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Home (https://atlan.org) / Articles (https://atlan.org/articles/) / The Hindu Origin of the Myth of Atlantis
The most fundamental technique for decoding myths is to study the several etyms of the toponyms and
theonyms that gure in the story, as well as those of the assonances which lend themselves to wordplays
with these names. These holy names usually hold the key to the esoteric message that is encoded in the
allegories. In fact, myths are often composed from such plays on words with the sacred names in question,
usually in the sacred languages of India, Sanskrit and Dravida.
The present essay relies heavily on the sacred (often secret) etymologies of such names in order to explain
the more recondite aspects of the ancient myths relating to Atlantis and to Lemuria, that were, respectively
the Great Father and the Great Mother of Mankind. The reader is forewarned that our aim here necessarily
involves the use of obscure languages and relatively far-fetched explanations which may baf e a few of
our readers. Again, the etymologies we give here are the esoteric ones, and may sometimes disagree with
the “standard” ones given by the Hindu gurus, very often interested in straying the inquisitive profane and
the arrogant specialist.
The present work is a sample of one of the most important scienti c “tools of the trade” that we utilized in
order to crack the secret code with which the wise ancients disguised the true story of Atlantis. The linguistic
arguments presented here are recognizedly dif cult to follow in detail, except maybe by the specialists. But
they were written with the general public in mind and are, hence, accessible to the intelligent layperson that
takes the trouble to follow the meanders of our reasoning. As the French say, la critique est aisée, mais l’art est
dif cile [“criticism is easy, but the art is dif cult”].
All true arts, and particularly the Initiatic Arts, are dif cult and rebarbative at rst. But then they become a
second nature, and grow spontaneously, causing the greatest pleasure both to the artist and to the spectator.
Dedication is indeed the price of Initiation for those who choose the Narrow Road of rationality instead of the
broad one of faith and the even wider one of ignorance. The choice is yours, dear reader. What we offer you is
the true Bread of Life, the Elixir that is reserved to the Heroes in Valhalla, one of the many disguises of Atlantis.
The reader disinterested in linguistic details may skip the complex etymologies, and cling to the essential
argumentation, leaving them for a second reading, or taking them for granted. We hope that, at least, the
reader will be able to realize how the clever ancients hid their secrets away right under the noses of all, and
how even the specialists have been misled and are hence understand how the story of Atlantis could be so
perfectly disguised under the veil of the apparently inane allegories embodied in the heroic sagas and the
initiatic novels that came to us from deepest antiquity.
The Royal Sport.
In the present work we play with words, more or less in the way the ancient bards and the Medieval
troubadours did. We hope that the dear reader has so much fun in following these puns and wordplays as we
did in deciphering them from the ancient texts and traditions where they were hidden and essentially lost to
the world. This kind of play was the game of the kings and the courtiers when they had already eaten too
much, and were tired of playing with their harems.
Solomon played this game with the Queen of Sheba, who came all the way from Indonesia just to meet him for
the purpose, dragged by her curiosity to meet the sole person in the world whose wisdom was a match for hers.
Among the Celts and later, in the Irish courts, the lid —the Irish counterparts of the bards and mythographers
of the nations of antiquity — would continue and preserve this pristine Atlantean tradition. Samson’s enigmas
to the Philistines and the riddle posed by the Sphinx to Oedipus are also well-known instances of the ancient
art.
The troubadours— the masters of the trobar clus (“closed composing”) — succeeded them Celtic beads in the
Middle Ages. They composed their poems full of hidden wordplays, which the smarter persons in the audience
strove to decipher. But only the initiates would catch the deeper levels of the secrets thus conveyed in public,
and preserved from one generation to the other, throughout the millennia.
Though formidably equipped for the task, their language, Provençal, was de nitely no match for the Hindu holy
tongues, Sanskrit and Dravida. In them, the ancient myths were originally composed, in the samghams (poetic
academies) of ancient India and, prior to this, of Indonesian Atlantis itself. The present author certainly
inherited his taste, and possibly even some skill for deciphering such riddles from his Celtic ancestors. After all
we are of Iberian blood, and Provençal was the mother tongue of the Portuguese language. This happened
because the troubadours and the Cathars, persecuted and murdered in their native Provence by the French
incensed by the Holy Inquisition, were forced to move to the Iberian Peninsula. There the troubadours and,
later, the Knights Templar would start the revolution that eventually resulted in the discovery of the Americas
and the reopening of the sea route to the Indies. These traditions had been forgotten since time immemorial,
together with the traditions of Atlantis. These discoveries did not happen by chance. These knowledge encoded
in the ancient myths sung by the troubadours, along with their Religion of Love, the religion for the 3rd.
millennium, the one we are just about to enter now.
The great god of the troubadours, the Lord of the Third Coming, is precisely that little guy, the virgin Boy-Girl,
the lovely ephebus that shoots his/her arrows into our hearts, conquering our love forever. Pay attention dear
reader, and you too may discover it between the lines I did not dare to open too much, for the time for that is
not ripe yet, though the codks are already starting to crow.
Myths Originated in Ancient India.
We have written this essay for the lay but intelligent reader, interested in the real meaning of the ancient
myths, rather than for the professionals. However, since most of our etyms and explanations are rather novel,
the open-minded specialist in Comparative Mythology will certainly pro t by it, for our exegesis is strictly
scienti c.
