Showing posts sorted by date for query PYTHON WORSHIP WAS THE FIRST RELIGION. Sort by relevance Show all posts
Showing posts sorted by date for query PYTHON WORSHIP WAS THE FIRST RELIGION. Sort by relevance Show all posts

Saturday, December 19, 2020

World's oldest python fossil unearthed

The python fossils indicate these snakes 
evolved in Europe.


The 48 million-year-old fossil python discovered in Germany.
(Image: © Copyright Senckenberg Gesellschaft für Naturforschung)


Scientists have discovered fossils of the oldest python on record, a slithery beast that lived 48 million years ago in what is now Germany.


Found near an ancient lake, the snake remains are helping researchers learn where pythons originated. Previously, it wasn't clear whether pythons came from continents in the Southern Hemisphere, where they live today, or the Northern Hemisphere, where their closest living relatives (the sunbeam snakes of Southeast Asia and the Mexican burrowing python) are found. But this newfound species — dubbed Messelopython freyi — suggests that pythons evolved in Europe.

"So far, there have been no early fossils that would help decide between a Northern and Southern Hemisphere origin," study co-researcher Krister Smith, vertebrate paleontologist at the Senckenberg Research Institute in Frankfurt, Germany, told Live Science in an email. "Our new fossils are by far the oldest records of pythons, and (being in Europe) they support an origin in the Northern Hemisphere."

Related: Image gallery: Snakes of the world

VIDEO https://www.livescience.com/oldest-python-snakes-on-record.html?jwsource=cl

The M. freyi fossils were found at Messel Fossil Pit, near Frankfurt, Germany. Formerly an oil shale mine, this site almost became a garbage dump in the 1970s. ("A big hole in the ground is a valuable commodity," Smith said.) But by then, the site was already known for its remarkable fossils dating to the Eocene epoch (between 57 million and 36 million years ago). So, in 1995 it became a UNESCO (United Nations Educational, Scientific and Cultural Organization) site. Fossils unearthed there include a pregnant mare, mating turtles and shimmering beetles.

Image 1 of 2


The first discovered fossil belonging to the newfound species Messelopython freyi. (Image credit: Copyright Senckenberg Gesellschaft für Naturforschung)



A sketch (left) and photo of a skull (right) of one of the newly analyzed python fossils. (Image credit: Copyright Senckenberg Gesellschaft für Naturforschung)


M. freyi would have been about the same size as today's small pythons, reaching nearly 3.2 feet (1 meter) in length and sporting about 275 vertebrae, the researchers said. The ancient python also sheds light on its relationship with boa constrictors.

In effect, the discovery shows that this early European python lived alongside boa constrictors, a startling find given that boas don't live anywhere near modern-day pythons. In general, boas live in South and Central America, Madagascar and northern Oceania, whereas pythons inhabit Africa, Southeast Asia and Australia. "This is one of the most exciting and intriguing aspects of the discovery of Messelopython," said study co-researcher Hussam Zaher, professor and curator of vertebrates at the Museum of Zoology at the University of São Paulo, in Brazil.

Researchers already knew that boas lived in Europe during the early Paleogene period, which lasted from 66 million to 23 million years ago. Now that it's clear pythons lived there too, it raises questions about how these "direct ecological competitors," which both squeeze prey to death, coexisted, Zaher told Live Science in an email.

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This question may be answered by finding more early python and boa fossils, especially those with preserved stomach contents, he said. In addition, researchers can look to southern Florida, where python (Python molurus bivittatus and P. sebae) and boa (Boa constrictor) species coexist as invasive species. It's not yet clear whether the P. molurus bivittatus and B. constrictor living in the Sunshine State "are competing over resources or may be using slightly different microhabitat and preys," Zaher said. "A similar situation may have happened in Europe during the Eocene."

The study was published online Wednesday (Dec. 16) in the journal Biology Letters.

Originally published on Live Science.

PYTHON WORSHIP WAS THE FIRST RELIGION 

Tuesday, June 30, 2020

Nina Paley's ‘Seder-Masochism’ Film Explores Patriarchy in the Book of Exodus Through Animated Ancient Idols

Screenshot from the song sequence “You Gotta Believe” by Nina Paley on Vimeo.

Global Voices interviewed American free culture activist and filmmaker Nina Paley about her new animated film “Seder-Masochism.” It is loosely based on the Book of Exodus from the Torah/Bible and exposes the veiled patriarchy in the religious text.
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Paley is the director of the 2008 full-length animated film “Sita Sings the Blues” which she released to the public domain in 2013. The film narrated the Indian epic poem Ramayana by using the 1920s jazz songs of Annette Hanshaw. It brought Paley worldwide fame because of its feminist interpretation of the epic and her long battle against the copyright claims tied to the songs of Annette Hanshaw used in the movie. Paley had to pay a negotiated amount of at least US$50,000 by loaning the sum. She eventually reclassified the film’s license from Creative Commons Attribution-Share-alike 3.0 Unported (CC-BY-SA 3.0) to Creative Commons CC0 (equivalent to public domain).

In an interview with Jewish podcast station Judaism Unbound, Paley said that “Seder-Masochism” is her take on the Exodus, which she first learned during Passover Seders. The Passover Seder is a Jewish ritual that involves the retelling of the liberation of Israelites from slavery in ancient Egypt. She added in the interview that “she identifies herself as a “born-again atheist” and explains the ways in which her recent study of the Book of Exodus has left her uncomfortable.

Several songs and scenes from the film “Seder-Masochism” have been uploaded by Paley to the Internet including the song sequence “You Gotta Believe” which turns Minoan stone goddess idols into flash animation. It features Moses and “singing” ancient goddesses who find themselves about to be defeated by patriarchy.

Global Voices reached out to Paley to learn more about her second film.

Subhashish Panigrahi (SP): First of all, congratulations on your upcoming work. What are the roles you're playing in the entire production? What is the movie about?

Nina Paley (NP): Once again I'm producing, directing, writing, animating, everything-ing…I'm hoping the sound designer for “Sita Sings the Blues“, Greg Sextro, is able to do more sound design for Seder-Masochism. The music is all “found” and used without permission [at the moment]. Much or all of my use is Fair use, but ultimately that can only be determined in court.

Seder-Masochism is about the Book of Exodus from the Torah/Bible, and indirectly the Quran (Moses is a prophet of Islam). My interpretation of Exodus is that it's the establishment of complete patriarchy, the elimination of any remaining goddess-worship from older times.

Some of clips from the feature-in-progress are here.

SP: What inspired you to start this project?

NP: Sita Sings the Blues was denounced by fundamentalists who called my collaborators “self-hating Hindus.” As a Jew, that rhetoric was familiar to me – Jews *invented* that “self-hating” nonsense. Since I'm not a Zionist, I've been called a “self-hating Jew” too. Also, the Hindutvadis called me a “white Christian woman who hates Hindus”, and sent hate emails saying “how would you like it if someone made a film about YOUR religion?!” Of course I love it when someone makes a good film about Abrahamism - Monty Python's Life of Brian is the best I can think of. I was (am) also frequently accused of “cultural appropriation“, implying that only those of Hindu/Asian descent are qualified to work with Hindu/Asian stories. So it seemed that everyone, right and left, wanted me to make a film about “my” religion, Judaism! I figured if they're offended by Sita Sings the Blues, they'll be REALLY offended by that. I printed up a Jew Card so I could “play” it for this project.

Ancient goddess LILITH gif by Nina Paley. 
Source: Nina Paley/Wikimedia Commons

SP: The song is hilarious! How did you bring the thousand-year-old stone idols to life?


