The Sumerian Gods are Dravidian- Part 1

 

Dr K.Loganathan , 2004

 

 

 

 

The Sumerian Gods are Dravidian -1

 

I begin this series on the comparative study of the metaphysics of the Sumerians and Dravidians and which has been continued and taken to even greater heights by the Dravidian folks who live it to this day. This study has an importance beyond the narrowly historical and Dravidian. For it is in the course of these preliminary studies that such important notions as Metatheism Hermeneutic Semiotics Icon Thinking and so forth were coined as expressing the details of what can be broadly called Hermeneutic Sciences (HS). It is adumbration of HS and understanding even the religious way of life as belonging to it that constitutes the essence and importance of this series.

 

I also believe that this was the ORIGINAL metaphysical insight of the Pyro cultures all over the civilized world before 2000 BC and which has become transformed into the world religions like Judaism Christianity Islam and Indian Jainism and Buddhism. Beneath the diverse and quite contradictory metaphysics, right at the bottom-most level lies Metatheism, the recovery of which will also show the UNITY beneath all such seemingly diverse metaphysical thoughts and religions of man.

 

This study will require exploring the cultures of the Nubians, Egyptians, Chinese, Japanese, the Aztec, and Mexican and along with the Sumerian. But since I have only (limited) expertise in Sumerian, which I see as Archaic Tamil and Dravidian, I shall confine myself to these hoping that other scholars will take up other lines of investigations. I hope these studies will also serve to correct the enormous error in Indological studies by the Western and Indian academics who have been saying as if the Indic cultures are contributions of the Indo-Aryans and that Hinduism is nothing but Vedic Dharma and which they stubbornly maintain only by a systematic neglect of the Sumerian and Elamite and such other Dravidian-African cultures that served as the basis for the development of even the Indo-Iranian cultures.

 

Over and above the Pyramidal Temple constituting the VISIBLE sign of the sameness and continuity across these cultures, there are Metaphysical Thoughts centering on Icon Thinking and which is an exemplification of what I call Metatheism. It is this Metatheism that involves the worshiping of many gods but all understood as the different presentational forms of the SAME God (BEING) that runs through as the SAME and which in turn led to a spirit of Tolerance and Acceptance or even new metaphysical insights but only if they are TRUE. The recovery of this Metatheism and re-installing it as the essence of religious way of life of mankind as a whole will contribute; I am sure, for TOLERANCE among the world religions, which are now in conflict.

 

This series is a study of the Temple Hymns of Enhudu Anna (c. 2200 BC) edited and translated by Ake W.Sjoberg and E. Bergamaan S.J and published by the Locus Valley, New York, 1969. In a number of places, using my knowledge of Tamil and Dravidian language and metaphysics, I have given my own interpretations.

 

Loga:

 

 

 

The Meaning of the Pyramid

 

The Temple structure has a METAPHYSICAL meaning that lasts to this day. Each time a TEMPLE is erected this underlying metaphysical insight is re-installed. A metaphysical tradition of religion is not only kept alive though an unbroken tradition of recitors like in Vedism or through aggressive propagations with missionary activities such as in Christianity and Islam where they hold on to a scripture, take it as wholly authoritative and MAKE the whole of mankind ACCEPT it by whatever means believing that this is a DIVINE task worth dying for and become a martyr but also through temple building.

 

In contrast to the wordy scriptures. we have the TEMPLE as a TEXT in a plastic form and where there is NO aggressive propagation but only LIVING a metaphysics that satisfies immensely the metaphysical quest of the soul and only incidentally spreading it but only for those who SEE a MEANING in such a way of life.

 

The Pyramidal Tower of the temple is a Model of the Universe, a help to maintain the mind in Cosmic Thinking by tearing it away from the earthly and mundane. In a way it lifts the mind into the cosmic dimensions so that the mind gets EXPANDED into Cosmic Thinking and hence away from the immediately personal and Egoistic

 

Thus it is very fitting that Enhudu Anna begins the First Temple Hymn for EnKi (< EnSi) the later day Siva, with the following line :

 

 

Sumerian Temple hymn 1

 

1.

 

e-u-nir an-ki-da mu-a (Eunir, which has grown high, (uniting) heaven and earth.)

 

Ta. il uuneer vaankiiodu muuv-va ( The temple with Gopuram that is very high as if moving with the sky and the earth )

 

šԼ

 

The e-u-nir (Ta. il unniir) m the tall and steep Tower, the Ziggurat or Zaqaarum (>Ta. cakkaram) in the Akkadian is a structure that brings together the Earth and Sky but actually the Physical and Metaphysical. The simple individual who sees the Temple Tower, the Gopura Tarisanam to this day, is made to LOOK ABOVE from the bottom where he is and in that undergo a change in INTEREST from the worldly to the heavenly, from the physical to the metaphysical. In this he also becomes forgetful of his physical body but mindful only of his spiritual self, in other words while normally he is both - the sat-asat-self, a self present in both the physical and metaphysical worlds, but now as he absorbs himself in the vision of the Pyramidal Tower, the asat-self is backgrounded and the sat-self fore-grounded. There is a change in the Gestalt of the vision- a REVERSAL between the Background-Foreground structures.

 

But there is another dimension to it that shows that what is being talked about is NOT an astrophysical modeling of the cosmos but something else.

 

2.

 

temen -an-ki unu-gal eridu ( Foundation of heaven and earth, Holy of Holies Eridu)

 

Ta. timmei vaankii unnukaL eritu ( )

 

š ۸ â

 

 

The Tower is a PICTURING and iconic rendering of the Metaphysical BASIS of all (temen an-ki > temen? vaan kiiz). So immediately we see that the vision underlying is something that SEES both the Surface Structure (SS) and Deep Structure (DS) of the universe and that the Tower is a picture of the Deepest of the Deep Structures and hence the BASIS of all that appears and transpires as the Cosmos.

 

Thus this vision that underlies the building of the Temple Tower brings along the Pedagogic Hermeneutics where every object is seen as a TEXT with double structure the SS and DS and in which DS stands as the invisible and Causative Agent of the observable features of SS.

 

To see the Temple Tower and get immersed in the MEANING it incorporates is not only gaining a vision of both physical-metaphysical shape of the whole of the Cosmos but also getting drawn into the hermeneutic scientific mentality of understanding all. Every object is seen as a TEXT with Duality of structure - SS and DS = and in which UNDERSTANDING involves locating the DS that is truly the Agentive Cause of SS that is observed. The mind is led not only to a MYSTERY but also indirectly invited to LEARN in order to destroy that mystery.

 

(to continue) 1

 

 

The Sumerian Gods are Dravidian -2

 

BEING (Siva) as the Absolute

 

One of the understanding of BEING that sustains Saivism (and perhaps also the Tamil VaishNavism) is that He is the TaRparan, a Lord unto Himself, someone who does not have another Power as the causal ground of itself, the SaGkaara KaaraNan of Meykandar. This is further understood as Siva is the BEING for He self-destroys and self-regenerates and hence requires no other power besides Him to be present or absent in the world. This is the reason why the Nayanmars kept on singing that Siva is one who cannot be reached by VishNu Brahma and other gods. This also accounts for the tolerance and openness of the Saivites: by whatever name BEING is called, as the Power that self-destroys self-regenerates, He is the SUPREME with no other Power equal to Him let alone be above Him.

 

It is interesting that this profound understanding of an indestructible deep metaphysical truth was already being hinted at by En Hudu Anna way back in the third Millennium itself and which we see in the following line.

 

22.

 

[xx]x en (d)nu-dim-mud-e ( [. . . ] . . . the Lord Nudimmud)

 

Ta. [x x]x eeN (d) naa timmudee ( [xx]x the Lord who is not created ( by other gods))

 

EnSi is (d) nu-dim-mud-e ( = naa-tiimmu-tee) i.e. One, who is NOT configured, fashioned, made to be present etc by any other Power. He is uncreated and the fully autonomous. The word dim-mu is a variant of Su. Dib-be i.e. to light up, to allow to be present etc. It is derived from the root Su. de Ta. tii: fire. Thus creation is NOT fashioning something that is not there but only LIGHTING UP and thus destroying the DARKNESS covering it up so that it enjoys a phenomenal presence. This is known as Satkarya Vada, common to Samkya (also derived from Sumerian sources) and Saivism - what is NOT already there cannot be made to be present, that creation is simply lighting up, transforming only the way of being and NOT bringing into being-there what was not already there before.

 

Now because of this only this EnSi can be the CREATOR, the one who can bring into presence the things enveloped in the Primeval Darkness, the gi-iri-a, gi-bad-du, the Primeval Darkness (of Suruppaks NeRi, c. 3000 BC) the Malam of the present day Saivism.

 

 

21.

 

[x] du-ga sag-du x-x-ni gestu-ri-a ( [ . . . ] . . the creator, the wise one)

 

Ta. [x] tuGka saantu x-xni kestu eria ( Great and Loving . . . illuminating all with wisdom)

 

[x] x-x- â

 

The word du-ga can be also read as idu-ka, He who places and in this context means He who places the creatures into the Open Space or the Lighted Realms of Phenomenal Existence. Because of this it also follows that he is Sag-du, the Lord, the Ruling Power as well the Omniscient - the gestu eria: One of brilliant Understanding. It is this gestu-eria that is called now the Njaanam, Civapprakaasam etc. This is an understanding of BEING quite widespread in the Egyptian and Nubian pyro cultures (The Ngaa of East Africa ?).

 

BEING who destroys the prevailing DARKNESS and with that blesses the things with presence in the light of phenomenal existence has to be Omniscient, the One who has as His essence the Njanam, the Civanjaanam, that understanding that can light up the world with destroying the prevailing the darkness

 

 

The Pyramid becomes the Koopuram

 

It is this understanding of BEING as Siva, the SaGkaara KaaraNan and hence the Causal Ground of all also makes Him the Supreme Power that differentiates into many little powers, the celestial beings to manage the infinitely complex Cosmos (Itself remaining unaffected by it all). With this the initially unpopulated and purely geometrical Pyramid becomes the Koo-puram , the City of God, where resides the various celestial powers, the dingir-ene, the teyvaGkaL.

 

9.

 

nigin-gal ki-dingir ti-la-ja ( Into your . . . the place where the god dwells)

 

Ta. n_iiGinkaL kii tiGkir tilla jia (Great and tall, the place where the gods dwell)

 

. .

 

The dingir should be understood as dingir-e-ne, the little gods. The Pyramids, initially EMPTY of God and gods, becomes now the Koo-puram, the City of Gods and with that comes to birth Metatheism. Now we have to note that the Empty and Pure Pyramid devoid of gods, may not have died off. In one line of development it may have led to Monotheism so well entrenched in Islam where there is recognition of only BEING-as-Allah with vehement opposition to the recognition the various little gods, the ICONS that BEING brings forth for managing the vast cosmos as worship worthy.

