T H E C O S M I C R I T U A L
Chapter 11 The High Symbols Chapter 12 The Eleusinian Ritual Chapter 13 The Septerion Chapter 11 The High Symbols Symbolism indeed began even before the Palaeolithic Age - remaining however very primitive until the cultural explosion that is called the Neolithic Age - which led to its vast expansion - then further developed with the Chalcolithic Age - as at the end of this Age we find the earliest record of a developed Symbolism - Symbolism - the so-called Memphite Theology. The Bronze Age Cultures largely took over these ancient Symbols and reinterpreted them to express the new Rites. Two of the greatest of these Symbols as found in Greek Antiquity have caused 10 much ignorant comment from the professors - the Golden Apple and Golden Fleece. The Golden Apple is presented at the Marriage of the Demi-god Peleus and Thetis marked `with the Most Beautiful' - the superlative has not been understood - it refers to the High Ritual - the Most Beautiful is the High Wisdom as embodied in Thetis - declaring Divine Resurrection and Salvation of Peace of the Demi-god - and the Golden Apple as the Symbol of that High Wisdom is then through the Son as Creator-Lord of Salvation as Dionysos expressed in the Created World. It is the basis of the philosophy of Parmenides as Symbol of the Idea - the Unity - as the High Creation of God. Parmenides uses as contrasting words Aletheia Doxa - 20 translated by the professors as Truth Opinion - correctly Lethe declares Nirvana and Aletheia the Rising of Salvation and Resurrection - Doxa Illusion as of the Created World - and the distinction is between the Kretan and Semitic Rites - between the Precinct of Salvation that side - and the Creation within the Wall. Eris as Semitic Queen of Death performs the correct action in casting the Golden Apple on the Ground - as presenting High Wisdom on Death - Nirvana - regularly symbolised by the Fundament - the Ground - and the Marriage is the High Ritual of the Demi-god establishing High Wisdom on Death - regularly with the Symbol of a Glowing Fire - as Gold - on Natural Rock - the Semitic Symbol of Nirvana - as explicitly at Eleusis - the Casting declaring the Aim of the High Wisdom as 30 Nirvana - as given to the People for Salvation. The Apple-Symbol goes back to the most ancient Tree-Symbols of Peace - the Symbolism is easily established - Green Leaf is Dharam - thus the Wreath of Victory as ritually over Death is set round the Head - declaring the Wisdom of the Risen God - the Blossom Kam - thus the Garland set round the Neck declaring the Voice of Beauty - the Fruit Arth - held in the Hand with its Five Fingers of Arth - all correctly identified with the Principle of Arth - the Gold again declaring the Golden Race - the Titanic Culture based on Trade. The Apple was pre-eminently the Titanic fruit - and the Golden Apple associated with the Queen of Earth-Demeter as Titanic Goddess of Death and Resurrection - then transferred to Hera - transformed into Goddess of 40 the new Kretan Salvation of Peace - originally One for the High Titanic Ritual - then Three when brought down to the Garden of the Hesperides - Daktylic Precinct of the Akhaian Culture. It is still in regular use - if you would see it go to the Tower of London and look at the regalia - now called the Orb of Sovereignty. It is presented in all three Plays of the Trilogy. Agamemnon as Demi-god enters presented as High Aryan Sun-God in Majesty - carrying the Golden Apple declaring his Victory - as Ares of the Crossing of Gold - Holding the Weight (Aga 437ff) - Aigisthos - with his Triple Six - appears at the end with this Golden Apple of Victory (Aga 1638) - in the Third Play it is the Equal Counter given by Athena to Orestes - declaring the Creator-Lord of Salvation - the Risen Dionysos - and 50 in the Second Play it is presented as the Brazen Urn held by Orestes - entering the Palace with Elektra beside - as parallel to the entrance of Agamemnon with Kasandra - again as the Bloody Head of Aigisthos wielded by Elektra (explicitly in the Myth - cf Kh 1047 also 528 etc). In the Plays this Symbol of the Daktylic Rite is presented declaring the Salvations in turn as Kretan of Dharam Aryan of Kam - Dionysian of Arth. The Golden Fleece - Titanic Gold with Semitic Ram was simply a fleece set with gold nuggets - declaring the High Aryan Sun-God - the Father as Atreus - in the Culture of the Demi-god performing the High Rituals of Full Moon Libra - Semitic 60 on the Fifteenth - Aryan on Sixteenth - as the High Ritual of Laxmi in India - thus in the Myth of Typhon Pelasgian Zeus presented as a Ram. The Golden Fleece was of course much older - one is worn by a Ram `caught in a Thicket' - Royal Graves of Ur (c 2000 BC) - as established by the High Priest of the antecedent Semitic Culture - declaring High Semitic God of Kam - identified as a Ram and Sacrificed by Abraham - declaring a change of Culture - then taken over by Ares for the Aryan Rite. The Symbolism is simply established - White Goatskin Aigis - combining Goat-Symbol of Kam of the Semitic