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APPENDIX
EIGHT
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Druidic Symbolism in Hollywood
The truth about the
origins of Judeo-Christianity is found in the Bible's Testaments by
unbiased and objective researchers. The truth has also been
cryptically disclosed through the ages in artwork, and in
modern times in popular movies.
Let
us take a moment and analyze the hidden information
contained in the epics Ben Hur, Solomon and Sheba
and The Ten Commandments:
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Towards the
end of
Ben Hur, the makers of the epic film begin
letting their viewers subtextually know the
truth about the life of Jesus. Ben Hur ("High Man"
or "High Sun") is on his way home after a
painful visit with his mother and sister who have been
confined to a leper colony. He comes across a great
multitude gathering to hear Jesus speaking from the
"mount." Curiously, all the way through the
film, the topography has been typically arid, barren and sandy, as one would expect to find in
most parts of Palestine, Galilee and Judea.
Suddenly, in this scene, for no apparent reason the
appearance of the topography dramatically changes.
We see green fields filled with leafy trees and
flowing river from which Ben stoops to quench his
thirst. The hills are of a type found in
Britain, not Judea or Galilee.
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Suddenly
a strange man appears. He recognizes Ben and
walks eagerly toward him. He is Balthazar, one
of the three wise men or Magi who attended the
birth of Jesus. He has come to hear Jesus give
his sermon on the mount. The actor
playing the apostle has the appearance of
a Westerner, in fact, a Druid. He is
dressed in purple and white (the colors of the
Druids) and carries a staff. He walks through
the verdant land, across the bridge toward the
mount and, although we are not consciously aware
of it, we are in merry ol' England, not
Palestine. We are at Silbury Hill or Glastonbury
Tor, not the Sea of Galilee. Interestingly,
just in case we miss the meaning of the
symbolism, the movie's makers have Ben wearing a
cloak of Irish or Scottish
tartan. In this context the scene is uncannily
similar to one occurring toward the end of recent blockbuster movie The
Da Vinci Code,
when Sophie stands in the grounds
of Rosslyn Chapel in Scotland (on the Rose Line)
wrapped in Scottish tartan. Let us recall that Scota, daughter of Pharaoh Akhenaton, gave
her name to the land of Scotland. Let us
understand that popular movies and dramas
about ciphers, secret codes and lost relics,
etc, are themselves cryptic. They contain
valuable implications that go
unseen and undeciphered by the vast majority of
viewers.
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When
Jesus appears upon the mount to address the
multitude, we see that the makers of the
film have chosen an actor with red
hair. Jesus is also wearing white, the color
designated for the High Druid. Again we
notice the English-type countryside, atypical of the Middle East
and of that depicted throughout the film
until these scenes.
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The
whistleblowing dramatically continues with
the fascinating scenes that follow after a
few minutes. We are taken to Calvary and the moment when Jesus is executed by the
Romans. Again the topography is distinctly
British in appearance. Looking on are eight
members of the so-called Tribes of Israel.
Their headgear is mushroom-like or even
"penis-like." However, what are we being
told subtextually about the identity of
these bizarre characters? That information
is given in the very next scene.
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The
camera moves from the "Israelites" to the
figure of Balthazar the Druid. He appears
and stands in the shade of a tree containing
a beehive, symbol of the goddess Spes
(Roman Elpis), and the astrological sign of
Cancer. It is also a symbol of Egyptian
royalty and Masonry.
Balthazar's Caucasian features and attire go
consciously unnoticed even though they speak
volumes about the true origins of
Christianity.
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Almost immediately, Balthazar is joined by
Ben Hur and they mournfully watch as Jesus
is crucified. The sequence obliquely lets us
know that the death of Jesus is occurring in
Britain and that the Israelites or "Jews"
are Druids.
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When
the camera shows the scene of the
crucifixion, we see Jesus on the cross
framed against the sky. Of course, this is
pure astro-theology. The cross is
indeed to be found in a certain house
or quadrant of the heavens.
The cross in heaven |
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The
term Ben is Gaelic, meaning "hill" or
"high place." The term
Hur is Egyptian, meaning "Horus" (or
Sun). Ben Hur, therefore, does not mean "Son
of Hur," but "Son of the Sun" or "High
Sun," a reference to Aton. Hur can also be a
variant of the Germanic Herr, meaning
"man."
