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Thread: The Real High History of the Holy Grael

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    Default The Real High History of the Holy Grael

    In the days of old, far back into the mists of time, roaming storytellers would turn up at villages with rolled up mats which they would unfurl and spread under a huge and rambling tree, as if to announce their arrival. Long before cinema, television and even writing, let alone the printing press, news that the storyteller had set up his mat would spread fast and wide, and a ripple of excitement would be on the breeze in anticipation of rivetting entertainment to come.

    But the storytellers’ mat is also interesting as a metaphor. When you start to examine the underlying stratas of meanings contained in myths, you soon realise that you need an archaeologist’s trowel, because what you find in these stories is actually a pile of mats, overlayed, one on top of the other, that need to be excavated to get to the original.

    Countless priests, popes and princes have long co-opted the sacred lore, which was contained within allegories in these orally-transmitted stories, and rewritten them with their own characters and twists to the plotlines, to give themselves a back story to justify their own political agendas or reigns. And so the ‘mats’ can often represent a chronology of politically expedient overlays, and the stories about King Arthur and the Holy Grael are no exception.

    There is no evidence of Arthur ever being a king of Britain, but British royal bloodlines feel they need to claim him for their legitimacy. This is how the original meanings of the old stories about Arthur and the Holy Grael have long been buried from our sight. Even today, ruling monarchs must have the name of Arthur somewhere on their birth certificates, such as Prince Charles Philip Arthur George, the present king-in-waiting.

    The legacy of Arthur and Holy Grael, in this respect, has become just another power object to fight over, like the Ark of the Covenant or the Temple Mount.

    However, for the excavating mythologist, another meaning for the Holy Grael begins to emerge, once you’ve dug under the first few mats, and that’s what I intend to write about here.

    At first, it seems to be impossible to make any sense of the official history of the mythology of the Holy Grael, with competing manuscripts such as The High History of the Holy Grael vying with Chretien de Troyes’ seemingly earlier, courtly Arthurian romances of the 12th century. So nobody’s really sure. But what is fairly evident is that all of the stories seem to come from one humungous labyrinthine Gordian knot of a Celtic/Gaulish motherlode.

    Which can be a little scarey… at first… but….

    Here’s what author Mary Caine has to say on the subject,

    “On first entering the twilight zone of the Celtic gods and heroes everything seems strange, vague and impalpable. The unfamiliar shadows enlarge to giant proportions, shrink to dwarfs, and are never still long enough for us to make them out before they undergo Protean changes of character and form, become inextricably intertwined, dissolve and reform elsewhere.

    “To read Celtic myth for the first time is like trying to decipher the dynamic maze of ornament on a weatherbeaten Celtic cross in an weatherbeaten thicket after sundown.”

    However, we needn’t despair because a Rosetta stone is at hand.

    “But when the eyes have grown used to the half light , certain features begin to clarify: the original extravagance, the restless shape-shifting, resolves itself into an orderly Dance of the Hours; the ritual motion of the sun through the houses of the Zodiac.

    “Only then can we hope to reduce this formidable rout to order: first to the twelve aspects of the sun in his daily and yearly path, then to the ubiquitous Trinity of Father, Mother and Son. True, each of these has a bewildering number of names, but we must blame this on Time itself, for the history of the Celts is as long as that of the Jews.”

    From her writings, its plain to see that the discoverer of the Glastonbury Zodiac, Katharine Maltwood, and also Mary Caine who has so brilliantly carried on her work, could identify the bones of the old Celtic myths poking through in the names of the locations of the giant star shapes mapped on to the ground.




    Katharine Maltwood goes so far as to say that the giant effigies in the land would never have been discovered if it hadn’t been for the 13th century High History of the Holy Grael. She says:

    “On that last page, we read: ‘The Latin from whence this History was drawn into Romance was taken in the Isle of Avalon, in a holy house of religion that standeth at the head of of the Moors Adventurous, there where King Arthur and Queen Guinevere lie,’ for the King is one of those cosmic deities upon which every pilgrim who climbs Glastonbury Tor looks down for, but can no longer distinguish.

    “The author of another version, called La Queste del Saint Graal, though apparently not familiar with the locality, is more explicit concerning the adaptation of the old stellar religion to the new. For instance, he says, ‘When the sun, by which we mean Jesus Christ,’ and again, in Sir Lancelot’s dream, he speaks of the ‘man surrounded by stars’ the man who came down from heaven came to the younger knight and ‘transformed him into the figure of a lion and gave him wings’.