Given that most, if not all myths, ultimately derive from India, it is in its sacred tongues that we must quest the
clues for their interpretation and exegesis. However, the possibilities of these magic tongues are almost
endless, for these tongues are polyssemic. In other words, each component radix has dozens of different
meanings, and result in literally hundreds of possible etyms for the composite names.
Space does not allow a fuller explanation than the ones given, for the connections are virtually endless. One
must, hence, exert the wisdom of the proverbial swan, and pick out only the interesting ones, “for the Science
of Words has no end”. In the present chapter we adduce a few of the virtually hundreds of etyms of the word
Atlantis in the holy languages of India, Sanskrit and Dravida. These two are visibly the sacred tongues in which
the legend of Atlantis was originally composed, as these etyms unequivocally attest. So, it is in them that we
must strive to recover their long lost esoteric sense.
Fear not, daughter of Sion; behold, the king cometh, sitting on an ass’s colt.
This is a quote from Zacharias (9:9) which is indeed strange and distorted. But comparing with its equivalent in
Jeremias (23:5) and in Luke (19:28-45), we see that Jesus is the Branch of David, who saves both Israel and
Judah, and who fells the Temple’s occupants (or “the chariot of Ephraim”). The donkey is an usual phallic
symbol, the attribute of Dionysos Priapus and of Apuleius’ Golden Ass.
Indeed, it represents the Ashvin twins and other such ass-headed Saviours (Dadhyanch, etc.), particularly from
India and Egypt (Seth). The Branch is the palm tree that resurrects. He is Atala becoming Tala, that is, the
decapitated one growing a new body or phallus or head or “bottom” = tala. The “Fear Not” in the above passage
is an esoteric reference to the tala gesture (mudra) commented above, and which embodies an allusion to the
“Palm Tree” of Atlantis. Again, it also refers to the Phoenix, itself an allegory of Atlantis. In Greek (as in other
tongues) the palm tree and the Phoenix are both named the same (phoinix). The Phoenix and the Palm are
both considered as emblem of resurrection did Judeu-Christianism and, indeed embody a hidden allusion to the
rebirth of Atlantis, the true Celestial Jerusalen.
The Celestial Tent
The concept that the sky is a tent propped up by a palm-tree can only have originated in India, from plays on
the word nabhas-tala (“cloudy surface” or “sky”). Nabhas also denotes the navel (nabhi) or nave or axle or pivot,
as well as the musk deer (mriga-nabhi), the alias of the Pole Star and of the toddy cat. The word also names the
Yoni (Lira) and a Kshatrya. (“warrior”). The two words both derive from nabh meaning a “needle” or “bursting
across with a prick” or, yet, from nah denoting “to knit” “to sew “, “tissue”, “connect”, “bind” (as with an umbilical
cord). Tala denotes an expanse (like the sky) and, as we saw, a palm tree trunk (tala).
Hence we see that, by confusing or playing with the words, one arrives at the ideas that of a tent or expanse of
tissue (nah) supported by a pole (tala). Another idea is that of a lofty mountain or tower as a “skyscraper”. This
etym is embodied in the Jewish kapporeth (“tent”), and in the Juwiswh festival of Sukkot (or Reast
ofTabernacles).
Here, the Jews feast not really their tents in the Sinai desert, but indeed their exiting of the primordial Koti
(“tabernacle”, “tent”), which is the name of the region of Indonesia or Lanka in the local languages. Such images
of Paradise as the Primordial Tent are also commemorated by the peculiar shape of the tents of the Germanic
tribes, or those of the North American Indians (teepees).
The idea is that of “piercing with a prick” expressed by nabh, and that of tala as a lofty pole which pierces the
skies like a tent form the word Nabhastala, the name Atlantis as the Primordial Paradise in Sanskrit. A further
mythical wordplay concerns the Cosmogonic Marriage. Here the Tala is the phallus ( or Linga) that pierces the
Celestial expanse of “tissue”, exactly as the phallus (nabhi) pierces the hymeneal membrane.
The passages on the palm tree are repeated in Nehemiah (8:15), except that the branches are used to build a
house (or booth). But the symbolism is the same. So in Jeremiah 10:3 ff., where a tree trunk, “upright as a palm
tree”, is decked with gold and silver and worshipped as the Phallus or Pillar (asherah). This Pillar is the same
one of the “Fear Not” gesture of Shiva, the Shiva-linga that collapses at the end of time, destroying the world.
The Pillars of the Temple of Solomon
Palm tree trunks serve as the pillars of the Temple in Ezekiel (40:16; 41:18-20) and are guarded by two-faced
Cherubs just as is the Tree of Life everywhere. They clearly stand for the Pole Star or, more exactly, for their
succession as the eras elapse. In the oniric imagery of the Song of Songs the palm tree (tamar in Hebrew)
gures prominently, as elsewhere in the Bible.
The palm tree is rather rare in Israel, as it does not withstand its mountainous, bone dry climate. It is only seen
in the coasted region and the Jordan valley, and never in the region of Jerusalem. Hence, the “Jerusalem” where
Jesus was acclaimed with palm tree branches by the population can only be the archetypal Hieros Salem of
India.
Celestial Jerusalen is also the Primordial Heliopolis which is the true home of the Phoenix. This region is also
called Phoenicia, “the Land of the Palm-trees”, which the Phoenicians replicated in their new abode, in the Near
East. We note also that many Egyptian temples had pillars of stone replicating palm trees, exactly as in the one
of Ezekiel. Even the Brazilian Amerinds call their ancestral homeland by the name of Pindorama, “the Land of
the Palm Trees”.
