The Wheel of Fate
The adoption and modification of the Chi Rho Ankh by the Church was
a late event and it is said that the Chi Rho symbol was based on the
six pointed Gallic rune because, as we shall see, the symbol had
such tremendous influence.
As we know this rune was the Sumerian symbol for the gods. It
invariably preceded the name of any deity and therefore, as the
Chi Rho, in relation to Jesus, it was used to imply his divinity, not as
the son of the Jewish storm and corn imp Jehovah, but as a
in his own right as a descendant of the Dragon Gods of the
The Church were and are past masters at assimilation for political
ends, and the use of the Chi Rho, like much else, must be seen as
another way that the Church sought to be identified and adopted by
non christian Europeans.
The six pointed Gallic rune, similar to the Norse rune Haegl would
originally have been eight spoked, like the Buddhist Wheel of Life
or the Tarot’s Wheel of Fortune. In this guise it is the Web of Arachne, the Web of Fate and the plan view of the ribbons of the
The missing horizontal spoke of the Chi Rho is accounted for in its
having been often carved into wood. Inevitably one spoke would
always follow, and disappear into, the grain and so rune masters
According to Count d’Alviella the Chi Rho is sometimes found
situated in the loop of the Ankh itself. In Egypt the Chi Rho was
known as the Chrism of Philae, or the anointing of pure love, which
intimates the Entheal nature of the symbol, particularly in relation
to the Ankh itself, which in some creative work has been thought of
as the "vampire cross" being, as it is, the symbol of eternal life
Other examples have been discovered with the loop made of the Dragon
Cross of Cain. The Ankh was said to have migrated into the christian
crucifix and this seems obvious when one remembers the Celtic Cross,
which would seem to support the foregoing, as does the pre-christian
cross of Bacchus and the Albigensian (or Gaulish Fairy) use of the
Ankh in relation to heterodox christian belief and ritual.
The Bethel stone was shaped like an Ankh and had associations with
the various pine cone or dove capped pillars, the Perrone of the
sacred groves. At later times the Perrone were capped by crosses and
the name seems to be reminiscent itself of Persephone. Later still,
in European Heraldry, one can see the pine cone column in the
Augsburg. In particular these columns were associated also with
barrows and bergs.
In Belgium they were known as the stones of Justice, which again
links them with the Tir or Tau and the
Ankh, whilst in Scandinavia,
according to the Saga of Gudrun, they become the white stone pillars
(Gita/Cita) on the barrows which were venerated by the peasants. The
white stone, as a portable panacea features in the story of St. Columba and
King Brude of the Picts.
The Goddesses of death and the underworld are again prominent here
(in the transcendent sense, as with Persephone, but one also
remembers Mithras and the World Bull or Minotaur of
one can imagine the presence of the Bethel Stone, as the
the Ankh, in the midst of the Necromanitons (a variant of the
druidic grove of the Nemeton in Galatia, rel. to Nemesis or justice,
the Tau or Fate), such as that built in Greece at Ephyranus, which
had buried at its core, a subterranen cell for the rites which
invoked the dead from Hades.
When thinking of Greece and Galatia, it must be remembered that
these were originally under Scythian (Sidhean-Aryan)
manifesting draconian culture and subject to druidic law. These
influences also helped to shape the Hindu, Sumerian, Egyptian and
Judaic traditions, beliefs and iconographies, and it is therefore
understandable that we find that there are many themes and symbols
which these seemingly disparate cultures hold in common.
Within all these crosses and figures, there are held layers of
meaning that can be interpreted to represent a close knit variety of
rites or anatomical attributes within the strict parameters of their
genre. Consequently, to settle for one simple explanation for any
given glyph is simplistic, and at variance with the intentions of
the Dragon Culture which invented them.
In the following figures the upturned crescent moon features, and
this should be remembered in relation to the Galley or moon barque,
which, accompanied by the Lion, is a prominent badge of the Scottish
clans and features in the heraldry of Leith, near Edinburgh, where
the ship carries the figure of the "Virgin Mary" (Magdalene),
another Ankh variant.
The Moon Boat is also said to be the origin of the Genesis Ark and
with the symbol of the Templar’s Anchor, the crescent moon becomes
the hull of the boat which carries the Ankh as its mast and sails.