    “Here is strongly suggested the blending of the old and new, the Zodiacal Leo combined with the winged lion of St Mark. Thus the pre-Christian stories of the stars were adapted by later chroniclers and interwoven with the Christian Grail legend.”

    From that, it becomes clear that the Holy Grael appears to have been blended with the Celtic myths about Arthur, which were, in themselves, part of the mythology that was used to teach adepts astronomy and astrology, both prior to Christianity and possibly for hundreds of years afterwards in this part of Britain where Celtic Christianity remained in charge, in one form or another, turning up its nose at Augustine, and possibly right up to the Reformation.

    We believe that Arthur must be pre-Christian because the stories about him are well, pagan! (I don’t really like that word, but stories about sun gods and zodiacs sit uncomfortably in a Roman Christian world.)

    Arthur doesn’t appear in the four branches of the Welsh Mabinogian, but he does in older myths such as Kylhwch and Olwen, along with Bedivere and Kay (Caigwyn). He’s also the archetypal sun god that harrows hell in Taliesin’s tale, Preiddu Annwn.

    Arthur in the Glastonbury Zodiac
    According to Anthony Thorley, who’s doing a PhD in the subject, there are more than 80 huge landscape zodiacs worldwide. But it would appear to most that the Round Table at Glastonbury has more recognisable landscape features that appear in the Arthur legends and not just the Twelve Knights of the astrological houses.

    Arthur’s Glass Boat is there, and the Whale which swallows Arthur and disgorges him, like a death-rebirth deity, after three days. The maimed Fisher King appears, and the Dragon (the pole star Draco, in the centre) is fought, like many a sun god hero before him, by Arthur.

    The Pennard Hills (‘Arddur’s hill-top) follow the line of the horse of Sagittarius (Arthur as the old and fading sun king) and its tail is found at Arthur’s Bridge. In this figure (below) he can clearly be seen being dragged from his horse, and then he will sail in his Glas boat (Ark or Argo, into the Underworld), to harrow the chains of “hell” and free humanity. Surely Arthur’s Glas boat is a reference to the Glastonbury Zodiac?




    Arthur’s dog, Cabal, is the Girt Dog of Langport (just outside the circle) with his shiny nose at Burrow Mump mirroring the dog star, Sirius, on to the red clay artificial mound which is pierced by the sword of the St Michael leyline.

    The Girt Dog of Langport has burnt his long tail
    And this is the night we go singing wassail!
    Old Somerset Wassail song





    On certain auspicious nights, Arthur and his hounds can be heard in the winds, hunting the souls of the dead across Glastonbury Tor, the original Caer Sidhi, or Spiral Castle with its labyrinth-like pathways, belonging to Arianrhod of the Silver Wheel.

    The story of Lancelot’s escape from the griffons and lions at the Castle of Griffon into the orchard where he meets “a charming damsel” is depicted by the course of the river Cary, which according to Mary Caine..

    “…draws Griffon, Lion and Virgin, passing Canis Minor’s head (the little dog) at Littleton on the way. Is it another coincidence that the Griffon’s eye is named Decoy Pond?”

    In the High History, it is actually Perceval’s sister who is the Damsel Virgo that warns Arthur of the ‘lands perilous’ before he approachs Draco, the dragon, at the centre of the zodiac.

    Mary Caine equates Perceval with Aries (spring), Lancelot with Leo (king of high summer), Mordred with Scorpio and Galahad with Capricorn. The figure for Capricorn has one horn, just like a unicorn. This gives us the Lion in the south, and the Unicorn in the north, the traditional guardians or gatekeepers either side of the circle.

    Arthur reigned supreme in Glastonbury folklore until the time of King Henry VIII, who replaced that story with another … that of Joseph of Arimathea, Jesus’s tin merchant uncle who, upon arrival in Glastonbury with the resurrected Jesus, was granted 12 hides of land. Even the writers of Dallas would have had a hard time in pulling that one off!

    “Oh, but you told us he was dead!”
    “No, you dummies! Don’t you know the meaning of the word ‘resurrected’?”.