NP: There are already goddesses in the Flash sections of Seder-Masochism I animated a couple of years ago. I needed to put more “goddess” into the film, and was tediously redrawing the Flash goddesses in Moho, the software I'm using now. It occurred to me that instead of redrawing them I could use the source images they're based on, I spent a few days finding the highest resolution images I could, and a few more days manually removing the backgrounds in GIMP. Moho can do things Flash can't, such as this type of animation with raster images. Anyway, they looked cool so I'm using them in the remaining Seder-Masochism scenes.

The goddesses in flash animation can be downloaded on Wikimedia Commons.

As Paley is producing the film on her own, she is also working with other free culture activists like the United States-based nonprofit QuestionCopyright.org to raise funds, apart from launching a Kickstarter campaign. She is uploading segments of the film publicly on the Internet as the film is being developed.

A previous version of this article incorrectly identified the origin of the goddesses. They are Minoan, not Egyptian.


Posted 4 February 2018 

Written by Subhashish Panigrahi

Written by Qurratulain (Annie) Zaman

Thursday, May 14, 2020


ISHMAEL REED’S HOODOO DETECTIVE

The 1972 cult crime novel that explores Black identity, African religion, civilizations at war, and all of recorded history.

APRIL 6, 2020 BY SCOTT ADLERBERG
https://crimereads.com/ishmael-reeds-hoodoo-detective/

Most detective novels tell a story about a local crime. But what about the crime stories much bigger? I don’t mean stories, say, about government corruption or drug smuggling or international human trafficking. These tales present us with crimes grave and damaging enough, but every so often, in a mystery novel, you’ll find a detective coming up against something even larger in scope. Ishmael Reed’s 1972 book, Mumbo Jumbo, provides one such example. You might say the novel’s criminal is nothing less than recorded history. Yes, history itself is the culprit in these pages, and the specific crime is the oppression, the stifling, the diminishment, of one civilization by another. It takes an unusual type of detective to investigate a case with implications so broad, and that’s where Reed’s investigator, PaPa LaBas, described as an “astro-detective”, comes in.

It’s the early 1920s, in New York City. Papa La Bas works out of Harlem, his office located in a two-story building named The Mumbo Jumbo Kathedral, and his purported strong ties to Africa are clear in how he’s introduced:


“Some say his ancestor is the long Ju Ju of Arno in eastern Nigeria, the man who would oracle, sitting in the mouth of a cave, as his clients stood below in shallow water.”

“Another story is that he is the reincarnation of the famed Moor of Summerland himself, the Black gypsy who according to Sufi Lit, sicked the Witches on Europe. Whoever his progenitor, whatever his lineage, his grandfather, it is known, was brought to America on a slave ship mixed in with other workers who were responsible for bringing African religion to the Americas where it survives to this day.”

Papa La Bas is enigmatic even to his friends and acquaintances, but what is important to know about him, as the narrator states, is that he carries “Jes Grew in him like most other folk carry genes.” Since the case he tackles will concern the powerful force called Jes Grew and the efforts by its enemies to suppress it, LaBas is both qualified for the job at hand and eager to do it. Nobody has to pay him to take it on.

But what exactly is Jes Grew?

As Mumbo Jumbo lays it out, Jes Grew is a virus. It’s a plague that has struck different parts of the United States over the years. At times, it has hit Europe. But unlike other plagues, Jes Grew doesn’t ravage the affected person’s body; it enlivens the host. It’s described as “electric as life” and “characterized by ebullience and ecstasy.” And wouldn’t you know it, the reason it came to America had to do with cotton. It arrived with the people brought to this country to pick the crop Americans, inexplicably, wanted to grow.

When Mumbo Jumbo opens, during the Warren Harding presidency, a new Jes Grew outbreak has flared. It had swept through the United States in the 1890s, around the time Ragtime became popular, but authorities managed to squelch it. Now it’s back, in a stronger variant, having begun in New Orleans and then gone on to tear through cities throughout the country. From how it makes people behave, there can be no doubt what it represents. And it’s no surprise why people quoted as fearing it—a Southern congressmen, Calvinist editorial writers—do regard it as a scourge. Jes Grew is life-affirming; it fosters a love of jazz, dancing, sexuality, pleasure. It doesn’t respect any monotheistic god, but more like vodoun, encourages an embrace and acceptance of “the gods.” It sharpens one’s senses, a Jes Grew patient says, and he declares that with Jes Grew “he felt like the gut heart and lungs of Africa’s interior. He said he felt like the Kongo: ‘Land of the Panther.’ He said he felt like ‘deserting his master,’ as the Kongo is ‘prone to do.’” Jes Grew, in other words, as its enemies see it, is a germ equated with Africa and blackness and African-American creativity. With the advent of the new outbreak, millions in the country are at risk, a situation the authorities consider dire. The United States itself is in grave danger, and perhaps all of Western Civilization.

* * *

If this does not sound like the plot material for a detective novel, that’s because Mumbo Jumbo is an unconventional one. In a 50-plus year career that includes poetry, playwriting, scriptwriting, essays. literary criticism, librettos, and songwriting, Ishmael Reed has produced eleven novels, and in none of them does he check his irreverence or follow orthodox narrative arcs. He satirizes westerns in Yellow Back Radio Broke Down (1970), the fugitive slave narrative in Flight to Canada (1975), the campus novel and American academic life in Japanese By Spring (1998). He critiques the media and everything related to the fallout from the OJ Simpson trial in Juice! (2011) and takes on the Trump era and relations between Indian Americans and African Americans in Conjugating Hindi (2018). In short, over six decades, Reed’s list of targets in American social and political life has been vast, his weapons for attack fearless humor and prodigious scholarship. He is a writer who weaves disparate elements into his novels: photos, cartoons, film allusions, oral histories, music, political rhetoric, boxing knowledge, folklore, citations from obscure historical tomes. Not unlike a writer similarly encyclopedic, Thomas Pynchon, who mentions Reed in Gravity’s Rainbow (“check out Ishmael Reed” Pynchon’s narrator tells us on page 588 of that book), Reed is a postmodernist, a master of literary bricolage. He never ceases to twist, parody, and subvert the tropes of the genre he’s using. So it goes in Mumbo Jumbo, where Reed makes it clear this is not a private eye novel like Raymond Chandler or his ilk would write. Still, for all Reed’s playfulness, his destabilization of a form, he does give the reader a real detective story. Reed says so himself, as Stephen Soitos writes in his book, The Blues Detective. In his essay “Serious Comedy in African-American Literature”, from Writin is Fightin, Reed says, “If there exists a body of mysteries in Afro-American oral literature, then included among my works would be mysteries like Mumbo Jumbo, which is not only a detective novel, but a novel concerning the mysteries, the secrets, of competing civilizations.”

Like many a detective, Papa La Bas searches for a missing object. In this case, as suits a novel in part about historical interpretation, the object is a text. It is the Jes Grew Text, the alleged written document linked to the origins of the Afrocentric virus that has broken out. As the narrator tells us, “Jes Grew is seeking its words. Its text. For what good is a liturgy without a text?”


The Text has a history extraordinarily convoluted, and one can’t help but think that Reed, at least somewhat, is parodying novels like The Maltese Falcon, in which the desired object dates back centuries and has passed through numerous bloodstained hands. In Mumbo Jumbo, the Jes Grew Text is connected to the never-ending battle between those under the sway of Jes Grew and those determined to eradicate the plague, called Atonists. Atonists include The Wallflower Order, a secretive international society, its members devoted to control of others, psychological repression, and monotheistic belief. As the reader gleans, this battle between the Jes Grew people and the Atonists began millennia ago. In a nutshell, the two sides represent eros and thanatos, the life force and the death force, and as the history of Western civilization has shown, the Atonists have long been winning. But is winning without total victory enough for them? Wherever the Jes Grew Text has gone (and nobody seems to know who has owned it from century to century), the virus has followed. The Atonists have never stamped Jes Grew out completely, and this infuriates them. As they see it, if they could only get their hands on the Text and burn it, they would be able to wipe out Jes Grew forever.

