Humanity Sevenfold


The 7 rays are the prismatic break down of White Light. Each has its own vibratory characteristics. Light (the 7 Rays) and Sound (the 7 notes of the musical scale) are synergistic, and this is cymatics at work on a Universal scale. With the Music of the Spheres, each note (with its range of sub-harmonics) ‘sings’ the Sphere into Being. Each has its respective Masculine Color Ray and Feminine Harmonic, and together they form the set of Natural Laws for that dimensional Sphere, and therefore each has specific characteristic influence in our everyday lives. Each person has 7 Bodies (the upper ones very subtle). Each of the 7 Bodies is emanating from one of the 7 Chakras and occupying its respective dimensional space or Sphere. In this way, Humans are multi-dimensional, occupying all of the 7 Spheres/Rays/Dimensions/Harmonic Universes at once. The only thing interfering with full conscious awareness of this are emotional blocks held in one or more of the Chakras which obstructs the Kundalini flow and severs the connection to the other Selves. These blocks translate as shadowed areas within the Auric Field around the Physical Body.

— Scott Merovee Maurer

The Great Wheel of the Zodiac is the seven-skinned Egg of the universe. These skins are the seven great planes of manifestation commencing with Adi on the Spiritual level and descending to the physical plane. The fields interpenetrate, thus demonstrating the truth of the Eternal Presence in man. The consciousness of man interpenetrates all planes because it is derived from the Monadic level of the Adic plane.

— Dr. John Kirk Robertson, MAAT Texts

The seven rays is an occult concept that has appeared in several religions and esoteric philosophies, since at least the 6th century BCE, of the Aryan peoples in both Western culture and in India. In the west, it can be seen in early western mystery traditions such as Gnosticism and the Roman Mithraic Mysteries; and in texts and iconic art of the Catholic Church as early as the Byzantine era. In India, the concept has been part of Hindu religious philosophy and scripture since at least the Vishnu Purana, dating from the post-Vedic era. Beginning in the late 19th century, the seven rays appeared in a modified and elaborated form in the teachings of Theosophy, first presented by H. P. Blavatsky. The Theosophical concept of the seven rays was further developed in the late 19th and early 20th centuries in the writings of the Theosophists C. W. Leadbeater, and by other authors such as Alice Bailey, Manly P. Hall, and others.

— Wikipedia

Just as there are 7 Divisions on the Physical Plane and the Rainbow has 7 Colors, the Energy known as Sound has 7 notes in Music and the same note recurs on the eighth key, only it has a higher or lower Pitch according to which side of the Scale is reckoned. Each complete Scale of Notes is called “Saptaka” or Septave, meaning the Scale of Seven. Actual measurement shows that going from the low to the high, each eighth note has a vibration rate of double the number; thus, each Octave from low to high has double the vibration frequency in the high as in its neighboring low and to find the Octave Frequencies means a question of simple arithmetic.

— Dinshah Ghadiali, Spectro-Chrome Metry Encyclopaedia

Not unlike our physical sun (the source of all visible light that can be broken up into its seven component colors), the Solar Logos of our system too is a source of seven great cosmic Rays of spiritual light that can help accelerate our spiritual growth. These Rays build up the causal body of man, and to each of them there are various spiritual and physical qualities assigned. In this case we can say that the term “Ray” is used in a sense of one special type of force or energetic quality. These seven great streams of energy represent each and every vibration in nature, space and form, and they permeate all objects, all beings and all events in manifestation. They interpenetrate each other and combine themselves in order to produce more complex systems which we refer to as “reality”. The seven Rays surpass the possible description by words, or even by thoughts or feelings. They are too essential and all-encompassing to be limited within our own narrow inner space of perception of the great spectrum of reality.

