The Four Sacred Symbols - By Michael Ragan

Fuente:

http://www.danann.org/library/symb/002.html

Información:

by Michael Ragan
© 2000

Introduction / The Sacred Sword / The Sacred Spear / The Cauldron / The Lia Fail

e owe a great deal to those scholars of the late 19th and early 20th centuries who collected and translated the numerous Gaelic texts that now grace our major libraries in English form. The names of O'Flaherty, MacAlister, Thurneyson, Meyer, Dineen, Quinn, Gwynn are just a few that echo through the academic halls for their singular works and their imposing results. Relatively few in number, they were in essence a closed society. The major markets for their books were like-minded academics who, for either philosophical or ethnic reasons, revered the ancient Irish and their mythology. It is to our advantage that they banded together in such groups as "The Irish Texts Society" and the "Royal Irish Academy." Thereby supporting and encouraging each other and gradually developing a remarkable number of documents which provide the non-Irish student an English translation of the here-to-for inscrutable Irish lore. For some, it was the culminating event of life. For example after many years of labor, R. A. S. Macalister brought the first volume of Lebor Gabála Érenn to printing in 1938. Subsequent years passed as he brought volumes II through IV to completion. Then in 1950, while still determinedly laboring on volume V, he passed and six more years lapsed before a successor could finish that final manuscript. Not to be overlooked is the magnificent work of the Reverend Dr. Patrick S. Dineen who began editorship of Foclóir Gaedilge agus Béarla (Irish-English Dictionary in 1906. Years of study, labor and heartbreak ensued. A fire at the Dublin publisher in 1916 destroyed the completed manuscript and already prepared printing plates. With only his notes, Dr. Dineen went doggedly back to work in preparing a newer, better and larger version. The first edition had 820 pages. In the second edition, the pages were enlarged so that the new pages equaled about 1 3/5 pages of the old. A major problem was lack of funding. This was partially alleviated in 1924 by a gift of the Irish Government of one thousand pounds. Finally in 1927, 21 years after its beginning, the dictionary was finally published. Yet as vigorous and diligent as the scholars of the past were, as much as we owe them, we must never forget that they are all too human. We must remember that they were the products of conservative European universities, long dominated by Christian dogma. As a consequence, non-Christian philosophy was often ignored or misunderstood. Additionally, earlier scholars seemed to overlook the subtleties of ancient analogy. Couple that with the tendency to build a study on the pioneering work of predecessors and errors become compounded. Regardless of religious mindset, the study of Irish etymology is like a minefield. It has numerous hazards and traps. First there were wide variations in spelling between provinces and sometimes even within a province. It took a legislative act of the Dail Erenn, in 1949, to bring some order to the chaos of spelling. Further, the available early texts often-times copied much older fading and hard to read documents written in much earlier, often obscure language styles. Therefor we find considerable questionable translation into English of old Irish texts in modern works. In this, our story of the Four Sacred Symbols is typical. While I am no Etymologist, I do have some understanding of the ancient philosophy. Further, I can generally recognize analogy. Additionally, I am sensitive to the spirituality of my forebears. Finally, I have a considerable collection of the works done by students of the language. Consequently, I feel better qualified to interpret the thought behind the words. In this study we will take the reference to each of the Sacred Symbols individually. We will examine the source and look at the "scholarly" translation. Then we will investigate the Irish text, word by word. Finally, we will reconstruct a translation into contemporary English that will bring us much closer to the truth.