While the search for the Text unfolds in Harlem, Ishmael Reed blends actual events from the 1920s with total fiction. The U.S. occupation of Haiti figures prominently, and much is made of the rumor, well-known at the time, that Warren Harding had black ancestry. Dancer Irene Castle and bandleader Cab Calloway pop their heads in. A group of art liberators, the Mu’tafikah, storm museums so they can return to Africa the artwork stolen from that continent, and a white man named Hinckle von Vampton is the editor of the Benign Monster, a magazine whose mission it is to destroy the burgeoning arts movements in Harlem. To this end, von Vampton pretends to be an ally of blacks, a Negrophile, and hires a young black guy from Mississippi to write a Negro Viewpoint column. At the same time, he employs a “talking black android”; that is, a white man done up in black face who will write subtly pro-white columns for the magazine and thus undermine black ideas and creativity. Von Vampton also happens to be a Knight Templar who was alive as far back as 1118, and the Knights Templar, for centuries, have somehow been intertwined with the missing Jes Grew Text.

It’s a heady mix of characters and events, of shadowy forces taking on other forces, but through it all, PaPa La Bas remains unfazed. Perhaps this is because, as a friend of his says, he already hews to a “hypothesis about some secret society molding the consciousness of the West.” His friend criticizes him for this conspiratorial outlook, saying there’s no empirical evidence for it, but La Bas is a person, and an investigator, who has his own way of reasoning:

“Evidence? Woman, I dream about it, I feel it, I use my 2 heads, My Knockings. Don’t your children have your Knockings, or have you New Negroes lost your other senses, the senses we came over here with?”

NOT A DETECTIVE IN THE WESTERN MODE, EITHER A RATIOCINATIVE-LITTLE-GREY-CELLS TYPE OR A HARDBOILED GUMSHOE TYPE, LA BAS SIZES UP “HIS CLIENTS TO FIT THEIR SOULS.”

Not a detective in the Western mode, either a ratiocinative-little-grey-cells type or a hardboiled gumshoe type, La Bas sizes up “his clients to fit their souls.” His critics call his headquarters the Mumbo Jumbo Kathedral, but little do they know that mumbo jumbo is a phrase derived from Mandingo that means “magician who makes the troubled spirits of ancestors go away.” La Bas has a substantial impact; to heal his clients he works with “jewelry, Black astrology, charts, herbs, potions, candles, talismans.” He drives around Harlem in his Locomobile and does have the eccentric and distinctive appearance one might expect from a detective: “frock coat, opera hat, smoked glasses, and carrying a cane.” When Reed calls him “a noonday Hoodoo, fugitive-hermit, obeah-man, botanist, animal impersonator, 2-headed man, You-Name-It”, it’s to emphasize the dexterity, skills, and elusiveness of his character. As Stephen Soitos cogently puts it: “LaBas comes to us out of the African trickster tradition and resists definitive analysis”. The word Hoodoo ties LaBas to an amalgam of African religious practices brought to the United States by the enslaved and connects to what Reed calls his Neo-Hoodoo aesthetic. Neo-Hoodoo, as Reed formulates it, is a mixture of Hoodoo ritual, Afrocentric philosophy, and positive African American identity drawing on the past and the ever changing present. Reed states that “Neo-Hoodoo believes that every man is an artist and every artist is a priest. You can bring your own creative ideas to Neo-Hoodoo.”

* * *

In Mumbo Jumbo, Neo-Hoodoo is explicitly a means to resist the oppression and life-denying traits of the Atonists. La Bas and his ally and sometime sidekick Black Herman, an occultist, work using intuition, chance, and learning from non-Western sources. They embrace indeterminacy and do not elevate rationality, as countless detectives do, to a supreme value in and of itself. They do not work to restore a status quo that most detectives, through their use of deductive logic, wind up upholding. To quote the “Neo-Hoodoo Manifesto” again: “Neo-Hoodoos are detectives of the metaphysical about to make a pinch. We have issued warrants for a God arrest. If Jeho-vah reveals his real name, he will be released on his own recognizance and put out to pasture.”

In this passage, Reed is pitting his detectives against Christianity specifically, but in Mumbo Jumbo, his target is broader—a common type of reductive thinking that goes against the spirit of Neo-Hoodoo. When Hinckle Von Vampton advertises for his Negro Viewpoint columnist, one applicant says that his experience includes having read the 487 articles written by Karl Marx and Friedrich Engels and that he knows them by heart. Von Hinckle thinks, “the perfect candidate…He doesn’t mind the shape of the idol: sexuality, economics, whatever, as long as it is limited to the 1.” To a sworn opponent of Jes Grew, these qualifications please Von Vampton. He hires the man.

Similarly, Adbul Hamid, black Muslim storefront proselytizer in Harlem, displays a rigidity that earns criticism. In a discussion with PaPa La Bas and Black Herman about the Jes Grew epidemic, Hamid says that black people have to stop their dancing and carrying on, “fulfilling base carnal appetites.” No matter that blacks have been dancing for thousands of years, as La Bas tells him, or that dancing is “deep in the race soul”—to Hamid, it’s all just twisting of butts and getting happy in the old primitive jungle ways. “Allah is the way, Allah be praised,” he says, threatening Hell for those who don’t choose the right path, which prompts La Bas to tell him that he is no different than the Christians he imitates. “Atonist Christians and Muslims don’t tolerate those who refuse to accept their modes.” And as La Bas asks, “where does that leave the ancient Vodun aesthetic: pantheistic, becoming, 1 which bountifully permits 1000s of spirits, as many as the imagination can hold.”

Humor is essential to La Bas’ perspective also, a trait he connects to Africa and that further ties him to his trickster lineage. About halfway through the novel, inside Abdul Hamid’s Harlem office, La Bas sees some African art depicting Whites in centuries past in Africa, lampoon carvings done by African sculptors. The works make him think about how Western tradition has stifled and misshapen something essential to the African spirit:

“The African race had quite a sense of humor. In North America, under Christianity, many of them had been reduced to glumness, depression, surliness, cynicism, malice without artfulness, and their intellectuals, in America, only appreciated heavy, serious works…They’d really fallen in love with tragedy. Their plays were about bitter raging members of the ‘nuclear family,’ and their counterpart in art was exemplified by the contorted, grimacing, painful social-realist face. Somebody, head in hands, sitting on a stoop.”

For La Bas, anyone who can’t laugh a little bit is “not Afro but most likely a Christian connoting blood, death, and impaled emaciated Jew in excruciation.” La Bas can’t recall ever seeing an account or picture of Christ laughing. “Like the Marxists who secularized his doctrine, he is always stern, serious and as gloomy as a prison guard.” What a contrast that is to portraits one sees where Buddha is laughing or to “certain African loas, Orishas.”

La Bas is a detective who rarely has history far from his thoughts, and he uses his immense historical knowledge to make headway on his case. When he and Black Herman find Abdul Hamid dead in Hamid’s office, the search for the missing Jes Grew Text expands into a murder case, and the pieces start to cohere for La Bas.

Due to a note at the scene, a rejection slip, referencing a manuscript Hamid had, La Bas draws conclusions, and in classic mystery fashion, he finds a scrap of paper in Abdul’s fist that contains a clue. The writing on the paper says, “Epigram on American-Egyptian Cotton” and below that title, it reads:

“Stringy lumpy, Bales dancing

Beneath this center

Lies the Bird”

Somehow these words, without the reader quite knowing why, lead PaPa Las and Black Herman to Hinkle von Vampton, and they make a citizen’s arrest on von Vampton when Hinkle is attending a soiree in Westchester, New York. The guests don’t just allow La Bas, Herman, and the six tall Python men they’ve brought as muscle to take Hinkle, though. They want to know the meaning behind the seizure, what the charges against the accused are. Hinkle echoes this demand, and it’s here that La Bas gives the mystery novel explanation, the narrative by the detective that should clear up the preceding swirl of events. We sense it won’t be a typical explanation, however, when La Bas begins by saying, “Well, if you must know, it all began 1000s of years ago in Egypt.”