 

It is also worth investigating the linkage of this Empty and Pure Pyramid with Buddhism, which denied BEING but promoted an EMPTINESS (Sunyata< sur-ya-tu Su. sul, sur, sun: the sun) till it became Tantric. The Borobudur in Indonesia is also a magnificent Pyramid but right at the top of which there is NO God but only an Empty Space signifying a NOTHINGESS

 

(to continue) 2

 

 

The Sumerian Gods are Dravidian -3

 

The Pyramid is the Paradise

 

The study of these Sumerian Temple Hymns as well as other Sumerian metaphysical literature has shown that there was METATHEISM that these ancients lived and which fortunately for us has been not only retained but also developed further by the Dravidians folks and where the TACIT elements within have been made more explicit. Thus we have now over and above the concepts of Monotheism and Polytheism also METATHEISM and which is also hermeneutic scientific- something immensely RATIONAL. There is a movement of understanding. a climb upwards in the metaphysical Pyramid but as founded upon truth-experiences - unless a person gains truth-experiences he cannot CLIMB and EVOLVE as a person.

 

But what is the LIMIT to this evolutionary climb if there is such a thing at all?

 

The Sumerians articulated this LIMIT as Existence in Paradise, a notion that has become so twisted and tortured in many religions that they are more DEVIANT than faithful adumbration of the intial insights. En Hudu Anna also hints at this as the form of existence well within the Pyramid and where BEING-as-the-SUN can arise if called upon. Thus we have the emergence of Moksa also put metaphorically by Suruppak (c. 3000 BC) as swimming across the turbulent river of Existence, also a metaphor available in TirukkuRaL (c. 200 AD)

 

15.

 

es abju ki-ju ki-gal-ju ( Shrine abju, your place is a great place)

 

Ta. iisa upsuur kiizju kii.kaL.ju )

 

 

Here abju should be taken as a variant ub-su : the Divine Realms(su) above (ub, Ta. uppar, umpar). Later this would be called cit-ambam, the realm of Pure Consciousness. It is also called Shrine or Temple (es) only because BEING resides there.

 

But how does He reside there ? As the SUN as said below

 

16.

 

ki-utu-ra gu-de-ju ( In your place where they call upon Utu)

 

¢

 

The Paradise, a vast space (ki-gal) is also a place where BEING would appear as the SUN. This line not only explains the worship of SUN (along with the Moon) among the Sumerians, Egyptians, the Vedists Saivites and all other Hindu traditions but also the fact that it is on reaching the peak of the Metaphysical Pyramid that one can DESTROY the Inner Darkness that throws the anmas into endless cycle of earthly existence with an assumption of a physical body. One can CALL for (kuu-idu< gu-de) form metaphysical Sun (utu) to arise and DESTROY every bit of the DARKNESS of Ignorance.

 

More clearly it is stated that BEING stays there in line below:

 

3.

 

abju es nun-bi-ir am-gub ( Abju, shrine, erected for the prince)

 

Ta. uppusuur iisa nunbiyir aam kup.u (( Shrine, bright and tall, and where the celestial beings dwell)

 

. () ¢ .

 

The word nun-bi-ir should be rendered more appropriately as the Highest BEING taking the meaning of nun as Ta. n_un, n_uni : the very top, tip, peak etc. The Brilliant and lofty Metaphysical Pyramid, the Vast and Huge is also the LOCALE of BEING where He can be called upon to emerge as the SUN and with that devastate the Darkness of Ignorance and PURIFY the soul.

 

This brings us to the next issue of genuine metaphysical existence, the characteristics of the Right Way

 

The Truth-Experiences and KuNdalini

 

The Right Way and which is the WAY within the Metaphysical Pyramid, is also the WAY of becoming PURE by being only in the Pure Light, a notion that has gone deep into the Greek Philosophy also as the words of Plato. This is the realm of ER, that one gets into on escaping being in the cave. This is a movement but also always in the Pure LIGHT and which is enjoying only truth-experiences and NOT the false. This is available in the following line

 

4.

 

e du-ku u-sikil-la rig-ga ( House , holy mound, where pure food is eaten)

 

Ta. il tuukuu uu sukila erikka ( The temple, pure and divine where the Pure Light shines )

 

৸ .츢 â

 

Here rig-ga is Ta. erikka ; to burn, to shine forth a meaning quite consistent with u-sikil-la I,e Ta. uu sukkilla : pure light. The Pyramid the il koodu ( < e du-ku) that ensures a WAY of LIFE where the understanding is illuminated by Pure Light ( uu sukilla< u-sikil-la) and hence only truth-experiences.

 

This is the way also where there is life-renewal where the heavenly water , the Ganges that flows from the tuft Siva exists and where one undergoes the genuine Baptism of Water that all Semitic religions also foster.

 

5.

 

pa-sikil-nun-na-ka a nag-ga ( Watered by the princes pure canal)

 

Ta. paay sukila nunnaka aal nakku ( The mouth of pure and heavenly water that is drunk)

 

츢 . -

 

The nag-ga which is Ta. nakku , to lap up, to lick shows that pa-sikil-nun-na-ka is the Heavenly Ganges that regenerates the individuals so that senility does not creep up in and bring about untimely death

 

But this life renewing and purifying Waters is only one form of KuNdalini and which appears as the Metaphysical Snake that crawls into the body supplying the Libido that gets transformed into various other form of energy needed not only for maintaining the body in good shape but also to earn the Psychic Energy that would allow a person to ACT tirelessly and with continue to LEARN and destroy ignorance.

 

This notion is available in the following line

 

6.

 

kur ki-sikil-la naga-dub du-ga ( Mountain, pure place, scoured with soap)

 

Ta. KunRu kii.sukila naaga(m)tabu tuGka ( The Mountain of Pure Place where the great snakes abound)

 

츢 ()

 

The word naga-dub is Ta. n_aaka-tiib-u , the appearing of (tiibu, tiiba) snakes (naakam) . These nagas are said to be tuGka (du-ga), sacred and great as it was to the Nubians, Egyptians and to this day to the Chinese Japanese and many others of the pyro cultures. The Naga Devatai continues to be worshipped by the Dravidians very extensively and one could say that there is no temple without the Icon of Snake in some form or other is not there.

 

One can also see the roots of Tantrism here and hence say that Tantrism is just another name for the metaphysical understanding that is more inclusively the Metatheism, the understanding that came along with the burst of the Pyro Cultures.

 

(to continue) 3

 

The Sumerian Gods are Dravidian - 4

 

The Dancing BEING

 

That BEING dances is a very unusual understanding within the Monotheistic religions but NOT in Metatheism. The Monotheism seems to have FROZEN the dance and with that killed the very dynamics inherent to genuine spiritual life. The notion of Dance and Music plays an important role in Metatheism and certainly it appears to be related to widespread practice of DANCE and SINGING in the African cultures and something the Dravidian folks also share. I remember the story of a South African native who broke into dancing away to drown his sorrows. When asked why he does this, he said, In dancing I am one with the God! A Barata Natyam dancer would say the same thing by way of explaining how dancing (and singing) are very effective religious rituals. There is a story that goes among the Saivites that BEING -as-Siva prefers songs to any other ways of expressing LOVE unto Him.

 

It is interesting that this metaphor already occurs in this Sumerian hymn and with all the key concepts along with it.

 

 

14.

 

ad-mu ad-sikil e-de mus-BU ( Growing . . . pure . . . .)

 

Ta. adi moo adi sikil eeyidu muus.u-BU ( Your FEET are pure feet that are very extended)

 

츢 ¢

 

Here the key word is ad-mu i.e. Ta. adimoo : your feet and which is said not pure (ad-sikil) but something that spreads out the whole universe(e-de mus-BU). There is NO place in the universe where His feet are not. But what can this mean and why only the feet are chosen but NOT the whole of BEING?

 

The FEET is a metaphor for DANCE, the tireless MOVEMENT that is so characteristic of the living cosmos. Nothing is static - everything MOVES, the primordial movements being destruction and regeneration. The description of BEING metaphorically as the Great Feet is an allusion to this metaphysical understanding of BEING. What is interesting is that this description of BEING is ALIVE to this day among the Saivites who are also noted for the world famous icon of Siva Nadarajah, the greatest artistic gift of the Saivites to the world. A typical description is as follows:

 

>>>>>>>>>>>>>>

 

Tevarat TirumuRai 3:25 Tiruntu Tevan Kudi

 

 

5.

 

viNNulaavum n_eRi viidukaaddun n_eRi

maNnulaavum n_eRi mayakkam_ tiirkkam n_eRi

teNNilaa veNmati tiiNdum teevankudi

aNNal aan aaRudai

 

Meaning:

 

The creatures, because infected with the root defiler aaNavam, also acquire as derivative defilers Kanmam and Maayeeyam. Because of IGNORANCE or blindness these malams cause to prevail, the creatures are forced to assume a physical body and come to birth in the physical world and endure existence. Now the Icon Thinking cantering on the various guises taken by BEING who has established Himself sitting on the Great Bull in the Tirut Teevan Kudi where the Woman touches it as the Full Moon of pure light, will lead the souls by the metaphysical clarity they bring, to enjoy not only the heavenly existence but also understand the true meaning of Moksa.

 

>>>>>>>>>>>>>

 

Here it is interesting that we have the expression adikaL veedaGkaLee ( the various guises of the Great Feet(BEING)). The FEET is the Dancing Feet , that which puts the whole cosmos into a perpetual and endless MOTION. The cosmos DOES NOT move because of gravitational pulls and pushes but because deep at the lowest plane, there is BEING dancing away causing everything to MOVE in that also die and get resurrected.

 

Dance comes along with MUSIC and this is what is communicated in the line below:

 

7.

 

abju tigi-ju ME-kam (Abju, your tigi belongs to (your) mes)

 

Ta. upp.u-suur timi-ju ME-kam ( The tall uppu-suur full of music, is also the place of meys( powers)

 

-

 

The ti-gi ( > timi) is a musical instrument and probably the cymbals. The word timi still exists among Tamils as a sound to designate the ragas or rhythms. But this RHYTHAM is the Niyati - the LAW , the decrees that remain OBJECTIVELY there always without bending and becoming deviant and hence something that NO ONE can escape.

 

20.

 

nun-ju nun-an-ki [xx] nu-kur-ru (Your prince (is) the prince of heaven and earth (whose word] can never be changed )

 

Ta. nun-ju nun vaankiiz [xx[ naa-kuuRRu ( Your Lord is the Lord of the heavens and earth and who is changeless).

 

BEING, though a DANCER who puts everything into motion, HE is also the UNCHANGING and hence whatever appearance He takes on is only a GUISE, not Himself but only His presentation.