The Egyptian palm columns were later substituted by papyri stems, but the phallic symbolism is thereby
preserved verbatim. The phallus here represented is that of the Monkey (Vrishakapi or Hanumant), the animal
whose phallus actually recalls an umbrella or a palm-tree. In the Song of Songs (7: 7 ff.) the Beloved One is
compared to “a tower of ivory… whose stature is like a palm tree”. The Prince says to her:
As we saw further above, the Lover is the toddy cat or pole cat (Ursa Minor or Mriga), that gures Atlantis’
destruction. He is here seen climbing the toddy palm in order to ravish its heart and steal its juicy soma (toddy).
And he will throw down the leaves that he cuts off in this archetypal act of castration so laden with
eschatological symbolism. It is those leaves that cover the way of Christ when he rides the donkey (the humble,
phallic version of Pegasus) into the Celestial Jerusalem of Heliopolis.
Israel, having very few palm trees, and no civet cats or toddy cats could never be rightfully called the
Phoenicia, the Land of the Palm Tree or embody such archetypes as its symbol. Indeed, the only place in the
whole area that ts the requirements is Indonesia, as is visible by a study of the phytogeography of the region.
Besides, monkeys are notably absent in the Near East, and it is also hard to see how their mythology could
have evolved there. And, of course, the toddy cat is another animal that inexists in the region of the Near East
we can only conclude that the Song of Songs originated farther east, in the Indies. In fact, we analyze this
problem in detail elsewhere, arguing in detail that both the Song of Songs and the Thousand and One Nights,
indeed originated in the Indies, where traditions anchas those of the Ramayana and the Jatavas.
The Resurrection of Atlantis
A-tata means “unbeaten”, a word which is akin to Athatha (“not fallen down”). This means that, contrary to a
widespread belief, Atlantis/Eden did not indeed fall down forever. This is also embodied in the name of Adam,
an alias of Atlas, named after the Greek and the Sam atamas adamas???? (“diamond”), “the untamable stone”
(a-damas). The same idea is embodied in A-tantatta or Atanthas derived from a radix tan denoting “spread”,
“extended”, “enduring”, “persistent”. Hence, Atlantis both is and is not, having or having not reached its end,
according to the point of view of those who believe in its resurrection or not.
A-tata or A-tata is “fatherless”. We recall how Karttikeya is fatherless, having been born from the “seed” (or
phallus) of Agni or Shiva. His twin and dual is born “without the help of the male”, like Christ and Typhon.
Ganesha has an elephant head, a phallic emblem (the trunk or the tusks) that implies “castration” or
“decapitation”, as told in his myth.
Ganesha was decapitated when his head was burnt out by Shiva. His head was subsequently replaced with that
of an elephant. The idea is that this head was really that of his phallus (the palladium). Typhon too was a
serpentine dragon, like the phallus he imaged. A-tatra means “nowhere”. This etym is the same as that of Utopia
(u-topos = “no-where”). This last name was used by Thomas Morus in his undue divulgation of certain secrets
concerning Atlantis (Utopia). And he was beheaded for just that transgression.
Shiva and Atlas, the Cosmic Pillars
Atalas means “unfathomable”. This is name of Shiva as the lofty pillar or mountain that supports the skies,
cleaving Heaven and Earth asunder. The word Atalas is essentially identical with the name of Atlas, another
world-supporter. There can be no doubt that these two names have a common origin.
Given that the name of the Titan means nothing known in Greek, but is laden with hidden meanings in
Sanskrit, the natural conclusion is that the Greeks copied the myth of Atlas from India. The word Titan (Tiitan in
Greek) derives, as we showed, from the name of the Todas and means something like “ironsmith”, the invention
of the art of metallurgy being mythically ascribed both to the Titans and the Todas.
Shiva as the linga or pillar that supports the skies is, perhaps, the most popular god in India. There, lingas
made of rock crystal or alabaster are worshipped by the millions, exactly as is the Christian Cross in the West.
Indeed, the Cruci x is the image of Christ as the Purusha tied to the Cosmic Pillar, which is precisely the image
of the phallic Shivalinga. More exactly, the linga of stone and the Cross of wood are duals, as implied by the
materials they are made of, and which represent the two kinds of gods and the respective humanities, one of
“stone”, the other of “wood”.
The Myth of the Fiery Pillar
A famous Indian myth discloses the meaning of the linga as the Cosmic Pillar. One day, Vishnu and Brahma
were discussing who was the mightier of the two. A ery pillar suddenly appeared before them which stretched
up into the skies and down to the bottom of the Ocean. The two gods then decided to fathom the pillar’s
dimensions.
Brahma assumed the shape of an eagle and ew up, attempting to reach the top of the pillar. Vishnu changed
into a boar, and dived under the seas, reaching for the base of the pillar. After a long time of unsuccessful
exertion, the two gods returned and realized that Shiva, the Fiery Pillar, was the greatest of the three gods of
the Trimurti.
In fact both the Fiery Pillar (the Linga) and the Fiery Yoni (the Shakti or Vulva) represent the twin Atlantises,
gured as the Great Father and the Great Mother, both destroyed by Fire and Water, in the Primordial
Cataclysm.
