Grid of the Gods (42 page)

2
Hanock and Faiia,
Heaven’s Mirror
, p. 3.

3
Ibid.

4
Hancock and Faiia,
Heaven’s Mirror
, p. 13.

5
Ibid., p. 20. In my
The Giza Death Star
I point out Hancock’s observations of the parallels between Osiris and the Incan Viracocha, pp. 14-16.

6
History and Mythology of the Aztecs: the Codex Chimalpopoca
, trans. from the Nahuatl by John Bierhorst (Tuscon: The University of Arizona Press, 1992), p. 25.

7
Ibid., p. 142.

8
Ibid.

9
Ibid., p. 143.

10
Ibid.

11
Ibid., pp. 148-149, emphasis added.

12
History and Mythology of the Aztecs: the Codex Chimalpopoca
, trans. from the Nahuatl by John Bierhorst, p. 154.

13
History and Mythology of the Aztecs: the Codex Chimalpopoca
, trans. from the Nahuatl by John Bierhorst, pp. 155-156.

14
This Aztec giant resembles nothing so much as the descriptions of the so- called "grays" which according to some lack similar internal organs or blood in any conventional sense, leading some to posit that they are in fact genetically engineered bio-robots of some sort.

15
History and Mythology of the Aztecs: the Codex Chimalpopoca
, trans. from the Nahuatl by John Bierhorst, p. 118.

16
Ibid., pp. 40-14, italicized emphasis added, boldface emphasis in the original.

17
History and Mythology of the Aztecs: the Codex Chimalpopoca
, trans. from the Nahuatl by John Bierhorst, p. 39.

18
History and Mythology of the Aztecs: the Codex Chimalpopoca
, trans. from the Nahuatl by John Bierhorst, p. 31.

19
History and Mythology of the Aztecs: the Codex Chimalpopoca
, trans. from the Nahuatl by John Bierhorst, p. 9.

20
Anselm of Canterbury,
Cur Deus Homo
(
Why the God-man?
), Preface. http://www.ewtn.com/library/CHRIST/CURDEUS.HTM, emphasis added.

21
Hancock and Faiia,
Heaven’s Mirror
, p. 14.

22
Ibid., p. 15.

23
See the discussion on pp. 19-20.

24
Q.v. the discussion in
The Cosmic War: Interplanetary Warfare, Modern Physics, and Ancient Texts
, pp. 263-273. We have also noted that Montezuma viewed Teotihuacan’s Pyramid of the Sun as being the primeval mound of creation, in yet another adaption of the "mountains ≈ pyramids" formula discussed at length in
The Cosmic War.

25
See for example, Munck
, The Master Code Book
, p. 20.

26
Peter Tompkins,
Mysteries of the Mexican Pyramids
(New York: Harper and Row, Publishers, 1976), p. 11.

27
Peter Tompkins,
Mysteries of the Mexican Pyramids
(New York: Harper and Row, Publishers, 1976), p. 353.

28
Ibid., pp. 114-115.

29
Ibid., p. 202.

30
Ibid.

31
Munck, Whispers from Time, Vol. 1, p. 42.

32
Peter Tompkins,
Mysteries of the Mexican Pyramids
, p. 333.

33
Munck, Whispers from Time, Vol. 1, p. 46.

34
Ibid., p. 45.

35
Munck, Whispers from Time, Vol. 1, p. 45.

36
Tompkins,
Mysteries of the Mexican Pyramids
, pp. 278-279.

37
Tompkins,
Mysteries of the Mexican Pyramids
, p. 280.

38
Ibid., p. 281.

39
We must also ask: Is there a connection to Kali, the destroyer who represents the final age, cycle for humanity? She comes consuming bodies, drinking blood, and particularly angry at the masculine force that has lost all sense of femininity? There is a final age, perhaps like the ages established with the suns (as mentioned in this chapter) and according to Hindu cycles, we are in the Kali age. It is an age of unsurpassed violence and masculine dominated force, detached from any feminine qualities.

P
ART
T
HREE
:
T
HE
M
ESOPOTAMIAN
“P
YRAMID
P
EOPLES
”:
T
HE
P
YTHAGOREAN AND
P
LATONIC
P
RINCIPLES OF
S
UMER
,
B
ABYLONIA, AND
G
REECE

“Creating the language of the philosophy of the future, Plato still spoke the ancient tongue, representing as it were, a living ‘Rosetta stone.’...It comes from that ‘Protopythagorean’ mint somewhere in the Fertile Crescent that, once, coined the technical language and delivered it to the Pythagoreans (among many other customers, as goes without saying).”

Giorgio de Santillana and Hertha von Dechend,

Hamlet’s Mill
, p. 311.

“Ancient cosmology required just enough number theory and just enough musical theory to harmonize the heavens with the scale and the calendar.”

Ernest G. McClain,

The Myth of Invariance: the Origin of the Gods, Mathematics and

Music from the Rg Veda to Plato
, p. 14.

