Graal Mysteries

It was Hamasson who had a dream that the Cweorth-Rune (above) was the 'handle' of the Broken Sword. The blade here is missing and thus 'broken', and this forms part of Germanic Mythology. We have to assume here that the Cweorth-Rune is also that of the Sword (sweorth) by a play-on-words. The word 'sword' comes from the Aryan Root *swar- which has the following meanings -

• to murmur, hum, buzz, or speak (imitative origin).
• to shine, glow, burn.
• to string, to bind.

It is interesting to note that when we use the term 'Black Sun' we should really use Swart Sun which is from the Old English. The word swart stems from the same Aryan Root *swar- meaning 'to shine', 'to glow' or 'to burn' because the true and original sense of the word meant 'blackened by heat'. We here has a direct link between the Black Sun and the Sword, even though this is a very subtle link and not obvious without knowing the root-words.

Excalibur.

This stems from the Welsh 'Caledfwlch' and Medieval Latin 'Caliburnus', and these stem from the IE Root *kal- meaning 'hard'. Since most of the words used in myth and legend have subtle inner meanings this name does not seem to give us anything to go by if we take this as the only meaning. But if we use an older dictionary we find the following -

Aryan Root *kal-/Teutonic Root *hal- meaning 'to hide' or 'to cover'. 

Aryan Root *kal-/*kar- meaning 'to cry out' or 'to exclaim'.

Aryan Root *kar-/Teutonic Root *har meaning 'hard' or 'rough'. Also meaning 'to curve' or 'to roll'.

Aryan Root *kar-/Teutonic Root *har- meaning 'to hurt' or 'to destroy'.

The last of these meanings seem to fit the role of the sword. It should be noted that the prefix 'Ex-' seems to have been added to the original name, maybe used to signify the 'X' in 'Xrist' since these legends were written down in Christian times. There is also a famous sword in the Ulster Cycle - Caladbolg - wielded by Fergus mac Roich. Excalibur was either the 'Sword in the Stone' or the 'Sword in the Lake'. 

"Battle-Flame".

In Beowulf we find a sword named Hunlafing Hildeloeman which is placed on the lap of Hengest. The name means - "Hun-bequest : Battle-flame" - and is the Sword of Aetla the Hun, passed from the Hunnish World-Ruler to Hengest, thus passing the Wyrd of Aetla to that of Hengest. This sword was used by the English Tribes when they rallied the Germanic Peoples of these islands and conquered the land to become 'England'. This sword could also be the same as that which Cynric wielded for the West Saxons. It is also likely that Tolkien used this as the 'Battle-Flame of the West" - Anduril - the reforged 'Broken Sword' used by Aragorn. This sword was broken and reforged by the Elves.

The Flaming Sword.

It is interesting to note that a 'Flaming Sword' is placed in the east of the Garden of Eden 'to keep the way of the Tree of Life'. This was placed there by 'God' because Eve and Adam, tempted by the Serpent of Knowledge, ate of the Tree of Knowledge - an Apple Tree is the usual symbolism. As I showed in the last article, the Apple-Tree is the Barnstock Tree of the Wolsunga House, and also the Apple of Frigga used to renew the House of the Wolsungas. The Ogham Quert is the 'Apple-Tree' associated with the Cweorth-Rune. The 'Flaming Sword' is wielded by the Last Avatar. 

The Stan-Rune in its 'Stone of Ing' version contains the English Ing-Rune within twin staves - 

I have mentioned before on many occasions how the letter ng (which it once way) has been broken into an 'n' and a 'g' and thus symbolises the 'Broken S-Word'. It is also interesting to note that the English Ing-Rune is made up of two Gyfu-Runes, but using the Greek spelling of 'ng' we get 'gg' which is two 'G's as in the runes. The 'Gift of Ing' is the Spear of Woden symbolised by the Gar-Rune, and the 'Memory of Ing' is contained in the sword Miming. Ingwe-Frey was seen as a 'Sword-God' who gave up his sword for the love of Gerda (Earth), and had to fight Surt (who wielded a 'Flaming Sword') with a Stag's Horn. The form NG is thus associated with the 'Flaming Sword' since Ingwe is a Fire-God just like Agni. (Note that an alternative name for the Cweorth Rune is Tris which is 'SIRT' spelled backwards.) 

Perhaps far more important than the actual meanings taken from the root-words is the meaning 'Ritual Fire' or 'Fire of Cremation' used of the Cweorth-Rune, and also its relationship with the Peorth-Rune or 'Rune of Wyrd'. Cweorth is a Rune of Transformation by Fire and Purification by Fire, the element that will destroy the worlds through the 'Fires of Surt' in order that they can be recreated anew for a new Cosmic Cycle. Cweorth is the Fire-Twirl, the symbol used by Waendal or Mundilfari to create the worlds, and used by Rudra-Shiva to destroy the worlds. 