Guard - as represented by Arkadian Lord of Salvation Pan as original Creator - and the Kretan Shield - declaring Salvation of the Semitic Guard - as transformed for Daktylic Salvation of the 70 Kretan Demi-god - as the Aiolian Rite. The Ram-Symbol of Arth represented the High Semitic God - the Paschal Lamb the Semitic Creator of Nirvana - the Semitic Symbolism completed with the Bush - as emphasizing Leaves of Dharam of the Titanic Tree - now presenting Semitic Dharam of Peace - the Ram `caught in the Thicket' declaring the Semitic High Ritual of Peace - with Abraham giving the transformation for Salvation - as apart from the Warriors - the Golden Fleece now representing transformation of the High Semitic God - as High Aryan Sun-God - giving Daktylic Salvation to the Semitic People - Rite of the Aryan Demi-god - the Jasonian Rite - and as the Eye represented the 80 Flame of Salvation as Kam - the Sheep's Eye represented the Flame on the Peak of Sinai - as the Red Mountain of Arth - as Symbol of Resurrection - as transformed becming the preeminent Symbol of Semitic Salvation - giving its high prestige among the Arabs today. When the Aryan Demi-god Rose declaring the High Principle of War - he took over the Symbols of High Aryan Sun-God - primarily his principal Symbol - the Golden Fleece - as then going to his Nirvana - the acquisition declaring his new role as Aryan Demi-god - and now establishing his new High Ritual - as explicitly in Eleusis - Five days later - on the Twenty-First - as conforming to the Number of 90 the Demi-god - as declared in his Twenty-First Year (beginning the Third Time of Ten years - as for Creator - High God - Demi-god) - giving the Myth of Jason - and Names Hades `Ram' (from Gk `Ois) - and Ram `Ram' as `Sun-God of the Golden Fleece' - the Ram found also with the XIX Dynasty of Egypt as Symbol of Osiris - the Egyptian Hades and High Aryan Sun-God - giving the Name Rameses - declaring the Aryan Culture in Egypt. The Golden Fleece plays a role in the Trilogy - Agamemnon enters appearing High ambiguously as Aryan Demi-god and High Aryan Sun-God - holding the Golden Apple and wearing the Golden Fleece - as thus presenting the ambiguity with Priam. In 100 the other Plays other Ritual Skins are presented - thus the Second Play has the Goatskin of Aigisthos and Bullhide of Klytemnestra - both initially White - then Bloodied Gold - the Third has the Lion-skin of Golden Apollo (Eum 193) - as then for the establishment of Dionysos - Apollo representing Golden Ares removes his Lion-skin - as ambiguously the Golden Fleece - and sets it on Orestes (Eum 15) - the Divestiture declaring his resignation before a superior - and so he goes to his Nirvana. This is the standard procedure. Much rubbish has been written about polytheism - it is an absurd idea that different Gods are organizing the Society at the same time. The Gods represent the different castes - each in the guise of the High Priest Rises establishing the caste - and then at once surrendering his 110 powers to the High God - he goes to his Nirvana - as Adam and Absalom in Jewish Myth - and Midas Myrtilos Apsyrtos and a host of others in the Greek Myth - then this One God - though still worshipped under the many names - is the Creator - organizing the whole State - as thus remaining a Unity. In the Plays the Symbol are presented in turn as Kretan Dharam Aryan-Semitic Kam - Dionysian Arth. The ending of the Second Play has not been understood and much ignorant comment has been made on the Madness of Orestes and his statement `Ye see them not - but I see them' (Kh 1061 - as Loeb). The Death of God sets the Chorus in Barbarism - and ritually Dead - as indeed Elektra - all longing for Life - with Elektra (as 120 Antigone) yearning to play again her ancient role in the Sacred Marriage - with at once the restoration of her Culture. The Homeric Ritual is clear - the Dead find Life by drinking the Blood of a Sheep - this simply means that the `Dead' find `Life' by taking the Holy Communion of the Body and Blood of God with the Sheep-Symbol - as Salvation given to the Semitic People - the Rite of the Aryan Demi-god - here with the older Rite of the Kretan Demi-god they drink the Blood of a Goat as Aigisthos `Lord of the Goatskin'. The Slaying of Klytemnestra is presented as a perverted Titanic Marriage - and the whole Chorus marches on to the Stage and goes out. Why does Orestes Scream (Kh 1048)? First enters Elektra dripping Red (Akhaian `Bay') - with a hideous Mask of Lust - giving grotesque 130 cries of ecstasy - carrying as the Golden Apple the Bloody Head of Aigisthos - then the Chorus - entwining themselves in a Bakkhic Dance (Kh 698) - all also dripping Red (Bay) - as coloured in the Indian Holi - as an Initiation of Kam - the Indian Rite can be assumed at the Anthesteria (cf Kh 1009) - they are Risen from the Dead and become as Gods (so having the right to be on the Stage). The dialogue can now be re-read - a floating accusative - as linked with the Chorus in the nominative the middle voice would be required - Orestes is