Article - Laura Knight-Jadczyk
|
|
Article - Laura Knight-Jadczyk
|
|
|
Chapter 26 We have discovered a most interesting little collection of things all in one place. First a "round temple" on an island that can only be Britain, must be a description of Stonehenge and the original way in which it was utilized by a group of people. Next we see that Diodorus is suggesting that the 19 year lunar calendar - the Metonic cycle - is from the Hyperboreans and that it relates to a period in which the "return of the stars" is accomplished. We realize immediately that these "stars" must refer to a geometric relationship between the Sun, Moon and Earth, rather than the "stars" in terms of real stars and the planets because they certainly do not "return" to any particular position every nineteen years. And we now suspect that this may have something to do with a gravitational node of a three body system. As it happens, certain scientific observations of our present day may relate to this very matter of the 19 year cycle. One of the axial motions of the earth is called the Chandler Wobble. The Chandler wobble was only discovered by modern science in 1891, is a variation in the earth's axis of rotation. There is also something called "nutation," which is an aggregation of sub-wobbles, the most significant of which has a period of 18.6 years and results from variations in the distance of the moon! We begin to think that these ancient people really knew something! In the Temple of Apollo, we also find that there are musicians whose job it is to continually play in the temple and sing, and the most famous of ancient singers and musicians is associated with the worship of Apollo. This suggests to us the possible use of sound for in conjunction with the utilization of gravitational nodes. There is an additional puzzle here. What did it mean that every nineteen years a god "dances" from the vernal equinox until the rising of the Pleiades? The heliacal rising of the Pleiades does not happen every 19 years. So, aside from telling us about a regular event that occurred every nineteen years, the myth has recorded something else very significant, a date which is internal to the myth. When did the Pleiades rise just before the sun on the vernal equinox? There are many who assume that a "heliacal rising" means that a star or constellation is in conjunction with the sun. But this is probably not correct. The ancients were practicing observational astronomy. Otto Neugebauer, in his many studies regarding what the ancients did or did not know about science and mathematics, noted the following:
In order to observe a heliacal rising of a star or group of stars, they must rise long enough before the sun to be "observed," because as soon as the sun rises, the stars can no longer be seen. The heliacal rising of the Pleiades would have to occur at least 36 minutes before the sun comes up, in order to be seen. So, the real question seems to be: when did the Pleiades rise around half an hour before the sun, at the time of the equinox? When were the Pleiades the stars of the "last hour of the night", and what might have been the significance of this event? Certain "standard" texts, written by individuals who have not taken into account the observational nature of a heliacal rising, have given 2300 BC as the date, because this was when the Pleiades were conjunct the Sun on the Vernal equinox. However, after careful calculations of our own, as well as assistance by expert astronomers, the date of the actual heliacal rising of the Pleiades in the terms that Neugebauer has given us, occurred on April 16, 3100 BC. There is an even greater mystery here regarding the Pleiades. In the cave of Lascaux, there is a prehistoric image of an Auroch which is the largest picture in the whole assembly of images, and is painted almost entirely on the ceiling of the cave. Above the back of the Auroch, a strange figure of a cluster of six floating points can be seen. The distribution of the dots does not seem to be haphazard, but rather shows a clear structural element. It looks, in fact, like an exact portrayal of the constellation Taurus with the star cluster of the Pleiades placed precisely as they actually relate to the constellation. [Chamberlain, Von Del, Navajo Constellations in Literature, Art, Artifact and a New Mexico Rock Art Site, Archaeoastronomy 6 (1-4):48-58, 1983.] The constellation Taurus was originally a complete image of a bull in the sky. The Babylonians called it the heavely bull, and the Pleiades were recognized as the "bristle on the neck of the bull." At some point, the bull was cut in half to create Aries and Cetus, the whale. In other words, the zodiac was altered. We will pass from that subject for the moment to return to our matter of the dancing god who came every 19 years to Stonehenge and how it may relate to, producing sounds, overcoming gravity and perhaps even space and time and matter in a way that enabled an entire group of people to live in harmony, to produce all they needed so that the artifacts of civilization as we know it are not associated with them; but feats of which we are incapable with all our technology, were, apparently, part of their daily reality. In searching for additional clues, we find that dancing was part of the archaic ensemble. The Sword Dances, Morris Dances, Mumming Plays seem to be an inherited tradition of solemn ceremonial dances performed at stated seasons. And that is exactly what Diodorus has told us: The god danced all night every 19 years at the time of the Equinox. Jessie Weston, among others, was moved to think of these dances and the entire Grail cycle ensemble as a ritual designed to "preserve and promote the regular and ordered sequence of the processes of Nature." Our thought is somewhat different. It seems to us, from looking at the evidence of what these people were capable of accomplishing, that the dances, the myths, the rites, all point to an archaic technology that is preserved idealistically as "promoting the processes of Nature and abundance," but was actually a direct interaction with Nature that resulted in the manifest production of all that was needed by the peoples in a literal and immediate sense. The earliest recorded Sword Dancers are the Maruts, the attendants of the god Indra. They are a group of youths of equal age and identical parentage and are always dressed alike, and they are always dancers. Throughout the Rg-Veda the Maruts are referred to as "Gold bedecked dancers… with songs of praise they danced round the spring… When ye Maruts spear-armed dance, [the Heavens] stream together like waves of water." [Von Schroeder, Mysterium und Mimus, quoted by Jessie Weston in From Ritual to Romance, op. cit.]And, keep in mind that the term "spring" refers to a function of the goddess, the "lady of the lake," or the "maidens at the wells." The phrase "spear armed" dancing of course has led people to think that they are dancing with spears, but what if it means something altogether different? Anyone who has watched traditional Celtic dances is immediately struck by the stiff armed posture of the dancers who only move the lower parts of their bodies. Dancing in perfect synchrony on a wooden platform produces a soul-inspiring and thrilling effect, and we find here a system of elevation of consciousness that might produce vibratory effects not only in stone, but in the very cells of both the dancers and the audience. Add to it very specific music, utilized to amplify the energetic effects, or sound that was a RESULT of the dance, and we begin to see a very different picture of the dance of Apollo at Stonehenge every 19 years.
The owners and publishers
of these pages wish to state that the material presented here is the product
of our research and experimentation in Superluminal Communication. We invite
the reader to share in our seeking of Truth by reading with an Open, but skeptical
mind. We do not encourage "devotee-ism"
nor "True Belief." We DO encourage the seeking of Knowledge and Awareness in
all fields of endeavor as the best way to be able to discern lies from truth.
The one thing we can tell the reader is this: we work very hard, many hours
a day, and have done so for many years, to discover the "bottom line" of our
existence on Earth. It is our vocation, our quest, our job. We constantly seek
to validate and/or refine what we understand to be either possible or probable
or both. We do this in the sincere hope that all of mankind will benefit, if
not now, then at some point in one of our probable futures. Contact Webmaster at cassiopaea.com
You are visitor number [an error occurred while processing this directive] .
|