Another whistleblowing epic is United Artists
spectacular Solomon and Sheba, with Yul
Brenner and George Sanders. Let's take close look at
a few scenes in this fascinating movie:
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In an early scene we see King Saul on
his death bed speaking to his son
Solomon. On Solomon's armor we see the
symbol of the sun. He is about to
inherit the mantle from his father, who, sidereally speaking, is the old, dying sun. Solomon's brother and rival
is Adonijah, a name that is a
combination of
Adon
or Aton, and Jah for
Jehovah/Yahweh. The name Solomon
contains the syllables denoting the sun
in the ancient languages: SOL, OM and
ON.
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In the following scenes we find that
Saul (Sol) has regained enough strength
to address his people concerning his
legacy. He wishes to let them know about
Solomon's succession to the throne of
Israel. But what's this? We find that
the actor chosen to depict Saul is the
same actor (Finlay Currie) who played
Balthazar in Ben Hur (and also
St. Peter in Quo Vadis.)
Apparently, the makers of the film could
not find a more
Caucasian-looking actor. What is more, he is
yet again dressed in the colors
of the Druids. In fact, he wears the
colors of each division of the Druidic
Order. Blue signified the Ovates or
Poets. Purple designated the main body
of the Druidic Order and white was reserved for the High Druid.
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While King Saul (Sol) addresses the
chiefs of the twelve tribes, he
directs his daughter to display the
emblems of the twelve tribes that
appear on the so-called Hoshen
Breastplate. However, underneath the
twelve diadems, we see what appears
to be either Nordic runes or Irish
Ogham script. There is really
nothing surprising about this when
we realize that every name of the
Twelve Tribes is of Irish origin.
The movie's makers obviously know what
the masses are never supposed to
know about their religion and god.
Interestingly the diadems of the Hoshen Breastplate were also known
as the Urim and Thummim and, like
the runes and Ogham, were used for
divining. (Here
for more.)
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After Saul dies and Solomon
prepares to become the king of
Israel, he retires to meditate
and commune with Jehovah. The
scenes that follow are truly
revealing. We see Solomon
entering a Druidic Megalithic
site with
three giant ithyphallic
stones. Around these
mist-covered obelisks are four
trees. Compare the three
monoliths to those from a
typical Druidic cromlech in
Ireland:
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As King Solomon meditates he
hears the voice of Jehovah
(Yahweh). The scene is
reminiscent of the moment when
Moses heard God addressing him
at the so-called "burning bush."
In this scene we see the sacred
tree, great megalithic
stones found throughout Britain
(as well as in Middle Eastern
countries), and sacred flame representing
Brigit, ancient Irish
goddess of the groves. Masonic
author Albert Churchward wrote
of the meaning of the three
totemic pylons held sacred by
many world cultures:
The Druids in
their temples or lodges had
the same, that is, the
Adytum was supported by
three stones or pillars…The
Maya in Mexico and the Incas
in South America had also
the “Three Pillars” to
represent symbolically the
triune God or their Trinity
– Albert Churchward (Signs
and Symbols of Primordial
Man, 1910)
The
Three Pillars as now used in
our lodges, called Wisdom,
Strength and Beauty, and
situated in the east, south
and west…We venture to say
that very few of our
brethren are acquainted with
the origin, which dates back
to the Stellar Mythos, and
then represented Horus, Shu
and Set
- ibid
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Many
important revelations are
made throughout the epic
film The Ten Commandments.
On of the most important
scenes involves a startling
revelation concerning the
physiognomy of Egyptian
royalty:
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After
Moses is expelled
from Egypt, he takes
refuge with a
shepherd by the name
of Jethro - referred
to as a priest of
Midian - who lived
near Mount Sinai.
His eldest daughter
Zipporah (meaning
"bird") falls in
love with Moses, and
seeking to
ingratiate herself
with him and appear
attractive in his
eyes, remarks
enviously but
poetically on the
beauty and elegance
of Egyptian women.
The movie's dialogue
is as follows: "She
was very beautiful
wasn't she, this
woman of Egypt who
left her scar upon
your heart? Her skin
was as white as
curd, her eyes green
as the cedars
of Lebanon, her lips
tamarisk
honey...like the
breast of a dove,
her arms were soft,
and the wine of love
was in her veins..."
Clearly, the movie
moguls know
something most don't
about the racial
origins of the
Pharaohs.
This
particular scene
cryptically reveals
many important facts
about Moses and the
Israelites, as does
the Old Testament
account itself. For
example, the name
Jethro means
"His Excellence,"
and thereby implies
royalty.
Additionally, Mount
Sinai is a simulacra
for the Great
Pyramid at Giza and
the "Wilderness"
connotes a period of
ritual asceticism
undergone by high
priests of Egypt.
Most importantly,
the term "shepherd"
is a indirect
reference to the
Hyksos nobility to which
Moses, or more
correctly Akhenaton,
belonged.
