Thanks Itellsya for pointing out the implications of Pierre’s article regarding the most likely date/cause of the change in earth’s axis. And the gravity anomalies around Hudson Bay highlighted by mariowil7 are also very interesting.
Assuming that it happened in relatively recent human history (and many of the most ancient myths speaking about a previous golden age and a single season certainly are suggestive of that), it makes most sense that the catastrophic events of some 13,000 years ago have to be a prime culprit. Anything later really doesn’t align with so much else especially the development of seasonal stories, the slow emergence of agriculture/civilisation and many of the myths that followed. A close passage or interaction with ‘Venus’ and ‘Mars’ are perhaps the only other recent suspects – placing when that happened and how these events are related to the end of the ice age event is still a question for me… were they as seems likely later follow on events…? Was ‘Venus’ one of the large broken pieces of the original monster or a new interloper? Did she take on repeated close passages as a result of the disturbances caused to the inner solar system by the 13,000 year event before eventually either wearing herself out or settling into a plentary orbit as propossed by Velikovsky?… placing these in something like a correct order is a monumental tease…
The issue of the impact on zodiacal lore is one of key significance however. If we assume the earth was wholly or more upright and that most if not all of the present 23degree tilt only came about post the catastrophic end of the ice age, then any theory that deduces an extrapolation of current ecliptic/zodiacal constellations as being meaningfully consistent back in time beyond this point is in trouble as obviously it is only this tilt that creates the ecliptic and places the constellations we know along its sight line. Without it the zodiac would be on or under the horizon and have no reason to have impacted human consciousness. It also raises the issue of whether the Precession of the Equinoxes also only dates post this time.
This is where I have some issues with Sweatman’s “Prehistory Decoded". I was uncomfortable with many of his almost cavalier deductions concerning the imagery on the T stones at Gobekli Tepe and his firm connections to current zodiacal constellations. Having studied Sumerian and Babylonian astronomy in some detail it is clear that as late as between 5-1,000 BC constellations were constantly changing, evolving and even being written off in large numbers and new ones created in their stead particularly as a result of the effects of precession. Revision of the sky over long periods of time must be taken into account it seems to me and it’s a huge leap to claim that constellations that we know today had similar or comparable meaning, imagery or place in the lore of the ancients over such huge time spans.
As an example, in his fantastically informative and important book BABYLONIAN STAR-LORE, Gavin White posits the following with regard to the erasing of a whole tranche of once pivotal constellations that I wonder may possibly have something very important to say with regard to the fabled 11 strong zodiac of old…
Taking the above into account, plus all the wealth of detail concerning the ever evolving star-scape above (a simple example being the evolution of a fascinating figure called The Hired Man into the Ram of Aries that took place quite late on) – and even though there are real symbolic connections between the two, the iconography and indeed the actual shape of the constellation was significantly altered. We should also bring to mind the pivotal halving of what was once the full constellation/iconography of Tauraus the Bull to in part facilitate this.
Sweatman makes the classic and to my mind fatal mistake that so many have made before in falsely assuming that associated constellational lore/imagery and the actual shape of the stars in the sky are in anyway connected. They are not, and even in the few cases where this can be argued, it is obvious this was not the defining reason why certain areas of the sky were chosen to assume certain imagery around which important knowledge could be located and retained. The heavens were the ancients super computer. The sky above was their sacred metaphysical/physical text. We are not talking about bored, sub-civilised thinkers who stared up at the heavens and in their spare time undertook a children’s game of join the dots (‘Hey, that looks just like a lion!”) but rather the projection of an incredibly subtle, complex, interwoven memory system – a kind of giant cosmic library of multi-levelled knowledge written upon the heavens and maintained orally over over millennia through which high initiates and priestly astronomer astrologers (it is never the common people who come up with these processes and myths) maintained, lost and remade through countless catastrophes and collapses of human culture, a timeless yet ever evolving understanding of the above and the below in perpetual union and strife. And whilst I wholeheartedly agree with Laura that later Greek and neo-platonic ‘esoteric’ extrapolations and interpretations were falsely attached with garbled meaning, that from the get go the system had an inherent ‘spiritual’ aspect hand in hand with the harsh reality aspect derived from constant threats from the heavens by ‘the gods’ in the form of comets and where they ‘lived’. When you begin to trace the evolution of the sky story you constantly come across startling and clear associations to a double and concurrent underlying story – one of human spiritual potential, entrapment and the means to escape side by side and interlocked with the realities of our 3rd density matrix and its 4th density control system. I think the true lost story is one of a slow erasing of this complex understanding and a replacement with one more fractured and obtuse – very much in alignment with what happened when writing replaced oral capacity allowing for a process of Chinese whispers to occur that the Bible and its makers used to ensure the past was near washed clean.