    Henry VIII needed Arthur ‘dead’, to keep the Welsh subdued, and also in Joseph’s arrival in Glastonbury before the Roman Church had even invented Christianity, it gave him a greater claim to an older form of Christianity, thus keeping Rome out out of his love life! And so another solar hero walked “upon England’s green and pleasant land” ~ one with Middle East blood. And once again, the older Celtic storyteller’s mat is overlain with another.

    But anyway…

    So what does it all mean? Why is there a zodiac on the land around Glastonbury and why was star lore so important to our ancestors?

    I’m written more extensively about this elsewhere. But the short answer is our ancestors honoured the principle of ‘as above, so below’, not just because it was a nice, fun thing to do, but because they understood the astrological principles that governed the dance of the hours of man. These are real forces; they are not imaginery. However, we have been encouraged not to believe in this lore anymore, and we are the poorer for it.

    As Mary Caine says:

    “Today we’re taught to deride the study of astrology as irrelevant to our course, but what mariner ever came to port safely without a knowledge of the winds, weather, tides, currents, and above all, the stars?

    You could almost say that the Holy Grail could be a metaphor for the treasure of this occult knowledge that is found by the Questor, or questing knight, when he or she uncovers the meaning of the zodiac in their own life. In other words, it’s a spiritual treasure ~ not the treasure that’s stored in the heavens of the Christians, but the treasure stored in the Earth below for man, who belongs to the Earth.

    What this Holy Grael really means will be individual for each questing knight. It’s not the sort of knowledge that renders itself to a homogenous meaning and so it’s useless to religions that want to bind us and control us into one belief system.

    Walking the Glastonbury zodiac, as I have begun to do recently, is an experiential path of self discovery and what I experience subjectively is almost entirely due to the timing of the second, minute, day, week,month and year in which I was born. The stars were in perfect alignment then for the birth of one such as myself, as they were when you were born too. We are all individual star fields with our own stories that are ours to unravel, and ours alone.

    However, we can’t wait for the politicos to leave these stories alone before starting to explore their real meaning. We can’t wait for mainstream media to pick it up because they never will. The history documentaries are not there to enlighten us. They are transmitted purely to give us the next back story that our rulers want us to believe, and already I’m seeing signs of the next twist in the tale.

    It was under the Plantagenet kings that the so-called skeleton of “Arthur” was “accidently discovered, buried” in Glastonbury Abbey ~ which is ironic since the bones of the last of that line have recently been excavated from under a car park. However, the Plantagenets were also known to be linked to the Templars, the “guardians of the Grael”.

    We’re being told that the history of Richard III is now to be rewritten, to show him in a more favourable light. Is it that the New World Order intends to reinstall the Plantaganets with their claim to the Holy Grael over the decadent and dissolute Windsors? If they do, once again, the stories will change… for the purposes of mass hypnosis and crowd control.

    But the Mysteries will remain forever, like Chronos, the keeper of Time, just waiting for the Questor to unpile the story mats, once again, and unravel their true meanings.


    Further Reading

    The High History of the Holy Grail by Anonymous
    Guide to Glastonbury's Temple of the Stars by Katharine Maltwood
    The Enchantments of Britain by Katharine Maltwood
    The Glastonbury Zodiac: Key to the Mysteries of Britain by Mary Caine
    The Mabinogion translated by Sioned Davies


    Last edited by Ishtar Babilu Dingir; February 5th, 2013 at 03:35 PM.
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    Very interesting Ishtar. The more I read about the stars the more I realize I need to begin studying them !

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    Thanks, Siobhan. Yes I agree with you on that. I've only just begun this last year myself and already, I'm getting so many Aha moments!
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    If Arthur is a symbol of the zodiac then the Grail, instead of being a cup, must be a tool, concept, or technique for discerning the movement of the zodiac, such as the precession from one sign to the next.

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    It could be, Tim.

    Good point!

    Do you mean something like Crichton Miller's Celtic Wheel Cross?

    He's convinced that ancient Middle Eastern astronomers used it and makes quite a good case for it.

    crichton4.jpg

    This instrument can tell the time, find latitude and longitude, measure the angles of the stars, predict the solstices and equinoxes and measure the precession of the equinoxes. The instrument can also find the ecliptic pole as well as the North and South poles, it can make maps and charts, design pyramids and henges and, when it is used in combination with these observatory sites, can record and predict the cycles of nature.
    What is this ancient icon that all humanity sees daily and does not recognize? It is the cross.

