In the Realm of the Ring Lords
The Legacy of the Grail Bloodline
by Laurence Gardner
To maintain
its persecution of the Grail dynasts and heretics, the Church made sure it
subverted the stories that would keep the true Grail legacy alive among the
people.
…I first began to talk publicly
about the subject matter of Genesis of the Grail Kings back in October 1997 and, indeed,
we covered a good deal of related ground at the NEXUS Conference last July. So,
with the book now completed and published, I guess the time has come to move on
to other things in preparation for future works.
Originally, and beginning
with Bloodline of the Holy Grail, I had planned for a series of three
books on the Grail theme, covering some 6,000 years of Messianic inheritance
from the time of Adam, through King David and Jesus, down to the present day.
However, in the course of compiling this genealogical descent and its
fascinating history, the concept for another book has arisen. This has come
about more by popular demand than by strategic planning, and I have become so
enthused with the idea that there will now be four books in this particular
series. It is, in fact, about this fourth book (rather than the immediate
Genesis successor) that I would like to speak today.
Bloodline of the Holy
Grail covers an
historical period from the time of Jesus through the past 2,000 years. Subsequently,
Genesis of the Grail Kings was written to answer the most asked of all
resultant readers' questions: Why was the Grail Bloodline so important in the
first place? Why was the kingly line which descended to Jesus and beyond so
unique from the outset in old Mesopotamian times?
This was the subject
which we discussed here last year, and we saw how the Messianic succession of
Grail dynasts (or Dragon Kings) was alchemically conceived and purpose-bred for
the role of earthly leadership. We looked at the records of ancient Sumer,
which talked of the Anunnaki gods and their "creation chamber". We
saw how the great vulcans of the era produced the enigmatic Highward Fire-stone
(the white powder of monatomic gold) that was used to feed the Light-bodies of
the Babylonian Kings and Egyptian Pharaohs. And we saw how this substance, when
ingested, had stunning effects on the body's endocrinal system. Ultimately, we
followed the senior line of royal descent (a line that was genetically
determined by the mitochondrial DNA of the Dragon Queens) down to the time of
Moses. And we visited the Temple, discovered in 1904, high on the Bible's Mount
Horeb, where the monatomic fire-stone was made.
Now we shall take a look
at the wider scheme of things, in terms of the folklore and fable which have
emanated from the alchemical realm of the Pendragons. And we shall consider, in
particular, the longstanding disputes which have prevailed between the sacred
Bloodline and the Church establishment. These stories and their historical roots
(whether portrayed in fairy tale, nursery rhyme or Gothic romance) will form
the basis of a forthcoming book, entitled Ring Lords of the Dragon: Beyond
the Portal of the Twilight Realm.
So, today, we shall be
looking at the world of enchantment, with a little myth, a little magic and a
good deal of historical fact, as some of the characters of popular legend take
their place on the stage of reality. And, at the conclusion of this talk, we
shall open the door to one of the most intriguing, but suppressed, secrets of
our heritage.
On the face of it, the
Grail-related stories (whether of Cinderella, Robin Hood, Sleeping Beauty or
Count Dracula) each hold their separate mysteries and enchantments, but it is
not generally understood that they all stem from a common historical base which
is rooted in the culture of the Grail Kings. Even though some of the themes
have their origins in very old lore, the majority of tales (as we know them)
were newly slanted from the Dark Ages onwards, and especially from mediaeval
times when the Church's persecution of Grail heretics was in full swing,
leading to the Catholic Inquisitions.
Among the best known of
these heterodox Christians (or "heretics") in the Middle Ages were
the Cathars, the Pure Ones of the Languedoc region in southern France. And
they, in line with the Dragon tradition of the Ouroboros Ring Lords, referred
to the Messianic Bloodline as the Elven Race. As we shall see, the terms
"elf", "fairy", "pixie" and the like were all
representative of various castes within the kingly succession.
The Ouroboros (as
detailed in Genesis of the Grail Kings) was a symbol of wholeness, unity
and eternity, usually identified by a serpent (in the form of a ring) clutching
its own tail. With a cross positioned beneath the ring, the emblem becomes the
familiar device of the female - the Venus symbol (as portrayed on the cover of Genesis
of the Grail Kings). Alternatively, with a cross positioned above the ring,
it becomes the masculine Orb of sovereign regalia. And with the cross
positioned within the ring, it becomes emblematic of the Holy Grail itself -
identified as the Dew Cup, or the Rosi-crucis.
In the Cathar language of
old Provence, a female elf was an albi (elbe or ylbi), and Albi was the name
given to the main Cathar centre in Languedoc. This was in deference to the
matrilinear heritage of the Grail dynasty, for the Cathars were supporters of
the original Albi-gens - the Elven Bloodline which had descended through the
Dragon Queens of yore, such as Lilith, Miriam, Bathsheba and Mary Magdalene. It
was for this reason that, when Simon de Montfort and the armies of Pope
Innocent III descended upon the region in 1209, it was called the Albigensian
Crusade. Through some 35 years, tens of thousands of innocent people were
slaughtered in this brutal campaign - all because the inhabitants of the region
were champions of the original concept of Grail kingship, as against the
pseudo-style of monarchy which had been implemented by the papal machine.
In practical terms,
Church kingship prevailed from the 8th century and it has continued through the
ages to the present day. But the fact is that, under the strict terms of
sovereign practice, all such monarchies and their affiliated governments have
been illegitimate.
So, what is Church
kingship? It is precisely that with which we have become so familiar. It
applies to all monarchs who achieve their regnal positions as a result of
Church coronation - by the Pope, or, in Britain, by the Archbishop of
Canterbury. In terms of true kingship, there is no necessity for coronation
because kingly and queenly inheritance are, and always were, "in the
blood" - to be precise, in the mitochondrial DNA of the Sangréal.
In the old scheme of
things, kingship was automatic because it was an alchemical inheritance which,
in practice, had nothing to do with ruling over anyone or anywhere. By virtue
of an illegal dictate, however, monarchies were brought under Church control
and the magical Realm of the Ring Lords was supplanted by the material and
territorial reigns of the papal kings.
One might ask why this
was allowed to happen. Why did no one stand up for the legacy of the Holy
Grail? Well, the fact is, they did; the Cathars did, the Knights Templars did,
the Rosicrucians did. Indeed, any number of gnostic groups and fraternities
did, and it was this open support which led to the hideous tortures and
executions of the papal Inquisitions and witch-hunts that persisted through so
many generations.
By the Middle Ages, the
Church controlled the majority of European monarchies (with Scotland a notable
exception, as a result of which King Robert the Bruce and the whole Scottish
nation were excommunicated). The Church, therefore, influenced governments,
parliaments and educational establishments (as it still does today). And, by
implication if not by direct instruction, the military forces of the
pseudo-kings operated at Church command.
The Church held such
enormous financial, political and military power that the Grail adherents
became an "underground stream", living in fear of their lives at
every turn. They were not only heretics: they were singled out for punishment
as sorcerers and necromancers. And since they did not conform to papal
dictates, they were clearly Satanists! The women, of course, were all whores,
but this was nothing new; the Roman Church had forged this dogmatic
classification at the time of its earliest constitution!
Before looking at some
aspects of the Ring legacy, it is important to consider the original document
which made Church kingship possible in the first place. In this context, I do
not use the word "important" lightly, because the implementation of
this particular document some 1,248 years ago led to just about every social
injustice that has since been experienced in the Christian world. The document
to which I refer is called "The Donation of Constantine". All
monarchical and governmental practice has, for centuries, been based upon the
initial precept of this charter but, as we shall see, the precept is wholly
invalid.
There are those in our
midst today who, under the dynastic rule of Grail entitlement, are rightful
kings and queens. But many of the dynasties which have actually reigned have
done so with little or no sovereign heritage. They have gained their positions
simply because it suited the Church to crown them as its puppet
representatives.
Moving forwards in
history from the Pharaohs of Egypt, the Davidic Kings of Judah and the Dragon
Kings of Scythia, we arrive in the Dark Ages with the Celtic kingdoms of Europe
and, essentially for the purposes of this story, with the Fisher Kings in Gaul
(which later became France).
It is because of this
continuing period of Grail sovereignty in the Celtic realms that conventional
history now refers to the "Dark Ages" - about which, we are told,
there is so little documentary record. There is, however, any amount of
surviving material from the era. The period is only "dark" because
the Church and the imperial overlords decided to veil it from scrutiny,
removing documentary evidence from the educational environment in order to
perpetuate the myth that everyone and everything outside the Roman
establishment was ignorant and barbaric.
As detailed in Bloodline
of the Holy Grail, the Church of Rome (founded by Emperor Constantine the
Great in the 4th century) had little to do with the Nazarene style of
Christianity which it officially superseded and had hitherto persecuted. It was
an entirely new, hybrid form of male-dominated "churchianity" based
upon a contrived apostolic succession of popes.
The separate Nazarene
movement (often called the Celtic Church) continued in opposition under the
direction of Grail dynasts from the family of Jesus, and they were styled the
Desposyni, meaning Heirs of the Lord.