Anyhow, Sweatmans interpretation of ‘Pattern Matching’ of such figures as The Fox, Tall Bending Bird, Duck/Goose, Bending Bird, etc to current known constellations is to my mind a huge leap in assumptions and whilst his statistical arguments impressive, should – to my mind – not easily be accepted on face value.
However I do accept that his overall argument is most likely absolutely in the right direction – and whilst my jury is open I think his deducing that the 4 ‘handbags’ are markers of the equinoxes and solstices has merit and is worth further exploration – especially if these 4 sign posts were new and freshly important signifiers of something hugely significant post the initial catastrophe and the establishment of the 4 seasons.
Assuming that it happened in relatively recent human history (and many of the most ancient myths speaking about a previous golden age and a single season certainly are suggestive of that), it makes most sense that the catastrophic events of some 13,000 years ago have to be a prime culprit. Anything later really doesn’t align with so much else especially the development of seasonal stories, the slow emergence of agriculture/civilisation and many of the myths that followed. A close passage or interaction with ‘Venus’ and ‘Mars’ are perhaps the only other recent suspects – placing when that happened and how these events are related to the end of the ice age event is still a question for me… were they as seems likely later follow on events…? Was ‘Venus’ one of the large broken pieces of the original monster or a new interloper? Did she take on repeated close passages as a result of the disturbances caused to the inner solar system by the 13,000 year event before eventually either wearing herself out or settling into a plentary orbit as propossed by Velikovsky?… placing these in something like a correct order is a monumental tease…
The issue of the impact on zodiacal lore is one of key significance however. If we assume the earth was wholly or more upright and that most if not all of the present 23degree tilt only came about post the catastrophic end of the ice age, then any theory that deduces an extrapolation of current ecliptic/zodiacal constellations as being meaningfully consistent back in time beyond this point is in trouble as obviously it is only this tilt that creates the ecliptic and places the constellations we know along its sight line. Without it the zodiac would be on or under the horizon and have no reason to have impacted human consciousness. It also raises the issue of whether the Precession of the Equinoxes also only dates post this time.
This is where I have some issues with Sweatman’s “Prehistory Decoded". I was uncomfortable with many of his almost cavalier deductions concerning the imagery on the T stones at Gobekli Tepe and his firm connections to current zodiacal constellations. Having studied Sumerian and Babylonian astronomy in some detail it is clear that as late as between 5-1,000 BC constellations were constantly changing, evolving and even being written off in large numbers and new ones created in their stead particularly as a result of the effects of precession. Revision of the sky over long periods of time must be taken into account it seems to me and it’s a huge leap to claim that constellations that we know today had similar or comparable meaning, imagery or place in the lore of the ancients over such huge time spans.
As an example, in his fantastically informative and important book BABYLONIAN STAR-LORE, Gavin White posits the following with regard to the erasing of a whole tranche of once pivotal constellations that I wonder may possibly have something very important to say with regard to the fabled 11 strong zodiac of old…
P82
THE CREATURES TIAMAT
The Creatures of Tiamat are a group of 11 mythical beings found in the Epic of Creation. They are of considerable interest to astrologers because four of them appear in star-lists as constellations in their own right. In this respect, they bear many similarities to another group of mythical beings known as the Heroes’, a number of which embody memories of archaic constellation figures that were removed from the heavens in ages long past.
Along with a host of venomous serpents and ferocious dragons, the 11 Creatures were created by Tiamat to fight against the gods. Tiamat was an ancient goddess, the embodiment of the primeval oceans, who held sway among men before the arrival of the gods. In the ensuing battle Marduk killed Tiamat, routed her battle-legions and captured her monstrous host.
After the victorious Marduk had bound and imprisoned the Creatures, he set about constructing a new world-order from the corpses of his slain adversaries. He divided Tiamat’s dead body into two halves from which he created heaven and earth. He then sacrificed Kingu, Tiamat’s battle-leader and lover, and from his spilt blood he created ‘primeval’ man’, the blood of the slain god constituted the ghost of that first man.
