January 19th, 2012, 01:06 PM
The story of Atlantis
I thought some might be interested in this blog piece after a discussion yesterday with Daqua and Cognito in another thread about how we've so often, in the past on the Gate, had to explain why we don't believe that Atlantis could have ever existed on this Earth and that the purpose of Plato's story was something other than recording a historical event.
There are several threads around here which make the case on historical grounds, but this is my take on it as a mythologist.
Mythologists have very good reason for not believing that Atlantis was a real place with real people, but it’s going to take me most of this article to explain why, because it means taking a fresh perspective on the extent of the wisdom of our ancient ancestors’ cosmogonic viewpoint ....and it will be a useful exercise to understand that because modern day science and cosmology is coming full circle and through quantum physics is reaching similar and new conclusions about how the universe came into being and how it is constructed and how we are integral to its very make-up.
Mythologists understand ancient myths to be allegories or metaphors for what we call, today, scientific processes, and a goodly number of these ancient myths ~ of which Plato’s Atlantis as told in his Critias and Timaeus was no exception ~ deal with the way in which our ancestors perceived how the creation of the universe continually takes place. These stories may seem naive to someone trained in Newtonian physics. But as we move into a more quantum way of seeing, we are almost coming full circle again into appreciating the wisdom of our ancestors’ cosmogonic viewpoint.
It’s also helpful to realise that these ancient myths are not set just in one world, but in three worlds. For our ancestors did not live in just one world, or one dimension, as we do today. They lived in the three dimensions, known as the Upper World, the Middle World and the Lower World.
These three dimensions are extra dimensions to this one ~ they exist on a completely different 4D time/space continuum, and in fact, there is no Time there. It was in these extra dimensions that our ancestors set their myths with great panoramic dramas played out over the 4D landscapes of the three worlds which were reflected in this 3D dimension back here by 1) the celestial spheres (the heavens) 2) Middle Earth or Midgard (the Earth plane) and 3) the Underworld or Lower World.
Norse World Tree (Yggsdrasil) ~ showing the three worlds
The Underworld was largely the portal to the 4D extra dimensions through what we call the imagination, although in this case, imagination doesn’t mean ‘make believe’; the imagi-nation is the nation or realm of images accessed through the right hand hemisphere of the brain by shamanic trance. Instead of our thoughts being in words, in the right hemisphere they present themselves as pictures and as is it always said: “A picture speaks a thousand words”, they are very effective way of carrying and transmitting information.
Creation Myths and the Milky Way
All creation myths ~ whether they are the Hebrew Genesis, the Sumerian Enuma Elish, the Edda (Norse), the first cantos of the Srimad Bhagavatham (Indian), the Maya myths and the different (but similar) Egyptian creation myths ~ are set in these three 4D worlds and they ALL start and end with a flood. The flood represents the End of Times and the Beginning of Times.
These so-called creation myths should really be called creation-maintenance-destruction myths (as reflected in triumvirate gods such as Brahma the creator god, Vishnu the maintainer god and Shiva, the god of destruction). This is because the ancients also had a holographic view of the cosmological processes, and so they showed in their stories how the microcosm within the macrocosm was continually birthing, dying and then being reborn again, from the smallest atom to the largest galaxy.
Just as at a birth of a child, when the first sign that the birth is imminent is when the mother’s water ‘breaks’ (the amniotic sac breaking causes its water to flood out), so a flood in mythology signifies creation or “a new life”. However, because creation comes at the end of a previous cosmological cycle, these mythological floods are associated with death as well as birth.
This type of cosmological model is seen in concentric circles with ever-increasing circles going out from the Earth at the centre, to represent how the whole of creation circumambulates around a pole. This is known as the microcosm within the macrocosm model. For instance, the microcosm can be represented by the neutrons, protons and electrons processing around the cell nucleus and the macrocosm can be represented by the planets processing around the sun, and even higher than that. Everything circles or spirals around some sort of nucleus. Even the universe itself forms a spiral.