 

Here we clearly locate METATHEISM where we have only ONE BEING but who present Himself as so many different gods or icons and which are simply His guises taken as a DANCER to keep the whole world MOVE.

 

But why this MOVEMENT? The following line answers it:

 

11.

 

e-ja-kesda-ju sita DI nu-DI ( Your firmly jointed house is clean, without equal)

 

Ta. il jia kashda ju siitaa DI naa-DI)

 

DI -DI

 

The Temple is not only indestructible but also CLEAN ( si-ta) , full of Pure Light. Thus the dance emanates from a Pyramid that Pure or full of Pure Light and hence the dance is there to make all creatures PURE and Clean ( Ta.cuttam)

 

But then why is that such an understanding is NOT the common understanding of all?

 

The dance goes on in the UNCONSCIUOS, the DEPTHS where NO LIGHT reaches.

 

10.

 

kin-gal kin ki-du u nu-dib-be ( The great . . . the . . the beautiful place, light enters not)

 

Ta. kaNkaL kaaNkidu uu naa tiiyppee ( For eyes to see, light did not brighten it.)

 

 

Here there is mention of what the Saivites call tirootakam , casting a screen across but which really means BEING concealing Himself. BEING remains hidden and concealed for the average person, motivating him to learn and MOVE, climb up the various steps of Metaphysical Pyramid . This odyssey comes to a close only when the transcendental concealment is destroyed but which also brings to a close the MOVEMENT itself. Since this is possible only for those fit for Moksa, BEING remains the UNCONSCIOUS for most of the people, hiding Himself, as Sambantar would say, as THIEF lurking in the DARK of the unconscious.

 

Concluding Remarks:

 

With this essay I bring to close the study of this magnificent temple hymn of En Hudu Anna (c. 2300 BC) , the first is the forty or so hymns she composed. I shall continue the study of the other hymns after a short break.

 

 

 

 

 

From: Imnrnnre <anpugifts@e...>

Date: Sat Jul 24, 2004 12:25 pm

Subject: Re: [Ta_Seti] Re: The Sumerian Gods are Dravidian-2

 

Dear Raymond

 

Thank-you again for your really thought -provoking questions. I may not be very clear in many places and so most of will be in the form of counter comments and suggestions. But I feel that however untidy such dialogs may be, in the struggles and rethinking they force upon us I hope some new PARADIGMS would emerge that would justice to the enormous importance in World History of Pyro cultures where within this and in the NKSD cultures some great achievements were recorded. I believe that the various paradigms that condition the Western philosophers and scientists may not be adequate to capture the TRUTHS hidden in these cultures.

 

So it becomes necessary to think independently focusing upon the monuments icons and texts these cultures have produced and let them speak to us (as Heidegger would say) so that we can unearth the truths already there and accommodate ourselves to it.

 

With these preliminary remarks let me come to the issues you have raised.

 

Raymond-1

 

 

Dear Loga,

 

I am responding to your post of July 20 in which you wrote:

 

<Let me say just one thing here. The Saivites distinguish between Cosmology

and Evolution. The Human Existence is TELEOGICAL -remains directed towards

a MEANING which is Moksa but the cosmological processes are NOT telelogical -

it cyclic, an endless cycle of presence and absence, of generation and

destruction,

and endless PLAY of BEING.>

 

I acknowledge the distinction. It reminds me of a line from

the so-called Berlin Papyrus 3024: "See! Life is but movement of eternal return.

 

Even trees fall." (Bika Reed, Rebel in the Soul, 1978, 27). Note the understate-

ment, dubious simplicity and the allusion to a commonplace event in nature as

revealing a cosmic law. Yes, even trees fall, so does the cosmos only to arise

again and again.

 

Yet I am not sure the Kmt texts regard this as an illusion or simply a "PLAY of

BEING." Rather nature was to be read like "a text." It was full of meaning and

taken seriously as embodying divine processes, principles, functions and power

-- one can imagine this given the heavy reliance on the annual flooding of the

Nile. Everything about Kmt speaks of nature as a powerful and enduring force,

so it is perhaps not surprising that so many of their deities were personified

as elements of nature, animals, insects and so on. (I'm forced to recall here

some

of your earlier comments about landscapes as metaphors for deity.)

 

Loga-1

 

I am glad you have pointed out this and which is what holds together the whole of Dravidian tradition at least from the days of Tolkaappiyam (3rd cent BC). The world is a TEXT and everything in it is also a text. In fact anything SEEN and remembered is a TEXT. For seeing involves not just recording like a camera or tape or video recorder whatever that falls on it. There are selectional principles involved and these relate to the intentionalities of the seer. Now another notion I located is that in Dravidian tradition the TEXT has a DUALITY of structure the Surface Structure (SS) and Deep Structure (DS) or simply the observable and concealed. The MEANINGS are DSs and it appears to me that this is how the ancient kemetians also saw NATURE and interpreted and UNDERSTOOD it. Unless they had gazed into DS, they would not have been talking about divine processes, principles, functions and powers. On the basis of a second order hermeneutic reflections on these divine processes they would have gained a vision of a single powerful and enduring force that I call BEING and who as Man-Woman Complex destroys and recreates. In the course of such a metaphysical odyssey they would have met with the deities - Isis-Osiris, the Sun-Moon and so forth - as the various presentational forms of BEING. Now if this the case then what was prevalent in ancient Egypt is what I call METATHEISM, a kind of metaphysics that reconciles the ONENESS of BEING with countless number of deities that are His presentational forms.

 

Raymond-1

 

Regarding the perfectibility of human consciousness there are some leads that

may be worthy of further discussion: 1) the Wsrian (Osirian) Drama in which

he is an "enlightened one;" 2) the journey of the sun through the Netherworld

as an allegory for spiritual rebirth (and initiation); and 3) the Kmtc

distinction between neheh (circular time), and djeta (linear time) both forms of "eternity."

 

But again, I at least know of no references to even trees falling as

Figuratively insignificant. Perhaps this is one of the ways in which the Kmtc tradition

Differs from the Saivitic within the larger category of Pyrocultures or it may just be

An area deserving of further research?

 

Loga-1

 

It is very interesting that you have located two distinct forms of TIME consciousness, a notorious issue in metaphysics. The journey of the sun through the netherworld also appears in the Sumerian literature. But I will come to this later. I want to explore a bit on Kemetians distinctions between circular time and linear time. We should note that TIME does not exist in nature and it is a category introduced by the mind in its efforts to UNDERSTAND nature. Tolkaappiyar differentiates between KuRippu Kaalam (Intentional Time) and Cuddu Kaalam (Physical Time). There is a COMPETENCE for time reckoning within us and which is related to the Fundamental Intentionality (FI) already there within us. This F.I makes us LOOK AHEAD about what is going to happen and makes us note the current as what is happening NOW and what has already transpired as the PAST. Now the moment there is NO MORE FI, then the projective stance, looking towards the FUTUR will NOT be there and hence the competence to reckon events in whatever time will not be there. But this does not mean the world processes cease to be or even world as whole cease to be. The MEANING the FI installs is named MOKSA in Saivism (and many other Indic traditions)

 

Now could it be that the Linear Time of the Kemetians is comparable to the KuRippu Kaalam (Intentional Time) of Tol and the cyclic time that of Cosmological, measured by a mind still with competence for time reckoning?

 

Only those who are familiar with Kemetian metaphysics can answer this. Let me also mention that this understanding of Temporal Competence remains quite peculiar to the Saivites to this day.

 

Raymond-1

 

< This is one of the DIFFERENCES between Hegel and the Saivites. I shall write

more on this as we go on.>

 

Hegel appears to have been a man whose intuitive faculties were severely

limited. Perhaps thats why he concluded that "Egyptian worship is chiefly

zoolatry" (the worship of brutes). He also was surprised to find "a reflective

 

intelligence, a thoroughly rational organization . . . . and most astonishing

works

of art" among the AE, "in the vicinity of African stupidity." (See Philosophy of

History,

1952, 253, 250) The man was without a doubt a creature of his time (1770-1831).

 

So much for objectivity. I look forward to your comments.

 

Loga-1

 

Dont be surprised with such statements of Hegel and many other Western scholars. We have to ask: Do Western cultures have such notions as Metatheism, Hermeneutic Semiotics, Icon Thinking, Hermeneutic Logic and do forth?

 

I doubt very much anyone will come up with positive answers. The fact is the Western cultures transformed the Hermeneutic Sciences of the ancients (among the Sumerians it was clearly present) into positive sciences with its physicalism. The Mantrayana also got transformed into Pure Mathematics and Pure Geometry. Euclids Geometry clearly records this transformation. I believe that early Christianity took over this and put an end to Icon Thinking that flourished till then (Minerva Apollo, Dionysus, Venus and such other deities were worshipped by them! Nd where are thy now?).

 

The animal figures have MEANINGS but the meanings are available only to the metaphysical mind and NOT to the physical and the mathematical mind. To this day the Western psyche RECOILS AWAY from the genuinely metaphysical and so I doubt very much they would understand the cultural impulses conditioning the NKSD cultures.

 

Of course there some exceptions- Heinrich Zimmer C.G.Jung and a few others come to my mind. But on the whole we have to take the LEAD and go our own way without worrying too much whether it is agreeable to them or not.

 

Raymond-1

 

< A request to other members: Am I right in thinking that Kemetic and Nubian

cultures

or rather the African Culture in general is essentially Metatheistic as

exemplified by

the presence of Shamanism at the lower levels as is also the case with the

Dravidians?>

 

The equivalent of Shamanism in Kmt was called Heka or more precisely /Ph NTr/,

"the coming of the divine power." Doctors, priests and laypersons could be

found

among its practitioners. In the literature with which most of us are probably

acquainted,

Heka is usually misleadingly referred to as "magic." It was not considered a

"low level"

feature of life but was integral to state, temple, and private ritual. In short,

Heka could

not be distinguished from what we call religion and was a pervasive feature of

life.

 

Another distinction, perhaps?

 

Raymond

 

Loga:

 

This Heka may be the same as TANTRISM, which has also the shamanistic, alchemical, the yogic and so forth. The highest of this Tantrism is Mantrayana and the best and most rational of all scholars in this field is certainly Tirumular (c. 6th cent AD) who wrote more than 600 verses on this theme in his massive Tirumantiram of 3000 verses. One distinction I would like to draw here how much of understanding remains TACIT as opposed to CLEAR and conceptual. The Tantric/Heka practioner may have deep and profound understanding of his art TACITLY but NOT communicatively in conceptual terms. For example those ancients who built the massive pyramids must have had plenty of knowledge of Geometry but only TACITLY. They may not have reflected upon their own understanding of geometry and conceptualized it. This also applies to hydrodynamic engineers in Tamil Nadu who built massive dams across great rivers and erected sluice gates for even distribution of waters to different regions

 

Thus Heka is in a way lower for it has become frozen with the TACIT level itself refusing to move ahead into reflective and conceptual. But this can always be remedied by bring the RELECTIVE dimensions into it and making it an articulate science. Perhaps it is here we can learn something from the Westerners - their style or craft but NOT what they say.

