Yahweh's historical thread begins with Egyptian inscriptions which refer to Shasu--a word literally meaning "the people who move on foot" ("the wanderers")--a derogatory term generic for any group of nomadic or semi-nomadic people, which the roving bands of Habiru (or Apiru) certainly were. If one were to seek any line between those whom the Egyptians called Shasu, and those they called Apiru (in Akkadian Habiru), the best distinction would be that the term Shasu was generally used to describe pastoralists who grazed the same lands year after year, while the Hebrews (whose name Habiru literally means "alien" or "line crosser") were nomadic bands who roved more wildly, and were thus always associated with raiding and warfare. Any Shasu who left Canaan for Egypt during times of drought became Apiru (a pejorative hieroglyphic pun spinning these aliens as "the dusty ones" off the earlier Akkadian name Habiru). Likewise, any Shasu who left the confines of their normal pastoral boundaries, and thus engaged in raiding any of the petty states which governed Canaan for Egypt, were referred to as Apiru by these governors when they wrote complaining to their Egyptian overlords. The Shasu are always referred to negatively by the Egyptians, because pastoralists were so frequently in conflict with the civic authorities who managed the outlying areas of the Egyptian empire. This conflict between the settled agricultural cities, and the roving pastoralists, is reflected in the Parable of Cain and Abel. The murder of the pastoralist Abel at the hands of his agriculturalist brother Cain, tells the story from the viewpoint of the Shasu, whose thanksgiving was more pleasing to the Highest God than anything the cults in the city had on offer. Egyptian lists of the Shasu refer to Yahweh as early as the time of Akhenaten's father Amenhotep III, circa 1400 BC, and these lists specifically drop the name Yahweh upon those Shasu who grazed on the borderlands of Edom, south of Jerusalem. About half a century later, the Egyptian governor of Jerusalem wrote to Pharaoh asking for archers to make war against the client kings under him, warning that if Pharaoh did not help, the Jerusalem district would soon belong to the Hebrews. The governor of Jerusalem at the time was named Abdi-Heba, meaning "Servant of Eve," which suggests that the cult of the ruling elite over the Jerusalem area circa 1350 BC was dedicated to the worship of the goddess Eve:
Say to my Lord Pharaoh: A message from Abdi-Heba, your servant. I fall at the feet of my Lord! Seven times and seven times! ... may the Pharaoh provide archers and send these archers against the men (men of Gezer named "Milkilu" and "sons of Lab'ayu") who commit crimes against my Lord the Pharaoh. If this year there are archers, then the lands and the client kings will belong to my Lord Pharaoh. But if there are no archers, then the Pharaoh will have neither lands nor client kings. Consider Jerusalem! It was not given to me by either my father or my mother. (Abdi-Heba would not mention his parents unless he were of noble lineage, but he emphasizes that he can not maintain the Imperial order in the area with his own family's resources) The strong arm of Pharaoh gave it to me. Consider the deed! (giving Hebrews provisions, either with the aim of destabilizing the rule of Abdi-Heba, or out of weakness in the face of Hebrew extortions) This is the deed of Milkilu and the deed of the sons of Lab'ayu, who give Pharaoh's land to the 'Apiru (i.e. the Hebrews) .... --extract of AMARNA LETTER EA:287 from Abdi-Heba of Jerusalem to the court of Pharaoh.
ABOVE TOP: Cartouche with the name AKHENATEN in hieroglyphics, for which the translation "Effective for Aten," has recently been in vogue, due to the fact that the word Akh has been found in pronouncements, from government officials, within contexts which suggest a definition for Akh of: "effective," "steadfast," "valid," or "sure." However this mundane rendering ignores the very important religious context for the word Akh. Such ignorance is simply unacceptable for any Pharaoh, whereas the Pharaoh's throne name is connected to a religious deity in an intimate manner. Moreover, favoring the secular over the religious context is especially unacceptable in the case of Akhenaten, considering that his name is the tour de force in a complete rework of Egypt's religion by his own 'brilliant' hands. In the complex Egyptian concepts of the soul, the Akh was the sure-spirit which resulted when the "Ba" component of the soul, which roughly embodied the personality, was united with "Ka," which was the spiritual component that differentiated a dead being from a living one. The Akh can be likened to the most secret magical name united with the power to voice itself, and thus the Akh was the spirit from which an entity's personal magic issued. The Akh was thus the sure, effective, or vital spirit of an entity. In the case of Akhenaten, the macro-cosmic face of that entity was the Aten, or "Solar Disk." Prudence requires that this discussion address the overly reverent paradigm which outlandishly spins Akhenaten too humbly; Eric Hornung's 1995 ECHNATEN: DIE RELIGION DES LICHTES turns a dark corner in the star-struck subterfuge which denies this Pharaoh's tenebrosity, while Hornung interprets the chosen name "Akhenaten" as:
"He who is useful to Aten," or perhaps "Radiance of Aten;" the rendering "Soul of Aten" is less suitable because Akh actually denotes only the soul of a dead person, while Akenaten's formulation "I am your son who is useful to you and elevates your name" speaks in favor of the meaning "to be useful." (Hornung's "dead person" argument is completely non sequitur because the Akh was actually the revivified soul of someone who had lived before, thus attaining the Akh did not indicate that a person was dead, but actually indicated that a soul had become alive again, and once more magically active or "effective." Hornung's skew downplays Akhenaten's equation with the god Aten. If Akhenaten were the "radiance" of the sun, then Akhenaten would have been more than "useful" to the sun, Akhenaten would have been "instrumental" to the sun; Akhenaten would have been the sun's 'hands.' Moreover, Akhenaten does not merely "elevate" Aten's name, Akhenaten "holds it up." In Egyptian thought, the "name" was inextricably bound to an entities soul and its magic. The power of the sun was reputedly resting in Akhenaten's hands.)
Hornung's suitability test rides on an understanding of the Akh centered in the most mundane context of the BOOK OF THE DEAD, while ignoring how that mundane context relates to the greater divine context of the Akh in the PYRAMID TEXTS. An apropos brief on this divine context is given by two entries in A.S. Mercante's 1978 WHO'S WHO IN EGYPTIAN MYTHOLOGY:
- AKH: According to the PYRAMID TEXTS, the Akh, or spirit, of a god lives in heaven and when a man dies, his Akh will eventually go to heaven as well. The Akh was generally thought of as a being of light, comparable to a star. In some texts, however, the Akh was considered demonic. In THE BOOK OF THE DEAD for instance, it is written: "My mouth is strong; and I am equipped against the Akhs. Let them not have dominion over me." ...
- AKHEN: A monster serpent who guarded the entrance to the seventh section of Tuat, the underworld, as Ra passed by in his boat. The name means "to split" or "wear out the eyes."
BOTTOM LEFT OF THE ABOVE ILLUSTRATION: AKHENATEN holds up the name of the ATEN inside a Royal cartouche. The image is a highlighted digital restoration of a calcite plaque in the Egyptian museum of Berlin. The use of a cartouche for ATEN's name was Akhenaten's magical innovation--a unique new way to display the name of any deity. Cartouches were otherwise only used to display the name of a Pharaoh--a fact which only intensifies Akhenaten's identity with the Aten, where the Aten is the "solar disk" or 'face' of the sun. The title of the deified Aten inside the cartouche reads: "THE LIVING ONE RE-HERAKTE, WHO BECOMES ACTIVE IN THE AKHET, IN HIS IDENTITY AS THE LIGHT, THAT IS OF THE SUN DISK." This is nothing less than Akhenaten's magical proclamation that he is for all intensive purposes this highest god. The cartouche defining the new arch deity says this Aten becomes active in the "AKHET," which is a word meaning "horizon," and another word based on the root word Akh. This word Akhet was also used as the honorific word which referred to the palaces and tombs of the Pharaohs, since their palace was their "horizon"--the place where their power shined most intimately. Akhenaten moved Egypt's capital to a virgin site he built called Akhetaten--the "Horizon of Aten," where the meaning again equates Akhenaten with the Aten itself, for the capital was both the horizon of the Aten, and the horizon of the Pharaoh Akenaten---who was the Aten's Akh shining on the surface of earth in a corporeal person. What's more, the illustration on the plaque above shows Akhenaten holding up this magical title of Aten, and in this title, Aten is equated with the "light" via one of the meanings of the word shu, while Shu was also the name of a god who held up the stars (where the stars were in the form of the goddess Nut who personified the celestial planisphere). Akenaten therefore sold himself to the public as the light of the Aten--the form of Aten's sure-spirit. Akhenaten's capital Akhetaten is today called Amarna. The Letter from Adi-Heba of Jerusalem was found within a archive of diplomatic tablets in the Amarna library of Akhenaten's department of state. Of the 382 tablets recovered, the majority are from Egypt's vassals in Canaan and Lebanon. The majority of these speak of a great wave of challenges the Hebrews made upon Egypt's governors during the reign of Akhenaten. These struggles would bear fruit after revolts inside Egypt during the Sea Peoples troubles of Ramesses III two centuries later. Conquest of Canaan began a half century further on, culminating in the period of JUDGES best dated to commence at the end of Egypt's Twentieth Dynasty under Ramesses XI. David would not take Jerusalem until some generations hence, during the reign of Pharaoh Psusennes I, who built up Tanis (Zoan) seven years after Hebron (NUMBERS 13:22).
The most subtle Pharaoh Akhenaten reigned from 1353-1336 BC. Wrongly romanticized as the planet's first Monotheist, he was instead an overambitious Atheistic sympathetic magician, who aimed to consume earth with an occult dynasty. His necromantic dogma sold his royal house as the only earthly reflection of Aten--the face of the solar disk, which was called "the Mother and Father of All Living." Akhenaten assimilated all goddesses with his insipid feminine form. It is easy to imagine masculine Hebrew ruffians mocking his androgynous magic idols imported from the workshops in his capital Amarna. The Pharaoh's nearly normal biological head was portrayed in an artistic deformation which morphed the form of the human head into the head of a snake. The solar rays which emanated from the Aten were magical symbols which embodied both : A) human hands (source of human martial and temporal power--tool of giving and taking), AND: B) snake heads. The snake is the most phallic animal, and also the most purely alimentary animal. To the magician, the serpent is the pure cosmic power of physical consumption made manifest. The serpent's phallic/alimentary duality ultimately drives the petulant adolescent intellect of the sympathetic magician to psycho-sexual disease and cannibalism, for his inane read of the natural world imagines that the snake's ability to shed its skin indicates that the way to immortality is bridged by the carnivorous application of occult venom. Akhenaten can be viewed as the increasing corruption of the Amun priesthood made manifest in one royal megalomaniac. Though he only reigned 17 years, the fame of Akhenaten's blasphemies spread throughout the Mycenaean world--and certainly as far as the Great Ones under the North of the Sky: To Err Is Human, To Forgive Is Divine. The Hebrews in Canaan began great agitations around the years of his reign, while "Sea Peoples" began new maritime migrations into the eastern Mediterranean. Within forty years of Akhenaten's death, these Sea Peoples, with Danites at the lead, were raiding Egypt.
No moral critic of pop culture needs to strain their brain too hard to envision the psychological shock and pornographic awe which the Eve fertility cult would have employed to corral the local livestock into Pharaoh's yards. Here the conversation must redress all the "new-ager" critics of the Biblical and patriarchal social legacy of Western civilization. The crown jewel in the "new-ager" arsenal blames the Bible--blames it for all the ravages of war which the West has brought upon itself and the world through imperialism, blames it for discrimination against the female and feminine, and blames it for the suppression of witchcraft, which they rightly perceive as a feminine and feminizing "art," (the male road to criminal satisfaction is direct seizure by force, which is much more easily policed). Without embracing all the unrighteous brutality of war, the savvy Biblical scholar must point to the social rot of goddess worship--whether overt before an altar, or sublimated into a generic hedonistic life ethic--as the real root cause of the imperative for war. God thus begins His revelation with the example of nomads who employ the name of Yahweh against the corrupt elite who worship the goddess Eve in their seemingly impenetrable fortress above. Their corrupt worship of the goddess is the chink in their armor. History details how time and time again goddess worship degenerates into orgiastic "fertility" rites, and so called "sacred prostitution." The worship of goddesses, has always been the bane of social morals, and thus the bane of the human race. The "new-agers" lambaste the Biblical prohibition of goddess worship as anti-feminine, but it is anything but anti-feminine. Goddess worship has, since time immemorial, resulted in doctrines which equate the spouse with the whore, equate the parent with the prostitute, and equate the nurse with the murderess. To understand the peril of this, one need only look at the worship of the goddesses Laxmi and Kali side by side in modern India, with its malignant poverty and inequality, and perhaps the highest rate of sexual violence against women on the planet. When the nomadic Israelites faced-off against the Pagan city states of Canaan, the creeping social rot of Paganism had done much of their work for them. Pagan elites always degenerate into a bunch of effeminized buffoons. The glam rock idol swishing on stage, the lisping chanters of government cabals gyrating in their dirty dhotis at Dionysian seminars, and the emasculated wizards in their collars who lead the mystery-meat rituals over the kumbaya pews, are all reflections of each other. Neither salvation nor immortality come from dining on human flesh, or the flesh of God, or tantrick indulgences. Paganism, and goddess worship in particular, have always bred cannibalism hidden and protected in plain site by esoteric trickery. It sells itself as a fertility rite, but it is in reality an insult to sexual procreation, and an abuser of men, women, and children. Tyranny is maintained by turning a critical mass of those governed into slaves to their passions. Fetishism repackages the functions of sexual regeneration into neuter commodities, then falsely advertises the resulting junkie ecstasy, to push a Faustian barter; rebirth is exchanged for pleasure merely for pleasure's sake. Biological failure is resold as "sexy" via the idolatrous culture of the Lorelei. The insane sirens call upon those who partake to compartmentalize their morality, perforating the social contract until there is no longer any fiduciary responsibility between ruling and subject classes, or between business partners, or between elder and younger generations. Paganism is Atheism, and nothing less than cancer on the species level rather than on the level of the individual organism. This was as clear to those who were sober in the time of Moses, as it is to those who are sober today. Thus this diatribe against ritual madness can end with some reflection on Moses, before it returns to David building up his tribal steam to take Jerusalem away from Eve and Edom.
Identification of the Dananu/Sherden Sea Peoples with the Tribe of Dan corroborates Exodus from Egypt during the reign of the Rammesides. Sherden fighters were drawn out of the water by Egypt to serve Pharaoh's house. There is no good reason to doubt the historical figure of Moses, nor question his Divinely sanctioned mission against Pagan Egypt's unrighteousness. The parallels arise, arrayed in soft rosette like flower petals, speaking of the beauty and power of God's budding revelation to the pinnacle of His creation. When Rabbis first ascribed to Moses the authorship of the Pentateuch (the first five books of the Tanakh called the Torah) this certainly was not a claim that Moses had written every one of these words in one lifetime. Any Rabbi worth their weight in salt knew the Bible does not hide the fact, that when the Levitical laws of Temple sacrifice were revealed to Josiah, money was involved (2 CHRONICLES 34:14, AMOS 5:25, JEREMIAH 7:22, JOHN 7:22). The prophet Ezekiel was among the last priests who served in Josiah's Temple, and Ezekiel had no qualms making the most fabulous modifications upon these ritual rules for his own polemic. The word "Bible" means "library." The prophets are the accomplished deliverers of the Monotheistic revelation God poses with the words in His inspired collection of books. If Ezekiel was inspired to use satire, in an attempt to bring back down to earth, some of the more untethered space-cadets amongst those who dreamt fanciful dreams about the coming restoration, then Ezekiel can not be called impious or misleading if most of his audience has been dumbed-down beyond the event horizon. Israel was created to toil for righteousness, and Zeke's contrasts of the crystal with the dross compassionately forewarned of more heartache ahead.
Just as utterly clueless readings of Ezekiel have resulted in much injurious magical thinking, the misunderstood authorship of the "Books of Moses" has ever increasingly lead to serious deep seated doubts about the Bible as the true revelatory instrument of the one and only supreme Deity. This doubt is not new, for its most primitive instances drive the motive for the very blanket attribution to Moses in the first place. The true assertion made in ascribing the Pentateuch to Moses, is a rebuttal of Pagan origins for Israel. None of the emendations to the legacy suddenly introduces Monotheism. Within forty days of the first proscriptions against idolatry, the Israelites backslid, led by Aaron himself. Jebroboam set up calves at Bethel and Dan, and God sent the unnamed prophet to predict Josiah's advent, only to be mauled by a lion for succumbing to the lying temptations of a prophet from the Northern Kingdom. God's word preserves the proud claim Josiah's priesthood made of having freed Yahweh's worship of any representative iconography or idolatry. However God's word agitates the seeker who takes their Hebrew school seriously. How did the two year reign of twenty-two year old King Amon so thoroughly return to the earlier idolatry of a repentant Manasseh (2 CHRONICLES 33:12-14), that twenty year old King Josiah's dramatic tour of destruction was necessary? Is the savvy student not supposed to see and hear that this was a marketing campaign for the new ritual regime in the refurbished Temple of Josiah? When Hezekiah tore down the brass relics of Moses right after the capture of Samaria by Assyria, why were the books of Moses neglected, in the Temple treasury of all places?--a store room where full audits were no doubt regular. Was the ark not supported by cherubim? The student is engaged in memorization rather than understanding, if they are not prompted to such practical queries by the fantastically poignant visions of Zeke. Many would extend the claims of Josiah's regime, and take the authorship of the Monotheistic concept in the "Books of Moses" away from the founding hero who whose exploits are remembered in the rites of Passover, and give it to Josiah the bull-slayer, or award it even later to Ezra or Nehemiah. To refute this type of doubt, along with doubts from immature out of context reads of the generic epistemological concepts of "El" and "Elohim," it became necessary to insist that the Pentateuch was in fact entirely the work of Moses. However, pinning the first instance of this need upon Josiah, is perhaps intended as a demerit rather than a gold star. Piety can be excessive and misplaced, and if young Josiah's court was driven to such misplaced excess with good intentions, albeit in times of trouble, it still did not prevent the destruction of his Temple, state, or life at Pagan hands.
The Kingdom of Medusa at the advent of Hebrew revolt and Danite invasion.
The worst thing about Hezekiah's and Josiah's reforms was that the conspicuous hallmarks of these reforms called into question the provenance of Israel's Monotheism, considering the context of the early Pagan use of the names Asher, Gad, Dan, El, and Elohim. Few could doubt the centrality of Yahweh in the early Israelite compact, but many would, and still do question, how exclusive the worship of Yahweh was, especially during the Exodus. Since the Bible does not seek to hide the understanding which the Hebrews had of how the revelation of their faith unfolded, it would be rather smug of the student of their wisdom to question their confessions, and read too much into the reforms which unfolded in the wake of Assyria's rise. Genesis makes plain that the God, of the Patriarch whom they name Abraham, was "El Shaddai"--the sustainer and destroyer. When Abe meets with Melchizedek, they worship "El-Elyon,"--the highest God. The Monotheistic context suggested for these names is credible. Paganism trends towards Monotheism due to syncretism. Cults are consolidated as bigger gods assimilate smaller gods who are thereby reworked into discrete aspects of the larger god's powers. As the favored bigger god incorporates the more petty deities, the bigger god is portrayed like a very energetic person who is employed in more and more occupations, and this god's various graven forms show him dressed in different costume uniforms, holding the different fetish forms of the tools of the divine trades of which he is master. Eventually the higher minds who study this phenomenon of divine assimilation will naturally begin to conjecture that all the powers in the natural world must emanate from one supreme source of all being. While there were no doubt those who would have attached the titles "Shaddai" and "Elyon" to that "El" who was the husband of Ashera, there were also no doubt others who reserved these titles for the supreme being who incorporated not only all the powers of both "El" and "Ashera," but who at the same time was also the true wielder of the powers of all their "Elohim."
The worship of "Yahweh" was introduced to the people of the Exodus by Moses. If it be incredible to suppose that none among those in flight from Egypt had ever heard Yahweh's name, it is still entirely plausible that for them Moses was the first to equate Yahweh with the supreme being "El-Elyon/Shaddai." Yahweh of the Armies united a force to take Canaan from Egypt under a name popular with shepherds disgusted with the goddess cults run by Egypt's Levantine governors. The proscription against idols and the taboo on the worship of other gods is validated by its power to motivate an invasion force. When, fifty years before the fall of Samaria, God's Word scripts Amos to rebuke the popularity of Pagan cults in Israel, Amos points to Yahweh as the Supreme Being responsible for all the cosmic manifestations attributed to phony figments, and points in a way all the more credible for its simultaneous rebuke of ritual sacrifice in general. By worshiping Yahweh in the same way Pagans worshiped phony gods, Israel cut Yahweh down to the same size as every other bloodthirsty fetish. The Supreme Being created every world in the sky, and breathed life into man with His breath, what use has God for fancy sprinkles of blood, incense, or peppermints:
Hear this word you cows of Bashan on Mount Samaria--you (fat) "women" who oppress the poor and crush the needy, and say to your husbands: "Bring! Let us drink!" (their blood) ... For see He who forms the mountains and creates the wind and tells man how His thought makes morning darkness and wares down the heights of the earth--the Divine of Armies--Yahweh is His name ... seek Him that makes the seven stars of Orion ... who calls forth the waters of the sea, and pours them out on the face of the earth, Yahweh is His name. He who increases calamities until the calamities meet upon the fortress where they hate he who reproves at the gate, and hate he who speaks with integrity concerning how you ware down the poor. I hate your despicable festivals, and your solemn assemblies are stench to me. For though you offer Me burnt offerings and food offerings I will not accept them, nor will I consider your peace offerings. Take away from Me the noise of your songs, for I do not hear melody from your harps. Instead roll off the waters and let righteousness gush out. Oh Israel! Did you present me with sacrifices and offerings during the forty years in the wilderness? --AMOS (4:1-5:25)
ABOVE: THE SO CALLED "MONOTHEISM" OF AKHENATEN: (Note: All the image-files of these detailed illustrations are large in size and can be opened in a separate window to more clearly view the smaller elements spoken of in the explanations.) The snake was the most subtle of all the creatures God made. Exploitation of sublime double-meanings fleshes out both the subtle language of sympathetic magic and its reptilian belief system. Relief (A) is from a household shrine. To those unfamiliar with how to read eye-splitting magic imagery, it merely depicts an adorable domestic scene in a royal mammalian household; Akhenaten and Nefertiti visit with their children. Those fluent in the language of sympathetic magic, see here the first verses to the most sinister of all spells. The oxidized blood-red solar disk of Aten wears the Pharaoh's own cobra Uraeus. Viper rays beam down from the bloody sun to regurgitate glyphs of the double-axed Ankh to each thirsty royal nostril. Examine the additional relief panel (B) where the hands of Akhenaten sacrifice a duck to the hungry snake-head hands of Aten's rays. These rays represent the divine spiritual power of Akhenaten himself, for Akhenaten is "Aten's Radiance"--the light that is the Aten's Akh; Akhenaten is thus the Aten's rays or glare; he is in effect Aten (cf. אכן as "in effect," "surely established;" "certain"). Note that the disk of the Aten is always depicted with the Uraeus of Pharaoh's crown. Atenism was a Bronze Age revival of the more ancient Egyptian religion of the sun-king. All sacrifices were overtly redirected straight to the power of the royal house without intermediaries. Akhenaten cracks the duck's neck to empower his own flight. Note the enlargement of Akhenaten's and Nefertiti's feet in pane (B) taken from pane (A). Dead ducks are depicted upon the four royal feet by magical doublets subliminally embedded in the anomalous form of the regal sandals when seen in profile, whereas the thongs bulge and then get thin where they meet with the sole, to sympathetically resemble the duck's beak. The priests of the royal house sought to assist the migration of the souls of the royals back and forth between the worlds with the thickest cauldron of magic soup their money could buy, but it was naught but poetic bling. The overall occult message in panel (A) lays in Aten's title: "The Mother and Father of All Living," which included more ducks than one could shake a stick at. The royal children, with unnaturally large craniums, point at their parents. One child points to the full-bellied Akhenaten to affirm to Nefertiti: "That is my father." The divine daddy with fresh prey inside his solar plexus kisses his own brainy child; that daughter points across at Nefertiti to affirm "That is my Mother" to her daddy with boobs and a razor-edged kilt beyond his knee. The brutal point of these charades is that all the children whose feet pattered outside this royal den were Aten's to be ritually punished as the insatiable royals wished. The hands on the rays of Aten are designed to resemble snake-heads, which is a sympathetic doublet carved particularly clear into panel (B). One need not question the imperative taboo against carving such hypnotic religious art among those fighting to escape Egypt's evil. In pane (D) there is an enlargement of the erect tail-end of the sash over Akhenaten's razor-hemmed kilt from pane (A). This equally sharp angled tail also represents Akhenaten's phallus in the form of Akhenaten's ancient flint-knife of ritual sacrifice--a knife type which had become the iron butcher's knife called a Khop. To sit on Akenaten's lap meant death to another's child. As these pampered royal snakes cut and ate, children lay at their feet. The injurious form of this tail end of Akhenaten's kilt-sash is almost identical to the tail of the cat which belonged to Akhenaten's brother Thutmose, as depicted on that cat's sarcophagus now in the Cairo Museum, where it is once again a doublet for the Khop knife, specifically the Khop used by the sun god Ra, when, by the Persea Tree, Ra, in the form of a cat, repeatedly kills the giant python Apep with this knife. The PAPYRUS OF NEBSENI (circa 1440 BC) reveals that this knife was used to ritually kill children of the enemies of the state, and it decodes this allegory while pointing to the belief system of sympathetic magic via a pun:
... the double divine soul which lives in the divine twin gods is the soul of Osiris and the soul of Ra (i.e. the Lords of night and day are one) ... I am the Cat which battled beside the Persea Tree in Heliopolis on the night when the foes of Neb-er-tcher (Nebertcher: "Lord to the utmost border"--a title of Osiris) were destroyed (when the python "Apep" was ritually slain). Who is this Cat? (this cat who butchers the python Apep) This male Cat is Ra himself. And he was called "Mau" because of the speech of the god Sa (the god "Saa," or "Sia," was said to be a deification of the "intelligence" or "reason" behind all creation; he arose from a drop of blood that dripped from the self-mutilated penis of the self-created god Atum; "Sah" was Osiris as the constellation Orion), who said concerning him: "He is like (he is "mau") that which he has made," therefore did the name of Ra become "Mau" (became "Cat;" in variant pronunciations the word "mau" could either be the noun "Cat," or it could be the adjective "like" as in "similar to," or "sympathetic likeness of") ... As concerning the battle which took place at Heliopolis beside the Persea Tree, [these words have reference to] children of the rebellion, when righteous retribution was meted out to them for the evil they had done (in resisting the supposed magically ordained cosmic borders of Pharaoh's state). --from THE BOOK OF THE DEAD (17) from the Papyrus of Nebseni (BM EA 9900)
Here a priest's syncretistic gloss provides a peak at the bloodshed behind the wizard's curtain in the magic kingdom on the Nile. This tangential Nilotic tour may book connections which here begin too tenuous and flimsy for some explorers. Such expected reservations are however instigated more by the irrationality of the fluid religious system being navigated, than they are by the real value of the ancient magical tags pointed out to guide the route of this discussion as it departs from the terminal. Those who suffer this Baedeker's cursive initiation to this nonsensical religion with an open mind will develop a practical immunity to the smack pushed upon the sound biology of the entire planet from the Plasticine padded green-room of the land of Osiris. The gloss on the battle before the Persea Tree reveals that the great python Apep collectively symbolized all the enemies of Egypt's order. The daylight foes of Pharaoh were taken for reflections of Egypt's foes in the dark underworld of night. Egypt's language and religion were molded to serve big established political power, and the Bible can not be properly understood without a competent assessment of how Egyptian magic was underpinned by a sacrificial system full-bellied with the consumption of little human victims. BELOW, PANE E: ILLUSTRATION OF THE BATTLE BEFORE THE PERSEA TREE FROM THE HUNEFER PAPYRUS: Note that the Khop knife is a magic doublet in the likeness of the feather of Maat, against which one's heart was weighed in the underworld. The lion god Maahes--called "Devourer of Captives" and "Wielder of the Knife"--is sometimes depicted eating the head of a captive, or else shown wielding the Khop knife in one hand and the feather of Maat in the other. God of war and vengeance, and male counterpart to Sekmet, his name Maahes is wordplay on lion (ma), and truth or order (maat); he is the lion who keeps the order by eating the guilty. He appears for the first time in the New Kingdom. In THE TALE OF THE TAKING OF JOPPA in the Harris Papyrus, Pharaoh Thutmoses III is called "Maahes son of Sekmet." Associated with war, lotus, knife, and vengeance, Maahes is the royal solar carnivore who eats before the Persea Tree of Life. Above its year-round flowering, the evergreen Persea Tree was revered for the fact that such magical resilience was further confirmed by the way in which its fruit was shaped like a human heart. Egyptian magic, like the parallel cannibal magic of Meso-America, revered the heart above all flesh because the heart appeared to contain the most powerful of all animal magic. The human heart will beat for several seconds after removal from a live victim, and then still continue to be animated by atrial and ventricular fibrillation for up to five minutes. Despite being confused with the Peach (the Persica) by some later Greek authors, the fruit of the Persea Tree was of the rather smallish size of a child's heart. The Noahide covenant forbade consumption of living flesh in a direct rebuke of the spiritually inane despotic hedonism indulged in by Egypt's insane elite. Egypt's cannibal practices were almost entirely concealed beneath the sewn together "fig-leafs" of magical metaphors (עלה תאנה : teh-ane' apparently originates from the generic word "tree" used for any fruit bearing wood; the Persea never grew in Canaan, for it did not propagate naturally beyond Upper Egypt). These magical, ultimately funerary wreaths, were deployed, against the popular resistance of night and day, alongside threatening looped red-belts of oppression (חגרת׃ actually means "belt" or "sash" despite the shallow read of the Eden Parable which renders it as "apron" or even "loin-cloth"). Such concealment avoided direct opposition to these inhuman practices, while, at the same time, it magnified the utility such sadistic dining had as a magical whip of oppression. What's more, the artistic flourishes of the concealing media allowed the elite practitioners of this oppressive magic religion to pretend--both to themselves and their only somewhat clueless subjects--that cannibalistic ritual was a spiritually essential evolutionary vanguard, rather than let its truly primitive brutality be seen soberly as an obvious parasitic malignancy disrupting healthy evolution. The pyramids went nowhere, and like the temples, they served death rather than life, though they purported the opposite. The notched red bottom of the python in the illustration from the Hunefer Papyrus is a likeness of the red knotted threads in the sacrificial cord of the Imiut fetish from which was crafted the looped red sash of Pharaoh ("Master of the Scarlet Land"). The Persea Tree Spell in chapter 17 of THE BOOK OF THE DEAD is key to a later discussion of the myth of Osiris. BELOW, PANE F: IMAGE FROM THE SARCOPHAGUS OF THE MUMMIFIED CAT OWNED BY AKHENATEN'S BROTHER THUTMOSE: The Biblical commands against representative art are understood within the context of how Egypt's hypnotic matrix of magical symbols supported its evil--and cosmically inept--sacrificial system. Akhenaten's brother Thutmose was high priest of the god Ptah, as well as the immediate heir to the throne. Akhenaten became Pharaoh only because Thutmose died before the decease of their father Amenhotep III. Akhenaten's blasphemous nudity can be taken for an irreverent mockery of the religious fame of the brother had who overshadowed him. The cat of Crown Prince Thutmose was a likeness of Ra as Mau, off whom the New Kingdom Maahes was spun from a faux divine epithet of the Pharaoh who conquered Canaan. The unnaturally sharp pointed tail on the cat is again a likeness of the Khop used to cut up the children of rebels by the magical Persea Tree, on whose leaves the years of a Pharaoh's reign were purportedly written by the god Thoth.