    A form of the cross is on all Christian churches and many gravestones; it is in literature and song and can be seen hanging round the necks of the faithful all over the world. The teachers of the Christian faith use it, kneel before it, wear it as part of their raiment and yet they do not recognize it for what it is.

    The cross is a maritime treasure trove of wisdom and it was likely a vital tool for constructing and designing the pyramids. Crichton has discovered the remnants of a cross hidden by the House of Amen in the Great Pyramid of Khufu at Giza. This amazing cross is capable of measuring angles to an accuracy of three arc minutes.

    Crichton proposes that the cross is much older than the pyramids since it is also responsible for the construction of Neolithic henges in Europe that predate the pyramids by thousands of years. He has also found that this knowledge was rediscovered and kept secret by the Knight Templars and other "secret societies" throughout the Middle Ages.

    This great secret probably led to the destruction of the Amerindian civilizations at the hands of the Conquistador when they found them measuring the stars with a form of the cross, called the Staff of Power by the Maya.



    To show the comparison of this ancient technology, please look at the photograph of a Celtic cross [pictured above] in the graveyard of Crichton Churchyard, near Roslyn Chapel in the Scottish borders.

    You will see that the cross forms an upright with cross bars set at 90 degrees to each other. In the center of the cross is an object that looks like the hub of a wheel.

    According to Crichton, our ancestors never designed things without purpose and the first purpose of using stone, as a medium, is that of preservation. The second consideration the ancients had was to incorporate and preserve important knowledge for their descendants. In keeping with the concept of not casting pearls before swine, they hid esoteric messages in certain images that they carved so that future seekers could find what he or she was ready to understand.


    From The Working Celtic Cross

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    Ahbeejayzuz, all these astrology references poking their heads outa the woodwork like hungry worms......the 10k old Irish 'book' was a good yarn, the origins of Satan (on which, I have some reservations about the astrology references within, but, am tired of playing the devil's advocate ) and many more down the line, but, now, this......following the conflab we had about this matter of the Glasto-zodiac, I wondered if you'd be posting, and.....

    ....in a word Ishtar, beautiful!

    Love the metaphor and, yes, the storytellers mat is many layered, but, then it always was, even before the devo's, sorry, devotees of the cross were corrupting the order in which those layers were stacked, adding to them, hiding others and turning some of them upside down.......

    .......as I see it, if the metaphor is to be understood in the light of the grail, the grail as an object is a decoy and is confused with and by 'the chalice', and its symbolism - the chalice notion here is kindred with 'the sword', is a living symbol, whose 'life force' is the empowering object of the quest, is more akin to the grail, and, like the sword, can only be wielded by one for whom 'the stars' have come alive within (which could also relate to being married to the land,the sovereign role annually renewed) - that 'life force' is not unknown to the shamans......but, as 'the grail' is saturated with the living intelligence of the universe (it should better be 'the worlds' - ie. the primary layers, also not unknown to the shamans), which if directed wisely and with knowledge, manifests the diamantic cutting edge of that intelligence, is and remains essentially of the spirit(s)....

    ...but, this is merely a personal reflection and your own knowledge of the environs around Glasto is far greater than mine.......so, I think you are on a hot trail, but, it is the quest for the grail that leads them that seek it to that 'as without so within' realisation, and, as is implied by Anthony's findings, is not confined to one geographical location.....the grail is everywhere.....'hidden in plain sight', perhaps one might say - which itself is not so far removed from the core of Hermes' badly translated talisman?!

    Arthur is the realised person become soveriegn by these powers....a hot potato in current times as 'sovereignty over the self' (or the realisation of, by distinction, the Self or over-self) is the name of the game, innit...

    ....but, if the grail is the zodiac, I would say it is not the zodiac alone - as it only truly manifests once the 'chalice and the sword' have become united, as they do indeed in the celtic cross both as a symbol, a cosmological map and as a device for angling the stars and measuring time/space and bringing the heavens down to earth.....the Chriton Miller cross.....but, chances are, 'the chalice and the blade' symbolism is itself just another layer in this delicious cake of ours......
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    Hi Rob

    To answer your question (if there was one... maybe there were just exploratory threads being thrown out?), I want to tell you about the ideas of astrologer John Wadsworth of the Alchemical Journey, which is the course I'm following.