 

 

The Sumerian Gods are Dravidian - Muruka-1

 

 

Dear Friends

 

With thanks to Raymond for the requests about the names of Asar-lu-hi and so forth I begin this study of En Hudu Annas Temple Hymn 10 with many uncertainties in my mind. The issue is complex and I have NOT mastered all the necessary literature and archeological materials that would serve effectively to say something definitive. However I present my views with the hope the scholars would contribute further to develop the theme (if it is worth doing so). I believe that this deity later known as Muruka is of immense importance for unraveling some aspects of the NKSD cultures as well as the pyro cultures in the Far East. This deity Muruka, I understand, is worshipped also in China and Japan with some local variations. Dr K.P ARavaNan has also offered pictures of the presence of this deity East Africa in a form quite similar to that among the Tamils for whom Muruka is an important deity to this day and an integral part of Saivism. The mythological accounts also mention that along with being the Son of Siva, Muruka is also Maal- Marukan, the son-in-law of VishNu. All these mythical stories may be attempts to show that whatever that is represented by Muruka is something UNIVERSAL, common to both Saivism and VaishNavism and perhaps the whole of humanity.

 

The Name Asar-lu-hi and Asal-lu-hi

 

This deity Asar-lu-hi is said to be the deity of Kuar also read as Kumari as in: e (d) asar-lu-hi HA.A ( The House of Asarluhi in Kuar). The unread sign HA.A has been read from Akkadian sources both as Kumari and Kaur and which are surprisingly close to Ta, kumari . which also rendered as Kauri. The following part from Udug Hul may substantiate the point.

 

215. ga-e gudu sag-gam-mah ju me-en  ( I am the anointing (gudu)-priest , the knowledgeable sangamah)

216. ga-e lu  asilal (ki) me-en ( I am the man of Asilal?)

217. ga-e ka-pirig [A-HA](ki) he-sikil-la he-ga-dadag-ga me-en ( I am the incantation priest of Ku'ar , who indeed cleansed , and also purified)

218. . gudu susbu (d)en-ki-ga me-en ( I am the anointing priest, the purification priest of Enki)

*Ta. Gaayee koodu cangkam maa: cuu maan  (  I am ritual dancer ( koodu) who knows the rules established by the Great caGkam)

*Ta.  Gaayee aacu-ilal maan ( I am the man from Asillal ( the  where there are  no impurities)

*Ta. Gaayee kaapiri Kumari  (Kauri)  ey sukilla, eyka taGtaGku maan ( I am the incantation priest of Kumari (Kauri), attained purity and also attained living long)

*Ta. koodu coobu ENkiizkka maan ( I am the brilliant dancer of ENkiiz)

In these we have mention of the gu-du sag-gam-mah ( Ta. kuudal saGkam maa : the great assembly of people gathering together. If we take gu-du as koodu( dancing) then we have the meaning: The Great Assembly where dancing is taught probably as part of shamanism. The shaman priest is also known as ka-pirig i.e. he who opens (pirig> viri) his mouth (ka> Ta, kaa, vaay) who with his incantations cleanses the souls and with that cures the diseased.

 

The following paragraphs from Udug Hul tells us that A-HA ( HA-A) was read as Kumari ( kaur)

>>>>>>>

Geller gives evidences to read the sign [A-HA] as " Kumari"  ( Ku'ar) on page  13 of the book mentioned above. I give below the whole of the relevant passage .

" The above hypothesis contradicts a theory by van Dijk, that since Ku'ar was a city known as "non-Sumerian speaking" as well  as the city of Asalluhi, "Grossexorcist von Eridu', it is tempting to identify Ku'ar as the home of the non-canonical incantation in Subarian-Elamite languages. Van Dijk's arguments, however, are partially based upon a miscopied sign in CT 16 6:239-240 ( collated) which reads :

eridu (ki) ku'ar ( A.HA)(ki)-se mu-un-na-ri he-me-e-n

Ak. sa ina eri-du u ku-ma-ri re-hu-u ana-ku

The reading ku-ma-ri ( Kuwari? Ku'ar) is supported by ku-mar ( CT 51 105:21- 22).... "

>>>>>>>>>>>>>

It is interesting here that in Tamil,  Kumari is also called Kauri, a parallel in meaning and morphology that is quite striking and thus pointing out also to a historical continuity despite a shift in the geographical location

Now assuming that city where Asarluhi was located was Kumari( Kuar) we can see why Muruka is called Kumaran and which means that He was known as the deity of Kumari in the first place and only later it was re-interpreted as Youthful Warrior and so forth

 

 

The Meaning of Asar-lu-hi

 

Against this we can see the meaning of Asar-lu-hi or As-sar-lu-hi as the Primordial Deity of Speech as such. The as as in as-im-babbar is aati and which means the primordial, the original etc. The word sar as in dub-sar and so forth is Ta. saaRRu, to read, utter, relate etc. This word still exists in Tamil as saattiram (literature and sanskritized as Sastra) . Thus as-sar-lu-hi is the One (lu-hi) who is the primordial Power over Speech as such .

 

This agrees very well with the Saivite account that Muruka is the special deity of Om, the primordial Logos where in a mythological vein He is taken even of the revealer of the secrets of Om to His father Siva Himself.

 

This Muruka as As=sar-lu-hi is the WORD and which notion, as is obvious here emerged first in the context of reciting mantras ( en nu-ru) to abjure the evil spirits by way of curing the diseased individuals

 

The Meaning of Asal-lu-hi

 

Now the name Asal-lu-hi can be a variation of the above as frequently r becomes l and sar could have become sal>sol . It is also possible to see it as a variant of As-sul-lu-hi where Sul-gi (> Ta. suuli) is also noted to occur as the deity that bears the Suulam, the Spear. This would mean that this deity is also the deity of the primordial (as> aati) Light (sul= suul> suur : the light that radiates out) symbolized by the single-blade Spear , the Veel

 

I give the following lines taken Udug Hul as evidences for this interpretation

 

>>>>>>>>>>>>>

210 ga-e lu sanga (d) en-ki-ga me-en ( I am the priest of Enki)

*210. ngaayee aaLu saanga  ENkiizaka maan ( " )

notes: ga-e = ngaayee> njaanee ,  naanee : I myself . The sanga/ sangu seems to have become  obsolete  in Tamil unless we acn  locate in the frozen form Ta. caangkiiyam : rituals ; en-ki > Ta. eenkiiz:  the Lord ( eeN > veeN, veeL: deity) of the Earth (ki, ku, kiiz)

211. ga-e ku-ga (d)dam-gal-nun-na me-en ( I am the purifier of Damgalnunna)

*Ta. ngaayee kooka tamkaLnunna maan (  " )

Notes: ku . Ta. koo ; resplendent and hence derivatively  deity; "tamkaLnunna " means the loftiest (nunna)  and great (kaL) Woman  ( tam) and hence  the Great Mother Goddess.

212. ga-e [.........] (d) asal-lu-hi me-en ( I am the .................... of Asalluhi )

*Ta. 212 ngaayee [...........] (d) asal-lu-hi maan  (  '' )

213. ga-e lu - (d) namma me-en ( I am the man? of Namma )

*Ta. ngaayee  aaLu Namma maan ( " )

Notes: Namma may be  the same as Nanna or Nanna Su'en, the moon god. In Cangkam classics we have a personal name of Nannan. The word Ta. namban is also a term meaning god.

 

>>>>>>>>>>>>>>

 

The incantation priest ( lu sanga) as the man of several gods including Asal-lu-hi , gets special powers to abjure he evil spirits and with cure the diseased.

 

Shamanism and Early Psychiatry.

 

The word sangu translated as priest may besag-ku i.e. the man of God and in whose functions we can see the African Medicine Man. The incantations (en nu-ru > Ta. en uru ) are actually the words of the gods like Namma, Asul-lu-hi, En-ki and so forth and because of which they are POTENT in driving away the evil spirits. The idea seems to that once we bring in the PRESENCE of divine powers, the evil spirits will depart on their own and with that the person cured.

 

The following lines , again from Udug Hul tells us the way exorcism was practiced during the Sumerian times. The exorcism is done in the name of the great gods and so forth and hence NOT something the priest does by his own powers. He gets into a TRANCE and allows himself to be possessed by the deities and becoming their mouthpiece utters these mantras to drive away the evil spirits.

 

>>>>>>>>>>>>>

226. i-re-ni-pa` sag i-re-ni-pa` ( I adjure there, first I adjured you)

227. zi an-na i-re-pa` zi ki-a i-re-pa`  (I adjured you by heaven, I adjure you by earth)

228. zi hendur-sag-ga nimgir ge i-re-pa` ( I adjure you by Hendursag, the night watchman)

229. zi dingir gal-gal-e-ne i-re-pa` (I adjour you by the great gods )

230 tu mu-un-na -ab-sum-mu-ta (When I deliver the spell)

231. [.........] x-ta si ba [x x '-ta ( ..............)

232. tu en e-nu-ru ( Enuru incantation)
 

 226 *Ta. nii-yiree  poo!  saan nii yiree poo! ( You all go away!  You all go away from people!)

227.  *Ta. jii vaanna yiree poo! jii kiiza yiiree poo! (  In the name of the celstial beings, you all go away !  In the name of the earth,  you all go away !)

228. *Ta. jii eentur saaGa nimgiir yiree poo! ( You all go away in the name   of  the good gods who live in the hilltops)

229. *Ta. jii tingir kaLkaLayinee  yiree poo ! ( In the name of  the great divine beings, you all go away!)

230. *Ta. too munna av summatu  ( When I recite the the spell )

231. ..........................

232 .*Ta. too en en-uru ( enuru incantation)

( to continue) 1

 

From: Imnrnnre <anpugifts@e...>

Date: Fri Aug 6, 2004 1:34 pm

Subject: [Ta_Seti] The Sumerian Gods are Dravidian-Muruka-1

 

Dear Loga,

 

Thank you for responding to my request for information on

Asar-lu-hi. I was once involved in an exchange with someone

who strongly suggested that the Kmtc deity Asar (Wsir) was actually

a near-eastern deity whose worship had spread into northern Africa.