quite sane - Madness with the Chorus - they cannot See - but he can See for them (precisely as the Chorus are in turn the Eyes of the Idol of Klytemnestra - Eum 745) - the specific word used presents the Aryan Flame - the Chorus do not act at random - 140 the Ritual is being performed - the Play begins presenting the Fiery (Xanthos) Hair of Orestes - as of Samson - Symbol of the Aryan Flame of Salvation - cut - set set on the Fire-Altar - perverted into the Symbol of Nirvana of the Sun-God of Peace. Perversion indeed pervades the Play - Orestes declaring the Failure of the Ritual - and at once that he himself as Lord of the Aryan Flame will act for the Chorus. Even the Chorus acts correctly - performing the Ritual of Initiation through which the old women - who as Slaves of Demeter deal with the Dead - are transformed for the new Dionysian Salvation - completed at the end of the Third with the establishment of the Eumenides. 150 The Third Play is ambiguous - the professors translate as if some monsters are chasing Orestes - to tear him to pieces in some act of savagery - correctly it is again a Vast Pun - the people in Barbarism are chasing the Risen God - to beg for Initiation in his new Culture - as indeed with the Sacrament of the Body and Blood of the God (as Christ). The ancient evidence sets the Number of the Chorus as Fifteen - confusing the professors - the Number correct only for the Women. In the First Play they wear the White Linen of Peace as Slaves of Klytemnestra (Aga 1038) - Titanic Silver Goddess of the Full Moon - they have the right to be on the stage - and in ritual Death with the Queen of Death - again with the Lord of Death winning the Triple Six - and they are the `Men-at-arms' of Aigisthos 160 (Aga 1650) - the Number here - as in the Second Play - where they wear the Black of the Semitic Rite - declaring the Half-month - of the Waxing and again of the Waning Moon. However as Eumenides the Number is Triple Five - as Five of Arth set with the Triple Principle - as at once Kretan Aryan and Titanic of Peace. Similarly the Companions of Orestes are Ten Youths - now performing with him the Warrior Ritual of Manhood - with Sacrament of Goat and Bull - Kam Dharam - as Aigisthos again and the manly Klytemnestra - and thus after the Double Slaughter appearing with Orestes (Aga 1217ff) - then all as representing Dharam form the Jury in the Third Play - the final act of the Akhaianized Rite completed with Dionysos - and with Goddess of Salvation Athena giving Flame - lighting their 170 long Torch-Spears. These Youths are divided Five and Five - the Five as Aryans of Dharam (of the Goat) - all in Red as voting for Orestes and Salvation - now leave with him as the Aryan Guard - while the Five remaining as Kretans (of the Bull) - all Blue (and Red with Bronze) - as voting for Eumenides and Nirvana - now become their Guard as Propompoi `Conductors Before in Triumph' (Eum 1005) - the Name emphasizing that the Eumenides have also won the Victory. The Ten here (Number of the Men - and of the Chorus in the First Play) is the Number of War - of the Demi-god - the Five of Arth set with both Kretan (as Kadmos) and Aryan. This is the Warrior Rite and so there is no representative of Peace. 180 Here is of course the answer to an ancient Jewish conundrum - which the Jews have quite wrongly taken to justify their dietary separation of milk and meat - what was the point of the alternative Tenth Commandment - Thou shalt not Seethe a Kid in the Mother's Milk? This is just what is happening here - Aigisthos is the Kid - Klytemnestra the Mother - the Blood pouring from her Breast is at once Milk set with Fire - this Blood on Aigisthos gives Ritually `Kid Seethed in the Mother's Milk' - the prohibition can now be understood - this was the Sacrament of the Companions - as the Rite of Initiation of the Semitic Goat-Guard - thus forbidden to people of the Jewish Moon-Religion of Peace - the Rite showing the Mother's Milk of Nurture identified with the Pyre - this identification of Birth 190 #and Death - as the Omen in the Agamemnon - basis of Alkmaion's famous Fragment - is a simple declaration of Salvation - and the phrase `separating the Sheep and Goats' thus has a double meaning - not only are the Sheep as those Initiated for Nirvana more dear to the Moon-God - the Goats are the Semitic Guard - Initiated for Salvation - recognized in the Jewish Myth as the Sons of Japhet - thus kept apart set outside the Creation - as declaring the hard Semitic separation of War and Peace. The Golden Calf and Brazen Serpent were abanned on the same basis - the Golden Calf was the Symbol of Dionysos and the Demi-god - the Brazen Serpent the Akhaian Symbol - both rejected as representing War and Salvation - as denied to the Jews. 200 The Golden Apple represents the Titanic Culture - the Golden Fleece the Aryans - and a third great Symbol represented the Kretans - the Bull. The Kretan Guards set outside the City - identified with the Wall as Warriors of Dharam - standing hard as Lords of Principle ready to Die - were associated