Introduction / The Sacred Sword / The Sacred Spear / The Cauldron / The Lia Fail

The Lia Fail - By Michael Ragan

Fuente:

http://www.danann.org/library/symb/lia.html

Información:

by Michael Ragan
© 2000
Introduction / The Sacred Sword / The Sacred Spear / The Cauldron / The Lia Fail

"From Falias was brought Lia Fail which is in Temair, and which is used to utter a cry under every king that should take Ireland." Lebor Gabala Erenn he sacred stone of the Tuatha de Danann, known as either the Lia Fail or the Cloch na Fail, remains an item of much controversy. In the last centuries, the primary disagreement has been its location. Some have it ferreted off to foreign shores to rest forever silent in a Christian Cathedral, others have it remaining stoically on a grassy slope in Tara. In truth, the real stone has yet to be found. Further, the purpose of the "stone" remains generally misunderstood and often overlooked. The answer, as it often does, lies in the language and the very words of its description. Turning again to the one stark reference to the sacred elements in the Book of Lecan, we can find considerable detail if we examine those ancient words in the full light of methodical inquiry. To begin with, how about the subject? What does the term "Lia Fail" mean? Contrary to many scholars, the words Lia and Cloch are not fully synonymous. The noun Cloch can refer to almost any stone. It is a broad term, but generally indicative of a stone found in its natural weather or water-worn shape. Examples would be missiles, sling-stones and construction material. The noun "Lia," on the other hand, indicates a more specific use. Further, it reflects processing and preparation for a purpose. It is a stone of singular import for its size and/or application and inscription. In other words, a "Lia" was often inscribed with symbols and characters. Thus a stone used for a boundary marker, monument, dolmen or cromlech is properly called Lia. It also has additional, intriguing meanings, which should not be ignored. For example, it indicates the color gray, age (and associated knowledge and wisdom), precious stone and many. Here the reference to knowledge is paramount. If we once again dig deeper into the language, we find that the word for knowledge is RU. Quin advises that ru falls into two categories. Common knowledge is rus. Knowledge of the sacred and mysterious is run. It is that which is kept secret from the outsiders. Lia also has more esoteric meanings, which are reflected in many of the recorded tales. Take for example the tale Ath Liac Find found in both the Book of Lecan and the Book of Ballymote. At one point, Find throws the "three edged stone" into the ford where great loss was inflicted on his opponents. Then the tale predicts the loss of the stone for a time until a fair Maiden of age and wisdom finds it. In this case, the three-edged stone refers to a powerful spell composed in a particular poetic form. The specific use of the Lia is identified by the adjective, in this case, "Fail." The word Fail means hedge, wall, bed, resting-place, hut, protection, act of guarding, a circle, fold or a legal barrier. Notice that each of these interpretations reflect a protected or guarded state. Also, note that except for the last two items, the ancient Rath (home place) is infered. Protected by the Thorn hedge, in it was found the places of resting and it which was inviolate under Brehon Law. Interpreting our term then, in the broader sense, can give us "a precious, prepared ancient stone (or number of stones) that has (have) been dressed and inscribed in such a manner as to be enclosed, guarded and protected from outside exposure and intrusion." Now a concept begins to emerge. Still, we cannot be sure of its purpose, so lets dig a little deeper. In the line "No geissidh fo cach rig no gebidh Erinn," MacAlister