At that time, the
Bloodline houses of the Desposyni held the reins of Dragon kingship in Europe.
But the bishops of the Roman Church sought to undermine this tradition, and
eventually managed this in the 8th century when they deposed the Merovingian
Fisher Kings of the Franks after some 300 years of regnal succession.
With the sudden,
contrived demise of this Grail dynasty in 751, a new style of kingship was
introduced in the West - kingship not by any right of succession, but by
individual decree of the Pope - and it was this which led to much of the fairy
tale and folklore which is so familiar today. The new style of papal kingship
was made possible by the so-called "Donation of Constantine" which,
although now known to have been forged, was not open to debate at the time.
When the Donation made
its first appearance in the middle 8th century, it was alleged to have been
written by Emperor Constantine 400 years earlier (although, strangely, never
produced in the interim). It was even dated and carried his supposed signature.
What the document proclaimed was that the Pope was Christ's elected
representative on Earth, with the power to "create" kings as his
subordinates. The provisions were put into operation by the Vatican in 751,
whereupon the longstanding Merovingians were deposed and a whole new dynasty
was supplemented by way of a family who had hitherto been mayors of the Royal
Palace (the equivalent of prime ministers). They were dubbed
"Carolingians", and their only king of any consequence (through some
236 years) was the legendary Charlemagne.
As a result of this
strategy, the whole nature of monarchy changed from being an office of
"guardianship" to one of "rule". Henceforth, the papal
monarchs were territorial governors rather than patriarchs of the people. By
virtue of this monumental change, the longstanding Grail Code of princely
service was forsaken and European kings became servants of the Church - which
had the power to make them or break them.
How do we know today that
the Donation is a forgery? Well, there are many reasons, but the most obvious
is that its New Testament references relate to the Latin Vulgate version of the
Bible. This edition was translated and compiled by St Jerome who was not born
until the year 340, some 26 years after Constantine (who died, anyway, in 337)
supposedly signed the document! Indeed, there was more than half a century
between Constantine's alleged signing and the appearance of the particular
Latin Bible that was used in its content. Notwithstanding this, the language of
the Donation was, in any event, that of the 8th century and bore no relation to
the writing style of Constantine's day.
The truly ridiculous
aspect of all this is that the Donation was proved to be a forgery some 550
years ago, during the Renaissance, but its overwhelming dictate, which cemented
the Pope as the supreme spiritual and temporal head of Christendom, has
prevailed regardless.
As explained in Genesis
of the Grail Kings, the monarchs of the Grail succession were called
Messiahs (Anointed Ones) because, in the early days in Mesopotamia and Egypt,
they were anointed with the fat of the sacred Messeh (the holy dragon or
crocodile). By virtue of this, they were also called Dragons. The Dragon,
emblematic of wisdom, was the epitome of the Holy Spirit which, according to
the Book of Genesis, moved upon the waters of time, while the Grail was the
perpetual Blood Royal - the Sangréal. Originally, in old Mesopotamia, it was
called the Gra-al - the Sacred Blood of the Dragon Queens - and it was said to
be the "nectar of supreme excellence". The ancient Greeks called it
ambrosia.
The concept of fairies
(the fair folk) was born directly from this base, being a derivative of
"fey" and relating especially to "fate". In the Celtic
world, certain royal families (especially those of the Pendragons, or Head
Dragons) were said to carry the Fairy Blood - that is to say, the fate or
destiny of the Grail Bloodline - while the Elf Maidens of the Albi-gens were
the designated guardians of the Earth, starlight and forest.
But how was it that the
dragons, fairies and elves of history became enveloped within a shroud of
supernatural enigma? Why was it that their stories were moved from the world of
reality into a domain of romance and nursery tale? What had all this to do with
the Donation of Constantine?
To answer these
questions, we must now step through the Portal of Enchantment into the Twilight
Realm of the Shining Ones, for theirs is the enlightened Realm of the Ring
Lords.
Three Rings for the Elven Kings
under the sky.
Seven for the Dwarf Lords in their halls of stone.
Nine for Mortal Men doomed to die.
One for the Dark Lord on his dark throne,
In the Land of Mordor where the shadows lie.
One Ring to rule them all.
One Ring to find them.
One Ring to bring them all
And in the darkness bind them,
In the Land of Mordor where the shadows lie.
So it is cited by Gandalf
the Wizard in Tolkien's The Lord of the Rings, one of the most popular
tales of all time.
In essence, the contested
ownership of the One Ring is little different to the enduring quest for the
Holy Grail. Although presented from quite opposite standpoints, both are quests
for the maintenance of sovereignty, but each has been misapplied at various
stages of history by those who perceived the Ring and the Grail as power
weapons. Hence, it was imperative (in the respective stories) that access to
the Grail was protected by severe questions, just as it was essential to keep
the One Ring from the evil Sauron of Mordor, who eventually lost his power when
the Ring was destroyed in the fires of the Mount of Doom.
There is, however, an
essential difference between Tolkien's One Ring, which is portrayed as dark and
divisive, and the Golden Ring of Grail romance, which is a ring of love and
enlightenment. The latter was further symbolised by the ring of iron-clad
knights who sat at the Round Table - a ring that was broken (leading the land
into chaos and waste) when Arthur forsook the Celtic Code in favour of the
Roman persuasion (or, as the later Christianised version of the story
differently explains, when Guinevere was unfaithful to Arthur with Lancelot).
It has been said on
occasions that the great genius of 19th-century composer Richard Wagner was
that he recognised the Ring saga as a version of the Grail Quest. However, if anything,
the reverse is true. What he recognised was that the popular Holy Grail legends
were, in fact, stylised retellings of the more traditional Ring Quest.
Both Richard Wagner and
Alfred, Lord Tennyson (in his Arthurian writings) understood that the Grail
Quest was a spiritual aspect of the Ring Quest, but that in essence they were
alike, if not the same. What they also recognised was the fact that both the
Ring and the Grail could bring disaster, though by different means. The power
of the Ring had to be withstood, otherwise it would enslave its master, whereas
the power of the Grail would retaliate with vengeance if misused. Either way,
the moral is the same in that, ultimately, power is self-destructive when
achieved through selling one's soul. Hence, the Ouroboros Ring can be a halo or
a crown, but it can equally become a noose.
Adolf Hitler's fanatical
obsession with finding the Hallows of Grail Castle was a prime example of this
misconceived notion of power. In his search for the Hallows, he obtained an
ancient lance (said to have been used by Charlemagne) which he insisted was the
Longinus spear that pierced the side of Jesus at the Crucifixion. This, he
reckoned, was the sacred Spear of Destiny, so revered in Grail lore. With this
in his possession, Hitler was confident that his empire would be as strong as
that of Charlemagne. But legend had it that, after many great victories,
Charlemagne was doomed to defeat from the moment he lost the magical weapon.
And so it was that on 30 April 1945 - the very day when the American 7th Army,
under General Patton, seized the lance from Nuremberg Castle - Adolf Hitler
accepted his defeat and [apparently] shot himself.
Whether applied in fact
or fantasy, the concept of the Ring and the Grail was such that it inspired
hope for the social and natural environments. The Grail Hallows (the Sword,
Chalice, Ouroboros and Spear) were traditionally regarded as tools of princely
service but, when presumed to be weapons of power, they would always, one way
or another, destroy the wielder from within. These Hallows were represented in
the four suits of the Tarot's Minor Arcana as the Swords, Cups, Pentacles and
Wands - subsequently to become the Spades, Hearts, Diamonds and Clubs that we
know today.
Throughout the best part
of this millennium, no organisation has misused the Grail Chalice symbolism to
greater effect than the Christian Church establishment. From the earliest
times, the Rosi-crucis (the chalice and wine of the Grail sacrament) was
a prerogative of the Albi-gens, being emblematic of the Blood Royal in
the womb of the Dragon Queen. However, the Church has long misappropriated this
aspect of the Hallows ceremony to become its Eucharistic power-weapon,
supposedly to bind its followers into communion with ecclesiastical dogma. But,
as time goes by, this very power is being seen to subside as the congregations
diminish in the quest for greater truths and more substantial enlightenment
from legitimate sources.
In William Shakespeare's A
Midsummer Night's Dream, the Queen of the Fairies is Titania, whose name
represents the pre-Olympian god-race of the Titans. In particular, she is the
Moon Goddess Diana. Their king, Oberon, however, had an historical base, being
inspired by an ancestor of Shakespeare's colleague Edward de Vere, 17th Earl of
Oxford. He was a founding member of Elizabeth Tudor's 16th-century Court Poetry
and Magic Syndicate - along with Francis Bacon, John Dee, Edmund Spenser and
others of the Rosicrucian "underground stream" who aided and guided
much of Shakespeare's work.
Edward de Vere was, at
that time, Lord Chancellor of England - as had been many generations of his
forebears, including Albrey, the 12th-century Prince of Anjou and Guisnes,
whose titular name, Albe-Righ, meant Elf King. What the Syndicate knew
full well, despite their loyalty to Elizabeth, was that the House of Tudor had
no prior right to the English throne, having simply taken it, by might of the
sword, from the preceding House of Plantagenet.