I therefore was curious whether Asar-lu-hi was that deity. However,

the one described in En Hudu Anna’s Temple Hymn 10 bares almost

no resemblance to that of Kmt who in the mythos is a pharaoh

murdered by his brother, reassembled by his wife/sister, then installed as

“lord” of the underworld and judge of the dead. In the hope of enjoying

the gift of an afterlife, Kmt’s royalty had the title Asar added as a prefix

to their names during the funerary ritual. For example, the panel

from the tomb of Tutankhamun says of the king:

 

You will be among the Nine Deities of Annu

You will not be distinguished from them

ASAR, King, Master (of the) Transformations (of) Re, the justified

 

In addition, the king is actually depicted as seven Asars interspersed by

the sign for "sail" (breath), and is also shown upside down encircled

within a serpent named "Mehen" (The Enveloper) [Scroll to the extreme

upper lefthand corner of the panel].

 

Though you mentioned that Asar-lu-hi may also be the deity Muruka,

the hymn refers to him thus far as a priest. While all pharaohs were

considered High Priests, these duties were usually delegated to others.

Thus far, it appears that the similarity in the two names is just a

coincidence – at least for the moment. You mentioned that Asar-lu-hi

could also be a personification of the Primordial Word. In Kmt the power

of the word was invested in all deities, priests and healers, but especially

in the Creator deities who were said to have brought the cosmos into

being by uttering words of power ("mantras").

 

Your Asar-lu-hi is what would probably be described in Kmt as a

Shemsu Heka or follower of the deity Heka. As such he would have

been a hekai or practitioner of the arts associated with that NTr, including

the use of hekau (powerful utterances) to drive out evil spirits that

were believe to cause illnesses or misfortune. One type of hekai was the

Kheri Heb or Lector Priest responsible for reading selections from

sacred papyri at funerals and other rites. The hymn’s reference to an

"incantation priest" reminded me of him.

 

The ritual of driving out evil spirits was probably accompanied by

more than utterances. My readings suggest that healers

usually moved around their patient and used gestures of various

kinds. In support of this, let me mentioned the wooden box that was

found in a tomb of the late Middle Kingdom in Western Thebes

(Waset) containing: papyri bearing utterances, a bronze snake wand,

a wooden figure of a woman wearing the mask of a female deity,

an ivory clapper and part of a rod of power. (L. Gahlin, Egypt: Gods,

Myths and Religion, p.192); just the sort of thing your Asar-lu-hi may

have had in his stash. If Mircea Eliade is to be believed, your dancing

Shaman was also probably in an ecstatic trance during which he functioned

as an instrument of a deity of some kind. According to Eliade, ecstatic

trance is the trademark of the Shaman (a Siberian word). (See Mircea Eliade,

Shamanism: Archaic Techniques of Ecstasy. 215:258)

 

Loga, thank you for having the courage to explore this area in response

to my request despite some doubts about your mastery of this literature.

I am constantly amazed at how much we conclude on the basis of what is

even to us less than satisfactory evidence, but that’s part of the fun, isn't

it?

 

By the way, I’ll be away on vacation in the Caribbean until the 14th. I’ll

look

forward to catching up with this discussion when I return.

 

Regards,

Raymond

 

 

 

 

The Sumerian Gods are Dravidian - Muruka-2

 

Dear Friends

 

In this posting let me delve into the birth of KuNdalini Yoga that appears to be a common theme in the Nubian-Kemetian-Sumerian-Dravidian cultures and which are also cultures that symbolized KuNdalini, the coiled power very appropriately as the Snake . In this connection the panel (http://www.panix.com/~gblt/shrine2a.jpg) made available to us by Raymond and in an interpretation of it at

 

http://groups.yahoo.com/group/Ta_Seti/message/13699

 

are extremely interesting, to say the least, and goes well to show that KuNadalini Yoga was already well developed around 1800 BC in Egypt. It appears to me that Osiris as the son of Re, the sun God compares well with Asarluhi, also known as the son of Utu, the SUN also known as the Ri ( > eri: fire) among the Sumerians.

 

Muruka and Osiris as the Joti, the Brilliance

 

The line below , wrongly interpreted ,has the word muru which is Tamil. muru ,meru meaning to glisten, sparkle etc and which is the root of the name of Muruka, the most popular name of this deity now among the Tamils. The eden muru must be the immense expanse of Pure Radiance ( ParaSakti) and it is from its depths that Asarluhi emerges (sa-ta> ta. saayttu) as the REAL and Pure brilliance ( me su-ti > Ta. mey cooti )

 

2(136)

 

eden muru sa-ta me su-ti ( plain (with) heavy clouds, taking the mes from its midst)

 

Ta. eetil muru saaytta mey cooti ( Plain that brilliant and in the interior of which burns the true Radiance)

 

 

eden ( plain) Ta. eetil: the outskirts of a town, settlement etc. See eetil.aaLan : the one from the outside

 

muru ( radiance) Ta. muru, meru : to shine forth, to glisten

 

su-ti ( flame? ) Ta. cooti : brilliant light.

 

This Muruka? Osiris as Pure Light of immense radiance is also a PURIFYING Power that does NOT give anything EVIL

4( 138)

 

en ni-su nu-gi u-e am-ma-du ( The Lord, who does not hold back his goods, goes amazed

 

Ta. eeN nii-su naa-miiL uu-ee aamma idu ( The Lord does not give anything evil but only the bright and good)

 

-

 

en ( Lord) Ta. eeN> veeN > veeL : lord

 

ni-su ( something evil? ) Ta. niisam: something bad and evil

 

u-e ( only the bright ) Ta. uu, uL> uN), oL (> oN) ( bright, light, good, noble etc)

 

am-ma-du > idu-aamma ( definitely places, gives) Ta. idu: to place. Ta. aamma: a particle of assent, agreement

 

In these lines we have the rudiments of Saiva metaphysics where becoming PURE ( Cuttam) is the foundation of ETHICS, to be ethically good one has to become PURE and which is done by allowing the Inner Radiance shine forth i.e. allow Muruka/Osiris rise within and drive away the niisam, the dirt and despicable. This also explains why Asarluhi was a very special deity for early psychiatry and medicine , a tradition that we note also in CaGkam period ( 300 BC to 300 AD) is the activities of the Shaman priest who was known as the Veelan , the Spear carrier ( in imitation of Muruka) and who would exorcise the evil spirits with his VeRiyaaddu, a dance of frenzy. Such practices are still available in the South of India ( I Have participated in one a few years ago)

 

But where does Muruka/ Osiris get an unending supply this Strong and Pure Light that permeates the whole world including the human body ? There are Seven Great Ones up in the sky and who FEED or radiate into Muruka this pure and brilliant Light : su mu-ru ( > suur muru).

 

 

5(139)

 

abgal imin-e sig-nim-ta su mu-ra-ni-in-mu-us ( The Seven Wise Ones have enlarged it for you everywhere)

 

Ta. avkaL ai-minee sikka nimmata suu muru-anin muusu ( The Seven great ones, the beautiful ones from above have radiated with brilliant light)

 

. ɢ

 

ab.gal ( they(hon) )Ta av, avai : they , those , Ta. kaL : great, large)

 

imin =ai-min ( seven = five plus two) Ta. ai: five min?

 

sig, sig-ga ( beautiful) Ta. cokka: alluring, captivating

 

nim ( realms above) Ta. nimir : to stand up , nivar: to climb up

 

su, sur,sul ( radiant light? ) Ta. suur: radiant light Suurian ; the sun

 

mu-ra =mu-ru-a ( brilliant, very hot? ) Ta. muru, meru : to glisten, shine forth

 

mu-us ( to spread everywhere ) Ta. muusu : to roam around as muusu vaNdu. Also snake and so forth

 

 

The word Su. mus, mu-us also means the snake, and it may be intended here that the great ones up in the sky who feed Muruka/ Osiris are also SEVEN snake-like deities

 

Now compare this with the interpretive account of the panel mentioned above.

 

>>>>>>>>>

Section B (figure 43) has three registers, each with three scenes; the

presence of Re is indicated by means of sun disks belonging to each

scene and, in part, even to each figure. The disks are for the most part

connected to the figures by rays of light, a pictorial reference to

statements in the text that the light of Re enters their bodies. The

upper and the lower registers each begin with a spitting cobra. Each

of the six gods in the first scene of the upper register has a ba-bird

in front of him and receives light from a star (though the first one

receives it directly from the cobra): according to the caption, it is the

light of Re, which enters them. The second scene in the upper register

begins with a cat. The seven figures who follow have no heads; instead,

each has a face depicted frontally before him, in each case inserted

between a star and a sun disk with rays. Above them, light pours

directly into their bodies from other sun disks with legs. This is

evidently a matter of the separation and rejoining of the head and

the body. Each of the six gods of the final scene stands on a

Mehen-serpent, which helps with his regeneration, and receives

life-giving light from a disk in front of him.

 

>>>>>>>>>>>>>>>

 

The seven abgal sig-nim-ma-ta , great brilliant ones above in the heavens, like snakes mu-su, spit out brilliant and pure Light ( su mu-ru) making Asarluhi , Muruka/siris , a Power that can purify the soul

 

In the next post I shall try to show that it is this understanding that led to formulation of KuNdalini Yoga with its Six Atara Cakras thereby establishing the TRUTH that KuNdalini Yoga as such belongs to NKSD cultures, perhaps their central metaphysics and which is also METATHEISM.

 

(to continue) 2

 

 

From: Imnrnnre <anpugifts@e...>

Date: Fri Aug 6, 2004 4:20 pm

Subject: Re: [Ta_Seti] The Sumerian Gods are Dravidian-Muruka-2

 

Hi Loga,

 

I just read today's post on Kundalini and must say it does

include an interesting comparison of Asar (Osiris) and Muruka.

It also clarified for me that the ritual priest imitates Asarluhi

in the form of Veel. This was not clear to me in the earlier

post.

 

Now Hornung's explanation (and the original texts) describe

Asar as "Son of Re," probably stemming from a formal title

applied to kings since the 4th or 5th dynasties. This is

can be misleading when in the mythos Asar is literally listed

as Re's great grandson.

 

I don't know which is more inadequate, diagrams or literal

interpretations of what are essentially allegories designed

to relate abstract functional relationships, but the listing

below is intended to illustrate the lineage of which Asar

appears the fourth generation.

 

 

lst Generation..............................Re (sun)

2nd Generation................Shu (air) and Tefnut (moisture)

3rd Generation.................Geb (earth) and Nut (sky)

4th Generation........Asar (divine pharaoh), Aset (divine queen),

...........................Set (envious sibling), Nebt Het (envious sibling)

.........................................Idb-Er-Khenti-An-Maa

 

In the mythos the 2nd-4th generations are referred to as the Nine

(Pesdj) of Re and are arranged into male and female pairs (except

for the last deity). So when King Tutankhamun is described as

Asar, Son of Re it is as divine pharaoh who has been given the title

Asar, thereby assimilating the deity's attributes in the way Veel

assimated that of Asarluhi -- except that he is a ritual priest. Just

another example of sympathetic heka or "magic by analogy."