The Nyd-Rune shows the Sword pushed into the trunk of the Barnstock Tree - Oak or Apple. When the Sword is removed the 'I' or 'Broken Ego' is renewed, which is the role of the Warrior-Hero. Richard Wagner, in his Ring Cycle, names the sword Nothung which is the 'Need of Ing'. We should never dismiss this symbolism as being 'late' and thus 'not authentic' because Archetypal Myth adapts itself to an era, and Wagner (like Nietzsche) was one of the foremost mystics and prophets of this era. Indeed, through Parsifal, Wagner saw past the roles of Sigmund and Sigurd (Siegfried) into the one who would create a renewal of Nature. The Nyd-Rune is associated with 'death' and the 'Mystical Death' of the Wodenic Initiation. 

Sigmund - World War I

Sigurd - World War II when the 'Broken Sword' is renewed.

Parsifal - Seeker of the Graal. Plunges the Holy Spear into the Holy Graal, an act of Creation that will create the God-Man. 

These mysteries are found in that of HelgiH Thrice-Born who comes as the Last Avatar. 

The "Word-Sword".

The play-on-words of the term 'sword' to 'S-Word' comes out in an interesting piece where the 'Son of Man' (Ing) has a sword coming from his mouth. This comes into the Graal Mythos through Wolfram von Eschenbach in a passage related to the 'Word-Sword'. In this the 'Word-Sword' has become old, atrophied, shattered, and lost its power. Only through discovering the source of this power can the 'Word-Sword' be renewed. The source of this power is hidden within the text of this mythos.

It is hidden in the Well of Kunneware which is the source of the 'Magic Spring'; above this Holy Well is a globe upon which sits a dragon. This whole text refers to the Base-Cauldron of the ALU-ULA Formula which is centred around the sex-organs (related to Ingwe) and Hara-Centre. 'Kunneware' is the 'Kan-Rune or 'Rune of the Dragon' which 'guards' this Holy Well. The 'Magic Spring' is the source or origin and thus the link to the Ur-Rune which is the rune of this centre. The symbol of this Sacred Centre is the Fylfot-Swastika which is at the 'foot' of the Sacred Tree, the Base-Centre. 

The 'Word-Sword' can withstand the first blow, but on the second blow it shatters; its renewal can only be done by taking it back to the source which is the Holy Spring below the Rock, where it can become whole again through the flow of water (Lagu-Rune). This must be done before the light of day has shone upon it. The Signs of the Constellations will then re-appear upon the blade of the Sword in their right order. Since we find that one of the swords is given by the 'Lady of the Lake' we can easily link this to the Lagu-Rune and to the flow of water that renews the Broken Sword, even if this is not actually stated in this saga. 

The Base-Cauldron is the 'Cauldron of Heat' or 'Golden Stove' in Chinese Tantra; it contains the Manipura Chakra which is related to -

1. Fire.
2. The Swastika - Force of Fire.
3. The Ram (Agni-Inga).
4. The Mantra - 'RAM'. 

We can relate three of the lower chakras to the Base-Cauldron - Muladhara (Earth), Svadhisthana (Water) and Manipura (Fire), although there may be some overlapping of symbols between the Three Cauldrons. 

There are three symbols here relating to the Kundalini or 'Fire-Serpent' - 'Kunneware', 'Magic Spring', and 'Dragon-Serpent'. There are also three runes that link to these ideas - Lagu (water-well-spring), Ing ('Spring', 'Rising' etc.), and Daeg (Light of Day). The source of the power of the 'Word-Sword' can be seen as the Fire-Serpent represented in Wodenic Lore by Ingwe as the Inga-Fire. This is also the Ur-Spring or 'Primal Spring' related to this Cauldron of Power. The source of the Water is in the Earth, and the source of the Fire is in the Water - 'Fire-from-Water'. This is the 'Fire of the Brisingas' (Brisingamen) which Loki stole, swam through the waters, followed by Hama who took the stolen necklace from him and returned it to Freya. Hama retrieved the Necklace of Fire from the waters. This is the same tale as that of Kau Khusrau of Persia when he retrieved the Hvarena ('Glory of Light') which belonged to the Aryan Nations and to Zarathustra. 

What is not clear is the link between the 'broken' "Word-Sword" and the Zodiacal Constellations, although we are not specifically told that this is the Zodiac. The 'Signs of the Constellations' could indeed be the Ancient Runes since certain runes do show constellations in the night-sky (the Cweorth-Rune is the Constellation of Signus the Swan, and Bootes is shaped as an Ing-Rune in one variant). 

Cweorth-Rune.

Waendal can be seen as Mundilfore who is the 'World-Turner' who sends down his 'son' (Hama) to Earth bringing Friction-Fire at the end of the Golden Age. The Long Man of Wilmington is Waendal here seen in the pose of the Cweorth-Rune as the 'Fire-Whisk' that whisks the worlds into creation and which also destroys the worlds through the 'Fire-Dance of Rudra-Shiva'. The 'Tree of Waendal' is the 'Tree of Immortality' the Yew Tree (found in the churchyard in Wilmington and said to be some 1,600 years old). 

The Ear-Rune is 'Earth' & 'Water' whilst the Cweorth-Rune which shares a similar shape is 'Fire'. The concept of 'Fire-from-Water' is associated with Ingwe & Agni. 

The Long Man & The Graal.