The key to understanding this symbol is to refer back to the notes
and remember that the virgin womb, (the crescent or new moon),
carries the Ankh, The An-Ka or Pneuma, the secret of the
Viriditas, the Green Blessing of the Mouth - "The Fairy Gift" (also
"the Dark Gift", "the Thirst", "The Hunger") of eternal life in this
life (transcendence) and youth, the blessing of the virility of life
regardless of age, as was said of anyone ’seeing the Grail’, that
although their hair might turn grey, they would not age from that
day forth (Eschenbach).
The migration of the Ankh and its collaterals are included in the
following figures which are illustrated in the work of the Count d’Alviella.
fig. 31 The Egyptian Ankh migrates
fig 32 The influence of the
Swastika and becomes the Chi Rho. On the Chi Rho.
fig. 33 The Chi Rho Ankh, the Cain fig.
34 The cross of Bacchus and
Ankh and the Celtic Cross. TheAlbigensian Ankh
fig. 35 The Ankh of
Isis and Nephthys. fig.
36 The Fleur de Lys and the Gallic Haegl
fig. 37 The Bethel Stone as Perrone or God-Stone. fig.
Assyrian Bethel Stone.
fig. 39 The cuneiform symbol for the gods.
fig.40 The medieval Ankh
of black magic.
Supporting material from D P Silverman, Richard Dufton, W H
Matthews, Michael Grant, Oxford English Dictionary, Count D’Alviella,
Ward Rutherford., Z. Sitchin.
The Lily and the Rose/The Dragon Tree
Being pertinent to the appreciation of the contents of the following
essays, the author here includes a brief word on the Dragon Tree or
Dragontree, which is a massive plant which grows in
Persia and Gran
Canaria. Its Latin name is Dracaena Draco and it belongs to the
genus Lillaceae or Lily.
Its resin is called Dragon’s Blood and was used as a dye which the
Romans called Lac. Poetically therefore "the blood of the Lily is
the blood of the Dragon", giving it especial ritual significance as
a tincture for ceremonial robes and as as an epithet for the
branches of the bloodline, as in a popular spelling of del Acqs as
In relation to the Greek word derkesthai there is, in Gaelic, a
reminiscent word, dergflaith, which means ’red beer’. The word
dergflaith is used to describe the otherworld drink which conveys
sovereignty upon a king. It is quite possible therefore, given the
Greco-Gaelic connections in history, that one word has influenced
the other. Derk and Derg might derive from a similar or common root
and Flaith might be related to the Gaelic fola, which is used in
relation to the family and blood. In which case
might originally have meant Dragon’s Blood, being rather the
of a dragon princess, conveying the Derkesthai ability
The Lily of the Valley
In relation to the discussion herein, the following is a brief
discourse on the subject of the Lily. For the purposes of this essay
we will be concentrating on both the Lilliaceae and Nymphaea Lotus
varieties which are regional variants of each other in Dragon Lore.
The former, the Iris family, include the Lily of the Valley, whilst
the latter are the species known as Blue Nile Lilies. Furthermore,
for the purposes of providing an illustrative narrative we will
concentrate here on Hylas and the water nymphs, a portrait by the
pre-Raphaelite artist John William Waterhouse, whose depictions of
nymphs and Grail characters are somewhat prodigious. In alchemical
lore we know that the lily represents the virginal seminal fluid of
the vulva and the rose represents the womb blood. However the White
Lily of the Valley produces red berries in Autumn that are
reminiscent themselves of the droplets of Virgin blood. The
the Valley is highly toxic and can be fatal, a reminder of the love
that is death.
The virgin vendors themselves, like
Melusine et al, are often
described as water nymphs or naiads and in Waterhouse’s picture the
naked, pale skinned, otherworldly ladies in the woodland pond are
surrounded by and are wearing in their hair specimens of the
Nymphaea Lotus, the "lily sacred to the nymphs".
Hylas (Helios - the
Sun Dragon, representative of the Sephiroth of Kether or the Ajna
Chakra) is a crew member of the ship Argo, which, captained by
had been sculling around in Scythian territorial waters looking for
the Golden Fleece which, like the ark of the Covenant, is a
of the Holy Grail.