By virtue of having absorbed the energies of the sun and stars

(representing 12 hours of night and day) the king will rise into

the sky and like the sun be renewed each day forever.

 

Regarding the flow of energy, pesdj also means "illumine, shine,

brilliant, etc. This would seem to indicate that Re's emanations

are forms of his energy reaching down through the sky to earth

and into the divine "spirit world" and back up in return , for instance

as the dead king's "soul." As Amadou pointed out the reality is more

complicated because there are actually several layers of truth to

be dealt with, but that only means we should not try to tackle it all

at once -- which is in any event impossible.

 

I realize this may complicate things a bit, but my hope is that it will provide

some background that the panel just takes for granted. IMO this art

means to go far beyond a literal interpretation and involves the serpents

as various forms of energy. So I would agree with the general

direction in which you are headed, (which I think is a novel one) but would

suggest that the comparison of Asar (Osiris) with Muruka (the brilliant one)

would be by assimilation or analogy rather than as equivalents of each other.

The same would be true of the king's relationship with Asar.

 

I would be delighted to see other points of view on the comparisons you have

offered and on my own suggestions as well. I will look forward to reading

your response when I return on the 14th (late, Pacific Time)

 

Regards,

Raymond

 

 

 

The Sumerian Gods are Dravidian - Muruka-3

 

Dear Raymond and Friends

 

Thank-you for the following words :

 

>>>>>>>>>>

 

I just read today's post on Kundalini and must say it does include an interesting comparison of Asar (Osiris) and Muruka.It also clarified for me that the ritual priest imitates Asarluhiin the form of Veel. This was not clear to me in the earlier post.

 

>>>>>>>>>>>>

 

It augurs well for unearthing the foundational metaphysical understanding that had served as the causal basis for the emergence of the Pyro Cultures of the NKSD civilizations and which goes now as KuNdalini Yoga of Tantrism where the icon of snake stands as the symbol of the Coiled Power. You have raised some doubts and I hope as we proceed these doubts will disappear and a CLEAR understanding would emerge.

 

Now Veel is the Spear and which is the symbol of Muruka (Asarluki) to this day and which in dreams appear as the TRIANGLE with a shaft. In Access Tests of Agamic Psychology, such as the Baum Test, this same Veel sometimes appears in varied forms and each time it appears I immediately read as the person being highly intelligent, a good scholar who would excel in academic life and so forth. We must note here the PYRAMID is the three dimensional triangle and hence the VEEL in a way. It is a symbol of the ENERGY that violates the DARKNESS and with which it brings into PRESENCE the realties concealed by the DARK FORCE, the mi-iri (> Ta. mai-iri) of the Sumerians, the Malam of the Dravidians. The Pyramid stands as another form of the Veel; the strong LIGHT that streams out from Utu (Su. Ri Kem. Re etc?), the metaphysical SUN and which lights up the world. The Pyramid by its solidity and shape also shows permanence, that which destroys the DARK itself remaining INDESTRUCTIBLE. Each time even a peasant looks at the pyramid, his metaphysical understanding about BEING who remains permanently there and who lights up the world is intuited and because of which he experiences a SANTI, a peace of mind of untold joy. As John C. have pointed out, this may the reason why even the peasants volunteered to build a Pyramid - it served also his own spiritual needs - in helping out to build a pyramid, he was in fact helping to erect a massive TEXT that would teach him the metaphysical depths thats the cause of all and which remains permanently there.

 

With this let me come to the word asar which is the root of Asarluhi. This word could also be a variant of Asur (as-sur) where the a- is a prefix of intensity ( as in Sum an-nir : t=water in great abundance) and sur is Ta. suur, to radiate out intense light and because of which the sun which does this is named Suurian, a word of wide occurrence in India and SEAsian countries.

 

 

 

Asur : the Intense Light of Immense Strength.

 

Now it appears to me that this meaning along with Primordial Speech can be read into Asar as it occurs in the following line of the same hymn and towards the end.

 

10(144)

 

(d) asar-alim-nun-na dumu-abzu-ke ( Asaralimnunna , the son of the Abzu)

 

Ta. (d) asar-aalim-nunna tamu appusukke

 

() . Ģ. 째

 

11( 145)

 

e-HA.A(ki) mus-zu e bi-in-gub bara-za dur bi-in-gar ( Ha, O house of Kuar , placed the house upon your. . . that has taken his place on your dais)

 

Here asar is described as alim-nun-na and which can be interpreted to mean the Lofty( nun-na) Power( alim) . The Su. a and Ta. aal means to spread out, to expand and in that also show Power. The Ta. aal-al ( > aaRRal) means Power, capacity and so forth. Thus the asar alim-nun-na can be the Radiating Lofty Power and which is dumu-abzu-ke, the SON (dumu) for the Nether World or the Watery Underground World ( abzu> appu: the elemental water )

 

Thus we see a Cosmology of Intense Light of Immense Strength ( Asar alim-nun-na) coming from metaphysical depths and make itself present in the Cosmos but at the depths as the SON .

 

The motif of Son of God, is very widely present in Sumerian literature where even kings claimed that they are son of gods or goddesses. For examaple we have the follwing line from Sulgi Hymn B:

 

11. lugal-e lugal-a-ria- nin-e-tu-da-me-en ( I , the king of royal descent, whom a princess bore)

 

Ta. uLukaLLee uLukaL aariya Ninee todda maan ( I am the King, the ariyan King, one who the Mother Goddess herself bore)

 

12. Sul-gi-me-en dumu-gi sa-zi-ta nam-dug-tar-ra-me-en ( I., Sulgi, the legitimate prince, was allotted a good destiny, right from the faithful heart.

 

Ta. Suulki maan tamu-ji saay-catta nAam tuGka taaram maan ( I am Sulgi, the noble son emerging the divine womb, allotted a great and noble DESTINY ( or Dharma < taaram)

 

Here ari-a where Ta. aar means to radiate out and derivatively the sun, Sulgi may be claiming that he is in fact Asar but on earth and which may be the same as the concept of Pharoah in Kemetian post-dynastic culture. The word ari-a can also be read as Ta. ariya, the rare and exceptional

 

The Cosmic Genealogy

 

Now compare this with the following words of Raymond:

 

>>>>>>>>>>>>>>

 

lst Generation..............................Re (sun)

2nd Generation................Shu (air) and Tefnut (moisture)

3rd Generation.................Geb (earth) and Nut (sky)

4th Generation........Asar (divine pharaoh), Aset (divine queen),

...........................Set (envious sibling), Nebt Het (envious sibling)

.........................................Idb-Er-Khenti-An-Maa

 

In the mythos the 2nd-4th generations are referred to as the Nine

(Pesdj) of Re and are arranged into male and female pairs (except

for the last deity). So when King Tutankhamun is described as

Asar, Son of Re it is as divine pharaoh who has been given the title

Asar, thereby assimilating the deity's attributes in the way Veel

assimated that of Asarluhi -- except that he is a ritual priest. Just

another example of sympathetic heka or "magic by analogy."

By virtue of having absorbed the energies of the sun

 

>>>>>>>>>>>>>

 

We can see some striking parallels - the Kem. Re and Su. Ri as the Asar-alim-nun-na , the most Primordial Power or Energy and out of the transformation of which the basic elements Air Water Earth Sky Light are generated by transforming that primordial burst of Pure Energy, Asar. Then as the Dumu (son) he reigns supreme over the Abzu, the World of the Water and which is an allusion to the phenomenal world, that world generated out of the basic elements of Water, Wind, Earth Sky and Fire

 

Here we see a parallel between the claims of Tutankhamun and Sulgi where the name Sulgi itself may be a derivative from Asarluhi with the prefix a- dropped: sar-lu-hi= sur-lu-hi> sul-gi etc indicating that while Asarluhi is the real Son of Asar (Ri, Re) the King Sulgi is simply someone like asar-lu-hi but given the destiny to live as the Asarluhi himself on earth just like a priest who gets into a trance and becomes, if blessed, the Man of Asarluhi and so forth. The word Sul-gi may the root od Ta, cuuzi and which exist as the Soozan : the Cola kings . The cuu-zi-an as some people in the South claim to be may mean ones who are blessed by Asarluhi i.e. Muruka, the Inner Radiance

 

The trance experince is transmutational, alchemical where the physical is submerged and the metaphysical is installed and which may the function of Magic all over the world and which may be the essence of Kemetian Heka as well.

 

I offer the following lines as further evidences for such interpretations. These lines indicate further how a king blessed by Asarluhi and an Ariya because of that would behave: He is lu-kal-kal ( very strong and indestructible), he would fight bravely like a leopard but only against the dark forces ( kar dibbe) and charge like a great storm against the deviants, the transgressors.(bal-da> Ta. paal-idu)

 

Now it may that the envious siblings Set, Nebt Het and so for the are the ki-bal-du: ( > Ta,. kiiz paalidu: the transgressors) Now the phrase kar dib-be is very interesting and agrees with the functions of Muruka and His Veel among the Dravidian folks. The Veel is Njanaveel, the Spear of enlightenment and it is through the Light Of Metaphysical Illuminations ( dib-e> tiiba: torch, light ) that the Darkness of Ignorance, the Kar, that makes a person Evil is destroyed.

 

6(140)

 

nun-zu nun-kal-kal (d)asar-lu-hi lu-kal-kal ( Your prince is the highly esteemed prince, Assaluhi, the highly esteemed one)

 

Ta. nun-ju nun-kal-kal asar-lu-hi lu-kal-kal ( Your Lord is a very precious lord, Asarluhi, the person who is very precious or Your Lord is highly learned, Asarluhi, the person very highly learned))

 

. .. () ָ .

 

kal.kal ( precious, highly esteemed) Ta. kal : precious stones. Ta. kalam: treasures

 

kal.kal ( very learned) Ta. kal: to learn

 

Note: Muruka, The Lord of metaphysical illuminations, the inner radiance is also mentioned as the one who taught Siva

Himself, his Father.

 

7( 141)

 

ur-sag nun-KU tu-da pirig-tur kar dib-be ( The hero, born to? (be) a prince, a leopard, who seizes prey)

 

Ta. OrsaGki nun-KU todu pili-tur kaar tiibbee ( The hero who reaches the lofty . . . the leopard who lightens up darkness)

 

. KU Ģ.

 

Ur-sag ( hero) Ta. oor.saan ( oru taan) : to rise above and become unique; saanRoon: the great one

 

tu-da( to touch?, to reach great heights? To fashion? ) Ta, todu: to touch, reach etc. Also to fashion, create etc.