    John believes that the ancestors would walk the relevant part of the zodiac according to the time of year, and that's how he conducts his walks here. So in March/April, the walk is on the Aries Lamb/Ram part of the zodiac, in April/May on the Taurus Bull and so on. In this way, the walker experiences some sort of microcosmic/macrocosmic transformational experience during each of the 12 parts, and thus when it is completed, after a year, one has met all the requirements of the adept and bruised the serpent Draco, at the centre, with one's heel, as we see in paintings of St Michael and Jesus. The serpent touches every part of the Zodiac and so us, in walking each one of the 12 houses, reach some sort of completion within.

    John says on his website:

    In each unique workshop, we enter the perspective of each zodiac sign through a range of embodied, experiential processes, which allow us to experience the “medicine” of each zodiacal energy. We do this through myth and story, music and movement, astrodrama, and through walking in the giant landscape figures of the Glastonbury Zodiac. Each month we work with the energy in our own astrological charts and draw out the creative potential that lies latent within us, exploring how each sign’s ruling planet seeks to express itself in our lives. We also take a ritual walk each month, walking the Glastonbury Zodiac landscape figure that corresponds to the zodiac sign we are working with.

    This goes back to not so much the sun, as the moon. At the basis of this practice is the requirement to absorb the energies corresponding to when the moon is in our sign. This is because, during gestation in the womb, each of us had only around nine (and a bit) months-worth of when the moon was in our sun sign. Therefore, we have three moons missing from this process and the idea is that these missing three are gained on the walks.

    For instance, I'm a Leo, born on August 15th. This means that I was gestating in the womb from the time of the previous Sagittarius to Leo (which is about nine and a bit months). So I was born before I got the chance to experience the moon in Leo during Virgo, Libra and Scorpio. Therefore in walking the whole zodiac, and particularly Virgo, Libra and Scorpio, I will regain those three months' moons, making me a whole human being. That's what bruising the serpent under the heel metaphor is all about, according to John, and the full realisation of wholeness of the human being could be likened to the Holy Grael that all men seek.

    I don't know where John has got these theories from, but it makes sense according to what I've learned from Santos Bonacci, who also talks about the importance of regaining those lunar benefits of those three months, but he does it with tissue salts. He lists 12 different tissue salts, one for each astrological sign, and he recommends taking the three that correspond to your missing three signs.

    In any case, even if they're both wrong, I'm immensely enjoying the walks!
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    This is really interesting and I'm going to see how it compares to what I have found on the map. It does look as if a similar system to the Glastonbury Zodiac may have been in use around Girona, Spain as well. I will update when/if I find anything.

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    Excellent information. The zodiac is so much more than what we think it is. Its amazing how little we know. Thank you

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    Thanks Phaedra. I'm glad you liked it!
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    Default Du Graal

    "Holy Grael appears to have been blended with the Celtic myths about Arthur, which were, in themselves, part of the mythology that was used to teach adepts astronomy and astrology, both prior to Christianity"
    True. But perhaps the Graal was real?

    Extract from scan translation of the original (Perceval le Gallois, ou le Conte du Graal, by Chrétien de Troyes (c. 1160-1180):

    ...Qui une blance lance tint, Enpoingnie par emmi leu ; Si passa par entre le feu....Pour çou ne le demanda mie. Atant dui varlet à lui vinrent, Qui candelers en lor mains tinrent De fin or ouvret à chisiel....Un graal entre ses ii- mains Une damoisièle tenoit.... Atout le graal qu*ele tint , Une si grans clartés i vint Que si pierdirent les candoiles Lor clarté, com font les estoiles Quant li solaus liëye ou la lune;... Piëres pressieuses avoit....Et li sire au varlet commande.. Qui tint le talléoir d'argent....


    At the castle, Perceval sees a strange procession passing by: a squire with a white lance, from which a drop of blood falls on his hand; two squires bearing candelabra; a noble maiden carrying a graal, a receptacle set with precious gems and shedding a brilliant light; another maiden with a platter of silver.