I have gone over this before but will look again at the same details which I discovered in a book called The Wilmington Giant by Rodney Castleden. This is based upon a suggestion by S.F. Annett that the area around the Long Man features in the Petit Saint Graal which features Parsifal (Peredur). Here, again, I am not going into the tale, but will look at the individual features or symbols -

A castle with no inhabitants - Burlough Castle is a 'castle' with no trace of a building, it is a large mound. This was the home of the Sussex 'Fairies' (Elves).

A chessboard on which the pieces are moving themselves - here Parsifal loses and throws the chessboard into a river.

The River Cuckmere which runs through this area between the Long Man and a White Horse on Hindover Hill (High & Over).

The White Hart - An 'ill-favoured maiden' rebukes him and has to go to a nearby wood to behead a White Hart. He does as he is told, but a mysterious knight appears and takes the head. The nearby wood is a small grove of trees which surrounds Lullington Church. The White Hart and its hunting may be seen in another Comet-shaped long barrow east of the hill-figure - Hunter's Burgh.

A mound beneath which is carved the figure of a man - There is a Long Barrow called 'Windover Mound' just above the figure of the Long Man. 

A huge Black Man appears from the mound and Parsifal defeats him. This is the 'Wild Man' or Wuduwasa.

Unfortunately, as usual, S.F. Annett approaches the whole tale from a 'Celtic' point of view even though this is in the area of the South Saxons and before them another Germanic Tribe named the Belgae. Looked from a Germanic point of view it can be equated with Germanic Mythology. 

Here two players of Taefl sit in the pose of the Peorth-Rune, playing this game as a Game of Chance (it would have been played with dice). Thus the game is associated with Wyrd and the 'ill-favoured maiden' would be one of the Wyrd Sisters. 'Windover Mound' is a long-barrow with a difference; it has a cigar-shaped long-barrow and a round barrow at the hill-figure end. This may be a Phallic Symbol in all, or there is the possibility that the Long Barrow is the Phallic Symbol and the Round Barrow the Graal-Symbol. The Spear plunged into the Graal. The large 'Black Man' is the Guardian of the Gateway which is the hill-figure who holds open the doors, or holds twin-spears (originally). He is the Wuduwosa. 

It is interesting to note that the Peorth-Rune is the Beorc-Rune opened up in 'birth' and thus the 'Birth-Rune'. As I have said before, the whole area is a 'Time-Clock' set to be triggered by the last appearance of the Hale-Bopp Comet in the spring of 1997 (Hunter's Burgh represents the Hale-Bopp Comet). The White Horse, through the use of the term 'hart' and being on top of 'Hind-over' hill, would be the 'White Hart'. The small church found in the wooded area at Lullington stands on a heathen mound and was thus a heathen site originally. 

In the Horns of Gallehus (Denmark) we find in the third row from the bottom two figures carrying a Board-Game, underneath which is a dog-headed figure in the Peorth-Rune pose. On the bottom row, in the centre, are two 'dice', or what appear to be dice, each with 3 dots. If you look carefully at the top runic-stance poses on the bottom row there is a human figure and dog figure (on a leash to another human) in the self-same pose with a board-game between them. (To understand the dog-figure a look at Kris Kershaw's work on Odin and the Germanic Mannerbunde traces this back to Vedic India.)

The Number 16 forms a great part of the Graal Mythos, and this is associated with the game of chess which has 16 pieces on each side (this is a later form of Taefl and best known for medieval times when the Graal Mythos was around). A chessboard thus has 32 pieces and 64 (double that) squares (8 x 8). In another variant of this the 'ill-favoured woman' is a young woman wearing a red dress covered with stars - the 'Red Queen' of Egil's Saga. She is the ruler of the Number 4 which is the basis of the chessboard - the Star Woman. We are dealing with an area in the south and thus with the southern stars and thus the link made in The Sacred Triangle of Pagan Iceland (Einar Palsson) with Isis and Sirius. Emma Jung, again working through Celtic Lore, sees this Star Woman as  she who inherits the chessboard of 'Morgana'. This is very interesting in view of my dream of 1997 which stated that the Hale-Bopp Comet was 'sent by Morgana', especially as I usually work through Germanic Mythology. Whatever the case the 'Star Woman' is Wyrd and the chessboard is symbolic of the Conflict of Opposites that creates Wholeness. Since some scholars also consider that the original 'Holy Grail' was the 'Horn of Plenty' it is also relevant to record that at the same time as the Hale-Bopp Comet was said to have been 'sent by Morgana' it was also stated that this was linked to 'Capricorn - the Horn of Plenty'. (This was long before I ever read the book on Pagan Iceland.)

The Skapker Heidhrunar ("Measuring-vessel of Heidrun") is the 'Horn of Plenty, associated with the goat Heidrun (Capricorn in the Northern Skies and the Northern Gateway to the Gods). Note in the board-game where the players sit in the Peorth-Rune stance the right-hand player holds a horn. (The other side is not clear so both may do so.) The Horn of Heidrun sustains the Einheriar in Valhalla. The 'Horn of Plenty', it is said, is the Womb of the Great Mother, and here we can see yet another link with the Long Man of Wilmington. This hill-figure is symbolic of Cygnus the Swan whose main star - Deneb - is a pointer to the Dark Rift at the centre of the Milky Way Galaxy. This is sometimes seen as the 'Womb of the Cosmic Mother'. The idea of a 'black man' is thus symbolic of the 'Dark Rift' and the 'opening' is where the 'birth' takes place. It is also interesting to note that in Wulf's Prophecy Wid-Ar the Avenger (HelgiH) appears through the 'Triangle' and Cygnus the Swan is in the Summer Triangle. 