 

pirig-tur ( leopard) Ta. tur: small Ta. pili, puli : tiger. Note siRu-taip-pili : the small tiger that attacks . The leopard is als described as Su. tab-pirig-tur

 

kar( darkness) Ta. kaar, karu : black, darkness

 

dib-be ( to light up?) Ta. tiibam: flame, torch. Note Ta. tii, Su. de : fire

 

 

8(142)

 

ud-du-du-gim ki-bal-da du-du ( He is like an onrushing storm, he gores the rebellious land)

 

Ta. uutu-tuuttuGin kiiz paalidu tuuttu ( Like a storm that pours , he pours over the lands of the transgressors( and destroys them)

 

. й Ģ

 

ud: (wind) Ta. uutu: to blow, uutai( <uutu-a); the wind

 

du-du ( to pour like heavy rain, storm) Ta. tuuttu ( tuuRRu) : heavy downpour

 

bal-da (the rebellious, transgressors) Ta. paal : to cross over, transgress. Paal> paar as paar-am-pari-yam, paramparai etc : to cross over and thus constitute a tradition

 

( to continue) 3

 

The Sumerian Gods are Dravidian - Muruka-4

 

There are many areas in connection with Asar-lu-hi (Muruka) that I have not mentioned yet and partly because I am still not very clear. However I must mention here some further developments of the notion of Metaphysical Pyramid where the COSMOLOGY figures in an interesting way. Now one of the most important views that were expressed by Tirmular (c. 6th cent AD) is that of a HOMOLOGY between the cosmos and the human body through the intermediate concept of TEMPLE - the Body is a Temple and so is the Cosmos. And furthermore it is also said the immense cosmos is actually macro-man and the tiny human body is micro-cosmos. There is a HOMOLOGY between them - whatever is there in Cosmos is also available in the Body and vice versa.

 

This brings us to the notion of REPLICATION - that whatever transpires as natural History is only a REPLICATION of the metaphysical - there cannot be anything natural unless it is already there in the metaphysical. This has two important implications. One is that by exploring the hidden depths of the fragile body, we can in fact understand the Cosmos. The other is: the NATURAL is in fact also DIVINE provided we see the DEPTHS where lurks the gods. Thus the Flora and Fauna become DOUBLE texts - in showing something natural they also disclose the divine provided we gain the metaphysical eyes to see. The snake is certainly a natural creature the bite of which can be dangerous but at the same time it is indicative of something that is metaphysical - the Coiled Power, the Psychic Energy the Libido that crawls like a snake into the various parts of the body beginning from groin region

 

With this preliminary remarks let me come back to Cosmic Genealogy of the Kemetians and as described below (given by Raymond)

 

>>>>>>>>>>>>>>

 

lst Generation..............................Re (sun)

2nd Generation................Shu (air) and Tefnut (moisture)

3rd Generation.................Geb (earth) and Nut (sky)

4th Generation........Asar (divine pharaoh), Aset (divine queen),

...........................Set (envious sibling), Nebt Het (envious sibling)

.........................................Idb-Er-Khenti-An-Maa

 

In the mythos the 2nd-4th generations are referred to as the Nine

(Pesdj) of Re and are arranged into male and female pairs (except

for the last deity). So when King Tutankhamun is described as

Asar, Son of Re it is as divine pharaoh who has been given the title

Asar, thereby assimilating the deity's attributes in the way Veel

assimated that of Asarluhi -- except that he is a ritual priest. Just

another example of sympathetic heka or "magic by analogy."

By virtue of having absorbed the energies of the sun

 

>>>>>>>>>>>>>

 

The Divine Ecologies in Tolkaappiyam

 

There is a DOUBLE description - in describing the Cosmological or metaphysical, the natural is also described. In understanding this Cosmic Genealogy we also understand some aspects of HISTORICAL and where the historical is simply a REPLICATION of the metaphysical.

 

I want to point out very briefly some similar elements in Dravidian philosophy where the texts are quite late - Tolkaappiyam (c. 3rd Cent BC) Tirumantiram (c. 6th cent AD) and so forth and but by their very composition presuppose millenniums of prehistory of which we do not yet know much.

 

In Tol. we have corresponding to Re, the Paal (Pakal, Bright Radiance) from which emerges the various gods like Muruka, VaruNa, Tirumaal, Indra and so forth and which correspond to the Asar but not as the divine Pharaoh but rather as deities that ordain various regions of the cosmos, particularly the interior ecologies that ordain he BEHAVIOR in general. What are interesting is that there also SEVEN TiNais, the inner ecologies and which reminds us of the SEVEN snakes of the panel that we have mentioned above , with each snake spitting out Energy of Light

 

What is also quite interesting is that among these SEVEN the two- KaikkiLai and PeruntiNai are the unethical - ecologies of one-sided love and abnormal sexuality. These sound quite similar to the Set and Nebt Het - the fourth generation Cosmic Forces, the envious siblings and powers capable of evil actions. However while in Kemetian cosmogony envy remains the parameter of the objectionable, in Tol it is abnormal sexuality and its variants. The remaining FIVE ecologies are ETHICALLY acceptable as they are ordained by the gods, Muruka and so forth where LOVE reigns supreme.

 

We also see that second and third generation and which are called Pancabuutas in Tamil is absent in Tol but replaced with that of TiNai, again with a double meaning - they are geographical as well as psychological. The KuRinjci, for example, is the geographical ecology of a Hill with a thick jungle and at the same the Inner Ecology of very intense sexual cravings. It also serves as the basis for socio-political behavior of wanton aggression.

 

But there is an important DIFFERENCE here - in Tol the deities are all males - no female deities are associated with Muruka and so forth though as a matter of fact there are. But Tol is silent on this. So while we may see some equivalents with Asar, we do not anything equivalent to Aset, the Queen or Female Deity

 

KuNdalini Yoga and Kemetian Cosmic Genealogy

 

I want to describe very briefly now the KuNdalini Yoga in Tirumantiram but which comes already as part of Mantrayana. Between Tol and Tirumantiram we have the Icon of the six-faced polycephalic Muruka that we see in TirumurukaaRRudpadai (c. 2nd cent AD) along with the Six Forts of Muruka (aaRupadai viidu) and which gradually gets systematized into SIX Atara Cakras with the Brahmarantiram , the shaft of intense and immense radiation, right at the top. Thus we have again the magical number SEVEN , re-emerging in a different way.

 

However we see here something paralleling the Kemetian Asar ( Pharoah) and Aset (the Queen) . For each one of the Atara Cakras is said to be ordained by a divine couple - Ganesha with consorts Sitti and Butti ( mulaataaram), Brahma with his consort Saraswati( swatistanam) , Vishnu with his consort Laksmi ( Manipuurakam) Rudra with Rudri ( Anakatam) Maheswara with Makeswari ( Vucukti) and Cataaciva with ManoonmaNi ( the Aknja cakra) . Now above these Cakras there is only Brahmarantiram where these deities are no more present, all dissolving into the Pure Light of immense Radiance.

 

Here while the Re stands to be compared with the Brahmarantiram, we have the Asar-Aset differentiated into SIX deity pairs and may be because of taking into account the SEVEN snakes with one identified with the region of Pure Light, the Brahmarantiram.

 

There is a climb again from the base Muulaataram to the PEAK the Brahmarantiram, which is also identified as the Realm of the Lotus of Thousand Petals and where ooze the Amutu, the ambrosia of eternal youthful vitality and virility.

 

Now here the CLIMB is again AGAINST something that obstructs the ascendance and perhaps it was among the Kemetian the ENVY such as that of the siblings Set and Nebt Het. But in KuNdalini Yoga such as that of Tirumular, the climb is against the Malam, the Dark Killing force of which the Semitic Saitan may be a personification. However in Saivism this MALAM is not only that which introduces BLINDNESS and metaphysical ignorance but also the Killer Force that because of which there is DEATH not only among the living creatures but also among the physical as well. It is that which can wipe out the whole cosmos and re-introduce the primordial Darkness, the mai-iri, the paNdu-iri of the Sumerians.

 

The metaphysical climb is a life-and-death struggle against the MALAM and requires a continuous supply of ENERGY that will put away EXHAUSTION and DEATH . And it is where comes the Snake - the coiled Power , the libido. These snakes come one after another, one for each one of the Atara Cakras , the wheels and under the dictate of the Divine Couple release the KuNdalini so that the person, if blessed thus, continues his odyssey towards the Peak and where resides the Re.

 

Now along with PraNayama, the science of Breath Control, Tirumular also mentions PariyanGka Yoga, the Yoga of Bed and by which he means earning kuNdalini through sexual union. It is said that while PraNayama is the for the advanced Siddhas, the Yoga of Sexual Union is for the others and who are on the way to becoming the great Siddhas

 

Concluding Remarks.

 

I have labored to point out similarities along with differences between Kemetian and Dravidian. What is clear to me is that there is a FAMILY resemblance in all these and hence possibly arose from the SAME metaphysical presuppositions that they tried to make CLEAR by all such articulations. I have also touched only the surface of such studies and hope in future more competent scholars will bring out greater insights into these than I have been able to do.

 

 

 

 

 

Sumerian Temple Hymn 10-1

 

This hymn is on the Deity Asar-lu-hi which appears to be an ancient name for Muruka. The city is said to be the unread HA.A but which is read both as Ku -me-ru and Kuar (or Kuar) . It is interesting that the Ta. Kumari is also called Kauri mistakenly identified with kumari, the young lady. It is also interesting that Muruka is also known as Kumaran, or Kumara VeeL, the deity of Kumari. It is also interesting that the word muru occurs in this hymn and where the deity is described as True Radiance ( mey cooti< me su-ti)

 

 

1(135)

 

uru abzu-ta se-gin sur-ra ( City, from/ in the Abzu . . . like grain)

 

Ta. uuru apputa seeGin sura ( City with plenty of water , yielding things like grains)

 

.

 

abzu ( the underground world of waters) Ta. appu :water as one of the basic elements

 

se( grains) Ta. ci: grains? See ari-ci : rice ( fine grains? ) Ta. cembu : a kind of grains

 

sur-ra ( to yield, ooze out) Ta. cura: to ooze out ( like milk from the udder)

 

2(136)

 

eden muru sa-ta me su-ti ( plain (with) heavy clouds, taking the mes from its midst)

 

Ta. eetil muru saaytta mey cooti ( Plain that brilliant and in the interior of which burns the true Radiance)

 

 

eden ( plain) Ta. eetil: the outskirts of a town, settlement etc. See eetil.aaLan : the one from the outside

 

muru ( radiance) Ta. muru, meru : to shine forth, to glisten

 

su-ti ( flame? ) Ta. cooti : brilliant light.

 

Note: Here we an explanation of the roots of name Muru-ka. He is the deity of Brilliant light such as that of the deserts and a true (mey) radiance (cooti, su-ti) Muruka is still understtod as such.