The Cosmic Pillars in the Bible
Several nations also have myths concerning such a Cosmic Pillar that serves as Earth’s support. One such
appears in disguised form as the primordial Creation Act of Genesis (1:1):
The same conception is repeated in Gen. (2:4) in a slightly divergent form called “the Second Creation”:
This is the story of the generation of Heaven and Earth when they were created…
This idea is elaborated further in Job (38:4 ff.) when God asks the virtuous Patriarch:
Where wast thou when I laid the foundations of the Earth? Declare, if thou hast understanding. Tell who hath
fathomed the measures thereof if thou knowest? Or who hath stretched the line upon it? Whereupon are the
foundations thereof fastened?
Or, who laid the cornerstone thereof, when the Morning Stars sang together, and all the Sons of God shouted
aloud, in joy? Who shut up the sea with sluice-gates when it brake forth from its maternal womb?
When I wrapped it up in a blanket of clouds and cradled it inside a dark fog? When I set its boundaries, xing
its doors and bars in place, and said, “Hitherto thou canst come, and no further, and here shall thou surging
waves be halted?”.
New subtitle (not speci ed which)
We quoted that remarkable passage of Job because it sheds a lot of light over the matter of Atlantis. But we
return to the discussion of the passages of Genesis 1 and 2 quoted above. As we said above, the word “creation”
derives from the Sanskrit kri or krit denoting “to cleave asunder” and, by extension, to violate a woman, forcing
her to cleave open her legs in order to accept the male’s penetration. In contrast the corresponding passage in
Gen. 2, the Second Creation where all things happen in reverse, expresses the idea of “union”, “generation”
(“join-cration”); of what had been “created” (or separated). This can be seen from a close reading of the above
passage and of others related to it (Job 38:4; Jer 10:11, etc.).
The Separation of Heaven and Earth
The idea is also that of fathering or manufacturing in the manner of a smith or an arti cer. The concept
detailed in Job is also that of as slow and painful arti cial creation rather than something as sudden and brutal
as the Big Bang. In other words, the passage of Gen 1: 1 should be read thus: “In the beginning God cleft
Heaven and Earth asunder”, whereas that of Gen. 2:4 should be understood as “the story of the “rejoining” (or
regenaration) of Heaven and Earth after then were “cleft apart (kri).
In this way, Genesis is seen to conform to the other mythologies that tell of the Separation of Earth and Sky. In
particular this has to do with the limit those of India and of Egypt, as shown in pictorial form in Fig. 2. This
expression is a standard formula of the Rig Veda, whence it was taken verbatim.
Fig. 2- Geb and Nut Separated by the Cosmic Pillar (Shu)
(Enc. Brit. 81:IV:446 and M. Lurker. Dict., pg 259).
In Fig. 2 (a), the gigantic phallus of the recumbent Geb props up Nut, his sister and wife. Geb is the Earth god
and Nut is the Sky goddess. Geb was considered the physical support of the world, a sort of Cosmic Pillar, akin
to Shiva and Atlas. In Fig. 2 (b) the phallus of Geb is replaced by Shu, the atmospheric god who becomes the
Pillar of Heaven. It is interesting to note that Shu has both a twin sister and wife in Tefnut. Thus, the two were
considered the primordial couple in Heliopolis, where Geb and Nut were considered their twin children.
Shu and Tefnut are frequently identi ed with the twin lions called Akher or Ruti, revered in Leontopolis and
elsewhere. The two were also represented as the Standing Serpent and the Coiled Serpent or, yet, as those of
the uraeus. They also corresponded to the Solar and the Lunar eyes of the god Horus, a conception that
originated in the Indies.
The Akher was often represented as a sort of serpentine lion with heads at the two extremities, which
corresponded to the two extremes of earth, respectively in the Orient and the Occident. These two lions also
represent the twin guardians of the entrance and the exit of the underworld. The twin lions are also the ones of
China, which we see guarding the door of their temples and palaces.
In Greece, the Twin Lions are gured as Cerberus and Orthrus, the twin leonine dogs that guard, respectively,
the Eastern and the Western Gates of Hades. As the twin Sarameyas, the two are visibly the same as Sharvara
and Vritra, the twin Sons of Sarama, the bitch of Indra in the Rig Veda. The Sarameyas are also triple-headed
(like Cerberus), and are the guardian-dogs of Yama and Yami, the twin kings of the underworld.
The Egyptian Double-Crown and the Pillars of Hercules
It is interesting to recall that the Egyptian double-crown was imaged after the linga, with the white miter (atef)
of Lower Egypt penetrating the red diadem (pschent) of Upper Egypt, precisely as the linga penetrates the yoni
in the Shivalinga. The two crowns represented the two Pillars of the World, one a lofty peak (Sumeru) and the
other a bottomless abyss (Kumeru).
As the two Standing Serpents, Shu and Tefnut evoke the Twin Pillars of Solomon and Hiram, called Jachin and
Boaz. They also correspond to the two Pillars of Hercules and Atlas, posted at the two extremes of the world.
Indeed, these two pillars are the Straits of Gibraltar and of Malacca, as we discuss elsewhere.
Gibraltar is located at the exit of the Mediterranean into the Atlantic Ocean, and the Strait of Malacca is the
equally narrow gate at the exit of the Indian Ocean into the Paci c Ocean. The Red Sea was also open from
earliest times to the Mediterranean via the prehistoric Suez Canal. This canal was rst opened by the legendary
Pharaoh Sesostris or even earlier. But it was subsequently closed due to silting up, and had to be reopened by
others, including Pharaoh Neccho, King Darius of Persia, and Ptolemy Euergetes, not to mention the last one,
Ferdinand de Lesseps.