That apart, the Plantagenets
themselves were a junior branch of the House of Anjou, whose senior branch was
the House of Vere. Indeed, in 1861, the noted royal historian Baron Thomas
Babington Macaulay described the Veres as "the longest and most
illustrious line of nobles that England has ever seen". Their ancestry was
jointly Pictish and Merovingian, descending from the ancient Grail House of
Scythia. Here was a true kingly line of the Elven Race, and it was for this
reason that Oberon (a variant of Aubrey/Albrey, the historical Elf King) became
Shakespeare's King of the Fairies. Such was the translatory nature of all
Rosicrucian symbology, whether portrayed in stories, artwork, watermarks or the
Tarot.
Some time earlier, in
1408, Edward de Vere's ancestor, Richard (Lord Chamberlain and 11th Earl of
Oxford), had been invested as a Knight of the Garter by King Henry IV at
Windsor Castle. Also invested at the same time was King Sigismund of Hungary,
who had revived the ancient Egyptian Order of the Dragon - within which Richard
de Vere held the hereditary distinction of Lord Draconis.
One way or another, the
nursery tales which emanated from the "underground stream" were
stories of lost brides and usurped kingship - based upon the subjugation of the
Grail Bloodline by the Church of Rome and, in later times, by the sectarian
Puritans of the Protestant movement. The Catholics had their Dominican Grand
Inquisitor, Tomâs de Torquemada, and the Puritans had their equivalent in
Matthew Hopkins, the Witchfinder-General. Favoured executions, in each case,
were hanging, drowning or burning at the stake, and the common command was:
"Kill them all - God will know his own!"
The fairy tale concept
was essentially geared to stories relating to these persecutions: allegorical
accounts of the predicament of the true Royal Family - the Ring Lords of the Sangréal,
whose fairies and elves (having been manoeuvred from the mortal plane of
orthodoxy and status quo) were confined to a seemingly Otherworld existence.
They were tales of Grail
Princes who were turned into frogs, of Swan Knights who roamed the wasteland,
and of Dragon Princesses locked in towers or put to sleep for hundreds of
years. In the course of their persecution, the Elf Maidens were pricked with
bodkins, fed with poisoned apples or condemned to servitude - while their
champions swam great lakes, battled through thickets and scaled mighty towers
to secure and protect the matrilinear heritage of the Albi-gens. They
include such well-known stories as Sleeping Beauty, Cinderella, Snow White and
Rapunzel.
In all cases, the
underlying theme is the same, with the Bloodline Princess kept (through
drugging, imprisonment or some form of restraint) out of reach of the Grail
Prince who has to find and release her in order to preserve the dynasty and
perpetuate the line. For the most part, the establishment of the "Mother
Church" was symbolised by a malevolent stepmother, an evil witch or some
other jealous female with an opposing vested interest. Always, the stories are
reminiscent of the Lost Bride of the King in the Old Testament's Song of
Solomon. Their content also embodies the forlorn aspect of Mary Magdalene, the
bride of Jesus, whose royal heritage and maternal legacy were so thoroughly
undermined by the Christian bishops.
An interesting feature of
many classic fairy tales is that they truly are very old stories. Take
Cinderella, for example. If asked who wrote Cinderella, many people would
answer that it was the Brothers Grimm, while others would say it was Charles
Perrault. However, these men were not actually writers of fairy tales, as is
commonly thought. They were collectors, compilers and interpreters of the
tales. The story of Cinderella can be traced back to the Carolingian era, with
its first known version appearing in the year 850. Perrault published his
well-known edition in 1697 in France, while Jacob and Wilhelm Grimm produced
their German version in 1812.
Over the years, many
people have likened Tolkien's wizard, Gandalf, to Merlin of the Arthurian
tales. At the same time, Tolkien's Aragorn has been likened to King Arthur but,
as Tolkien himself pointed out, there is really a closer similarity between
Aragorn and the historical Charlemagne.
The challenge which faced
Charlemagne, who had been charged by the Church to establish a viable Empire
from various disunited kingdoms, was not unlike that which confronted Aragorn,
who reunited the divided kingdoms of Middle Earth. But there was a marked
difference in practice, for Aragorn was far more like Arthur in having an
advisory wizard, whereas Charlemagne did not because the Church would not
consent to counsellors outside its own appointees.
Aragorn's was therefore
more of a Celtic-style environment, with the enemy being the evil Sauron.
Charlemagne, on the other hand, was a champion of the Roman Church whose
adversaries were the supporters of the unlawfully ousted Merovingian
establishment - an establishment to which Aragorn would personally have been
well suited.
In the event, it became
essential for the Church to settle some form of Ring entitlement upon
Charlemagne so that he was perceived to conform to the Dragon tradition. And so
a suitable tale was invented to the effect that a serpent appeared at his court
with a golden ring in its mouth - an enchanted ring that compelled him to love
whoever's finger it was on.
At this stage, it is of
interest to note that a newly proposed three-film series of Tolkien's The
Lord of the Rings is currently in its early stages of development. After
some 18 months of negotiation with the American film company Newline Cinema,
the $260-million contract has been acquired by New Zealand film-maker Peter
Jackson.
Various parts of New
Zealand will apparently make ideal Middle Earth locations for the project, and
it is hoped that the first film (based upon Book I of Tolkien's 1950s trilogy)
will be released within the next couple of years. This film, The Fellowship
of the Ring, will subsequently be followed by The Two Towers and The
Return of the King.
With a speaking cast of
about sixty and many thousands of extras, it has recently been rumoured that
one of the key roles, that of Gandalf, is hotly tipped for Sean Connery. Given
that The Lord of the Rings has been voted "the most popular book of
the century", and with stars of this calibre, we could well be looking at
one of the first mammoth box-office attractions of the new millennium.
The composer Richard
Wagner's personal association with Grail lore and, of course, his own famous
Ring Cycle are well known. It is therefore very appropriate that one of the
present hopeful contenders for The Lord of the Rings film score is
Richard Wagner's own descendant, Adrian Wagner, who is now in touch with the
film company in this regard.
When Bloodline of the
Holy Grail was released, I was heartened to learn that the Wagner Grail
tradition of Lohengrin and Parsifal was still very much to the fore. At that
time, in parallel with my book, Adrian Wagner released an album called The
Holy Spirit and the Holy Grail. Now, as a companion to my latest work, he has composed
the compelling musical suite, Genesis of the Grail Kings. [See Audio
Reviews, this issue. Ed.]
One apparent fact about
Tolkien's elven folk is that, unlike the cute little elves of many children's
tales, these characters are actually larger and more powerful than average
mortals. They are also endowed with greater powers of wisdom, they ride magical
horses and closely resemble the ancient Irish king-tribe of the Tuatha Dé
Danann. In this regard, Tolkien was quite accurate with his assessment of
the original Ring Lords of the Albi-gens who, in the far distant years BC, were
called the Lords of the Sidhé (pronounced "shee").
The Sidhé was a
transcendent intellect, known to the Druids as the Web of the Wise, while
"druid" (druidhe) was itself a Celtic word for
"witch" - an English form of the Saxon verb wicca, meaning
"to bend" or "to yield" (as indeed do willow and wicker).
The Tuatha Dé Danann
(or Dragon Lords of Anu) were masters of the transcendent Sidhé, and
were duly classified as "fates" or "fairies". Before
settling in Ireland (from about 800 BC), they were the world's most noble race,
alongside the early Kings of Egypt, being the Black Sea Princes of Scythia (now
Ukraine). Like the original dynastic Pharaohs, they traced their descent from
the great Pendragons of Mesopotamia; and from them sprang the kingly lines of
the Irish Bruithnigh and the Picts of Scotland's Caledonia. In Wales
they founded the Royal House of Gwynedd, while in Cornwall in the southwest of
England, they were the sacred gentry known as the Pict-sidhé - from
which derives the term "pixie".
So, from a single caste
of the original Blood Royal - whether known as the Sangréal, the Albi-gens
or the Ring Lords - we discover many of the descriptive terms which sit at the
very heart of popular folklore. For here, in this one noble race, we have the
"elves", "fairies" and "pixies" - not beguiling
little folk, but distinguished Kings and Queens of the Dragon succession.
One of the most important
Scythian words was uper, which meant "over" or
"above" - a word that we still use in today's English in such
definitions as "superintendent" or "supervisor". In titular
form, a Scythian Uper was an Overseer or, more importantly, an Overlord
- the equivalent of a Pendragon. Later, in the Hungarian and Romanian regions,
the word gained the variant form, Oupire.
Until the mediaeval
fabrications of the Christian Church, there was nothing remotely sinister or
supernatural about the definition of Oupire, but this was eventually
destined to change when the witch-hunts began, for the priestly/kingly Oupires
were, in the eyes of Rome, the equivalent of Magian Druids. They were therefore
witches, and the Sidhé definition (Web of the Wise) became newly dubbed
as "the Web of the Weird".