BELOW: THE SANDALED FEET OF RAMESSES III: from a painting in the tomb of his son (QV55). Very similar ceremonial sandals made of gold were found in the tomb of King Tut. Here the feet of Ramesses become doublets for wings. The spirit boat was thought to sail when the magic bud of sacrifice rose and opened to the Pharaoh's solar wind. The Egyptian word Ankh did not simply and only mean "life" as is the common modern cultural perception, but Ankh also meant "sandal strap," "captive human," and "food." The nuances of meaning were written in the following segue: Ankh, when represented only by the famous glyph of the oval headed cross, meant both "life" and "sandal strap." When the Ankh glyph was modified by an additional unvocalized glyph, it again denoted "sandal strap," but also "captive human;" when this modified representation of the word Ankh was further modified, by only one additional unvocalized glyph, it meant "food."
BELOW: THREE PANELS HIGHLIGHTING A SERIES OF HOUSEHOLD SHRINES WITH AKHENATEN CARVED IN RELIEF AS THE MAN-EATING SPHINX: Most illiterate subjects who worshiped at one of these mass produced shrines would have hardly had a full understanding of the depth of meaning behind this series of spells in stone. It is too easy today to shallowly read here a simple metaphor, one that might innocently compare any regent to a lion merely to characterize as supreme such a ruler's strength in battle, while ignoring the monstrous carnivorous innuendo in the title "King of the Beasts." Such shallow ignorance neglects the seriousness of Ancient Egypt's malignant addiction to sympathetic magic. This introductory caption to the three illustration panels below, is followed by a lengthier descriptive caption under the third panel. Giving a brief historical context here, serves as a preface to the iconographic descriptions of the key dogmatic elements of Akhenaten's sphinx carvings. The lioness goddess Sekhmet was Egypt's prime deity of war and vengeance. By the New Kingdom, Sekhmet was considered the power-form of the Mother goddess Mut. The Biblical drama of EXODUS truly begins with Egypt's New Kingdom expansion into Israel under Akhenaten's great-great-grandfather Thutmose III. THE CONQUEST OF JOPPA in the Harris Papyrus, preserves a partial record of that conquest, wherein Thutmose refers to himself as the male lion god "Maahes son of Sekhmet." Maahes was the "Wielder of the Knife" (the knife of human butchery) and the "Devourer of Captives." Thutmose III's son Amenhotep II (Akhenaten's great-grandfather), consolidated Egypt's new expansion beyond Sinai with more war in Syria. Amenhotep II left two stele, one at Elephantine and one at Karnak, which boast of his personal handling of the knife which surgically butchered seven noble Syrian captives paraded inside the holy precincts of the temple of Karnak as sacrificial offerings. Amenhotep II's son Thutmose IV (Akhenaten's grandfather), left a stele between the paws of the Great Sphinx at Giza, which tells how Thutmose IV removed the sand which by then already buried most of that colossal lionine edifice. The stele goes on to celebrate how Thutmose IV restored the gargantuan simba to all its former pristine glory and splendor. The restoration of the Great Sphinx by Thutmose IV was completed close to the time when Akhenaten was born. The young Akhenaten, in his formative years, was no doubt impressed by the colossal revival of this hungry sandstone puss. At his impressionable age, boy Akhenaten also witnessed his father Amenhotep III dedicate hundreds of statues of the Sekhmet lioness form, all engraved with Amenhotep III's cartouche, inside Hapshepsut's temple to Mut at Karnak. The superstitious world view of sympathetic magic had kicked into overdrive by this time due to a syncretic trend towards Monotheism concomitant with the increasing power of the Theban priesthood of a supreme composite deity named Amun-Ra, whose omnipotence was epitomized by Egypt's fierce solar radiation and windy air. The goddess Sekhmet and the lionine sphinx were also members of the crowded Nilotic solar entity club, but hung out in a corner of the house bathed in the crimson hue of ravaged blood and guts--a divine meat figment ultimately rooted in a Neolithic head-hunter deity, from whom Medusa and Kali had evolved among Indo-Europeans. SCENE (1): The cranium covering is contemplated in front of Aten's rays, where Pane C zooms in on Pane D. SCENE (2): Aten's rays consume what's in the cranium covering. SCENE (3): Akhenaten holds the Aten's cartouche in a solar dish while munching on a captive's doodle, where Pane A zooms in on Pane B (note the Eshceresque depiction of the Vulture-Crown highlighted in yellow). Pane E is after an engraving of the male lion god Maahes eating the head off a bound captive.
ABOVE: AKHENATEN PORTRAYED AS THE MAN-EATING SPHINX: CARNIVOROUS PREDATOR OF MEN: Just as the hooded cobra is the most solar snake, the mane of the male lion makes him the most solar cat. The zoomorphic Sphinx in Nemes headdress, is a Pharaonic costume syncretistically related to the ambi-sexual solar and lionine headhunter who masqueraded in drag at the hedonistic carnivals of Medusa and Dionysus. All of Egypt's animal-headed fetishes were drafted to support similar brutal dramas imbibed at festivals in the name of Osiris and Isis, which culminated in mass gatherings of ritual drunkenness on red dyed beer at the height of the ruddy Nile flood, where Sekhmet was the blood-drinking mascot of festivities. Akhenaten sought to subsume all the revelry in his own solar animal guise. The narrative spell sequenced in the above panels progresses from scenes (1) through (3). Except for his left hand in scene (2), Akhenaten's colossal sphinx-hands are in the exact same gesture as the snake-head hands on the rays of the Aten. In scenes (1) and (2) Akhenaten holds a War-Crown. Scene (1) shows the beast-king scope in--head-on--upon the sacrificially offered crown. Scene (2) shows Akhenaten hold the crown sideways while the little jaws of Aten's snake-hands consume heads of the enemy, which Akhenaten's left paw magically wafts into his nostrils. One large Aten hand brazes across the top of the crown to depict the Typhonical hair falling motif discussed later. The Aten's rays pass behind or stop before all elements in scene (2) except for the War-Crown, and the sacrificial offerings symbolized by the water-flowers on the altars. The Amarna style developed an artistic device which engraved ciphers with an M. C. Escheresque effect, by which for instance, lines of elements upon and before the altar deliberately depict totally different elements of the spell whether viewed in positive or negative outline. Thus the angles created by the interaction between the positive lines of Aten's rnays upon the altar when combined with positive lines of the water flowers, meld to collage many duck heads in a common instance, while negative space between the water flowers meld with lines of Aten's hands to collage duck wings in more rare instances. A shrine at the MFA Boston gives the culmination of the spell in scene (3), wherein Akhenaten becomes Aten, holding up his name by consuming the meat of sacrifice; his mouth is open and the morsel in the jaws of his snake-head hand makes another Escheresque cheese twist cipher for the organ of immortality. Souls thought to be consumed in the magic meat festivities are represented by the Ankhs held to the beast's orifices. The magician literally approaches reality ass-backwards. The sorcerer's sick kindergarten shenanigans rest upon a pre-pubescent postulate which concludes, that since all corporeal life must eat to live materially, then the soul or spirit must in the same way eat souls or spirits to live on forever. Thus sick magic addicts have vainly sought immortality through the darkest and most sinister sadism, as they tether appetites of the body to their ass-backwards map of the cosmos. Immortality requires sound parenting and environmental stewardship, which will not be accomplished through deceptive exploitation, and a lack of respect, for sanctity of life, and the most basic of all social contracts. The Parable of Noah, and the moral of the Noahide covenant, are mankind's scary grade-school level lessons on the interdependent nature of morality and environmental management. Mankind was specifically forbidden to eat living flesh to help prevent man from holding the map to immortality upside down.
ABOVE: RA-HERAKTE: THE HELIOPOLITAN RIVAL OF AMUN-RA: Akhenaten's title vis a vis Aten was: "THE LIVING ONE RE-HERAKTE (the sun-hawk of the two horizons), WHO BECOMES ACTIVE IN THE AKHET (the horizon), IN HIS IDENTITY AS THE LIGHT (the Shu), THAT IS OF THE SUN DISK (the Aten)." The Theban supreme deity combined Ra with Amun. The rival combination at Heliopolis fused Ra with Horus. The solar combo at Heliopolis was more directly related to Pharaoh's own claims on divinity. The Pharaohs promoted themselves as descendants of Osiris through Horus. Thus Re-Herakte (Re or Ra), who personified the sun as the ruler of Egypt, became the chief god of Heliopolis. "Herakte" means "Horus" or "Hawk of the Two Horizons." Like Sekhmet, Re-Herakte was god of vengeance and war. The Heliopolitan Atum-Ra gave birth to Shu and Tefnut, envisioned as twin lions personifying the red dawn and dusk, protecting Egypt via blood on the east and west, at sunrise and sunset. The hawk and lion were the top predators of the air and land whom Pharaoh sought to emulate on the battlefield with the assistance of sympathetic magic. These magical principles would extend to feeding portions, of the same human captive eaten by Pharaoh, to both sacred lions and hawks kept in temple precincts. Such erroneous beliefs were so debilitating, that some self-hypnotized Pharaohs, like silver-beetle maniacs, believed they didn't need to enter the battlefield at all, but could with mercenaries and magic alone, maintain their lofty position. In the right pane is a Roman era representation of Re-Herakte as a composite lion-hawk creature. The sacred hawk is perched on a serekh containing the Horus-Name given to Tiberius Caesar. The use of a bucking ass in this formula may suggest a mocking subtext. (One might wonder if this pillar was engraved after Jesus sacked Tiberias.) The lion-hawk 'monster cock' on the pillar ironically represents--as ruler of Upper and Lower Egypt--the beast Tiberius, under whose peregrine eye Jesus was crucified. The painting in the left pane shows a pre-Amarna representation of Aten. These symbols are explained in the box and caption beneath the next figure. The ideogram for the two horizons, which the vengeant and predatory hawk-sun soars into at noon, is the deliberate likeness of the horned altar of sacrifice.
ABOVE: HORUS-HEADED FORM OF RA BEAMS BOONS IN RETURN FOR SACRIFICES: The stylized flowers which comprise the solar rays are spit out like poison by the cobra Uraeus which envelopes the sun. Egyptian depictions of flowers and blunt leaves are ultimately doublets for the cutting knife blades of sacrifice. Atop the left column, the stylized ax-forms of papyrus blades, hold up and dispense the waters of the firmament. This belief system centered on a feedback loop between fertility-cult sacrifice, rain, and the vegetation cycle. Near the top of the offering heap, the stems of psycho-active blue lotus terminate in a sacral knot of the surgeon's red and blue colors. This blue lotus is atop bandages of magically treated meat in the "barber's pole" pattern of red, white, and blue. Ra's crook and flail are wrapped in bandages of the same surgical colors. The right column is topped by what is generally taken for lilies, apparently stylized in reference to grain. The possibility that the five solar rays are comprised of stylized blossoms of a psychedelic species of Ipomoea must be considered. Note that the intoxicant yielding grapes, depicted hanging down off the bottom right side of the altar, appear to have been drawn by someone who has never seen a thriving fresh bunch of the fruit; wine was an import. The drug induced fantasy belief which traded magical cuts of meat for a bountiful harvest of vegetables, was reflected in the engraved papyrus ax-blade tops on the pillars of the temples of Heliopolis, which was the Greek version of that religious city's name, meaning "Solar City," or "City of Helios," in reference to the cult of the sun god Ra; the Egyptian name was Iunu---"Place of the Pillars"---and, as in the explanation of the symbology of the pillars depicted in this illustration above, meat sacrifice was literally sold as the support of the very sky itself. Magic offerings, boxed in and sent up by the temple pillars, were thought to hold up the firmament and assure the balance between the worlds, bringing seasonal waters and flowering vegetation. At the base of the supporting pillars on each side of the scene, are sacrificed heads shown in profile beneath fiery lotuses. Human sacrifice was the foundation of the Egyptian religious system. These depictions of sacrificial heads are in the form of a standard hieroglyph (Gardiner's number D1, here glyph I) which is the ideogram meaning "head," "back of the head," "butchered head," or "(Asiatic) chief." As depicted here, these heads represent the ultimate sacrificial feast in Pharaoh's brainless world view. The solar disk depicted with the psychedelic instruments of these sacrifices is a five ray variation of the hieroglyph A given in the bottom frame, which is Gardiner's glyph number N8a. It is in turn a variation of glyph B (Gardiner's N8) from which Akhenaten's representations of the Aten derive. Both glyphs A and B mean "sunlight," "sunshine," "light," or "radiance," however only glyph B directly suggests the god Shu, as this glyph is most often used precisely for that phonetic value; it had the additional meanings "wound," "dry," and "dry up;" thus the hands of Aten could both give life and take it away. Glyph C (Gardiner's N5) is the phonetic value "Ra"--ideogram for "sun," "solar disk," "day," "daytime;" it is the ideogram for that aspect of the sun which formed the natural face of what the Atenist theocracy deified. As Shu was a relatively minor deity, Akhenaten would later remove that word from his cartouched title formulated for the Aten, and replace it with a more generic word for "light," thus clarifying questions as to his pecking order relative to Re-Herakte or Amun-Ra. Glyph D (Gardiner's N6) is the solar disk with cobra Uraeus, used for "Sun" in reference to the anthropomorphic form of the deity "Ra." Aten is always shown with the Uraeus during the Amarna period. Box G contains a construct of Gardiner glyph V28 (glyph F) doubled, with Gardiner's N5 inserted in between; the word comprising this combination of signs means "forever," or "immortal." This returns the discussion to the PREVIOUS ILLUSTRATION ABOVE OF RA-HERAKTE where the hawk-sun in the noon altar is supported by the lions Shu and Tefnut of the horizons of dawn and dusk, and where the early representation of the Aten beneath the altar combines glyphs B and C between the hinds of the lions; here Aten is the central glyph in the symmetric three glyph word "immortal" of Box G. Gardiner's glyph V28 (glyph F) is variously described as a "width of fabric," "twist of flax," or "wick." Detail between the lions relates this ideogram V28 (glyph F) to the sacral cord (and rope) used to bind sacrificed captives. When one zooms in on the picture, it is plain to see that the V28 twist (glyph F) on the left is braided and/or knotted, i.e. "bound," while the additional V28 twist on the right is "loosed." The four archaic Aten rays which beam down the power of the "immortal" in the central glyph (a four ray variant of glyph B) between the two twists (glyphs F), are the sacrificial cords which link the ritual feast participants to the divine object, by holding up the name of the sun. Glyph H (Gardiner's V16) is an array of ten fetter handles such as that which tops the Ankh; it ultimately represents a special set of ten victims.
ABOVE: SURGICALLY BEHEADED CAPTIVES IN FETTERS, FROM A PAINTED PANEL AT THE LOUVRE: The deceased Pharaoh as Osiris rides the Mehen python, the mirror inverse of the python Apep. Mehen spits fire at the fetters which bind four captives whose heads have been surgically removed. Neck vertebrae extend from the headless enemies. The flaming breath which consumes the torsos is represented by the surgeon's symbolic alternating red and blue drops of blood and water. A key is found in the stylized ideogram in the upper right corner of the scene, enlarged in the upper right pane. This hieroglyph is Gardiner's number Q7, which is in the form of a cooking brazier--a portable oven with a flame issuing from the top. The glyph is used as a determinative in words about techniques of cooking foodstuff. Here the Q7 ideogram varies from the standard form which is shown to its left in the enlargement pane. The painted glyph shows flames which issue in the same red and blue alternating drops that make up the fiery breath of the serpent Mehen. These captives are foodstuff. The brazier is tweaked to resemble an Ankh in the form of a Bennu bird (the Phoenix of the Atum-Ra temple of Heliopolis). There should be no doubt about whether humans were sacrificed and consumed in Egyptian Pagan magic rituals based on the principal that like produces like. Special attention was given to the head. Please read on.
ABOVE: AKHENATEN OFFERS MINI CROWNS TO HIS BRILLIANCE: The Blue-Crown, or War-Crown, was called a Khepresh; here War-Crowns double for votive jars holding liquefied sacrifices for magical formulas. The baby snakes emerging from the offerings represent the magic of the ritual rising towards its target, and in turn, each baby snake doubles for an uraeus spigot on a votive crown. The repetitive device of this double offering mimes a reference to the Egyptian divine food or 'Abrosia' of the Egyptian paradise Aaru, or Aru---the Egyptian version of Elysian Fields, which was not fields of wheat, but a fertile food-filled wetlands of "reeds." In this wise, the two uraeus spigots on the offered mini crowns comprise a two syllable repetition of the snaking cobra hieroglyph (Gardiner's glyph # I10), thus miming the reference to "Tchef-Tchef," which was the divine food of immortality Tchefaut ('Ambrosia'), here flowing as liquid from the cranial shells of the enemy. Akhenaten's own outrageous magic hat is a fantastically phallic erection of the Hedjet crown of Upper Egypt; it can hardly be a coincidence that this new form strongly resembles contemporary solar-cult hats of the of the proto-Celts of Central Europe, typified by the Berlin Gold Hat, and the EzelsdorfBuch Golden Hat. The Hedjet crown was associated with Osiris, Nekhbet, and the netherworld, and has its magical doublet in the votive jar. Note how the hand on one of Aten's rays doubles as the cobra Uraeus attached to his over-sized Hedjet crown. The scene's theme is sex magic, and ritual sacrifice for martial prowess, which is linked to the Pharaoh's freakish beauty and 'ju-ju.' See again the Pharaoh's vapid androgyny on this rocky horror. His whorific feminine torso suggests that the feline man-eater of the Sphinx panel above flexes hidden under the floosie drapery. All the graven images of Akhenaten exampled here were types copied over and over many times at a mass-production factory in his capital Amarna. These are the Pharaoh's occult propaganda. Note that here the hands of the rays of the Aten which fall upon the altar have taken on a new form. The key to identifying this form is found in inscriptions made by Pharaoh Menepetah a century later, during the height of the Sea Peoples invasions which segued into the exodus Moses led away from Menepetah's successor Rameses III. Menepetah tells how Pharaohs amputated the penises of those captured during the invasions of this period, and how these penises were piled up in heaps by the thousands, and offered to the Pharaoh's proclaimed divinity. If the captive was circumcised, the Pharaoh's goonies chopped off one of the captive's hands instead of the scarred penis, for in the superstitious magical religion of the Egyptians, a circumcised penis had been blemished in the magical rite of an alien deity, and thus it was unsuitable as an offering to the presumed divinity of the Pharaoh. The rite of circumcision arose independently in many tribal societies to prevent this quite common sexual crime of primitive men. Therefore in this relief by Akhenaten, the hands of the Aten droop, like lifeless amputated hands and phalli hanging over the altar. These offerings were believed to be a source of Pharaoh's magically charged divinity. Just as a dried mummy was errantly believed to be a vehicle of magical rebirth, these desiccated hands and phalli were taken in the magical aim of making Pharaoh's mojo rise. Egypt's obsessive reliance upon the always steadily self-debilitating practice of magic, turned her civilization into a dead tomb of curiosities, while the living legacy was bequeathed those enemies of Egypt who serve the one true God who creates and sustains the universe. BELOW: JARS HELD BY NEFERTITI IN THE RELIEF ABOVE COMPARED WITH PHARAOH'S WAR CROWN: A: Sculpted bust of Akhenaten in the "War-Crown." B & C: Painted relief's depicting Akhenaten in the "War-Crown." D: Close-up of the offering jar from the Akhenaten-as-Sphinx illustration above. E: Mirror enlargement of Nefertiti from the relief in the previous illustration, showing the angle of her offering jars. One of the snake-head rays of the Aten regurgitates the vital force of sacrificed captives into her orifices as an Ankh, while another lying snake promises her cranium that brain food is brainy indeed. Modern Egyptologists look mighty silly when they try to claim that the Egyptians did not think the brain had any spiritual import, and therefore these giant-hatted organ-mongers just threw their brains away. When Tut was succeeded by Ay, Tut's brain was certainly offered up in some magical recipe. The exaggerated craniums evident in the art of Amarna give mighty evidence against the idea that the brain meant nothing. Mummies earlier than the New Kingdom were embalmed with both the brain and heart in place, while the other less important organs were removed and embalmed separately. Beginning with the New Kingdom, the brain was removed. The contention that the royal brain was discarded is almost as patently ridiculous as what was indeed done with it by these sympathetic-magic addicts. The endocannibalism boasted at the outset of the Cannibal Hymn of the Pyramid Texts is compelling evidence that exocannibalism was used against Egypt's enemies precisely as spoken of later in the spells:
"The sky rains down. The stars darken. The celestial vaults stagger ... at seeing Pharaoh rise as a Ba ... A god who lives on his fathers and feeds on his mothers ... Pharaoh is Lord of Offerings, who knots the cord (the sacral knot evident on New Kingdom depictions of the Imiut fetish, the Pharaoh's red-looped sash, the Tyet and Ankh), and who himself prepares his meal. Pharaoh is he who eats men and lives on gods ... It is Courser, slayer of Lords, who will cut their throats for Pharaoh, and will extract for him what is in their bodies, for he is the messenger whom Pharaoh sends to restrain. It is Shezmu who will cut them up for Pharaoh, and cooks meals of them in his dinner-pots ... It is Pharaoh who eats their magic and gulps down their Akhs. Their adults are for his morning meal, their youth are for his evening meal, their babies are for his night meal, their old men and their old women are for his incense-burning. It is the Great Ones in the North of the sky who light the fire for him to the cauldrons containing the thighs of their eldest. --PYRAMID TEXTS (273-274) on the walls of the tomb of Pharaoh Unis
BELOW: TWIN PRIESTS POURING LIQUID ON SURGICAL TOOLS OF SACRIFICE: Some of these tools were used for the removal of intact organs, others to mash and remove brain matter. The votive jar--a magical doublet for the Hedjet crown worn by Osiris--was used to hold and dispense magical liquids. A jar similar to the canopic jar of the tombs was used for magical solids. The sacred knot and double-ax are cultic elements Egypt shared with Mycenae. Here the priest's knotted sacrificial chord ends in the shape of lotus buds. This is a magical tether evident in the Imiut fetish of the Osiris painting from Luxor below. The leopard skin worn by the Egyptian priests is the hide of magic Imiut sacrifice. Both elements are related to the red-looped sash, which affixes the multiple apron and leopard-head sporran, over the groin of Pharaoh's costume war-kilt as seen in an illustration below near the end of the tour.