We need to look at the name 'Heidrun' which means 'bright' (heidr) 'secret' or 'mystery' (run) or 'Bright Rune'. She is the she-goat who eats from Yggdrasil, the World Tree and thus produces Mead in her udders which sustains the Einheriar in Valhalla. This is the Sacred Mead of Immortality taken from the 'Tree of Life' (which is also called 'The Measuring Tree'). The area of Capricorn in the Northern Skies is the 'Northern Gateway to the Gods'. 

Cygnus the Swan

What we should notice is that in the modern interpretations of these Grail Mysteries Morgana is seen as being on the side of 'evil'; this can be explained by these mysteries being set down through Celtic Christianity and the Norman-French in the times when anything English was being destroyed or suppressed where it could not be destroyed. In these legends 'King Arthur' was the good guy - the Christian - and Vortigern and Morgana were the bad guys, most likely because they were drawn from Heathen Lore. Morgana is the Irish Morrigan who were the 'Sisters of Fate' - Wyrd Sisters. King Arthur is often associated with the Red Dragon and Vortigern with the White Dragon - a reversal of Germanic Lore.

Cweorth-Calc-Stan-Gar.

All of these can be linked to the ideas above since we have -

Cweorth - The Sword.

Calc-Stan - The 'White Stone' or chalk-hills of the South Downs on which the hill-figure stands. There is also the 'White Stone' in West Sussex. 

Gar - The Spear. Twin spears were once held by the hill-figure who is Woden as the Great Initiator. 

The Sacred Marriage & The Divine Child.

In 1999 there was an astronomical event in which the Sun and Moon were seen in the 'Sacred Marriage' through the Solar Eclipse of August 11th 1999 at 11.00am. The planet Venus (in the constellation of The Virgin) was in the same house - the 'House of the White Dragon'. But this was not all, for between the years 1998 and 2012 the Sun moved into the area of the 'Dark Rift' of the Milky Way; the Sun (Male) moved into the Womb of the Mother. This must be a sign of the conception of the New Age and the 'Divine Child'. 

"Of all the realms/empires one returns twice - and always in a different location. The vibrations derived of the Bab-Chomet causes this."

Prophecies of Sahaja (from Babylonia).

This prophecy refers to the return of Sargon as the 'Third Sargon' who will appear in the North at a time when the Sun blackens across Europe (Black Sun or Solar Eclipse 1999). The 'Bap-Chomet' reminded me of 'Bopp-Comet' and refers to the Hale-Bopp Comet which cycles every 4,000 years, the last time being at the time of the Great Flood, and the next time prophesied in the New Testament as the 'Second Coming' (of the 'Son of Man') and in Islamic and Jewish Lore. It is the 'vibrations of the Hale-Bopp Comet' which was 'sent by Wyrd/Morgana' that brought about these events. 

The Gar-Rune has within itself the 'Hidden Rune' which is the Fylfot-Swastika overlaid upon the Ing-Rune, thus the Fylfot-Swastika overlaid across the 'Land of Ing' (England). The Gar-Rune as it is represents the 'Sacrifice of Ing' or the 'sacrifice' of the English and of England for a higher destiny. Here in the 'Islands of the West' ('Land of the Dead') we find the Eternal Battle between the White Dragon (Goten) and the Red Dragon (Joten) which comes to a head at the End Time. The Gar-Rune in the above form can be expanded in all directions; it represents England (Ing-Rune) as it once was according to Roman historians (diamond-shaped) but when expanded it represents the 'Rising of At-al-land' from the Great Deep. The Land and the Folk are one - An land - An Folc!

Sword in the Stone

The legend of the Sword thrust into the Stone appears first in Le Morte D'Arthur by Sir Thomas Malory and is connected to the Graal Mythos. However, the same theme can be found in much earlier Germanic Legends in one form or another -

• The Sword thrust into the Barnstock Tree in the Wolsunga Saga.
• The Sword stuck into a Stone and pulled out by Bodvar, son of Bjorn in The Saga of Hrolf Kraki.
• The staff removed from a Stone in a legend surrounding Edward the Confessor.

It has been said that the Stone represents the 'land' which itself must choose the 'Rightful King'; i.e. the king who becomes wed to Sovereignty. This does not, however, seem to be the same as a sword thrust into a tree which seems  to be the earliest account. But there are subtle links between the two.

Barnstock Tree - 

The name means 'Child-Trunk' which may be related to the 'family-tree' in the sense of continuation and lineage. The tree planted outside a house related to the continuation of that house into the future. In the Volsunga Saga this tree is referred to as an Apple Tree, linking it to the apple given to Rerir's wife by Hliod, daughter of Hrimnir the Giant. As I have stated before, the apple seems to be sacred to Venus, and thus to the Waene-Gods. It is a symbol of Immortality through its association with Idunn who guards the Golden Apples of Immortality. The same tree is also called an 'Oak' which seems to contradict what was said of the Apple. 