The Milky Way
Beyond the circle of the sun lies the circle of the Milky Way. In Egyptian mythology, the Milky Way was represented by Hathor, whose original name, Mehturt, meant ‘great flood’. In the Norse myths, the same cosmic cow is known as Audhumbla, and from Audhumbla´s udder floods rivers of milk, which is why we call it the Milky Way.
Milking the cow Hathor, the Milky Way
The Milky Way
Releasing the waters of the firmanent
In ancient myths, it is usually the Hero who releases the waters of the firmanent, or the flood of milk, from the grip of a sea serpent, at the end/beginning of a cycle, so that this birth/death or creation/destruction can take place at the end/beginning of a new Age. So we have a number of storms gods battling serpents such as Zeus and the Typhon, Indra and Vritra, Marduk and Tiammat, and Thor and the Midgard/Serpent or Jörmungandr.
Thor goes fishing for the Midgard Serpent/Jörmungandr
In Norse mythology, this meeting between Thor and Jörmungandr takes place at Ragnorak, which is the name of the Norse Apocalypse or Armageddon, another word for End of an Age. (That Ragnorak comes at the end of a precessional cycle we know from the numbers which are used, but I won’t go into them here as it will mean digressing too much.)
Pillars of Hercules
Next we must deal with the Pillars of Hercules, beyond which, according to Plato, lay the land of Atlantis. There are two pillars of Hercules, and they guard the gate or portal to the other extra dimensions. These two pillars are used as literary device to indicate that the hero (Hercules or Ulysses) has left the everyday world when he goes through them, in the same way today we use the device of: “Long, long, long ago, deep in the mists of the time.” This is a signal to the listener that they will need suspend their judgement because they will be entering another world with different rules. This ‘other world’ is known in mythology as the Underworld.
In the Renaissance, the two pillars were said to bear the legend: Nec plus ultra (also Non plus ultra, “nothing further beyond”), which was the equivalent of “Enter at your peril” for sailors and navigators.
In Dante’s Inferno, we see Ulysses justifying risking his crews’ lives by going through into Nec Plus Ultra or the Pillars of Hercules by insisting that it is the true explorer who dares to venture where others fear to tread in the quest for knowledge. After passing through the Pillars of Hercules, and after a further five months at sea, Ulysses sights the mountain of Purgatory. Purgatory, as we know, is not in this world and therefore we can rationalise that neither are the Pillars of Hercules which Ulysses has to go through to reach Purgatory.
Jason also has to pass through the two pillars of ‘clashing rocks’ (the Symplegades) in his quest for the Golden Fleece, another mythological item.
We see these two Pillars of Hercules again and again in religious iconography, for instance, showing up in the Temple of Sol-Ammon as Boaz and Jachim. We see them at Tyre, Byblus, Paphos, and Telloh. In shrines dedicated to Astarte, they are represented by the two ash trees standing guard either side of the doorway. We can also see them in the Sumerian tale of Adapa as Tammuz and Gishzida who guard the gateway to Heaven.
Tammuz and Gishzida
The original pillars of Hercules once stood in a temple in Tyre, Phoenicia, and were said to contain the Emerald Tablet composed by the Egyptian high priest and alchemist, Thoth, and upon which were written the secrets of the universe, encapsulated in: As above, so below.
So I believe that we are wasting our time looking for the Pillars of Hercules in the sea … any sea, whether the North Sea or the Straits of Gibraltar…. as much as I believe we are wasting our time looking for a real lost land of Atlantis, even though there were surely inundations of huge tracts of land which were submerged following Ice Ages and comets, and then ‘rose’ again when the water again became trapped in glaciers.
But the inundation of Atlantis itself is just another creation-destruction myth, a death-rebirth myth, a tale of the amniotic sac bursting, dying, to release the waters heralding new life, and this process never ends. Atlantis is continually being drowned and rising again in the life-death-rebirth going on around all the time, at every level. Every night, Atlantis goes under and then rises up again. With each daily cycle, the Milky Way seems to move around the Heavens and also throughout the year, it appears to undulate, to go up and down like a serpent, because of the tilt of the Earth. And it is also seen as a continual fertility dance of the male Father god and the female Mother god, who the ancients visualised as simulacra in the Milky Way ~ with their never-ending dance of life, death and rebirth.