Having been at sea without a break for some time, it had been
decided that, now they’d sailed back through the Hellespont, they
would put to shore on the island of Chios and seek for provisions
and water. It fell to Hylas to wander off alone into the forest to
look for a fresh spring. After a protracted peregrination Hylas
entered in upon the scene where Waterhouse’s nymphs were bathing -
and is depicted crouching on the banks of the woodland pool. Here we
now see Hylas being tempted to enter the water and avail himself of
the tender but fateful embraces of these emissaries of death.
Waterhouse painted his model of Hylas wearing a blue-black robe tied
about with a red thread. This, the dreaded "little thread of the Cathars" was a memorial of the
Old Testament, Hebrew scapegoats, one
of which had a red thread tied about its horns, prior to its being
pushed into the scorching desert to face its ultimate death, whilst
the other was sacrificed. This double ritual was enacted because the
Jews thought that the goat sacrificed to Jehovah was insufficient to
take away the sins of the people.
The Goat was called Azazel, a figure who was said to have been a
fallen angel and whose name has several etymologies derived from its
ritual functions but who is certainly "Satan" or
Samael. The red
thread represented the sins of the Jews.
The symbolism is simple, the Jews ultimately laid all the
responsibility for purging their sin upon Azazel/Samael, when in the
first instance, the sin belonged not to him who was their true
creator, but to the usurper Jehovah alone. For this reason, as a
memorial and to express their true allegiance,
the Cathars, the
witches and the nobles of the blood wore the red thread.
The Cathars wore it as a belt about their black robes and the latter
two groups wore it as a garter or ’points’. In this manner, for them
it also represented the womb blood, the ’Rtu’ or ’red-gold flow’ of
the virgin priestesses of the Kaula Vama Marg.
On the Aziluth or imperial scale of the Kabalistic Tree of Life, red
and black are the empress and emperor colours of the sephirah of
Binah, the "sphere of understanding". Binah is ruled by Saturn or
Chronos and its sacred plants are the lily and the cypress, whilst
its sacred animal is the bee. Cypress was used in the Levant as an
incense to celebrate weddings and mourn the departed, whilst the
lily traditionally represents virginity and death.
Here we have the symbols of Enthea and the love that is death, with
the bee describing the manner of such congress. In Waterhouse’s
beautifully evocative painting the nymphs are immersed in water, the
element which is a Scythian symbol of the Daleth, the door to the
otherworld and Hylas is about to undergo a profound process of
The girls, whose watery embrace is said to spell death, are the
shunnamites, the lilies or virgins who are portrayed in the Song of
Solomon. In their connection with water, the nymphs are thus depicted
as the embodiment of the wells of living waters. Their deathly
embrace is but the death of the ego, of the will and of desire. In
uniting with them Hylas’ soul will die and his mind, once stilled,
will ’understand’ and give way to the transcendent spirit of the
cosmos. Such is the nature of this mystical process.
The nymphs are priestesses of Lilith, Diana and Persephone, they
represent Melusine, Magdalene and the La Belle Dame Sans Merci:
Maid of Kent who was Edward III’s ’Queen of the Witches’. They are
the Leanaan Sidhe, the Grail Maidens who, as perfect representations
of the Goddess and the Muse, are the externalizations of man’s
longed for Anima.
Enthea, divine union with these meremaids, is intended to facilitate
the exultant union of the animus and anima which, via this external
hierogamy or alchemical marriage, brings the death of the finite,
isolated being, from whence emerges as if reborn, the universal
spirit, unattached, undesiring and immersed in eternal love and
life. In such terms the essence and the embrace of a Grail Maiden
end all desire.
Hers is the embrace of death because her spirit and her energy
enliven the tired spirit of the pilgrim and her beauty and
completeness, her stillness and poise, are the sum of all that the
initiate might seek. Her quiet, matter of fact acceptance which
needs no striving for and is not gained by worldly show, infuses the
stillness of the journey’s end into the lover who, having to achieve
nothing more to attain her transcendent love other than just to be,
melts in her embrace and without barriers, melts his being into
Her love is then his death, beyond which is Daleth, the
door to Elphame, Oneness and eternal, silent understanding. Such is the
watery grave to which Hylas has wedded his fate. The story of
and the water nymphs links the pineal and
womb chakras, giving a
complete teaching picture of the Grail Process.