    A lance, a light-holder made of a bar (candeler), a silver dish or platter and a jewelled receptacle (which sheds a brilliant light) were brought to the castle, whereupon the graal shone " seven times more clear than ever man saw on the brightest day of summer ... Then the Holy Grail entered into the hall covered in a cloth of white samite, so filled with glorious light that none might behold it. Nor could they see who carried the Holy Grail, for it seemed to glide upon the sunbeam"

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    Didn't know whether or not this was the right place, but there are a number of extra coincidences about the Grail that I used in the novel that might be interesting:


    Background
    In Professor Mike Parker Pearson's book on Stonehenge (published 2012), new dates for the use of copper in the UK now coincide with the construction of Stonehenge in its sarsen phase (see ref 1). Evidence of UK tin mining also appears to pre-date this phase by perhaps several centuries (see ref 2). Unlike copper, tin is a silvery metal with a low melting point which can easily be cast to form a flat surface (see ref 3) and then polished by hand using only chalk paste (see ref 4): I made the mirror below just to test that it could be done just using an ordinary fire:




    The technology behind the story:
    Providing the dimensions are very similar or identical to those at Stonehenge, the solar invention described (in this post of the Sacred Sites section) can produce a very bright mini-sun). Whatever the day of the year, the mini-sun appears at the same height if a seasonal adjustment device is used (see detail here). By coincidence, insets for a 3-season device; three holes in a vertical line set dead south of the centre of the circle, are apparent in Stone 54. The holes are dead south of Stonehenge's centre:


    To make a bright mini-sun, some additional components to be brought in a procession to the inside of the castle-like round support structure (see detail here). The list of extra parts needed is:

    • A tree-pole or giant lance, pointed to the North Star.
    • A hanger; rather like a candelabra because it carries a light and has a cross-bar which can be rotated.
    • The Grand-œilreflector, possibly containing crystals.
    • A silvery dish composed of arrays of polished flat metal.




    In the CGI above, the lance holding the candelabrais painted white, to fade against the background sky, with its tip in red to indicate the direction to the North Pole. The spherical dish of silvery mirrors are shown blue and the candelabra is shown in green.

    The Grail Procession of Arthurian Legend:
    In the legend, the grail is accompanied by several other objects brought into the Fisher King's castle. Perceval could have restored the Fisher King by asking a question, but kept his silence and did not ask Unto whom one serveth the grail?” (see The Legend of Sir Perceval and The Mysteries of Britain). When Perceval awoke the next morning, the castle was empty.

    At the castle, Perceval sees a strange procession passing by: a squire with a white lance, from which a drop of blood falls on his hand; two squires bearing candelabra; a noble maiden carrying a graal, a receptacle set with precious gems and shedding a brilliant light; another maiden with a platter of silver: (see reference)

    Extract from scan translation of the original text (Perceval le Gallois, ou le Conte du Graal, by Chrétien de Troyes (c. 1160-1180):

    ...Qui une blance lance tint, Enpoingnie par emmi leu ; Si passa par entre le feu....Pour çou ne le demanda mie. Atant dui varlet à lui vinrent, Qui candelers en lor mains tinrent De fin or ouvret à chisiel....Un graal entre ses ii- mains Une damoisièle tenoit.... Atout le graal qu*ele tint , Une si grans clartés i vint (4405) Que si pierdirent les candoiles Lor clarté, com font les estoiles Quant li solaus liëye ou la lune;... Piëres pressieuses avoit....Et li sire au varlet commande.. Qui tint le talléoir d'argent....

    In the original version, Chrétien did not write about the grail as if it were a religious object; later writers call it the Holy Grail.

    Description of the system:
    If a reflector is used with this device, the air around the great eyeof the reflector becomes hazy due to the concentrated sunlight (see video 3 in prototype post). The 'candelabra' pole constantly rotates to follow the sun; so the bright reflector would seem to be covered by haze and would appear to move with sunbeams, fading as they fade (see operation videos).


    Description of the Arthurian Grail:
    In the book Celtic Myth and Arthurian Romance, the Grail's entry to Camelot is described:

    It is Pentecost and Arthur and the knights of the round table are at Camelot. Every seat is full and because of this fulfilment Arthur states that "it is the hour of the Glory of Lorges (England)". Even as Arthur speaks "there blew a great wind about the castle and a mighty crash of thunder shook the place.: then on a sudden a sunbeam cut through the gloom from end to end of the great hall, seven times more clear than ever man saw on the brightest day of summer ... Then the Holy Grail entered into the hall covered in a cloth of white samite, so filled with glorious light that none might behold it. Nor could they see who carried the Holy Grail, for it seemed to glide upon the sunbeam ... then on a sudden it departed from amongst them, and none might see where it went: but the sunbeam faded also.
    (re-quoted from The Celtic Gods, by Professor M Baillie and P McCafferty)

  24. The Following 3 Users Say Thank You to jonm For This Useful Post:

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