with the Moat - as the River Ocean - and so with Death - thus taking the ritual Blue (as regularly used for the Ocean) - with some Brazen Red - the Ancient Britons in their ritual Blue Woad - standing defensively on the river-bank - represented the Titanic Culture and these Kretan Guards - the original Titanic Symbol of the Kretans was Man - however with the Semitic Culture the transformed Kretans - still Blue and Red - 210 now representing Destruction for the Semitic Precinct that side - as the Giants of Myth - took as their primary Symbol the (speckled) Serpent as the Symbol of Destruction (as the tame Serpent of Semitic Little Ajax) - representing as Blue the Ocean and Death in the Indian system - and with Water reflecting the Kretan Fire - the Sea Aflame was the Symbol of Salvation. The Cultures of Kam associated with the hills took as Symbols the hill animals - the Sheep and Goat - while the Kretan Symbols were the plains animals - ancient Symbols of the Titanic Creator of Dharam - the Pig (Boar) as Red Guard of the Semitic Culture (a Boar's Head guarded one of the Gates of Jerusalem - a primary 220 reason hy Semites of Peace do not eat Pig) - and Akhaian Guard as Bull - as the principal Symbol of the Kretans - giving the Mythic picture of the Bull from the Sea - associated with Poseidon as Kretan God - the ritual Sacrifice of the Bull was on the Sea-shore - as Boundary - where was set the Kretan Anti-Creation - Shaft-graves `B' at Mycenae declare the Akhaians and Pelopid God - and Odysseus as a Pillar on the Shore is correctly performing the Atlantic Rite - while for the Aryans as Lords of Kam - come from the hills set inland away from the Sea - their Rite of Resurrection and Salvation was set on the Peak - Shaft-graves `A' declare the Aryans and Atreid God. The Mound - Second Play - is ambiguous - in the beginning set low at the Boundary as a Kretan Heap - while at the end with 230 the Bay Chorus Dancing up the Peak - it is an Aryan-Semitic Mount - the Chorus as originally set as the Fundament - are thus identified with the Peak as Aryan Chariot-Lords - indeed as the World turned Upside Down - again as presenting a rising Spur - it presents Arth - and the Culture of the Demi-god. The Kretan Principle of Dharam established the Akhaian Symbol of the Bull-Head - as seen on Greek Shields with their Destructive Principle of War set primarily with the Horn (as representing the Dagger and Sword as `Weapon' of Bull) - thus set as the Symbol of Destruction and Kretan Salvation - as the Minoan Symbol - Horns of Dharam as Pyre of Nirvana - Double-Axe of Kam declaring Salvation - the 240 Horn again taken as Creative Dharam - thus presented as the Horn of Plenty. The Bull-Horns and also the Bull have several references throughout the Trilogy.The Warrior-Guard Phylax - opening the Trilogy - presents himself (Aga 36) - savants divide the line but strictly it is a unity - `an Ox on the Tongue' - declaring his Sterility - his position on the Roof is as suppressing the Flames - as he himself has now lit - thus he appears wsearing the Horns of a Bull - as Dark - as himself the Lord of Death. `The Black-Horned Lord' (Aga 1127) is now known - it is this Warrior-Guard - yet with the final word `Vast' he declares that nevertheless he will Rise as God and 250 Lord of Salvation - the Bull-Horns are also seen with Agamemnon as Double-Lord - Akhaian and Aryan - and so also with Akhaian Aigisthos at the end of thde Play - while Titanic Goddess of the Full Moon Hera as Bride of Zeus-Agamemnon - wears a headdress of a Pair of Cow's Horns with Silver Full Moon Mask - as Goddess of Peace directed to Nirvana - thus giving her speech `O Rises the Queen of the Sea Aflame' (Aga 958) - identifying herself as Akhaian Symbol of Salvation - thus appears after the Murder dripping Blood - the Sea itself presented as the Bloody Bath. `Hold away the Bull from the Cow' (Aga 1125-6) is now understood - not to keep away Agamemnon but Aigisthos as Lord of Death - not the Victim but Partner in the Murder - and Second Play keep the Victims apart - as after the Slaughter 260 Orestes wears the Crown seized from Aigisthos - and with a Bull-roarer in the background he appears as a Bull - Dark and Bloody as himself the Akhaian Lord of Destruction and Death - in the end the Bull is Dionysos himself - `Hold away' declaring his role in the Ritual of Salvation. Herald Pylades (`Lord of the Door ) Hermes are just different Names of the same ritual identity - the Herald regularly spoke from the Door - the Place of Truth (one ancient Society - Elam? - required the witness to speak from the Doorway) - as Lord of Salvation of Dharam and Kretan Bull-Guard of the Pyre - Herald and Aigisthos as Brahman of Creative Dharam of Peace proclaiming inwards - Apollo as 270 Bull of Destructive Dharam of War Guarding outwards - all Three appear speaking from the Door - all wearing Bull-Horns - as through the Plays in turn presenting Dharam Kam Arth - Agamemnon also speaking from the Door thus identifies himself with the Herald and High Principle of Peace. This