The Lotus Eaters
In Greek myth the lotophagi - the lotus eaters - to which
story is related, experienced a similar phenomenon in consuming the
Nymphaea Lotus and lost their desire to return to homes which they
had forgotten, along with all those emotional trinkets and fond
memories which once possessed their hearts. (Homer: The Odyssey, IX
As an infusion in wine the petals of the Nymphaea Lotus are narcotic
and bring about psychotropic effects similar to certain mystical
states. In Waterhouse’s painting the nymphs are surrounded by and
wearing these flowers in their hair. Their immersion in the lily
bedecked water implies that their "living waters" or
the "dew of their lilies", had similar transcendent, psychotropic
The wearing of the lily on the head signifies that the source of the
divine essence represented by the lilies in the pool originates with
the pineal gland and the ’thousand petalled lotus’ of the
Chakra, which energizes it and the other cerebral glands. The water
these swan maidens are swimming in is the "sea of Binah" and they
are thus the daughters of understanding, witches of the waters of
wisdom and the children of the Hive.
The nymphs are here seven in number and represent
the Pleiades, the
fairy daughters of the Titan Atlas who were pursued by the
Orion or Osiris in an ancient ritualized form of the
Wild Hunt. They
became the seven stars of the constellation that bears their name
and which, in a superimposed arc, adorns and suggests the Ankh-like
Cross upon which Bacchus was crucified.
Waterhouse’s nymphs therefore were also the wild Bacchantes or Dionysic Maenads who themselves hunted for and drank human blood in
rites whose central feature was that of union with the divine.
Associated with these nymphs is the Romano-Celtic goddess Coventina
(coven, covenant or union) who was depicted either alone or as a
tripartite figure, bathing in a pool, surrounded by lilies. She is
pictured in the act of pouring a jug of water into the pool itself.
Her other name is Dea Latis meaning both Goddess of the Mere and
also Bright Shining One, which links her with
the elves. In this she
shares the attributes of the cult spirit of the river wharf in Teesdale, whose name was both
Verbeia and Latis.
Related to the nymphs are the Biblical Miriams or
Marys, and the
Tamarises whose symbol was the Palm which represents the Sufi Tree
of Life. Theirs was also the Pomegranate of Persephone, with which
the Palm appears in mystical symbolism and the pool or oases
adjacent to which the sacred Palm itself grows.
Miriam or Mary and Tamaris were the names of females who occupied
specific dynastic offices within the royal dragon bloodline in
Israel. In Hebrew the name Miriam is represented by the consonants
M’R’Y’M and means ’bitter’, (defined here as sorrowful). From this
we obtain Mary, Mari, Marie, Marion, Maryon or Marian and all these
examples contain the M’R’Y or M’R’I consonant group. In the
following passages we will encounter the Myr syllable group relating
to myrrh, which is relevant here, particularly in relation to
From Marion we obtain the "Maid Marion" of the
Robin Hood cult,
whose name and title equate with that of the Virgin Mary
(Magdalene), to whom Robin and his band were devoted. In Egypt the
name is Mery, as in Mery Ataten The name Mary or properly Mari is
Indo-Aryan and means several things.
The component Mer, Ma or Mar means,
i) A Mere or Pool
ii) The Sea
As Mari it is associated with the
Mori orfates and is the An or Ankhou of the Basque witches.
Mari is also Mar Righ, meaning royal
pool or royal waters where righ defines royalty or
king further relates to knowing and understanding, Mary as
the waters of wisdom
ii) Binah, the primordial sea
In Marian the syllables break down into
Mari and An. Mari as we have
seen means pool whilst An, the root of the names of many of the
earliest Dragon Queens and Kings, relates to the Grail and means
fire or spirit, and so Marion means ’chalice’ or ’pool of fire’
which then renders the ’pool of the spirit’.
The sacred cups, pools, wells and fountains we have so far
encountered all relate to the womb and the vulva. In this manner
Mary or Marion means ’spirit in the womb’ or ’womb fire’ and it is
in the latter instance that we have a direct reference to the
Tantric, Kaula ritual of enlivening or inflaming the
chakra of the
uterine region to produce the ’waters of life’ or, as the Song of
Solomon puts it "The Well of Living Waters".