Interestingly, the
Quran deems Jethro
to have been a
member of the
"Druze" people. This
term, believed to
mean anything from
"those who read" to
"mountain dweller,"
is probably derived
from a term denoting
the ancient Druids - the true “learned
ones” - who
frequented the
Middle East in ages
past. |
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Another
vital revelation in the
movie concerns the royal
identity of the so-called
Israelites or Jews:
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In the early scenes
of the film, we see
Moses' Egyptian
mother, a princess,
coming across the
basket of reeds in
which Moses lies.
When she removes the
infant her maid
notices the
child is wrapped in a piece
of cloth from a
Levite cloak. She
remarks on its
presence and asks
why it was on
the child. The
princess responds as
follows: "If my son
is covered in it, it
is a royal robe."
Her servant then
exclaims:
"Royal?...It's the
Levite cloth of a
Hebrew slave!" She
continues to say: "I
will not see you
make this son of
slaves a prince of
Egypt." The princess
confidently responds
by saying: "...we'll
see...you will see
him walk with his
head among the
eagles." During this
revealing scene, the
princess is also
heard to say: "I am
the Pharaoh's
daughter and my son
shall be reared in
my house as Prince
of the Two Lands."
In this particular
scene we have been
told, albeit
obliquely, that
Moses and the
Levites were Pharaonic. They
were royalty in the
land of Egypt, not
oppressed slaves. We
have been told that
Moses was a "eagle,"
that is, a
high-ranking
priest-king of
Egypt.
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Our god is made to take
all forms as a “consuming fire,” a “still
small voice,” and all through his early
worship until the reign of Hezekiah he was
worshipped as the serpent Nehushtan which
Moses had made in the wilderness (II Kings
18:4) – John
Martin Woolsey (Symbolic Mythology) |
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Above Right: In the Old Testament Book of
Exodus, we read that Moses erected a "Brazen
Standard" in the wilderness, after leaving
Egypt with the "Chosen People." This act
clearly defines Moses as a Pharaoh, or of
Pharaonic descent. His Israelites were a
powerful dynasty within Egypt, whose
desecration and megalomania compelled the
people to rise up against them. When Moses
and Aaron come to negotiate with the
Pharaoh, we also hear of rods and snakes. As
we will see later, the staff and snake
represents, among other things, the polar
axis of the earth.
Left:
The
serpent standard was a symbol of Egyptian
priest-kings. The Uraeus wears the double
crown of Upper and Lower Egypt. In the scene
mentioned above, from the Ten
Commandments, the princess said that she
will raise Moses to be a Prince of the Two
Lands. In other words, Moses was a Serpent
Prince. |
Another movie with equally important subtextual
references to the true origins of Judeo-Christianity
is the 1951 epic Quo Vadis. The title,
meaning "where are you going," was derived from a
passage in the Acts of Peter in the New Testament.
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In one of the most important scenes,
Saint Peter, while walking on the Appian
Way outside Rome, hears the voice of
Jesus instructing him to return to Rome
and attend to the plight of the
Israelites who are being persecuted by
the Emperor Nero. However, in the movie rendition of the Biblical
passage, St. Paul hears the voice of
Jesus emanating from a tree. What is more,
the actor playing Saint Peter is yet
again Findlay Currie. And yet again he
is attired in the fashion of a High
Druid. The dialogue in this scene is as
follows: "These tree-tops there, do they
not bend with the wind...and that sudden
brightness coming...it is the light of
the Lord."
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While kneeling to listen to the voice of
Jesus, St. Peter rests his staff, which
looks remarkably like an Pharaonic
crosier, against a large oak. This
image of the crosier or staff leaning
against a tree is a very ancient motif.
It was associated with the god Dionysus,
known to the Greeks as Iakus, Bakus or Bacchus.
Tree and staff with masks
and pipes of Bacchus.
Bacchus or Dionysus was a
prototype for the Biblical
Jesus.
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In the movie's closing scenes the main
protagonists travel out of Rome along
the Appian Way, and pass the place where
St. Peter heard the voice of Jesus.
Peter's young companion tells the party:
"It was here the Lord spoke to us," to
which his female companion, Lygia,
replies "then this is a blessed place."
Note Lygia's fair appearance and red hair.
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The final scene is of St. Peter's staff.
He inadvertently left it up against the
oak on the Appian Way after hearing the
voice of Jesus. Now we see it again with
the light of god behind it. However, the
staff has sprouted blooms and leaves. In
other words, it has become a tree. Were
the film makers attempting to emphasize
something important about the staff and
tree at the very end of their movie?