— Gail Miller

The seven streams of energy, it is said, are the very vibrations within matter, space and form which define and infuse all objects, all beings, and all events in manifestation. They combine and interweave to create all the complex systems known as reality. They strike a chord in our consciousness and are, quite literally, closer to us than breath. The Seven Stars (Rishis) of the Great Bear (Ursa Major) are the originating Sources of the Seven Rays of our Solar System. These Seven Rishis (Spirits) of the Great Bear express Themselves through the medium of the Seven Planetary Logoi in the Solar System as the Atmic Wills of the Monadic Ray, Who are Their Representatives and to Whom They stand in relation of the prototype. In a manner inconceivable to us the First Logos, the Solar Logoic Spirit, brings in the influence of other Constellations from the Monadic Great Bear via the Little Bear (Ursa Minor), Pleiades and Sirius. The Seven Stars of the Great Bear are involved in an intricate relation with Ursa Minor and the Pleiades, (as with Monad and Atma-Buddhi). This major triplicity of Constellations has a peculiar relation to that Great Being to Whom I have at times referred as the One About Whom Naught May Be Said. All that can be hinted at is that these three Galaxies of Stars are the three aspects of the Ineffable Cause of the Seven Solar Systems, via Sirius, of which ours is one. Each of these Seven Rays, coming from the Great Bear, are transmitted into our Solar System through the medium of three Zodiacal Constellations and their Ruling Planets. The Seven Planetary Spirits (Logoi, Cosmic Atma) manifest through the medium of the Seven Sacred Planets to cooperate in the Soul aspect of the Heavenly Man (Cosmic Buddhic), and also the Personality aspect (Cosmic Mental) of Humanity. The Little Bear, like its Universal Prototype, the Great Bear of which it is a lesser reflection and a corollary, is not a Constellation itself, but an Asterism, which is a distinctive group of Stars. The Seven Stars of the Great Bear are the Seven Head Centers of the One About Whom Naught May Be Said, the Great Being that is greater than our Logos and of the Pleiades, the Seven Stars that are His Spinal Chakras. When the Grand Heavenly Man (or Logos) first assumed the form of the Crown (Kether) and identified Himself with Sephira, He caused Seven Splendid Lights to emanate from the Crown. These are the Progenitors, the Givers of Life to All. They are Seven and then Ten, corresponding to the Seven and Ten Sephiroth, when manifest in Physical System. Cosmically, they are the Seven Rishis of the Great Bear; systemically they are the Seven Planetary Logoi; and from the standpoint of our planet, they are the Seven Kumaras.

— The Seven Ray Institute

Thinking of God as a Sun, there are surrounding and enfolding this Central Focus of Intelligence Seven Mighty Spheres of Consciousness, each one separated from the other by its own periphery line which forms the natural boundary of that particular sphere. These Seven Spheres are called the Aura of God, each inhabited by Great God Intelligences, all intent on doing the Father’s Will to expand His Kingdom. The development and unfoldment of His Kingdom is accomplished by the release of pulsating waves of His Own Divine Consciousness, within which are the spiritual patterns of all form and manifestation, from the smallest blade of grass to the most brilliant star in space. As these God ideas pass from Sphere to Sphere, they are absorbed by the Beings and Intelligences within each one. They then move outward to the next Sphere, and the next, ever journeying onward toward manifestation into the world of form. A constant modification of the God Light, a constant clothing of the God Consciousness is achieved in each Sphere so that God’s Ideas become embodied in the substance of each Sphere in orderly sequence and, eventually, reach the Seventh Sphere, or Etheric Realm, where they await precipitation into the physical world of form.

— Tellis Papastavro, The Gnosis and the Law


And God said, Let there be Light and there was Light. And God saw the Light, that it was good: and God divided the Light from the darkness. God spoke to make Light; thus, Sound preceded Light. On the Oscillatory Frequency principle, this is very correct, because, Sound is an Energy acting on a lower Scale. The fact of Light appearing on the Forty-Ninth Octave, explains its Divine origin and relation; God is represented symbolically by the Circle and only 7 Circles can produce the Cosmos; the Number 49 is made by 7 X 7 and stands for each Circle having been traversed 7 times in Cosmogenesis, before Light came into being, with its Seven Spectral Colors. This beauteous Energy was preceded by Sound with its Seven Musical Notes, the Number 7 keeping pace with the Scales of Evolution.


Diodorus Siculus writes in the Library of History, Book III-LX, a legend about Atlas as follows: “After the death of Hyperion – it is told – the sons of Uranus had split the kingship between them. The most renowned were Atlas and Chronos. Atlas received the kingship near Oceanos (Black Sea) and the people in those days were called Atlanteans. Atlas gave his name to the highest mountain from his land as well. It is said about him, that he had minutely known the laws of celestial movements, sharing with the people the theory of the spherical form. From here comes the legend that Atlas carries the Earth on his shoulders. And in this imaginary form, where mythology depicts the representation of the celestial globe, Atlas had several sons, out of whom one of them, Hesperos, differed through his piety, through his sense of righteousness towards his loyalists and through his sense of humanity. Sometime Hesperos – climbing to the mountaintop of Mount Atlas to observe the stars – had been abducted by unleashed and sudden storms and had disappeared from the face of the earth. The peoples deciding to give him the honor worthy of a god, the brightest star from the sky was gifted with his name. The Atlanteans who live in the plentiful regions on the banks of Oceanos, greatly surpassed – it seems – their neighbours, through piety and hospitality. They claim that the cradle of the gods is their land. Atlas had seven daughters, who – after his name – were given a common name, Atlantids. They were placed on the sky and had received the name of Pleiades.”