In the main, outside the Celtic
regions of Britain, the traditional Oupires had been apparent in the
Balkan and Carpathian regions of Europe, having prevailed from Transylvania to
the Black Sea in ancient times. They were therefore not only associated with
witches but with Gypsies. The Church bishops and Inquisitional friars suspected
them of being the ultimate rulers of the Land of Elphane - the twilight realm
of fairy gold, magic springs and the abiding lore of the Greenwood, all of
which were anathema to the Church. They were said to be wandering people of the
night, who consorted with evil spirits. At that stage, a new word was born into
the language of Christian Europe. The word, a straightforward corruption of Oupire,
was "vampire".
In addition to vampires,
another classification was soon to enter the Inquisitional vocabulary as the
Dominican Black Friars and the Franciscan Grey Friars compiled their lists of
undesirables. They had now moved beyond the realm of ordinary heretics and pagans,
for alongside their fabricated vampire myth they conjured another form of
shapeshifting phenomenon: the werewolf.
Quite suddenly, there
appeared to be no end to the fantastic creatures that were reckoned to stalk
the streets and forests in search of unsuspecting victims. But the beauty of
all this was that it had the effect of making people lean more heavily upon the
Church - the only perceived route to salvation. These vampires and werewolves,
it was said, could not be killed by conventional means. Even God was out of the
picture, for only the power of Jesus Christ (the Saviour of humankind) could
defeat these diabolical beings. They were portrayed as devils, demons and
emissaries of Satan, who had to be exorcised and destroyed by the monks and clerics.
And so the Church was in business with a whole new genre of scary folklore to
counter the Grail Quest legends and esoteric artwork of the "underground
stream".
On the one hand, there
were the Albigensian tales of Swan Princes, Dragon Queens and Elf Maidens,
comprising the lore of the forgotten Bloodline and the Lost Bride, wherein
knights and chivalric champions battled against all odds to preserve the sacred
heritage of the Holy Grail. In these stories, there were wizards of the Druidic
school and wise hermits to guide the knights upon their journeys and missions.
But nowhere in these tales of enchantment did a gallant priest or bishop ever
ride to the aid of a damsel in distress, for the Church was, in practice, the
adversary.
What the bishops did, however, at
the 1545 Council of Trento in northern Italy, was they formally blacklisted and
outlawed the prophecies of Merlin, withdrawing all related material from the
public domain. Eventually, in order to weigh the literary balance in the
Church's favour, a new breed of writing was born, and it came into its own as
Gothic Romance.
The premise behind these
tales was not so much about saving victims, but rather more about destroying
the enemies of contrived "churchianity" - with crucifixes galore and
gallons of holy water being the essential weapons in the dreaded undertaking
against the sinister "evil ones".
Then, in time, the
Christian movement had a wonderful idea for its own Merlin competitor: not a
wizard as such, but an early Church bishop with canonised status. But, what a
very strange choice they made!
Back in AD 325, one of
the characters at Emperor Constantine's Council of Nicaea was a certain
Nicholas, Bishop of Myra. At this Church conference the bishops were debating
the nature of the Holy Trinity and of how Jesus was not simply the Son of God
but was also God incarnate. The ageing Libyan priest, Arius of Alexandria, was
not at all happy about this new concept and decided to make his feelings known.
But when he rose to speak, Nicholas of Myra immediately punched him in the
face!
This, of course, brought
the debate firmly back onto the required track - subsequent to which, the
violent protagonist was rewarded for his effort and duly became Saint Nicholas.
This titular name was later corrupted in parts of Europe to become Sinterklaas
or Sintniklaus, and then, in the English-speaking countries, to Santa Claus.
Now, by virtue of a good deal of strategic propaganda, he is lovingly revered
by children as the jolly, gift-bearing Father Christmas - a far cry from the
original vindictive bishop of historical record.
Within the Celtic Church
of the Dark Ages (in the days of Taliesin and the Merlin seers to the kings),
there had been some very prominent adepts of the old wisdom: abbots and culdees
such as St David, St Patrick and St Columba, all of whom were denounced in
their day by the Roman Church for their so-called wizardry and pagan beliefs.
Even the later papal establishment regarded them all as necromancers and
sorcerers, but this is not the way things are currently portrayed. Although the
Merlin prophecies were expressly banned by the Council of Trento, the teachings
of David, Patrick and Columba were so firmly cemented in society that the
Church pursued a different strategy of incorporation.
A thousand years after
the lifetimes of these Druidic Magi, the Vatican elected to bring them into the
orthodox saintly fold so that the real truth of their Celtic environment would
be overshadowed. Then, only a couple of years ago, the British Post Office and
the Anglican Church joined forces to promote the gentle St Columba of the Celts
alongside his bitter Catholic rival, St Augustine of Rome, who came to England
with an express papal brief to destroy the Columban movement immediately after
Columba's death in 597. Notwithstanding this historical fact, however, the anniversary
postage stamps and substantially hyped propagandist material of 1997 portrayed
these two arch-enemies as if they had been blood brothers in a common cause -
proving beyond doubt that new myths of "churchianity" are still being
created to this day.
With regard to the
werewolves, who were said to manifest at the height of the full moon, the
definition of were is, quite simply, "man" (hence,
"werewolf" is "man-wolf"), but it comes rather more
precisely from an ancient High Druidic caste of Wood Lords (called Weres
or Wallans). Their totem animal was the wolf - just as other tribes were
represented by, say, a boar or a horse. These totems were really no more than
the early predecessors of heraldry, whereby families became identified by the
animals, plants, shells and other devices on their banners.
Historically, the Wallans
became very influential, founding great kingly dynasties in Ireland, Wales and
England. The great Cadwallan of Wales was of this Druidic race, as was King
Casswallan, the intrepid son of Beli Mawr - the greatest of all the sovereign
Wood Lords in about 100 BC.
Other totems, of course,
were the various god and goddess representations, and it is especially relevant
that one of these still holds a prime British national position today, having
persisted though the centuries from the early culture of the Wood Lords.
The original Wallans were
apparent in Mesopotamia around 3,800 years ago, in about 1800 BC. They were
called the Yulannu, which meant, quite simply, Wood Lords. Indeed, it was from
their culture that the original Yule tradition derived, subsequently making its
way across Europe to Scandinavia.
The venerated Goddess of
the Yulannu was Barat An-na (Great Mother of the Fire-stone). The Sumerians
called her Antu. She was the wife of the god Anu, and the mother of Enki. In
later times, she was identified with Diana of Ephesus (Diana of the Nine
Fires). The cult of Barat An-na spread across Syria into the Phoenician
kingdom, where they began to portray her on their coins. In these representations,
she sat by the seashore with a torch of fire, and at her side was a round
shield bearing the cross of the Rosi-crucis.
Along with the Wallan
Druids, the culture of Barat An-na was brought to the British islands, where
her name became compacted to Bratanna. And in those islands, her image
persisted to the extent that she became the great tribal goddess - a goddess
who, despite all the emergent centuries of Christianity, has prevailed to this
very day. Her image on the coins has barely altered, except that her flaming
torch became a lighthouse, and the Rosi-crucis cross of her shield was
amended to become the Union Jack. But, after all this time, she is still the
Mother Goddess of the land, the Lady of the Fire-stone: Britannia.
Earlier, I mentioned the
mighty King Casswallan who reigned in Britain at about the time of King Herod
the Great. By virtue of being the son of the great Beli Mawr, he was not only a
Wood Lord but was also a Ring Lord of the Cassi; hence, he was Cassi-Wallan
or Casswallan.
The Cassi tribes were
also from Mesopotamia, prior to which (having previously settled in the
northern Zargos Mountains along with the Yulannu) they were Carpathian princes
of the Sidhé. They were, in fact, of the Tuatha Dé Danann Fairy strain.
They reigned in regional Mesopotamia from the 18th century BC and, from about
1600 BC, they governed all Babylonia for another 500 years.
This particular race
developed one of the oldest Ring cultures in history and, in ancient Ireland,
they were the sacred race of the god-men: the Vere-Bolg. The greatest of
their Ring shrines still exists, known as Newgrange today - originally a sacred
royal seat identified as a Rath. These shrines ("fairy rings")
were called the Creachaire (temple-tombs), and they housed the Raths which
were turf-covered mound dwellings constructed upon a framework of poles. In
later times, they were called Tepes (pronounced "tepesh") -
from which derived the American Indian tepee - and they were reckoned to
be Portals to the Netherworld, the sacred domain of ancestral souls.
It is from this
mound-dwelling practice that the tribal name of the Cassi Kings evolved, for a
Cassi was a Place of Wood. They were the seats of the Portal Guardians: the Oupires,
the Ring Lords of the Sidhé, who, as we saw earlier, were later dubbed
"vampires".
One of history's best
known Grail Fairies was Princess Melusine, daughter of the Pictish King, Elinas
of Alba - a descendant of the 2nd-century King Vere of Caledonia, Lord of the
Dragon. In the year 733, Melusine (maintaining the family heritage) married
Rainfroi de Vere, Prince of Anjou, and among their offspring was Count Maelo,
the commander of Emperor Charlemagne's army. From Maelo's own marriage to
Charlemagne's sister sprang the Vere Counts of Guisnes who, as previously
mentioned, were the reputed Elf Kings and became England's Great Chamberlains
and Earls of Oxford.