ritual identity shows again the basis of the construction of the Trilogy - uniting the disparate Plays - the individuals and Names are irrelevant - just chosen from the particular Myth as representative of the particular Rite - the Actors should just be given general designations as Herald Bride Creator-God Queen of Death Goddess of Salvation - as Dharam Kam Arth Nirvana and Salvation. Thus with the Nameless Maiden in the Chariot Klytemnestra says `I pronounce thee Kasandra' (Aga 1035) giving only 280 the superficial role she is called upon to play without giving her true identity as Bride. Again Who even is Agamemnon? Klytemnestra declares `This is Agamemnon' (Aga 1404) - the professors assume the corpse before her - mutilated for Nirvana and thus ritually hers (`mine') - as Queen of Death wearing the Silver Moon-Face of Nirvana - Bloodied as transformation to the new Rite of Peace (Aga 1658-61) - equally referring to the actor beside - whom the Chorus addresses as Aigisthos - presented in the Second Play as the ambiguous Father - the Herald in his first speech - as presenting Agamemnon - is indeed presenting Aigisthos as at the end of the Play. Thus does the Poet emphasize that the entire Play is Illusion - as of Maya Queen of Illusion - presented as Klytemnestra (as Aga 274) - arising out 290 of Nirvana - also presented on the stage Symbolically as Dung - as a small heap just outside the Chamber - in which Agamemnon - his Collapse counterpointing the famous speech of Klytemnestra (Aga 958ff) - as the High king - giving Kowtow to the People - buries his Face - Destroying the last Symbol of his Resurrection - and completing the transition from God to Dog (Aga 896) - the final declaration of his Nirvana. The Ritual of Salvation was always in two parts - the Destruction for Nirvana - and the Resurrection - the function of the Two Goddesses - thus in the Titanic Rite of Salvation of Dharam - first the Kretan Pyre associated with the Queen of Death - as 300 the White Queen of Earth - as Cow-Goddess Demeter - beside the Titanic Cow-Goddess of the Sacred Marriage of Peace and Nirvana - as then Rising with the Goddess of Salvation as Heifer Kore - originally Rhea giving the Spirit for Kam - as Creative Dharam of Semitic Salvations - and for the Red Guard Rhode `Lady of the Rose' - as the Pyre transformed and made Creative as Kam - while the Kretan Guards with their Ritual of Destruction set the primary emphasis on the Pyre - as from Titanic Cow transformed for War giving the Bull-Symbol - while Resurrection - the prerogative of the Titanic Gods - was also with Kronos given the Symbol of the Ass - both for Fiery Mane and for its Speed - and also as Pack-animal - identified as Dharam and Nirvana - as the Principle upholding the World - giving the Symbol of Shoulder of 310 Peace - as of Atlas and the Pelopids. The Akhaians combining Dharam as Kretan Pyre of Nirvana - and Kam - establishing the new Pyre of Salvation with the Lion-Symbol and emphasizing Divine Resurrection of Arth - first established the Horse as also with the Fiery Mane and Speed but no longer as Pack-animal - as the Symbol of Divine Resurrection declaring the new Creator of War - still representing Dharam and Peace - thus introducing the White Horse as one of the great Symbols of history - and with the new system the Horse was set with the Chariot - as Creation being Driven to Nirvana - then transformed as Vehicle of Kretan Salvation - Charioteer as Dharam - Horse Kam - Car Arth - as 320 giving the One-Horse Chariot seen on ancient Greek Tombs - declaring Salvation of Dharam. This White Horse of Dharam and Peace - as the principal Symbol of Akhaian Salvation - declared the Akhaian Rite - and the Semitic Daktyls - as Akhaianized - were thus associated with the Horse - and as Kam presented as Kentaurs - as above all Kheiron `Lord of the Fiery Hand of Salvation' - The Aryans - as Kam of War - establishing the Eagle as the Glow of Salvation - with She-Wolf as Kam of the High Ritual - as the Lykians (the Romans with their Legions and Bronze Eagles representing the true Aryans of history) - set the Chariot with Two Bay Horses for Daktylic Salvation of Kam - the Number also declaring Creator of 330 Kam - the Aryan Creator - as now supreme - as most famously representing Indra the Indian Ares. Then Akhilles with his new Salvation of Peace added the Third Horse - declaring his higher status as Divine Child and as Arth - first Balios `Skewbald' as Dark and Red for the Kretans - Xanthos `Bay' for Aryans - Pedasos `Leaping' - as from Nirvana - now White for the castes of Peace - while the Four-Horse Chariot - as representing the Four Principles = declared the High God. The Symbols are indeed presented in the Trilogy - Agamemnon as High God of Kam comes in a Chariot of Four Golden Horses - himself with his Horse-plume identified as the Horse (as Aga 825) - then Second Play Orestes is himself called a Colt (Kh 794) - and with Elektra there are Two Bay Horses - the Chariot here is the actual Vehicle of Salvation presented 340 with the Slaughter - the