Gnaeus Naevius in his work Bellum Punicum, chapters I-VII: “Inerant signa expressa, quomodo Titani, Bicorpores Gigantes magnique Atlantcs, Runcus atque Purpureus, filii Terras.” In translation: “There were clear signs how the titans, the two-bodied giants, the mighty Atlanteans… Runcus and also Purpureus are the sons of Earth.”

In Romanian, purpură or purpuriu = dark red (roșcovan = red headed). Runc = glade, pasture. We also have the following words: poruncă (order, command), aruncă (throw).

In the beginning of our era, in a letter sent to the leader of Dacians – Cothyso, the Latin poet Ovid names him and his people “People descended from the Gods”. Six centuries earlier, the Greek poet Pindar, citing Phrenicus of Heraclea, wrote about the Dacians from the north of Ister (Danube): “The Hyperboreans live in the far parts, near Apollo’s temple. They are wholly unused at war and they come, as traditions say, from the kin of the old titans.”

The poet Martial, in one of his epigrams, wrote to Marcellin: “Soldier Marcellin, you leave now to carry on your shoulders, the northern sky of Hyperboreans and the stars of the Getic Pole that are barely moving.”

Pliny the Elder, in his work Naturalis Historiae, IV-26: “The boreal axis around which the Universe was revolving, touched the Earth at the outfalls of the Ister, on the land of Hyperboreans or Getes.”

Wilhelm Hoffmann – Description of Earth: “Indeed, nowhere will you find a power of faster understanding, a mind more open, a spirit more alert, accompanied by the gracefulness of being, like one finds with the latter Rumanian. This nation, risen through instruction, should stand in front of the spiritual culture of humanity. And as an addition, its language is so rich and harmonious, it should fit the most cultivated nation on Earth.”

The idea of mankind’s divine origin created in the Land of the Gods or the Holy Land Dio Geta, we find it also in the Essene manuscript Angels which says: “Let’s praise the Holy Angels…We praise the angels who firstly, listen to the thought and teaching of the Heavenly Father, of whose angels formed the seed of the peoples. Those who touched the eyebrow of our parent Eno and had guided the Children of Light on seven plus seven ways which lead to the Tree of Life…”

We shall complete the information above with the writings from the Phoenician Histories coming from Philo of Byblos (64 – 141 C.E.) about the kingdom of Atlas which was the hearth of migrations towards Egypt, writing about the king’s brother as follows: “And Chronos – Amon – traveling to the land towards the south, gave the whole of Egypt to god Taaut to be his kingdom. All these facts were mentioned for the first time by the seven sons of Sedek, the Khabirs together with their 8th brother Asclepios, after the order of god Taautus… Out of Misor was born Taautus who created the first signs of writing. The Egyptians and the Alexandrians named this god Thoth, while the Greeks named him Hermes. Out of Sydek came the Dioscurians, the Khabirs, the Coribanthians or Samothracians.”

The meaning of “old ones” used even today by the Egyptians for Geţi (Getes/Djed), we also find in the Essene writing The Seven Ways of Peace which shows from where they received the Law and in which period in time: “Make peace with all the Sons of Peoples and let it be known from the Chosen of the Light, because we live in accordance with the Holy Law, since the time of Eno or earlier… Long before the Great Flood, The Great (Old) Ones walked the earth and the giant trees which presently remain a legend, was their home and their kingdom.”


7 Days of the week

7 Hills of Rome

7 Archangels

7 Champions of Christendom

7 Gifts of the Holy Spirit

7 Dio of the Getes

7 Amshaspands of the Zoroastrian theology

7 Sleepers of Ephesus

7 Hindu Tattvas


There is a common (not slang) expression used in Romania that seems a little weird at first – 7 ani de acasă – because it literally means “seven years at home”.

What does it mean?

Even today, a child legally does not need to go to (full-time) school until s/he is seven years old. That is because the child is supposed to be at home learning how to act right.

Essentially anything you can later righteously scold them for not doing “correctly” is what you were supposed to have learned in those 7 years – manners, politeness, decorum and “proper” behavior.


Toponyms and words which point to Pleiades / Pelasgians


Paeonia, Pelasgonia, Pelasgia, Peleaga, Peleș, Pelișor, Pelion, Péone, Pélissanne, Pella, Pelagićevo, Pelaot, Pélaou Blanc, Peleuses, Pelonne, Pelageino, Pelageevka, Pelagonija, Peliūnai, Peloponnesus, Pelotas, Pelabuhan, Pelahatchie, Pelaihari, Peliunan etc.

