THE BEGINNING OF CAMELOT
On the Denderah zodiac (circa 120 BC) there is a depiction of the legend of virgin birth. It is shown after the balance where Saturn (time) stands behind Virgo and Mercury (wisdom) stands upon Virgo's light. This is the greatest legend ever told, and it has been repeated for thousands of years on the most ancient and most modern monuments of human civilizations. On the Denderah stone we see the story being told to a child at the old woman's knee. She is the essence of the Crone, and her symbol is the Crow. She is shown giving the youth a head full of tales about a kingdom to come. In that kingdom the youth will ride like a young princess on the tail of the heavenly lion, Leo, or as the young prince on a throne at the lion's front shoulder. The Holy Grail is the womb of the Cosmic Mother, Hathor, from whom all nurturing proceeds.
To reach the heavenly goal, the youth is taught to withhold the yearning for mother's affection and set high goals with motivation for accomplishment. In essence, the youth is taught by the Crone, Mother, and Maiden, to delay gratification until the Kingdom of Heaven is evident after being born again of the Virgin. As mysterious as this legend sounds, it is a simple statement that all wisdom enters through the womb of virtue. For before wisdom's light shines within, the grail of consciousness is inexperienced. It is impossible to determine how many children have been taught this lessen by nurturing parents. But, it is reasonable to assume that every healthy child born of the Cosmic Mother (Hathor) has delayed gratification in order to plow the heavenly fields in preparation of their own tomorrow. This is the message behind the "home work" of childhood. Without this matriarchal source of legends, we would become less than the animals, for animals live by the same process. The animals anticipate the stories about tomorrow from the examples given by their parents. We listen to legends which tell of how it could be some day, even if our parents are not royalty. Legends are the manna from heaven which have motivated and sustain human culture and civilizations to rise above animal nature in pursuit of the Kingdom of Heaven. Before we learned to write, we tasted manna from the heavens.
As humans began to master the "wilds" they undoubtedly had to keep and protect information which helped them travel the world. As an aid to memory undoubtedly they told stories about the various sights along the migratory routes. The better stories gradually became dream like legends, while the very best became sacred dogma. The evidence for this evolution is abundant; with Hamlet's Mill by Giorgio De Santillana & Hertha Von Dechend being one of the best documentations of the process. Hamlet's Mill deals with traditions and myths that have a particular characteristic, which they interpret to be the cosmic mill. It is important to realize that the cosmic mill is the precession of the equinoxes which is a result of the wobble of the earth about the axis of the orbit around the sun over a period of 25,780 years today. This period decreases approximately 11 years every century, so that 2000 years ago the period was 26,000 years, and 20,000 years ago the period was 27,980 years. Hamlet's Mill mentions the fall of the axis of the mill into the sea many times in the legends of Northern Europe.
This greatest of legends is in the story of Camelot in England, the story of Osiris in Egypt, the story of Gilgamesh in Mesopotamia, the story of Hanahpu in Mesoamerica, the Rongorongo stories on Easter Island, and many other versions around the world. All the versions speak of the delayed childhood gratification which is necessary to achieve a worthwhile dream in the life to come. In this essay we will concentrate on the story of King Arthur and the Knights of the Round Table. This story is older than its recorded legends, for it can be read on the horizons of the Salisbury plain of the English Isle.
Out of a past so distant and remote that we are hard pressed to even imagine the ancient people could accomplish life, much less the creation of grandiose monuments, comes an image called Stonehenge in Salisbury, England. Researchers from all over the world have investigated the standing stones at Stonehenge, and the best they have come up with is that the monuments were used for some form of ritual celestial dance. They say it can be used to predict eclipses, or count cycles of the moon; it is a calendar and a seasonal marker. All of the researchers in our finest universities have not read within the monument a meaning great enough to inspire the effort made to construct it.
Researchers see in the shadows of this monument from the past, a clear alignment with the winter solstice sunset. The shadows stretch far across the stone circle and the surrounding ditch, or henge. Why was the ditch plowed, and whom did it serve?
Like all great mysteries, the answer is before the face. In all cases of ancient mysterious places, the mystery is not in the monument, the mystery is in the initiate. Stonehenge is no different. When we take a good look at what is before the face, the solution to this mystery will be so obvious, that we will wonder why we took so long to understand its message. This is a hint that delayed gratification is the proper approach to unraveling the mysteries of life. Quick judgments reveal only what we already know, as they deny that the virtue of inexperience is to be born anew.
When we inspect the plan, we can see circles within circles, and a path leading toward the summer solstice sunrise. This is the essential clue in the design of the monument that we need to help unravel the great mystery in our perception. The angle is not arbitrary, it is intentional. All we have to do is look toward the rising mid-summer sun and see what is before the face.
No doubt many a person has looked in the direction of the rising heavens through the causeway for ingress and egress at this symbol of the cosmic womb. But, did they look with the eyes of the creators of the monument? When we see through the eyes of a child, we see mystery. When we see through the eyes of an academic, we see what we know. We must see through the eyes of the creators of any monument, or even a universe, if we are to unravel the mystery and add to our knowledge. In Egypt this power is the magic of the Eye of Ra.