The Race of Heroes -

Hesiod's account of the Ages of Man gives an account of the Bronze Age Race who, through their own warlike outlook, destroyed themselves. But it is interesting to note that this race were said to have been formed from the Ash-Tree, as we find in the Norse Eddas. But this also gives a clue as to the meaning of the First Woman - Embla - the name I have said before may be derived from 'ember'. In Greek Mythology Zeus withholds from men the "fire stored in the Ash-Tree". The wood of this tree is a source of strength associated with the Gods, and with latent powers. 

After the end of the Bronze Age, and the destruction of the Bronze Age Race, Zeus created a 'Race of Heroes' who were noble and respected the Gods. They were a Race of Demi-Gods or Divine Heroes. Most of this race, it is said, died in the Trojan War and the 'Seven Against Thebes". It is most interesting to note that this race, on death, went to the Elysian Fields or to the Islands of the Blessed, both of which are in the Underworld surrounded by Oceanus. It is said that eventually Zeus promoted his father, Cronus, to be ruler of the souls of this Race of Heroes. 

This is in fact directly associated with the Wolsungas since this Royal House was descended from Woden, but was also created by Woden as a 'Race of Heroes'. This was a 'Divine Race' created especially by Woden and no doubt, like the Greek Heroes, their reward was to sit in Valhalla beside the Gods in death. There they lived a life as on Earth, being prepared for their next incarnation in which they continued the great struggle against the Forces of Darkness and Chaos. 

As a point here there may be more to the idea that the descendants of Troy were scattered around Europe, and that these may well have been associated with the Race of Heroes. We have seen how the AEliad tells how AEneus escaped Troy and went to Alba where Rome was founded, and that Romulus and Remus were his descendants. There may even be some truth in that Trojans came to Britain in ancient times. Certainly, Snorri links the Trojans to Norse Mythology. Whatever the case we may see some hint of truth even in stories embellished to suit later times, and the Myth of Troy is certainly the Myth of Ragnarok as I have shown before. Maybe we can see here a very ancient Archetypal Myth of the end of the Bronze Age. 

Where we see Zeus withholding the Sacred Flame from man, we find that it is Prometheus who steals the Fire of the Gods and gives it to mankind. In this he aids mankind whereas Zeus does not. We do find in the legends of Zeus a very tyrannous god who destroys his work, just as that of Yahweh who does the same in the Old Testament - maybe the Old Testament was an influence on Greek Mythology. We find nothing of this in Germanic Mythology. It is also a fact that the Gods themselves, in this case Scef-Ing, give fire to mankind, as well as the 'Light of the Gods'. Zeus punishes Prometheus (*) for helping mankind, a far different concept than Germanic Myth. In none of the Norse Myths does Woden or any other god keep fire (or anything else) from mankind, in fact the gods aid mankind in bettering themselves at all levels. 

(*) The name 'Prometheus' is said to mean 'foresight', but it has also been derived from pramantha which was the Swastika-Wheel used for creating Fire-by-Friction. 

The Stan-Rune is obviously associated with the 'stone', but the glyph itself can be seen as an 'anvil' and interestingly we find that in some accounts the Sword is thrust into the Anvil. Here we have the association between the Sword, the Sword-smith and the Sacred Fire. 

In the "Stone of Ing" we find the Fire-God within the Stone; Ingwe is the God of Fire. He is associated with the 'Fire in the Wood' and with Friction-Fire. Since the symbol of the Sword in the Tree is that of the Nyd-Rune we have once more an association with Fire, and more precisely Friction-Fire, fire produced by the friction of wood against wood. Of course, the stone can also be seen as the 'whetstone' that can produce fire by friction with iron or steel - the 'Fire-Stone'. Both the tree and the stone are here linked to the making of 'Fire'. The Sword (steel) and the Stone produce sparks that gives fire.

Agni and Ingwe are associated through their links to Fire; the word 'fire' refers to the physical whereas the term 'ignite' (stemming from the same root as 'agni') refers to the kindling of fire by friction. This is still valid today in most ways of making fire - steel on steel, wood on wood, steel (iron) on stone, the steel-striker and ferrous-rod, steel on steel (lighter) or matches on sandpaper. Electricity can produce fire but not in the same way.

Hesiod's Race of Heroes was 'given the possibility of attaining immortality and partaking, despite all, in a state similar to that of the Primordial Age." Whereas the destiny of the Bronze Age races was to 'descend ingloriously to Hades' the Race of Heroes as a higher lineage whose destiny was to become immortal and create a new 'Golden Age'. All of this fits the role of the 'Viras' (Heroes) spoken of by Miguel Serrano. What seems quite obvious from this is that the idea of Valhalla is associated with this Divine Race, as are the 'Golden Apples of Immortality' guarded by the Goddess Idunn. 

Rather than use the word 'ignite' we may use that of 'kindle' and even these two different words are linked. 'Kindle' stems from the Ken-Rune which is itself the 'Fire of the Forge' (Blacksmith). The same rune is associated with -

• Kinship,
• Kingship,
• The Serpent-Dragon, 
• The Fire-Serpent,
• Cosmic Fire,
• Knowledge and Wisdom,
• Female-Fire (Embla) - Elm's Fire.