Romanian words:

pleiadă = group of stars from the Taurus Constellation, group of persons, the totality of isotopes of the same chemical element, the Pietroasele treasure from Buzău, Romania.

plen = the totality of members of an organization

pleamă = kin, family, type

plebeu = peasant, worker, lower-class citizen

plecăciune = bow, inclination, obeisance

pledoarie = plea


The Vajra | A Planetary Weapon of the Ancient Gods

“As a hurled weapon the indestructible thunderbolt (the Vajra) blazed like a meteoric fireball across the heavens, in a maelstrom of thunder, fire and lightning.” — Nitin Kumar

The vajra is the most important ritual implement of Vajrayana Buddhism. In Sanskrit, the word vajra is defined as something hard or mighty, as in a diamond. It symbolizes an impenetrable, immovable and indestructible state of knowledge and enlightenment.

Our knowledge of the vajra goes back to deep antiquity. Texts indicate that the vajra was not always a symbol of peace and tranquility but something very different. It first appears in ancient India where it was the primary weapon of the Vedic sky-god Indra, the king of the Devas.

According the Hindu Puranas, the evil Asuras, Namuchi and Vritra removed all of the light and moisture from the earth. It made the land inhospitable to living beings. Indra battled the demon gods unsuccessfully and as a last resort called upon their supreme god Vishnu for help.

Vishnu informed him that only a weapon that was neither solid nor liquid could kill Namuchi and Vritra. Vishnu had the divine carpenter Tvashta fashion Indra a marvelous weapon he could use to vanquish the dreadful Asuras.

This new weapon, the vajra, emitted thunderbolts. With it, Indra annihilated Namuchi and Vritra and returned the much needed light and moisture back to the earth.

The Rigveda describes this conflict thus:

“Now I describe the glorious deeds of Indra, who holds Vajra. He killed the serpent and made waters flow. He broke the hearts of mountains. He killed the serpent, which was taking refuge in the mountain.

Tvashta made the Vajra for him. Like the cows making sounds, flowing waters reached the sea. Mighty Indra chose Soma, and drank from three containers. Generous Indra held Vajra in his hand, and killed the first born among the serpents.” –  Rigveda 1.32

The vajra, when used, was thrown at one’s opponent. Nitin Kumar, in his article Ritual Implements in Tibetan Buddhism, tells us:

“As a hurled weapon the indestructible thunderbolt blazed like a meteoric fireball across the heavens, in a maelstrom of thunder, fire and lightning.”

Traditional images of the vajra depict it as a metal shaft with three, five or nine prongs that emanate from lotus blossoms on either end. Originally, according to the ancient Indian text the Rigveda, when Indra used his vajra it had open prongs.

Buddhist legend suggests that Shakyamuni, the Buddah himself, took the vajra from Indra and forced its prongs closed, thus transforming it from a destructive weapon into a peaceful scepter.

Can Weapons Of The Gods Like The Vajra Be Found Around The World?

Scholars contend that there is no relationship between Indian, Greek, Australian, Norse and the cosmology of the Americas. They believe that each civilization conceived of their gods independently and that a deeper, older, universal tradition does not exist.

If this were the case, then the foundation of these societies; their myths, traditions, beliefs and iconography should be unique to them, their location and their history. The tales of war, intrigue and conquest that come out of American history are vastly different from those of England, France, India and China.

So too are the customs, traditions and the symbols that represent the nation. Yet when we look at a wide range of ancient and indigenous groups, a pattern of commonality exists. Myths and symbols found in Indian readily appear in the oral and written descriptions of other cultures.

They also appear in their artistic images. These representations seem to transcend time and location.

The symbol of thunder or a thunderbolt as a tool of destruction, for example, surfaces in many ancient civilizations. Mythology unfailingly associates lightning with a sky god, the god of thunder, who uses it as a weapon.

In the western world, the thunderbolt is most readily associated with the Greek sky god Zeus. With it, he defeated the Titans and took control of the Greek pantheon. Myth tells us, that Zeus freed the Cyclopes, the master builders, who were imprisoned in the depths of the underworld – Tartarus.

In gratitude for their release, they gave him a marvelous weapon, the thunderbolt. In another story, Zeus used his formidable weapon to battle the largest and most fearsome creatures in all of Greek mythology, the hundred-headed serpent Typhon.