The story La Bas proceeds to tell runs thirty pages and puts forth a version of history the reader has never heard before. It criticizes and undermines the entire path Western civilization has taken. But history, as we’ve learned from this novel, needs major correctives. Those oppressed by history and denied their own narratives need to reclaim their history. PaPa La Bas explains, in language at once scholarly, colloquial, and funny, how the sought after Jes Grew Text derives from a sect that formed around the Egyptian god Osiris. If history had followed the example of Osiris, Western civilization would have taken a more nature-embracing and life-affirming path, but Osiris and his adherents were opposed at every turn and ultimately defeated by Set, Osiris’s brother. Set hated Osiris and Osiris’s popularity with the people. While Osiris would tour with his International Nile Root Orchestra, “dancing agronomy and going from country to country with his band,” Set fixated on taking control of Egypt. He attempted to banish music and outlawed dancing. He “went down as the 1st man to shut nature out of himself.” Set transformed worship in Egypt from the worship of multiple gods, “the nature religion of Osiris,” to the worship of one god, his “own religion based upon Aton (the sun’s flaming disc).” This crucial switch, to monotheism, would stand as the foundation on which the West developed. Equally ruinous, Set established the precedent of doing everything he could to erase Osiris’ work and spirit from history. Whether it has been the Catholic Church or poets such as John Milton or pillars of repression like Sigmund Freud, the Atonist cause has been advanced and defended, obliterating counter narratives. Atonists would have us believe that the course history has taken is the only way history could have gone.

And the Jes Grew Text? Where does that fit in? Written by Osiris’ helper Thoth, it apparently contains the essence of the rites Osiris practiced. Down through the centuries, it has moved around, a book deemed sacred and dangerous. La Bas discloses that Hinkle von Vampton, Knights Templar librarian, came upon the book in the Templar library in 1118, but hundreds of years later, after various intrigues, it wound up with Abdul Hamid in Harlem. Its presence in Harlem has led to the Jes Grew outbreak there, and when Hamid resisted von Vampton’s efforts to regain the book, Hinkle murdered him. This is the reason La Bas and Black Herman made their move to seize von Vampton.

* * *

The culprit in the case has been caught, and La Bas lets the assembled group know how he decoded the epigram Hamid left behind. Reminiscent of Poe’s “The Gold Bug,” in which the cracking of a cryptogram leads to the discovery of treasure beneath a tree, La Bas’ understanding of Hamid’s odd words led to an object below the ground. Using his Knockings and insight, La Bas interpreted the “Epigram on Egyptian-American Cotton” in a way a detective with a different background and consciousness might not. He takes the anagram’s title and its three cryptic lines to mean that Hamid buried the Jes Grew Text beneath a place where people dance (“dancing bales”) and where cotton somehow figures. La Bas, with his vision that encompasses history and the popular doings of the day, can see a link between dancing and cotton. They equate to black entertainment and the legacy of black slavery. That must mean the book is below the Cotton Club, the nightclub in Harlem, and sure enough, La Bas and Black Herman go there and dig. They do not find the book, but evidence says the book was there. Sadly, Hinkle von Vampton beat them to it. He got its location from Hamid before killing him, and in a deal he cut with the Atonists in their war against Jes Grew, Hinkle then burned the book.

Besides Poe, Reed seems to be alluding to the Conan Doyle story, “The Adventure of the Dancing Men,” a mystery that involves a cipher to be decoded, and the epigram’s reference to “The Bird”, again suggests a nod to The Maltese Falcon. More explicitly than anywhere else in the novel, Reed is locating La Bas in a detective fiction tradition while making it clear that La Bas is outside that tradition. Deductive reasoning worthy of Sherlock Holmes and toughness akin to Sam Spade’s have helped him crack this case, but he would never have been able to get to the bottom of what is going on without his African-infused Neo-Hoodoo sensibility.

That Reed has drawn as well on La Bas’ black detective forbears goes without saying. He describes one character as renting “a room above “Frimbo’s Funeral Home”, an allusion to Rudolph Fisher’s Harlem Renaissance era novel, The Conjure Man Dies. Fisher’s book was the first major detective novel ever published by an African American and his investigators, the physician John Archer and the New York City police detective Perry Dart, the first black detectives in a novel. Reed does not allude directly to Chester Himes in Mumbo Jumbo, but he has written extensively about Himes, above all in his essay collection, Shrovetide in Old New Orleans. Published in 1978, years before the Himes revival began, Reed’s piece shows that he damn well understands the significance of the Harlem crime novels. He accurately predicts that “It won’t be long before Himes’s ‘Harlem Detective series,’ now dismissed by jerks as ‘potboilers,’ will receive the praise they deserve.” Among other things, the Harlem crime series, building on what Rudolph Fisher did, lay a groundwork for a black detective path in fiction. “The black tough guy as American soothsayer,” is how Gerald Early, in a review of Reed’s essay, describes what Himes unleashed, and Reed himself says in his piece that Himes “taught me the essential difference between a Black detective and Sherlock Holmes.”

GIVEN HIS POSITION IN THE WORLD AND HOW IT MAY DIFFER FROM THE POSITION OF A WHITE DETECTIVE, PROFESSIONAL OR AMATEUR, CAN A BLACK DETECTIVE RESTORE ORDER AND BALANCE IN A MYSTERY STORY IN THE WAY A WHITE DETECTIVE USUALLY DOES?

Given his position in the world and how it may differ from the position of a white detective, professional or amateur, can a black detective restore order and balance in a mystery story in the way a white detective usually does? And how about in Mumbo Jumbo, where secret societies exert power and the overall crime is so wide-reaching that restoring justice in any meaningful way seems impossible? For all the explaining Papa LaBas does, has he cleared everything up? With the Jes Grew Text burned, no one will know what it said, and the Jew Grew virus may fade away.

Reed opts for limited closure and an indeterminate conclusion. We will never know the actual words of the Jes Grew Text. It’s a frustrating ending, but not a despairing one. La Bas’ investigation has opened up a new awareness, a revisionist view of Western civilization’s wellsprings and conflicts. If the reader has been paying attention, that person will want to investigate further, become a kind of detective outside the book. It’s great that as far as Mumbo Jumbo’s murderer goes, the culprit was identified and caught, but there is plenty more to probe and reckon with beyond that.

And the Jes Grew virus itself. Will it indeed perish with its guiding text gone?

Not likely.

As Las Bas says to a younger person asking him questions:


“Jes Grew has no end and no beginning. It even precedes that little ball that exploded 1000000000s of years ago and led to what we are now. Jes Grew may even have caused the ball to explode. We will miss it for a while, but it will come back, and when it returns, we will see that it never left.”

History is cyclical, not strictly linear, and despite the struggles, the afflictions endured, the perversions of historical truth those in power disseminate, Reed’s detective remains optimistic.



Scott Adlerberg lives in Brooklyn. His first book was the Martinique-set crime novel Spiders and Flies (2012). Next came the noir/fantasy novella Jungle Horses (2014). His short fiction has appeared in various places including Thuglit, All Due Respect, and Spinetingler Magazine. Each summer, he hosts the Word for Word Reel Talks film commentary series in Manhattan. His new novel, Graveyard Love, a psychological thriller, is out now from Broken River Books.

Monday, July 16, 2007

Die Vurm

Gathering dust for a hundred years; a source for De Vermis Mysteriis
A University of Alberta paleontologist has helped discover the existence of a 95 million-year-old snakelike marine animal, a finding that provides not only the earliest example of limbloss in lizards but the first example of limbloss in an aquatic lizard.