'Fire-in-Water' is both associated with Hama and Agni, and Ingwe is often seen as the 'sap' which arises within the plant-tree and which is the 'Fire-Within', much the same as the Ingeous Blood of the God-Men. The Divine Hero does not go through the 'second death' but creates out of the 'Ka' (double or daemon) a 'new kind of incorruptible body (Sahu - 'Astral Body') that exists in the 'invisible' dimension'. Julius Evola associated this with Valhalla and the 'Triumphant Death', and this is the Solar Way. Interestingly the 'daemon' (**) was created by Zeus in the Golden Race but the Bronze Race did not have this. 

(**) 'Daemon' was transfigured into the Christian 'demon' but the original meaning was far different and meant - 'god', 'godlike', 'power' or 'fate'. But there were 'good' daemons and 'evil' daemons. 

The link between the Ash-Tree and Fire is not obvious; ash is a tree which burns even when wet but there has to be more to this than that. Another link may be the Latin name for 'ash' which is Fraxinus meaning 'firelight'; ash was also burned as the Yule-Log in places. One species found in Greece is the Fraxinus Ornus which gives off a honey-tasting sap they called meli and which was sold as manna for medicinal purposes until the start of the Twentieth Century. It would be interesting if the term 'melatonin' was related to this, since the honey-taste fits with the 'Nectar of the Gods' produced through Tantric Rites. Melatonin is produced by the Pineal Gland. However, the Greek melas from which this stems means 'black' or 'dark' and the word is a modern one used of this hormone. Synchronicity plays a part in these things too, so we cannot rule this out. 

The English Rune-Row has the Os-Rune as the 'God-Rune' and the AEsc-Rune as the 'Ancestral Rune', the former being the Banner of Kingship. AEsc/Askr is the First Man. The Elder Futhark has Ansuz which derives from IE Root *ansu- meaning 'spirit'. There is a Sanskrit anshu which means 'beam of sunlight'.   

There is an Aryan Root *war-/*wal- which has the following meanings -

• To cover, surround, protect, guard.
• To wind, turn, roll, hence 'well up as a spring'.
• To be warm, hot, to boil.
• To choose, to like, to will.
• To speak, to inform.
• To drag, tear, pluck, wound. 

In these terms we can see the roots of the name Walkyrie, and also Wolsunga (Waels). There is also a link here between 'spirit' (wind, turn, spiral) and 'fire' (warm or hot). 

It would seem that the 'Sword in the Stone' or 'Sword in the Tree' is symbolic of the 'Inner Fire' extracted through the removal of the weapon. The link between Sweorth and Cweorth through the Cweorth-Rune seems to be that of 'Sword' and 'Fire'. Since this is the 'Fire of Cremation' we may well associate this with the 'Divine Spark' within man, and the Spirit of Man released through the Funeral Pyre. This is another level of the meaning. That it is a particular 'chosen' one who can only pull the sword out also perhaps reflects that this has to be of this Divine Race of Heroes. The Waelsingas are the 'Divine Race of the Spirit'.

Throughout the Volsunga Saga we find the association between the Wolsungas and the Wolf; Richard Wagner incorporates this into his 'Ring Cycle' where Walse (Wolsung) is named 'Wolfe'. Helgi is the son of Sigmund and he is named of the 'Wulfinga' Tribe, an offshoot of the Wolsungas. We should recall the Alp Buri ('Sons of the Wolf') of Rumanian Myth who were the highest of the Seven Tribes of the Aryans. Two of the traits of the Wolsungas were 'Flashing Eyes' which shone like the Sun, and the 'Snake-in-the-Eye' of Sigurd, the most famous Wolsunga Hero. This last one was featured in a form of 'reincarnation' of this same Archetypal Hero in Sigurd Snake-in-the-Eye, the son of Ragnar Lothbrok and Aslaug, daughter of Sigurd and Brunhilde. The truth of this is less importance than the link between the Wolsungas and the most famous Viking Hero - Ragnar Lothbrok. 

In old age Sigi (sire of the Wolsungas) was murdered by his brothers-in-law; his son Rerir avenged the murder. Of course, this once again is the Myth of Hamlet, though rather than a 'brother' we have 'brothers-in-law'. The Myth of the Sword in the Stone has been suggested as Danish in origin, and here we have the Myth of Hamlet which is also Danish. Having said that we cannot tell whether this was originally from the earlier 'Denmark' occupied by the English Tribes. The 'Rightful King of England' is he who draws the Sword from the Stone. Sigi himself is the core of an ancient Archetypal Myth where he slays his slave in anger and is outlawed for this, but holds favour with Woden who guides his actions as a Divine Hero. 

The Three Cauldrons, the Graal-Runes and the Royal Art.

For a while now I have been looking at the ideas which I put out on the Three Cauldrons in regard to the colours Black-Red-White attributed to each Energy-Centre. In doing so I have become unsure if the colours Black (Lower), Red (Heart) and White (Head) are right; this is because of the parallels which can be found in the Royal Art (Alchemy), for which I am going to use the work of Miguel Serrano and Julius Evola -

Nigredo (Black) - The 'Mystical Death' or 'Magical Death' which is the journey of Parsifal to the 'West' - the 'Land of the Dead' or 'Land of the Mystical Death'. This is associated with 'Good Friday'.