faced the old problem of a programmed mindset. Rightfully, he recognizes the utterance of the stone when associated with a potential rig (ruler). However, a couple of considerations were overlooked. First, let us look at the root word to geisidh. The root geis (variously geas) means a solemn injunction, a spell, and a prohibition, which can lead to misfortune and death. Geissidh means the expression of the geis. The translation of geissidh to shriek is therefor incomplete. In full, it signifies loud expression, which could be shriek. However, it also indicates the type of speaking, that is recognition, tribute and imperative instructions. Remember the many tales of the rulers who were given geis or restrictions with designated penalties for the period of their rulership. Remember also those who violated their imperative Geis to lose both life and leadership. To flesh out our picture a bit more then, we have a stone or stones of unique singular purpose and character. Our Lia speaks with a voice that is loud and unignorable. An ancient and wise oracle, it provided recognition and tribute for the potential leader and identified those acts, which were prohibited to the person and his or her rule. For the curious, lets take a quick look at rig. In Old Irish, the word was ri and of neuter gender. Under the patriarchal influence of first the Catholic Church and later the Norman invaders, it came to be considered masculine. In general usage, the word lost further of its definition when early Abbots were given the title "Ri." Thus you find a number of early clerics referred to as Bishop Kings, such as Cormac in the 10th century. However, under the proper and original context, a "Ri" (Righ) was the elected ruler of Clan or Tribe, male or female. In summation then, the Lia Fail, as the Sacred Symbol of the Tuatha de Danann, was an oracle and possessor of ancient wisdom. Carefully and deliberately protected, it was a thing of mystery. When it spoke, it spoke with purpose. It loudly recognized and proclaimed the rightful ruler. It gave its tribute followed by the imperatives of Geis, or prohibited acts for the Ruler to be successful. Then it gave the penalties for violation. In the physical sense, the Lia was indeed a stone or stones. It was specially inscribed in mystery and wisdom. Thus the Lia Fail was and remains run or sacred knowledge. Whether we consider the Lia Fail, and thus the Run, as either one stone or many, the basic considerations remain constant. It is one of the Sacred Symbols of the Tuatha de Danann, their sacred wisdom. It is carefully and deliberately protected. When it speaks, it speaks with purpose. It provides insight into both present and future. It also possesses great magical power that can not be denied. Consider then this last of the Four Sacred Elements with the first three. We came from the east with Illumination. From there we turned south to Inspiration and with application we turned to the west and the Cauldron of Creativity. In our natural progression then we have learned through Illumination, and by applying Inspiration we were able to Create. With that creation we find the Sacred Knowledge that must be protected from misuse. As you see, the rightful place for the Sacred Knowledge (Run) is the northern quadrant. We have completed our Deosil (clockwise) circle and now can turn once more to our point of origin. It is easy to see now why our ancient ancestors entered their sacred spaces from the north, then turned east to face the path of the Sun and their point of origin. There are many choices of Stone that you can use as your Sacred Symbol. Many use Crystal, some use "Sunstone,." Others use a "special" rock that has adopted them for a time. Whatever your choice, whenever you work within your Circle, remember all that it stands for. It can greatly enhance your devotions and workings.

