or ‘to flower’ also
denote ‘fire’. The Greek word ‘anthos’ for example, denotes ‘flower’, but also the fire
stolen by Prometheus. The same linguistic connection is found in the new world,
especially among the Aztecs where words for ‘to flower’ also mean ‘fire’. Witness the
following finding offered by the anthropologist Jane Hill: “The
metaphoric association of flowers and flames is very widespread in.. Aztecan
languages. The metaphor of the blooming flower as ‘bursting into flame’ can be
reconstructed as a lexical item meaning ’blossom, bloom’ for Aztecan. Given the
striking association between flowers and fire in ancient testimony, we asked Ev
how it can be explained in terms of natural science. The Aztec myth of
creation provides the all-important clue. There a scab-laden nobody named Nanahuatl
hurls himself into a great funeral pyre, whereupon he's enveloped in fire
and suddenly blossoms, while becoming transfigured into the Sun. While this is a
singularly informative mythological tradition, analogous traditions
will be found around the globe. Pericles’ fiery death within the funeral pyre
atop Mount Oeta offers a familiar example. Such archaic mythological traditions
preserve remarkably accurate memories of extraordinary planetary events of a
catastrophic nature, the likes of which are virtually impossible to imagine
today. Events which profoundly shaped the course of ancient civilization. At
our last EU conference in Phoenix I presented a number of slides that are
particularly compelling. Witness the image presented in Fig. 7, dating
from about 3,000 BC. It depicts a four- petaled rosette with what appear to
be four dots, or points of light between the petals. As I have documented,
analogous images will be found around the globe,
typically in celestial context. In many examples the four-petaled flower is
replaced by a four-rayed star as in Fig. 8 from Mesopotamian and Fig. 9
from Mesoamerica. Students of Archaeoastronomy astronomy will recognize the latter
image as the Lamat sign, widely acknowledged to have something to do
with the planet Venus. Granted that such images depict celestial forms, and it is
quite impossible to believe otherwise, the question is how to explain the four
dots between the rays of the central star. Readers who are familiar with Tony
Perat's plasma experiments, will immediately
recognize these dots as a classic signature of synchrotron radiation, as
documented in the high-energy discharge experiments conducted by him. This is but
one of many clues, albeit a particularly important one, pointing to
the incredibly powerful electromagnetic forces associated with the polar
configuration, as witnessed by ancient sky watchers around the globe.
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