Early images of Zeus depict show him holding a rod like thunderbolt while others show this deadly weapon with its ends splayed into three prongs.

A vajra-like weapon also appears in Sumerian cosmology. Its use is recorded in the Bablyonian Epic of Creation, the Enuma Elish. A battle between the sky god Marduk (Bel) and serpent Tiamat is detailed on the fourth tablet of this ancient document.

The evil and powerful Tiamat, according to the Enuma Elish, was devising treacherous plans against Ea and the other reigning gods. The gods were afraid to invoke her evil wrath and searched for a solution.

Ea attempts to confront Tiamat, but instead of fighting backs down. Marduk, his son, steps forward and volunteers to fight the enraged serpent, on one condition… If he is successful, he will have dominion over the entire universe.

The gods agree and provide Marduk mighty weapons including a bow, a mace and a net to use in his battle against Tiamat.

Images of this epic scene show Marduk holding a three tipped scepter in his hand. Subsequent images clearly depict this same deadly three-pronged weapon.

“They gave him the unrivaled weapon, the destroyer of the enemy [saying]: “Go, cut off the life of Tiâmat. “Let the wind carry her blood into the depth [under the earth].” The gods, his fathers, issued the decree for the god Bel. They set him on the road which leadeth to peace and adoration.” –  Enuma Elish

Other Forms Of The Vajra

The Rigveda also offers an alternative description of the vajra. Some texts represent it as a notched metal club with thousands of prongs. We find this form of the vajra in numerous other cultures.

The most well known stories that portray the vajra in its club-like form come from Norse cosmology. They are associated with the sky god Thor.

Thor’s mighty hammer Mjölnir was the most fearsome weapon in Norse mythology. Images of the thunder god Thor traditionally show him carrying his mighty hammer. Some texts describe Mjölnir as a hammer, while others refer to it as an ax or club.

The master builders, the dwarfs, in the depths of the earth, made Mjölnir. The Norse Skáldskaparmál, which can be found in the Snorri’s Edda describes Mjölnir as a hammer which would not fail. As a weapon, it could level mountains.

It goes on to state that if aimed it at anything, it would never miss its target. It informs us that in addition to never missing its target, it would always find its way back to the hand of its owner.

Thor used his mighty hammer to battle his deadliest foe, the giant serpent Jörmungandr. In these tales, the Midgard Serpent, Jörmungandr is not killed. It would not be until near the end of the world in the apocalyptic battle of Ragnarök, that Thor will clash with Jörmungandr the final time.

In Slavic mythology we learn of the evil serpent Veles who ascends from the underworld and steals something of value to the sky god Perun. Perun, using lightning bolts, would vanquish Veles back to his underground realm annually.

His deadly axe, like Thor’s mighty hammer was used to subdue evil and overcome the iniquitous serpent Veles. It too would return to his hand after being thrown.

In Irish mythology, the magical weapon of the hero of Ulster Cúchulainn is the Gae Bolga or lightning spear. Cúchulainn fights and kills his childhood friend and foster brother, Ferdia with this magical weapon.

The Gae Bolga is described as a dart or spear, which separates into multiple barbs when entering the body, causing fatal wounds. It was next to impossible to withdraw once it had impaled the body. The Irish Book of Leinster describes the devastating effects of the Gae Bolga as such:

“It entered a man’s body with a single wound, like a javelin, then opened into thirty barbs. Only by cutting away the flesh could it be taken from that man’s body.” – Book of Leinster

In China, the legend of Hua-hu Tiao Devours Yang Chien describes a magical spike carried by Huang T’ien Hua which sounds remarkably similar to Indra’s vajra:

“The Chin-kang, deprived of their magical weapons, began to lose heart. To complete their discomfiture, Huang T’ien Hua brought to the attack a matchless magical weapon. This was a spike 7 1/2 inches long, enclosed in a silk sheath, and called ‘Heart-piercer.’

It projected so strong a ray of light that eyes were blinded by it. Huang T’ien Hua, hard pressed by Mo-li Ch’ing, drew the mysterious spike from its sheath, and hurled it at his adversary. It entered his neck, and with a deep groan the giant fell dead.” – Myths & Legends of China – E. T. C. Werner

Finding myths, with similar storylines, and their corresponding images in relatively close geographic areas, while interesting, does not fully support the universality of the gods.

When we uncover similar narratives and corresponding imagery, in remote regions of the world, this concept takes on a more serious tone. Myths of a vajra-like weapon are found all over the world.