ABOVE: UN-YUMMY: AKHENATEN GOT LOVE IN HIS TUMMY: This variation of the previous relief imbibes before a fertility altar, above which limply dangle samples of the same variant depiction of the Aten's rays: the butcher-shop-hung, tied-off phallus form. This most subtly points to the even worse horror over at the Pharaoh Frankenfurter's place, where the not so sweet transvestite dismembers meatloaf alive, and consumes the unwilling donor's favorite part before his tortured eyes---the very flavor of sadism the Noahide taboo prohibited. Note in particular, counting second, and sixth, to the right of Akenaten's flesh exposed belly, the sexy shapes of the salami dangling over the divine deli-altar, both shown enlarged inset lower right. Super Anti-heroes came to feast, to gorge on flesh not yet deceased, and don't you know, that still the beast is feeding? The grotesque depictions of Akhenaten in the "Amarna style" long led to the conjecture that he suffered from Marfan syndrome and gynomastia. Recent genetic investigation has confirmed the identification of what many suspected was Akhenaten's mummy due to the desecration and translation of its unique sarcophagus. Akhenaten's corpse shows no significant abnormality corresponding to his freakish appearance in the official iconography. The female breasts and hips are explained by Akhenaten's claims upon the devotions of the goddess cults. Akhenaten's deformed head and full belly are his proclaimed perfection of the pseudo-science of magical cannibalism, where he is depicted as the carnivorous snake-headed lizard king, with huge creases around the mouth indicative of his ability to distend his magical oral cavity and deep throat his captives in their entirety. The enlarged craniums of his immediate family relate the principal of sympathetic magic thought to be at work in their diet, where like is thought to invariably produce like. A 2010 JAMA article by Zahi Hawass et. al. confirms that the graven revelations of Akenaten's subtle savagery were of a biology only magically abnormal:
Macroscopic and radiological inspection of the mummies did not show specific signs of gynecomastia, craniosynostoses, Antley-Bixler syndrome or deficiency in cytochrome P450 oxidoreductase, Marfan syndrome, or related disorders. Therefore, the particular artistic presentation of persons in the Amarna period is confirmed as a royally decreed style most probably related to the religious reforms of Akhenaten. It is unlikely that either Tutankhamun or Akhenaten actually displayed a significantly bizarre or feminine physique ... in the absence of morphological justification, Akhenaten's choice of a “grotesque” style becomes even more significant. --from "Ancestry and Pathology in King Tutankhamun's Family," Zahi Hawass et.al., JAMA, (Feb. 17, 2010)
This conclusion of Hawass et. al. fails to address some truly freakish morphology Akhenaten shared with his incestuously sired son Tutankhamun. Such familiarity was in keeping with the Pharaonic habit of brother-sister marriages in imitative magic vis a vis the divine brother-sister union of Osiris and Isis. Both Akhenaten and Tut had cleft palettes. The club foot of Tut was exacerbated by a toe with a missing bone. Both father and son had elongated skulls long thought to be due to Marfan's Syndrome, but testing on the bodies ruled out that pathology as the cause. The conclusion of Hawass (et. al. 2010) contends that that the elongated skulls of these monarchs were not pathological, based upon their finding that Tut's cranial bones were still unfused, however that finding only rules out Scaphocephaly. Tut's elongated skull is more pronounced than Akhenaten's, but not half as pronounced as was portrayed on a bust of Tut which was found in his tomb. Royal Pride was taken in this abnormal feature, and it was accentuated (or anticipated to increase to a greater magnitude), by the artist who exaggerated it on Tut's bust. Tut's incestuous maternal mummy was also his aunt--Akhenaten's sister--the jaw smashed mother called the "Younger Lady" from tomb KV35. The elongated skull on the "Younger Lady" appears even more abnormal than that of her son Tut, and it is almost certainly due in part to artificial cranial deformation by skull binding as a child. It appears that, along with the cleft-palates, repeated generations of incest led to somewhat elongated skulls, which were thought of as magically superior by these somewhat empty headed conjurers. Proud of their freakish difference as a marker of their elite separateness, they sought to increase their abnormal morphology by developmental modification, and accentuate it by prosthetic means. They further exaggerated the appearance of their cone-heads with the new artistic propaganda of Akhenaten's Atenism.
ABOVE: ONE OF MANY HEAPS OF HUMAN HANDS OFFERED TO GOD SIZED RAMESSES III AT HIS MEDINET HABU TEMPLE: Panes A and B are enlargements made from Pane C in order to highlight how some of these amputated hands are depicted in the standard mudra of Aten's rays. The enlargement in Pane A shows the priest break the thumb on a cracked hand. (This snapping act is seen more clearly in a following illustration.) Thumb-breaking represents extensive torture and mutilation of live victims, as does the priest's violent insertion of his fist into the bottom of the tightly composed scene. The hands fly onto the pile as if fisted upon the hand-heap by the priest. Much of Pharaonic sadism was the most extreme torture of a sexual nature possible. The priest wears an apron tied in the bloody knot of Isis. 堆肉
THE FOE OF MOSES---PHARAOH RAMESSES III---HARVESTS HUMAN BODY PARTS, AS SEEN ON THE MASSIVE COURTYARD WALL OF THE RAMESSEUM AT MEDINET HABU: The large section of the wall shown in Pane A is highlighted in Pane B. The god-sized Pharaoh Ramesses III is outlined in magenta where he sits on his sun chariot. The procession before Ramesses offers him three mounds of severed human hands and phalli. These offering piles of amputated human parts are highlighted in red. (In the bottom pile, all but the very top of the heap is cropped out of the view in the photographic source). Highlighted in purple are the three surgical priests who ritually compile the mutilated amputations. Highlighted in green behind them stand three scribes who record the manifest of stacked human flesh; Pharaoh must know exactly how many human hands and penises he has harvested. Highlighted in yellow behind the scribes, three hymnists sing out magic praises to the crazed Pharaoh who is starving for his gravy. In Pane C is an enlargement of this real autobiographical portrayal of a Ramesses who is much less vanilla than that depicted by Yul Brynner. (Why would anyone disseminate a more sympathetic version of this monster than he himself carved into stone to for all history to see?) This Pharaoh wears a darkly mad grimace, beneath an angry eye which crazes for prey like a vaudevillian feathered ghouli-bird. In Pane D is an enlargement of Pharaoh's knotted sash loop. Note how Pharaoh's own thumb holds the the loop against the long pole of his ceremonial sacrificial cutting staff. An inscription of Pharaoh Merneptah from two decades earlier reads:
Every contingent of Pharaoh's army, from recruits to heavily armed troops, returned with great plunder ... driving home ass-loads of the penises of the land of Libya ... like fish in Aaru (enemy penis-meat was considered one of the prime cuts of magical Tchefau---the food thought to secure Pharaoh's immortality) ... [Number of living] children of the fallen chief of Libya whose uncircumcised penises were carted off was 6 men ... Number of slain men of Libya whose uncircumcised penises were carted off was 6, 200 men ... Of the Sea Peoples who had no foreskins, the Shardana, Shekelesh ... 222 [live] captive men [and] 250 [amputated] hands [were carted off] ... when they had no foreskins, their hands were carted off [instead] ... heaps of uncircumcised penises were carted off to the place where Pharaoh was [seated] --Inscription of Pharaoh Merneptah, 1213 - 1203 BC. 堆肉 堆肉 堆肉
ABOVE: PANES A, B, & C: THREE INCREASING ZOOMS INTO THE TOP HEAP OF THE THREE HUMAN MEAT-HEAPS HIGHLIGHTED RED IN PANE B OF THE PREVIOUS ILLUSTRATION: Pane C of this illustration shows a close-up view of the torture-priest as he breaks the unnaturally long thumbs of two hands like so many duck necks snapped. In Pane D there is an enlargement of the scarlet thread of master Pharaoh's sandal taken from another painted relief at Medinet Habu. 堆肉
ABOVE: MASTER BUILDER OR MASTER BUTCHER?: Scenes from other walls at Medinet Habu show the fat-cracked Ramesses drooling over heaps of huge penises. All of this man-sausage was surgically harvested from the pampered Pharaoh's enemies to please his hungry royal tush. Note that many of the sex organ shafts in the top relief are shown filleted by a single lengthwise subcision which separates the two corpus cavernosa to expose the urethra. The sizes of the penises piled up high for Pharaoh appear to be of greatly exaggerated lengths for average flaccid human members, however they do not illustrate sloppy amputations performed by grunts on the battlefield, but instead show the results of professional surgical removals of the entire spongy tissue of the corpus cavernosa and corpus spongiosum. Such a knowledgeable and thorough detachment operation, made all the way from the glans penis head to the prostate, can harvest meat that is more than twice as long than what is visible of a man's penis length in his normal flaccid state before surgical removal. The Isis knot on the priest in this scene was engraved and painted in a surgical (Typhonical) aspect still visible. 堆肉
ABOVE: CUT BLOSSOMS OF LOTUS AND PAPYRUS AS SYMBOLS OF FLESH SACRIFICED IN EGYPT'S PATHETIC SYMPATHETIC MAGIC RELIGION: (Note that cut flowers are the amputated sex organs of a plant. The sometimes similar depictions of Lotus blossoms and Papyrus blossoms overlap as regards their magical doublets as sacrificial blades.) LEFT: Column from Karnak of Ramesses II, reigned 1279-1213 BC, MIDDLE: Relief from Amarna of Akhenaten, reigned 1353-1336 BC, RIGHT: Painting from Abydos in the temple of Ramesses II, which shows one of the "Nine Bows" or Nine Nations Who Were Enemies of Egypt. The billowing form of kilt which Ramesses wears in the left pane is a cipher for rites of sex magic, for the spirit that moves the kilt thus is the royal erection. The kilt's powerful angle doubles for the blade of a sacrificial knife or ax. The royal blade cuts the lotus offered up in libation and incense, on altars where hedjet crowns double as votive jars, and are dead ringers for the phallic Shiva lingams of Hindu India. In the center pane Akenaten and Nefertiti offer lotus sacrifices to the Aten. The rays in front of the lotuses on the altar indicate they are being consumed. There is also duck on the altar highlighted in yellow. The pane on the right shows a painted magic spell composed against Egypt's nine symbolic enemies. In this formula each of the captured human effigies, of the nine enemy groups du jour, is bound in lotus along with their Egyptian exonym. Note the gold circle on the chest of the captive cropped in the focus of the right pane. This circle represents both his and his nation's portion of solar energy, as well as the lid on a what can be likened to a canopic jar as a delicatessen dispenser, making condiment of an enemy consigned to the deepest abyss of the underworld where Pharaoh's ritual cannibal magic has caused him to cease to exist. As is well known, from the spells in Egypt's funerary texts, and from Egypt's fetishes of mummified flesh, and organs, from many species, the ritual and magical use of meat was central to Egyptian belief. The immorality which this errant superstition imbued upon the elite, steadily waxed while hidden behind symbols of sympathetic magic. Akhenaten's regime made the symbolic system more overt, while bringing out, into the light of day, evil practices already in effect. The cult of the Fascinus Populi Romani at the core of the Roman state religion, employed the threatening rudiments of same magical system. Moses won the decisive battle against the Egyptian religion, Jesus against the Roman.
יד ויאמר מי שמך לאיש שר ושפט עלינו--הלהרגני אתה אמר כאשר הרגת את המצרי ויירא משה ויאמר אכן נודע הדבר
ABOVE: DEPICTION OF OSIRIS AT LUXOR FROM THE REIGN OF RAMESSES II: The lotus/papyrus rises from the tail of flayed sacrificial animals wrapped around the Imiut Fetishes. This stylized flower is a doublet for the sacrificial ax or knife. The double-ax symmetry between the worlds of night and day, dead and living, god and victim, resembles a theme which the contemporary Mycenaeans had adopted from the Minoans; Mycenae was sacked and burnt by the Sea Peoples shortly after Ramesses II died. Pharaoh's ritual sacrifices in the temple theater, including those of captive humans, were thought to magically draw foes in the greater theater to their own slaughter by their sympathetic tails. Many elements of the Pharaoh's costume relate to his reflexive role in wielding the powers of sacrificial offerings. The hanging belts of Pharaoh's red-looped sash are streams of blood which sympathetically tie the bloody carcasses shown here to the open lotus over the lingam altar. The blood drips from the animal to nourish the flowering pillars to proclaim that the infrastructural order is held up by sacrifice--not just the architecture of the state, but also the cosmic order of the natural environment it claimed union with via Pagan propaganda. The phallic elongated neck of the decapitated animal relates to a context of the Osiris myth, in which the dismembered penis of this god of death and resurrection was eaten--either by a fish, or by the crested Egyptian Ibis called an Akh, whose glyph represented the "sure" or "magically effective" spiritual component of the soul. When the goddess Isis, sister and wife of Osiris discovered the god's penis had been consumed, she used gold to make him a magical phallus, which can be equated with the poles of these Imiut Fetishes, which were perhaps reliquaries of spears which had belonged to Pharaoh's ancestors. Their magic power of reborn battle prowess was thought to be sympathetically assisted via the sacrifices, shown wrapped upon them, and tied with Pharaoh's sacred blood-red sash to the symbolic efficacy of the offerings as it blooms over the phallic crown of the altar. Note the loop on the sacred knot in this red-cord. Human hands and phalli were surgically offered for Pharaoh's ritual use during the reigns of the Ramessides; this is certain from scenes and inscriptions in the mortuary temple of Ramesses III at Medinet Habu, as well as from those papyri which survive with accounts of Pharaonic exploits from the reign Ramesses II through Ramesses III. A panel of Akhenaten's at Amarna reveals sexual abuse and decapitation sacrifices of human todlers.
ABOVE: PROUD TO BE A VULTURE: NEFERTARI AND THE GODDESS ISIS: The painting from Abu Simbel in the right pane above, shows Nefratari, wife of Ramesses II, wearing the vulture crown of Isis. Vultures smell like garbage, yet these insane inbreds, guided by ugly sympathetic magic superstitions, emulated these stinking powers of the air for the way they quickly devoured the dead. Nefertari wears the sacred knot of Isis, found on the Tyet--a sacrificial implement related to the Ankh--discussed in following illustrations. This knotted red cord is called the "Blood of Isis" in the BOOK OF THE DEAD, and it symbolizes the river of blood which purportedly fortified Pharaoh's all important organ meats via ritual sacrifices cut up in the name of Isis during his reign. This knot is reflected in the Pharaoh's red-looped sash. Isis was the goddess of "magic," which Egyptians enamored as their highest science, and with which they focused in upon meat in an ass-backwards aim at immortality, failing to logically follow their own presumptions to their rational resolution, whereas if "like produces like," then deception and waste of one's wards produces one's own self deception and one's own clueless termination. The lotus Nefertari holds in her hand is a short handled sacrificial blade. The Pharaohs and their relations dressed up in the costumes of the gods to perform ritual sacrifices--a practice later emulated by Caligula Caesar. The relief image of Isis on the left is from the late period temple of Isis at Philae. Above the divine vulture hat, Isis wears the horn and disk of Hathor, which are cropped out of view in the pane of Nefertari.
ABOVE: SMALL COPPER KNIFE OF TUTANKHAMUN: In the center of the frame (B) is King Tut's copper knife, found in Tut's tomb by Howard Carter, and now in the Egyptian Museum Cairo. The knife handle is marked by a cartouche with Tut's throne name. Above the cartouce are two hieroglyphs; the right one is the ax which is the Egyptian symbol for "god." The full inscription reads: The good god "Nebkheprure" (The good god "Master of the forms of Ra"), may he be given life again." Each fresh piece of living meat the boy-king cut with this blade gave him someone else's life again. Tut's religious heritage instilled in him the erroneous belief that these brutal sacrifices, which he plucked and ate fresh from the vine, would allow him to live on after death. The museum describes this once sharp item as a type of knife used to cut sandal blanks, and otherwise used to do work in skin. Surely Tut's immortality was pinned to work with the most sumptuous high-end 'soles.' The vicious Nefertari shown in the previous frame above is certainly not about to carve up some crude new shoes for herself like some do-it-yourself Imelda Marcos. The time for delicacy is over. These Egyptian royals were cannibals who believed human sacrifices gave them potency in the underworld. When the world hides the fact that monsters are capable of great architectural and artistic feats, then the world delivers all the children of the future into the hands of a world farmed by monsters. The outrageously humble translation of the haughty Pharaoh Akhenaten's name is summarily rebuked by the boastful names of the pip-squeak Pharaoh Tutankhamun. His father Akhenaten had named him Tutankh-aten: the "Living Image of Aten." After becoming Pharaoh, Tut changed his name to Tutankh-amun: the "Living Image of Amun," and restored Amun's place at Karnak with colossal sculpture of Amun carved with the likeness of Tut's own face. Under Tut's throne name "Master of the Forms of Ra," Tut played all the various guises of Egypt's sun god in the best made costumes. His grandfather Amenhotep III (Akhenaten's father) had carved reliefs making detailed claims to be an incarnation of Amen-Ra, and commissioned other works showing his Pharaonic form worshiping his own image as a member of the divine triad. On the walls of Tut's tomb, Tut's own face is painted in for the face of the gods Osiris and Sekhmet. On Tut's signet ring, Tut is called "The perfect god, Master of the Two Lands." The items floating around Tut's sacrificial organ-cutter in the above illustration, marked A) and C) are faience fetishes of Persea fruit found in New Kingdom tombs. D) is a faience fetish of a Persea fruit rising from a lotus. E) is a faience fetish of a Persea tree. Tut was burried in garlands made of Persea leaves sewn together. A box containing an ostrich feather fan and the remains of fresh Persea fruit were readied near his thrones for refreshment. Tut's tomb was provided with mummified meats for an afterlife repast, and two mummies of human fetuses. Some are perhaps too desperate to find a genetic proof that the famished Tut was the father of these fetuses.
ABOVE: MINOAN DOUBLE-AX LABRYS AND SACRAL KNOT IN THEIR RELATIONS TO THE EGYPTIAN TYET AND ANKH: The Egyptian and Minoans competed with each other in the abominable drunkenness of ritual sympathetic superstitions. Due to the greater age and superior monumental displays of a much larger and wealthier Egypt, scholars focus upon Minoan adoptions of Egyptian fetishes, and fail to recognize a two-way avenue of ritual commerce and conversation. This paradigm has obscured the nasty cutting edge of Egyptian religion from a modern human culture hypnotized by Egypt's baneful magical materialism. The ancient myth which remembers King Minos for regular human sacrifices needs to be taken as an accurate historical memory dramatized by Greek bards. The savage Minoan religious economy is reflected in human bones with butcher nicks, and some particularly threatening signet rings of evil Cretan moguls, who with every wax seal, boasted of lavish violations of the Noahide covenant, using sexually exploited 'dancers' for pleasure while their heads were consumed alive, mantis style. This lengthy Egyptian sidebar in the Danite saga need only give a cursory summary of Minoan doctrine as it relates to Egypt's cults. The sacred Minoan Double-Ax, or Labrys, in PANES A & B) is ulimately the fetish of the primitive human head-hunter married to a bull-cult. The sympathetic equation between the cutting blade and a flower (of the lotus or stylized lily/papyrus) was common to both Egypt and Crete. The Double-Labrys in the design of Pane A, shows the ax fetish growing among the vegetation. At Crete's Labrys shrines, double-axes were potted atop poles like trees. This all links into the sexuality/fertility aspect of the sacrificial cult, and the Imiut fetish of the vegetation god Osiris. Paganism rested upon the lie that all life in the universe depended upon sacrifice. Priests and kings synchronized the ritual trappings of their office with the rhythms of nature to convince their subjects that their government was divinely ordained. As the fabulously rich and famous ruling elite became falsely rationalized as more extraordinary reflections of divinity, they too could demand sacrifices formerly reserved for less mundane powers. The waves on the sacrificial Labrys blades in the design of PANE A, as well as the waves on its reflection in the water-flower blade decorating the jar in PANE B, relate to the unlogical astronomical dogmas of man's primitive religion. The stars in the night sky most important to these ancients arced from Sirius (the Dog Star) through the belt of Orion (the Hunter) toward the Pleiades (the seven cows of Hathor). The Double-Labrys was seen as a sympathetic reflection encompassing a collapsed diagram of Orion over the horns of Taurus (Apis-Hathor), which in turn sympathetically reflected arms upturned in the praise of sacrificial ritual worship at the parallel horned altar of PANE G: the twin-peaked horizon of the propitiated power (see glyphs H, I, and J in the Tut's Magic Mirror illustration below). The alignment of the belt of Orion with the Pleiades was important to navigators, from whence the waves on the Labrys blades of PANES A & B ultimately relate the Minoan sacral knots to sacrifices bound to navigational endeavors, and to human heads placed on ship prows for protection made real by psychological warning rather than astronomical reality. The relation of the sacral knot to the binding, or girding together, of the belt of Orion and the Pleiades, sparked a verse of JOB, which is perhaps one of the oldest prose relics of wordplay in the Bible:
התקשר מעדנות כימה או־משכות כסיל תפתח׃
Can you bind the chains of the Pleiades? Or loosen the belt of Orion? --JOB (38:31)
The root of the word for "chain" (עָנַד) used here, forms a construct which also means influence, making humorous protest against the great power of cult beliefs described in this discussion of Crete and Egypt: The Gates of Death opened against the Minoans with the eruption of Santorini circa 1600 BC; God took hold of the loosed skirt of the earth and shook out its wicked; numerous quakes and ash eclipsed their Pagan light, while the arms lifted up to heaven in Pagan superstition were broken (cf. JOB 38:13-23). All this was coined in mockery of these savage cults and their knot fetishes. PANE C: shows a faience model of two sacral knots from Crete. Fetish replicas of the knots in faience or ivory were hung on the walls of homes as a status symbol, presumably by those who had donated victims. PANE D: pottery design from Crete showing the cord of the sacral knot between the blades of a Labrys, rendering a fetish object unmistakably related to the Egyptian Ankh. PANE E: pitcher from Crete with the knotted red cord upon the Labrys as the horned altar; the motif in PANES F & G: is a similar design shown both upright and inversed. The cord represents rivers of blood from the ritual sacrifice, which reputedly yielded a rebirth of prosperity represented by new vegetation.
ABOVE: THE CHALCOLITHIC AX FOUND WITH THE MUMMY OF OTZI "THE ICEMAN" COMPARED WITH EARLY EGYPTIAN ANKHS: The Ankh in the relief of the LEFT PANE depicts a hand-held blade shaped in a fetish form which is related to the Minoan sacral knot tied upon ritual double-ax Labrys. Note how Pharaoh's hand holds the end of his red-looped sash against the Ankh handle, binding it to sacrifices. In the RIGHT PANE is an Ankh amulet of the same form made of Afghan lapis lazuli found in the tomb of Amenhotep II, who was Akhenaten's great-grandfather. For comparison, the CENTER PANE shows the primitive ax of Otzi the "iceman," copper blade buckled to the wood handle with a band of leather tie-strip. The Labrys was an archaic symbol of lightning and thunder, associated with the Anatolian god whom Hellenes remembered as Zeus-Labrondos, originally the Hurrian storm deity Teshub (consort of Hebat; i.e. Eve), who was called Tarhun by the Hittites. The comparable contemporary Egyptian storm god was Set, therefore the syncretic parallels reveal the Ankh as a similarly archaic lightning attribute used by the evil storm god Set to dismember his brother Osiris, the green fertility god of vegetation. Egypt's early sympathetic magicians evidently deliberately crafted the Ankh fetish to reflect Set's lightning-ax in a form incorporating the knotted fetters of a human captive bound for sacrifice. The magicians exploited a sympathetic parallel in the sandal strap, while sandal-straps were unbuckled and collected in order to make an accountings of mass executions. The artistic propaganda boasts of those captives taken alive and ritually dismembered in ceremonies which were magical reflections of of the dismemberment of Osiris by Set. However unlike Osiris, the desecrated and consumed portions of the enemy would not be available for reassembly, and they would be dead for eternity, with their magical life-force consumed by the Pharaoh to increase his divine energy, and empower his barge on its trip through the underworld. Thus the symbolic leaves of the Persea Tree become his solar wreath in the afterlife--his mane. New Kingdom epigraphs record the practice of amputating and collecting the penises and hands of vanquished enemies by the thousands.
ABOVE RIGHT PANE: RAMESSES II SMITES THREE ENEMIES: Painted limestone relief panel from the Egyptian Museum, Cairo. Rather than shown smiting his captives with a mace, which deals death by concussion, Ramesses is shown gathering them for death by the ax, which is not a bludgeoning tool, but is instead a tool used to chop through the skull to get at the brain. This same ax is the hieroglyph meaning "god;" compare with glyphs #3 and #4 in the second illustration below. LEFT PANE: RELIEF PANEL SHOWING PHARAOH collecting Ankh trophies. Note how here the end of Pharaoh's red-looped sash is parallel to the cords connected to the loops on the Ankhs.
古 食人族 豹 腦 病 精神疾病 圓 食人族 腦 病 精神疾病 食人族 豹 腦 病 精神疾病 古
ABOVE: ALL OF ONE WORD, AND ALL OF ONE PRONUNCIATION, THE THREE SEGUED NOTATIONS OF THE WORD "ANKH" GIVEN ABOVE RELATE THREE MEANINGS BOUND TOGETHER IN SEQUENCE: GET A CLUE! Note further deliberate sympathetic likenesses to the Ankh in A) the Egyptian sistrum--which knocks-out notes in the orbits of the heads of the heavens, B) the royal cartouche, C) the looped bonds of captives, D) the loop on the red sash over the Pharaoh's kilt, and E) the loop over the sacred knot in the red cord which bound sacrifices to the Imiut fetish. In the PYRAMID TEXTS it says: "Pharaoh is Master of the sacrifices, who knots the cord, and who himself prepares his meal."
