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Herein lie the "Lost" Boreas Files by Rockessence

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Author Topic: Herein lie the "Lost" Boreas Files by Rockessence  (Read 12814 times)
Janna Britton
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Posts: 187

« Reply #120 on: November 16, 2008, 03:30:36 am »

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.
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