In the Arthurian and
Magdalene traditions of the Ladies of the Lake (as discussed in Bloodline of
the Holy Grail), Melusine was a "fountain fey" - an enchantress
of the Underwood. Her fountain at Verrières en Forez was called Lusina
(meaning "Light-bringer"), from which derived the name of the Royal
House of Lusignan - the Crusader Kings of Jerusalem. The Fount of Melusine was
said to be located deep within a thicket wood in Anjou, and Melusine was often
depicted as a mermaid - as she is still beguilingly portrayed in an old
painting at Count Dracula's Bran Castle in Romania.
In the 12th-century,
Melusine's descendant, Robert de Vere, 3rd Earl of Oxford and legal pretender
to the Earldom of Huntingdon, was appointed as King Richard I's Steward of the
forest lands of Fitzooth. As Lord of the Greenwood and titular Herne of the
Wild Hunt, he was a popular people's champion of the Sidhé heritage - as a
result of which he was outlawed for taking up arms against King John. It was he
who, subsequently styled Robin Fitzooth, became the prototype for the popular
tales of Robin Hood.
Of all the monarchs who
ever sat upon the throne of England, the Tudor Queen, Elizabeth I, was by far
the most in tune with ancient cultures and wood lore. She was even called the
Faerie Queene and, before being formally crowned, she was installed by the
people as their Queen of the Greenwood. This was an ancient ritual of the
Shining Ones - the Elven Race of the Albi-gens. The ceremony was
conducted in the mist of early dawn in the depths of Windsor Forest and, to
facilitate the installation, the customary Robin Hood legacy of the House of
Vere was brought into play.
At that time, the Queen's
Lord Chamberlain was Edward de Vere of Loxley, 17th Earl of Oxford, and it was
his office to invest Elizabeth by first deposing the Caille Daouine.
This was the traditional King of the Forest (whose name had given rise to
Scotland's Pictish realm of Caledonia) - the mighty Stag of the Seven Tines,
upon whose back Lord Vere rode into the ceremonial clearing.
Edward de Vere of Oxford
was a friend and student of the Rosicrucian alchemist and Secret Service
operative John Dee, and he worked closely with the statesman and philosopher
Francis Bacon (later Viscount St Albans). Between them (along with others) they
comprised the Royal Court Syndicate which was responsible for providing much of
the material for the works of their playwright colleague, William Shakespeare.
As mentioned in
connection with Melusine, fountains, springs and water in general were always
associated with the Ring Lord female line. This stems from the very earliest
times of the Anunnaki, whose founding mother (as explained in ancient
Mesopotamian literature) was Tiâmat, the Sea-dragon. In later times, these
queens were commonly represented as mermaids (mere maids), and were often
called Ladies of the Lake. This was a style granted to Mary Magdalene when she
had settled in Provence from AD 44.
While the male
descendants of Mary Magdalene and Jesus became the noted Fisher Kings in Gaul,
the female line retained its Dragon Queen status, in a quite separate dynasty,
as the matriarchal Queens of Avallon in Burgundy. They were known as the House del
Acqs (the House of the Waters), and among their number was the great
6th-century Queen Viviane, revered as the Lady of the Lake in Arthurian
romance. This heritage was so important to the Celtic Church that, when King
Kenneth MacAlpin united the Scots and Picts in 844, his extant installation
document made special mention of his descent from the Queens of Avallon.
The true significance of
King Arthur was his immediate joint descent in both the male and female lines
of the Albi-gens. His father was King Aedà n of Dalriada, the Pendragon of
Britain in the year 559 and a descendant of the Wood Lord Beli Mawr. His mother
was Ygerna del Acqs, the daughter of Queen Viviane, whose grandson (by Ygerna's
sister, Viviane II) was the legendary Lancelot del Acqs. Ygerna (sometimes
called Igraine in the Grail tradition) was the High Queen of the Celtic
kingdoms, and her daughter Morgaine (by her first husband, Gwyr Llew of
Carlisle) was High Priestess of the Sisters of Avallon.
Over the years, there
have been any number of speculations concerning the historical Arthur, but
these are mainly fronted by tourist establishments endeavouring to claim the
Arthurian heritage for their particular parts of England or Wales. The fact is,
however, that (in line with the traditional accounts) there was only ever one
High King of Britain called Arthur. There was only ever one Arthur born as the
son of a Pendragon. There was only ever one Arthur whose mother was Igraine of
Avallon and whose grandmother was the recognised Lady of the Lake. There was
only ever one Arthur with a son named Modred, and there was only ever one
Arthur with a sister called Morgaine (or Morganna as some of the stories refer
to her).
In this regard, the old
annals of Scotland and Ireland, along with the records of the Celtic Church,
are unanimous in identifying Arthur mac Aedà n of Dalriada. He was invested as
Sovereign Commander and High King in the year 575 by the Druid, Merlin Emrys,
and his primary seat was at Carlisle in the north of England, from where he
controlled the military defence of the English-Scottish border country.
Returning to the Raths (or royal
mound-dwellings), we should perhaps consider the fact that, as mentioned, these
Portals to the Netherworld were called Tepes - for this was the very
style afforded to one of the most enigmatic of all Gothic figures: Count
Dracula. Historically, and quite outside the Christian propagandist mythology
which surrounds the vampire character of Bram Stoker's famous novel, Dracula was
Prince Vlad III of Wallachia, who is often referred to as Vlad Tepes.
Since the word tepes
relates to "wooden poles", it is often thought that Vlad's
descriptive nickname relates to his individual method of executing enemies of
the State by impaling them upon wooden stakes. Hence, Vlad Tepes is sometimes
said to mean "Vlad the Impaler". This, however, is completely untrue.
He was called Tepes (as were many other Druidic elders before him) because,
within the ancient Ring Lord culture of the Sidhé, he was an appointed
Creachaire Portal Guardian.
Vlad Tepes, a
15th-century Prince in Romania, founded the capital city of Bucharest. His
popularised name, Dracula, means "Son of Dracul", and Dracul
(or Dragon) was a style by which his father was known within the Grail
fraternity of the Ordo Draconis (The Imperial Court of the Dragon) from
1431.
During this past century,
ever since the 1897 novel, Dracula, was published, Vlad has become an
archetype of the Church-promoted Gothic tradition. However, the establishment's
real fear of Dracula was not his harsh treatment of enemies, as is so often
cited, nor that he was a blood-sucking vampire in the Stoker tradition. What
they feared was his in-depth knowledge of alchemy and the fact that he was
truly an operative Oupire - a venerated Overlord of the Rath, a Portal Guardian
in the ancient Yulannu manner of the Ring Lords.
Those of you who have
read Bloodline of the Holy Grail, or maybe even Genesis of the Grail
Kings, will be familiar with the terracotta portrayal of the Sumerian
goddess, Lilith, from around 2000 BC. In this depiction (as in those of other
Anunnaki hierarchy) Lilith is seen to be holding the Rod and Ring of Divinely
Measured Justice. The Rod was actually an instrument of measure, and in some
portrayals it is very clearly marked in calculable units (like a modern ruler).
By Babylonian times, it was referred to as the Rule, and the one who held the
Rule was the Ruler - which is from where our governmental term derives.
The Ring (as mentioned at
the beginning of this talk) was a symbol of wholeness, unity and eternity. It
represented a continuance of Divine Justice - a justice that was measured by
the Rod (or Rule). Hence, the Ring was the ultimate insignia of the Anunnaki
Overlords - the enigmatic Oupires who were responsible for the establishment of
municipal government and kingly practice - for they were the progenitors of
civilisation from about 4000 BC.
In view of this, it is of
particular interest to note that Tolkien, when asked about the Middle Earth
environment of his book, The Lord of the Rings, answered that he
perceived its setting to relate to somewhere around 4000 BC. "The cauldron
has always been boiling," he said. "We simply add new ingredients to
the soup." In this respect, his popular tale, although enthralling, was
not actually new in concept. From the earliest of European times, the Saxon
god, Wotan (or Odin, the equivalent of the Sumerian Anu), was said to have
ruled the world with eight rings, having one more, the ninth ring (the One Ring),
to govern the others.
During the mediaeval days
of the Church's persecution of heretics and, indeed, through the Middle Ages
and beyond, all manner of Grail-related subject matter fell prey to the wrath
of the bishops and friars. Unsuspecting victims were accused of any number of
apparently unsavoury practices, and any association with the Ring culture was
proscribed. Indeed, when Joan of Arc was accused of witchcraft, one of the
charges laid against her by the bishops was that she used magical rings for
enchantment and curative purposes. As a result, she was burnt at the stake in
1431. But, in 1920, the Church reconsidered her case and she was pardoned and
canonised!
As detailed in Bloodline
of the Holy Grail, not only were proscriptions levelled against the
writings of Merlin - with a good deal of other literature confined to the
supposedly "lost" coffers of the Dark Ages - but pictorial art also
came under close scrutiny and many new rules were made. One of these was that the
Virgin Mary could only be portrayed wearing blue and white (just as she is
commonly depicted today). The reason for this was that other colours,
especially the red of the cardinals, might have implied that she held some form
of ecclesiastical office within a Church that afforded no clerical status to
women.