☞ 如果你不买这本书你的朋友们要觉得你是 一 个笨天生的 一 堆肉 ☜
ABOVE: RELEVANT EGYPTIAN HIEROGLYPHS: Glyphs #2 & #3 both mean "die." Glyph #3 shows an enemy of the state putting an ax to his own head. The variant in glyph #2 is said by most Egyptologists to show a "man with a bleeding head," but what this man actually holds against his skull is the tool which was inserted up the nose to remove a victim's brains. Glyph #4 is the ax held by Ramesses in the illustration above; this ax means "god." In Glyph F of the next illustration below, this same ax is shown 'potted' in a "butcher's block" which looks more like a prop for beheading humans than it does a table for cutting meat, and that glyph is indeed used in phrases describing describing human "execution." Glyph #5 is the Tyet, also called the "Blood of Isis," a hand held sacrificial cutting implement tied with the cord of the Knot of Isis. Compare with its inverse in the unknotted glyph D of the illustration below, which is a blade represented as the lotus-papyrus pillar of Egypt's temple architecture. Glyph #6 is the Ankh, which meant "life," "mirror," and "sandal-strap," all related to the sacrificial system of Egypt's sympathetic magic religion. Written with modifying glyphs, the very same word "Ankh" meant "captive-human," and "food." Glyph #7 also meant "butcher," as in to prepare meat for consumption. Those who encroached upon Egypt were to be butchered. The flint knife in the glyph is called a Khop.
ABOVE: KING TUT'S MAGIC MIRROR AND CAPTIVE-HUMAN SACRIFICE-SANDALS: A): On the left is the decorative sarcophagus-like box of King Tut's mirror. The hand held "Ankh" (mirror) once inside the box was stolen by a looter. The word "Ankh" meant "life," "mirror," "sandal strap," "captive-human," and "food." The concept of the mirror is central to sympathetic magic. King Tut's mirror box still quite clearly reflects the form of the Minoan Double-Labrys in Egypt during the Mycenaean Age. As Tut gazed into this mirror, his sandal-straps kept his deformed inbred feet pressed against magic images of the 'nine bows' and two enemies bound for sacrifice. Sympathetic magic believes, that beyond hypnotic suggestion, desecration of images can actually cause real harm to those whom the image represents. Thus Tut squashed his African and Asian foes as he stepped on these images representing these foes bound for human sacrifice. Pane B: shows a partial restoration of one of Tut's right sandals; Pane C: shows a close-up of the same sole's design, with the two bound captive-humans about to be cut by very the sharp water flower stylized as an ax. Ritual cruelty and unusually monstrous punishment of living effigies was considered magically effective: A: Ankh (mirror), B: Ankh (sandal-strap), C: Ankh (captive human): ANKH ANKH ANKH! In the margins are more relevant hieroglyphs. Note how the buds on glyph E point down, reflecting the sympathetic mirror plane illustrated here in the ovals above panes B & C, with colorization of the Minoan motif of the Labrys-Horned Altar tied with the Sacral Knot. The base below the water flowers in glyph E is anomalously similar to the butcher's block glyph shown at the base of composite glyph F. Note the form of the potted ax in the composite glyph F, which is wider at the pole; it is the same ax form in glyph #4 of the previous illustration; large detailed engravings of this ax glyph #4 show it wrapped in bandages or a sacrificial cord. The insertion of the ax in the butcher's block has its parallel in the potted Labrys of Minoan religious shrines; on this detail note the alternate ax of glyph G, which is also anomalously similar to the Labrys. The bovine horns of glyph H relate to the arms upturned in praise of glyph I and the twin-peaked horizon of glyph J. Glyph I is the word "ka," meaning "cow," "food," and the spiritual component of the soul which was said to differentiate a dead person from a live one. This rebus language was crafted by a hermaphroditic priesthood addicted to sympathetic magical thinking. A monopoly of scribes, priests, and royals, pushed ritual sacrifice as the engine of economic power and dominance. In reality, their power was due to environmental position and bounty, with no sound basis in magical mind whips and fantasies. Sold on their own fraudulent sales pitch, they somnambulated on into a dark world where governance by occult anthropophagy replaced the model of sane parents and moral elders managing the national family. Man has indeed journeyed as an omnivore towards his maturation at the top of the food pyramid, where addictions to unrealistic habits of degenerative luxury, psychotic sexual drama, polluting intoxicants, and sadistic violence, handicap his ability to see the forest from the trees he chops, and to discern the dinner from the diner. For governing elites to employ occult whips against their own subjects as a mental chain of control, is not fit for the survival of the human species, nor for their own effective longevity. BELOW: PHARAOH WALLOPS THE BOWS: from Jean Champollion's painting showing the god Amun help Ramesses II emasculate, smite, and decapitate captives. Champollion based this work upon a relief inside Abu Simbel. On the front facade of Medinet Habu, Ramesses III imitated how this innovation depicts more than nine captives being smitten simultaneously; this contrasts with earlier scenes, which more realistically depicted captives smitten solo, such as the parallel relief at Abydos described by the next illustrations. Note that Champollion's icon shows the central captive dressed in the suspenders of the ithyphallic god Min (Menu), and bedecked with a golden bondage loin cloth. This symbolic genital garment displays a wax seal, from a ritual inspector who has approved the quality of the victim's flesh for magic royal abuse.
ABOVE: THIS IS SERIOUS ENTERTAINMENT: 'NINE BOWS' IN PAINTED RELIEF FROM THE ABYDOS TEMPLE OF RAMESSES II, CAST BENEATH THE TOP SCENE OF THEIR RITUAL SLAUGHTER INSIDE THE TEMPLE: Like an ultra-violent old-time theater bill, the top scene shows a standard Pharaonic scene, wherein the divine royal protagonist ritually smites or beheads a captive he has forced to the knee before a Pagan deification of powers favoring the national rule. The bottom pane zooms in to focus upon the procession of identified antagonists, who pull the Nine-Bows---a cue of victims representing the nine, main ethnic pools, of enemy combatants. These victims are being led like sacrificial cattle, into the entrance of the temple, where they are about to star, center stage, as magical effigial objects of ritual abuse and ingestion, consummated in the manner of the scene of cranial violence advertised in the epic international action-adventure relief, posterized, in graven giant-size, above the bound cue. Note how the loops on the papyrus bonds around the necks and the arms of the captives are knotted in the shape of the Ankh's bulb or "handle" (ansata). This line of captives is led into the theater of the sacred precincts like cows (i.e. "kas") to royal ceremonial abuse in a sacrament of mock national slaughter. Note that the extended thumbs of the captives are ready to be snapped in the first acts of ritual torture. The "Long Inscription" of Ramesses II here at Abydos reveals the magic plot, while leaving his insane instructions to perpetuate the bloody run of this temple of doom, so that his star might never fade:
Uttereance of Re's son Ramesses Meriammon: "Hear ye Kings of Upper and Lower Egypt who shall come after me ... May your ka's exist for you without ceasing (the "ka" was the 'life-force' component of the human soul, but also literally the "bull" of sacrifice, and like the word "Ankh," the word "ka" also meant "sustenance"--i.e. "food;" thus spirit, sacrifice, and food were very closely related concepts in this religion of magical materialism) ... May valor be yours without flinching, like the victories of my sword in every country. May you take captive those [humans] who resist against Egypt. May you lay those [humans] whom you capture [from every country] inside my august temple ... See! The king is the divine water (the semen) when he dwells in heaven just as when on he was on earth (Pharaoh is Osiris, i.e. the backbone of Egypt--the Nile). Like the Moon god he takes what forms he wants. Maintain the offerings (i.e. the sacrifices) of this my temple of Osiris (including offerings of captive humans), whose August image resides here, the ennead who come after him being united at his side (the glyph for "ennead" is a register of three vertical rows, each row with three axes of the type depicted in glyph #4 in the illustration of "RELEVANT EGYPTIAN HIEROGLYPHS" above. This "ennead" is usually taken only for a grouping of nine gods, but Ramesses' father Seti included three different divine forms of himself in his ennead. The inverse reflection of these nine gods was the captives of the nine bows, who were sentenced with these nine axes to their heads. The nine captives are symbolically sutured to the banks of the Nile by their bondage in papyrus, and their looted soul-power thus buttresses that of Osiris/Pharaoh, whose magically stacked backbone was sympathetically equated with Egypt's River Nile, where the papyrus banks made the river's bed "sound" or "healthy." Egyptian magic spells can not be understood without proficiency in sympathetic formulae, most simply exampled by the magic mirror plane between predator and prey--i.e. between diner and meal--whereby the meat consumed literally becomes the meat of the consumer. According to Egypt's magical materialism, spirit, or soul, was inextricably bound up in the ritual treatment of the flesh it animated. This kindergarten view of the cosmos was the foundation of the entire Pagan sacrificial system, driving a habit which fixated man on a path oriented in the direction opposed to his spiritual development and immortality. Thus the utterances of Pharaoh Ramesses in the long inscription at Abydos continues---from where the red text left off above---by revealing that the sacrifices he instructs his successors to maintain perpetually in his temple of Osiris, are victims of meat and soul, who are consumed to nourish and fortify Pharaoh's bodily health...). Indulgences shall be craved from them, (from the nine axes) making sound your limbs. --after the translation of J.H. Breasted, ANCIENT RECORDS OF EGYPT: THE NINETEENTH DYNASTY (1906, page 208).
ABOVE LEFT: RENDERING OF A PAINTED ABYDOS TEMPLE RELIEF IN THE LOUVRE, SHOWING RAMESSES II AS HE DELIGHTS IN THE TAKING OF LIFE: Note the angle of orientation to the Ankh bulb loop (classically known as the ansata or "handle"--i.e. fetter handle). Now compare this orientation with that of the loops (i.e. handles) on the fetters which bind the captives in the previous illustration at his Abydos Ramesseum. Pharaoh's nose huffs to inhale the soul-vapors of his captives into his own empty cranium. Note that Pharaoh's brain was removed through his nostrils. Here the solar hawk-god Ra returns life to Pharaoh in recompense for the smoke of burnt offerings. The parallels in GENESIS are vital:
Yahweh Divinity sculpted man from the dust of the earth, and breathed life into his nostrils, and man became a living being. ---GENESIS (2:7)
Note there is no ritual involved in this creative act. Nor is there any reciprocal sympathetic parallel required from man. Man is planted in Eden, and simply instructed as to which fruit will cause his extinction. The riddles in the Parable of Noah ridicule these same Egyptian cornerstones of belief, whereas Pharaoh's sacrificial offerings were sold as the support of the firmament, and as the fuel that sustained the sun and the stars in motion. Most misunderstood is Yahweh's reaction to Noah's first post flood burnt offerings:
Then Noah built an altar to Yahweh, and chose from every clean beast, and from every clean bird, and offered burnt offerings on the altar, and Yahweh smelled the solmnolent scent (הַנִּיחֹחַ֒, "hypnotic" or 'sleep inducing,' misleadingly translated as "sweet") and Yahweh said to himself*: "No longer will I continue to curse the earth because of man, for evil (רַ֖ע, pronounced rah---homophone for the Egyptian sun god Ra) drives in the heart of man from his youth (or "from out of his immaturity"). Nor will I continue to destroy every living thing as I have done."---GENESIS (8:20-21)
Of primary note, is the fact that Noah means "life," and is thus, in part, a synonym for the Egyptian word Ankh. The inherent satire of Egypt's degenerate magic belief, is here missed by those who fail to note that in the time of greatest scarcity, Noah makes extravagant burnt offerings on his own initiative, not by the command of the true God of survival. Yahweh obviously can not be lulled to sleep by magic offerings, or appeased in the manner of Egypt's phony divinized beasts. It is man who is hypnotized by his own fetishes for expensive perfume. Yahweh's speech to himself* would be more easily understood if plainly prefaced by a ginormous cosmic [OY VEH!!!]. To appreciate the natural punch of this irony, it must be remembered that none of the great mass extinctions which have fallen upon planet earth have ever yet wiped out all life. If man goes the way of the Tyrannosaur, man will not take all this planet's meat with his sorry self. ABOVE RIGHT: THE MUMMY OF RAMESSES III: Pharaoh isn't smiling anymore. The cartouche is itself a representation that tweaks the Shen Ring into a form of that mirrors the looped fetter handle on the Ankh; Pharaoh draws fluids where air, water, and fire meet. The Shen Ring is a symbol of Sumerian provenance, and the stick which is usually paired with the ring in the Sumerian source, is itself elsewhere played-up into the form of a brazier-torch, or even a mace of flame, to symbolically exceed Sumerian royal claims on the mere measure of water, with Egyptian boasts of the ability to both hydrate, and also evaporate (in solar temple flames), via ornate occult knowledge. Magic names, and sympathetic magic meat sacrifices, were believed to capture, maintain, and increase the Pharaoh's regency, divinity, and immortality. Self-hypnotized by the same beliefs and techniques which were used to dominate their subjects via mind control, the Pharaohs failed to see how insane their expected outcomes were even by their own erroneous principles.
ABOVE: It may seem like an offal joke, but the survival of every precious gene pool of the human race depends upon a popular knowledge of the malignancy of pyramid schemes. Survival of the human species depends upon massive construction efforts in igneous blocks whose monumental working will require one-hundred percent employment. The revelator's offal message, delivered in a satire against the insane shirkers on masquerade, makes it plain, beyond a shadow of doubt under the ash clouds of earth's super-volcanoes, that this mass effort will never be built successfully on cannibalism and slavery. Life or death---CHOOSE!
ABOVE CENTER PANE and RIGHT PANE: RENDERING OF A RELIEF IN THE RAMESSEUM OF RAMESSES III AT MEDINET HABU, SHOWING A PHILISTINE BEING SACRIFICED TO FAUX DIVINE RAMESSES III---THE ENEMY OF MOSES: A bound Philistine captive kneels before a serekh carved with the Horus name of Ramesses III. Behind the human sacrifice there are hieroglyphics (not shown in this sketch) which identify the victim as a Philistine (a "Peleset"). The enlargement in the upper right pane shows Re-Herakte grasping hairs of the Philistine (highlighted orange), which the hawk pulls through the Philistine's beret. The hawk's talon holds these hairs against the khop knife (highlighted magenta). The hawk is about to use the knife to butcher the head of Pharaoh's Philistine enemy. The hawk, Re-Herakte, represents Pharaoh Ramesses III himself. The papyrus twine bonds are highlighted in yellow. Note the looped handle taking life for dinner, with the two stylized water-flower blades, one pointing up, the other down.
FIGURE ABOVE: SCENE FROM THE SARCOPHAGUS OF RAMESSES III IN THE LOUVRE: The Pharaonic religion of New Kingdom Egypt centered on magic rituals of punitive cannibalism. This psychotic ruler cult is outlined in a text called THE AMDUAT or THAT WHICH IS IN THE UNDERWORLD. The scene from the sarcophagus of Ramesses III framed above shows part of the seventh chapter of that collection of spells. This chapter describes the seventh of the twelve hours of night (1:00-2:00 AM) when Pharaoh torched his blunt snuff dramas with funky munchies. The description of that seventh chapter excerpted below, is from the translation of THE BOOK OF AM-TUAT made by Wallis Budge in 1905. Budge's analysis of a parallel New Kingdom text on Am-Duat is given here with new comments in parentheses. The version Budge describes is given in the black and white illustration below; it varies slightly from that on the sarcophagus of Ramesses. Budge describes the scene from left to right:
2. (the far left figure in this frame) The goddess ATH ("Ath" means "praise," here one sees a version of Sekhmet, lioness goddess of war and vengeance, with the title "the Praising One"), with the head of a lioness (Sekhmet and Bast were equated in the New Kingdom as both were called the mother of Maahes/Mau), holding the symbol of “life” in her right hand, and a sceptre in her left. 3. The uraeus ANKHUITHIT, with the head of a woman (the cobra goddess Wadjet who issues from Pharaoh's solar headdresses, her title transliterated as ANKHUITHIT by Budge is probably best translated as "Life-Taker;" her hieroglyphic title, is comprised of Gardiner's signs S34 - S34 - V13 - S34 arranged in the likeness of the two horizons of the horned altar of sacrifice). 4. A god in human form, seated on a throne, wearing plumes and an uraeus on his head (Pharaoh as Amun-Ra-Min on earth gives power to Osiris in Mehen in the underworld by magic rituals: the ritual depiction of his attributes in action--ankh/huge snake hose--are his mega erection), with “life” in his right hand (the Ankh here employed as the thunderous ax of death to butcher food), and the scepter in his left (the sarcophagus Ramesses he holds a huge erect snake hose ejaculating fire from a distance to braise human meat eaten later in a “face-off” mask); this god is called AFU-ASAR (the “Meat of Osiris,” i.e. the ‘Charcuterier of Oz,’ Pharaoh's mummified Oz-meat was expected to revivify on the other side due to its fortification by cannibal ritual**), and he is seated under a canopy which is formed by the body of a monster serpent called ANKH-ARU-TCHEFAU-ANKH-ARU (“Aru” is Pharoh’s food-island in the Egyptian paradise; “Tchefau” is the Egyptian food of immortality, i.e. ‘ambrosia;’ “ankh” means 1: “life,” 2: “human captive,” 3: “food;” thus the name of this snake fire-hose can be rendered as: “Life of Paradise: Ambrosia Food in the Reeds,” where the human flesh stockyard is fettered in reed twine ropes.) The text which refers to the first three gods reads: “The Majesty of this great and holy god saith, Grant thou me to come forth on the path by thy spittle (?) (poison ejaculate) and by [thy] throat and let me utter the word which is maat to Ankhit (female goddess of the Ankh fetish–a form of Isis), and let me open thy fold, for I have come to illumine the darkness, and to embrace him that is in Mehen.” The text which refers to AFU-ASAR (i.e. the zombie god-flesh of Osiris) reads: “This god saith unto Osiris, who dwelleth in the serpent MEHEN, Hail, Osiris, Governor of the Tuat, thou lord of life, thou ruler of Amentet, thou shalt live, live thou life, thou hast magical power**, and shalt prevail by magical power in [this] land. Thou dost exalt those who are in thy following on their arrival before thee. Thine enemies are beneath thy feet, thou hast gained the mastery over those who have worked against thee. The flames [of fire] are against them, he burneth them up with his blazing knife which is over them, he hacketh them in pieces and choppeth them up with his slaughtering knife, and he reckoneth up his members each day (he counts the human parts he has butchered for the epicurean potions). O let me pass over thee in peace.” 5. Three headless figures, kneeling, with their arms tied behind their backs; these represent the enemies of Osiris (being braised by the huge ancient ritual special-FX tableside creme-brulee torch). Behind these stands a fierce cat-headed god (Mau/Maahes), who holds a huge pointed stake in one hand, and flourishes a large knife in the other. (Budge’s descriptions which follow refer to the scene to the right where the figure above ends. The scene continues in the top frame of the illustration below. Since this was read right to left, this scene precedes the scene described above.) 6. Three foes of Osiris lying on their backs; round the right arm of each a rope is tied, and the other ends of the three ropes are in the hands of a god called ANKHU (the male god of the Ankh fetish). The passage which refers to these reads: “The Majesty of this god saith:–O ye spirits who are hostile to Osiris, who have rebelled against the Governor of the Tuat, your hands and arms are fettered, and [ye] are tied tightly with bonds, and your souls are kept under ward, and your shades are hacked in pieces, ANKHU hath drawn the cords about you so tightly that ye shall never be able to escape from his restraint.” (the rest of this excerpt is not illustrated here, but is included for context) 7. Three bearded, human-faced hawks, wearing on their heads the double crown of the South and North; the first is called SA-TATHENEN, the name of the second is wanting, and the third is called MAM (?), or MAAT. 8. A huge serpent, which bears on its back a god in a sitting posture; the god is called AFU-TEM, and the remains of the text which refers to him say that he shoots forth his flame at those who rebel against Osiris, and that he eats the souls (KAs: ka also meant cow and food; the ka component of the soul was within the flesh according to this materialist magical dogma, hence the importance of mummification, and the finality of a complete cannibalistic ritual disposal of the ka of an enemy via its magical consumption by Pharaoh and his familiars to feed and increase the ka of the deified regent) of the enemies of the god (Pharaoh as Ra in the world of day/life, and Osiris in the underworld of night/death).
BELOW: FROM THE RAMESSES III SARCOPHAGUS: TOP PANE: Scene of the god ANKHU, who is called "ANKU" by the subtle English occultist Wallis Budge. When one reads the magic spell of this passage as a whole, with all its other violent references to the Ankh, then one sees here the Pagan deity behind the sympathetic magic of the Ankh fetish. The scene is read right to left. First Ankhu captures the three victims in the TOP PANE below. Then in the BOTTOM PANE below Mau/Maahes decapitates the victims. Next in the ILLUSTRATION ABOVE, Ramesses, as the "Meat of Osiris" (AFU ASAR) cooks them. Ramesses points the Ankh at them to eat their life in the belief that it would give him the magic power to restore his. See how in the ILLUSTRATION ABOVE Ramesses as AFU-ASAR (combining powers of Amun-Ra, and Min-Khnum) wields the Ankh as a weapon in sympathy with his snake-breath fire-hose. The deity ANKHU in the TOP PANE below wields the looped Ankh fetter in a Typhonic pattern which ultimately attempts a magical relation between Pharaoh's ritual surgeries and the devastations wreaked upon the biosphere by great weather events. Once again, in the big picture, the pressures human intraspecies predation effects upon the stasis of the system produces outcomes entirely opposite from that expected by those addicted to the insane world view of magical thinking. The Ankh symbol is an occult ideogram for torture, murder, and cannibalism. It is not the symbol of life---it is the symbol of the taking of human life. GET THAT TATTOO REMOVED. All sane hands are required on deck. Steering the ship by magic will only result in its crash upon the rocks.
BELOW: Budge's illustration shows the blackened flesh of captives captured by ANKHU as they are roasted by MEHEN, in a variant version which Budge exhibits from a source other than the sarcophagus of Ramesses III. The charred torso on the far right has the ideogram which represents a food-cooking brazier (Gardiner's glyph Q7) shown ejaculating fire onto the bound captive near the back of his neck, while the fire-hose serpent ANKK-ARU-TCHEFAU-ANK-ARU (MEHEN) spits out solar ideograms from the front. The additional figure SHEPPES (the "Noble One," a form of Thoth), on the far left of the top register, steers the cannibal serpent boat by a very sharp ibis bill in a homocidal phallic position. One phonetic noun which meant "ibis" (thn) was also the Egyptian word for "obelisk," and also served as a verb meaning "injure." The word "obelisk" (ὀβελίσκος) is a Greek translation of the Egyptian word ("thn") meaning "roasting spit," or "skewer." Another Egyptian word for "ibis" (hbjw), made a pun with yet another Egyptian word for "injurious penetration" (hbjw). This pun is employed in a text which survives in a manuscript of the Roman Period, regarding a crested ibis (the "Akh," which is yet a third word for "ibis," albeit a specific subspecies of the genus). In the myth recounted below, this "Akh" consumed the penis of Osiris (now remember, the AKH provides the union of the BA and KA which brings Osiris back to life). According to Herodotus (HISTORIES II), Ibises were valued by the Egyptians because they ate venomous snakes. Once all the magic mirror planes of these funerary spells are navigated, one realizes that the punitive habit of ingesting the enemy penis of Canaan (the snake Apep, namesake of the archetypal Hyksos Pharaoh) provides the stand-in penis for Osiris in the other world, via Pharaoh's fortification of his own magic member via ritual cannibalism:
Regarding the ibis, this bird had eaten from the divine body (i.e. eaten of Osiris) in the water. Horus sailed on the river far from this deed of great evil. The moon had been caused to enter the heavens (caused to become a new moon, right before which it shows the last crescent, which resembles an ibis bill) by (the magic of) a wretched Nubian who was in the Southland. This bird ate from him in the water. It rested on its belly after being sated. Its heart weighed heavy upon it. One calls it "ibis" (hbjw) because it had penetrated (hbjw) the corpse of Osiris with its bill, when it landed in the Great Sea of Flames. One also calls it "akh" (ax.t--the Crested Ibis--"the transfigurer") of the heart, because it had eaten the heirloom (jx.t--the "figure," as in "relic" or 'monumental pillar') of the venerable corpse (of Osiris)...---F. Feder (ed.), MYTHOLOGICAL MANUAL FOR THE UPPER EGYPTIAN NOMES 7-16, Roman period
The quasi labyrinth-like MEHEN board game, was played with ivory "teeth." Its circling spiral ultimately relates to the primitive belief that the night sky was a diagram of the underworld. To the Egyptians, the constellation Draco, arcing near the fixed north, was a hybrid of a crocodile and hippopotamus. Depending on whether one won or lost at the game of rebirth, this hybrid creature could be named either Taweret (the nurse and protectress of childbirth and babies) or Ammit (the devourer of souls). Of all Egypt's wild animals, more children were lost on the river to crocs and hippos than were taken by any other animals.
ABOVE: RAMESSES III GETS READY FOR THE UNHOLY PORKING: Considering the context in the heaps of human meat presented to Ramesses III and proudly recorded on the walls of Medinet Habut, it would be delinquent not to notice how the hose-form of the snake ANKK-ARU-TCHEFAU-ANK-ARU, shown on the sarcophagus of Ramesses III, varies from that of the same snake shown in the example exhibited by Budge in the black and white drawing of the previous illustration. Notice how the size of the snake, that Pharaoh Ramesses III wields on his granite sarcophagus, approximates the size of human intestines in both width and length, with the length of the large intestine fairly accurately depicted by the front portion of the snake extended beyond Pharaoh's gripped fist. Ramesses certainly had his captive victims thoroughly cleaned inside and out before he packed his brutal Dr. Frankenfurter sausage.
The Greek word "sarcophagus" literally means "flesh-eater," despite the fact that the mummification process preserved the flesh rather than consumed it. The riddle in Pliny's treatment of the etymology exploits wordplay in a deliberate comedy of errors. Pliny facetiously suggests that the word "sarcophagus" is derived from a type of stone:
"At Assos in Troas there is found a stone of laminate texture called "sarcophagus." It is a well known fact that when dead bodies are buried in this stone they are consumed in the course of forty days, with the sole exception of the teeth."---NATURAL HISTORY (2:211).
This is an ornate charade which exploits how "Assos" is a well situated homophone for "Isis." The pun is used to construct a cosmically profound farcical misreference about the source of natron used in Egyptian embalming. GENESIS (50:2-3) tells that the desiccation of Egyptian mummies took precisely 40 days out of an exactly 70 day funerary ritual period--a schedule confirmed by Herodotus, where HISTORY (2.86-88) emphasizes that the entire mummification process was always over on the seventieth day. Pliny makes the colorful thrust of his flesh-eating stone anecdote pop with a funny detail about the teeth. The Egyptian stone coffin originated in elaborately engraved likenesses of the pampered Pharaohs whose corpses they contained, and the pampered Pharaoh was himself the human "flesh eater" who feasted beside the mock coffin in fertility rites of "man-eros." Pliny's threatening frame of the riddle, cornered up the high cliff at Assos, tags on a famous lyric by Stratonicus:
"If you want to hasten your death, try and climb Assos!"