In Australia, the sky gods, the Wati Kutjara brothers, wield a magical boomerang, Wo-mur-rang or club. Boomerangs are known for their ability, once thrown, to return to their owner. Legend states that their father Kidili attempted to rape some of the first women. Throwing their wo-mur-rang, they castrated their father where he disappeared into a water hole.

Vajra Like Weapons In The New World

In the new world we encounter a similar deadly lightning weapon used by the sky gods. In the Aztec culture there is the god Huitzilopochtli. Huitzilopochtli, with his weapon Xiuhcoatl, “the fire serpent”, killed his sister Coyolxauhqui soon after he was born.

The Mayan rain deity Chaac and the later Aztec Tlaloc are both are depicted carrying their lightning axe. Sometimes they are depicted holding snakes, which represent lightning bolts, which they would hurl from the mountaintops where they made their retreat.

In Peru, we find the god Illapa who is described as a man wielding a club in his left hand and a sling in his right.

A variation of the lightning motif is the concept of the thunderstone. It is believed that thunderstones fall from the sky when the gods are battling each other. This idea is widely held throughout Africa.

The Yoruba of southwestern Nigeria, for example, believe their axe carrying storm god Shange creates thunder and lightning and casts “thunderstones” down to earth. The elders of this culture would search wherever lightning struck for these magical stones.

The thunder-producing weapon, the vajra, is only one example of the enormous number of commonalities found in myth, legend, culture and iconography around the world.

Similarities exist throughout Greek, Sumerian, Norse, Aztec, Australian and American cosmology. These parallels include the gods, their lives and their amazing weapons. They also include the laws and customs that govern our lives – the very fabric of society.

The universality of symbolism found around the world implies something else. Weapons, like the vajra, were not born from the imagination of man. They did not come into being as part of a culture’s evolution. They were real. They were tangible.

Someone somewhere in our remote past saw it and documented it. It is only through an actual encounter with a marvelous weapon that emitted thunder that a clear and specific portrayal of it could be made.

Likewise, if tools like the vajra are genuine then we are forced to accept that the gods who wielded these weapons were factual individuals as well. This newfound knowledge would open the door to a revolutionary new understanding of who we are.

It would challenge the basis of our society and could cause us to reevaluate not only our place in the universe, but everything we hold to be true.

According to author and researcher Wayne Herschel, the Vajra was not a weapon, but a device capable of opening stargates to other planets (even though it could have easily been both).

Wayne Herschel’s research is very compelling and the evidence that he gathered is in support of his claims.

According to Herschel, “the Trident forks called Vajra create the opening of the cosmic conduit wormhole star gate.”

Wayne is a veteran decoder of ancient star maps and he was able to find significant evidence that the Vajras were being used as portal openers by the ETs that we worshiped as gods in ancient times:

But, in my opinion, Wayne Herschel’s greatest achievement was to locate the actual sun and orbiting home planet of those who interfered with our species for eons:

You can visit Wayne’s website here.

Source :

Startling similarity between Hindu Flood Legend of Manu and the Biblical Account of Noah

In 1872, the amateur Assyriologist, George Smith, made a discovery that would shock the world. Whilst studying a particular tablet from the ancient Mesopotamian city of Nineveh, he comes across a story that many would have been familiar with. When Smith succeeded in deciphering the text, he realized that the tablet contained an ancient Mesopotamian myth that paralleled the story of Noah’s Ark from the Book of Genesis in the Old Testament.

Today, we are aware that flood myths are found not only in Near Eastern societies, but also in many other ancient civilizations throughout the world. Accounts of a great deluge are seen in ancient Sumerian tablets, the Deucalion in Greek mythology, the lore of the K’iche’ and Maya peoples in Mesoamerica, the Gun-Yu myth of China, the stories of the Lac Courte Oreilles Ojibwa tribe of North America, and the stories of the Muisca people, to name but a few. One of the oldest and most interesting accounts originates in Hindu mythology, and while there are discrepancies, it does bear fascinating similarity to the story of Noah and his ark.

‘The Deluge’ by Francis Danby, 1840

The Hindu flood myth is found in several different sources. The earliest account is said to have been written in the Vedic Satapatha Brahmana, whilst later accounts can be found in the Puranas, including the Bhagavata Purana and the Matsya Purana, as well as in the Mahabharata. Regardless, all these accounts agree that the main character of the flood story is a man named Manu Vaivasvata. Like Noah, Manu is described as a virtuous individual.

The Satapatha Brahmana, for instance, has this to say about Manu:

“There lived in ancient time a holy man / Called Manu, who, by penances and prayers, / Had won the favour of the lord of heaven.”