The best books for understanding how ancient mythology carried allegories about astronomy are Hamlet’s Mill by Giorgio de Santillana and Hertha Von Dechend and The Secret of the Incas by William Sullivan, both of which are available to buy in the Mythology section of Ishtar’s Gate Library.
Last edited by Annie Dieu-Le-Veut; January 19th, 2012 at 01:13 PM.
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January 20th, 2012, 02:01 PM
Actually, its a tad bit more complicated than that, and even more complicated within the structure of the eddas . . . .
The poem which concerns Ragnarok is the Voluspa, which is actually the prophecy of a wise woman possibly risen from the dead.
Here's the poem itself –
To grossly oversimplify, it could be characterised as the violent end of one age of Gods & Men, and the beginning of another, fairer time.
BTW, the page posted is just one of a complete translation of the Eddas which can be accessed from it, if you really want to tangle your head for days . . . or years.
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November 8th, 2013, 10:56 PM
Thanks so much for the post.
I find the Pillars of Hercules particularly fascinating; Yes a literal device or symbol representing the portal between worlds. Twin towers springs to mind whereby the (majority of) people suspended their belief to be fed the "official" story of the government. Trauma can do this to the human psyche; an effective method for mind and emotional control
The classic proscenium stage (two columns) also has this effect- suspending one's belief system to enter the world of the "play". Shakespeare's stage had two columns (designed by Freemason and astrologer, John Dee)>High ritual.
I do feel mythology is "real", however, and places like Avalon, Atlantis did exist and manifest.
The world of mythology (symbol) vibrates differently to physical 3D.
But it is also present if we have eyes to "see"/
(hope this makes sense. challenging to construct my thoughts into words)
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Teji Sandhu (November 9th, 2013)
November 9th, 2013, 12:22 AM
I'm afraid this is a bit to woo woo for us, starlight. We do require evidence for statements like "Atlantis did exist", and there is none in the archaeological record. The backbone of this forum is what we know about our earliest ancestors gleaned from the archaeological record. In other words, we're very strong on archaeology on here, as opposed to other forums which don't have that level of expertise in the subject. Archaeology requires hard evidence to support its contentions and this evidence is found in the fossil record.
As you say, the classic proscenium arch on stage was a visual cue to suspend disbelief. This is fine for a theatre or for a movie, where we can choose to believe what we like. But to suspend our disbelief in the context of historical research is dangerous, because we would then fall straight into the hands of disinfo and psy-ops - the CIA-Hollywood Military Industrial Cinema Multiplex - that encourages us to just believe in which ever science fiction story they want us believe. The music industry is used in the same way. Someone recently sent me this message on Facebook about his views about Atlantis:
The civilization of Atlantis did exist, and the 5th and 6th subrace (around 1 million years ago), utilized and had a clear understanding of using crystal technology for transport citizens(like the Jetsons) throughout the continent. Much of this evidence is buried in the earth's mantle. So many clues. Listen Donovan, Led Zep, and Blue Oyster Cult. They are telling of hidden knowledge and ageless wisdom.
The above is straight out of Madame Helene Blavatsky's Isis Unveiled, which was pure channelling (banned on the Gate).
This kind of mind programming through a kind of false mythology has been going on ever since L Ron Hubbard put together a back story for the human race which they've been pushing in recent years, on the internet, through various channellers and so-called researchers who really don't warrant that title like Michael Tsarion, about aliens attacking Earth from space. Hubbard was a CIA operative and his main aim with Scientology was to get famous and influential people to tell the truth to his Dianetics machine so that they could be blackmailed with their personal revelations.
There are plenty of forums where you could happily discuss Atlantis without having the forum owner come down on you, but I'm afraid this isn't one of them. I am extremely vigilant about protecting independent critical thought in which we make up our minds based on the actual evidence available to us, to support the where, why, how and when of a theory.
Otherwise, we could all just be Michael Tsarion and just make it up as we go along! The CIA would love us, and we would be a very busy forum with hundreds of disinfo schills all chatting away merrily to each other, as they do on Project Avalon, David Icke's forum and Godlike Productions and so on.