Assos is located in the sub-province Troas---named for the Trojan state extinguished during the same Late Bronze Age upheaval that mortally wounded the New Kingdom Dynasties of Egypt with Danite led revolt and Exodus. Manetho dated the year of Troy's fall to the reign of the female Pharaoh who preceded the father of Ramesses III--Pharaoh Twosret (c. 1191-1189 BC), who Manetho suggests was married to a rich Thracian Dananoi. When, in ACTS (20:5-14), a young male named Eutychus (i.e. "the fortunate one") is raised from the dead by Paul, after this Eutychus falls from a third-story window at Troas---right before Paul's grueling climb by foot to the Acropolis on the summit at Assos---then the strata which fits the hasty fall of Eutychus into the famous segue of Pliny upon Stratonicus, is no perchance accident, but instead one volcanic riddle layered down upon another. Plutarch, who lived roughly from 46-120 AD, was a rising member of the contemporary Pagan elite whom Josephus pointed his igneous Assos Riddle in ACTS against. The setting, on the coast of Troas at Assos, is where Aristotle began his own early investigations of Earth's natural history. The rock cliff at Assos is actually a series of deposits of volcanic trachyte, enfolded over fossil rich sedimentary rocks. Volcanic brimstone is the real "flesh-eater" that the race of men must fear--not pampered cretins. A student of natural history need not be a proselyte to realize the awesome truth in this reality. Pliny's igneous riddle cites natural creation as evidence against the Pagan fables which magically enable unnatural immorality. Pliny's scholarly stealth, much like the cryptic apocalyptic satires perfected by Josephus, was a cloaking device that Pliny's close relationship with Vespasian Caesar necessitated. Egyptian royal sarcophagi were fashioned of granite, alabaster, or another monumental stone, but were never made of the natron which reduced the flesh by desiccation. Nor were these Egyptian coffins made of the volcanic trachyte found at Assos, and the naturalist Pliny surely knew which stones were used for coffins, and what stone (natron) was used to reduce dead flesh. It is certainly of interest that Pliny's own living flesh was eaten by volcanic material mount Vesuvius issued in 79 AD; trachyte is indeed one of several types of deposits Vesuvius intrudes. Pliny's pun between Assos and Isis points at a bigger, badder, hotter type of fiery ash that also consumes humans. Sailing into the eruption to rescue a friend, Pliny died studying the mysteries of the 79 AD venting of Vesuvius. Pompeii's pestilent mystery cults were buried in noxious volcanic ash. The only thing the Pagan mysteries ever really taught was a camaraderie of gluttony and murder. The satirical rationalization for the very expensive perfume at JOHN (12:8) is a sharply pointed rebuke of this immoral "live for today at any expense" attitude. The alabaster stone which contained this expensive perfume was commonly used for sarcophagi, canopic jars, and vessels of embalming unguent. The "alabastron" (ἀλάβαστρον) of MATTHEW (26:7), MARK (14:3), and LUKE (7:37) is properly an "alabaster-box," and the Gospel's Expensive Perfume Pericope concludes with the reference to royal burial at MATTHEW (26:12), MARK (14:8), and JOHN (12:7).
ABOVE: FOUR VIEWS OF THE LID TO RAMESSES III : SARCOPHAGUS ! : HUMAN-FLESH EATING PHARAOH OF EXODUS, RAISED ON THE RIGHT AND LEFT BY THE GODDESSES ISIS AND NEPHTHYS, EACH GODDESS WITH ONE HAND TO PHARAOH'S HIP, AND EACH GODDESS WITH ONE HAND BEHIND PHARAOH'S EMPTY HEAD: Considering, once again, the context in the heaps of human meat presented to Ramesses III at Medinet Habu, there is no question that Ramesses III was a sacrcophagus---a human "flesh-eater," from the satirical Greek word σαρκοφάγος, which is compounded from sarx (σαρξ) meaning "flesh," and phagein (φαγεῖν) meaning "to eat." The huge granite box that once contained the mummy of seventy-two year old Ramesses III (d. 1155 BC), now on exhibit at the Louvre, is engraved with the scenes of AM DUAT illustrated in figures above and below. The lid that once covered that same coffin, on exhibit at the Fitzwilliam Museum in Cambridge, is more damaged. The entire sarcophagus is in the shape of a royal cartouche. This design was not only to protect the magic name, or soul of the Pharaoh, but to magically rehydrate his desiccated corpse in the underworld. The cartouche is modified form of the circular shen ring tweaked into a round cornered rectangle by a magical erection. The circular shen ring at the root of the cartouche device is the same ring and stick ensign held by Hammurabi and other Sumerian officials; it represents a type of rope measure used to gauge the levels in civic cisterns and reservoirs. The purportedly divinely installed governors had the very powerful position of deciding who got water in times of drought; holding the ring and stick ensign was therefore every bit as intimidating as sporting the most lethal weapon. The image of Ramesses on the lid of the giant granite cartouche is portrayed in the renewed fresh-water youth of a nineteen year old man in spring. Ramesses himself is literally the "sarcophagus," or "[human] flesh-eater," for the Greeks sarcastically coined this term to describe the elite personages who were both portrayed, and contained, by these coffins which advertised their cosmically cracked sense of self importance. Still, all that was left of Pharaoh was his "teeth"---his magic names, spells, and images---with no living body to feed, for his magic well was dried out for eternity. The desert corpse once laid in the engraved granite sarcophagus within a series of nesting gold coffins of high value. The Pharaoh's well preserved remains were found among a cache of New Kingdom mummies re-interred in the tomb of one of the high priests of Amun who were defacto rulers of Upper Egypt contemporary with the Twenty-First Dynasty---a high priest named Pinedjem II---who doled out water off the Upper Nile c. 990-970 BC. Ramesses III's mummy had new wrappings dated 1061 BC---which is 94 years after Ramesses III's initial mummification, and is noted as year nine of a previous high priest---Pinedjem I---who reigned 1070-1032 BC. The Theban high priesthood collected many royal mummies together into caches, perhaps after they themselves robbed tombs to finance the government of Upper Egypt. Some are of the opinion that Ramesses III had collected many of these mummies together himself a century earlier at Medinet Habu, after tombs were robbed during the upheavals on the cusp of the Nineteenth and Twentieth Dynasties. The stele of his father Setnakhte ("Set is Victorious") was discovered in 2006 at Elephantine with the following inscription; it conveniently both lays blame and claims recovery:
Fear of him (Setnakhte), siezed the hearts of the criminals before him, and they fled as tits and sparrows with a falcon in pursuit after them--having abandoned the gold, silver and [bronze] of Egypt which they gave to these Asiatics to bring about a quick victory for them--from the STELE OF SETNAKHTE AT ELEPHANTINE {cf. EXODUS (11:1-5)}
Setnakhte began the great works and temple of Atum at Pithom, exploiting those out of favor who remained behind. As the new upstart Pagan dynasty at the helm was totally dedicated to the power of sympathetic magic, rebellion was fought with the most brutal body, mind, and soul whips available. Inside any case or event, it would be negligent to ignore what the early Twenty-First Dynasty provenance of the mummy caches implies for the Biblical timeline; the anarchy or desperation which led to the desecration of the lavish New Kingdom tombs is somehow caught up into the coeval split of Upper Egypt from the Twenty-First Dynasty at Tanis, and the simultaneous rise of the united kingdom of Israel. The fruit of Danite revenge against the buck-toothed Pharaoh had ripened. X-Rays of the raptor-like Ramesses III appear to indicate a seriously pronounced overbite---of a queer sharpness---which the embalmers concealed by manipulating the lower lip of the royal stiff. The back of the skull was cropped by the source of the X-ray below, obscuring cranial deformation related to an occult ritual diet comprised of human parts. Can one call this creature wholly human with all confidence? Who was the "alien" slayer? Pharaoh or Moses?
ABOVE: THE LOCATION WHERE THE FIGURE CALLED AFU-ASAR ("THE FLESH OF OSIRIS") HARVESTS HEADS---SICK SCENE ENGRAVED NEAR WHERE THE MAGIC IDOL HEAD OF RAMESSES WAS CARVED INTO TO THE SARCOPHAGUS LID: Like in his role as AFU-ASAR, the idolatrous image of Ramesses on the lid wears the double feather shuti crown with solar disk. On the Esheresque headdress of the AFU-ASAR form, the feathers point inward, like feathers of Maat as doublets for the Khop butcher's kife. On the lid depiction they are ostrich feathers like those which adorn the Hedjet or White Crown of Osiris. The PAPYRUS OF ANI explains that these two feathers represent Isis and Nephyts in their role of providing the Pharaoh with his new brain as the magically accrued interest for his sacrificial feasts while alive:
I am the Min at his coming forth, may his two plumes be set on my head for me. Who is this? Min is Horus, advocate of his father (Oziris), and his coming forth refers to his birth. The two plumes on his head are Isis and Nephyts, when these she goddesses go forth and set themselves thereon, and when they act as his protectors, and provide his head what it lacks (a brain). --EGYPTIAN BOOK OF THE DEAD, PAPYRUS OF ANI (the unpalatable riddle, unravels individ'les, of trouble and of pain...)
The contention that the cerebral organ was unimportant in Egyptian religion is an enormous paradoxical fallacy. The disgusting state of the human record mocks reality in a drunken addiction to the cartoon art of a diseased elite. A wake-up call rings in straight from the Lord of Creation. The EDWIN SMITH PAPYRUS demonstrates that the Egyptians were already very familiar with brain anatomy in the Old Kingdom. Egypt addicts are loathe to consider that brain was consumed by the new fraudulent earthly incarnation of some sort of ancient 'Dungeons and Dragons' character named Horus, crowned with the excerebation potion from the old Horus---vacated, and retired with honors as the character Osiris. Rather than eat crow, scared Egyptologists instead grasp onto the straws which stuff heads with skewed readings of Heredotus from seven centuries after the New Kingdom. Nevertheless, HISTORIES is useful for noting that removal of the brain was the very first step in the long and tiring mummification process, while the brain was still fresh:
First with a crooked iron tool they draw out the brain through the nostrils, extracting it partly thus and partly by pouring in drugs (potions, or cures, i.e. comestible recipes); and after this, with a sharp stone of Ethiopia, they make a cut along the side and take out the whole contents of the belly--Heredotus HISTORIES (2:86) {cf. NUMBERS (12:1), SEPTUAGINT JEREMIAH (13:23), Pausanias (4:35:9), Strabo (16:2:8), Pliny (14:5), Ἀνδρομέδα, Κηφεύς Αἰθίοψ, WARS (3:9:3), and JOSHUA (19:46) where for הגבול מול יפו (i.e. "Joppa Frontier") read "Mediterranean Sea."}
ABOVE: GOAL VERSUS FINISH: CENTER: DAMAGED BALD BUST OF IDEALIZED TUTANKATEN, BORN OF LOTUS, FLANKED ON THE RIGHT BY HIS CT SCAN, AND FLANKED ON THE LEFT BY THE BALD MUMMY-HEAD OF TUTHMOSE III: In all mummies whose brains have been removed from the skull, there has never been found any evidence of a preserved brain in the tomb. All other major organs were meticulously prepared and saved for revivification in the afterlife. Brainless Egyptologists have decided to flippantly explain away this anomaly by postulating that the Egyptian religion deemed the brain a useless source of mucus, and that they therefore discarded the brain matter like excrement. Egyptian medicine and anatomical science were far too advanced for this to be true. In order to avoid the unpalatable, Egyptologists discard their very own brains by adhering to this theory. Informed by millennias of experience in the diagnosis and treatment of traumas, and sadistic surgeries on captive enemies, the Egyptians well knew the import of brain function. The optic nerves and other features of the brain are described in detail in Egyptian medical papyri. The extreme cranial deformations depicted in Amarna period art indicate an interest in increased brain-size as a distinguishing mark of divine descent. This feature is evident in skulls as early as Amenhotep I, and roughly collates to the beginning of strictness in the convention of excerebation of the brain before embalming. Where did the brains of the Egyptian's go? They magically disappeared of course! Some scholars might continue to deny any significant difference in New Kingdom skull shapes--even of the Amarna period---because the brains of such scholars are evidently too deep in the mud of denial to ever be recovered. The Eighteenth Dynasty aimed at the results regularly obtained by traditional Central African head binding, but they were not entirely successful at this body modification procedure due to their genetic defects from inbreeding, which caused skull pathologies related to cleft palette. Can any scholar continue to shrug and give tantamount support to a view that must claim the magically and politically charged art motifs of the Amarna royal regime would blunderously make representations to the populace depicting the Pharaonic family as rulers burdened by big heads full of mucus? Did common Egyptians exclaim: "Look! Our king has a huge swollen excrement head!"? No doubt they did! The thick skulls of the Eighteenth Dynasty were indeed, without question, full of a great volume of nasty excrement, but that was certainly not their view of themselves. Egyptologists, end this charade now. Consider that the flesh of your own offspring is at stake.
ABOVE LEFT: RELIEF FROM THE TEMPLE AT EDFU SHOWS MEN TIED TO ROTISSERIE STAKES NEXT TO BOVINE SACRIFICES. On the Narmer Palette such human sacrifices are shown decapitated, each with their own phallus removed and placed on top of their own surgically removed head, to stage the crime scene with a rebus of a mock minotaur or "man-bull." The Egyptian word for bull was ka, which also meant "food," and "soul," or "spirit." The Egytian god Min (or Menu) was the personification of phallic prowess. RIGHT: LUXOR TEMPLE ON THE NILE AT KARNAK OUTSIDE THEBES. Egyptian Temple pylons were designed to craft the entire temple edifice in the huge sympathetic likeness of the temple spit. On that level of magic symbolism, obelisks represented the skewers that held the victims over the roasting fire. The word obelisk is of Greek origin, from ὀβελός, which in modern Greek is interchangeable with related words more specifically meaning "spit" (σούβλα) or "skewer" (σουβλάκι). The Egyptian noun for obelisk was tehen or tehenew; the verb tehen meant "to pierce" or "injure." It appears appropriate to note the homophones teken and tekenew. These words are perhaps most economically rendered with the verb form (tkn) taken as "to intersect," with a passive sense of "border on," and an active sense taken either as "intercept" or "interdict." The noun (tknw) would thus be taken as "intersectee," with this noun also used to designate "neighbor," and then also to label a specific role played by the victim in a funerary ritual human sacrifice. Other root relatives flesh out the context of this royal sacrifice; tkr means "to oppose," tkk: "to violate" or "attack," and tks: "to torture" or "to pierce." Aristocratic baboons still hold up the granite skewer that yet pierces the Luxor sky. The missing granite Luxor obelisk, once its paired neighbor to the right side of the temple entrance, now points at the bloody Place de la Concorde Paris.
ABOVE: ISIS, TYET, and TANIT: Panes A, C, & D show the Tyet fetish, which is very similar to the Ankh in that its components comprise an arrangement of a sacrificial ax tied with straps, cords, or sashes used to bind and loose the victim. Pane A shows the Tyet personified as Isis with hands upheld in praise, mimicking the horned altar of the two horizons. Head is on the altar block. The sash of Isis is knotted on the ax in a practice parallel to the Minoan Sacral Knot on the double-ax labrys. The red threads woven into the sash represent the blood of sacrifices. Amulets in the shape of the Tyet were fashioned of the "blood red stone" carnelian, and placed around the neck of the mummy, where the Tyet amulet was thought to act like a magic amplifier--a sympathetic stand-in for the flesh and blood ritually consumed while alive. The effective power of ritual sacrifices was believed to be networked and rerouted via the Tyet's power as a symbolic stand-in, providing protection for the fortified soul-substance in the mummified flesh of the royal, and thus preventing the royal from being violated in the underworld in the way he-she had violated victims on earth. This is precisely what is depicted in Pane A, where the ax bottom of Isis as Tyet is shown magically penetrating through the roof of the tomb, bringing the protection of an Isis who recalls the power of the sacrifices already made to her. The Tyet fetish was thus believed to have sympathetic magic power in the underworld which could tap into the accrued value of offerings ritually slain with the components of the Tyet fetish during one's religious career while alive. Just as the bound victim had obeyed in humiliation before their death and consumption during sadistic ritual on earth, it was believed the victim would continue to obey as an utterly humiliated bound non-entity in the other world, while all the independent power of their soul was consumed and routed via the continuing ritually charged power of the Tyet, other fetishes, and magic formulae. Such magic belief is called upon from the tomb with a spell in THE BOOK OF THE DEAD, where the Tyet is called "The Blood of Isis":
"Isis! ("Ye of the Throne!") You possess your blood! Isis! ("Ye of the Throne!") You possess your magic! Isis! ("Ye of the Throne!") You possess your power! This amulet is a protection for this great one, so that he-she may not be violated by any" ---Spell 156 in THE BOOK OF THE DEAD.
Panes B and D show the Tyet blended with symbols of the Carthaginian goddess Tanit, who was Ashtarte (Ishtar) in Phoenicia. The horrible cult of Tanit adapted late Egyptian elements into features which the cults of Phoenicia and Egypt held in common with Minoan religion. Pane B is a stele carved with a Tyet-like symbol of Tanit at the Tophet of Carthage, where archaeologists have unearthed over 20,000 urns filled with charred bones of sacrifices comprised almost entirely of human babies and children under two years of age. Pane D is a stele with a similar Tyet-like symbol of Tanit from the Tophet at Nora in Sardinia.
"Tophet" is a Biblical Hebrew word which exploits a pun between "beating" (תָּפַף, taphaph) and "infants" or "toddlers" (טָף, taph), for while the carnival revelers gyrated, in a supposed fertility rite which cooked the sacrificed baby's goose, drums were beat both to egg the revelers on, and to drown out the cries of the little victim. This picture is related by classical accounts of Carthaginian child sacrifice, when read in the context of Plutarch's Isis myth clues, whereas Plutarch paints a picture in which babies are given "fingers" to suck upon instead of breasts. The cult of Isis was imported throughout the Mediterranean as a mystery religion. The accounts of Diodorus and Heredotus implicate the Isis mysteries as indistinguishable from the hedonism and cannibalism of Dionysian mysteries which were also popular during the Hellenistic period. The version Plutarch gives of the Isis-Osiris myth subtly ties this all into the "Child-beating" Tophet of Tanit/Ashtarte. Plutarch tells that Isis sought to revive the dead Osiris in Phoenicia at the 'Palace of Ashtarte' (i.e. the Tophet of Tanit). The first step Isis took towards resurrecting Osiris, was to seek employment in Ashtarte's nursery. There Isis continually cooked a baby's mortal flesh until the baby's soul was finally forfeited when the mother showed remorse. The myth continues with two further Tanit cipher episodes, wherein young boys die while Isis begins her magical shenanigans with the corpse of her incestuous hubby. One of these dead boys is given the name Maneros by Plutarch. Key here is the fact that the mythographers Heredotus and Pausanius ultimately link Adonis to this "Maneros." Adonis is desire and beauty personified in a Greek god of vegetation similar to Osiris. Adonis dies in the arms of his lover Aphrodite---the Greek version of Ashtarte, a goddess of sex and war known to the Romans as Venus. Sacrificed by a wild pig, Adonis was said to bring fertility that could be witnessed in the growth of new vegetation. The name Adonis means "Lord" or "Ruler," essentially the same description contained within the name Isis, which means "the one of the Throne," or "Ruler." All the supposed magic power of these rites was supposed to accrue to the royal personage. The "Maneros" context of the myth is similarly bound up inside the meaning of that name (Mανεροσ) Man-Eros;--i.e. sexual-mania. Plutarch thus connects the child sacrifice rites of Tanit to the mysteries of Isis, revealing that the reason Maneros dies of fright, is because Maneros discovers that he (a boy-object whose name means "Sexual-mania") is the one for whom the celebrated coffin has been crafted. This coffin was fitted onto its victim by a mad conspiracy of magical trickery, and if one solves Plutarch's riddle, they discover that the boy-object called "Maneros" is the stand-in, or 'godmeat-substitute,' for the soon to be dissected Osiris:
Typhon (a.k.a. "Set," the high priest/surgeon of the mysteries), secretly measured Osiris's body (cipher for studying a human chosen to be the victim of the mystery ritual---studied in order to devise a net to ensnare that chosen victim), and made ready a beautiful chest of corresponding size artistically ornamented (cipher for the spells and plot by which victims in the entry levels of the mysteries were caught), and had it brought into the room where the festivity was in progress … Osiris (the victim) got into it and lay down. Those who were in the plot (at the adept levels of the mysteries) ran to it and slammed down the lid, Then they carried the chest to the river and sent it on its way to the sea through the Tanitic Mouth (cf. the horrible mouth of Tanit) … Isis wandered everywhere at her wits' end; no one whom she accessed did she fail to embrace, and even when she met some little children she asked them about the chest ... Egyptians think that little children possess the power of prophecy, and they try to divine the future from the portents which they find in children's words, especially when children are in play in holy places and crying out ... Thereafter Isis, as they relate, learned the chest was cast by the sea near the land of Byblos (in Phoenicia, parent of Carthage, at the 'Palace of Astarte':--i.e. the Tophet of Tanit) ... Isis ... came upon Byblos ... a longing came upon her (longing came upon Queen Astarte, i.e. Tanit) for the mystery woman (Isis) ... and [longing came upon her] for a body fragrant with ambrosia (ambrosia was the food of the gods, and it was said to impart them with immortality; the pop mysteries sold cannibalism in the exact same way it is satirized in the Gospel---as the food of immortals). Thus it happened that Isis was sent for and became so intimate with the queen (Tanit) that the queen made her the nurse of her baby. They say that the king's name was Malcander (Melquart/Molech, equated with the Greek Titan Cronos who ate his children, and a.k.a. Baal-Hammon, from whence are derived both the pun "Sons of Hinnom," and the hell named "Gehenna," where there is much weeping at the gnashing of teeth; the Hebrew "Sons of Hinnom"---בן־הנם---jabs at Cronos-Hammon, and means perhaps "Sons of He Who Dozes," to render: 'Valley of the Boys that Time Forgot'); the queen's name some say was Astartê (i.e. Tanit, Ishtar, Venus) ... They relate that Isis nursed the child by giving it a finger to suck instead of her breast (cipher for a male organ instead of a female one), and in the night she would burn away the mortal portions of its body (in the fires of Molech) ... Then the goddess threw herself down upon the coffin with such a dreadful wailing that the younger of the king's sons expired on the spot. The elder son she kept with her, and, having placed the coffin on board a boat (cipher for the feast bier which carried the mock sarcophagus), she put out from land (the processional rite of the mystery body) ... In the first place where she found seclusion, when she was quite by herself (cipher for the victim and family having been fully assimilated into the mystery cult), they relate that she opened the chest and laid her face upon the face within, and caressed it, and wept. The child came quietly up behind her and saw what was inside, and once the goddess became aware of his presence, she turned it about, and in anger gave him one awful look. The child could not endure the fright, and died (Isis: serial child killer). Others will not have it so, but assert that he fell overboard into the sea from the boat that was mentioned above (i.e. --he fell out of the procession of the congregation by accident). He also is the recipient of honors because of the goddess; for they say that the Maneros of whom the Egyptians sing at their convivial gatherings is this very child. Some say, however, that his name was Palaestinus or Pelusius, (relating the Phoenician influence upon Egyptian religion at Tanis to the Minoans and Philistines) and that the city founded by the goddess was named in his honor ... But some say that the word ("man-eros") is not the name of any person, but an expression belonging to the vocabulary of drinking and feasting ('sexual-mania'): "Good luck be ours in things like this!" (i.e. --'may we snag many more kids in our magic web!') and that this is really the idea expressed by the exclamation "maneros" whenever the Egyptians use it. In the same way we may be sure that the likeness of a corpse which, as it is exhibited to them, (in the annual Egyptian national public fertility rites centered on Osiris and timed to the Nile flood) being carried around in a chest, is not [really] a reminder of what happened to Osiris, as some assume; but it is to urge them, as they contemplate it (at the higher levels of the mysteries), to use and to enjoy the present (of the child victims), since all [men] very soon must be what it is now, (consumed by beast, fire, and worm) and this is their purpose in introducing it into the midst of merry-making. ---Plutarch, ISIS AND OSIRIS (13-17)
The above presentation of Plutarch (priest of Apollo at Delphi, and Roman Procurator of Greece), suggests the mysteries have virtue in that they teach that death is an inevitability which rationalizes hedonism; great unintended irony lurks in how this imperative flows from the fact that time (i.e. Cronos) isn't on your side. See Plutarch's ON EATING FLESH 2:5, TABLE TALK 667-671, 729, and ON SUPERSTITION (9-10).