Manu was said to have three sons before the flood – Charma, Sharma, and Yapeti, while Noah also had three sons – Ham, Shem, and Japheth.

Both Noah and Manu are described as virtuous men. ‘Noah and his Ark’ by Charles Wilson Peale, 1819

In the Book of Genesis, the cause of mankind’s destruction is given as such:

“And God saw that the wickedness of man was great in the earth, and that every imagination of the thoughts of his heart was only evil continually. / And it repented the Lord that he had made man on the earth, and it grieved him at his heart. / And the Lord said, I will destroy man whom I have created from the face of the earth; both man, and beast, and the creeping thing, and the fowls of the air; for it repenteth me that I have made them.”

Augsburger Wunderzeichenbuch, Folio 1 (Genesis 7, 11-14), 1552

In the story of Manu, however, the destruction of the world is treated as part of the natural order of things, rather than as a divine punishment.

It is written in the Matsya Purana that:

“Manu then went to the foothills of Mount Malaya and started to perform tapasya (meditation). Thousands and thousands of years passed. Such were the powers of Manu‘s meditation that Brahma appeared before him. “I am pleased with your prayers,” said Brahma. “Ask for a boon [favor].” “I have only one boon to ask for,” replied Manu. “Sooner or later there will be a destruction (pralaya) and the world will no longer exist. Please grant me the boon that it will be I who will save the world and its begins at the time of the destruction.” Brahma readily granted this boon.”

In the flood myth from the Old Testament, God who saves Noah by instructing him to build an Ark. In the Hindu version of the story, it is also through divine intervention, in the form of the god Vishnu, that mankind is preserved from total destruction. In this story, the god appears to Manu in the form of a little fish whilst he was performing his ablutions in a pond. Manu kept the fish, which grew so quickly that its body occupied the entire ocean in a matter of days. It was then that Vishnu revealed his identity to Manu, told him about the impending destruction, and the way to save humanity. There is also a large boat involved in this story too.

Vishnu instructed Manu to build a boat and fill it with animals and seeds to repopulate the earth:

O kind-hearted man, you have care in your heart, listen now. Soon the world will be submerged by a great flood, and everything will perish. You must build strong ark, and take along rope on board. You must also take with you the Seven Sages, who have existed since the beginning of time, and seeds of all things and pair of each animal, when you are ready, I will come to you as Fish and I will have horns on my head. Do not forget my words, without me you cannot escape from the flood.

When the time came, Manu was to tie the boat to the horn of fish, so that it could be dragged around. Interestingly, this would not be the only time that Vishnu saves mankind from destruction, as he would re-appear as avatars over the course of time to preserve life on earth.

Incarnation of Vishnu as a Fish, from a devotional text

‘Noah’s ark on Mount Ararat’ by Simon de Myle, 1570 AD

After the flood, Noah’s Ark is said to have rested on mountains of Ararat. Similarly, Manu’s boat was described as being perched on the top of a range of mountains (the Malaya Mountains in this case) when the waters had subsided. Both Noah and Manu were then said to repopulate the earth, and all human beings could trace their ancestry to either one of these flood survivors.

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The Dogon Tribe and the Aryan ‘Aliens’ of Ancient Africa

Located in Mali West Africa, the Dogon have a rich culture dating to around 3.200 BCE, and are believed to be a hybrid ethnic group descended from a mixing of the ancient Egyptians of North Africa with various other sub-Saharan tribal populations.

Deeply rooted traditions of the Dogon people speak of the Nommos who visited from a companion star to Sirius. The Nommos are known as advanced beings who have also appeared in numerous related myths found in the Sumerian and other Mesopotamian cultures.

Sirius’ companion star has a 50 year elliptical orbit and is not visible to the naked eye. According to some research, modern astronomers did not know the companion star existed until the Dogon myth was discovered.

They tell us how the Nommos shared the knowledge of Sirius with them and left behind several artifacts.

One artifact depicting the Sirius constellation carbon dates to 400 years ago, a little over 230 years before astronomers suspected the existence of the companion star.

Related: The Ancient Connection Between Sirius, Earth and Mankind’s History

The Dogon people were first documented over a several year study performed by anthropologist Marcel Griaule.

In his research notes we find conversations between Griaule and a Dogon elder named Ogotemmeli, who speaks of multiple companion stars in the Sirius system.

There are entries suggesting the Nommos visited on a very large star ship on several occasions, and the notes also indicate Dogon people knew of Saturn’s rings, and the many moons of Jupiter.

Every 60 years, the Dogon people celebrate the cycle of Sirius A and B which rises further questions considering Sirius B’s 50 year cycle.