After all, what is the rod or staff that
has serpentine vines coiled about it?
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In another important scene, hero
Marcus Vinicius, Tribune of Rome,
rides triumphantly into the great
city after returning from successful
conquests in the East. He salutes
Emperor Nero and is
literally "crowned" with thorns,
that is, with laurel leaves. (Here
for more information.)
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Maniac Crusader and Templar, Godfroi de
Bouillon
crowned with thorns.
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These
examples come from a few scenes in a
mere four epic films. We could
analyze hundreds of movies in the
same manner to gain profound insight
into the truth about the pagan
origins of Judeo-Christianity. For
instance, in the movie
Star Trek V: The Final Frontier,
when the protagonists are seconds
away from an encounter with a
Jehovah-like god, they are first
surrounded by ithyphallic pylons
that erupt violently from under the
earth to enclose them. These stones
appear identical in form to those
erected by the ancient worshipers of
Priapas, Bel, Cronus, Yahweh, and
other Earth gods. Is it just by
chance that the movie makers decided
to use these time-honored images? We
don't believe so.
In
the movie, the protagonists finally
locate "God" at the very center of
the universe, that is, at "Galactic
Center." Many nations and races have
elaborate myths and legends that
pertain to this region of space.
The
gods and shaman of the Maya, for
example, had to ascend a "tree" to
reach the door in the center of the
galaxy, whereas in Egyptian myths,
the god or hero travels on a barque
(boat) to the location. Of course,
the phrase "center of the galaxy or
universe" may subtextually refer to
the circumpolar region. (More on
that later.) |
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Important Research Material
Symbolism of the Halo
http://theartofoneness.blogspot.com/2008/10/halo.html
Johannes Bureas (Connections Between Nordic
and Hebrew)
http://www.redicecreations.com/article.php?id=244
The Burning Bush
http://en.wikipedia.org/wiki/Burning_bush
John Allegro
http://johnallegro.org/
Allegro's Sacred Mushroom and the Cross
http://johnallegro.org/Allegro-SundayMirror.htm
The Borborites
http://en.wikipedia.org/wiki/Borborites
Dr. Stephan Borhegyi
http://www.mushroomstone.com/partibreaking.htm
Gnostic Media
http://gnosticmedia.com/
Ambrosia Society
http://www.ambrosiasociety.org/index.html
The Sacred Mushroom (Terence McKenna)
http://www.youtube.com/watch?v=2Yw2nrHcock
Mary Magdalene in Art
http://witcombe.sbc.edu/davincicode/magdalen-life-art.html
Plant Symbolism in Christian Art
http://arthistory.suite101.com/article.cfm/plant_symbols_in_christian_art
Plant Symbolism and the Virgin Mary
http://www.oldandsold.com/articles22/madonna-2.shtml
The Great
and Holy Myrrh-Bearer
http://orthodoxwiki.org/Mary_Magdalene
Spirit of
the Trees
http://www.spirit-of-trees.net/
Magnificent Trees
http://www.neatorama.com/2007/03/21/10-most-magnificent-trees-in-the-world/
The Ancient Yew
http://www.ancient-yew.org/
The Yew: A
History
http://www.whale.to/a/hageneder_b.html
The Yew Tree
http://www.yewshamanism.com/home.html
The Golden Bough (Frazer)
http://www.sacred-texts.com/pag/frazer/
Bulfinch's Mythology
http://www.sacred-texts.com/cla/bulf/
Crown of Thorns
http://en.wikipedia.org/wiki/Crown_of_Thorns
Agony in the Garden
http://en.wikipedia.org/wiki/Agony_in_the_Garden
The Lost Word
http://www.thelostword.dk/index3.htm
Protoevangelium of James
http://en.wikipedia.org/wiki/Protoevangelium_of_James
Red Hair
http://en.wikipedia.org/wiki/Red_hair
Queen Boadicea (Red Haired Queen)
http://en.wikipedia.org/wiki/Boudica
The Red-Haired Tocharians (Toc Aryans)
http://en.wikipedia.org/wiki/Tocharians
Teshub of the Hurrians
http://en.wikipedia.org/wiki/Teshub
Illuyanka the Serpent
http://en.wikipedia.org/wiki/Illuyanka