❝THE BOTCH❞
The Phoenician form of child sacrifice was popularized in Judah before the Babylonian conquest, and the prophet Jeremiah points directly at this degenerate cult as the cause of the loss of the kingdom. Jeremiah relates the Tophet of Jerusalem to passages in DEUTERONOMY and EXODUS, where cannibalism pops out as a pustular Egyptian disease:
JEREMIAH:
"Oh kings of Judah and inhabitants of Jerusalem! Hear the Word of Yahweh! The God of Israel---Yahweh of the Hosts---says this: "I am about to bring such evil on this place that the ears of all who hear of it will ring! For they have forsaken and estranged Me ... and filled this place with the blood of innocents, and built themselves the high places of Baal, to burn their sons in the fire as burnt offerings to Baal, which was not something I commanded, nor would it ever enter into my mind (the mind of Yahweh: "He Who Will Live"). Therefore behold! Yahweh ("He Who Will Live") declares that the day is coming when they will no longer call this place Tophet, nor the Valley of Ben Hinnom, but the Valley of Murder! I will foil the plans of Judah over this place in Jerusalem, and I will cause them to fall under the sword of their enemies ... And in siege I will cause them to eat the flesh of their sons and daughters, and everyone shall eat the flesh of his friends (and thereby become friendless) ... I will break this people and this city like one breaks a potter's vessel so that it can never be made whole again, and they will bury in Tophet until there is no more room to bury. That is what I will do to this place and its inhabitants declares Yahweh! (declares "He Who Will Live!"), I will turn the entire city into a Tophet!" ---JEREMIAH (19:3-12)
The underlined passage above---JEREMIAH (19:9)---is a direct fulfillment of the underlined passage of DEUTERONOMY (28:53) below, which in turn refers back to the "boils of Egypt" of EXODUS (9:11), which were break-outs of "the botch" made in payback for the ash of captives sacrificed to Egypt's Pagan gods. The key word in EXODUS is כִּבְשָׁן (kilbshan), which is usually simply translated as "furnace;" that word is derived from כָּבַשׁ (kawbash), which relates to bondage and captivity, from its sense of eroding a people down and oppressing them into non existence. The ultimate allusion in the wordplay is to cooking captives down into an ashen residue in the fires of Egypt's temples:
EXODUS:
And Yahweh said to Moses and to Aaron: "Take yourselves a handful of ash from the כִּבְשָׁן (kilbshan: from the temple spit) and have Moses throw it into the sky while Pharaoh is watching (not as magic, but to relate Yahweh's volcanic punishment to the crime), and it will become a fine ash over all of Egypt. And it will cause boils (בִּשְׁחִ֤ין, the "botch"--''eruptions") on man and beast, with boils ("eruptions") breaking out all over the land of Egypt ... And the magicians of the land of Egypt could not defend themselves in the face of Moses because there were boils on the magicians and on all the Egyptians. (Moses and Aaron had free reign to pillage Heliopolis because the priesthood was shut up in their homes, having been made--by their pimpled acne faces--ceremonially unclean according to Egyptian religious regulations. Note, that in sympathetic likenesses of ripened grain, and in vengeant harmony with a genetic peculiarity of their Canaanite foe, the Egyptians sacrificed red-heads at the Osiris temples, and dispersed the human ash from the temple spits with winnowing fans. See Plutarch: ISIS AND OSIRIS 73, Diodorus: HISTORICAL LIBRARY 1:88:5; this important cultural memory is satirically recycled at JEREMIAH 15:7, ISAIAH 41:16, MATTHEW 3:12, LUKE 3:17)---EXODUS (9:8-9:11)
DEUTERONOMY:
Yahweh does establish you with Himself for a holy people as He has promised you if you keep the commands of Yahweh your God and do walk in His ways. Then all the peoples of the earth will see you call upon the name Yahweh and they will fear you. And Yahweh will make you abundant in what's good, and in the fruit of your womb ... (the line JEREMIAH delivers at 19:5 refers to those whose evil minds can not interpret the context here innocently as is intended, for this passage of DEUTERONOMY continues here with other kinds of "fruit" that are indeed eaten, but such a disgustingly errant interpretation ignores the thematic context which contrasts the innocent blessing with the negative curse which proceeds as follows): However if you do not listen to the voice of Yahweh your God ... Yahweh will send curses on you ... Yahweh will turn the rain of your country into dust and powder. It will come down from the skies until you are destroyed ... Yahweh will afflict you with the boils (בִּשְׁחִ֤ין, the "botch") of Egypt ... Yahweh will bring a nation upon you from far away ... they will besiege all the cities throughout the land which Yahweh is giving you (first as a Pagan siege of the mind). And you will eat the fruit of your womb---your sons and daughters that Yahweh has given you---because of the siege and oppression with which the enemy oppresses you ... If you do not accomplish all the words of the instruction written in this book, in fear of the awesome and majestic name of your God "Yahweh" (i.e. in fear of extinction), then Yahweh Incomprehensible (then "He Who Will Be Incomprehensible") will bring sickness, moreover a sickness regarding your offspring, great sickness, sickness in your very support (in your "pillars," in what holds up your house and sustains you). He will bring back upon you all the disease of Egypt you were afraid of, and this will become habitual with you. ---DEUTERONOMY (28:1-60)
ABOVE: CLEOPATRA'S FATHER---PHARAOH PTOLEMY NEOS DIONYSUS---BRINGS ISIS AN OFFERING OF HUMAN MEAT, WHICH IS BOUND LIKE A BANANA BUNCH, AND CARRIED INTO A SIDE ENTRANCE ON THE FRONT OF HER TEMPLE AT PHILAE: Highlighted in rose is a bunch of thirty bound human captives, who are shown being carried into the Temple of Isis as an offering. This relief is graven on the front of the left pylon of the main facade of the Isis Temple at Philae, with the captives being dangled right up into this left side-entrance arch. This scene's implied animation, which depicts the bound human meat offerings being moved inside the left side door on the temple facade, is augmented by a more animated parallel scene on the temple's right pylon. There Ptolemy is shown carrying in another fetching bunch of thirty bound human captives from the right, but the side-entrance on the right has a gate, and the human banana bunch is engraved in the corner where the gateway and pylon meet, with half of the meat-bunch carved on the right pylon, and half carved into the gateway, in order to emphasize how the human meat offering is being moved inside a delivery entrance to the temple. These artistic statements boast that the sadistic communion offerings which the father of Cleopatra made to Isis were generous and fruitful. His ritual offerings may have exceeded the expectations of the Isis priesthood, but he proved to be Egypt's last adult male Pharaoh. These late reliefs on the temple of Isis at Philae, quantify an escalation in the open feasting on human flesh, timed right before the rise of Imperial Rome and Herod the Great. The punitive cannibalism of the Patrician class of Rome remained well hidden in the cult of the Fascinus Populi Romani during the Republican Era, and both Egyptian religion, and the Bacchanalia of the Dionysian Mysteries, were viewed with disdain by the overwhelming majority of the Roman populace, who had a great measure more liberty than the citizens of Ptolemaic Egypt. Indeed, the public sentiment against Egypt's cults was exploited by Augustus in his propaganda war against Marc Antony and Cleopatra, though Augustus and Livia would soon enough publicly embrace Egyptian religion themselves. It is notable that the military fortress of Antonia, which towered over the Jerusalem Temple, was named for Marc Antony after Antony was initiated into the Isis cult. Antony's romance with Cleopatra began when he summoned her to Tarsus in 41 BC. Antony was in Antioch when his Roman legions from Syria took Jerusalem to install Herod as Rome's King of the Jews in 37 BC. Just as Cleopatra's father had styled himself "New Dionysus," Cleopatra styled herself the "New Isis," (i.e. Isis reincarnate).
ABOVE: CLOSE-UP OF THE LION-TOOTHED CUTTING TOOL WITH WHICH PTOLEMY NEOS DIONYSUS "SMITES" HIS CAPTIVES ON THE PYLONS AT PHILAE: This tool is the fetish implement of a cannibal who flays humans and harvests their organs and muscle meat. The illustration is taken from a relief on the temple at Edfu, where it is part of yet another trademark scene of Ptolemy fetching a bound bunch of thirty human sacrifices. The hawk Horus carries a shen ring in its talons. Inside the shen ring is a device which tweaks the brazier glyph into the form of a stick; the water in the bodies of the captives is to be roasted off. Cultural programming has guided people to believe cannibal witch-doctors live in huts---not at the head of great civilizations. Thus it has been easy to lull the populace into the renewed acceptance of Paganism, and magic, as alternative belief systems. In the Hellenistic period, the cults of Dionysus and Osiris were considered equivalent enough for Cleopatra's father---the last Ptolemy---to call himself the "New Dionysus" in a native Egyptian context. The common thread, is mysteriously packaged orgiastic hedonism, practiced beyond all sane social norms, even to the point of cannibalism. In the case of Cleopatra's father, this is partly reflected in the subtext of his disparaging nickname: Auletes, which literally, means simply: "the Flute-player," but this nick-name was in fact a popular euphemism meaning: "the Cock-sucker," for the licentious type of flute implied into the keen mouth of this "New-Dionysus," was none other than the skin-flute:
Being corrupted by luxurious living, all the Ptolemy's after the third have administered the affairs of government badly, but worst of all the forth, seventh, and last---"Auletes"---who on top of his general licentiousness, practiced the accompaniment of choruses with the flute, and prided himself upon this so much that he would not hesitate to celebrate ["flute-blowing"] competitions in the royal palace, and at these contests he would come forward to vie with the opposing contestants---Strabo, GEOGRAPHY (17:1:11)
Despite the voluminous spin of apologists, there is no sane way to deny that overt cannibalism is central to the myths of Dionysus. The case of Pentheus in THE BACCHAE by Euripides is most telling, in that his fate ingeniously combines the two main forms of homicide perpetrated by the mystery cults: 1) punitive cannibalism, 2) sacrifice of a human child by its ecstatic parent to feed the morale of the initiates. Like the treatment of Osiris by Set (i.e. Typhon), humans sacrificed to Dionysus were dismembered in a process the Greeks called sparagmos, which was followed by omomphagia--eating of the raw flesh of the victim. Some of the local titles given to Dionysus put this in context, for this god of "divine madness" was, at Tenedos, called Anthroporrhaistes, which means "Man-destroyer." His title Omadios means "Raw Meat Eater," or "He of the Raw Feast." His related name Omestes is a term most often used to refer to a lion as a "Carnivore" or "Beast of Prey." It is under the name Omestes that Plutarch records human sacrifices by Themistocles before the Battle of Salamis. This special form of punitive cannibalism is the rite for which there is undeniable evidence in New Kingdom Egypt---namely the magical sacrifice of enemy captives as sympathetic representations of their nation. Most practitioners madly believed there was a magical effect beyond the boosting of morale. When battles were lost after such rites, it was insanely ascribed to improper offerings. When battles were won, it was thought it was because some divine beast was pleased by magical meat offerings:
Themistocles was sacrificing alongside the admiral's trireme (at Salamis). There three prisoners of war were brought to him, of visage most beautiful to behold, conspicuously adorned with raiment and with gold. They were said to be the sons of Sandaucé, the [Persian] King's sister, and Artaÿctus. When Euphrantides the seer caught sight of them, since at one and the same moment a great and glaring flame shot up from the sacrificial victims (the animal victims Themistocles was in the process of roasting) and a pop ejected good omen on the right, he clasped Themistocles by the hand and bade him consecrate the youths, and sacrifice them all to Dionysus Omestes (Dionysus the Carnivore), with prayers of supplication; for on this wise would the Hellenes have a saving victory. Themistocles was terrified, feeling that the word of the seer was monstrous and shocking (not that this rite was off-color for Dionysus, but that for Themistocles to publicly preside over such a feast unmasked, was, under normal circumstances, politically unseemly to the max); but the multitude, who, as is wont to be the case in great struggles and severe crises, looked for surety from unreasonable rather than from reasonable measures, invoked the god with one voice, dragged the prisoners to the altar, and compelled the fulfillment of the sacrifice, as the seer commanded. At any rate, this is what Phanias of Lesbos says, and he was a philosopher, and well acquainted with historical literature. ---Plutarch, LIFE OF THEMISTOCLES (13:2-3)
The Greek historian Diodorus of Sicily was exposed to the cults of Dionysus and Tanit rife on that island. When Diodorus discusses cannibalism vis a vis the rites Osiris, the subtext must be read in an Dionysian context:
Osiris when translated is Dionysus (i.e. they are the same god in myth and practice) … They say Osiris was the first to make mankind give up cannibalism ---Diodorus, HISTORICAL LIBRARY (1:14:1)
That's what they said anyway, but this mystery snake-oil did sprout on funkenstein flesh none the less. Diodorus goes on to explain that Isis discovered grain, but the fertility cult of Osiris devised its propagation via reaping and sowing. He tells how the Egyptians beat themselves as they "cut off the first heads of grain" in proof of the discovery Isis made. The mystery revolves about Osiris as the athropomorphization of the vegetation cycle, whereby the human form paradoxically, and dangerously, stands in for comestible plant life. The god's dismembered body parts, sacrificed in a rage by the storm god, are all buried in the ground like seed, except for his penis---source of fertility itself---which is thrown in the Nile where it is eaten by animals. The Nile is, of course, the source of Egypt's fertility. Diodorus continues:
Now the parts of the body of Osiris which were found were honored with burial, they say, in the manner described above, but the privates, according to them, were thrown by Typhon (i.e. Seth) into the Nile because no one of his accomplices was willing to take them. Yet Isis thought them as worthy of divine honors as the other parts, for, fashioning a likeness of them, she set it up in the temples, commanded that it be honored, and made it the object of the highest regard and reverence in the rites and sacrifices accorded to the god. Consequently the Greeks too, inasmuch as they received from Egypt the celebrations of the orgies and the festivals connected with Dionysus, honor this member in both the mysteries and the initiatory rites and sacrifices of this god, giving it the name "phallus."---Diodorus, HISTORICAL LIBRARY (1:22:6-7)
It is with tags marking this fertile burial, of the human members of Osiris, that Diodorus reveals the bitter brutality beneath all the family-friendly candy-coating, for when Diodorus discusses the controversy about the places where Osiris was buried, he states about the many rival tombs:
... varying accounts of the burial of these gods [Osiris and Isis] are found in most writers by reason of the fact that the priests, having received the exact facts about these matters as a secret not to be divulged, are unwilling to give out the truth to the public, on the ground that perils overhang any men who disclose to the common crowd the secret knowledge about these gods ---Diodorus, HISTORICAL LIBRARY (1:27:3-6)
Thus although "They say" Osiris made men quit cannibalism, Diodorus gingerly discloses, to the contrary, that the brutality behind the mystery meat is quite a bit more complicated. Key is the line:
... it seemed to their advantage to refrain from their butchery of one another ---Diodorus, HISTORICAL LIBRARY (1:14:1)
This says nothing about butchering the enemy of the state. The mysterious straw-man sales pitch spits out the giant fib that all men ate each other until the ridiculously sexy Frankenstein named Osiris came to town with his howling sultana. Festive reprieves are issued by he who claims such a right by way of his fraudulent proscription. This phony Lord of the Dead's faux taboo is against random cannibalism only. The tagged presentation of Diodorus continues his perilous disclosure, by his secret sacrificial thread which binds together his remarks about the unspeakable controversy surrounding the revolving tombs of Osiris:
The sacred bulls--I refer to the Apis and the Mnevis--are honored like the gods ... Red oxen, however, may be sacrificed, because it is thought that this was the color of Typhon, (i.e. Set, personified in Egypt's most challenging rivals---the notably red-headed Canaanites/Hyksos/Phoenicians) who plotted against Osiris and was then punished by Isis for the death of her husband. Men also, if they were of the same color as Typhon were sacrificed, in ancient times they say, by the kings at the tomb of Osiris; however, only a few Egyptians are now found red in color (i.e. red-haired or "ruddy"), and the majority of such are non-Egyptians, and this is why the story spread among the Greeks of the slaying of foreigners by Busiris, although Busiris was not the name of the king but of the tomb of Osiris, which is called that in the language of the land. ---Diodorus, HISTORICAL LIBRARY (1:88:4-5)
The Greek word βους means "ox," and here marks a reference to an Egyptian funerary human sacrifice called the Tekenu (tknw: tekenew), which was sewn inside a cow hide. Diodorus drops this clue earlier in his narrative:
Some say when Osiris died at the hands of Typhon (i.e. Set), Isis collected the members of his body and put them in an ox fashioned out of wood covered over with fine linen, and because of this the city was called Busiris. ---Diodorus, HISTORICAL LIBRARY (1:85:5)
The twisted Busiris thread in the Greek discourse about Egypt, was spun as aspersion against the popular cult of Serapis, and against the import of Egyptian religious thought in general. The Serapis cult worshiped a deity who was Osiris combined with the Apis bull, melded together into a fully humanoid form depicted with the face of Zeus. This composite deity translated Egyptian magical concepts about the unity (or mirror) equating the sacrifice victim with the god---a mystery first evident in how Apis was an elite member of the sacrificial class made sacred. The name Serapis derived from the amalgam [A]ser (Osiris) + [H]api (Apis-bull). The derogatory Greek slur "Busiris" (Osiris + Ox) was backed up with mythic reminders of how the Egyptians loved to sacrifice foreigners. The spin in the Greek national dialog which is tagged with this slur Busiris, was, like the slur itself, highly sarcastic and rhetorical. The most practical moral that could be taken from the Busiris tales, was the bad reputation Egypt had, being an especially dangerous place for foreigners in times of drought:
Herakles (Hercules) traveled across North Africa in his quest for the golden apples of the Hesperides. After Libya he traversed Egypt. That country was then ruled by Bousiris (Osiris was equated with Dionysus by influential Greeks) ... This Bousiris used to sacrifice strangers on an altar of Zeus (equated with Amun) in accordance with a certain oracle. For Egypt was visited with famine for nine years, and Phrasios, a learned seer who had come from Cyprus, said that the famine would cease if they slaughtered a foreign man in honor of Zeus every year. Bousiris began by slaughtering the seer himself and continued to slaughter the strangers who landed. So Herakles also was seized and rushed to the altars, but he burst his bonds and slew both Bousiris and his son Amphidamas (Amphidamas was actually the father in law of Eurestheus, the king of Mycenae who assigned Heracles his twelve labors; it is no accident that Amphidamas is more famously the son of the Thracian king Lycurgas (ILLIAD 6:130 etc.) who persecuted the worship of Dionysus).---Apollodorus, BIBLIOTHECA (2:5:11)
These are the same satirized themes which bring climax to the stories of Samson and Joseph---parallels which are, once again, no accident. But before the discussion returns to Goshen (i.e. Avaris), by way of Philistia, a sacred cow even more rare, must be inspected with great diligence. Plutarch's account of the origin of "the botch," is another tunnel painted along the main Busiris shaft:
But the great majority of the Egyptians, in doing service to the animals themselves, and in treating them as gods, have not only filled their sacred offices with ridicule and derision, but this is the least of the evils connected with their silly practices ... The notion that the gods, in fear of Typhon (i.e. Seth), changed themselves into these animals, concealing themselves, as it were, in the bodies of ibises, dogs, and hawks, is a play of fancy surpassing all the wealth of monstrous fable. The further notion that as many of the souls of the dead as continue to exist are reborn into these animals only is likewise incredible ... Others relate that the later kings, to strike their enemies with terror, appeared in battle after putting on gold and silver masks of wild beasts' heads ... Many relate that the soul of Typhon (Set) himself was divided among these animals. The legend would seem to intimate that all irrational and brutish nature belongs to the portion of the evil deity, and in trying to soothe and appease him they lavish attention and care upon these animals. If there befall a great and severe drought that brings on in excess either fatal diseases or other unwanted and extraordinary calamities, the priests, under cover of darkness, in silence and stealth, lead away some of the animals that are held in honor; and at first they but threaten and terrify the animals, but if the drought still persists, they consecrate and sacrifice them, as if, forsooth, this were a means of punishing the deity, or at least a mighty rite of purification in matters of the highest importance! The fact is that in the city of Heliopolis they used to roast men alive, as Manetho has recorded; they called them Typhonians, and by means of winnowing fans they dissipated and scattered their ashes. But this was performed publicly and at a special time in the dog-days. ---Plutarch: ISIS AND OSIRIS (71-73)
Here the more savvy travelers see the winnowing cradle in the rye, and expect that the tour of magical mystery Egypt is soon drawing to a close. The red heifer is a dead give away. Monotheism's entire divine revelation is the most holy refined earth-satire cosmically possible. The account of the Golden Calf tells how difficult it was to maintain a break with Egypt's Paganism; this meme repeats in Jeremiah's rebuke of the Tophet, which brings complete desolations on Tish B' Av---by the Babylonians and then again by the Romans. It appears to have escaped all concerned that the "reformer" Hezekiah, "finds," the "lost" writings of Moses---in the temple treasury---at a time when Judah enters into conspiracy with Egypt against an Assyria who will finally conquer her. Hezekiah does this at the same time he purges the temple of relics from Exodus. Problems comprehending the importance of these facts, still flow from a denial that Egyptian Paganism's prolificacy and longevity infected humanity with a systemic mental disorder not yet eradicated. Aaron's early peer-pressured symptoms were golden. Hungry Hezekiah might have believed he was purifying Monotheism while he cryptically reapproached the avarice of his Theban allies. Ezra, unable to completely cure the disease as Persia's pawn, could only doctor its symptoms. Yet trickster Ezra's satirical redaction of the record---warts and all---is an immunological college built to educate doctors, not salesmen. Note that the Septuagint Greek for Adam's third son Seth (Σήθ) is equivalent to the Greek form of the Egyptian god's native name. Adam's son Seth is an unvarnished reference to this brutal deity Set, whom the Greeks equated with their Typhon (Τυφῶν: called "Father of all Monsters"), for no people who escaped the human meat-yards of Egypt, would bandy-about this Dr. Mengele of a name Set to no purpose:
And Adam became intimate with his wife again, and she gave birth to a son, and she called him Seth (שֵׁ֑ת, šêṯ;) saying: "Divinity has planted (שָֽׁת־, šāṯ--laid, placed, i.e. planted) me another seed under (תַּ֣חַת, ta-ḥaṯ) Abel since Cain slew him to Seth (וּלְשֵׁ֤ת, ū-lə-šêṯ) ..." ---GENESIS (4:25-26)
This is the literal meaning that the so-called "literalists" ignore. The playful original Hebrew wording deliberately references the primitive beliefs which linked human meat sacrifice to vegetative fertility, but all in an undeniably negative context. The concise explanation is that the Bible makes no bones about the fact that the pre-Exodus ancestors of the Hebrews practiced these abominations, but the parables candy-coat it all beneath the sanitized spin in the later story of Joseph, and his near death experience at the hands of his own brothers. It is really not that daunting intellectually to decode the telescoping between the three main palimpsest time frames woven together craftily in these early GENESIS parables. The dawn of man is reflected in the era of the Hyksos, which is reflected in the era of the New Kingdom which prompted EXODUS. Adam and Eve eat the cannibal feast near dawn in a re-magnification compounded after the taboo practice had magnified to malignancy in Egypt's cults. The farmer Cain killed the shepherd Abel in a New Kingdom focus, but the Hyksos who conquered lower Egypt, and worshiped the god Set, were certainly no angels:
...Cain slew him, to Seth, also to him was born a son, and he called his name Enosh, then people began to call upon the name Yahweh ---GENESIS (4:25-26)
Key here is the fact that the name Enosh means "mortal-man." All mankind is born under Seth into a species doomed to a nasty extinction. Therefore people begin to call for salvation from the true, one and only God, who can ensure their survival. They call to Yahweh because burying sacrificed heads in the plowed ground is not really a sane or effective way to make grain grow. Only sane government can save man from extinction. This brings the discussion back for another loop around, past the guided tour's red heifer of a climax. However there are a few final exhibits to ponder, in the desolate hall of Pagan horrors, before arriving at the trickster's sacred cow of an enigma, pampered in the startled main gallery.
ABOVE: STELAE AND SCULPTURES FROM THE CARTHAGE TOPHET, TUNISIA: Panes A & B show images of the costumed priestesses of the child sacrifice cult. These soulless women are clearly wearing a lioness headgear which disguises their identity, and at the same time allows the cheap reptile mind to dominate over the fortune of circumspect reason which the author of creation bequeathed to mankind. These inhuman cultists held this preference for masked anonymity in common with male adherents of the Dionysian mysteries, for no matter how much mystique and faux religious charm these abusive rites were packaged in, they were anti-social none the less, and those, who for pleasure and entertainment, sickly swim directly against God's design of the species, always risk being culled by healthy swimmers. Insanely thinking that they themselves are the virile vanguard of progress, the sickest fish responds: "Going against nature is part of nature too!" Such creatures are surely deep in denial, for there is a scientific name for that: "cancer." Panes C & D show syncretic treatments of Tanit as Isis at Carthage. Tanit's psychopathic drum machine is held in a pledge pose on the engraving in Pane C. Panes A, C & D are from the Bardo Museum; Pane B is from the museum at Nabeul. The Phoenicians were among the fairest stock in the ancient Middle East, and noted for their red hair. The origins of the Phoenicians, Canaanites, Hurrians, Hittites, and Hyksos, all involve the influx of northern Indo-European stock into the Levantine frontier of Egypt. Those Phoenicians who founded Carthage, mixed with other Mediterranean traders, and with the Saharan Berbers, while maintaining their religious links with the Near East.
ABOVE: SCENE PAINTED ON A WALL AT THE "VILLA OF THE MYSTERIES" POMPEII: This house is on the estate of a sizable vineyard and winery. A fine statue of Empress Livia at the site suggests intimate Imperial connections if not ownership. The frescoes in the large formal dining room show scenes of Dionysian initiation and ritual. The frightened naked child in this scene reads what it must say and do. The child is never seen again after the pregnant head-matron is transformed into a waitress serving a tray of tasty-cakes with a sprig of laurel. She is the one who brings children into the cult family and serves them up to the laurelled VIP guests. This was a feast for the "real winners." The matron's crown is of myrtle, sacred to Venus, and awarded to one whose ovation from the empire was due to an achievement which involved little or no danger. Neo-Pagans and "magicians," imitative of Rome, have metaphorically likened the cult rite depicted here to a wedding. The astounding state of preservation of this site, if taken for a sign, must be a profoundly negative one of witness from the creator of this planet, to whom we are all wed. While depictions of Roman slaves were often typically of Gaulish or Germanic appearance, the magic of the elite Bacchic cults of the Roman Imperial Period sought freeborn victims. Gaulish slaves could be bought as cheaply and easily as any others, and were---for their striking looks---the comestible choice of the garden variety hedonist. Rome's importation of grain, removed the vegetation fertility superstition which had compelled Pharaoh to prefer reddish victims, because of their magical likeness to the ripening grain which kept order on the Nile. Note that the young naked child in the Roman Bacchic scene above is educated. The higher born a native victim was, the greater was the supposed carnal efficacy of the elite sympathetic magician's delicacy. The insanity of Caligula Caesar turned this factor on its head when he compelled noble Patrician families to prostitute their boys in his annual Imperial Palace brothel, and thus succeeded in publicly escalating Rome's degeneracy up to the highest level of anti-social kink, while filling his treasury, and endearing a rabble mob which lacked the price of entry to most of the mystery games.
ABOVE: RELATION OF THE IMIUT FETISH TO THE APPLIANCES ON PHARAOH'S WAR KILT: The left pane is a representation of Pharaoh Ramesses III from his temple at Medinet Habu. The leopard headed 'sporran' springs from the leopard hung upon the Imuit Fetish as seen in the center pane. The early form of the Imiut Fetish seen in the center pane is the origin of the barber's pole, which originally advertised the services and products of a surgeon, with hair cutting eventually becoming the predominant end of the business thus advertised. The stripes are bandages. The red and blue colors represent the professional management of water and blood. The Imiut in the right pane is from Hapshepsut's Temple at Luxor, and its Imiut animal has been skinned. The knotted sacrificial gut-cord carved into the flayed forelegs is related to Pharaoh's red-looped kilt-sash. The tails of the fetish animals end in water-flower ritual cutting axes, in reference the reed paradise of Aru in the underworld, where Pharaoh eats again the Tchef-Tchef, or Tchefau food, which was Egypt's worse than useless cannibal magic 'Ambrosia.' The phallic elongated neck on the right pane's decapitated fetish animal is key. A few scenes from the Narmer Pallette, and on Dionysian Mosaics, will begin to explain the magic coded reference here to dramatic sadist tortures of human captives. The exaggerated length of the headless neck has sprouted a phallus head, and the phallus of the captive was the prime object of the Typhonic surgeon. The elaborate ritual appliance over the groin of Pharaoh's war-kilt, was believed to amplify the fortification of his own phallic prowess on the battlefield, via the sacral knots thought to bind magic flesh power taken from the sadistically tortured soul, and attached to the regent.