The fossil was originally collected during the 19th Century from a limestone quarry in Slovenia. It then sat at the Natural History Museum in Trieste, Italy for almost 100 years before Caldwell and a colleague found it in 1996 during a trip to Europe. He later connected with Alessandro Palci, then a graduate student in Italy whom he helped supervise, and they worked on the fossil together.

The researchers soon realized the lizard's front limbs were not formed during development. "There was a moment when I said, 'I think we stumbled on a new fossil illustrating some portion of the aquatic process of losing limbs,'" said Caldwell. "There are lots of living lizards that love to lose their forelimbs and then their rearlimbs, but we didn't know it was being done 100 million years ago and we didn't know that it was happening among groups of marine lizards."

Ancient giant serpents were known as worms (vurms, wurms),in Europe. Giant serpents or legless lizards may have existed into the modern age. They are not to be confused with Dragons, which are a different kind of beastie, though they commonly are.

If huge giant things roaming the Scottish hills were not enough, we have also had to contend with huge dragon things too. If you had been around in the 12th century you could have visited the Linton Worm who lived in a hollow outside Jedburgh on Linton Hill in the Scottish Borders (still called Worms Den to this day). The dragon terrorised the country, eating cattle and generally making a nuisance of himself. He was finally dispatched at the point of a peat-coated lance by a courageous - some would say reckless - lad called Sommerville of Larison. There have been no more dragon-sightings since.


Like the Lambton worm which was featured in Bram Stokers Lair of the White Worm. Which was made into a passable bit of gothic horror blasphemy by over the top art house director Ken Russell.


The Nordic saga of the Giant worm plays a role in the popular revolutionary imagination of Wagners Ring Cycle.

Now the Giants have the Hoard and Ring safe-kept by a monstrous Worm in the Gnita- (Neid-) Haide [the Grove of Grudge]. Through the Ring the Nibelungs remain in thraldom, Alberich and all. But the Giants do not understand to use their might; their dullard minds are satisfied with having bound the Nibelungen. So the Worm lies on the Hoard since untold ages, in inert dreadfulness: before the lustre of the new race of Gods the Giants' race fades down and stiffens into impotence; wretched and tricksy, the Nibelungen go their way of fruitless labour. Alberich broods without cease on the means of gaining back the Ring.
In the period around this first prose résumé and the first libretto sketches for the Ring, the years 1848 and 1849, Wagner also wrote several important texts which may shed light on his intentions with the tetralogy. Among them are «Die Wibelungen. Weltgeschichte aus der Sage» (The Wibelungen. World History as told in Saga), which includes several sections on the Nibelungs, «Die Revolution» (The Revolution), «Die Kunst und die Revolution» (Art and Revolution) and «Das Kunstwerk der Zukunft» (The Art-work of the Future), all written in 1849 These works are very likely to have been influenced by the philosopher Feuerbach, whom Wagner is known to have read at that time, and with whose writings stylistically common traits have been found at least in The Wibelungen, by the anarchist Proudhon, whom he probably also read (certainly in Paris in 1849), as well as by the ideas of the socialist thinkers Max Stirner, Mikhael Bakunin and Karl Marx.

A Brief Introduction to Norse Myth


When Ragnarok would come,
the winter would last for three years and would be
extremely bitter. The two giant wolves, Skoll and Hati,
would devour the Sun and Moon whilst starts would fall
from the heavens. The giant worm Nidhogg, which was
gnawing on the roots of the Yggdrasil for the longest of
times, would finally succeed. The root Nidhogg succeeded
in gnawing through was the root that supported Niflheim.
Loki, who had been confined for causing Balder's death
escaped his imprisonment. Loki would rally with the
frost giants and his offspring and would lead them
against the Sons of Mankind and the Gods. Fenrir would
escape the magical Fetter, the Midgard Serpent,
Jormungand, would slither out of the ocean. The Frost
Giants and Mountain Giants would leave their home in
Jotunheim, sailing on a ship known as Naglfar, whilst
their cousins the fire giants would leave their realm
of Fire, Muspelheim.

And Australia has recorded the largest earth worm ever, 13 feet long.

Of course worms are not legless serpents, nor some strange creature out of Tremors. Or out of the sewer in a town in Georgia.


Employees at the Huddle House had been having problems with the restaurant’s drainage line clogging up and when plumbers came by to check on the problem they found that some unknown species of animal had apparently crawled through the city sewer lines toward the Huddle House until it became lodged in the line just short of the outside clean-out plug. When a worker spotted the plug, he grabbed it and began pulling it out. And he pulled and he pulled and he pulled until an eight foot long, white, skinless, eyeless snake-like creature emerged. At first glance, it appeared to be a long grease clog. But closer inspection revealed that its composition was of a meat-like consistency. And it had the makings of a mouth. But, apparently, had no skeletal structure.


Or in the Gobi Desert.
The first time you hear about the Mongolian Death Worm you assume it has to be a joke; it sounds too much like the monster from a B-movie or an especially dire comic book to be true. A five-foot (1.5m) long worm dwelling in the vast and inhospitable expanses of the Gobi Desert, the creature is known to Mongolia’s nomadic tribesmen as the allghoi khorkhoi (sometimes given as allerghoi horhai or olgoj chorchoj) or ‘intestine worm’ for its resemblance to a sort of living cow’s intestine. Apparently red in colour, sometimes described as having darker spots or blotches, and sometimes said to bear spiked projections at both ends, the khorkhoi is reputedly just as dangerous as its alarming appearance would suggest, squirting a lethal corrosive venom at its prey and capable of killing by discharging a deadly electric shock, even at a distance of some feet.

The Centre for Fortean Zoology (CFZ) are offering a free documentary, watchable on their website, on the hunt for the fabled "Mongolian Death Worm". In 2005, respected writer-researcher Richard Freeman led a four man team from the CFZ to Mongolia in search of the notorious worm; a fabled reptilian beast said to spit venom and kill its victims with electric blasts. The investigation is documented in "The Lair of the Red Worm", which can be viewed in two parts - Part One and Part Two.
And in this day and age of modern virtual myths you can play a Giant Worm in a PC Game.


Giant worms fascinate us.
We loved them in Beetlejuice, we thought they were cool in Dune, and we loved watching them be blown away in Tremors. I've seen giant worms pop up as enemies in games before, most recently in Lost Planet. Death Worm may be the first game, indie or otherwise, that lets us play as the giant beasts though.


SEE

Nessie?

Snakes Alive

Nessies Relative


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Wednesday, December 06, 2006

Snakes Alive

Magick predates all relgion as this new discovery confirms. Ritual is NOT religion, it is human conciousness making itself known to itself and the other. A message and a rememberance.


World's Oldest Ritual Discovered --
Worshipped The Python 70,000 Years Ago


A startling archaeological discovery this summer changes our understanding of human history. While, up until now, scholars have largely held that man's first rituals were carried out over 40, 000 years ago in Europe, it now appears that they were wrong about both the time and place.

Associate Professor Sheila Coulson, from the University of Oslo, can now show that modern humans, Homo sapiens, have performed advanced rituals in Africa for 70,000 years. She has, in other words, discovered mankind's oldest known ritual.

The archaeologist made the surprising discovery while she was studying the origin of the Sanpeople. A group of the San live in the sparsely inhabited area of north-western Botswana known as Ngamiland.

Coulson made the discovery while searching for artifacts from the Middle Stone Age in the only hills present for hundreds of kilometers in any direction. This group of small peaks within the Kalahari Desert is known as the Tsodilo Hills and is famous for having the largest concentration of rock paintings in the world.

The Tsodilo Hills are still a sacred place for the San, who call them the "Mountains of the Gods" and the "Rock that Whispers".