The Sacred Cauldron - By Michael Ragan

Fuente:

http://www.danann.org/library/symb/cauld.html

Información:

by Michael Ragan
© 2000
Introduction / The Sacred Sword / The Sacred Spear / The Cauldron / The Lia Fail


From Muirias was brought the cauldron of Dagda;
no company would go from it unsatisfied.
Lebor Gabala Erenn

n examining the text, a couple of discordant notes sound. First is the Latin form used to designate the "cities, " which we have already addressed. "Muirias" is simply the word muir (the sea). The association of cauldron with sea is a common theme throughout Irish mythology. Further, we need only to examine the word used for cauldron, which we shall do directly. A second questionable assertion is the implied ownership by Dagda. Throughout European mythology (including the Irish), the cauldron, chalice and cup are feminine symbols. It represents the womb of the Great Mother. It is the place of creation. How then can it be possessed by the epitome of male-dom? The answer is that it cannot be possessed as in ownership. It can only be protected and held in safety by the masculine figure. Thus, Dagda, as the archetype, was not the owner, but rather the protector of the Sacred Cauldron. The Middle Irish word for cauldron is "Coiri," with "coire" and "caere" as alternate spellings. Sanas Cormach (Cormac's Glossary, 10th century) states that coire is a compound word taken from "cói úirre," or place of liquid (wetness). In other words, it was a thing identified simply by its' use, the holding or storage of liquids. Variations of the root coi include the modern "currach," or coracle (which holds liquids, (i.e. the sea), out rather than in; cailís (chalice); cora (weir); Corc (cork) and Cornu (chalice, cup or drinking horn). All of which have to do with containing or functioning within liquid. While the foregoing are all manufactured things, coire can also mean boiler, whirlpool and crater. With this information, we can better look at some of the other early references to cauldrons. The "Magic Cauldron" is an essential theme throughout Celtic mythology, especially in Wales and Ireland. There is the quest for a cauldron in The Spoils of Annwn, which is regarded as the archetype for the "Holy Grails" stories. Also in Welch mythology is the "Cauldron of Rebirth," given to Bran. In Ireland, the many cauldron tales all seem to emanate from the central theme established by the "Magical Cauldron" of Dagda. There is the "Healing Cauldron of Goibniu," in which wounded and slain warriors could be made whole to return to the field of battle. The Ruler of the Underworld had an inexhaustible cauldron to use at the grand feis. Then there was the magic cauldron stolen by Cúchulain and Cú Roí from the mysterious castle. Moreover, let's not forget the three cauldrons needed to soothe Lugh's Spear from its battle fury. The first cauldron would split, the second would boil and the third would become warm. In each of the cauldron tales, there is that underlying theme of magic and "other worldness." The magical cauldron(s) satisfies all who come in need. It can feed, give drink, heal, restore life, soothe raging spears, contains wisdom and throughout retains its otherworld connections. The relationship between Muir (the sea) and the various cauldrons and other magical containers are well established in throughout Irish myth. What is not so well established is just what Muir symbolizes. Most modern scholars will quickly mention "water" and/or "spirit." In this they are only partially right. The sea to ancient humankind was deep, dark and mysterious. Home to both siren and sea-monster, it lured as well as repulsed. Ancient mariners drew pictures of sea serpents and monsters to signal dangerous or uncharted areas of the sea. Dangerous, yet alluring, the sea could feed humankind or feed on those temerarious souls who dared enter its province. Perhaps more than most people; the ancient Irish lived on and by the sea. Every migration to Ireland from the Neolithic onward came by sea. Further, by 4,000 BCE, the Irish Island had firmly established trading routs with England and the European continent to as far away as the Mediterranean Sea. Thus living on, by and at the mercy of the sea, the Irish saw it as much more than a mere body of water. Within its mysterious unknown depths were life, death and rebirth. Consider the Imram Bran and the Voyage of Mael Dunn with their otherworldly experiences. Also remember the journey of Dagda to the mysterious undersea palace to retrieve his magical harp. Clearly the sea, its surface and contents, is part and parcel of the Otherworld. In looking at all of the information above, it is quite clear that sea and cauldron are irrevocably connected to the Otherworld. Further, it is apparent that no representation of the unseen realm is complete without the symbolic cauldron. It is also obvious that the contents of the cauldron, as a symbol of the Otherworld, are of far more than just simple water. Within that cauldron are healing, inspiration, wisdom, sustenance (both physical and spiritual), healing and the very essence of life itself. It is the symbol of primary creation, the Great Womb, the source, the Mother Goddess herself. As we look at the qualities of the Cauldron, we now find a continuing thread. Notice that included in the Cauldron as the necessary elements of "Wisdom" (Sword) or Illumination and the "Fire in the Mind" of our Sword of Inspiration. What a lesson we have here. You must have knowledge and inspiration before you can create. You must apply yourself mentally to the task at hand. Just knowing what needs to be done is not enough. The generally accepted symbolism of the western quadrant today is the cauldron,. water and the sea. To the ancient Irish it was a bit more. The west was the Great Void. Yes, its symbolism did include water, but it also included firmament. It was the primordial soup that provides the source and place of creation. How true it is that we must have illumination and inspiration to find that place of creation. The size of your sacred cauldron is, of course, not an issue. The issue is the ancient and powerful symbolism attached to that special cauldron or bowl that you use in your circle.