What is not so commonly known is
that the Church's regulations also applied to music - in particular, ancient
music which could be traced to cultures other than that of Rome, Greece or
Lydia. It is by virtue of these implemented regulations that so many of today's
reference books determine that, for the most part, music evolved either from
Greece or from various parts of the Roman Empire.
It is precisely the same
with the English language, which is largely, but quite erroneously, said to
derive from Greek and Latin. To cement this notion very firmly into our
culture, we are taught from the classical literature of Homer and Virgil; but
what is always forgotten is that both the Greek and Roman languages themselves
evolved from other, far older, sources. Much of the language of Europe,
including the English language, can be traced back into Phoenicia, Syria,
Egypt, India and Mesopotamia, with many of the word stems being thousands of
years old.
In the world of music, we
have the very same scenario and, by virtue of discoveries made in the past few
decades, there is no doubt that structured and sequenced music played a major
role way back in the days of the Babylonian kingdoms and beyond. Silver pipes,
bells and drums, along with beautifully ornamented harps and lyres, have all
been unearthed in ancient Sumer from graves dating back five or six thousand
years, and it is known that lutes were also used.
Buried along with kings
and queens of the Dragon succession, these finely produced instruments were
clearly ceremonial and would appear to have been used in ancient Star Fire and
Fire-stone rituals, as described in Genesis of the Grail Kings. The
Fire-stone ritual (the ritual of the goddess Antu, or Barat An-na) was largely
a levitation ceremony conducted with the monatomic, superconductive element of
the Highward Fire-stone (the white powder of gold).
Even in modern times,
music has been used to perform levitational feats - notably in Tibet, where
prohibitively large stone blocks have been lifted and positioned high in the
mountains by using anti-gravitational sound frequencies. The ritual involves
nineteen musicians and, behind them, 200 monks, radiating outwards in lines (in
groups of five) at five-degree intervals, facing towards a mountain cave. The
musicians use thirteen barrel-drums of variant sizes (weighing up to 150
kilograms apiece), suspended from wooden frames and directed towards a
bowl-shaped cavity in which the required boulder is placed, between the
musicians and the cave. Also, there are six long trumpets positioned at
intervals between the drummers. On command, the trumpets and drums begin, with
the monks at the rear providing a baffle whilst chanting. The time span before
levitation of the stone occurs is four minutes and, in this manner, stones have
been lifted some 400 metres, to be lowered into their necessary mountain temple
positions.
Having made an intensive
study of the intricacies of this ancient procedure, Adrian Wagner has recreated
a musical enactment in "The Phoenix and the Fire-stone" track of the Genesis
of the Grail Kings album - strategically breaking the sequence with a
Golden Mean partition and concluding immediately before the four-minute
deadline. Locked within this are frequencies that are so low as to be inaudible
to conscious awareness, but which resonate directly with the frequency of the
pineal gland. This, as many of you will know, is the gland responsible for
heightened states of awareness and perception.
Also included within the Genesis
album are aspects of musical harmonics which were banned by the Vatican in the
Middle Ages, subsequent to their use by the Knights Templars and Cistercian
monks in the construction of their Magdalene-dedicated Notre Dame
cathedrals, which are noted for their architectural defiance of gravitational
theory. The knights of this particular branch of the Templars (constituted by
King Baldwin of Jerusalem in 1118) were called the Guardian Princes of the
Royal Secret.
One of these musical
sequences is the most famous of all: a tritone dubbed by the Church as
"the Devil's interval". This is a direct extraction from the
discovered harmonic scales of ancient Mesopotamian deities, which include the
Enki scale, Enlil scale, Anu scale, Marduk scale, Kingu scale, Inanna scale and
others.
No composer has done so
much to preserve the legacy of Ring lore as Adrian's great-great-grandfather,
Richard Wagner. His renowned 16-hour, four-part Nibelungen Ring Cycle - The
Rhinegold, The Valkyrie, Siegfried and Götterdämmerung
(Twilight of the Gods) - was largely drawn from Burgundian folklore, but
derived ultimately from the very old Norse mythology of the Volsunga Saga.
The Ring's ultimately key
character is the warrior Siegfried who, while under the spell of a potion,
betrays the woman he loves - a goddess-turned-mortal called Brunhilde, who then
masterminds his death. Subsequently, however, she realises her error and throws
herself upon Siegfried's funeral pyre to be with him in eternity. The magical
Ring that Siegfried gave to Brunhilde is retrieved from the ashes by the
Rhinemaidens, the rightful Water Guardians of the Gold. And, by virtue of this,
along with Brunhilde's self-sacrifice, a hitherto curse (placed upon the Ring
by Alberic the Nibelung, Dwarf Lord of the Underworld) is lifted.
The Ring had originally
been stolen from the Rhinemaidens by the Nibelung, who lost it to Brunhilde's
father, the sky-god Wotan. Then Siegfried won it by killing a dragon. But, upon
the final cleansing of the Ring by the Rhinemaidens, Wotan perishes, together
with his dream kingdom of Valhalla. With the Ring now back in its rightful
hands, the world is redeemed and the Cycle is complete.
And so, once again the
traditional Ring lore is apparent, just as in Tolkien and the Grail stories,
for the Ring is finally seen to destroy those who hold it without the right of
affinity. The golden Ring itself (forged from the enchanted flat-stone of the
Rhinegold) had the power to afford its master the lordship of all the world,
but only at the cost of forsaking love and selling his soul to the Ring's
awesome power.
In terms of the straightforward
Messianic line of King David and Jesus, the most powerful of the Ring Lords was
King Solomon, who, in the Hebrew Talmud, was said to be the mightiest magician
of the age. His great wisdom and considered judgement as a sorcerer-king were
directly attributed to his ownership of an enchanted ring, and the legend of
King Solomon's Ring was clearly a major inspiration for Tolkien.
In the same manner as Solomon,
Tolkien's Ring Lord, Sauron, used his One Ring to command all the demons of the
Earth. Solomon used the demons to build a Temple of Jerusalem, whilst Sauron
used them to build the Tower of Mordor. The rings were also similar (as is
usual in the tradition), in that each had the power to corrupt and destroy its
master. Solomon's Ring achieves his downfall through the agency of the demon
Asmodaeus, whereas Sauron is, in effect, his own destructive demon.
Along with the rings,
there are also story similarities concerning the possession of light-radiating
jewels, with Solomon's being the Schamir and the Elf King Thingol's
being the Silmaril - each of which is said to be an heirloom of the
respective King's race.
By virtue of such Jewish
writings, the Dominican wrath of the Spanish Inquisition (from about 1480) was
largely directed against the Jews, especially those connected with Kabbalistic
studies, and it was really as a direct result of this persecution that the
witch-hunts began.
Prior to that, the Roman
Inquisition had been more concerned with heterodox Christians: those heretics
who were Christians of one sort or another (Arians, Nestorians, Nazarenes, or
whatever), but were not members of the Roman Church, and whose culture
revolved, to some extent, around traditions of magic and alchemy that were
outside Church control. But, here were the Jews putting forward their own
versions of the old lore - particularly those Jews in the Narbonne region of
the Spanish Marches, where the House of David had once been given privileged
rights of princely independence by Emperor Charlemagne.
It was recognised,
therefore, that the net should be cast over a wider arena, so as to take
account of those of completely different persuasions. It was no longer a matter
of the Church simply endeavouring to clean up the Christian house. What of the
Jews? What of the Muslims? What of the pagans in general?
And so, from the late
15th century, the Inquisition began a thorough process of "ethnic
cleansing". No one who was other than a full-blooded and obvious Catholic
was safe. But, there had to be some new form of classification to pull all the
prey into the ever-expanding net. The Grand Inquisitor at the time was the
brutal Tomâs de Torquemada, Senior Confessor to Ferdinand II and Queen Isabella
of Spain. Under his direction, the answer was found and, very soon, the friars
had set their sights upon "the most diabolical heathens who ever conspired
to overthrow the Roman Church".
In 1484, two Dominicans,
Heinrich Kramer and James Sprenger, published a book called The Hammer of
Witches. This evil but imaginative work gave full details of what was
perceived to be the hideous new threat posed by all the practitioners of
satanic magic. The book was so persuasive that, two years later, Pope Innocent
VIII issued an official Bull to authorise the suppression of this blasphemous
sect. Up to that point, the cult known as Witchcraft (to the extent that it
existed at all) had not really constituted a threat to anyone. It rested mainly
in the continuation of pagan ritual and fertility rites by the peasant classes.
In real terms, it was little more than the vestige of a primaeval belief in the
divine power of natural forces, focused above all on Pan, the mischievous
Arcadian god of the shepherds.
Pan was traditionally
portrayed with the legs, ears and horns of a goat, but the creative Dominicans
had other ideas about the pipe-playing Horned One, and they blackened his image
so that he was seen to correspond to the Devil himself. However, since the
Inquisitors were all men, it was determined that witchcraft must be a form of
depravity linked to the insatiable wantonness of women!