9

P
LATO
, P
YTHAGORAS, AND
T
HE
P
HYSICS
OF THE
C
AVE
:

T
HE
V
EDAS
, M
ESOPOTAMIA,
AND
T
HE
M
USIC OF
T
HE
S
PHERES

“Ancient cosmology required just enough number theory and just
enough musical theory to harmonize the heavens with the scale and the calendar.”
Ernest G. McClain
¹

N
o survey of the underlying physics of the world Grid system would be complete without a mention of Mesopotamia, for it is there, in the crossroads of the ancient Middle East, that the cultures of Egypt, Sumer, Babylon and India, met. Indeed, more than one author has commented on the peculiar links of Mesopotamian civilization to the ancient Vedic civilizations,
²
and it could be said with some justification that Mesopotamia owes its sophistication and cosmology to the legacy of the East. It is there that the planetary motions were fused with number theory and music to an extraordinary degree.

Plato himself, as we shall see, owed much of his numerical codes to the influence of Pythagoreanism, and that in turn owed much to Mesopotamian civilizations. A proper understanding of the Grid system and the cosmologies that underwrote it cannot therefore be had without a consideration of the massive influence that the civilizations “between the rivers” had on its development, and in particular, on the development of music. In this understanding, no work is more magisterial and important than that of Professor Ernest G. McClain.

A. The Unified Intention of Symbol and Musical Codes

In my previous books I have spoken at length about a conception that I call “the unified intention of symbol,” i.e., the idea that ancient myths were carefully composed, multi-leveled structures designed to encode a massive amount of technical information that could be decoded when science had advanced to a similar state of development as the society that originally created the myths.
³
It has been my assumption that this “mythological creation” was the
deliberate
act of a post-cosmic war elite or elites seeking a method to enshrine and transmit technical information in a form that would last over time. If studies such as De Santillana and Von Dechend’s
Hamlet’s Mill
, or Ernest G. McClain’s
Pythagorean Plato
and
The Myth of Invariance
are any indicators, the program was wildly successful, for those myths, from Scandinavia to Polynesia, encode a wealth of astronomical, geometric, and musical data.

1. Music as the First Physical Unification and the Musical
Meanings of Pantheons

I am not the only one, by any means, to have noticed this multi- leveled, almost paronomasial symbolism at work in ancient myths. Commenting on this phenomenon in the Vedic texts, McClain observes that there are at least four “languages” or modes of expression at work simultaneously:

1) the language of Non-Existence (
Asat
),

2) the language of Existence (
Sat
),

3) the language of Images and Sacrifice (
Yajna
), and

4) the language of Embodied (
Rta
) Vision (
Dhih
).

These four languages are the expressions of a sensorium which organizes itself primarily on a model of sound.
⁴

It is the recurrence of similar numbers, in a similar order, from the
Rig Vedas
of India, and on into Babylon, Egypt, and Greece that indicates an underlying, common spiritual and philosophical tradition. Indeed, for McClain, music was “the one force capable of projecting a philosophical synthesis” because music was the first physical unification.
⁵
This musical code manifests itself, within the Vedic tradition, as hymns and musical numerology that link Sun, Moon, the planets, to the Indian pantheon “in which sons create their own mothers and all are counted.”
⁶

In the effort to decode these musical-numeric codes, Plato is, for McClain, a kind of Rosetta Stone “to the more obscure science of earlier cultures.”
⁷
Of all these cultures, the Vedic was by far the oldest, and its myths and hymns were, in fact, codes of a musical science:

The numbers Rgvedic man cared about define alternate tunings for the musical scale. The hymns describe the numbers poetically, distinguish “sets”
by classes of gods and demons
, and portray tonal and arithmetical relations with graphic sexual and spatial metaphor. Vedic concerns were with those
invariances
which became the focus of attention in Greek tuning theory. Because the poets limited themselves to
integers
, or natural numbers, and consistently used the
smallest integers possible
in every tonal context, they made it possible for us to rediscover their constructions by the methods of Pythagorean mathematical harmonics.
⁸

We may now add to the accumulated levels of meaning associated with the “unified intention of symbol” a new understanding of “gods:”

1)  At the most prosaic level, the gods represent real “people” or beings who interact with humanity;

2)  At a second, deeper level, the names of gods might be
titular
, as denoting a
planet
or its ruler, or ruling house;
⁹
and now we have, in addition to this,

3)  At a third level, the names of classes of gods also represent sets of notes generated by certain mathematical relationships.

There is a clue here, for as was seen in my book
The Cosmic War
, there is yet another formula which emerges from Mesopotamian and Egyptian texts:

Mountains ≈ Planets ≈Gods ≈ Pyramids,
¹⁰
where the symbol ≈ means “is associated with.”

We may now add a new component to this formula: Mountains ≈ Planets ≈ Gods ≈ Pyramids ≈ Music.

But why associate music with mountains, pyramids and planets?

The answer to that question emerges from a careful consideration of McClain’s decoding of the “musical paleophysics” of the myths of Pythagoreanism and Platonism. It is music that adds a hierarchy of order to the otherwise infinite and chaotic series of numbers:

What we are investigating then, is actually a realm of number theory in which music sets the problems, since musical patterns elevate certain numbers to a prominence pure number theory would not accord them. Musical values introduce a hierarchy into the number field: as we shall show…
even
numbers which
define
the octave matrix are “female,”
odd
numbers which
fill
the matrix with “tone-children” are “male,” and the
smaller
numbers define intervals of
greater
importance.
¹¹