Introduction / The Sacred Sword / The Sacred Spear / The Cauldron / The Lia Fail

The Sacred Spear - By Michael Ragan

Fuente:

http://www.danann.org/library/symb/lugh.html

Información:

by Michael Ragan
© 2000
Introduction / The Sacred Sword / The Sacred Spear / The Cauldron / The Lai Fail
"From Goirias was brought the spear which Lug had:
battle would never go against him who had it in hand"
(MacAlister transl.)

his particular sentence is extremely interesting because of its form. Middle Irish is used except for the word "tlegh,' which means spear or javelin. In Middle Irish the same word developed into Sleag (Spear), Slat (wand) and slecht (smooth). Here we find part of MacAlister's reason for believing in the validity of the references to the Four Sacred Symbols. The remainder of the passage is pretty much in Middle Irish form, as is the remainder of the Book of Lecan. Therefor it appears that the scribe who penned the words was retelling something from an oral tradition or quoting an extent (at the time of writing) manuscript fragment. We find other problems with this translation as well, so let's take a closer look. First of all we reject the use of the word "gorias," as we explained in the introduction. Removing the Latin corruption, we are left with "gor." In Middle Irish, Gor means moderate heat or incubation. Our sense is that this statement concerning the Spear refers to the point of origin of the people, just as do the statements concerning the other Sacred Symbols. Thus, interpretation of "gor" more appropriately should be incubation, which requires a moderate and controlled heat. Next, let us deal with the last word in the phrase "Lug." While Lug(h) is indeed a Deity, those who know your mythology, know that he was not a Tuatha de Danann original. He is a late comer who shows up just prior to the Second Battle of Moyturra, when the Tuatha de Danann battled the Fomorians. This occurred centuries after their initial coming into Ireland. ). Further, referring again to the Second Battle of Moyturra, we find that Lugh's choice of weapons was a sling, not a spear. Thus, associating the spear with Lugh is highly questionable. Secondly, the word lugh is a common word meaning bright or small amount (least amount). Now since this item was one of the four most sacred symbols to the Tuatha de Danann, least or small amount does not seem appropriate. Therefor, it is safe to assume that the translation here should mean bright. Therefore, what we have is a sword described as being bright or illuminated. Let's next address the word bi. "Bi means simply birdlime or pitch. MacAlister chose to ignore this word which probably did not make sense to him. But it's inclusion is quite appropriate. A spear was composed of two or more elements. You have a spearhead and a spear-shaft. The latter could be composed of two or more pieces. To hold the pieces together, the ancients used pitch or birdlime to glue it all together. The problem of keeping head and shaft together was serious enough that by the 15th century bc, small loops were molded onto the shaft end of the spearhead to enable tying the pieces together with thongs. How were the thongs fastened to the shaft? By wrapping and gluing - using pitch or birdlime, of course. Additionally, smooth wood did not provide a very secure grip for a sweaty hand and grips were fashioned from both metal and leather, and wrapped tightly around a pitch or birdlime treated area. Thus we see that the matter of "bi" is central to our consideration. Next we find "ic," which translates to "cure" or "prepare." Again, a word not understood by the translator is ignored. Therefore, a simple literal translation of the Gaelic phrase should read "From the place of incubation was brought the spear, birdlime prepare(d) bright. Alternatively, in more proper English form, "From the place of origin, (the people) brought the Bright Spear, birdlime prepared." Thus we have the statement that the Spear, properly prepared for its purpose, was brought from the place of origin of the Tuatha de Danann. The second phrase, "ni geitha cath frisin ti a mbid laim," also requires deeper consideration. Literally it states that "no start battle (or temptation) against person from first throw." In proper English then, "It will not battle (or tempt) the person who first throws it." Notice that the operative word here is "throws." It is active. It is not simply being held in the hand it is being put to its use. Further it is "first" use. It is initiatory. Putting the two phrases together then gives us a much different view than that of the original translation. Our version should read "From the place of incubation (birth) was brought the Bright and well prepared Spear. It will not battle the person who first uses it." Notice we speak here only of one use, the first use. There is no indication of further action, such as we could expect in combat. What we actually have is a beautiful, well-prepared "spear" that will not turn on its user. Within the old language, we find that the "spear" was considered to be something that went straight to its mark. It was slender and required but a narrow path of flight. With a sharp point, it could smite and make one "bow down." Interestingly, the root word supports such words as "splinter, genuflection" (or show respect) and "worship." An interesting line appears in Tadhg Dall O'Huigin's Bardic Poems. It reads "Cean do sleighe ar gcora a croinn," which translates roughly to "The head is like a spear when heated." Then there is the line in The Song of Amergin that speaks "I am the point of a weapon. I am he who fashions fire from the head." Here, apparently, is the origin of the "Fire in the mind" line of Joseph Campbell, quoted from MacAlister in the Lebor Gabala Erenn. Here MacAlister rightly identifies the analogy as "Inspiration." The proper word here though is not "fire." In both of the above cases, the word "gor" is used. It is the controlled heat of incubation. It represents the constructive element and development. It does not mean the destruction of fire. Now using the analogy, we can make a much more accurate and meaningful translation. From their beginning, the people brought the Spear of Inspiration. It will not battle he (or she) who will use it. Who could use such an implement? Who but every individual can benefit from inspiration, if they will but use it is also for every day people in every day life. It is that which raises each of us to that higher level when faced with a challenge. It is that which drives the artist to create the masterpiece. . Inspiration is not just for the poet or the scientist, the healer, or the wise one, however. It is that which magnifies the creative energies within each of us. It is that which gets us through our difficult days as well as our triumphant ones. The sacred symbol then represents the Inspiration that comes from applying Wisdom to our thinking. Historically, the Spear of Inspiration is associated with warmth and the South. As our ancestors, we begin our sacred path from the east from whence we draw our illumination and acquire our wisdom. That alone is not enough and we turn to the south and draw on inspiration for our continued journey. Few of us have the resources or room to work with an authentic full-sized spear. However, it is not the spear but that which it represents which matters. Further the association of wand and spear is strong. Thus a wand (slat) of elbow to fingertip length is most appropriate and perhaps far more practical for inclusion in your Sacred Tools.