Mary’s symbol is the white lily of the valley, the
fleur de lys. In
relation to Mary Magdalene as the Virgin Mary of Robin Hood’s
devotion, this is particularly relevant. In this cultic cycle there
appears ’The One Ring that rules them all’ - the Draupnir or
Andvarinaut - the "Gold Dripper" (or source of
Rtu, the red-gold
thread or flow of the valkyrie womb) that belonged to Robin’s father
Aubrey or Oberon, who is Alberich or
As "The Well of Living Waters", Mary’s relationship to
clearer as the child handmaiden of the Messach, the dragon god-king.
Marie is an ancient form of the word Marry, meaning: to join or
unite with, as in alchemical marriage, divine enthea,
sacred marriage ritual of Solomon’s Song, with which we will deal
The Hebrew meaning of Miriam is ’bitter’- transf. "attended by pain
or suffering: grievious (OE), hence of a state: Full of affliction,
mournful, pitiable (1485), expressing or betokening intense grief or
Here we are reminded of
Mr. Keats’s ’palely wandering
knight’ and nanny Melusine as ’La Fontaine du Soif’ and
’the cup of
In many Dragon and Grail stories, the maidens inhabit or frequent
pools or fountains in forest gardens. Waterhouse’s water-babes
inhabit a forest pool. Janet March encounters the fairy knight Tam
Lin by a rose-covered well in Carterhaugh forest, in a genealogical
variation of Beauty and the Beast. Solomon has his Sheba, a well of
living waters in a labyrinth garden bedecked with sacred Pomegranate
trees and Melusine is the fountain and well in a garden maze in the
Relating these symbolic representations of the virgin
priestess-goddess with works such as Sir Richard Burton’s "Perfumed
Garden" and Francis Israel Regardie’s "Garden of Pomegranates",
gives a clear picture of the forest as the pubis which is
conceptually broadened by the maze in the dell on the hill, as the
entrance to the otherworld, hidden within the mons veneris.
In the Song of Solomon we encounter the pubis as a lock, which like
the well, is an old but well known European euphemism for the
vagina. In Chapter 5 vs 4 - 5 "My beloved put his hand by the hole
of the door (the "lock"), and my bowels were moved for him
(contractions): I rose up to my beloved and my hands dropped with
Myrrh, and my fingers with sweet smelling Myrrh upon the lock".
Whilst earlier in Chapter 4 vs 12 and 16 "A garden enclosed is my
sister my spouse, a spring shut up, a fountain sealed: A fountain of
Gardens, a Well of Living Waters..." Throughout the Song Sheba, who
is "black but comely" i.e. an Annis or Persephone figure likened to
Lilith, remains a virgin. Sheba was described as "the lily of the
valley" and thus, as her forest garden equates with the pubis, then
the lily of her valley is the water lily in the valley of her vulva.
Naiads or mermaids are described as being semi divine and the
handmaidens of the gods. This is aside from their usual mythic,
pantheistic interpretation or symbolic representation as nature
spirits, elementals or energy complexes, and such a description
applies to the era during which these stories emerged, which was
described by Euhemerus as the age when mighty men became deified and
the gods were born of flesh and blood.
The Irish descriptions of their "gods", the
Tuadha D’Anu, mix the
qualities of divinity with some very human sounding foibles whilst
the descriptions of the naiads or mermaids present us with the
qualities of human femininity but blended to a much greater extent
with those of the divine. As we have seen, as handmaids to the gods
and essentially young goddesses themselves, the naiads or
the Dragon Princesses of the Grail, the Ladies of the Lake, water
witches and meremaids.
They were the avatars, the Sybils who supported the elder
queens and god kings, fed them, guided them to the otherworld and,
in the embrace of death, empowered their beings with the integrity
that gives birth to vision and wisdom: the wholeness that is
sovereignty over self and consequently sovereignty over all things.
Such a condition releases creativity, but such a quality is not a
product of ordinary human thinking, rather it is a phenomena which
lies beyond thought and beyond the capability of mundane knowledge
to encapsulate or describe, both of which are processes bounded by
time and limited by definition. It is the still mind in union with
the infinite, or more precisely that knows no distinction between it
and the infinite, that becomes truly fertile and creative.
Such was the nature of true sovereignty, the state of mind that, in
kingship, affected the people and the land through good management
and foresighted husbanding. If the king was of the tinker or warrior
variety, then he was by virtue of his birth and cerebral
physiological capacity, barren and infertile, and incapable of
transcending his nature. In consequence the land and the people
suffered by virtue of their having a king who was no king at all.