The Serpent Vritra
http://en.wikipedia.org/wiki/Vritra
Pythia and Delphi
http://en.wikipedia.org/wiki/Pythia
The Aesir
http://en.wikipedia.org/wiki/%C3%86sir
Horgalles
http://en.wikipedia.org/wiki/Horagalles
Masonic Street Geometry (Astana)
http://www.youtube.com/watch?v=Yc441C-jKd4
Masonic Street Geometry (New York)
http://www.redicecreations.com/article.php?id=7828
Saharasia:
The 4000 BCE Origins of Child Abuse,
Sex-Repression, Warfare and Social Violence
Interview with James DeMeo
Important Books
The Alph abet
Versus the Goddess -
Leonard Shlain
Sex, Time and Power - Leonard Shlain
Saharasia - James DeMeo
Trees in Religion and Myth - J. H. Philpot
The Symbolism of Freemasonry - Albert A. Mackey
The Veil of Isis - W. Winwood Reade
Ancient Egypt: Light of the World - Gerald Massey
The Sacred Mushroom and the Cross - John Marco
Allegro
The Mystery of the
Dead Sea Scrolls Revealed - John Marco Allegro
The Dead Sea Scrolls and the Christian Myth - John
Marco Allegro
Astrotheology and Shamanism - Jan Irvin
The Holy Mushroom - Jan Irvin
Failed God:
Fractured Myth in a Fragile World
- J. A. Rush
Magic Mushrooms in Religion and Alchemy
- Clark Heinrich
The Golden Bough
- James George Frazer
Symbols, Sex and the Stars -
Ernest Busenbark
The Serpent in Myth and Legend - R. T. Mason
The Serpent Myths of Ancient Egypt - William Ricketts Cooper
Worship of the Serpent - J. B. Deane
Mythological Astronomy -
S. A. Mackey
The Symbolism of Freemasonry
- Albert A. Mackey
The Dark Side of Christian History
- Helen Ellerbe
Thirty Thousand Gods Before Jehovah - Henry Brinkley Stein
Egyptian Mythology and Egyptian Christianity - Samuel Sharpe
The Druids: Priests of the Ancient Celts - Paul Lonigan
Druidism: The Ancient Faith of Britain - Dudley Wright
The Religion of the Ancient Celts - J. A. McCulloch
Irish Druids and Old Irish Religions - James Bonwick
Egyptian Belief and Modern Thought - James Bonwick
A Highland Parish or the History of Fortingall - Alexander Stewart
The Christ
- John E. Remsberg
Myths and Symbols in Pagan Europe: Early Scandinavian and Celtic
Religions - H. R. Ellis Davidson
Nineveh and its Remains - Henry Austin Layard
Secret Teachings of All Ages
- Manly Palmer Hall
The Secret Doctrine -
Madame Helena Petrovna Blavatsky
Symbolic Mythology - John Martin Woolsey
Greek Religion - Walter Burkert
Reign of the Phallus - Eva C. Keuls
The Celestial Ship of the North - Valentia Straiton
The Origins and Evolution of Religion - Albert Churchward
Pagan Origins of the Christ Myth - John G. Jackson
Love, Sexuality and Matriarchy - Erich Fromm
Das Mutterrecht - J. J. Bacofen
Morals and Dogma - Albert Pike
The Serpent Grail - Gary Osborn and Philip Gardiner
Bible of Bibles - James Wheless
Mythic Astrology - Ariel Guttman and Kenneth Johnson
The Migration of Symbols - Goblet d'Alviella
Sacred Mushrooms of the Goddess - Carl A. P. Ruck
Masks of Christ - Picknett and Prince
Sophia: Goddess of Wisdom - Caitlin Matthews
Historical Deception - Moustafa Gadalla
The Tutankhamun Deception - Gerald O'Farrell
The Two Babylons - Alexander Hislop
Jesus and the Lost Goddess - Timothy Freke and Peter Gandy
The White Goddess - Robert Graves
The Gods of the Egyptians - E. A. Wallis Budge
Gentile Nations - George Smith
The Devil's Pulpit - Rev. Robert Taylor
The Bible: An Irish Book - Conor MacDari
Vatican Billions -
Baron Avro Manhattan
The Messiah Myth - Prof. Thomas L. Thompson
Babylonians and Assyrians, Life and Customs - A. H. Sayce
The Philosopher and the Druids - Philip Freeman
Woman's Mysteries -
Esther Harding
Occidental Mythology - Joseph Campbell
Rape and Ritual - Bradley A. T. Paske
Jesus the Egyptian - R. A. Gabriel
The Great Infidels - Robert Green Ingersoll
Egypt: Child of Atlantis - John Gordon
Myths and Deceptions of the Bible - Lloyd Graham
Egyptian Miracle - R. A. Schwaller de
Lubicz
The Prose or Younger Edda
- Translated by G. W. Dasent
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