Introduction / The Sacred Sword / The Sacred Spear / The Cauldron / The Lai Fail

The Sacred Sword - By Michael Ragan

Fuente:

http://www.danann.org/library/symb/sword.html

Información:

by Michael Ragan
© 2000
Introduction / The Sacred Sword / The Sacred Spear / The Cauldron / The Lia Fail

"From Findias was brought the Sword of Nuada; no man would escape from it when it was drawn from its scabbard. There was no resisting it." --Lebor Gabala Erenn n the preceding translation, the linguistic scholar, with a decidedly Christian mind-set, blindly follows the surface, observing the mundane wrapping, without opening the spiritual package and viewing the fabulous treasure within. The first line of the original Gaelic text, "A findias tucadh claidhim nuada," does not, in reality, say that the sword of Nuada was brought from a city called Findias. We already know that the "ias" endings are fabrications, so the word findias should in reality be find (or variously, finne). Another quick look at our dictionary of early and middle Irish and we find that "finne" means bright. Additionally, the word "Nuadad" does not refer to the God Nuada. Notice that our translator dropped a letter "d." While spelling variations do occur frequently, this is not one of them. Nuadad and Nuada are two different words with totally different meanings. Nuadad means the process of renewal. Therefor, the line is better translated as "From that bright place (origin of the people) came the Sword of RenewaI. The second line, "ni thernadh nech uadha," more properly translates to "Its singular spirit cannot be escaped." The third line, "O dobetha as a intig bodha," more rightly should be translated as "Oh wretched life, (how) you increase when (the sword) is drawn from its sheath." The final line, " ni gebtha fris," can be rightly translated as "Is it not deserved?" or "It is greatly deserved." If we put the entire paragraph together and restore some sense of poetic form, I feel it should more accurately read as follows. "From the homeland, the people brought the Bright Sword. Its singular spirit cannot be escaped. O how wretched life increases when it (the sword) is unsheathed (or revealed). Suddenly our paragraph has taken on a far different tone than that supplied by previous translators. No longer does the sword seem merely an instrument of battle. A thought or implication of something far greater and considerably more mysterious now seems to emerge. In origin, the sword comes from the source of the people. It is of the people and by the creative forces of the people. Its brightness is a signal of illumination of the people, either as source or reflective element. It has a singular, unique spirit. It is also a powerful, immutable force that cannot be overcome. The third line of the original is the ominous line for it seems to bemoan, and caution against, those who would cause separation of the Bright Sword from its safe haven. Notice here that the line does not indicate death and dismemberment. Rather, it foretells of a wretched life! This is balanced by the final line, which speaks of justice. Those who cause the sword to be unsheathed, greatly deserve their wretched, fated lives. What then of the innocent, those who do not cause the sword to be unleashed? The warning is ominous only for those who err. The innocent are deserving of a better life. Let's take this further and analyze the symbolism of the sword. First, we need to understand the meaning of the word "sword." The Gaelic word here is "claidhim," which, modern language experts agree, means "sword." Does it mean the same in early and Middle Irish? Well, sort of! The word "claidhim" is Middle Irish. It has evolved into "claoimh" in modern Irish. Most translators identify it with what we know as sword. If we go back to the old Irish, however, our neat little translation looses some of the modern definition and