This might make us seem a bit boring.. but that is far from the truth. As with Yuri's work on the fake enchantments of Avalon, we need to clear away all this dross and cheap tinsel so that the real truth about who man really is can shine through, and that is pretty amazing... much more amazing than whether or not a race of people lived on Earth at a particular time. I'm talking about the experience of multi-dimensional journeying via shamanic techniques. But you need to have your feet on the ground on Earth, in this dimension, first.
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Vinchenz (November 9th, 2013)
November 9th, 2013, 12:49 AM
Point taken. Thanks for explaining, Ishtar and I can well understand your need for vigilance. Indeed, I have no substantial proof to make such claims!
Archaeology requires hard evidence to support its contentions and this evidence is found in the fossil record.
ok. got it....a little ironic given most of the land mass with fossils and artifacts is under-water!!!
but would you say shamanic experiences are subjective impressions and not necessarily provable?
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Teji Sandhu (November 9th, 2013)
November 9th, 2013, 12:55 AM
I hope you don't feel disheartened by my post, starlight, because I think you were somewhat groping towards the shamanic experience with this, at the end of your post:
It's a question of dimensions. The shaman journeys across multiple dimensions and although his or her impressions are experienced subjectively, they are also eminently repeatable across cultures worldwide in that they journey within the same cosmology of the three worlds or dimensions - the Upper World, the Middle World and the Lower World. Therefore it's not just 'in their imagination' and can be approached with scientific rigour. I wrote this post for Cartomancer yesterday, but you might also find it helpful:
Originally Posted by starlight
What we discuss on Ishtar's Gate is not the difference between faith and science.
Faith is based on a belief system. For instance, you can choose to believe in a God, or not. It's entirely a matter of faith. But there is a very particular experience that is gained through the shamanic techniques that is pretty well common to all who are trained properly in how to use them. In this way, you could say that the experience of journeying via trance into other dimensions is verifiable because it's repeatable.
There's a book by someone called Mircea Eliade called Shamanism: Archaic Techniques of Ecstasy. There's nothing New Age or hippyish about it. He was the Professor for the History of Religion at Harvard, and he published it in the 1950s, but the scientifically verifiable content goes back even further than that. The whole book consists of masses of previously unpublished reports by anthropologists worldwide about what they'd observed about shamans, in tribes all over the world at the end of the 19th century. And why Eliade decided to collate these reports into one work is because they showed one thing: although these reports were from different anthropologists working with different tribes in different countries all over the world, there was a massive amount of commonality in what they were reporting. This is because the shamanic experience is real and although there were, and still are, local variations in the rituals attending the practice, the actual experience gained by the shaman going into shamanic trance was, and remains, remarkably similar and is repeatable, even today.
So this is not faith; it is experience and that experience remains surprisingly consistent wherever in the world it is practised. Those that are trained properly and taught the proper protocols will testify to that same experience. It is a disciplined approach to visiting other dimensions in an out of body experience and gaining guidance from the entities one meets there.
If you've ever had the chance to read our Mission Statement, you will realise that that's what Ishtar's Gate is all about... to explore the spirituality (shamanism) of our ancient ancestors through archaeology, anthropology and any other relevant disciplines.
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November 23rd, 2013, 05:10 PM
On the 50th anniversary of his assassination by the CIA, I've just come across this quote from JFK which I think just about sums up the problems that exist with the belief in a literal Atlantis (and with any other religion).
"The great enemy of the truth is very often not the lie -- deliberate, contrived and dishonest, but the myth -- persistent, persuasive, and unrealistic. Belief in myths allows the comfort of opinion without the discomfort of thought."
I would slightly amend that, for clarity, to .....
"The great enemy of the truth is very often not the lie -- deliberate, contrived and dishonest, but the myth -- persistent, persuasive, and unrealistic. Belief in myths, as literal history, allows the comfort of opinion without the discomfort of thought."