However, Marduk was more lenient towards the 11 Creatures, after binding them and making them subservient to him, he made images of them and installed them at the gate of the Abyss to commemorate his victory. Ultimately, the purpose of Marduk’s leniency towards the Creatures was to harness their power for benevolent ends. Thus they became ‘protective entities’, whose allotted role was to guard the entranceways to temples, palaces and houses. So, in addition to affirming Marduk’s supremacy over all creation, the magical function of the Creatures was henceforth to protect buildings against the incursions of other demons and monsters.
The names and natures of the 11 creatures are as follows:
The Furious Serpent (mušhuššu) is first seen in the artwork of the Akkadian period. It is a composite creature made up from the parts of a serpent, lion and bird. During its long history it has been associated with various gods, first with Ninazu and Tišpak, later with Ningišzida, Marduk and Aššur. It appears as a constellation in the Old Babylonian ‘Prayer to the Gods of the Night’ (see fig 121).
The Bašmu-serpent is regarded as an early name for the constellation later known as the Serpent. In later artwork the Bašmu is depicted as a horned serpent with two front legs and wings (see fig 120). Its name can be understood as the ‘horned serpent with a womb’.
The Exalted Serpent (mušmahhu) is sometimes thought to be the same as the seven-headed serpent slain by Ninurta. In early artwork just such a beast is attacked by a hero who slices off one of its heads (see fig 40). The motif has ultimately inspired the Greek myth of Heracles’ labour against the seven-headed dragon called the Hydra.
The Great Dragon (ušumgallu) might be the 4-legged dragon with wings that appears in some late 3rd millennium artwork. In truth, the attribution is uncertain, as the Great Dragon is often confused with the bašmu-serpent whose name is also derived from Ušum, the Sumerian term for ‘dragon’. The term ‘Great Dragon’ can be used as an epithet of deities and kings where it means ‘the sovereign’ or ‘sole ruler’.
The Lahāmu appears to be a collective term for a group of watery beings, half-man, half-fish in appearance. According to creation myths they are primeval beings born from the waters of Tiamat. In later traditions they could be found in the subterranean waters among the entourage of the wise god Enki. Together with Enki they guard the ‘bolt of the sea’ that seems to be related to the abundance of the oceans.
The Great Storm-demon (Ugallu) is a lion-headed demon that first appears in Akkadian art; by the Old Babylonian period he is associated with the gods of the underworld where he is considered to be a punisher of transgressors and a bringer of disease. Armed with a mace and an upraised dagger, his appearance is to all intents and purposes identical to the lion-headed demon known as Lulal. (see figs 86 & 88)
The Mad Dog (Uridimmu) is a relatively rare figure that is first attested in Kassite art. The Mad Dog, has a human head and torso set upon a lion’s hindquarters. This precise form is generally considered to be a late invention based on similar composite figures like the Bison-man and Scorpion-man. In later artwork it is often paired with the Bison-man as an attendant to the sun god Šamaš. The Mad Dog appears among the constellations next to the Scorpion, it is ultimately the origin of the Greek constellation known as the Wolf (Lupus). (see figs 12 & 90)
The Scorpion-man (Girtablilu) first appears in Akkadian art where it is depicted with a human head, bird’s legs, a snake-headed penis and a scorpion’s segmented body and tail, in addition some examples also sport wings. From the Kassite period a slightly different figure appears that has the body of a bird and which is sometimes armed with a bow and arrow, but it is uncertain whether this particular creature can also be called a ‘scorpion-man’. In the artwork of later periods Scorpion-men commonly appear alongside the sun god and the winged disk. (see figs 97& 117)
The Fierce Storm-demon (Ūma dabrutu) is probably a composite beast that incorporates the features of a lion, but beyond this its appearance is uncertain. It is sometimes thought that a lion-like creature with the back legs of a bird is an ūma-demon. Such creatures first appear in Akkadian art and are essentially identical to the depiction of the Panther-constellation. The similarity is reflected in later star- lore where the Panther is sometimes glossed as ūmu nā’iru - the ‘roaring’ or ‘snarling storm-demon’. Such a creature, with water flowing from its mouth, is occasionally portrayed as the sacred beast of various storm gods. (see fig 102)
The Fish-man (Kulilu) and Fish-woman first appear in the artwork of the Old Babylonian period, where they often appear in pairs wearing the horned headdresses of divinity. They are naturally associated with the water god Enki and are counted among the wise inhabitants that dwell in the watery Abyss below the earth. (see fig 5 & 6)
The Bison-man (Kusarikku) is a mythical beast derived from the bison. He is generally depicted with a human head and torso, and the hindquarters of a bison. He is closely associated with the sun god Šamaš in the Akkadian and Old Babylonian periods; and is listed as a constellation in the Old Babylonian ‘Prayer to the Gods of the Night’.