begins to assume something a bit broader and perhaps a bit more basic. The original root word in early Irish is "Glaid." Associated meanings include a wide variety of meanings including, digging tool, dagger, knife, sickle, reaping hook, wolf, howler, a weaver's beam, noise and uproar. A notable derivation of glaid(h) is claidhaim, which means to dig or excavate. Other developed words include chimney beams, seashore, shaft, a bastion, ridge, earthwork and even "prominent nose." In analysis then, our sword is obviously not just a weapon. Rather it is a tool with a variety of practical applications. It is primarily used as a device for cutting and shaping, or an object that results from such cutting and shaping. With these thoughts in mind, let's take a look at a few notable references to swords from Irish lore. First, there is the tale of Ogma who took the sword of a Fomorian King named Tethra. This sword had the gift (illumination) of speech. The Leabhor na h'Uidre mentiones the sword which would turn against the holder if false speech was uttered. Then there is the tale of the "Sword of Light," which, in the hands of the Draoi, possessed the ability to remove spells and provide protection. Such magical properties remained associated with the sword well into the Iron Age when Irish soldiers continued to utter charms and incantations over the swords prior to battle. The physical form of the early Irish swords also contributes to our findings. The general Irish swords remained small, averaging 20 to 21 inches in length well into the late Bronze Age. This is much smaller than those weapons of battle favored on the continent. Obviously, it was not a great hacking weapon. It best served in battle with stab and slice. We should also note that during this era, shields averaged only about 10 to 12 inches in diameter. Thus we realize that the whole issue of warfare and "swords" was viewed somewhat differently in Ireland than on the continent. In Bronze Age Ireland, the primary weapon of battle was not the sword, but the spear and pike. The short sword was a last resort for close in combat. In everyday use, it was employed in more utilitarian manner such as cutting meat, hacking brush, digging, carving wood and other everyday chores where a blade was required. Heavier cutting, such as felling trees was performed by axes. In spite of preconceived romantic notions about war and thus death, we find the Bright Sword of the Tuatha de Danann a tool and not a weapon. It did not belong to a deity named Nuada. In addition, that tool is consistently linked to the magical element. In summation, the Bright Sword was a symbol rooted deeply in the history and consciousness of the Tuatha de Danann, long before their arrival on the Emerald Isle in the 13th century BC. It held the magical qualities of not only protection, but also was a symbol of illumination, wisdom, skill, creativity, speech and honor. What then is the central theme of this Sacred Symbol? What one thing could possibly contain the various qualities of wisdom, illumination, skill, creativity, speech and honor? It is a simple answer really. It is nothing less and nothing more than TRUTH! What illuminates more brightly than TRUTH? What engenders wisdom more than TRUTH? What slays false speech more quickly and more thoroughly than TRUTH? What makes life more wretched for those who would avoid TRUTH? What is more honorable than TRUTH? In today's' world, a full-sized sword can be a bit hazardous within the limited confines of the Sacred Circle. For that reason, most of us use the Scian Naofa (sacred knife), known as an Athame among other traditions. As with our other Sacred Tools, it is not the size that matters. What does matter is the meaning and symbolism behind our sacred blade. As the symbol of Illumination and Truth it rightly belongs to the Cardinal point of Light and Illumination, the East.