According to the best available data the original henge was planed around 2850 B.C. With that in mind, lets look at the rising sun and see what was visible in 2850 B.C.
At the summer solstice sunrise in 2850 B.C., we see the birth of the legend of the Sphinx of Egypt. A man with a plow (Bootes-Osiris-Diana), a woman in the field (Virgo-Isis), a lion walking on the sun (Leo - Ra-Heru-Khuti), and a crab (Cancer- Khephera) with two children walking on a beach (Gemini). Below the woman and the lion we see a serpent (Hydra) rising from the river (Eridanus) whose head is on the horizon with the sun and a little dog sitting in the east (Canis Minor) at the shore of the river looking toward a companion (Canis Major) across the Milky Way. In the body of the serpent are a crow (Corvus - Crone), a Holy Grail (Crater - Mother), and a sextant, or possibly a bow and arrow (Sextans - Bow & Arrow - Maiden). These are the same figures shown on the Denderah zodiac in the Virgin's legend of a coming kingdom. The stars at the ingress/egress causeway at Stonehenge identify where legends are conceived and born. This is a kingdom being born of the Virgin. To find out the nature of this legend, we must wait until the precise moment that the bread of heaven has been set upon the table of heaven.
The bread we speak of is the manna from heaven, and the table we speak of is the galactic plane where all the suns which carry the heavenly manna race about. The flat chart of the heavens shows what could be seen over Stonehenge at the time of its conception. The red circle is the horizon where the Milky Way would appear completely around Stonehenge like a table in the sky. When this table aligned with Stonehenge, a king and a queen (Cepheus, Cassiopeia) sat at the eternal place of honor on the horizon at the north zenith (Z) meridian and a ship sank beneath the cosmic sea on the horizon at the south zenith meridian. This is the cosmic kingdom we are looking into. Who were the royal personages on earth? Why did they move heaven and earth to place the great sarsen stones in a circle that looks like a table that looks like the Milky Way passing over the zenith at the moment of the monument's conception?
We have here a monument centered on the whole of our visible creation, with a King and a Queen sitting at the head of the round table of the galaxy. But, there is more, much more, for in twelve hours the table will turn, and the king will sit upon the monument's zenith axis and the top of the heavens will change places with the king. When Stonehenge was conceived, the celestial king, Cepheus, and the bread at the top of the world (Coma Berenices) switched places every twelve hours.
This king who sits on a round table above the greatest monument in all England can be none other than the great Arthur himself. And the knights of the round table are the hours of the day, the days of the year, the years of the Platonic cycle, and the pillars of the cosmos.
In the Salisbury plain there is a legend still going about that the hill at Silbury marks the burial place of ancient King Sil. Below the site, according to legend, there is buried golden treasure and a golden horse. We have seen the king above, and we can see a horse along side the angel falling into the waters, but what of the treasure. Can it be possible that the greatest treasure of all time is still hidden below the Round Table at Stonehenge? Is the treasure of these ancient legends the whole of existence as identified by Pandora's Box on the horse's back with the coin of Pisces spilling from it? In Egypt, this perfectly fitting box was found by queen Isis to contain her murdered husband in a tree which had become a pillar in the kingdom of Byblos. Are we looking here at the same treasure? So let us go deeper under the ancient Salisbury plain and find the treasure that gave birth to the legend of a kingdom to come.
Now looking under the round table at Stonehenge when the cosmic table was on the horizon, we see a remarkable perspective held by the ancients throughout the world. We know they had seen the vision, for it is part of all the great legends , and documented on the Denderah monument, 2700 years after Stonehenge. On the nadir axis (N) directly below the Stonehenge monument is a figure of a man who has apparently pulled something out of a celestial asterism that looks like a sarsen stone. Why, he has pulled out a sword. Not any sword mind you, but "EXCALIBUR." This sword is the Egyptian "scepter of flint" used to create life itself. The treasure buried at Stonehenge was nothing less than the "gift of life." This place can be none other than the original Camelot. The bottom of EXCALIBUR marks the lowest place in all the heavens, it is the axis of the Great Potter's wheel. It is Hamlet's Mill at the bottom of the celestial sea. The treasure it holds is the whole of creation; a treasure worth more than all the gold in the world. It is the treasure of treasures, the power to dream given to each living soul.
The central monument of Stonehenge was composed of thirty sarsen stones which acted as pillars to support thirty lintel stones in the form of a round table. The monument was created to pass on to future generations the power of responsible dreams which are united as one. A more powerful lesson in the development of civilization cannot be learned, for that is what civilization is; many dreams united in the circle of life. Besides being a cosmic metaphor, Stonehenge defined the course of the heavens, and the destiny of the stars.