Charioteer (Kh 967-8) is Pylades as Hermes - this Chariot is seen explicitly in the Third Play as the Chariot of Athena - established through the Ritual of Orestes - finally Orestes-Dionysos leaves in a Chariot - and again with the Three Horses of Arth - now representing the Three castes Initiated in the Play - Blue Akhaian Propompoi - white Athena of Peace - Red Eumenides of the new Salvation - as followed by the audience as the Initiates. The main contribution of the Bronze Age to the Symbolism expressed the Principle of War - on which it was based and through it Salvation - and the primary Symbol was the Shield - representing the Salvation of Dharam of the Kretan Guard - thus the 350 Spartan considered losing his Shield as the greatest dishonour - as indeed the loss of his Salvation for Nirvana - returning from Battle either he carried his Shield - or the Shield carried him - as a declaration of Life - whether Here in this World or in the Hereafter - in contrast the Aryans with their ritual of `Smash Grab Run' were primarily interested in Loot - Cattle Gold Women - and emphasizing Salvation of Kam - they were ready to throw away their Shields if it helped their escape (as Arkhilokhos). The Shield represented Salvation - so the Device regularly presented the particular Symbol of Salvation - and Shields on painted Greek pottery generally have one of three devices - Bull-Head Serpent Viper as Flaming Serpent - the first declaring the Akhaian Guards - and the old Lootless Titanic Guards transformed for 360 the Akhaian Culture - and again for the Demi-god - remaining ever on the defensive by the City-Wall - as Aigisthos - the second presented the Semitic Guards - Kretans taken over by the Semitic Culture - while the third declared the Akhaians `Sons of the Viper' - the Pelopid Kretans - who in the Eighth (or Tenth) Year of War - went forth on expeditions to conquer Cities and get their share of Loot. A famous Shield - made of Bullhide - was borne by Akhaian Ajax - precisely because of his double Ritual as Akhaian he alone defends the Greek ships against the Trojan attack - the other Guards - the Myrmidons - having withdrawn - he had no chance of winning the Arms of Akhilles - only a transformed Titanic Guard could become Divine 370 Child. The Goatskin Aigis - as Salvation of the Semitic Goat-Guard - was equivalent to the Kretasn Shield - as the Semitic Shield expressing the Principle of Peace - the great Shields of Herakles and Akhilles (explicitly with Cities of both War and Peace) - as described so vividly by the Poets - and Athena's device of the Gorgon's Head - declaring Salvation of the Demi-god. In the Trilogy the Shield is seen with Agamemnon - the round Bath on which he lies after the Murder - as the Conqueror returning in Defeat - and for the Hereafter. The Second Play presenting Salvation of Kam is Shieldless - until Orestes is given a Shield by Elektra - declaring the reestablishment of the Pyre - and new Salvation of the Demi-god - while Athena's Gorgoneion Shield is seen in the Eumenides. 380 The Shield represents the Kretan Pyre of Destruction for Nirvana as expressed by Athena s Gorgon's Head and Devices on the Shields of the Aiskhylian Seven Against Thebes - as for Agamemnon presented with the Bath of Blood - the Resurrection then represented by a Second Symbol - original Symbol of Kretan Guard - the invention allowing establishment of the Principle of War - the Bronze Dagger - curved as a Flame as Kam of Dharam - as Fire given to the Circle of Nirvana - as a declaration of Salvation - and a Third Symbol represented the Divine Resurrection of Dharam - as Arth of Dharam - the Helmet - protecting the Head - combining Semitic Kam and Kretan Dharam - Symbol of Salvation of Arth - also Brazen - the Pyre transformed 390 and made Creative - as Glow of Salvation of the Akhaian Rite - thus a principal Symbol of the Kretan Guard - the Athenian Perikles with his Kretan Name regularly wore as his Caste-Symbol a Helmet (supposedly to hide his `sugar-loaf' head - but this also describes Homeric Captain of the Gate Thersites) - thus Helmet set with Dagger or Sword regularly declared the Rite of Salvation - Cretan High Akhaian Lord of Salvation as Ares of Dharam Idomeneus `Lord of Idaian Guards' - as Semitic Guard - with the Boar representing the Pyre - had a Helmet of Boar's Tusks as the Dagger (the Sikh regularly sets his Dagger on his Head) - the Three Kretan Symbols of Shield Dagger Helmet as Dharam Kam Arth. The Kretan Dagger - identified as the Crescent Moon of Dharam - made with Silver - 400 was taken over as the fundamental Symbol of Salvation - given with Initiation to Semitic Warriors of Kam - indeed remaining to this day as the great Symbol of the Arabs. The Akhaians developed the Symbol as the Sword of Pelops - Gold-Hilted for the High Ritual - as still declaring the High Principle of Peace - for the Warrior Creator of Dharam - associated with the White Horse - and developed as the Cavalry Sabre (Aga 1262) - thus is the Tenth Nanak - the Guru Gobindsingh - Founder of the Khalsa of the