The Nec Plus Ultra of Navigation
These twin “gates”, Gibraltar and Malacca, were the Nec plus ultra of navigation — the impassable barriers of
the Ancient World. They were guarded by Phoenician ships and by forts which blockaded the passages. These
passages were the doors of admission to the Indies, whose lucrative commerce the Phoenicians jealously kept
for themselves as a monopoly.
The Argonautica, the Odyssey, the Kalevala, the Periplus of the Erythrean Sea, and other such heroic sagas are
encrypted descriptions of the secret route to the Indies. These were identi ed as Hades and Tartarus, the two
Realms of the Dead of the Ancient World, one Paradisial and the other infernal. In some accounts, two other
Gates were added, one in the Bosphorus, exiting into the Black Sea, and one in Dvaraka, allowing the ingress to
India. Altogether, we have ve Gates or Pillars, corresponding to the Five Cardinal Directions: the usual four
plus the Center.
Gibraltar was the Western Gate; Malacca the Eastern; Dvaraka the Central; Bosphorus the Northern, and the
Bab-el-Mandeb (or Suez) the Southern. These attributions were sometimes interchanged or altered of even
extended to seven, or eight with the inclusion of Hormuz Strait and the Suez Straight. These four or ve or
seven were often called The Four (or more) Pillars of the Earth. Even the Strait of Bering and that of Magellan
were known of the ancients and often gured in their secret maps of the Four Pillars of the World, as we
discuss in detail elsewhere.
The two extreme gates, which accessed the Outer Ocean, were Gibraltar and Sunda Strait. They were guarded
by lofty lighthouses — the tall towers described as the Tower of Babel or as the Pillars of Hercules and Atlas —
which scraped the bottom of Heaven and menaced its integrity, as so vividly portrayed in Fig. 2.
The Epic of Gilgamesh
These two lofty towers were also described as Cherubs (or Karibu), the “stingers” or Standing Serpents with the
ery sword that guarded the way to the Tree of Life both in myth and in reality, as we discussed further above.
The earliest saga of mankind, the famous Epic of Gilgamesh, of Summer and Babylon, already tells how the
Hero met such Scorpion Men (or Cherubs) on his way to Dilmun. Dilmun is the Babylonian Paradise, located, as
usual, “beyond the Ocean”.
An early Egyptian tale also records how a sailor, on his way to Punt or Amenti (the Egyptian Hades), also met a
Standing Serpent who was the king and guardian of the region of Paradise described as a sing island identify
Atlantis in all details. The King Serpent took a liking to the sailor, and gave him a fabulous treasure of gold and
gemstones. The serpent and the scorpion are both “stingers”, and are often confused in myths. More frequently,
however, the Cherubs or Karibus would resist all intruders, and routinely impaled them as a warning to
trespassers.
What these obsessive allusions to ravishing and impalement are allegorizing is the fact that the penalty
imposed by the Phoenicians on whoever attempted to cross these two impassable barriers at the two extremes
of the world was the penalty of “cruci xion” or, more exactly, of impalement on stakes called Karibu. Indeed,
the word Cherub derives from the Babylonian Karibu denoting the Guardians of the Tree of Life.
The Scorpion-Men and the Cherubs of Eden
An early Hebrew philactery (amulet) from Persia, now at the Einhorn Collection (Tel-Aviv), shows two standing
scorpions with human faces guarding the Tree of Life. A cock — very like the weathercocks seen surmounting
Christian churches — is shown impaled upon its top as if to suggest its identity with the Cross and the impaling
stake it replicates. The standing scorpions are the same as the Scorpion Men of the Epic of Gilgamesh, a fact
that demonstrates the essential unity and continuity of the Judeo-Christian and the Pagan traditions.
The scorpion is everywhere identi ed as “the stinger”, and such is its name in Sanskrit and Dravida. This name
is also applied to the phallus and to the impaling pole, and we see how the Karibu — whose function is
precisely that of the scarecrow so often represented as a man impaled on a pole — very probably denoted the
penalty of impalement applied by the Phoenicians on whoever dared to attempt to cross the impassable
barriers they imposed on the two accesses to the Outer Ocean.
Among the many etyms of the word Cherub — and they all add in composing the myth — one of the most
interesting derives from the Dravida. We noted how the name of the Cherubs (or Karibu) is related in Genesis
3:24 to the “whirling ery sword” that they brandish at the Gates of Eden. It is at least a remarkable coincidence
that the word karibu can be decomposed as car rubi, precisely the same etym as “whirling (car) re (rubi)”, in
Dravida.
Indeed, the Dravidian car denotes a whirling object such as a lighthouse, a ashy sword an in amed phallus, a
car or cart, a wheel, a whirlpool, etc.. Rubi denotes “ ery” or “ruddy” and is the same word we encounter in the
English “ruby”, the Sanskrit, the Latin rubeus, etc.. The idea of whirling associated with re or gold or rubies
evokes the shiny Mt. Meru, the Whirling Mountain ashing with gold and gemstones. It also recalls Mt. Calvary,
its alias, whose name derives from a pun with calavera (“skull”) and karavala (“sword”).
The word karibu (or kar-rubi) also evokes the Solar Wheel, the karu or karuvi or impaling pole where criminals
were impaled, just as Christ was immolated on the stake (or Cross). Other similar puns involve the name of
Charybdis, “the whirlpool (car) of death (ubdi)”, as well as that of Cerberus (Sharvara), the phallic guardian dog
of Hades, who used to bugger (ruvi) every newcomer to Hell.