The python is one of the San's most important animals. According to their creation myth, mankind descended from the python and the ancient, arid streambeds around the hills are said to have been created by the python as it circled the hills in its ceaseless search for water.

Sheila Coulson's find shows that people from the area had a specific ritual location associated with the python. The ritual was held in a little cave on the northern side of the Tsodilo Hills. The cave itself is so secluded and access to it is so difficult that it was not even discovered by archaeologists until the 1990s.

When Coulson entered the cave this summer with her three master's students, it struck them that the mysterious rock resembled the head of a huge python. On the six meter long by two meter tall rock, they found three-to-four hundred indentations that could only have been man-made.

"You could see the mouth and eyes of the snake. It looked like a real python. The play of sunlight over the indentations gave them the appearance of snake skin. At night, the firelight gave one the feeling that the snake was actually moving".

It was a major archaeological find five years ago that made it possible for Sheila Coulson to date the finds in this little cave in Botswana. Up until the turn of the century, archaeologists believed that human civilisation developed in Europe after our ancestors migrated from Africa. This theory was crushed by Archaeologist Christopher Henshilwood when he published his find of traces from a Middle Stone Age dwelling in the Blombos Cave in Southern Cape, South Africa.


Some still do.....

Study: First Europeans lived in Italy

ROME, Nov. 7 (UPI) -- A team of Italian scientists says it has determined the first Europeans lived in southern Italy and not Spain, as had been thought.

Researchers from universities in Rome, Turin, Florence and Ferrara say a collection of fossilized flint tools and other instruments found in the southeastern region of Puglia has been dated to about 1.7 million years ago -- predating the oldest Spanish finds by nearly 1 million years, the Italian news agency ANSA reported.

The researchers say their discovery means paleontologists will have to redraw maps charting the path of ancient man out of Africa.

"This discovery reopens the debate on the origin of the population of the whole of Europe," said Carmelo Petronio of Rome's La Sapienza University. "It supports the theory that the first Europeans migrated westward across the Near East and not from northwestern Africa.



Once ritual becomes institionalized as a Theism which then maintains specialists; priests, it goes from being empowering spirituality of the community/commune to oppression. As I wrote here;


“The Shaman/Trickster appears in the cave paintings of the Early European Tribes, about 18,000 about years ago. Warriors don't appear until about 9,000 years ago. Kings appeared even later. It appears historically that the Shaman/Trickster came a lot earlier, perhaps even before the cave painters appeared. The Shaman/Trickster is closely tied to hunting, and hunting and gathering were the origin of human society, maybe 50,000 years ago. The warrior and the king are possible only after the development of cities.THEORIES ON THE NORTH AMERICAN TRICKSTER

Magick in practice is mnemonic, it is a remembrance of mans development of tool making and technics, the subconscious memory that labour altered our consciousness. The tools of magick, the cup, the pentangle, the athame, the wand and the sword are mnemonic symbols of the development and transition of the human from the dominance of the world of nature, into nature’s transformer, the magi. The invocations and the evocations of magickal chants are the voice of humankind speaking of and to the names of the natural world as it are transformed by our labour. [4] As the world changes so do the deities, the reifications of the world made in the image of man. Or to put it another way "That which is mostly observed, is that which replicates the most."

“Man makes religion, religion does not make man. Religion is, indeed, the self-consciousness and self-esteem of man who has either not yet won through to himself, or has already lost himself again. But man is no abstract being squatting outside the world. Man is the world of man – state, society. This state and this society produce religion, which is an inverted consciousness of the world, because they are an inverted world,” as Marx says in his introduction to his Critique of Hegel below. And we could add that man also makes science, and that magick which originates science[5], as it does religion, it continues to be a different form of science, natural science as opposed to technic based science of capitalism.

And as Frazer says in the Golden Bough; "So far, therefore, as the public profession of magic has been one of the roads by which men have passed to supreme power, it has contributed to emancipate mankind from the thraldom of tradition and to elevate them into a larger, freer life, with a broader outlook on the world. This is no small service rendered to humanity. And when we remember further that in another direction magic has paved the way for science, we are forced to admit that if the black art has done much evil, it has also been the source of much good; that if it is the child of error, it has yet been the mother of freedom and truth."[6]


Ophism is the earliest and longest living magickal meme in our memories and continues through Christianity and the other Abrahamaic religions thanks to Ophidian Gnosticism.


Serpent

The worship of the serpent is found in many parts of the Old World, although it is not unknown in the Americas. In Australia, the Aboriginal people worship a huge python, known by a variety of names but universally referred to as the Rainbow Serpent, that was said to have created the landscape, embodied the spirit of fresh water and punished lawbreakers. The Aborigines in southwest Australia called the serpent the Waugyl, while the Warramunga of the east coast worshipped the mythical Wollunqua. In Africa the chief centre of serpent worship was Dahomey. but the cult of the python seems to have been of exotic origin, dating back to the first quarter of the 17th century. By the conquest of Whydah the Dahomeyans were brought in contact with a people of serpent worshippers, and ended by adopting from them the beliefs which they at first despised. At Whydah, the chief centre, there is a serpent temple, tenanted by some fifty snakes. Every python of the danh-gbi kind must be treated with respect, and death is the penalty for killing one, even by accident. Danh-gbi has numerous wives, who until 1857 took part in a public procession from which the profane crowd was excluded; a python was carried round the town in a hammock, perhaps as a ceremony for the expulsion of evils. The rainbow-god of the Ashanti was also conceived to have the form of a snake. His messenger was said to be a small variety of boa. but only certain individuals, not the whole species, were sacred. In many parts of Africa the serpent is looked upon as the incarnation of deceased relatives. Among the Amazulu, as among the Betsileo of Madagascar, certain species are assigned as the abode of certain classes. The Masai, on the other hand, regard each species as the habitat of a particular family of the tribe.


SERPENT - WORSHIP. 1911 Encyclopaedia Britannica.

From all parts of the world there is a very considerable body of evidence for the prominence of the serpent in religion, mythology and folk-lore. Snake-. Preval- worship still prevails largely in India, and a writer e p ee in in 1896 remarks that the previous census showed in varying the North-West Provinces over 25,000 Naga (serpent) forms. worshippers, 123,000 votaries of the snake-god Gaga, and, in the Punjab, some 35,000 special votaries of the snake godlings.' The evidence from modern India can be supplemented by the medieval and ancient Indian sources, and, in particular, by the representations of the adoration of snake-deities on the Buddhist topes of Sanchi and Amravati. 2 There we find, not indeed living serpents, but deities with serpent-symbolism, indicating a composition of various strata of religious belief, analogous to the evidence for serpent-symbolism from Babylonia, Crete, Greece or Peru; for the higher religions have almost invariably retained in their ritual and belief, sometimes with only slight modification, cruder conceptions which can still be studied in less elevated form among the lower races of India, Africa or America. The result is instructive when we turn to the numerous serpent myths and legends from the Old World and the New, to the stray notices in old writers, or to the fragmentary scraps of popular superstition everywhere. Modern scientific research has vividly illustrated the stereotyped nature of the human mind; there is a general similarity in the effect of similar phenomena upon people at a similar stage of mental growth; there is an almost inherent or unconscious belief which has been transmitted through the countless ages of man's history. At the same time, apart from the gradual evolution of religious and other conceptions there are the more incidental and artificial influences which have shaped them. Hence, our evidence for serpent-cults everywhere represents varying stages in the historical development of a few related fundamental ideas which are psychologically explicable; and it is impossible to deal with the subject geographically or historically. It is most useful, perhaps, to survey some of the general features of belief as an introduction to the more complex inquiries which involve a consideration of other subjects over a larger field.