(see figs 10-13)
p193
THE SLAIN HEROES
The Slain Heroes are a fascinating group of ‘primitive’ gods, demons and monsters that were all killed by the heroic god Ninurta. There is mounting evidence that several of the Heroes were actually worshiped as independent divinities as early as the Early Dynastic period (3100-2390 BCE). Their ‘deaths’ at the hands of Ninurta had certainly occurred by the end of the 3rd millennium as the Gudea inscriptions attest to their collective worship within the cult of Ninqirsu (a local form of Ninurta) around 2100 BCE.
The defeat of the Heroes is widely thought to represent a attempt to absorb their independent worship into the cult of Ninurta, and may be but a part of a much wider cultic and religious reform that took place in the mid to late 3rd millennium. The most persuasive evidence for this cultic upheaval can be found in Akkadian artwork, where brutal scenes depicting the slaughter of captive gods abound.
In appendix 2, l have argued that the origins of this ‘war of the gods’ lies in a substantial reform of the constellations where numerous archaic constellation figures were removed from the star-map to be replaced by newly formed star- figures.
127 A warrior god, possibly Ninurta, slays a one-eyed solar deity, Old Babylonian plaque
In the present state of knowledge, we can only be certain that two of the Slain Heroes - the Anzu-bird and the Bison-man - were indeed ancient constellation figures that were struck from the heavens, but there is the distinct possibility that several more Heroes were also archaic constellation figures. In fact the Slain Heroes may not be as ‘dead’ as their names imply - as there is reason to believe that some of them may actually live on in some Greek constellations. I have noted the potential correspondences below.
It is now widely recognised that the myths of the Slain Heroes have inspired at least some of the Greek myths known as the Labours of Hercules. There are some particularly convincing parallels between Hercules’ Labours against the Hydra and the Boar of Erymanthia, and their Mesopotamian prototypes known as the Seven-headed Serpent and the Bison-man. This intriguing topic deserves further investigation.
Most mythic texts mention nine heroes, who seem to form some kind of canonical group, however other texts add at least two more Heroes to their number. Their names and natures, as far as can be discerned, are as follows:
The Six-headed wild ram (Šeg9-Sag-6) was slain by Ninurta who ‘brought it forth from the shining, lofty house’. Gudea later installed the ram at the ‘gate of battle, where the weapons hang’.
The Warrior Dragon (Ušum Ur-sag) was ‘brought forth from the great fortress of the mountains’. The Warrior Dragon was sometimes considered to be the counsellor of Tišpak, a warrior god who had a number of serpentine beings among his divine entourage. (See the section on the Star of Dignity).
The Magilum boat is possibly a boat with a human head or torso that is seen in early artwork. Ninurta ‘brought it forth from ... hi Abyss’. Some modern researchers have suggested that the Magilum boat may be remembered in the Greek constellation of Argo. The evidence in favour of such an attribution is limited and largely depends on some Arabic illustrations of the Argo, which depict it as a ship with human characteristics.
The Bison-man (Gud-Alim) was ‘brought forth from Ninurta’s battle dust’. His constellation is partly remembered in the Greek Centaurus, but in mainstream Babylonian tradition his constellation was removed from the heavens and replaced by the figure of the Wild Boar. (See the section on the Bison-man and figs 10-14)
The Mermaid (Kulianna) was ‘brought forth from the limits of heaven and earth’. In the section on Anunitum, I suggest that a memory of Kulianna may be retained on the Greek star-map in the form of Andromeda. (See fig 6)
The White Gypsum (Nig-Babbar-ra) was brought forth from the soil of the mountain range’.
The Strong Copper (Urud-nig2 Kalag-ga) was ‘brought forth from the shattered mountain range’. He appears in the Sumerian poem entitled ‘the debate between Copper and Silver, where he is said to be the ‘strong heir of Father Enlil’. Some commentators have suggested that Strong Copper was a personified bell, used in later periods in exorcistic rituals.