The problem was that
nobody really knew who these presumed witches were, and so a series of
ludicrously tragic trials and tests was devised to root them out. In the midst
of all of this, the harsh Puritan sect became politically allied to the Roman
strategy, implementing its own witch-hunts in England and, later, in America.
Over a period of some 250 years, more than a million innocent men, women and
children were murdered by the delegated authority of the witch-finders.
It was against the backdrop of this
religious fanaticism and persecution that the Renaissance movement was born -
an era of rebirth and resurrection, facilitated by an environment of democratic
free-thinking. This era (with its height in the early 1500s) was the age when
Leonardo da Vinci, Raphael and Michelangelo developed the harmony of classical
art to its highest form. And it was the age in which the excitement of pagan-
oriented scholarship re-emerged in a burst of colour to cross new frontiers of
science, architecture and design.
During the course of
this, in 1614 and 1615, two tracts, entitled The Rosicrucian Manifestos,
emerged from Germany. These were immediately followed by an associated romance
called The Chemical Wedding, written by the Lutheran pastor Johann
Valentin Andreae. The publications announced a new Age of Enlightenment and
Hermetic liberation in which certain universal secrets would be unlocked and
made known.
In view of the advent of
Britain's scientific Royal Society and the inspired work of Isaac Newton,
Robert Boyle, Robert Hooke, Edmund Halley, Christopher Wren and others a few
decades later, the prophecies were correct enough but, at the time, they were
veiled in allegory and appeared to convey an even more pertinent message.
The writings centred upon
the travels and learning of a mysterious character named Christian Rosenkreutz,
a Brother of the Rosy Cross. His name was plainly designed to have Rosicrucian
significance, and he was depicted wearing the apparel of the Knights Templars.
The action of The
Chemical Wedding takes place in the magical Castle of the Bride and
Bridegroom - a palace filled with lion effigies, where the courtiers are
students of Plato. In a setting worthy of any Grail romance, the Virgin
Lamplighter arranges for all present to be weighed on the scales, while a clock
tells the motions of the heavens and the Golden Fleece is presented to the
guests. Music from strings and trumpets is played throughout, and all is
cloaked in an atmosphere of chivalry, while Knights in Holy Orders preside.
Beneath the castle stands
a mysterious sepulchre bearing strange inscriptions, and outside in the harbour
are twelve ships of the Golden Stone, flying their individual flags of the
Zodiac. Amid this curious reception, a fantasy play is conducted to tell the
compelling story of an unnamed princess who, cast ashore in a wooden chest, is
discovered by a prince, whom she marries, thereby causing a usurped royal
heritage to be restored.
This is another Lost
Bride fairy story of the type we have already seen. But, when combined with the
two earlier publications, The Chemical Wedding's Grail significance was blatantly
obvious, and the Church wasted no time in bringing the full weight of its
condemnation against the Rosicrucian movement.
Having considered the historical
Fairies, Pixies and Elves, we can now take a look at some others of the
so-called Shining Ones: the Sprites, Goblins and Gnomes.
The definition of
"sprite" is no more nor less than a "spirit person" - one
of the transcendental realm of the Sidhé. The original Sprites were the ancient
Scythian ghost warriors who painted their bodies grey-blue to look like corpses
when they entered the battlefield.
In Shakespeare's A
Midsummer Night's Dream, the character Puck is described as a
"sprite", and in traditional English wood lore Puck is identified
with a certain Robin Goodfellow who was said to be a "goblin". His
father was Herne the Hunter. Hence, Oberon and Herne are one and the same. The
name Oberon (a variant of Albrey the Elf King, as we have seen) is itself a
derivative of the Scythian Oupire (meaning "over") and Ron
(meaning "reign"). Oberon, therefore, means "Over Reign",
which is the same as High King or Pendragon.
The description of
"goblin" stems immediately from the Germanic word kobelin, and
the kobelins were said to be mine-workers or those who worked
underground. In the context of the Ring culture, goblins were, in essence,
attendants of the Oupire Portal Guardians of the Rath - the mound-dwellings of
the Tepes gateways to the ancestral Netherworld - and they were just as human
as the Oupires themselves.
Gnomes, like Goblins,
were said to be the guardians of the underground treasures - which is why the
word is today associated with banking, as in the so-called "Gnomes of
Zurich". The word root is in the Greek equivalent of gno-, from
which we get "gnosis" and "gnoble" ("noble"). The
Gnomes were therefore, once again, of the noble race and were referred to as
"the Wise Ones". Their job was indeed one of guardianship: they were
guardians of the gnosis (the knowledge) and the Sacred Bloodline of the
Albi-gens. It is by way of the noble (or gnomic) distinction that the Fairy
Race in general was referred to as the Gentry - particularly the Druidic caste
of the Pict-sidhé (the Pixies) who were the ultimate custodians of law
and culture. Their female counterparts were the Behn-sidhé (the
Banshee), which, in old Irish, simply means "the Wise Women".
In life, when presented
with a seemingly unsurmountable problem, one can either submit to the stress
and pressure that it causes or, alternatively, one can mentally diminish the
problem. That does not mean that it goes away, but it can appear less harassing
and more controllable. Well, that was precisely what the Church did with the
Dragon succession - the Ring Lords of the Albi-gens, the Sacred Bloodline of
the Holy Grail. By way of redefining all the original names - Fairies, Elves,
Pixies, Gnomes, Goblins, Sprites, or whatever - they diminished the problem by
miniaturising the nominal significance. In so doing, the transcendental race of
the Sidhé was portrayed as minute little figures and moved into the realm of
mythology. The fraudulent Donation of Constantine was then brought into play
and, henceforth, only the Church could determine who was and was not a king!
If this strategy did not
work sufficiently on its own, as was indeed the case in the Renaissance (a
period of a more general awareness and enlightenment), then part two of the
plan was brought into operation. This was more specifically targeted at the key
members of the Messianic strain: the ultimate Dragon succession of the
Albi-gens - the dynastic Kings and Queens of the Sangréal and their
senior Oupires. These people were real, and everyone knew that, so they could
not be confined to the superficial realm of fantasy. They could, however, be
portrayed as if (being of the Dragon blood) they were of a weird, half-human
strain, beyond the Christian pale. At best, they were perhaps mermaids and, at
worst, they were vampires, but either way they were the evil, shapeshifting
emissaries of Satan!
The fact that anyone
believed such nonsense is difficult to comprehend in these more level-headed
times. However, the myth is still operative and, to some extent, it is still
working with a vengeance. It is even working on some whose apparent mission in
life is to expose such propagandist dogma, but who - by way if its own cleverly
contrived strategy - have actually fallen prey to it. In this regard, at this
very moment there are some well-known, supposedly intelligent folk who should
know better, claiming that the British Royal Family, along with myself and others,
are really hideous reptiles from another planet!
One of the most surprising things
about the Scythian Ring Lords is that their preserved remains from thousands of
years ago (discovered even as far north as Siberia) show their bodies
substantially tattooed with ring-tailed lemurs. Lemurs, we are led to believe,
are native to (and pretty much restricted to) Madagascar and the Comoros
Islands off Mozambique, but here they are, where we are told they never were,
in northern Europe and the Black Sea regions!
It has long been known
that there was once a continent, inhabited by a great king-tribe, which was
noted for its lemurs. Hence, it has been dubbed "Lemuria", setting a
good many enthusiasts searching for its sunken whereabouts beneath the Atlantic,
Pacific or Indian oceans as if it were the lost city of Atlantis. Maybe such a
concealed territory does exist. However, the fact is that (by whatever name it
was once known) the mightiest Lemurian land tract was never lost. It was the
great mainland continent which still exists today, stretching across eastern
Europe through the one-time USSR.
This was the original
realm of the great Ring Lords, tracing back to about 40,000 BC - the homeland
of the Oupires of the Pict-sidhé. It was the land of the mighty Warlords of the
Dragon before they migrated and battled their way southwards in the
ever-cooling climate of the last ice-age. Undoubtedly, the environment was once
very warm there, as is proved by the fact that the lemurs travelled about as
far south as they could possibly go by land before Madagascar and the Comoros
broke away from the southern African mainland.
What did these early
god-kings look like? Well, they are now thoroughly identifiable from their
preserved remains, which have been excavated at various sites from as far
afield as Transylvania and Tibet. With their light-brown to red hair and pale
eyes, the leather-clad men stood at least six foot six inches and upwards,
while even the women were over six feet tall. Undoubtedly, these forebears of
the Gaelic and Celtic High Kings were among the most awesome warriors of all
history.
Of particular interest is
the fact that the Anunnaki gods were as much a part of the Sidhé culture as
they were of the Mesopotamian tradition. It was not for no reason that the
settlement of Anu was hundreds of miles north of Sumer on the Caspian Sea. It
was not for no reason that the ancient centre of Scythopolis (Sidhé-opolis),
which the Syrians called Beth-Shean (the House of Power), was 800 miles
away in Galilee. Indeed, it is now suspected that the Ubaid culture of southern
Mesopotamia - the culture which introduced municipal structure from about 5000
BC - was actually the Uper-ad culture: that of the Scythian Overlords, the
Upers or Oupires.