ABOVE: RELATION OF THE IMIUT FETISH TO THE MINOAN LABRYS: Pane A is fresco from Crete depicting cult worship of the double-ax Labrys topped by birds of prey. Pane B is a fresco at Luxor depicting Osiris with the Imiut Fetish. These related Mediterranean fertility cults both linked blood sacrifice to vegetative rebirth. The sacred pillars represent trees, and are related to the Asherim (אשרים), or "Asherah Poles" translated as "groves" (ἄλσοη) in the Septuagint (DEUTERONOMY 16:21, ISAIAH 27:9, etc. etc.). The Minoan priestess in pane A is at the end of a bucket relay from another altar of slaughter. From those distant sacrifices she pours a bucket of blood, or water mixed with ash, to feed the ritual fetish grove. In pane B blood drips from the phallically extended necks of the decapitated flesh, to feed related Egyptian fetish trees, which are topped by transformations of the Labrys into African masks executed with marsh flowers and the double Uraeus. Note the ax blades rising like vegetation from the tails of the flayed fetish carcasses fastened to the Imiuts. The papyrus blade atop the left mask is highlighted in light green to point out its parallel to the Labrys form. At ancient Knossos there were found Labrys grove-stands identical to those depicted in pane A, with the exact same decoration painted on their bases. These grove artifacts are however significantly taller than a human, which makes the fact, that the ax blade cuts against the woman's temple, not an accident, but a magical formula. On Attic ware of many centuries later, Athena is pictured emerging from the head of Zeus after a blow from a Labrys by Hephaestus. (The Perseus/Medusa drama will later be exhibited to prove Athena's profound mythology was originally the satirical apex of the anti-cannibal camp's poker-faced talking points, only to be subsequently appropriated and seriously misapplied by the disgusting cannibal clowns of the Roman period.) The Minoan snake "goddess"/--priestess, shown getting axed here upon a her blood offering to the grove in pane A, is frequently depicted with a leopard sitting atop her head in the pose heraldry calls sejant affronty.
ABOVE: TWO EXAMPLES OF GREEK MOSAICS WHICH SHOW DIONYSUS AS HE RIDES UPON RAMPANT LEOPARDS WHICH HAVE NECKS OF UNNATURAL LENGTHS: The mosaic in the left pane from Delos shows the sacral knot upon the thrysus staff. Dionysus holds the drum of the Tophet. The red-shoe foot of Dionysus, is the excited prowess of the predator, poking out from its sheath to "dance the blues." The mosaic in the right pane from Pella in Macedonia dates after the lifetime of Alexander the Great. (There in Pella, circa 408 BC, THE BACCHAE by Euripides premiered.) In both mosaic scenes, the elongate necks of the leopards which Dionysus rides, make coded references to sadistic---ultimately carnivorous---homosexual practices. The pedigree of the symbolic animal form hearkens all the way back to the "Serpopard" of Sumeria and First Dynasty Egypt. The drive for sadistic abuse of trafficked humans is a international psychological disorder of the same ilk as drug addiction, and its mercantile subculture has been associated with the trade and abuse of intoxicants from the get-go. The magical symbols used by this subculture have been passed down like old money across millennia. It can not be considered surprising that symbols of First Dynasty Egypt found new use in Greece thousands of years later, while this very day, Neo-Pagan cults utilize symbols of equal antiquity.
ABOVE: THE CONFRONTED "SERPOPARDS" OF THE NARMER PALETTE IN THE CAIRO MUSEUM, FROM EGYPT'S FIRST DYNASTY CIRCA 3100 BC: The "Serpopard," or Leopard-Serpent hybrid, was the symbolic animal of choice in depictions of the Imiut fetish, because it represented literal cannibal consumption of enemy penis as a ritual power food encrypted in the otherworldly phallus magic of Osiris. On the Narmer Palette, the area deeply engraved between the entwined necks functioned as the circular palette, used for mixing the eye make-up worn by Pharaoh Narmer, when he partook in sadistic, homosexual cannibal feasts, as depicted in the narrative scenes etched into this ritual magic tool carved of siltstone. The entwined serpent-neck motif became something like a trademark for the carnivorous Egyptian human flesh-trade. It is the root of the taboo tree-fruit theme, and was adapted into the Caduceus of Hermes by Greek Pagans over two millennia later. This series of exhibits begins to piece together, and reconnect, the spotty provenance of this chronic shadenfreude that still infects the homosphere of planet earth, and threatens it with extinction. Thus the dinosaur-like forms---inspired by subconscious instincts in the reptile core beneath the human mind---are anything but coincidental.
ABOVE: GRAPHIC MAP OF BOTH SIDES OF THE NARMER PALETTE: On the left is the top of the palette, where Pharaoh Narmer is shown wearing the crown of Upper Egypt, while on the bottom side of the palette, which is on the right, Narmer wears the crown of lower Egypt. The theme of the palette is the celebration of Narmer's conquest of Lower Egypt, which established the First Dynasty of the empire circa 3100 BC. On the top register of the palette, between two heads of the human-faced cow goddess Bat (absorbed by Hathor by the Middle Kingdom), sits the Pharaoh's serekh, which is a personal ritual altar, here shown between two horizons of the soul, whereas Bat is a rebus for the vivified soul's two main united components: ba+ka, wherein ka is both "cow," and "food." The serekh altar is engraved with the Pharaoh's priestly or serekh-name: catfish+chisel (NR+MR)--a rebus which spells his ritual name "Narmer;" thirteen pottery shards with Narmer's serekh have been found in the territory of Canaan. Both sides of the palette show Narmer sporting a ritual mace used for religious homicide. On the bottom side of the palette, Narmer swings the mace to stun a captive held by his hair. Facing the smiting Narmer, a disembodied head---which once belonged to a captive chief of Lower Egypt---is shown on a ritual butcher's board equipped with an array of scalpels stylized as blades of papyrus. This ritual board is a magical likeness of Aaru, the Pharaoh's heavenly food marsh in the underworld, where the conquered chief's brain is the Pharaoh's Tchefau--his ambrosia, or food of immortality. The Horus, perched upon this sharp-bladed swamp of the magic surgeon, leads the doomed man-ox by the nose, with the tool that will be worked up inside his nasal cavity to remove his brains. To the left of Narmer is his "Sandal Bearer." The word Ankh meant "sandal," "human captive," and "food." The hieroglyphic ideograms on this early relic are largely archaic, and the later Ankh glyph is wholly absent, since that glyph was adapted later from the Minoan double-labrys. Here the "Sandal Bearer" offers what was perhaps the latest, most ancient Egyptian Silence of the Lambs brand footwear, made from the vanquished chief's specially soft sexy skin. The "Sandal Bearer" appears again at the end of the feast procession scene on the top of the palette, as is highlighted in the next exhibit.
ABOVE: MAGIC CITATION OF NEW KINGDOM PHARAOH'S SADISTIC SANDALS, SHOWN IN THE PANE LEFT, GIVES CONTEXT TO THE FIRST DYNASTY NARMER PALETTE "SANDAL BEARER" HIGHLIGHTED IN PANE RIGHT: More than a mere "bearer," the wizard who carries the footwear appears as both scribe and cobbler, evidently capable of fashioning potent magic man-sandals for Pharaoh in the field. Above him is a box with a glyph which could indeed be the cross-thong of a sandal, yet still this glyph appears to be a human phallus halved by subcision, and craftily propped up to suggest the glans penis. See how on the colorfully soled sandals in the left pane, there are two small phallic patterns depicted on the top of the insteps, where the big toes would press down; note that these patterns separate areas too small to house a big toe separate from the minor toes, and instead sit dead center where the phallic big toe of the Egyptian would tread upon these tiny images of enemy phalli to magically oppress. Note how these curious magic marks are reflected in the sandal maker's glyph, and by the two phallic buttons that dangle off the top of the thongs on each of the sandals which the sandal bearer holds in his hands. The necklace the cobbler wears looks like an archaic form of the necklace worn by the phallus god Min. Anyone familiar with ancient Egyptian royal sandals, knows it is not too taught of a stretch to imagine that such sandals were sometimes made of human skin, for they were indeed often decorated on the sole with magical depictions schemed to make Pharaoh literally tread upon his enemies. The left pane above illustrates this, in brutal fashion, on a New Kingdom foot-mold from the Egyptian Museum of Monaco. Murderous sadist delights, perpetrated upon trafficked humans, were rationalized as magical defenses of the state. Painted on the sole of the left sandal is the brown, melanin rich, Nubian/Ethiopian enemy to the south of a largely mulatto Egypt. On the sole of the right sandal is the sun-burnt red Assyrian/Canaanite enemy to Egypt's north. Both enemies have been bound in fetish postures. Captives were ritually used as racial effigies, and forced to endure tortures of sexual bondage in various deviant postures before execution. The magic cobbler who delivers such sympathetic manhood sandals to Narmer in the highlighted right pane, licks-up Narmer's rear in the feast procession on the palette, highlighted by the next exhibit. Though barefoot on the ritual ground where he is lord of the feast, Pharaoh will penetrate the front of battle on hardened soles made of Minotaur horns. Catfish-chisel love you long time.
ABOVE: THE SCENE ABOVE THE SERPOPARDS ON THE NARMER PALETTE SHOWS A ROYAL RELIGIOUS PROCESSION ● HUMAN SACRIFICES ARE DECAPITATED AND EMASCULATED BEFORE THEY ARE ROASTED OVER THE TEMPLE SPIT TO FEED THOSE GATHERED FOR THE MASS CELEBRATION: The Egyptian religious archetype of the severed penis is rooted, much older than the mythic fratricidal surgery of Osiris, or the premature prepotence of the Hyksos. The register above the confronted Serpopards on the Narmer Palette shows the feast of Narmer's victory over Lower Egypt. Psychological warfare is in evidence as a most important part of the magic-terror war which established Egypt's empire. Narmer follows a parade of four standards. The first group of two standards is comprised of ritual battle axes wrapped in bandages. These objects became the ideogram for the Pagan concept of "god," and are the root of all modern national flags. Narmer had become the divine ruler of the two realms---the rapturous flesh-peddling pimp whose territory expanded to include both the Upper and Lower Nile. Hawks snack, minatorily, on perches atop the two bandaged axes. The third and forth standards form a second group parallel to the first two banners, and though the analysis of them which follows may seem spacey, the incredulity falls on the drunken worldview of this Pagan territory, not the sober tour guide. That said, the Dionysian forth standard in the parade is a human placenta, inflated by "divine madness" like a prodigious balloon, with the umbilical cord pulled out to dangle freely; its childish magical doublets spell out sympathetic references to the human brain with spinal cord, and a baboon phallus with a monstrous shaft which serves as the mast to the barque through the underworld. A primitive form of the jackal god Anubis (still indistinguishable from the "Set animal"), has devoured the parallel offering atop the paired third standard, relating the consumption of the enemy's immortality. The narrative linking these standards brings to mind the royal Egyptian magic spell "Their seed is not," which is so famously repeated on the Meneptah Stele. The victory procession leads to the sick sacred space where ten captives are shown decapitated and emasculated in preparation for roasting. The tenth victim is depicted with his phallus intact to emphasize the terror in the crime. The phalli are placed, atop the severed heads between the legs, to be used in separate magic recipes. Heads were de-brained in the ritual terror war as alluded to on the bottom side of the palette. Whereas Narmer raises the mace above his head, to strike the chief's skull in the scene on the bottom side of the palette, in this scene on the top side, Narmer instead sports his mace like a deadly erect penis on parade--the savage root of the baton flaunted by the master of ceremonies. All Pharaonic scenes wherein the enemy is shown getting the royal mace in the face, issue from a context of sexual sadism. The sands which measure Egypt's millenniums are scarred with an enduring sequence of these patent scenes of triumphant ritual skull-smashings. These monstrous brainings, are, as of yet, not publicly recognized as cosmic wounds cut by sick events at the premier event horizon of the malignant infection which still plagues human 'civilization.' The serekh-name "Narmer" is the glyphic rebus "Catfish-chisel" (i.e. Shocking-'leucotome'), with the apparent magic meaning 'Stunning skull-cracker'---the same gray nutmeat-hungry Pharaoh otherwise in the record under the name Menes (cf. Min, Minos, Minotar). Though Narmer is often said to be the first mortal Pharaoh, and thus he who succeeded Horus after Osiris, Narmer appears here with his sadistic ritual mace as a blatantly brutal prototype, or a protege, of the ithyphallic god named Min or Menu (of the Tchef). The ritual macehead Narmer wields in these scenes was unearthed in the consecrated space of Upper Egypt's first capital at Hierakonopolis, not far from where the siltstone Narmer Palette was itself found. The narrative engraved on this limestone macehead further traces the sadistic sexual torture and cannibalism at the root of man's Pagan disease.
ABOVE: THE NARMER MACEHEAD ON VIEW IN THE ASHMOLEAN MUSEUM OXFORD ● THIS RITUAL IMPLEMENT IS CENTRAL TO THE NARRATIVE ON THE NARMER PALETTE ● THE MACEHEAD IS ENGRAVED WITH ITS OWN SUPPLEMENTARY NARRATIVE, DESCRIBED IN THE NEXT EXHIBIT BELOW.
ABOVE: GRAPHIC MAP OF THE NARRATIVE ON THE NARMER MACEHEAD---THE CONQUERED CHIEF OF LOWER EGYPT IS ROASTED IN AN OVEN TO FEED PHARAOH NARMER'S SICK ADDICTION TO THE MEAT-MAGIC THAT FUELS HIS WAR OF TERROR: The relationship between Narmer's Ritual Macehead, and Narmer's Ritual Palette, is immediately apparent from the repeat characters. Pharaoh Narmer presides over the victory celebration on a throne-platform elevated by steps, and protected by a vulture canopy (Nekhbet) which is energized by Narmer's plenty of carrion. The right side of the scene faces Narmer, and is divided into three vertical registers. The top register shows the same four standard bearers from the palette, now assembled in ranks after parading Narmer to his dais over the festivities. In the middle register, a vanquished chief of Lower Egypt is roasted, after having been sewn into an an ox hide, and placed inside a portable oven, which steams out over the sacred space. Behind the chief in the oven, three captives, with their hands bound before them, are shown enclosed by six cauldrons, (which is one for the head of each, and one for the torso of each, as shown in the next illustrations). The hieroglyphs for counting were already established by Narmer's time, and here in the bottom register record the great volume of spoils: 400,000 cattle, 1,422,000 goats, and 120,000 human captives, who are represented by the figure bowed with one knee up and his hands bound behind him. Humans are counted on the level with food animals, but are connected to the register with the human chief in the oven. Here, in the establishment of Egypt's empire, human slavery metastasized. 120,000 human captives is an astounding number, considering a planetary population of about fifteen million at the time. However, this great number of absolute slaves, is by no means an impossible windfall for the conquest of fertile Lower Egypt, which long had one of the highest concentrations of people on earth. Pharaoh is supported from behind in his oversight of such titanic festivities, by two of the same characters shown on his ritual palette: the "Sandal Bearer," and the leopard-skin attired priest who parades between Narmer and the standard bearers in the palette's procession scene. Behind these characters are men ready with the huge rotisserie skewers necessary to handle such a round-up of protein. The far left of the scene may represent the preparations of Narmer's own tomb, funded and magically fed with the rapine from his conquest. Narmer needed to create a market for such an astounding volume of flesh taken as booty. The autocrat's religious marketing campaign hawked fraudulent snake oil. Fully edible slaves were sold as deliverers of ecstatic keys to fertility, divinity, and immortality. The infrastructure of the Pagan terror-state was pioneered by this Pharaoh whose net captured 120,000 humans. Egypt is patient zero, in the virulent mystery-meat scourge which still debilitates the race called "men."
ABOVE: PAINTED RELIEFS COMMISSIONED BY RAMESSES V & RAMESSES VI, ON THE WALLS OF TOMB KV9: HEADS AND TORSOS OF ENEMY CHIEFS ARE COOKED IN TWO SEPARATE CAULDRONS, ONE LARGER THAN THE OTHER: These scenes are from the BOOK OF CAVERNS, which regards rites specific to different realms in the Am Duat;--i.e. the Underworld. Headless chiefs boil in the magic brew cooked up in the top cauldron. The bearded heads of these same chiefs stew in the magic potion boiling in the bottom pot. Egypt addicts might attempt to explain away these scenes as merely fanciful accounts of rites thought only to unfold in the nether world, however the composition shows a vessel beneath each of the heads in the bottom cauldron, in order to document the bulk method used to dispense these potions, brewed by vain sympathetic magic concoctions stirred above the ground. The captions to these charming scenes read:
[concerning the snake-headed god Geb]: “Uraeus--Upright-One” (Head-Cobra---Erect-One--i.e. Potent-One) ... [concerning the cauldron]: “The two arms in the Place of Doom …. which is in the Duat (i.e. the netherworld). This cauldron is so: the two arms rise from the Place of Destruction, and they raise You, O Great Flame, to whom has been given the heads of the enemies of Nut (i.e. the sacrificed chiefs will not be immortally witnessed among the stars like the Pharaohs, but will instead be trapped in the netherworld for eternity, due to the way their bodies were consumed by Pharaoh's religious rites on earth; the sacrificed chiefs magically fortify his preserved flesh--to which his soul will return, while the bodies of the sacrificed chiefs are completely destroyed by fire, souls swallowed, and shadows tormented). The Uraeus-headed god, the Lord of the Flame, breathes fire against you who are in the cauldron. [Pharaoh as Ra/Osiris speaks to this scene]: “O Uraeus-headed God, O Cobra, O Snake, O Beheader, O God Whose forms are great, Who shakes the flame, Who makes the flame sparkle in the cauldron which You keep, You to which have been given the heads and the hearts of the enemies, the rebels against me and against my widow (against Shentayt--Isis). Take care that its flame does not diminish! Breathe Your Flame and cast Your Fire against all my enemies!!!---from the BOOK OF CAVERNS in KV9
Heredotus reports that an Ethiopian stone knife was used to prepare mummies. One may safely project that Ethiopia was also the source of flintstone used for the magic blades which cut up the flesh of Egypt's human sacrifices. This sharp stone, witnessed making its fiery escape from the molten underworld in Punt (Ethiopia), would have been considered the most potent magic material available for rites performed in an expected sympathy with the regime imagined in the dangerous hell churning below ground. Egypt's sympathetic archetype of the magic cauldron, and the Lake of Fire, are both sourced in the constantly active lava pools of Erta Ale, at the northern end of the East African Rift, in Punt.
ABOVE: THE TWO CAULDRONS OF ERTA ALE IN THE COUNTRY OF ETHIOPIA, KNOWN TO THE EGYPTIANS AS THE LAND OF PUNT: This northern endpoint on the East African Rift has been constantly active for untold millenniums. Inside the crater churns a "Lake of Fire" in stasis. The anciently painted papyrus above depicts the lake of fire surrounded by braziers and baboons. When mummified baboons from an ancient Egyptian expedition to Punt were examined, their genetic markers most closely matched baboons from areas in Eritrea and Ethiopia very near to Erta Ale. The sacred Persea Tree, with its heart shaped fruit, and the god Bes, were two significant religious imports from this dark nearby land so vital to Egyptian concepts about planetary reality and the afterlife. The xenophobia of Egyptian theology was linked in measure to its Nilotocentricism, preventing their jaded strategists from conceptualizing a bigger picture more attuned to reality. Eruptions at Hekla in Iceland, much more dangerous than the stasis at Erta Ale, would send men of the north on the move, to cause the tumults which ended the Bronze Age, and would ultimately blast Monotheistic Israel into a wounded Egypt's northernmost territories.
ABOVE: MAP SHOWING EGYPT'S EMPIRE AS IT WAS INHERITED BY AKHENATEN AFTER ITS RESTORATION BY TUTHMOSE'S III'S DEFEAT OF HYKSOS: Punt was called "The Holy Land" by the Egyptians because of its special sunrise location. The highlands which flank the western side of the East African Rift at Erta Ale, are the easternmost source of the sacred Nile, and provide up to 90 percent of the river's water! --- despite other deceptively long and seemingly more prominent feeds flowing northwards through Southern Sudan and the west of Sudan. This essential fact, obscured by the dry tale of Stanley and Livingston, certainly did not escape the ancient Egyptians. The location of Tayma in Saudi Arabia has also been added to the above map. In 2010 Saudi archaeologists discovered a rock outcrop near Tayma with an inscription by Ramesses III, indicating a greater sphere of direct influence than heretofore considered. The important Red Sea trade with Punt and the Horn of Africa deserved protection, especially during the invasions by the "Sea Peoples." Egyptian mercenary occupation of the well at Medina must be pondered (cf. GALATIANS 4:25, GENESIS 16:7, 21:21, 25:18, 37:36, 39:1, DEUTERONOMY 33:2, HABAKKUK 3:3-4, ANTIQUITIES 2:11:2-2:12:1). The massive fields of volcanic fissures and cones which stretch northwest of Medina towards the Gulf of Aqaba, have been active during historic time. In 2009 a swarm of 30,000 earthquakes marked the most recent awakening in the Harrat Lunayyir field, and opened up a five mile long fissure where lava now builds up just one mile below the surface.
ABOVE: HIPPO IVORY MAGIC WAND FROM THE MIDDLE KINGDOM IN THE BRITISH MUSEUM: Six leonine deities are keyed A1-A6. Seven serpentine deities are keyed B1-B7. Only the god Bes (A2/B3) and the Serpopard (A3/B1), are both leonine and serpentine. The phallic reference in the serpentine neck of the Serpopard, is here clarified by the early depiction of Bes as Aha, i.e. "the fighter"). The early leonine form of Bes usually shows his own feline tail hanging between his legs, but on this wand there are testicles, to indicate a phallus, of a fabulous length which measures his member on par with the snakes he wrestles. Later depictions show an ithyphallic Bes, with the body of a dwarf, wearing the skin of a leopard (or Serpopard), and in those depictions of Bes, the tail between his legs is a doublet which also suggests a tail, dangling down on the fur garment made from the tanned hide of that leopard (or Serpopard). This garment was worn by priests, and also attires the late forms of Bes in a manner all too similar to the Aegis with Gorgoneion worn by Athena. A sordid relationship between Bes and Gorgon Medusa is involved in the mythology which treats the Tribe of Dan's humbling of cannibal Egypt.
ABOVE: HIPPO IVORY MAGIC WAND FROM THE MIDDLE KINGDOM AT THE METROPOLITAN MUSEUM OF ART NEW YORK: These magic wands--sometimes called apotropaic knives--are often engraved with hieroglyphic dedications which point their use at the protection of specific newborn children. The deities and butcher knifes depicted upon them were supposed to provide the power to draw a circle of protection around the flesh of the child for whom they were made. Those who used them in the household no doubt often had little knowledge or understanding of Pagan dogmas and rituals to which their images were sympathetically linked. However it was certainly no secret that torturous sex "magic" was employed as a weapon on the macro level to maintain the balance of power. Still, the more religious mystery in which such acts of punishment and deterrence were packaged, the more stunning they were to the enemy, the more enjoyable they were to those appointed to the task, and the more efficacious they were as instruments of the autocratic state which employed them to protect and enrich the elite. On the magic wand above is another image of Bes wrestling with snakes, and once again, here there is a deliberate suggestion of a phallus made by what is usually more simply the feline tail hanging between the legs of Bes. Here the feline counterbalancing member does not reach the ground, and the lines which comprise the point of the groin triangle do not meet in order to place this tail member behind of the front scene, while a normal set of male genitalia indicates full frontal nudity. The composition suggests that the phallus grows from wrestling with snakes, where wrestling with snakes ultimately represents the ritual surgeon's task of preparing the magical cannibal feast from the real flesh body of the enemy effigy. This magic wrestling symbolism did indeed evoke removal of the magic fertility member in its present-time meat manifestation, and thereby consuming the enemy's potential seed line--his posterity of genetic descendants who would have issued from his organ tooling into future time. Yet the most visceral and hands-on reference in the snake wrestling metaphor, relates to the gutting of the human feast before roasting, removing the snaking twenty-five feet of rank intestines which would otherwise ruin any cannibal's holy day dinner. The most innocent pole of the metaphor cluster has its natural visual in the snake-like appearance of roots and vines as they knot around a tree. The snake's shedding of skin is a cycle of renewal related to the seasonal cycle of the release of sperm and issue of new life. Pagans foolishly sought to attain immortality for the individual by carnivorous sexual ritual. Ancient sympathetic magicians augured the spectrum of overlapping metaphors in the natural world in an "all of the above" paradigm, while focusing their spells in a context centered around the needs of the national (i.e. regal) ego. The snake is the most purely alimentary animal; in humans the alimentary intestines are hidden in the trunk. The snake is also the most purely phallic animal in form, again owing to its lack of other branching members. The phallus branches off human males in the same way that their other members, or appendages (i.e. arms and legs), branch off the torsos (or trunks) which hide their alimentary canals. Yet the complete, erect, bipedal human form at attention, is also phallic in its wholeness, like any fruit tree is phallic, with its trunk or shaft erected by hard wood, as it branches up into a head canopy, where pollen sperm is ejected out into the air from spring blossoms. Thus, on the above wand, Bes is ultimately the tree, wrestling with its own diet of forbidden fruit, in a royally inane attempt at permanence. The lion deity to the left of this snake wrestling Bes, bites an enemy's fertility snake at the effigy level, aiming to suck down the length of scales until it gets to eat the chief who is the head of the slithering foreign threat. Further left, the Serpopard is topped by three brazier glyphs, meaning simply "braziers," or "feast." It is rather hard to imagine how cooking up such "snakes" as sympathetic effigies could locally protect the flesh of any child from vermin, and this wand does indeed appear to have been employed with the primary aim of increased sexual potency, rather than to provide protection from general bad luck. Yet one may reconstruct the superstitious paradigm whereby Pagan ritual torture and murder of Levantine men was believed to build a magic wall of protection for Pharaoh's kingdom, while references to the Pagan fantasy forms employed in the liturgy of these sick practices, were carved on these wands to extend the magical protection of the national rituals, to benefit individuals in need of local protection from malevolent forces related to the micro embodiments of symbols used at a macro level in the greater national spell. With the aid of just a few more exhibits, the magic images which show Bes wrestling snakes will ultimately be likened to the cannibal Pagan magic archetype which is satirized by the Wood of the Knowledge of Good and Evil in GENESIS.
ABOVE: LEFT: FAIENCE COSMETIC SPOON WITH HEAD-HUNTER GOD BES, FROM THE LOS ANGELES COUNTY MUSEUM OF ART. RIGHT: NEGATIVE IMAGE OF A PAINTED TERRACOTTA ITHYPHALLIC GOD BES FROM THE PTOLEMAIC ERA, IN THE MUSEE D'ARCHEOLOGIE MEDITERRANEENE MARSEILLE: On the cosmetic spoon in the left pane, the feathers in the headdress of Bes are doublets for phalli. The monkey with the smug smile, on the left of the headdress, strokes (or picks) one of the juicy pickled peters which grow from the soaring fertility head of Bes, where the lewd spirit of these feathers as phalli supports the solar disk formed by the bowl of the spoon. The monkey on the right completes the magic statement, by rubbing his tummy, hungry to eat the Pagan mystery meat. The heads Bes has taken here, are almost certainly the heads of boys, not men, (which paints a vivid picture of the puny prowess of the degenerate Pagan "great hunter" with the big poofed-up chest). The Ptolemaic image in the right pane, can only be understood with the knowledge that it is a variation in a iconic series of Bes forms which together comprise a spell. The standard in the series shows Bes in the same posture, but with a sword in the left hand and a snake in the right, (as compared in the next exhibit). Here, instead of sword and snake, Bes holds phalli of death in each hand, and such big fat dicks of death cut both ways, for these peppery pickles not only invite the initiate to literally make a meal of the male organ, but they encourage the use of man-cock as a military terror murder weapon, as is so very common in all illegal rapine acts, wherein violators copulate with victims to the point of extinction. The woman astride the giant phallus is being anally raped by the Egyptian god, and she screams in agony. A right click on these images should allow them to be opened in a new window; then these deceptively scaled dongs can be enlarged to a resolution whereby one may study the Pagan religious crimes against humanity in the details.