Mind control is often carried out by turning mythical heroes into literal heroes - take, for instance, the biggest and most successful psy-ops campaign of all time, Christianity, and the Roman Emperor Constantine didn't even have television or the internet to wage it.
However, I've put Kennedy's quote in this thread because 'the comfort of opinion without the discomfort of thought' seems to afflict believers in a historical Atlantis, and it might be why the topic keeps persistently resurfacing on this forum. Despite copious evidence being presented here to the contrary, many still cling to the unrealistic and romantic idea of Atlantis as a real place that once existed somewhere deep in the soft focus, dry ice machine, fluffy, pink mists of Time, and they can't be persuaded to let go of that comfort blanket.
What I find is, though, that most of them have never read the original source literature by Plato, contained in two of his writings, Timaeus and Critias, which are dialogues between Socrates and his students Timaeus, Critias and Hermocrates. I have read these dialogues, and so I know that even the most cursory of readings - without any prior knowledge of alchemy or sacred geometry - would stop the dry ice machine dead in its tracks.
Plato tells us that Atlantis was the domain of the god of the sea, Poseidon, (also known as Neptune to the Romans). He says that when the god of sea, Poseidon, fell in love with a mortal woman, Cleito, he created a dwelling at the top of a hill near the middle of the island and surrounded the dwelling with rings of water and land to protect her. Cleito gave birth to five sets of twin boys who became the first rulers of Atlantis, one of whom was Atlas, another god.
So for us to believe that Atlantis was a literal place in history, no matter how dim and distant, we will also have to believe that there was a time when the gods walked on Earth.
I can understand, though, how this misunderstanding came about. Socrates was what we call a shaman - he used to stand for hours, apparently, communicating with the gods/spirits. Thus the story of Atlantis is a story spread across the Three Worlds, as most myths are and, at the time of Plato, this would have been understood... without causing any discomfort of thought.
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December 2nd, 2013, 02:20 AM
I've just dug this one out of the vaults. It's the late great Gerald Massey's explanation for the metaphorical story of the Deluge as told by the ancient Egyptians to Solon, who told it to Plato who then wrote it into Critias and Timaeus as the story of Atlantis. I think this will also be of interest to people wondering about all the sevens in ancient texts, as you can see here where they come in ancient Egyptian mythological thought.
So this is from the excellent and much derided (by people I don't like) book, Ancient Egypt, The Light of the World by Gerald Massey (1828 - 1907).
by Gerald Massey
At first sight, the general effect of the innumerable deluge-legends is to suggest the existence of a primitive kind of catastrophobia resulting from fear of the water-flood. The arkite symbolism originated in the mount and tree, the cave or enclosure being a natural place of refuge when the waters were out upon the earth; and these were followed by the raft, the boat, or ark that swam the waters as a means of human safety. Before the legends of a deluge could have been formulated, the deluge as an overwhelming flood of water had become a figure used in sign-language to express the natural fact in a variety of phenomena to which the type might be and was applied. It is expressed in English still by what is termed 'a flooding.' But a deluge is not only an overflow of water. There is a deluge of blood (both Egyptian and Polynesian). Night brings its deluge of darkness, and dawn lets loose the floods of day.
The so-called deluge-legend comprises a hundred legends and a hundred applications of the same type, from one single origin in sign-language as the primitive mode of representing a fact in nature. The deluge is universal because it was not local. The human race spread out over all the earth would not have been greatly troubled about an excessive overflow of water once upon a time in Mesopotamia. The legend is coeval with all time, and current amongst all people, because the deluge did not occur 'once upon a time.' On the grand scale it was the mythical representation of the ending and submergence of an old order of things in the astronomical mythology; but there were various distinct deluges with that meaning, and not merely one.
The Egyptian deluge in the so-called 'destruction of mankind' is described as continuing for three nights and days. The time is measured by three days' length in navigation through a deluge of blood. Now, three nights and days is the length of time that was computed for the monthly absence of the moon in the netherworld. Hence there was a deluge of darkness on that scale in mythology. But the deluge occurred in at least four categories of phenomena. There was a deluge of blood and a deluge of darkness, as well as a deluge of water. There is also the deluge that was a type of periodic time; and by no black art of bibliolatry can these four kinds of deluge be combined in one.