Warrior Sikhs - indeed as Kalki - Tenth Avatar of Vishnu - regularly pictured riding a White Horse - wielding his Sword. The Aryans again took over the Symbol - however with their Principle of Kam - as 410 against the Curved Akhaian Sabre - the Straight Sword - as the Romans - and as in Mediaeval Europe. Thus as Aryan Demi-god Agamemnon enters carrying the Straight Sword - with the Three Symbols of Sword Fleece Apple - Dharam Kam Arth - declaring his Lordship over the Three great Cultures of Antiquity - Akhaian Aryan Titanic. With the Murder this Sword is Bent (Damage of the Sword - Aga 1529) - and this Bent Sword - as the Sickle-Sword of Perseus - is given (by Pylades) to Orestes for the Slaughter. Orestes as Warrior Child represents the Principle of War - and with his Resurrection and transformation into Dionysos for the Sacred Marriage - as Theseus and Ariadne - he expresses as Creator both War and Peace - thus the Sword - present for the Aryan Creator (as today for the English King) - is not used - as this would 420 violate his role as Creator of Peace. The Curving Sword is wielded by the Idol of Klytemnestra. The Chorus asks Can you See these (Eum 745) - a good question - She is Queen of Night - with covered eyes as Blind - She stands as Lady of Destiny - presiding over the Scales of the Equal Vote - the Sword of Salvation (Kh 34 - 647) uplifted ready to strike - presenting the ancient picture of Justice - as the First Principle of State - that must be established before the Creation can arise. However Eyes are declared - She the Kretan Queen is combined with Aryan Flame - for the new Pyre of Salvation set as the Eye of Justice - as identified with the new Goddess of Salvation Athena - the Chorus is declaring the establishment of the new Rite. 430 A fundamental error of the professors is translation of Dike as Justice - Justice is Moira `Lady of Destiny' as the Mother - as Themis and Klytemnestra in the Play - Demeter - Queen of Nirvana - deciding the Doom - the Burial Ritual of the People - setting the Way Down for Nirvana - Daughter Dike `Lady of the Way' - as Direction - as Lady of Wisdom Guiding to Nirvana (cf Aga 911) - now for Daktylic Salvation. With the Sword another Akhaian Symbol - declared with the Name Telamon - presented with the Sikhs today - was the Baldric - set round the Body as Guard of Creation - the individual Symbol of Salvation given with Initiation - with similar Symbols through the different castes - as Sling for Javelin or Quiver - becoming formalised 440 as a Sacred Thread of Peace worn round the Body - the Jalayu worn by higher castes of the Hindus - as a regular Bow-string for the Warriors of Kam - giving Greek Bia `Might of the Aryan Bow' - declaring the Semitic-Aryan Salvation of Kam - and made of ritual Kush grass for Brahmans - as of the equivalent Linen in Greece - the Linen Thread (Aga 121 - Kh 507) declaring the new Salvation of Peace of the Demi-god - a regular part of the Eleusinian Rite - the Daktylic Rite of Kam of Aryan Demi-god - set there with the ancient Symbols - bound round the Kretan Left Leg of Dharam and Nirvana - ancient origin of the English Order of the Garter - and Bowman's Right Arm of Kam and Salvation - the Akhaian equivalent is still seen today as the Sikh Kara - the Steel bracelet worn round the Right Wrist. 450 The Semitic Culture subordinating the Shield of the Pyre - as rejected for Nirvana of the Moon-God - later accepted the Brazen Dagger of War - representing the Kretan Rite of Dharam and Destruction - now made of Silver - as Daktylic Dharam of a new Salvation of Kam of the Semitic Red Guard - now established for a Creative role - giving chase for recovery of Stolen Wealth and for Loot. Kam of Salvation was now represented by the ancient Hunting Weapon - the Spear - for throwing - action at a at a distance as the Rite of Kam - at fleeing thieves - as Kam of the new Rite - Arth being the Semitic Creator of Peace - the difference beteeen the two Guards - the Shield-bearing Sword-armed Blue Kretan Guard as Dharam stood hard to ward of 460 Attack - while the Semitic Red Guard - the original Giants `Lords of Victory' (Skt Jayanta - a regular indian Name) - as over Death for Salvation - with the Javelin - gave chase to recover Loot - forming with the Creator of Peace a Triad - Dharam Kam Arth - above them was the Bowman-Creator - as Absalom and Apollo - and Artemis - declaring the feminine Principle of Peace - her Arrows `Gentle' for Peace - and as transformed for the Daktylic Rite. The Akhaians then took over as Warrior-guard - heavily armoured - and with Shield Sword Spear and Helmet - the Akhaian Symbol - as also representing Peace with the White Dolphin Shoulder-blade of Akhaian Creator Pelops - as thus of War and Peace - 470 the Akhaian Ritual Metal Elektrum as Gold of War mixed with some Silver of Peace - the Spear - the long heavy hand-held Akhaian Lance of Defence - had a Bronze point shaped like a Bay-leaf - combining War and Peace - Dharam Kam as Akhaian Arth - as presented in Peace as the long Torch - Wood of Peace - Fire of