Scylla and Charybdis, the Twin Guardians of Hades
Indeed, the word Charybdis likewise relates to Cherubs, and also denotes the Whirling Fire or Whirlpool that
sucked down the ship of Ulysses and almost killed the Hero himself. Scylla, its dual, was a lofty pillar guarded
by a monster, and was as terrifying as Charybdis itself. The twin terri ers, Scylla and Charybdis, are allegories of
the two Pillars of Atlas and Hercules posted at the two extremes of the world. They are the same as Indra’s
Palm Tree and as the Hand of Satan that we discussed further above.
A close reading of Homer’s Odyssey reveals their true identity as the Guardians of Paradise and of Hades. As we
show elsewhere, the two monsters of Homer are close parallels of the Fiery Linga and the Fiery Yoni of the
Hindus, also identi ed there with the Vadavamukha and the Fiery Pillar or, yet, with the Sumeru and the
Kumeru, the sites of their two Paradises. In some Hindu myths, these Twins are represented as Kubera and
Yama, and are shown impaled upon their lofty Pillars, as the archetypes of Christ and Adam, whom they
pre gure by several millennia.
There can be no doubt — at least to those who toil in the Science of Words — that the talented mythographers
who composed the legend of the cruci xion of Christ; of the “caresses” of Cerberus; of the whirling Mt. Meru; of
the impalement of the heroes on the Solar Wheel of the whirling chasm of Charybdis sucking Ulysses down to
Hades; of the ery whirling swords of the Cherubs who guarded the way to Eden; etc., all had the same idea in
mind when they played on the word kar-rubi. The odds against the possibility of a random coincidence are too
enormous to even consider seriously.
Sataspes, the Impaled One
Another far subtler allusion to the myth of the Cherubs as Karibus is Herodotus’ story of Sataspes, the impaled
one. According to the historian (Hist. IV: 43), Sataspes was a Persian navigator, condemned by Darius to
impalement for having raped a girl. His death sentence was commuted, at the instance of his mother (a relative
of the king), to the circumnavigation of Africa.
Sataspes departed from Egypt, reaching for Gibraltar and the Mediterranean. But he failed and returned before
the rounding of Africa, and was, hence, executed on the impaling pole. The story of Herodotus is probably an
allegory, telling of the death penalty imposed by the Phoenicians on whoever attempted to cross the Strait of
Gibraltar (the Pillars of Hercules) and, hence, undertake the route to India by the rounding of Africa.
A similar death sentence was likewise imposed by the Phoenicians on whoever attempted to cross the Strait of
Sunda (or Pillars of Atlas), at the entrance of the Paci c Ocean, on the opposite side of the world. This death
sentence was carried out by impalement and, hence, the hidden allusions to “Fiery Swords” or “Solar Wheels” or
“Crosses” which guarded the gates of Eden both in the East (Strait of Sunda) and in the West (Gibraltar).
The ancient sagas such as the Argonautica, the Odyssey, the Kalevala, the Epic of Gilgamesh, etc., are,
demonstrably, verbal maps of the secret sea route to Eden/India. And mythical references to “impassable seas
are coded warnings against the dangerous Phoenician outposts, the towers or pharos such as those of
Alexandria and Rhodes, which guarded the forbidden way at the critical passages.
By the way, the name of the Scandinavian Kalevala closely reminesces the Sanskrit karavala (“sword”) and the
Portuguese caravela (caravel). Clearly, they indicate both the way to reach India, and the high toly price of the
impediment of the attempt. The word caravela was taken, by the Portuguese, from India, where they also
obtained the design of such fast, ef cient ships, that allowed their excellent mastery of the high seas.
A Brief Exegesis of the Book of Job
Returning to the text of The Book of Job quoted further above. This remarkable passage suggests a lofty pillar,
too tall and too deep to fathom, and too thick to girdle with a string. The allusions to the tall pillar; the sluice-
gates which contained away the sea; the Morning Stars (or Pole Stars) that sing in unison; the darkness and the
foggy covering; the nec plus ultra of navigation; and the Flood, are all hallmarks characteristic of
Atlantis/Eden/India. Atlantis was both the queen of the seas and the home of the original Phoenicians (or
Reds), the great navigants ever, after the times of Atlantis.
This remarkable passage continues further and mentions Doom (the “shaking of the wicked”); Mt. Atlas (the
“high arm” of the wicked); its lighthouse (the mysterious “light” removed); the earth turned red with the blood
of the carnage of Doom (the earth turned red like brick clay); the “Gates of Death” (Dvaraka), the “marine
sources” (the River Oceanus = Indus); the Bottomless Pit (Atala). Cf. also Psalm 9 for identical motifs whose
discussion does not t here, but which we explain elsewhere.
Likewise connected with Atlantis, are the gate-keepers of the Country of Shadow (that is, the Cherubs of Hades,
wrongly translated as “doors of Sheol”); the deposits of snow and ice (the Himalayas = “abode or deposit of
snow”); the realm of darkness (Hades and, also Mt. Meru or Paradise); the “very ancient days”; “the divide of
light ” (i. e., of night and day = the Orient); the device for bringing rains to the desert; the reference to the Pole
Star and their in uence on the weather; the sons of God, etc..
The Book of Job is deemed the earliest in the Bible, and is hence a reliable though dif cult source of early
myths and pristine traditions. It may date from the Middle Bronze Age, or about 1,500 BC, or even earlier. But
the type of myths, traditions and doctrines is so typically Hindu as to leave no doubts about its ultimate Indian
origin. And this seems to imply, at least to us, that the myth of Atlantis, true or not, is verily of Indonesia origin.