The Anzu-bird (lm-Dugud-mušen) was a lion-headed eagle well known in archaic myth and art. Ninurta ‘brought it forth from the halub-haran tree’ (a form of oak). The Anzu-bird’s constellation image was once located in the region around Pegasus, but was subsequently replaced by the Horse constellation A memory of the Anzu-bird may be retained in the Greek star-map in the form of Cygnus, the Swan, whose outstretched wings and trailing feet bear an uncanny resemblance to depictions of Anzu. (See the section on the Anzu-bird and figs 7-8)
The Seven-headed serpent (Muš-Sag-7 or Mušmahhu) is sometimes seen in early artwork, where it is attacked by a warrior god (See fig 40). Ninurta ‘brought it forth from the ... of the mountains’.
Among the lesser-known Heroes we also find Lord Samanana, whose name, according to the lexicon, would mean the ‘Lord of the cosmic tethering rope’. A deity of this name was worshipped in the Early Dynastic period, and in Old Babylonian incantations a monstrous demon called Samana is sometimes mentioned. The little known Palm-tree king was also worshipped in the Early Dynastic period. And one of the Gudea inscriptions also seems to imply that the ‘Lion, terror of the gods’ was included among the Slain Heroes.
The Slain Heroes may not be as dead as the Babylonian sources suggest as some of their number could actually be incorporated into the Greek star-map. The most certain case is that of the Bison-man who lives on, albeit in a modified form, under the Greek name Centaurus. As mentioned above a memory of the Magilum boat may inform the celestial ship called the Argo; and it is also possible that the form of Cygnus, the Greek Swan, is a slightly displaced and modified version of the Anzu-bird.
Beyond the star-map there could be further inherited memories of the Heroes in the corpus of Greek mythology. The most obvious example is the Seven-headed Serpent, which is, no doubt, the precursor of the Greek Hydra. For now the matter needs to be left unresolved - we can only hope that future discoveries concerning the Heroes will throw more light on this intriguing issue.
Taking the above into account, plus all the wealth of detail concerning the ever evolving star-scape above (a simple example being the evolution of a fascinating figure called The Hired Man into the Ram of Aries that took place quite late on) – and even though there are real symbolic connections between the two, the iconography and indeed the actual shape of the constellation was significantly altered. We should also bring to mind the pivotal halving of what was once the full constellation/iconography of Tauraus the Bull to in part facilitate this.
Sweatman makes the classic and to my mind fatal mistake that so many have made before in falsely assuming that associated constellational lore/imagery and the actual shape of the stars in the sky are in anyway connected. They are not, and even in the few cases where this can be argued, it is obvious this was not the defining reason why certain areas of the sky were chosen to assume certain imagery around which important knowledge could be located and retained. The heavens were the ancients super computer. The sky above was their sacred metaphysical/physical text. We are not talking about bored, sub-civilised thinkers who stared up at the heavens and in their spare time undertook a children’s game of join the dots (‘Hey, that looks just like a lion!”) but rather the projection of an incredibly subtle, complex, interwoven memory system – a kind of giant cosmic library of multi-levelled knowledge written upon the heavens and maintained orally over over millennia through which high initiates and priestly astronomer astrologers (it is never the common people who come up with these processes and myths) maintained, lost and remade through countless catastrophes and collapses of human culture, a timeless yet ever evolving understanding of the above and the below in perpetual union and strife. And whilst I wholeheartedly agree with Laura that later Greek and neo-platonic ‘esoteric’ extrapolations and interpretations were falsely attached with garbled meaning, that from the get go the system had an inherent ‘spiritual’ aspect hand in hand with the harsh reality aspect derived from constant threats from the heavens by ‘the gods’ in the form of comets and where they ‘lived’. When you begin to trace the evolution of the sky story you constantly come across startling and clear associations to a double and concurrent underlying story – one of human spiritual potential, entrapment and the means to escape side by side and interlocked with the realities of our 3rd density matrix and its 4th density control system. I think the true lost story is one of a slow erasing of this complex understanding and a replacement with one more fractured and obtuse – very much in alignment with what happened when writing replaced oral capacity allowing for a process of Chinese whispers to occur that the Bible and its makers used to ensure the past was near washed clean.
Anyhow, Sweatmans interpretation of ‘Pattern Matching’ of such figures as The Fox, Tall Bending Bird, Duck/Goose, Bending Bird, etc to current known constellations is to my mind a huge leap in assumptions and whilst his statistical arguments impressive, should – to my mind – not easily be accepted on face value.
However I do accept that his overall argument is most likely absolutely in the right direction – and whilst my jury is open I think his deducing that the 4 ‘handbags’ are markers of the equinoxes and solstices has merit and is worth further exploration – especially if these 4 sign posts were new and freshly important signifiers of something hugely significant post the initial catastrophe and the establishment of the 4 seasons.