It is also reckoned that
the subsequent culture of the region, phonetically called Sumerian (pronounced
"Shumerian"), was actually Sidhé-murian ("Shee-murian"). In
fact, the case for this is now considerable, since the early Ring Lords of
Scythia (the Tuatha Dé Danann king-tribe) were actually called the Sumaire.
And in the language of old Ireland - to where many of the caste migrated - the
word sumaire means "dragon".
So, why have we not
learned about these people in our histories? The answer is straightforward.
They were, in practice, the real Elves and Fairies of our heritage, but their
story was quashed from the earliest days of Roman suppression and subjugation -
as the diminution of their figures caused a parallel diminution of their
history.
The fact is, however,
that for all we have been told about our cultural identity being from the
classical scholarship of Greece, or from the imperial majesty of Rome, these
things are entirely untrue. Such establishments appeared very late in the day.
The true sovereign
heritage of Western culture - the culture from which derived all the so-called
myth and legend which sits so comfortably within a collective race memory (no
matter what the Church and academics might say in their attempts to sway us) -
comes from one place alone. It comes from a place and time that might just as
well be called Middle Earth as by any other name. It comes from the
long-distant Realm of the Ring Lords.
Lecture Introduction
It seems like hardly any time since I was here. It's only ten months ago, I
guess, but in the past few months Genesis of the Grail Kings has been
completed, published and is already making a significant impact in Britain,
with launches now taking place further afield.
Duncan has asked me to
begin by giving some background about myself once again. I am involved with a
number of organisations - the Celtic Church being one in particular, for which
I'm the Grand Prior in Britain [that is, the Celtic Church of the Sacred
Kindred of St Columba]. Not necessarily that the established Church
organisations like the Celtic movement very much, but that's the way of it. I
am also appointed as a Presidential Attaché to an organisation called The
European Council of Princes.
The Council was founded
in 1946, directly after the War, and the object was fairly straightforward. (In
fact, some of the financing actually came from this country [Australia], and a
lot from America as well). It was at a time when there was a tremendous fear
about the build-up of further extremist right-wing factions, and there was also
the fear that the communist left-wing might take a hold in Europe. It was
decided, therefore, to set up a watchdog committee called The International
Council of Government, whose brief was to keep an eye on the extreme political
factions. As it transpired, it didn't have very much to keep an eye on and,
once the European Common Market came into being, it became much more involved
with that from the 1960s. The Council quite liked the idea of the trading
agreements and the general mutuality, although it doesn't like things too much
in the way they have now developed within the European Union.
About ten tears ago, the
Council changed its name to become The European Council of Princes. With the
eventual establishment of the European Parliament, there could hardly be a
Council of Government as well. In fact, the Council was not a government at
all: it was simply an advisory body consisting of thirty-three European royal
houses. These might be reigning houses, dispossessed houses or deposed houses but,
whatever the case, various princes and princesses of these families formed the
Council. For the longest time now, their objective has been a fairly simple
one, and that is to look after the constitutional clauses within the various
nation states (European countries, with the exception of Britain, have Written
Constitutions). And so, when the European Parliament decides to enact this new
law or impose that new dictate, the Council of Princes is able to say,
"Look, you can't actually do that because it contravenes, say, clause 7 in
subsection (b) of the Constitution of this or that country".
The Council of Princes is
not especially political - it is more of a social Council in practice; and I am
appointed as an Attaché by virtue of the fact that its President since 1992 has
been HRH Prince Michael of Albany, the current heir to the Royal House of
Stuart - the House that was deposed in Britain from 1688.
The House of Stuart,
having taken over the presidency of the Council from the House of
Habsburg-Austria, related it to its one-time Royal Academy, which was a very
scientific establishment. In fact, in the 1700s in particular, it was highly
Rosicrucian - very scientific and alchemical. From the time of Robert the
Bruce, the Chancellor of that organisation was given the title Prince Saint
Germain. This title had little to do with the 5th-century saint himself (except
indirectly), but it had to do ultimately with the Stuart Royal Court in France,
at the Palace of Saint Germain.
The Chancellor title was
changed in the 1700s to Count Saint Germain, and in the 1890s it was changed
again to become Chevalier Saint Germain. My present title is that of Chevalier
Saint Germain - which is where the knighthood comes from. As distinct from an
English knighthood, mine is a Franco-Scot distinction attached to the Stuart
Royal Court of France [as ratified by King Louis XIV in 1692], in the key Noble
Order of the Royal Palace of Saint Germain-en-Laye, near Paris.
Being a Stuart supporter,
I am not really a great fan of the House of Hanover, as you know. However, I
have now become attached to a particular Hanoverian establishment. The oldest
antiquarian society in the world, constituted by the House of Hanover [by
charter of King George III of Britain] in the middle 1700s, is an association
called the Society of Antiquaries which, in Scotland, forms an adjunct to
Historic Scotland - a Government department. Well, as a non-fan of the House of
Hanover, I was privileged and delighted a few months ago to be made a Fellow of
the Society of Antiquaries of Scotland - so it rather looks as if I've been
blessed to have a little bit of a foot in the establishment's academic camp.
Now, back to where we are
today. I have to begin of course by thanking Duncan and the NEXUS team for
affording me the opportunity to link my first Australian visit for the new
book, Genesis of the Grail Kings, with the NEXUS Conference. And I would
like to thank those of you who, since I was last here, have written to me. Some
of you may have had a reply by now; my correspondence was more or less up to
date around Christmas, but it has fallen behind again. So, if you're still
waiting, please bear with me; I will respond.
About
the Speaker:
Sir Laurence Gardner,
Kt St Gm, KCD, KT St A, is an internationally known sovereign and chivalric
genealogist. He holds the position of Prior of the Celtic Church of the Sacred
Kindred of Saint Columba, and is distinguished as Le Chevalier Labhrà n de Saint
Germain and Preceptor of the Knights Templars of Saint Anthony. Sir Laurence is
also a Presidential Attaché to the European Council of Princes (a
constitutional advisory body established in 1946), and Chancellor of the
Imperial and Royal Court of the Dragon Sovereignty. He is formally attached to
the Noble Household Guard of the Royal House of Stuart, founded at St
Germain-en-Laye in 1692, is the Jacobite Historiographer Royal by Appointment,
and is a Fellow of the Society of Antiquaries of Scotland.
Editor's
Notes:
Correspondence should be addressed to Laurence
Gardner, Post Office Box 4, Ottery St Mary EX11 1YR, United Kingdom. Email: laurence58@btopenworld.com
Website: http://Graal.co.uk (PLEASE NOTE THAT
LAURENCE GARDNER IS DECEASED
Sir Laurence Gardner's first book, Bloodline of the Holy Grail: The Hidden
Lineage of Jesus Revealed, was published by Element Books in 1996
(ISBN 1-85230-870-2 h/c), and is available in paperback (ISBN 1-86204-152-0).
The second book in his Grail
Bloodline series is Genesis of the Grail Kings: The Pendragon Legacy of Adam
and Eve, published by Bantam Press/Random House in 1999 (ISBN
0-593-04430-4).
Video and audio tapes of Sir Laurence
Gardner's presentation at the 1999 NEXUS Conference are now available. Contact
us at editor@nexusmagazine.com
Extracted from Nexus
Magazine, Volume
6, Number 5 (August-September 1999).
PO Box 30, Mapleton Qld 4560 Australia. editor@nexusmagazine.com
Telephone: +61 (0)7 5442 9280; Fax: +61 (0)7 5442 9381
From our web page at: www.nexusmagazine.com
From a lecture presented
by
Sir Laurence Gardner, Kt St Gm., KCD, KT St A.
at the 1999 NEXUS Conference held in Sydney, 22-23rd May
Transcript © Sir Laurence Gardner 1999
From NEXUS New Times Magazine via http://cruinthe.tripod.com/nexus/articles/ringlords1.html
For more information
about interesting bloodlines see http://nexusilluminati.blogspot.com/search/label/bloodlines
For more by Laurence Gardner see
http://nexusilluminati.blogspot.com/search/label/laurence%20gardner
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The term
“Sex magic” is used to describe the act of sex or sexual acts combined with
magic
that are performed during some type
of ritual. This can be accomplished in one of three magical methods being that
of active white or black magic and inactive neutral magic. In this article, I
would like to explain in the most simple way possible the various differences
between these three magical rites of sex.
The facts are that true
adepts such as 33rd degree Freemason, Manly P. Hall, and illuminated white
magicians like Paschal Beverly Randolph do not die addicted to drugs such as
heroin and alone in a boarding house, because their lights are so bright
and wisdom so keen, they do not let a dark substance type drug like heroin
control and then kill them. They have mastered the ways of life, themselves,
and are in control of their passions or demons. It is not the other way around
where their passions for drugs or sex control their every breath, like that of
black magicians who eventually die from the darkness of the acts they have
committed during this life in the full light of day or dimly lit nights under
the moon. These black magicians of selfishness and hate are simply not permitted
to shine like true morning stars or earn a place amongst the heavens with the
Saint’s because they have violated the laws of the universe and of love.