A deluge being an ending of a cycle in time, we can understand the language of the Codex Chimalpopoca concerning the flood, when it says, 'Now the water was tranquil for forty years plus twelve.' 'All was lost. Even the mountains sank into the water, and the water remained tranquil for fifty two springs.' In this account, the well-known Mexican cycle of fifty two years is measured by means of a deluge at the end of the period. In inner Africa the year was reckoned by the periodic great rain; in Egypt by the inundation; and a deluge, we repeat, became the natural type of an ending in time in the uranographic representation. In India, a solar pralaya, in which the waters rise till they reach the seven Rishis in the region of the pole, is of necessity kronian, and applies solely to the keeping of time and period astronomically. The Assyrian deluge is described as lasting seven days. This agrees with the seven days' silence in the Wisdom of Esdras, by which the consummation of the age, or ending of the period, was to be commemorated 'like as in the former judgments,' deluges, or endings of the cycle or age in time. The flood of Noah is on the scale of the year or thereabouts. The deluge of time, as it was called by the Chaldean magi, is a breach of continuity, a phase of dissolution. It was a period of negation that was filled in with a festival as a mode of memorialising the dies non or no time. It was a condition of the lawlessness of misrule, of promiscuous intercourse, of drunkenness, that characterized the saturnalia by which it was celebrated.
There is a Kamite prototype in 'the destruction of mankind' for the woman who is the reputed cause of a deluge in the Egyptian mythos. This is Sekhet the avenger. She is the very great one of the liquid domain. No one is master of the water of Sekhet, which she lets loose as an element of death and destruction. She was the great mistress of terror in fire and flood. In 'the destruction of mankind' it is said, 'There was Sekhet, during several nights, trampling the blood under her feet as far as Heracleopolis.' Ra, the solar god, 'ordered the goddess to slay the evil race in three days of navigation.' 'And the fields were entirely covered with water through the will of the majesty of the god; and there came the goddess (Hathor) in the morning, and she found the fields covered with water, and she was pleased with it, and she went away satisfied and saw no men' (i.e., none of the exterminated evil race). This is a form of the Egyptian deluge designated a great destruction, but with no earthly application to the human race. In the African legend relating to the origin of Lake Tanganyika, that was told to Stanley by the Wagigi fishermen, it was a woman, to whom the secret of the water-spring had been entrusted, who was the cause of the deluge. Possibly this woman was the earth as mother of the waters, seeing that Scomalt is the earth-mother of the Okanagaus, and that she also was charged with letting in the deluge. Scomalt is a form of the primordial genetrix, equivalent to Apt in Egypt. Long ago, they say, when the sun was no bigger than a star, this strong medicine-woman ruled over what appears to have become a lost continent. Her subjects rose against her in rebellion. Whereupon she broke up the land, and all the people but two met with their death by drowning. A man and a woman escaped in a canoe and arrived on the mainland, and from this pair the Okanagaus are descended.
A starting-point in various deluge-legends is from the world all water. This originated with the firmament as the celestial water that was called the Nnu, or Nun. Now one meaning of the word nun in Egyptian is the flood. Thus the water of heaven is synonymous with the deluge. In one aspect the deluge, as a figure in the sign-language of the astronomical mythology, was a mode of representing the sinking of the pole in the celestial ocean which was figured as the world of water. This is the world all water in the legendary lore. The flood upon which Jehovah sat as king was no other than the firmamental Nun. So the throne of Osiris was based upon the flood, that is upon the Nun. In the vignettes to the Ritual, Osiris sits upon the throne in Amenta as the great judge and ruler, and his throne is 'balanced' as it is described, upon the flood. Water being the primary element of life, it was also based on figuratively and Osiris with his throne resting on the water takes the place of the earlier Nnu, or later Noah, resting in his ark as master of the deep. Nnu was god of the celestial water. The wateress in one form was the goddess Nut. This, then, and nothing short of it, is the root of the matter when, as in the Navajo-Indian legend, certain persons, who are so often one female and one male, make their escape from the overwhelming waters by climbing up a reed to the land of life which, as a land of reeds, was the primal paradise, or the fields where the papyrus was in flower above the waters of a universal deluge, as represented in the veriest dawning of mythology.