The Great Camelot is now, always has been, and ever shall be, the place of dreams. Not just fantasies, but dreams which can become reality if the dreamer uses EXCALIBUR properly. Not just anyone can take the sword from the stone. Only those who have real dreams receive the magic power of EXCALIBUR. Is this fantasy of sufficient power to cause a people to build so great a monument as Stonehenge? The dream of reality in the mind's of civilized people was, and still is, the most viable force with the power to move the mountainous sarsen stones many miles across Marlborough Downs? Was it the dream of a kingdom to come, or the instructions received by the manna from heaven that empowered the actions of our ancestral parents? If the Denderah zodiac is to be believed, it was the dream for tomorrow's children that moved the earth to align the round table at Stonehenge with the heavens. Can there be any doubt that these ancient parents loved and empowered that dream in their children? The dream that built stonehenge, the Great Pyramids of Egypt, the Moai statues of Easter Island, the sacred cities of Mesoamerica, the temples to the Sun Dragon in Southeast Asia at Angkor Wat, and all the temples to the god of the dance, Shiva, in India, is the belief that life does not end with death, it simply passes on to the next generation. Goals reached in past lives empower monuments for tomorrow's children while today's children are passing through their days of delayed gratification. In speaking of the "end times of great men," a common man named Nefer-rohu said the following to Snefru the Pharaoh of Egypt about the same time as Stonehenge was being constructed. "The learned man will pour out water for me, when he sees what I have spoken come to pass." In other words, when Aquarius arrives the works of "great men" will be completed, and a new journey will begin as EXCALIBUR is drawn from the stone again. The essential purpose of all great monuments throughout human experiences was, and still is, to inspire great men to come from the seeds and stones passed on by great men.
In the legend of King Arthur and Camelot, the end comes with the king dying near a sacred lake. He asks his trusted aid to take EXCALIBUR and throw it into the lake and then report to him what happened as the sword entered the water. The trusted aid avoided disposing of the precious sword on two occasions, believing that its power could be passed on to other chosen to have it. When he was asked by Arthur to describe what happened, the aid made up stories appropriate to the splashing of a sword into the lake. King Arthur told him a third time to throw the great sword into the lake. On the third occasion the trusted aid did as he was requested. But, a strange phenomenon happened when the sword EXCALIBUR flew out over the water.
Upon returning to Arthur, the trusted aid was asked a third time to describe what happened when the sword EXCALIBUR was thrown into the sacred lake. The trusted aid said that a hand reached up and caught the sword EXCALIBUR, saluted with the sword three times, and then sank into the center of the lake. Eventually, nine queenly ladies came and took King Arthur away on a barge to his burial place at the center of the lake. Remember, it was foretold on the meridian vision of the highest heavens at Stonehenge that the king would follow that barge to the bottom of the sea. "When this table set over Stonehenge, a king and a queen sat on the eternal place of honor at the horizon on the north zenith meridian and a ship sank beneath the cosmic sea at the horizon on the south zenith meridian ." This was and still is the cosmic kingdom we have looked into, it alone determines who will pull the magic sword out of the substance of the material world.
There is little room for doubt that the one who caught the sword is the great Prince at the surface of the heavenly waters called Perseus. It is he who is the ancient "angel of death" and carries in his sack the head of the dreamer. The nine ladies are an echo of the nine muses of Greek mythology. Greek mythology is the written echo of oral traditions ancient before Stonehenge. In the dialogues of Timaeus and Critias, Plato described a kingdom in the Atlantic which was a city with a circular design having an entrance causeway exactly like Stonehenge. Had Plato learned of Stonehenge from the Egyptians who clearly knew of its existence? Was the ancient city of Atlantis, the cosmic kingdom which eventually came to be known as Camelot? These myths clearly identify the center of the cosmic lake where the falling Princess Andromeda descends to the middle of the cosmic waters with a box on her head called the Great Square. This is Pandora's Box, and it is the greatest treasury of legends known to mankind. The burial place of the legendary king has not changed, it is still at the bottom center of the sacred lake under the round table of the heavens. The muses wait for descendants of the king to reach for EXCALIBUR and recreate a dream once known as Camelot. In this way, and this way alone, can the King of the Round Table be reincarnated in the living soul of England and the World.
Is life worth dedicating to such dreams, or is it better to forsake dreams and prolong a meaningless life? Has any forsaken dream ever come close to the length of life as that produced by the spirits of EXCALIBUR, the scepter of flint in Egypt, the Moai statues coming ashore at Rapa Nui, or the image of a king at the bottom of the cosmic sea? The words of Genesis 1:26 echo the truest and most ancient sentiment of the human soul, And God said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth. The truth is that human civilization is but a dream, whether the constituent dreamers participate or not. To put meaning into life, it is necessary to reach up and grasp the flower in the hand of the Virgin, and make the senses wise of the legend of a kingdom to come. EXCALIBUR forever waits to be withdrawn from the Cosmic Stone by any child, or civilization, that properly delays gratification in preparation for Kingdom Come. We must each do our own "home work" in the hunt for excellence to deserve dominion over this Cosmic Sea.
Stonehenge is Reborn||
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