 

3(137)

 

HA.A(ki) temen-unu-zi-zu ( Kuar, to the foundation of your shrine)

 

Ta. kauri taman unnu ji-ji-u ( Kuar( Kumeru) the great garden for all the living things)

 

â .,

 

unu ( lofty, great? ) Ta. unnu: very tall, loft. See,. unnatam: great and lofty

 

zi-zu =zi-zi-u ( all the living things) Ta. jiivan, ciivan : living things. The duplication here serves to indicate plurality

 

 

Note: We may have here an early statement that Muruka is the Lord of Pazamutirc Coolai , the garden of full of fruit trees, a metaphors for worldly joys)

 

4( 138)

 

en ni-su nu-gi u-e am-ma-du ( The Lord, who does not hold back his goods, goes amazed

 

Ta. eeN nii-su naa-miiL uu-ee aamma idu ( The Lord does not give anything evil but only the bright and good)

 

-

 

en ( Lord) Ta. eeN> veeN > veeL : lord

 

ni-su ( something evil? ) Ta. niisam: something bad and evil

 

u-e ( only the bright ) Ta. uu, uL> uN), oL (> oN) ( bright, light, good, noble etc)

 

am-ma-du > idu-aamma ( definitely places, gives) Ta. idu: to place. Ta. aamma: a particle of assent, agreement

 

5(139)

 

abgal imin-e sig-nim-ta su mu-ra-ni-in-mu-us ( The Seven Wise Ones have enlarged it for you everywhere)

 

Ta. avkaL ai-minee sikka nimmata suu muru-anin muusu ( The Seven great ones, the beautiful ones from above have radiated with brilliant light)

 

. ɢ

 

ab.gal ( they(hon) )Ta av, avai : they , those , Ta. kaL : great, large)

 

imin =ai-min ( seven = five plus two) Ta. ai: five min?

 

sig, sig-ga ( beautiful) Ta. cokka: alluring, captivating

 

nim ( realms above) Ta. nimir : to stand up , nivar: to climb up

 

su, sur,sul ( radiant light? ) Ta. suur: radiant light Suurian ; the sun

 

mu-ra =mu-ru-a ( brilliant, very hot? ) Ta. muru, meru : to glisten, shine forth

 

mu-us ( to spread everywhere ) Ta. muusu : to ram around as muusu vaNdu

 

Note. Very clearly we have clear a reference to the Seven( six) Karttikai Angels who have been assigned to rear the Muruka when he emerges as the ball of fire of immense heat. Here the seven ( the six Karttikai ladies along with Uma, Parasakti are seen as those who supply the energy that allows intense radiations in all directions

 

(to continue) 1

 

Sumerian Temple Hymn 10-2

 

6(140)

 

nun-zu nun-kal-kal (d)asar-lu-hi lu-kal-kal ( Your prince is the highly esteemed prince, Assaluhi, the higly esteemed one)

 

Ta. nun-ju nun-kal-kal asar-lu-hi lu-kal-kal ( Your Lord is a very precious lord, Asarluhi, the person who is very precious or Your Lord is highly learned, Asarluhi, the person very highly learned))

 

. .. () ָ .

 

kal.kal ( precious, highly esteemed) Ta. kal : precious stones. Ta. kalam: tresures

 

kal.kal ( very learned) Ta. kal: to learn

 

Note: Muruka, The Lord of metaphysical illuminations, the inner radiance is also mentioned as the one who taught Siva

Himself, his Father.

 

7( 141)

 

ur-sag nun-KU tu-da pirig-tur kar dib-be ( The hero, born to? (be) a prince, a leopard, who seizes prey)

 

Ta. OrsaGki nun-KU todu pili-tur kaar tiibbee ( The hero who reaches the lofty . . . the leopard who lightens up darkness)

 

. KU Ģ.

 

Ur-sag ( hero) Ta. oor.saan ( oru taan) : to rise above and become unique; saanRoon: the great one

 

tu-da( to touch?, to reach great heights? To fashion? ) Ta, todu: to touch, reach etc. Also to fashion, create etc.

 

pirig-tur ( leopard) Ta. tur: small Ta. pili, puli : tiger. Note siRu-taip-pili : the small tiger that attacks . The leopard is als described as Su. tab-pirig-tur

 

kar( darkness) Ta. kaar, karu : black, darkness

 

dib-be ( to light up?) Ta. tiibam: flame, torch. Note Ta. tii, Su. de : fire

 

 

8(142)

 

ud-du-du-gim ki-bal-da du-du ( He is like an onrushing storm, he gores the rebellious land)

 

Ta. uutu-tuuttuGin kiiz paalidu tuuttu ( Like a storm that pours , he pours over the lands of the transgressors( and destroys them)

 

. й Ģ

 

ud: (wind) Ta. uutu: to blow, uutai( <uutu-a); the wind

 

du-du ( to pour like heavy rain, storm) Ta. tuuttu ( tuuRRu) : heavy downpour

 

bal-da (the rebellious, transgressors) Ta. paal : to cross over, transgress. Paal> paar as paar-am-pari-yam, paramparai etc : to cross over and thus constitute a tradition

 

9(143)

 

en-na nu-se-ga eme-sig-ga na-a ( As long as it is not obedient, he pours out poisonous foam upon it)

 

Ta. eeNNa naasiikka imiz-sokka aNaiya ( He embraces with beautiful words those who do not destroy the godly)

 

 

se-ga( to destroy? ) Ta. siiku: to attack and destroy. Also note Ta. sekku: the device for extracting oil by pressing the seeds

 

eme (words, language) Ta. imiz, imir: to hum. Ta. iyam-bu :to tell, explain

 

sig-ga ( beautiful, charming? ) Ta. sokka : pure, beautiful ; sokku: to be entranced, enticed

 

na-a( to embrace? ) Ta. aNai: to embrace, sleep

 

10(144)

 

(d) asar-alim-nun-na dumu-abzu-ke ( Asaralimnunna , the son of the Abzu)

 

Ta. (d) asar-aalim-nunna tamu appusukke

 

() . Ģ. 째

 

11( 145)

 

e-HA.A(ki) mus-zu e bi-in-gub bara-za dur bi-in-gar ( Ha, O house of Kuar , placed the house upon your. . . that has taken his place on your dais)

 

(refrain)

 

e (d) asar-lu-hi HA.A ( The House of Asarluhi in Kurar)

 

Ta. il Asarluki Kuar ( kumari)

 

ָ â( â)

 

(to continue) 2

 

 

From: Imnrnnre <anpugifts@e...>

Date: Wed Aug 4, 2004 6:02 am

Subject: Re: [Ta_Seti] The Mantrayana Of Alchemy

 

Dear Loga and Everyone,

 

Concerning the personification of Kundalini as a snake,

I thought you would be interested in seeing this panel

from the 18th Dynasty tomb of pharaoh Tutankhamun.

In it we witness two huge spitting cobras participating

in the coming forth of the king and his ascension to the

sky like his "father," the sun-deity Re.

 

Are the cobras shown here analogous to that about

which Loga writes or is this about something else?

What else of note appears to be happening here?

 

http://www.panix.com/~gblt/shrine2a.jpg

 

An explanation of the scene appears in Erik

Hornung's The Ancient Egyptian Books of the Afterlife.

(D. Lorton, Trans) 1999, 79:80. See also Alexander

Piankoff, The Shrines of Tut Ankh Amun. (N. Rambova,

Trans), 1955, 127:131.

 

Raymond

 

 

From: Imnrnnre <anpugifts@e...>

Date: Wed Aug 4, 2004 7:20 am

Subject: Re: [Ta_Seti] The Mantrayana Of Alchemy

 

Dear Loga and Everyone,

 

Here is Hornung's explanation of the exterior right panel of

Tut's Shrine #2:

 

"Section B (figure 43) has three registers, each with three scenes; the

presence of Re is indicated by means of sun disks belonging to each

scene and, in part, even to each figure. The disks are for the most part

connected to the figures by rays of light, a pictorial reference to

statements in the text that the light of Re enters their bodies. The

upper and the lower registers each begin with a spitting cobra. Each

of the six gods in the first scene of the upper register has a ba-bird

in front of him and receives light from a star (though the first one

receives it directly from the cobra): according to the caption, it is the

light of Re, which enters them. The second scene in the upper register

begins with a cat. The seven figures who follow have no heads; instead,

each has a face depicted frontally before him, in each case inserted

between a star and a sun disk with rays. Above them, light pours

directly into their bodies from other sun disks with legs. This is

evidently a matter of the separation and rejoining of the head and

the body. Each of the six gods of the final scene stands on a

Mehen-serpent, which helps with his regeneration, and receives

life-giving light from a disk in front of him.

 

The middle register of section B begins with a mummy that has turned itself

over and now extends a hand to the ram-headed solar ba, which the caption

also mentions; from the mummy's feet rears a serpent flooded by light.

There follow four lion-headed beings whose arms are hidden, perhaps

because they are carrying the corpse of the sun, as in the sixth hour of

The Book of Gates. The next scene is nearly identical, though there are

now six lion-headed beings; in each scene, light from a sun disk atop

a pair of legs enters the mouths of all the beings represented there.

 

In the first scene of the lower register, the cobra at the beginning spits

light that in each instance is received by a lion's head and emitted again

by a cobra next to it; it pours over six Osiris figures who, according to

the caption, are "clothed" (Darnell's reading) with light by Re while

their ba-souls follow them. That they are also granted breath is shown by the

sail hieroglyphs-signifying "wind" or "breath" in front of them.

 

The middle scene begins with a lion; like the cat in the upper register, it is

rising

up out of the earth, in which a serpent is hidden. The next six-mummiform

figures are ram-headed, and in normal writing, the caption names the

deceased king as the object of their regard. The last scene consists of

six goddesses, each of whom receives light from a disk and lets it pour

from her hands onto the head of the serpent named Evil of Face; their

names designate them as punishing beings, though they also carry the sun,

depicted as a star and a disk, in their wombs. Throughout this section, the

intensity of the role played by light in the realm of the dead is striking;

ideas from King Akhenaten's religion of light seem to be still at work here.

 

At the end of the section, the sun disk with its ram-headed ba appears once

again, now doubled. It is embedded in a symbolic summary of the daily

course of the sun, wherein it is kept in constant motion by four pairs of

arms. Serpents and the heads of four negau-cattle, along with goddesses

making the gesture of praise, an Osiris figure, and an "arm of Re,"

positioned antithetically, complete the scene. I recognize it as a concluding

scene, though Darnell prefers to see it as a beginning, because a similar

representation appears on the ceiling of corridor G in the tomb of Ramesses VI."

(Hornung, The Ancient Egyptian ...., 79:80)

 

Now I realize that this is an awful lot of information to cover, but I thought

I should provide more context for those without the relevant texts. It raises

some interesting questions in my mind at least. One of which is, when the

scribe wrote "light" did he mean that literally or metaphorically? If meta-

phorically, what then was it?

 

Raymond

 

HOME