Albedo (White) - On the 'Saturday' ('Saturn's Day') Saturn-Kronos is regenerated, this is the regeneration of 'Time'. For this there has to be an alliance of Sulfur and Mercury, a symbolism I shall look at in this post. This is associated with the 'Waters of Life'. 

Rubedo (Red) - The 'vajra' or 'Diamond Thunderbolt'; the Resurrection of the Hero, the 'Son of Man' according to Miguel Serrano. This is the Sun-Day of the work. It is the 'Gold' (Sun) which comes out of the 'Lead' (Saturn). (*)

(*) These days are what we call 'Easter' and associated with the Goddess of Rebirth, of the New Dawn and the Spring. Although Easter is usually associated with a particular phase of the Moon there is an alternative to this in that the true date may be the Summer Evennight (March 21st) which comes under Aries the Ram. The date of March 24th has been associated with Hama-Heimdall so there may be something in this idea. This is one of the two dates when the Power of Light and the Power of Darkness are in balance. The conception of a child on this date would make a 'Child of Yule'. 

Both Miguel Serrano and Julius Evola point out that the Albedo is not the end-product of the Alchemical Work, and that Rubedo is the final stage needed to complete the 'Great Work'. This is why I have been questioning my own ideas on the Three Cauldrons, at least in regard to the stages symbolised by the colours. Unfortunately, I am not well-read on the symbolism of alchemy which has always seemed rather vague and not easily understood without a firm knowledge of the symbols of the elements and planets. This is a very complex subject and needs more study, but I am going to look at this from another angle to try to throw some light on the subject.

Miguel Serrano says that the 'Great Work' is that of transforming the polluted Aryan Blood which is done through adding 'Sulfur' to 'Lead'. Lead is the metal of Saturn and Sulfur may well be a word derived from 'Sol-Fire' ('Sun's Fire'). I believe that this 'Sun's Fire' is associated with Ingwe as the God of the Hearth-Fire. An 'alliance' of Sulfur and Mercury would be that of Ingwe and Woden, which would re-unite the roles of King and Priest as they were in the Primordial Age. 

In Greek Mythology the High God, Zeus, created a better lineage out of those whose destiny was to 'descend ingloriously to Hades', and Hesiod called this the Race of Heroes. This Divine Race was 'given the possibility of attaining immortality and partaking, despite all, in a state similar to that of the Primordial Age.' This is not far from Wagner's interpretation of the Race of Wolsungas who were a Divine Race fathered by Wotan. The 'Golden Apples of Immortality' are for this Race of Heroes alone, and are guarded by the Goddess Idunn. The divine legacy of the Noble Warrior-Hero is Fire. Kingship and the AEthlinga are associated with Fire. 

'The father is the household fire' - Laws of Manu 2:231.

'To keep fuelling the Sacred Fire is the duty of the Divya, the Twice-Born.' 

We read in the Atharva Veda -

'By coming forward, he (Agni) has created kingship...'

It was thus Agni and through the obvious parallels, Ingwe, who is the Archetypal Sacral King. This is clear from his role which covers virility and fertility, for the Sacral King has to 'wed' the land in the form of Sovereign, and thus break the cycle of the 'Wasteland'. Agni-Vaishvanara is the Spiritual Fire that leads the conquering king to victory. 

To understand this further I am going to use some ideas put forth by Julius Evola, ideas connected to this drive towards immortality -

Way of the Ancestors - We have covered this before and this refers to the creating of the 'Shadow' at death which goes through a 'Second Death'. These souls then continue by reincarnating into the family, tribe and race. They continue within the Cycles of Time or the Eternal Return of Nietzsche.

Way of the Gods - The Divine Heroes (Viras) or 'Demi-Gods' do not emanate a 'Shadow' for they overcome the 'Second Death' and create out of the Ka (the 'Daemon' or 'Double' which exists in another world or dimension) a new kind of incorruptible body known as the Sahu in Egypt, and which exists in the invisible dimension or world. This is called the -

Immortal Body,

Body of Light,

Resurrected Body,

Diamond Body. 

This is a body that has achieved a high degree of knowledge, power and glory and has become everlasting and incorruptible. This is the 'Triumphal Death' and is the Mystery of Valhalla. Those who take this Solar Path are the ones who go out and come back, like the Boddhisattva they incarnate or 'resurrect' at will in order to continue this struggle and to aid mankind and the Earth. The Way of the Ancestors is to keep returning over and over within the Cycle of the Ages.

In one account Agni takes the form of a Hawk (Solar Hawk) when he snatches a branch of the Sacred Tree and is struck down for doing so. His feathers are scattered on the Earth and where they fall they produce a plant whose sap is the Earthly Soma. This 'sap' is the 'Fire-from-Water' associated with Agni, and thus with Ingwe. This is the Nectar of Immortality - Soma or Haoma - and the Sacred Mead. 

The above is one of the symbols used for Sulfur, a Triangle above a Cross, meaning the domination of Fire over the Four Elements. As Evola states, this is fire in an 'impure' state since it is locked into matter; however, as such it symbolises the Divine Principle (Divine Spark) in Matter. Looked at another way, this is the 'Power of Gold' that exists within Lead (Saturn). 