Dogon mysteries mention another star in the system, which would be called Sirius C if confirmed by modern telescopes. Nommos are believed to inhabit a planet orbiting Sirius C though mainstream science does not consider the Sirius constellation to be a prime candidate for life.

Credo Mutwa, the 94-year-old Zulu shaman or “sanusi” in South Africa, claims that this picture he had painted of tall, blond-haired, blue-eyed beings had been seen by black African tribes people throughout that continent long before the white Europeans arrived.

Credo, the official historian of the Zulu nation, said that when the Europeans first came, the black Africans thought they were the return of these same white “gods”, which they called the Mzungu. As a result they called the European settlers by the same name, which is still used today.

Related: The 200,000-Year-Old Metropolis of Africa

This was very much the same reaction as the Central American peoples when Cortes and his Spanish invasion party arrived in 1519 and they thought that he was the returning god, Quetzalcoatl, another god described as tall, bearded, and with piercing blue eyes.

The Feathered Serpent God appears in many ancient cultures and Mesoamerican legends. He was called Viracocha by the Incas, Kukulkan by the Mayas, Quetzalcoatl by the Aztecs, Gucumatz in Central America, Votan in Palenque and Zamna in Izamal. He and his ‘men’ were usually described as being bearded, with white skin, and deep blue eyes.

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When giants roamed the Earth

According to legends, giants once lived and breathed. We’re not talking about a few scattered tales here and there since most cultures present a variation on this subject. There’s the well-known biblical tale of the Nephilim, we have the Daityas in Hinduism, the Gigantes in Greek mythology, the Jotun in Norse legends and many more.

Bulgarian mythology describes the ispolini as the second out of three generations of men to inhabit the world, the third one being modern humans. They lived in mountain caves, fed exclusively on raw meat and would often engage dragons in battle, as they were natural born enemies.

But the strongest evidence is the discovery of gigantic human bones or even complete skeletons. Fortunately, accounts of such discoveries being made come from all over the globe. A skeleton that belonged to a seventeen feet tall human was discovered in the Philippines. Bones belonging to a similar being were found in South-Eastern China and carbon-dating revealed them to be at least a quarter of a million years old.

All of these discoveries have a common characteristic and that is they never make it to local or national news. That could mean they never occurred in the first place. Naturally, this explanation would be satisfying if it weren’t for government tendencies to cover up discoveries that could challenge conventional beliefs.

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Asklepion and the use of Dreams for curing diseases with the help of the Gods

In Ancient Greece, the god Asklepios (Asclepius) was a powerful god related to medicine who, according to the Greek mythology, had the power to bring people back from dead – a power that many ancient gods from multiple mythologies had. He was one of the sons of the god Apollo.

We are all familiar with Asclepius in a way, since the symbol that is used for medicine, the snake entwined staff, was the rod of Asclepius – a tool that he used probably given to him by the gods. Asclepius was brought up by the mysterious figure of ancient Greek mythology, the centaur Chiron, who raised Asclepius and taught him about the art of medicine. Because Asclepius used his powers to bring people from Hades (meaning resurrecting them), the God of Hades complained to Zeus because Asclepius converted many people from humans to immortals. The result was for Zeus to kill Asclepius with thunder.

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Beware the Wandering Wilas

In Slavic mythology, there is a form of nymph which lies somewhere between a ghost and a fairy.  The Wilas (pronounced viwa and also called Vili or Vilas) are fair-haired female creatures who have died but remain trapped between this world and the next.  Mysterious beings similar in appearance to the European tales of fairies, they are the lost women who died unbaptized or the betrothed ones whose lives ended before marriage.  Thus, unlike the European fairies, the mythological Wilas are not born as spirits of nature but rather become them with death, gaining power over the winds in lieu of the lives they would have led.

The knowledge of Wilas mostly stems from close readings of Polish and Slavic literature more than direct factual anecdotes.  Wilas are mentioned in various poems and short stories, mostly as warnings to oblivious or unsuspecting men.  What is best known of the Wilas, however, is their guises, their enjoyments, and most importantly, their temper.  To begin, these lonely creatures—as previously mentioned—primarily have control over the winds.  Because of this, they often tend to appear ghostlike or dressed in cloaks that billow in tune with the air.  They can either blend into the wind as incorporeal shapes—translucent and intangible—or they can become solid, touching, and being touched, by the natural world around them.  In each text, they are recorded as beautiful creatures, envied by human women and admired by mortal men, and they are commonly dressed beneath their cloaks in leaves or robes, or sometimes naked to entice the opposite sex.

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