Ophis (greek ophis: serpent)

Cornelius Agrippa wrote: "Pherecydes the Syrian describeth the fall of the devils, and that Ophis, that is the devilish serpent, was the head of that rebelling army" (Three Books of Occult Philosophy, Book III, Ch. 18).

This history of Ophis as a demon is particularly unusual: he appears to be one of those creatures carried over from earlier greek mythology, eventually making the transition from Titan (and godhead) to being mis-identified as a possible Lucifer.

Ophion is the presumed origin of this name, a titan who had the form of an enormous serpent. Ophion, by some earlier greek myths, ruled Olympus with his wife, Eurynome, long before the appearance of Zeus and the other olympian gods. He was displaced by Cronus, another titan, who was later deposed by the thunder god.

A sect of Gnostics named the Ophites worshipped Ophis as the serpent (whom was later reincarnated as Christ) in Genesis¹. Ophis is identified as the serpent who persuaded Adam and Eve to eat the fruit from the tree of knowledge, thus disobeying the Demiurge's attempt at witholding knowledge from them.


OPHITES [Ophites] [Gr.,=believers in the serpent], group of Gnostic sects notorious for extreme cultism and inverted morality. Certain of these sects were known as Naasseni. Almost all that is known of Ophitism has been gleaned from St. Irenaeus, Origen, and other writers opposed to Gnosticism . The Ophites carried to extremes the teaching of Marcion that an essential hostility exists between the God of the Old Testament and the God of the New Testament. The Ophites held that the Old Testament villains were actually heroes and revered Cain, the Sodomites, and the Egyptians. Specially worshiped was the serpent, as the creature in Eden that tried to give Adam and Eve the knowledge withheld from them by Jehovah. Much of the serpent worship and the occult ritualism was probably symbolic of certain esoteric knowledge. The Ophites acknowledged Jesus as the savior, but rejected the importance of the crucifixion; Christ came to reveal gnosis (knowledge), not to die for people's sins. One Ophitic hymn, the Hymn of the Naasenes, survives.

Bibliography: See E. Buonaiuti, Gnostic Fragments (1924); R. M. Grant, Gnosticism and Early Christianity (1959, rev. ed. 1966).

The Ophite Diagrams are ritual and esoteric diagrams used by the Ophite gnostic sect, who worshipped the serpent from the Garden of Eden. They also viewed the Old Testament god as the evil god Yaltabaoth.

Celsus described them as ten separate circles, circumscribed by one circle, the world-soul, Leviathan, divided by a thick black line, Tartarus, together with a square, with words said at the gates of Paradise. Further to this, the Ophites were said by Celsus to add the sayings of prophets, and circles upon circles, with some things written within the two great cosmological circles representing god the father, and god the son.


Moses' Brazen Serpent as It Relates to Serpent Worship in Mesoamerica
Wallace E. Hunt Jr.
Provo, Utah: Maxwell Institute, 1993. Pp. 121–31


The Ignorant Demiurge

When gnostic Genesis interpretation comes as far as the Snake, the main lines of gnostic narrative are already clear. The Snake may only cover a few logical possibilities: He is good, evil, or neutral. If good, then the Tree of Knowledge has to be good, and for the sake of economy the Snake may only be one of the available good characters of the narrative in disguise, unless an uneconomical solution is chosen and the Snake becomes a new character. Thus he can only be Sophia (or a duplicate thereof), the Savior, or a third representative of the Pleroma. If the Snake is evil, then the Tree of Knowledge must be evil as well, unless a solution of compromise is chosen and the Snake, although evil, would act for a while like a channel for the Pleroma. As evil, the Snake can only be the Devil or the Demiurge or a duplicate (angel) of one of them. As neutral, “the Snake is the Snake” (to paraphrase Lord Byron)—he is just a temporary mouthpiece for someone else’s message. Yet this would be an uneconomical solution that gnostics tend to avoid.

Taken altogether, gnostic hermeneutical candor is total. No limit is imposed on the number of transformations of myth. In the case of the Snake, as well as in other cases, we may say that the number of logical bricks that could be inserted at that point in the narrative sequence has been exhausted. Any other brick would be fanciful or, worse, redundant. Then why does tradition, which appears to be on the wrong side of logic, seem so austere and the antitraditional gnostics, whose logic is almost impeccable, so fantastical? Because a mythical narrative is a multiple-choice sequence, and gnostic thinkers (those who shared the two premises, or rather rejections, mentioned above) were able, at least for a while, to fill in not one but all cases.

Toward the beginning of Islam, gnostics were exhausted, wrung out from history by the relentless pressure of traditional powers and especially the Christians, who had switched from a persecuted religion at the beginning of the IVth century into a totalitarian, persecuting state religion by the end of the same century. Christians were motivated in suppressing gnosticism by that peculiar feeling of guilt one gets from the existence of a brash, heedless, and decidedly troublesome close relative. Yet the system set in motion by the gnostics was not exhausted. Therefore new, so-called dualistic trends sprang up to manifest it, realizing more of its potentialities.

The Serpent Code


The Tale of Serpent Worship in Ireland and Christianity's Role in its Destruction


Ireland was once infested with snakes. It was, if you believe the Christian stories of St. Patrick, who supposedly expelled them with his Baculum Jesu or Staff of Jesus (according to Giraldus Cambrensis or Gerald of Wales.) Of course Ireland has no indigenous snakes at all and so we must be speaking here of a symbolic representation - but, symbolic of what?

For years, scholars, Christians and even alternative historians have been arguing over what exactly St Patrick was eradicating. Of course, there is precious little evidence that even St Patrick came to Ireland, just as there is no evidence St Paul went to Malta and kicked out the snakes there too! In fact, this wonderfully symbolic tale can be found in many places and always in association with the serpent. So what's the truth?

Across Ireland there are hundreds of crosses, many of which can be proven to have pre-Christian origins, and many are entwined with images of serpents. The same is true of other locations, such as Malta we have just mentioned - although here the snakes are found upon ancient megalithic monuments. These are remnants of a pre-existent serpent-worshipping cult that we discovered existed across the known world in ancient times. In fact, the very reason that Ireland was said to be infested with serpents, was in reality a Christian code word for serpent worshippers. And Ireland has not been the only place infested and eradicated of serpent worshippers. Malta, Rhodes, India, Greece and many more have all at one time or another been laid waste of the serpent cult, so often misread as solar worshippers. The truth of the solar worship becomes obvious once one understands the beliefs of the serpent cults. They worshipped the esoteric or inner light of themselves or wisdom which was manifested in the sky as the sun and this light came about via methods pertaining to the inner serpent energies, [1] as they perceived them. These inner serpentine and solar linked visions were then manifested or physically represented in megalithic monuments, oral folktales and art.

Samuel Zwemer, The Influence of Animism on Islam - CHAPTER XI ...

We turn finally to Serpent-worship in Islam. Here also we are surprised to find how much animism remains in Moslem lands and lives and literature; all covered of course with the charitable mantle of their creed. The Arabic dictionary gives two hundred names for snakes. As-Suhaili says that when God caused the serpent to come down to the earth, He caused it to alight in Sijistan which is the part of God's earth abounding most in serpents, and that if it were not for the 'Irbadd — (the male viper) eating and destroying many of them, Sijistan would (now) have been empty of its people owing to the large number of them (in it).