Though dif cult and obscure, the Book of Job is one of the most profound and disturbing testaments in the
Bible, as well as, perhaps, its most beautiful one. It provides a reliable source and foundation for the matter of
Atlantis, one that is subscribed by God himself.
A further quote from that remarkable book (26:5 ff.) will show how the subjects treated there hinge on the
matter of Atlantis in an unequivocal way. The passage refers to a circular island surrounded by a circular dike
and canal, which was placed in the con nes of the world, and was later sunk underseas, becoming an
abomination. What else but Atlantis?, one is forced to question. We concisely annotated the translation in order
to render it more understandable:
The dead giants (Rephaim) writhe with fear under the earth,
And so the waters of the abyss and the inhabitants thereof.
Hades (Atlantis) is laid bare before him,
And Abbadon (“destruction” = Lemuria) sheds its cover.
These above passage merits some discussion. The darkening of the skies is an usual attendance of Doom, and
can be traced to the famous Kumarasambhava of Kalidasha, and to the Rig Veda and other Holy Books of India.
Why do the skies darken and the stars fade out at Doom? Because of the dust thrown up into the stratosphere
by the volcanoes and earthquakes that attend the Flood. What is the mighty thunderbolt of Jahveh? It is what
the Hindus call the vajra or, yet, the Trident of Shiva or the Thunderbolt of Indra.
The Rephaim are the same the Nagas of the Hindus and the Titans of the Greeks, imprisoned in Hades with
Kronos, their leader. They are the dead Atlanteans, the ancestors of the gigantic Todas of India. As the passage
shows, there are two such places, respectively called Abbadon and Sheol, corresponding to Hades and Tartarus
and to Atlantis and Lemuria.
Septemtrio is Ursa Minor, the Polar Constellation. Here, it marks the site of the destruction. We recall how
Paradise — the equivalent of Atlantis and Lemuria, as well as their Holy Mountains — is invariably placed under
the Pole Star in essentially all mythologies. The Pole Star is indeed a signature of the Atlanteans, who are
indeed the Dravidas, an eponym that means “Pole Star”, just the same as the name of Atlantis.
The “Earth supported upon the void” (i. e., the seas) is an ancient image of Atlantis and its many replicas. This
corresponds to Homer’s Phaeacia and Apollo’s oating Island of Delos, not to mention the Whirling Island of
the Celts, and the image of the Earth, as conceived by Thales and by the Babylonians and the Jews. The idea
derives from the Hindu Tripura, the city of the devils, destroyed by Shiva.
Tripura is also the archetype of the Celestial Jerusalem of Revelation, as well as its dual, the Messianic
Jerusalem submerged under the seas. The Throne of Jahveh is his lofty Pillar or Mountain, the same as the
Pillar of Hercules, here equated with Mt. Sinai. Its “hiding” refers to its explosion and disappearance under the
seas. Mt. Sinai is “the Decapitated Mountain”. This is the same as the Kumeru or Vadavamukha of the Hindus
and the sucking maëlstrom of Charybdis in Homer’s Odyssey.
The clouds (of smoke) that hide away the site of the throne of Jahveh and darken the skies over it is another
recurrent mythical motif of the ancients. It singles out the site of the Lemurian Atlantis, the same as Homer’s
gloomy Cimmeria, and the Dhumadi of the Hindus. In reality the text refers to the immense clouds of dust and
smoke generated by the cataclysmic explosion of the pristine Mt. Atlas or Kumeru, the volcanic peak of
Lemurian Atlantis.
The “circle on the surfaces of the waters” is the circular River Oceanus which surrounded Hades, according to
Homer and others. Job places it at the “boundary of Day and Night”, an expression that unequivocally
designates the Ortum Solis or Anatole Helaios which we discussed further above. This is the site of Meridian
0º, exactly that of Lanka in Hindu tradition. There a new day conventionally starts when the Sun crosses its
zenith.
The “Pillars of Heaven” that quake in Job’s text are precisely those of Atlas and Hercules, the two so named in
Greek tradition. Their “swirling” is an elegant way to say that they are the same as the Polar Mountain that
whirls under the Pole Star.
The sea “sent against the Fortress” is the Flood, the same as the vajra of the Lord Jahveh which wiped out both
Atlantis and Lemuria. The Standing Serpent and the Coiled Serpent are Leviathan and Rahab, the aliases of the
Hindu serpents Shesha and Vasuki. These two are often identi ed as the Pillars of the Earth, which they
support at the two extremes. They also correspond to the two giants, Atlas and Hercules, the two Titans who
perform this task for the Greeks.
The two Serpents or Dragons are both killed by Jahveh, the Jewish counterpart of Shiva. The Coiled Serpent,
Leviathan, closely corresponds to the likewise rounded discus of Vishnu, a sort of circular vajra. The Standing
Serpent and the Coiled Serpent are allegories of the two Holy Mountains, one of which exploded and turned
into a circular volcanic crater or caldera, deemed to be the entrance to Hell.
The mighty “breath” of Jahveh, which cleared up the skies, apparently means the gigantic explosion pushing
away the smoke and the dust gathered around the Holy Mountain as the result of previous normal activity. The
noise of the explosion is narrated in several Biblical passages, as well as in innumerous Hindu Holy Books. The
Hindus associate it to a lion’s roar, and attribute it to Rudra (“Howler”), and to the mystic syllable Aum, the
Cosmic sound of Creation.