ABOVE LEFT: STELA OF BES IN THE METROPOLITAN MUSEUM OF ART NEW YORK. RIGHT: HIGHLIGHTED POSITIVE IMAGE OF THE SAME ITHYPHALLIC BES GIVEN IN THE RIGHT PANE OF THE PREVIOUS ILLUSTRATION: Note how the spell conjures up the sympathetic magic likeness between A) fertility phallus, B) sword, and C) snake. The image on the left is attired in a Ptolemaic military helmet, and has a groin hole which once held a large erect phallic appliance. God and victim are bundled together in these cannibal Pagan spells, and the raised sword is meant to imply not only the butchering of the snake, but also the amputation of the fetish meal advertised by the detachable penis appliance. In the highlighted terracotta image of the right pane, note how the raped female astride the phallus is equated with the trophy leopard skin worn by Bes. The next illustration will bring this aspect of the spell full circle, showing the Serporard/leopard as: A) the human victim ciphered by B) the fetish animal, and ultimately bundled together with C) the celebrant of the mystery in the anthropomorphic form of D) the savage god Bes; the human victim, fetish animal cipher, masked celebrant, and god of the cannibal ritual, are all combined into one composite form.
ABOVE LEFT: A) GLAZED FAIENCE COSMETIC DISPENSER IN THE FORM OF BES, CIRCA 400 BC, FROM THE COLLECTION OF THE METROPOLITAN NEW YORK. RIGHT: B) BES ON A GILT WOODEN BOX OF AMENHOTEP II, CIRCA 1450 BC, IN THE NATIONAL MUSEUM OF SCOTLAND. Still today African witch doctors prefer leopard skins as the traditional attire of their office, and their spotted fur appears in the wardrobe of ancient Egypt's priesthood very early, perhaps as early as the Narmer Palette. According to the Met's description of Piece A, it is not until the 25th Dynasty that Bes is shown attired in the leopard skin on a reliably dated artifact. Yet, in the 18th Dynasty inscribed Piece B, Bes, with his feline face and tail, is portrayed in hybrid with a human dwarf, and covered with the leopard's spots. The earliest images of Bes are simply leonine. The progression of the iconography of Bes is put into a wider focus by wall paintings and reliefs which show priests wearing Bes masks at festivals, and particularly at the Sed Festivals involved with Pharaonic potency. A plethora of finds attest to the popularity of Bes among the Phoenicians, who took the cult of Bes wherever they went; the Phoenician colony Ibizia was named for the Egyptian deity. When one studies these two figures above, it becomes apparent that the neckless appearance of Bes, standard to his iconography, relates all his depictions to masked headpieces worn by priests. This is particularly apparent on the box of Amenhotep II (B), and circuitously linked to the long phallic necks of both the Serpopard, and the symbolic animal skinned and decapitated on the Imiut fetish. In the fluid and quacky epistemology of Pagan magic, it is not a counter-intuitive stretch to directly relate these features to the leonine masked headpieces on the priestesses of Tanit found in the Phoenician Tophet at Carthage, as illustrated in a previous exhibit further above. Egyptian masks which portrayed Bes were neckless, to allow the wearer to peer out from the eye level of the oversized facades. In contrast, the Phoenician pretenders at the Tophet wore lioness headpieces with long necks, evidently afforded their level of sick visions in the ritual carnage through the mouth.
ABOVE: GILT WOOD LEOPARD-HEAD WITH TUT'S CARTOUCHE: Thought by many to have been part of a ceremonial leopard skin garment, like that worn by Ay in a key scene on the wall of Tut's tomb, this elaborate head was more likely a sporran-like appliance, fastened over the pleated apron on the ceremonial kilt that Tut wore for war and hunting. The bottom panes show a partially restored painted relief of Ramesses III at Medinet Habu, where the war kilt of Ramesses III displays a similar gilt leopard head above the pleated apron. The apron and leopard head are attached to the kilt by the red looped sash, which ties their magical symbolism into the Imiut fetish, where ritual abuse and sacrifice of human captives is symbolized by the mysterious suggestion of the Serpopard beast. Note that the placement, of this carnivore fetish-head over the kilt apron, collates the gilt leopard with the rising head of Pharaoh's own erect, cannibalistically-charged phallus. The 'third eye' cartouche with the divine magic name, correlates with the urethral orifice. Brain matter is equated with macehead ejaculate. If the mace cracked the shell of the skull-nut with enough force, then sweet meat would spurt into the air before an orgasmic assembly of Pagan psychopaths. The jejune, intoxicated religion, of the carnivorous sympathetic magicians, is indeed that queer.
ABOVE: RELIEF OF BES BEFORE THE ENTRANCE OF THE TEMPLE OF HATHOR AT DENDERA. NECKLESS BES BECOMES THE ANTHROPOMORPHISM OF THE SERPOPARD'S LEOPARD-HEAD; THE LINES BETWEEN CANNIBAL VICTIM AND MAGICIAN PERPETRATOR ARE DELIBERATELY BLURRED: When the head of Bes above, is compared with the detail preserved on the gilt leopard-head of Tut, there is an evident repetition of standardized brow and ear shapes. Variations in the vectors are due to the difference between a head-on frontal view upon a humanized face, versus a view upon a more purely feline head from above. The Bes-head drools for the brains inside the trophy leopard-head just below its tongue. This subtle double-headed form involves a dogmatic relationship between cannibal and victim rooted deep in primitive animistic belief. The former buffalo cults of North America's great plains Indians are an illustrative case in point. The great buffalo god was evoked in buffalo costumes, then hunted and consumed. Pliny (NAT. HIST. 7:2) reports that feasting Scythian cannibals wore bibs made from the scalps of their victims (which would include the entire skin off the head including the face.) The human head-hunter celebrated his rights in gruesome solar and leonine head masks. These ultimately link Bes to a whole family of ferocious deities including: Assyria's Pazuzu, Greece's Medusa, the goddess who became the Hindu Kali, and even demonic masked hunters as far afield as the Tibetan Bon deities, and the masked cannibal devils of Polynesia. In sympathetic magic belief, like was used both to promote like, and to battle against like. Thus demonic masks could be worn either to defeat cannibals (usually by supposedly scaring them away), or to conduct actual real cannibal ritual. The specifics of the Assyrian Pazuzu help explain how Bes, Medusa, and Tanit are integrated into the Biblical drama. Pazuzu was a form that specifically represented Southwest winds which blew into the Levant from the Sahara, bringing drought, famine, and ultimately, cannibalism as a desperate means of survival. It is easy in hindsight to see just how misguided the savage Pagan and animistic mind was, to believe that this Pazuzu who personified these baneful winds, was a real entity hungry for human meat, and capable of being angered or appeased. Such beliefs led---even in bountiful times---to ritual cannibalism, in rites which were rationalized as necessary in order to keep the evil weather deity satisfied, and at bay. In the Egyptian and Greek versions of the same basic superstition, the source of baneful weather was not as easy to identify as in the Levant, and this may have contributed to how the hedonism of the Greek and Egyptian fertility cults ballooned into subcultures which gravitated towards the chaotic sadism of the ancient urban jungle. The gruesome and bizarre crimes of the wild ungovernable spaces, were cultivated to extend the realms of sensual stimulation among a niche in the civic setting. The extended tongue of the leonine humaniod advertises his indulgence in killing and torture for sport. The headhunter enjoys the taste of the experience, and lusts after human flesh and blood. In a desert wasteland, the blood and brain provide moisture one might need to survive, but Pharaoh's body did not thirst for water. Sophisticated metaphorical art, and its rebus magic language, enveloped the mysterious sacrificial rites which the elite practiced behind the temple walls. The inscrutability of this religious architecture, of both symbolic ideas and stones, cast mind control spells upon the populace, which allowed the royal infrastructure to tighten a magic terror-grip over ancient Egyptian society, and maintain a slave state in a land of plenty.
ABOVE: HUMAN BODY AS SYMPATHETIC LIKENESS OF THE LAND: KEY DIAGRAM FROM THE WALLS OF KV9 (UNLOCKS THE ABYDOS NINE-BOWS RELIEF FURTHER ABOVE), AFTER DESCRIPTION DE L'EGYPTE, ANTIQUITES TOME 2---PLATES: In the tomb, the scarab beetle was used as an amulet for the heart (as was the Persea fruit). The heart's pumping of blood was likened to the dung beetle's industry, which was in turn likened unto the passage of the divine sun through the sky. The round ball of dung that the scarab beetle rolled-up and inseminated with fertile eggs, was seen as a reflection of the sun's roll across the sky from dawn to dusk. Once the cults of Ra ("Sun") and Horus ("Hawk") were combined in Re-Herakte, then the ferocity of the low latitude sun was likened unto a raptor. The falconer's soaring solar hawk, only returns food in a feedback loop of gifts made unto it. So too it was only in return for sacrifices, that the Pagan sun in rule over Egypt provided the land with its food, which here is pumped into the cauldron mouth of the huge human diagram by the beetle's dung-ball sun-shots; (the ultimate power-food in this cracked system of sympathetic magic belief was the living human heart and brain---available only for the elite few). The head of the prone human-map lays on an adze headrest of hair. The divine soul substance enters the mouth and vitalizes via the netherworld channels of the alimentary canal, via the spinal column with its nerve network, and via the circulatory system animated by a living beating beetle heart. These channels were likened unto the bed and flow of the Nile, and unto the vegetation which sprouted from her channels. The "divine water" spouting via the pudendal channel was likened unto the semen of Ra/Osiris, here shown filling the head of the new royal incarnation of Horus---divine Pharaoh of Egypt, who knows what is really in his hand. The adze chops up the delta, and its inhabitants, to feed Pharaoh's power. The hand directed to the mouth of that small human figure, who represents the pubescent Horus, indicates that his elite diet fills his brain with this creamy "divine water" of the fertile Nile. The form and texture of the cleaved brain was seen as the sympathetic likeness of divine testes:
The phallus of Ra (penis, scrotum, and testes all) [which is] the head of Osiris (skull, scalp, and brain all) shall not be swallowed up (i.e. eaten) [in the nether-regions]---BOOK OF THE DEAD (47:19 given as a supplement to Chapter 43 by Budge)
The Ancient Egyptian verb am (or 'm) meant: swallow, inhale, breathe in, absorb, digest, know. The word for "brain" was amm (or 'mm); it approaches something literally analogous to: 'the Knower,' or 'the Swallower,' which was also the related name of the horrible goddess Ammit (ammwt or 'mmwt), who embodied the animal power of Egypt's ultimate top predator, in a composite form part hippo, part alligator, and part lion. Called the "Soul-eater," Ammit was best known for swallowing unworthy human hearts at the scales in the underworld, where she was often accompanied, or replaced, by the similarly hungry god Baba---"Bull of the Baboons." Sacred baboons evidently ate viscera at the temple sacrifices, whereas Baba is noted as the ferocious devourer of viscera. The repeated ritual sacrifices at the temples aimed to build magic reserves thought to empower the mummy on its journey through the underworld. The deceased heart was both preserved inside the mummy, and represented by amulets, while the brain---which is the viscera of the head---was only represented by the headrest, and the headrest amulet. To the sympathetic magician, the convolutions of the brain, as well as the convolutions of the testicular seminal vesicles and ducts, all had their closest magical likenesses in the serpentine digestive tract. The word for "viscera" (Ais, As), also meant "bald," and was a secondary word for "brain." In the BOOK OF THE DEAD, the above quoted equation, which likens the phallus of Ra to the head of Osiris, presupposes that someone's brain was being eaten by someone, and this is just what is represented by the loads of divine liquid, shown being loaded up inside the head, of the pubescent figure representing the reborn Horus in the above diagram. Elsewhere the child Horus is typically depicted with the headhunter god Bes lurking over his head, while young Horus touches his pointer finger to his own mouth. The finger gesture mimes on a compliance to silence which adds social bite to the oppressive mystery meat he eats, for hot sacrificial blood spurts out via another channel to this manic bundle of spongiform Pagan similitudes. Wherever Ra was considered the ultimate self-created deity, there Ra had created all that exists by self-sacrifice performed upon his own divine penis, which dripped drops of blood that created the first gods beside him, and ultimately brought into being all material existence. This mythic initiatory rite by the divine member was fraudulently reflected in appropriated rites of circumcision, which had however arisen among primitives before anyone ever spoke the word "Ra." This crazy divine self-mutilation was also negatively reflected in the sadistic rites which amputated the phalli of Egypt's enemies. In chapter 17 of the BOOK OF THE DEAD, where the rebel python Apep is butchered up in parts by the Persea Tree, the spells continue:
Atum has built your house ("Pithom" means "House of Atum," or "Dwelling of Completeness;" here the phrase indicates that the scarecrow of Oz has received his brain and become complete--he has received "that which his head lacketh") The double lion god has laid the strength of thy foundation (his body is as secure as Egypt itself--protected on the horizons by Shu and Tefnut ridden by Rahu) Lo! medicaments have been brought (healing unguents, but also mystery meat and juices---vitameatavegamin!). Horus purifies Set and Set strengthens; Set purifies and Horus strengthens. The Osiris ... has come into this land (both come into Egypt, and into the mummified corpse as a sympathetic diagram of Egypt) and he has taken possession of it with his own two feet (by his own animation). He is Atum (He is complete---a finished creation), and he is in the city. Return O Rahu whose mouth is radiant (Rahu is a double-headed combination of Horus and Set--a head fluctuating between good and evil; the king of Punt who received Hapsetshut's embassy was named "Pi-Rahu") ... The [god of the] tomb (i.e. both he in the tomb and also the tomb itself personified) is named: "Hidden in form given of Menu" (i.e. the ithyphallic Min; the tomb is itself a phallic passageway which accomplishes the rebirth via the legacy of Pharaoh's sex-magic). "He who sees what he holds in his hand" is the name of the [god of the] war-camp (he who perceives what is in his power: human flesh), or as others say it is the name of the [butcher's] block. Now "He whose mouth is radiant (Rahu--he who swallows souls) and whose head fluctuates (or pumps--both semen and blood--moving between good and evil) is the Phallus of Osiris, or as is otherwise said, is [the Phallus] of Ra (the pairs of opposites collate with night and day, the dead and the living).---BOOK OF THE DEAD (17)
ABOVE: "PHALLUS" HIEROGLYPH INCLUDES PENIS, SCROTUM, AND BOTH HEMISPHERES OF THE TESTES: Note the glyph in the upper left pane which depicts a kneeling priestess; she sports a lethal phallic erection, which is comprised of a sharp blade of papyrus boned-up between her legs. Dressed up in mysterious artifice, Egyptian religion was, at its core, naught but sexual psychopathy. Humanity is equipped, to be so much more, than a beast atop a food pyramid will ever be.
ABOVE: PAGAN BABOON ASS-FOR-BRAINS: TOP PANES: Paired standards from the Narmer Palette. In the top right pane, the ballooned object on the standard is merely cropped and rotated to reveal the hidden form. Several artifacts connect Narmer with a baboon fetish in a personal manner. BOTTOM PANES: Baboon from a painting on the walls of the tomb of Tutankhamun. The right pane simply takes a crop from Baba's sexy flaming buttocks, and connects it via fill-in towards the actual extent of his identically painted erect man-skewer. Egyptian sympathetic magic belief was remarkable, in that it motivated deep analyses of the natural features of the planetary environment faced by early settled man. However, their core epistemological assumptions, based upon conceptions of the royal governor as consummate predator, steered their entire paradigm into a fiery pitfall. Therefore, sympathetic magic belief is equally notorious for drunken equations that endanger human life for no real benefit except an ever increasing delight in horror. Egyptian notions about their sacred Hamadryas baboon are a case in point. These simians were observed in their habitat at the sources of the Nile, where they were organized in complex social troops similar to those favored by elite humans. In a foreshadow of Darwin, the Pharaohs not only came to surmise that they had arisen from these creatures of selective hairless nudity, but they wound up believing that these cartoon residents of Punt were actual incarnations of their very own ancestors, who had, in prehistory, lacked enough magic knowledge, infrastructure, and diet, to be reborn in the sky as stars. The viciousness and hypersexuality of these baboons was studied, and taken for rudimentary magic. Baboons have the power of fully opposable 'thumbs' on all four limbs. Like humans, baboons habitually masturbate, and engage in frequent homosexual relations. Since such sexual deviations had strong magical associations for the Egyptians, and were rarely if ever observed elsewhere in the animal kingdom, these big hairy scamps at the source of the Nile were blown up into figures of cosmic stature. What's more tumescent yet, comes from the fact that baboons do not mate seasonally, but instead become hot in a monthly cycle, which the Egyptians related to their moon god Thoth. The cartoon tidal-ass of the baboon, is a brilliantly red, hairless seat-pad, called an ischial callosite. In males the callosite is completely fused across the buttocks, but in females this callosite is fully cleaved by her anogenital region, which swells backwards through it---in an enormous fashion---upon her monthly cycle. To sympathetic magicians, this astounding vaginal swelling---unique on the planet---was from an occult power rooted of the air element, and directly related to both the swelling of the penis upon erection, and to the swelling of the womb upon pregnancy. The brain too is easily impregnated, with useful and baneful thoughts---entirely ethereal objects, which were also thought to exist and travel by powers ultimately of the air element. Soul or spirit was thought to be an air form, like the breath of life which expired upon death. The metaphor in GENESIS (2:7) where God breathes life into the soil to animate Adam reflects the reality of weather's function as the divine sculpting hands responsible for all life in this planet earth. On that planetary scale, this intuition of the ancients is valid. The sympathetic magician's folly is his extension of metaphors beyond their applicable contexts. Thus the appetites of lions, hippos, and alligators become models for the behavior of divine beings and humans. When man is mistaken for no more than another animal, man becomes the worst animal instead of the best. Egypt's high god Amun-Ra evolved into a solar god, of fierce hawk light, and of the feathered air medium via which light travels. Knowing the centrality of brain function from their medical and surgical studies, Egyptian removal of the brain from the New Kingdom royal mummies was rationalized as part of a magical operation, in which a new brain would enter the magical doublet of the body, on the after death plane, from a pool of sadist sacrifices whose vapors were dispersed into the ethereal custody of imaginary deities. Fatally misguided by their appetites for very expensive perfume, Egypt's Pagan airheads began to bind their skulls, aiming at senseless cranial erections forever. Like virulent dust picked up in a great desert wind, all went incredibly wrong on planet earth due to this errant magical thinking. The baboon headed son of Horus, named Hapi (i.e. "Nile" or Neal) was invoked to protect and reinflate the mummy's desertified lungs. In the BOOK OF THE DEAD, the great cannibal baboon in the sky, whoops in congress with the canopic quadruplets of Horus:
Words spoken by (the baboon headed) Hapi: I have come to be your protection. I bind together your head and your limbs for you. Your enemies, inferior to you, I smite for you (i.e. I 'brain' them for you), and I give you your head (i.e. your brain) for eternity---BOOK OF THE DEAD (151) (Where's my brain? Whoop there it is!)
This Hapi can be equated with Baba, the baboon god who is called "the eldest son of Osiris" in the COFFIN TEXTS (C.T. spell 359). His baboon penis is the mast of the Pharaoh's divine barque in the netherworld (C.T. 397), and also the mast to the boat of seamen threatening the deceased (C.T. 473). Baba embodied the sexual potency of Pharaoh's line---his ancestors and his issues. Baba was thus the power behind the gravid womb. Baba was he who inflated the placenta. All existence was thought to be contingent upon ritual sex magic. At first dawn Ra circumcised himself, letting loose the creative principles, of: A) spoken commands (embodied by Hu), and: B) reasoned thought (embodied by Sia):
These [gods who accompany Osiris] are the drops of blood which came forth from the Phallus of Ra when he went forth to perform his own mutilation. These drops of blood sprang into being under the forms of the gods Hu and Sia, who are in the bodyguard of Ra, and who accompany the god Atum day after day---BOOK OF THE DEAD (17)
By first dusk, Atum had proceeded to masturbate upon the divine phallus, and thus gave birth to the first culted divine personalities:
Atum is the one who came into being as one who obtained his erection in Heliopolis. He put his penis in his fist to achieve orgasm with it, and the twins were born, Shu (air-light) and Tefnut (moisture-fluid).---PYRAMID TEXTS (473)
From these supposed auto-erotic rituals, the Ennead of gods arose and copulated, and fought, and copulated some more. All creation progressed. Yet the order of all this psycho-sexual creation, and particularly the role of Egypt and its Pharaoh within it, was held as entirely dependent upon continued blood and sex sacrifices made to these imaginary gods. Pharaoh's potency in this life and the next was directly linked, by magic belief, to his predatory sexual prowess. Boasting of this virility, Pharaoh declares himself Lord of the night sky:
[Pharaoh] Unis orders the night, Unis sets the stars on their paths. Gods appear and honor Pharaoh Unis [with the title]: "Bull of the Baboons"---PYRAMID TEXTS (320)
Osiris was the deceased Pharaoh---the Ra of yesterday, Horus was the Ra of tomorrow, and by New Kingdom time, the entire magical system of faith depended materially upon a cosmos where the coexistence of these different realms of time were kept balanced, in the requisite pecking orders, by the universal dominance of Egypt's royalty. Ritual manipulation of words and flesh in the present land of daylight, was magically scripted in the belief that it buttressed the power of the Nile for eternity. The missing link between the gods and rulers on the Nile was---surprise surprise---the baboon with the flaming red tidal-ass. Thus the penis of Baba was the key to the heavens:
Pull out [now] phallus of Baba (i.e. crack the lock of the universe Baboon penis)! Open door to the sky! Open sealed door! Make a way on the blast of heat where the gods draw fluid. [Pharaoh] Unis will glide twice on the glide path of Horus (in temple ritual and again in the underworld) in this blast of heat where the god's draw fluid. And they will make a path so that [Pharaoh] Unis may progress upon it. Unis is Horus (Pharaoh is a hawk).---PYRAMID TEXTS (313)
The cannibal magic of Pharaoh Unis was explicit:
Unas is the sacred-hawk, the Hawk of Hawks, the Great One. Whomever he finds in his way, he eats him bit by bit … Unas feeds on the lungs of the wise. His pleasure is to live on hearts, as well as on their magic … He is pleased when their magic is in his belly ... Lo, their soul (Ba) is in the belly of Unas, their spirits (Akhs) are with Unas like the broth of the gods, cooked for Unas from their bones. Lo, their soul is with Unas, their Shadows taken away from those to whom they belong … His loincloth---made of screeching baboon hide---covers his behind. ---PYRAMID TEXTS (273-275)
By the time of the New Kingdom, the Pharaonic funerary liturgy had evolved into a popular form. The beyond death fates of the elite, along with the afterlives in store for commoners of substance, were all piggy-backed upon an underworld infrastructure fleshed out over the spine of Pharaoh's ritual prowess:
Hail phallus of Ra! Which progresses and beats down the opposition! Things which have remained still for millions of years come back to life through Baba! Thereby am I stronger than the strong, and thereby I have more power than the mighty... The Phallus of Ra [which is] the head of Osiris will not get eaten up! ---BOOK OF THE DEAD (43)
ABOVE TOP LEFT: BASE OF THE OBELISK AT LUXOR: SACRED BABOONS FROM PUNT FACE EAST IN GRANITE TO ADORE THE RISING SUN. TOP RIGHT: LESS DAMAGED GRANITE BABOON OBELISK-BASE IN THE LOUVRE: See the evil. Hear of the evil. Speak of the evil. Move to eradicate the evil. What was seen there, what was done there, what was heard there, when it left there, it certainly did not stay there. ☢ The genie can be put back in its bottle. ☢ ABOVE BOTTOM: PHARAOH AND BABOON FROM THE KUNSTHISTORISCHE MUSEUM VIENNA: GLYPHIC-REBUS FASHION-MAGIC: Note that the pleated apron on the Pharaoh's war kilt is designed to portray an ax when viewed head on. Pharaoh's sadistic sexual prowess is an arc of solar radiation which cuts up the earth---making the Egyptian Empire his own private part. The glyph meaning "god" was an ax wrapped in bandages, and the kilt apron's erection was swathed in alternating surgical red and blue sashes to animate this glyph. The kilt erection, like the rising sun, brings the rebus magic spell into vocalization, portraying the royal god-power in action via the wielding of the ax, either in temple ritual, on the battlefield, or upon the sympathetic magic plane. An appliance, decorated with an array of hungry poisonous cobras and cartouches, was often attached at the forward cutting blade of the kilt apron, to maintain the magic erotophonophilic sharpness of the Pharaonic costume edge. Autocratic abomination always leads to desolation. 非禮勿視.
ABOVE: TUTANKHAMUN'S "BES ALABASTRON," DECORATED WITH HUNTING SCENES, CAPPED BY BES IN A FULLY LION FORM, AND SUPPORTED BY BES-MASK PILLARS WHOSE FOUNDATIONS ARE SURGICALLY SACRIFICED HEADS OF EGYPT'S HUMAN ENEMIES:
ABOVE: NECK OF DECAPITATED SERPOPARD ON THE IMIUT-GROVE LEOPARD: RAMESSIDE TOMB TT13, BELONGING TO THE RITUAL OFFICIAL NAMED "SHUROY": A member of the royal elite, Shuroy's title was "Brazier handler of Amon." Shuroy cooked Tchefau food (or Tchef-Tchef) for the Ramesside elite. His wife named "Our-Neferet" chanted the symbolic magic spells which accompanied the carnal rites. The hand which gestures at the top of the golden Imiut grove is a unique depiction, and must represent Shuroy as Master Tchef. The gist of this scene attempts to credit Shuroy with a magic fortification giving Pharaoh's organs god-power in the underworld. These ornately contrived magical superstitions--stupid to the point of silly--were results of depraved ambition and diet.
ABOVE: CADEUCEUS OF HERMES COMPARED WITH THE NARMER PALETTE SERPORARDS, AND SNAKE GIRDLE OF THE CORFU MEDUSA: The m
ABOVE: THE CADUCEUS-LIKE SUMERIAN GOD NINGISHZIDA ON THE LIBATION CUP OF THE RULER OF LAGASH CIRCA 2130 BC: The m
ABOVE: THE SECOND BIRTH OF DIONYSUS ON A GREEK VASE FROM SOUTHERN ITALY CIRCA 380 BC: The m
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last updated: NOV 30, 2014
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