Ka'b-al-Ahber states that "God caused the serpent to alight in Ispahan, Iblis in Jeddah, Eve on Mount 'Arafah, and Adam on the mountain Sarandib (Ceylon) which is the land of China in the Indian Ocean." The curious may find much on serpent lore in Damiri (Vol.I, p. 631). The most common belief is that serpents are often human beings in the form of snakes. The serpent has a place also in the story of Creation which is given as follows: "Al-Kurtubi relates in the commentary on the XL chapter of the Kuran on the authority of Thawr b. Yazid, who had it from Khalid b. Ma'dan regarding Ka'b al-Ahbar as having said, 'When God created the Throne, it said, 'God has not created anything greater than myself,' and exulted with joy out of pride. God therefore caused it to be surrounded by a serpent having 70,000 wings; each wing having 70,000 feathers in it, each feather having in it 70,000 faces, each face having in it 70,000 mouths, and each mouth having in it 70,000 tongues, with its mouths ejaculating every day praises of God, the number of drops of rain, the number of the leaves of trees, the number of stones and earth, the number of days of this world, and the number of angels,— all these numbers of times. The serpent then twisted itself round the Throne which was taken up by only half the serpent while it remained twisted round it. The Throne thereupon became humble."6

The following story is told on the authority of one of the Companions of Mohammed: "We went out on the pilgrimage, and when we reached al-'Ari, we saw a snake quivering, which not long afterwards died. One of the men out of us took out for it a piece of cloth in which he wrapped it up, and then digging a hole buried it in the ground. We then proceeded to Makkah and went to the sacred mosque, where a man came to us and said, 'Which of you is the person that was kind to 'Amer b. Jabir?' Upon which we replied, 'We do not know him.' He then asked, 'Which of you is the person that was kind to the Jann?' and they replied, 'This one here,' upon which he said (to him), 'May God repay you good on our account! As to him (the serpent that was buried) he was the last of the nine genii who had heard the Koran from the lips of the Prophet?'"




And it seems that the best literature on the subject remains that published over 100 years ago. Or at least the most prolific publishing. Of course it was the age of Imperialism, colonial Africa was a rich find for would be anthropologists.

Worship of the Serpent

This is an early 19th century study of Ophiolatreia, or snake-worship. Deane's primary thesis here is that ancient serpent worship was based on memories of the Garden of Eden. He has a monomaniacal devotion to the subject of snake worship and sees evidence of it everywhere. Deane reviews a massive amount of data from antiquity, travelers tales, and legend and folklore. A particularly compelling portion of the book describes ancient megalithic temples such as the Avebury and Carnac complexes as giant representations of snakes. One wonders what he would have made of the ancient American mound builders, who made huge sinuous earth sculptures in the Ohio valley.

Because he wrote before such advances such as the decipherment of Egyptian hieroglyphics, excavations in Mesopotamia, detailed knowledge of eastern religions in the west, and the systematic study of folklore and anthropology, much of this information is outdated or incorrect. For instance, many of his etymologies can't be supported by modern historical linguistics. On the other hand, many later discoveries added to our understanding of the special role that snakes and other reptiles play in religion and mythology.

Modern writers from Carl Sagan to David Icke have taken the same themes and derived interesting, if controversial theses of their own. Sagan (in The Dragons of Eden) wrote about the ancient relationship between mammals and reptiles which goes back to the time of the dinosaurs. Sagan pointed out that there is a section of our brain, which is morphologically and functionally similar to a reptile brain, embedded in our brain stem, called the "Reptilian Complex". He also discussed the fear of snakes which seems to be hard-wired into our brains, and inferred that it began in the primordial struggle for survival between reptiles and mammals. At the other end of the spectrum, Icke believes that a shapeshifting race of reptilians have dominated history and even today are the secret rulers of our planet. Certainly, the full account of this topic has yet to be written.


Serpent and Siva Worship
and Mythology in Central America, Africa, and Asia and the Origin of Serpent Worship (1877)


Hyde Clarke and C. Staniland Wake

Comprehensive treatise on the Serpent Cultus.

From the Preface:
The researches and explorations of travelers, scientists and learned investigators, are every day adding to our knowledge of teh Serpent-Cultus. It is rising above the old conception of an obscure and ill-defined superstition, to the dimensions of a religion, distinctly outlined in its characteristic features, and by no means without a recondite metaphysical basis. Not only did the children of Israel burn incense to the symbolical animal from Moses til Hezehiah, but the Hamitic races " from Memphis to Babylon," and all indeed at the far East and remote West, who accepted as sacred, what Mr. Brown denominates, "The Great Dionysiak Myth."

Tree and Serpent Worship

By S. Beal
The Journal of the Royal Asiatic Society of Great Britain and Ireland
New Series, 1888, pp. 547-548

Universality of Serpent-Worship
W. G. Moorehead
Old Testament Student, Vol. 4, No. 5 (Jan., 1885), pp. 205-210

Tree and Serpent Worship: Or Illustrations of Mythology and Art in India in the First and Fourth Centuries after Christ. From the Sculptures of the Buddhist Topes at Sanchi and Amravati
by James Fergusson Anthropological Review, Vol. 7, No. 26 (Jul., 1869), pp. 217-230
And somethings never change when it comes to Africa and the thousands year old cultures of the Kalahari desert. DeBeers versus the Bushmen


Of course we knew it would all end up with sex. You know Sex=Sin, so how could you avoid it. In the begining was Adam, Eve and Steve the serpent makes three. Since the serpent in all ages and belief systems is the icon for procreation.

The Sex Worship and Symbolism of Primitive Races - Sex Worship II

An animal symbol which has probably been of universal use is that of the snake or serpent. Serpent worship has been described in almost every country of which we have records or legends. In Egypt, we find the serpent on the headdress of many of the Gods. In Africa the snake is still sacred with many tribes. The worship of the hooded snake was probably carried from India to Egypt. The dragon on the flag and porcelain of China is also a serpent symbol. In Central America were found enormous stone serpents carved in various forms. In Scandinavia divine honors were paid to serpents, and the druids of Britain carried on a similar worship.

Serpent worship has been shown by many writers to be a form of sex worship. It is often phallic, and we are told by Hargrave Jennings that the serpent possibly was added to the male and female symbols to represent desire. Thus, the Hindu women carried the lingam in procession between two serpents; and in the sacred procession of Bacchus the Greeks carried in a sacred casket the phallus, the egg, and a serpent.

The Greeks also had a composite or ideal figure. Rays were added to the head of a serpent thereby bringing it into relation with the sun god Apollo; or the crest or comb of a cock was added with similar meaning.

Many reasons have been offered to explain why the serpent has been used to represent the male generative attribute. Some have called attention to its tenacity of life; others have spoken of its supposed mystic power of regeneration by casting its skin. Again, it seems probable that the form is of symbolic significance. However this may be, we find that this universal serpent worship of primitive man was a form of phallicism so prevalent in former times.


As is often the case in the Ophidian mythos; the snake contains within intself that sexual dualism so necassary for creation. And the result is again another form of berdache, or transgender shamanism as Edward Carpenter noted a hundred years ago.


NAAGAMANDALA (Serpent worship/ritual)

Nagamandala
Coastal Karnataka (Dakshina Kannada and Udupi district) has a fantastic all night ritual performed during December to April. The ritualistic performance starts before monsoon. Serpent worship is common among the Hindus all over India. Serpent God is a symbol of fertility and life.

This ritual is observed mostly by the Brahmins. 'Naagamandala' is performed by two groups of performers; the 'paatri' (a Brahmin) who gets possessed after inhaling the areca flowers becomes the cobra God. The second group of propitiating is 'Naagakannika'. The 'Naagakannika', a female serpent, which is actually a male disguised in female dress or visual costume (half male and half female costumes). This character is identified as 'ardhanaari' or 'naagakannika' who dances and sings around an elaborate serpent design drawn with natural colors on the sacred ground.

The dance 'naaga' takes place around this 'mandala' drawings. The all night dance and song propitiation creates an awe inspiring experience. Brahmins utter the mantras in sanskrit and the other proceedings take place in Kannada.


And no article dealing with Snakes, Ophites, Ophidian worship, serpents, serpent worship, is complete without reference to, well you know.....





























See


Primitive People

Primitive Man

Magick


Gnosis

Gnostic

Serpent

Sea Serpents/Sea Monsters



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