Introduction / The Sacred Sword / The Sacred Spear / The Cauldron / The Lia Fail

Fuente:

http://astrologosdelmundo.ning.com/profiles/blogs/nibiru-el-planeta-de-los

Información:

Nibiru El Planeta De Los Babilonicos

• Publicado por Wilson Roman el diciembre 12, 2009 a las 2:06pm
• Ver el blog de Wilson Roman

Nibiru es el nombre de un cuerpo celeste de la mitología babilónica.
Igualmente es el nombre que recibe un hipotético planeta propuesto por Zecharia Sitchin, basándose en la idea de que las civilizaciones antiguas habrían obtenido sus conocimientos y su desarrollo gracias a hipotéticos contactos con extraterrestres.

Nibiru, para los babilonios, era un cuerpo celeste asociado con el dios Marduk. Nibiru significa “lugar que cruza” o “lugar de transición”. En muchos textos babilonios se identifica con el planeta Júpiter, aunque en la tablilla 5 de la Enûma Elish se asocia con la estrella polar, que también se conocía como Thuban o posiblemente Kochab.

En opinión de Zecharia Sitchin, el planeta sería real, y habría adquirido el nombre del dios babilonio Marduk a consecuencia de una usurpación del poder por parte de este dios en el 2024 a. C., atribuyéndose la creación de la Tierra mediante la falsificación en las copias del poema épico Enûma Elish.

Según la descripción de Sitchin sobre la cosmología sumeria, Nibiru sería el buscado 12º planeta, o el Planeta X (que incluye la descripción de 10 planetas, más el Sol, y la Luna).

Igualmente indica que en la antigüedad se habría producido una catastrófica colisión de uno de sus satélites con Tiamat, un hipotético planeta también postulado por Sitchin, y que habría estado entre el planeta Marte y Júpiter; hecho que habría formado el planeta Tierra y el cinturón de asteroides. Además, según Sitchin, Nibiru habría sido el hogar de una poderosa raza alienígena, los Anunnaki.

Como consecuencia de la colisión, según afirma Sitchin, el planeta Nibiru habría quedado atrapado en el Sistema Solar, volviendo al lugar de la colisión periódicamente en una órbita excéntrica. Más tarde vinieron a la Tierra.

Sitchin cita algunas fuentes que según él, hablarían sobre el planeta, que posiblemente sería una estrella (concretamente una enana marrón) que estaría en una órbita sumamente elíptica alrededor del Sol, la cual tuvo su perihelio hace aproximadamente 3.600 años y un período orbital de unos 3.600 a 3.760 años. Sitchin atribuye estos datos a los astrónomos de la civilización maya.

En un libro recientemente publicado, titulado 2012: cita con Marduk, el escritor e investigador turco Burak Eldem presenta una nueva teoría, sugiriendo que son 3.661 años los que duraría el período orbital del supuesto planeta y reclamando que habrá “una fecha de vuelta” para el año 2012. Según la teoría de Eldem, 3.661 es un séptimo de 25.627, que es el ciclo total “de 5 años mundiales” según el Calendario maya extendido.

El último paso orbital de Marduk, añade, sucedió en 1649 a. C. y causó grandes catástrofes sobre la Tierra, incluyendo la erupción de Thera o como se conoce actualmente Santorini.
Según los seguidores de Sitchin, sus ideas estarían avaladas por su dominio en lenguas muertas como el sumerio, y asistidas por la traducción de piezas consideradas tesoros.

Etiquetas: 20012, babilonicos, mayas, nibiru