We have to learn the sign-language before we can understand the nature of mythology. When it is said that Horus inundates the world like the sun each morning, that is with the light as the deluge of day. There is a white water and a black, equivalent to the white bird of light and the black bird of night, as opposite figures of Sut and Horus for the dark and the day. The evil Apap, who drinks the water cubit by cubit at each gulp as the sun goes down, is slain by Horus at daybreak, when he once more sets free the waters of light which are designated the waters of dawn. In like manner, the waters of day rush forth when Indra slays the serpent of darkness, who was thought of as the swallower of the light water of heaven. Osiris is called the 'overflower,' the 'great extender,' the 'shoreless one,' who in this imagery of the deluge 'brings to its fullness the divine force which is hidden within him.' Thus, in continuing the primitive mode of thinging the concept, Osiris is the water-force personified, instead of being represented as a crocodile, which was also one of the primal types of water.
The meaning of the word 'Atlantis'
To identify the deluge-legend in Egypt, you must know how to look for it; no use in peering through the Semitic spectacles. The legend of Atlantis retold by Plato in Timaeus was Egyptian, and no doubt with the legend came the name of lost Atlantis, transliterated through the Greek. As Egyptian, the word atr = atl has several meanings in relation to water. Atru is the water, the water-flood, the water-boundary, limit, measure, frontier, embankment. Egyptian in the early stages had no sign of the letter l [el]. But by substitution of the later letter l for r the word atr becomes atl, the root of such names as Atlantis and Atlantic. With this change of letter the Atarantes of Africa become the Atalantes. The word antu or anti signifies a division of land. Thus Atlanti, whence Atlantis, as a compound of two Egyptian words, denotes the land divided by the waters, or canals of water.
Now the earliest nuit or nomes of Egypt were seven in number, and these were seven territories marked out, limited, and bounded by the atlu (atru) as river, canal, conduit, or water-boundaries. In the valley of the Nile, the land was bounded first by water as the natural boundary, and seven nomes would be enclosed by seven atlu, long before the land limit was marked out by the boundary-stones or stele. And atl-antu, we suggest, is the original for the names of Atlantis and the Atlantic Ocean. It is noticeable that in the [Meso-American] Nahuatl vocabulary, atl is also the water name, and that atlan denotes the border or boundary of the water. Atlan thus becomes a name for the mound, island, or tesh that was placed as a limit to the water in Egypt. This would be the land of Atlan, as we find it both in Africa and America. There were seven such water limits to the land in Egypt when it was divided into seven nomes. And seven astronomes named after these become the seven islands of the lost Atlantis, which sank in the celestial waters, the heptanomis of the seven lands below having been repeated in the mapping out of heaven in seven astronomes.
The heptanomis above, like the one below, was formed of seven lands that were divided by the seven waters, canals, or atlu (atru), and both together constituted the Atlantis of uranography, the only one that could ever be lost by the celestial waters overflowing the celestial lands. The seven rulers of the astronomes attained the status of divine princes in the celestial heptanomis. And among the nomes of Lower Egypt we find the name of the Prince of Annu; the nome of the prince of Lower Egypt; the nome of Supti (Sut); the nome of Samhutit (Horus); the nome of Sebek; the nome of Shu; the name of Hapi. Here then, if anywhere on earth, we find a geographical prototype for the Atlantis that was lost in seven islands, according to the records kept by the astronomers, which are preserved in the mythography.
Among the many types of the heptanomis and its septenary of powers and stations of the pole may be enumerated: A mount with seven caves; seven islands in the sea; the seven-headed serpent whelmed beneath the waters; a tree with seven branches; a fish with seven fins; a pole with seven horns; a cross with seven arms; the seven supporting giants; the ark of seven cubits; the boat with seven Cabiri on board; the group of seven cities.
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Timeless (December 2nd, 2013)