The Lord’s vajra which we discussed above has, as all things mythical, a dual character, being both Infernal and
Celestial. The two correspond to the Trident of Poseidon and Shiva or to the Thunderbolt of Zeus and Indra. In
actual terms they are the two volcanoes of the two Atlantises, one Submarine (Poseidon’s), and the other
Celestial, coming from the summit of Mt. Sumeru, which falls down as a sort of meteorite from the skies.
The Thunderstruck Tower
As shown in Arcane no16 of Tarot, it is the vajra or ceraunos, the “bolt out of the blue”, that strikes down the
Tower. This fact is shown in detail in our discussion of this remarkable arcane. This vajra is either a Celestial
meteorite or a giant volcanic bomb falling from above the Holy Mountain.
What are, indeed, Rahab, the Standing Serpent and Leviathan, the Coiled Serpent or Ouroboros? They are, at
the Terrestrial level, the wall or dam that encircled Atlantis, and the lofty tower called the Pharos or yet, Mt.
Atlas. The Pharos (or Lighthouse) is the Phallus, the Shivalinga. And the Coiled Serpent that girthed it is the
Yoni, the dam that kept away the seas and protected the Holy City, precisely as af rmed in the text of Job.
The giant Rephaim are an actual people, the ancestors of the Palestinians and other ruddy races that preceded
the Aryo-Semites almost everywhere. They are indeed, the Atlanteans, the rakshasas of Lanka buried
underground in Hades or Patala. And their maritime counterpart, the inhabitants of the waters, are those of the
sunken moiety, the Najas or Oannés or Sea Peoples of India. Abbadon — not really “destruction” but “destroyed
one” — is Atlantis/Eden, lost for a little while but bound to return soon.
The Coiled and the Standing Serpents
Septemtrio shining over the devastated Atlantis is really an anachronism or an intentional misunderstanding.
The original says “North Star” or, more precisely, “Canopy of the Skies”. This ringed constellation is Lyra, the
Yoni; the Celestial counterpart of Leviathan and the Ouroboros, the Coiled Serpent. Septemtrio is really its dual,
the other Pole Star, that of the Linga.
Septemtrio is the constellation of the Standing Serpent (Rahab), the Pole Star that rules the present era. At the
epoch of Atlantis doom — some 11,000 years ago — it was Lyra and not Ursa that shone its light upon the
dismal scene. Perhaps the Book of Job is really talking of two different eras and two different Atlantises, one
destroyed about 11,000 years ago (Atlantis) and the other at about 25,000 years ago, when Polaris was, as
today, the Pole Star.
It is clear that Atlantis was built — as are indeed many other Holy Cities patterned after it — as an image or
replica of the skies. The inner ring represented the Polar Circle and the outer, immense one the zodiac. Mt.
Atlas represented the Polar Axis, and was tangent to this circle. The ring and the tangent straight line are the
attributes of Shamash, the Sun God and of his many aliases, both male and female. The two objects of the
Sumerian Sun god then represent the passage of the eras and of Circular Time, of which Shamash was the Lord,
like Shiva.
There can be no doubt about this interpretation, as we show elsewhere. Besides, what do these two peculiar
forms represent but the Linga and the Yoni? These two represent the two Pole Stars and are the supreme (i.e.,
polar) gods everywhere. In India, the Coiled serpent is Called Ananta (“endless”), and represents unending,
Circular Time.
Her dual is Vasuki, the Standing Serpent who represents ordinary, Linear Time. More exactly, the circle and the
tangent straight line represent the Polar Circle and the Polar Axis whirling away the eras on the skies,
according to the Precession of the Equinoxes. This clear-cut image is an irrefutable proof, among many others,
that the ancients knew of the Precession of the Equinoxes far before their rediscovery by Hipparchus.
Of course, the gods are not really the Pole Stars, but only the principles behind the image: those of Dissolution
(Yoni) and of Consolidation (Linga), the Solve et Coagula of the Alchemists and the Kalpa and Pralaya of the
Hindus. The two are the two forces or principles that dictate the eras and the fate of Mankind both in the past
and in the future.
Abbadon, the Angel of Death
It is enlightening to see Atlantis called Abbadon (“destruction”) here, the same term used in Revelation.
Abbadon or Apollion is the angel of destruction, the archetype of Apollo. The Archer of the Silver Bow is the
god who, with Neptune (Poseidon) built and destroyed Troy (Atlantis) with the Flood and Plague that
devastated the famous City.
As such, he is Arjuna, who, together with his twin Krishna, the other archer (the one of the Golden Bow),
destroyed the world. This destruction of the world is allegorized in India as that of the forest of Khandava, in
the beautiful myth entitled The Incending of the Forest, told in the Mahabharata.
The earth supported “upon the void” is not really the planet Earth but Atlantis, often called “the Earth” or “The
Wide Earth”. The void here means two things. First the seas — called “abyss” or “pit” in ancient parlance — and
second, the network of crypts and tunnels that pierced the underground of the City, and which served as the
archetype for the crypts of temples, catacombs and labyrinths found almost everywhere.
The “face of his throne”, hidden by a cloud-cover, is really the tip of Mt. Atlas scraping the skies and penetrating
its cloudy canopy as a sort of linga. God is elsewhere described as sitting upon the tip of Mt. Zion (Mt. Atlas or
Calvary or Kailasa) not only in Job and other books, but, indeed, in all mythologies.
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