This is another symbol used of Sulfur, one containing within itself the idea of 'immortality' since it uses the Symbol of Eternity. 

Evola also tells us that the Sign of Aries represents Sulfur in a purer state, as the 'Power of Gold' (i.e. Sun-Fire). Aries the Ram is obviously associated with Agni, Hama and to Ingwe at one level. When we view the ideas on 'sulfur' we should not see these relating to the physical form but to a spiritual form of 'Fire that does not burn' - and Inner Fire. 

When I discussed these ideas in regard to the 'Crystal Palace' of the Chinese, connected to the Pineal Gland, Pituitary Gland and the Hippocampus (Ammon's Horn') there seems to be another gland which is just as important - the Hypothalmus Gland. This is now known to control the Pituitary Gland. 

Pineal Gland - This is male and is usually thought of as the 'Third Eye'. What we do know from science is that this emits melatonin under the condition of darkness, and that it is the whole of the body that senses this and not just the eyes. Only under the condition of darkness is melatonin produced. 

Pituitary Gland - This is considered to be the female and when joined with the male we term this the 'Sacred Marriage' or 'Hieros Gamos' - the 'Mystical Wedding'. 

Hypothalmus - Said to control the Pituitary Gland. 

These three make up the Endocrine System which is responsible for releasing hormones into the body through the bloodstream. The word 'hormone' means 'urge-on' so this is a very important function. 

Hippocampus - This is also called 'Ammon's Horn' named after the Greek version of Amun whose name means 'hidden' or 'invisible'. This gland is responsible for long-term memory and thus no doubt the Blood Memory. We should recall here the idea that I pointed out in regard to the Emerald Tablets of Hermes where a ritual was used to draw energy from the Lower Centre, through the Hearth Centre and into the Head Centre; this was in order to recall past lives. The 'Ammon's Horn' is linked to the symbolism of a petrified coiled snake often called by the name 'Snake-Stones'. Ammon's Horn is the 'Ram's Horns' associated with Agni and the symbol of Aries the Ram (**). 

Now let us have a look at the Graal-Runes -

Calc - This is the 'cup', 'chalice' or 'cauldron' and through the Armanen Runes this is linked to Miguel Serrano's SHE. We could thus link this to the Pituitary Gland.

Stan - This is the Graal-Stone. In the Stone of Ing version of this rune we find the Diamond-Body (Germanic Ing-Rune) inside the Human Body (Stan-Rune). This actually fits perfectly with the ideas of Miguel Serrano since he sees the process as creating or birthing the 'Son of Man' from within. Ing or Ingwe is the 'Son of Man'. The 'stone' here represents the 'seed' or 'new life' which is born of the union of the Male & Female. But...this is also the Firestone which is the 'Gift of Ing'; it is the Divine Spark within the Warrior-Hero that, when awakened, will achieve immortality. 

Gar - This is the 'Spear' that is thrust into the 'Cup' (Graal) which is the Union of the Male & Female. This is thus the Pineal Gland in one respect and related to the male. 

Julius Evola tells us that the Y-symbol is that of 'cosmic-man-with-upraised arms', and equates this with the Egyptian Hieroglyph for the Ka which contains two of these symbols joined as one. This is the alternative Ken-Rune found on the White Stone of Ing. There are many references to a 'White Stone' in alchemy.

(**) The Armanists used the term 'Ar-Fire' under the Ar-Rune, although this rune is not usually associated with 'Fire'. However, when we consider the link between Aries the Ram, Mars and to 'Fire' there seems good reason to look at this rune from another angle. The obvious connection is through the Fire-Eagle or Phoenix which is a symbol of 'resurrection' from the ashes of its destruction. The word Aar or Ar can mean 'eagle' and comes through Old English as earn. 

The aim of the 'Great Work' is to recover this Light and Fire which is hidden (invisible) within the Vira or Warrior-Hero. In India the Angirasa were said to be 'of the Mythical Luminous Race', i.e. the Elves or 'Shining Ones'. The Angiras were associated with Agni and were -

• The Powers of Light and the Flame.
• Sons of the Flame.
• They recover the Light.
• Bearers of the Divine Word.

The 'Gift of Ing' is clearly - Fire. This should be seen in the sense of Supernatural Fire or Spiritual Fire. When I have used the term Wid-Ar for the usual Vidar this now makes far more sense because it contains the Ar-Fire and the role of Wid-Ar is not only to avenge his father, but to awaken the Ar-Fire that is within. The Fire of Kundalini is the pure, original Blood of the Asen-Gods. 

I have not here solved the problem of the colours and their order which is not so easy to do in this respect, but I have cast a doubt on this order which needs to be studied. We should also consider that the World Tree is shown upside-down with its roots in the heavens, symbolic of the fact that the source of the power lies in the heavens. 

On the subject of alchemy it has to be understood that this was not the root of what today is called 'chemistry'. Modern 'chemistry' came about through a total misunderstanding of the Royal Art, where the secrets revealed in this were misinterpreted because they did not have the keys to do so. These secrets were interpreted in a literal sense rather than as symbols.