Fresh Batch #137: Trident-Caduceus Symbolism

The Terminus of Turms

I’ve been going nonstop, working on the audio-visual version of The Real Universal Empire as well as editing the manuscript. Here’s a sample of Chapter One, which you can expect in your inbox once the book is published (if you’re a member).

After arriving at conclusions on the historical farrago my work exposes, everything I get exposed to strengthens it. Not one person has presented anything that would change my mind, which is an easy task if you have facts that contradict anything I’ve published, because it’s not in my interest to disseminate erroneous information. Those who establish facts are a rare breed. I wouldn’t change my position based on the opinions of someone who hasn’t done the work, the same way I wouldn’t take health advice from someone who is unhealthy. That’s a good thing for my readers because it indicates I’m establishing facts, like an affidavit in court, which is basically my only initial goal. There is much more I will do if my work is able to gain a wider audience. But, if not, I’m satisfied with what I’ve done so far.

Eugène Goblet d’Alviella wrote (Mig. Sym. p. 247.), “India, up to the Mahometan conquest, did not live in the isolated condition to which historians were long pleased to relegate it. Sir George Birdwood goes, perhaps, a little too far when he asserts, in a general manner, that nearly all the symbols of India are of Mesopotamian origin. (Journal of the Royal Asiatic Society, London, 1886, vol. xviii, p. 407.) But it is none the less an established fact now, that the products of western art and symbolism must have made their way to the valley of the Indus before the appearance of the oldest stone monuments on which ancient India has left us a vestige of its beliefs.”

I think Birdwood is spot on, and he’s observing the obvious cultural diffusion that comes from Europe and North Africa, through Mesopotamia, and then to India.

Continuing (Ib.), “Without taking into consideration the intercourse which is supposed to have existed between the dwellers on the banks of the Indus and the most ancient empires of the Euphrates and the Nile, and without laying stress either on the factories which the Phœnicians are said to have established in southern India, I will recall to mind that Darius I had annexed the valley of the Indus, and the actual province of the Punjab, about the end of the seventh century BC. Such competent authorities as James Fergusson and General Cunningham have shown that India borrowed its earliest style of architecture from the Persians, and in the northeast of the peninsula there have been repeatedly found products of Persian art which date back to Darius and his successors—especially cylinders and coins bearing the Winged Circle.”

The details indicate the youth of India’s introduction to this system, and the “Phoenician factories” would perfectly establish how the Sanskrit was introduced. Sanskrit has such great affinity to the Celtic and Roman that it must be from the same source. In my upcoming book, The Real Universal Empire, I’ll demonstrate the likelihood of the Phoenicians being Etruscan navigators, who were Celtic, which will resolve all of the cultural diffusion great scholars have noticed throughout the centuries, but couldn’t quite pinpoint the source.

It is certain that you will not recognize the universal system if you haven’t done the work that I teach in Spirit Whirled. The affinity between Celtic, Roman, and Sanskrit was demonstrated in The Holy Sailors.

D’Alviella wrote (Ib. p. 252), “On a number of monuments the Disk of the trisula changes into a Rosette, imitating an expanded lotus-blossom, as on the gate of Sanchi. The Same monument further exhibits Lotuses at the ends of two stalks which spring from the basis of the central fleuron; finally, the two extreme points of the omega take a shape which suggests the calyx of a flower. We have already shown the solar character of the Lotus in the symbolism of the Hindus. In the trisula the transformation of the Disk into a Lotus is therefore the equivalent, the plastic rendering of the transformation which, among the Buddhists, substituted the padma mani, or Jewel of the Lotus, for the sûra mani, or Jewel of the Sun; whence the well-known formula:—Om! mani padme, Oh! the Jewel of the Lotus!”

Mani is the sun. Reference A Godsacre for the Soul to learn about Manichaeism. Sûra is so close to Surya and the Etruscan Suri that the affinity cannot go unnoticed. According to M. Gustave Lebon (Voyage au Népaul, cited in Mig. Sym. p. 253.), “The linga is likewise adopted by the Buddhists of Nepaul as an emblem of the Lotus in which Adi-Buddha manifested himself, in the shape of a flame, at the beginning of the world.”

There is epic Etruscan Turms/Hermes symbolism on the other side. See you over there!

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