War - so prominent in Greek ritual - seen as the Spear of Kaineus `Lord of the Spear (Biblical Cain) - as Akhaian Guard beside Abel as Creator) - and giving the Spartan Name `Lord of the Spear' - a Spear-tattoo as Ritual Caste-mark - the Brazen Dagger of the Kretans set as Akhaian Destructive Dharam (of Arth). The true Symbol of Kam - as representing Salvation of Kam - was the Javelin held by Warriors of Kam - thus Little Ajax as Aryan was Ritually the best Javelin-thrower 480 in Greece - and as Kam Two Javelins were regularly carried by Aryans as Romans and by Jason (Pind P iv 79) - as with Bow as Dharam represented also with the Arrow - Eros an Aryan God - so also ritually Two Arrows were carried by William Tell (the first to test the target). The distinction between the Two Spears arises from the different Warrior Rituals - the Guards as Dharam were prepared for hand-to-hand combat - Weapon held Firm in the Hand - while Semitic raiders - intent on getting home with the Loot - preferred action at a distance - with the Missile as Kam. The Akhaians of the Bull of Defence thus took over the role of the Semitic Red guard - crossing the River-Moat to give chase and recover the Loot as now Lions of Attack as Kam - the Akhaians thus combining Dharam and Kam for Arth - as Arth of Dharam - 490 as their ritual role - the Akhaian Goddess of Salvation was Athena `Daktylic Lady of Warrior-Flame'- set with the Shield of Dharam and Helmet of Arth - and against the Sword of Destruction wielding the Spear of Salvation as Kam - thus Pelopids - as original Akhaians of Salvation were Buried as in Shaft-graves `B' at Mycenae - with only the Sword as Dharam of Salvation - as giving Destruction for Nirvana - Salvation being with the Spear of Athena. The Aryans as Kam retained the Spear - with Ares - as representing the Triple Principle - wielding for the first time - as in Shaft-graves `A' - both the Sword and Spear - the new Aryan Spear formed as a development as Arth - combining Spears of Dharam and Kam - as still held in the Hand for Defence - and also as a longer heavier Javelin - giving power to the throw 500 as shattering the Shield - and raised to the High Ritual as the High Aryan Spear of of Arth - the Ash-Spear of Priam - Aryan Demi-god of the Heraklean Titanic Rite - embodiment of the Aryan combined High Principle of War and Peace - while Akhaians developed the Spear of Kam of Athena - now set in the High Kretan Ritual of War - as the Spear of Arth of Peleus - as Kretan Demi-god of the High Principle of War and Peace - as given by the Akhaianized Semitic Guard Kheiron - then developed as the Spear of Arth of Akhilles - Akhaian Divine Child of the Akhaian High Principle of War - establishing a new Akhaian Salvation of Arth of Peace - the highest ever established for the People - but it was too high and did not survive - the Rite of the Titanic Divine Child Herakles still surviving as Christianity. 510 The Classicists and archaeologists argue about the structure of Demeter's Temple at Eleusis (and the Megaron at Mycenae) - but a picture exists. One of the rivals of Assyria was Ararto (Urartu) - a State to the North of uncertain extent round Van - but no doubt including Ararat. As the Name it expressed Aryan Culture. About eighth century BC the Assyrian king marshalled all his resources - made a vast expedition North - invaded the country - sacked the capital - returning home laden with Loot - commemorating his achievement with wall-paintings in his Temple - and in the ruins of Nineveh we see a picture of the Arartian Temple. Set as on a Peak with massive windowless walls - like a fortress - the Temple was at once a Cave - and there from 520 the centre of the Roof - where the Christians put their Cross - emerges - soaring to the sky like a Tongue of Flame - the High Aryan Spear. This Temple expresses - as at Eleusis - the Religion of the Aryan Demi-god - and clearly representing the Temple of Demeter set on a Rising Spur - rather than the open-air Temple of Ares - transformed for the Demi-god - as on the Peak at Yazilikaya. The Arartian king - associating himself with his Horse - Akhaian Symbol of Divine Resurrection - died they say of a `broken heart'. The Megaron `Temple of the Vast' as the Vehicle of Salvation - with wall-paintings of the White Horse at Mycenae - primarily tended the Undying Fire - the Glow Symbolically representing the Heart (as regularly in the Oresteia - as also applied to the Aryan Glow) - remained burning through the 530 Nine Years of Peace of the Demi-god - and sacking the Temple - extinguishing the Glow - was Destruction of the Heart - and Death of the Demi-god. This Spear is the Aiskhylian High Glowing Spear (Prom Des 405) - baffling savants to the extent that this standard word for Spear is here translated `spirit'. This Spear was identified with the real Flame of the Fire on the Roof - itself identified with Athena's Flame Destroying Troy - as beginning of the High Ritual of Rleusis. The capital of Ararto is now lost - as no doubt by the Eastern shore of Van - where the Armenian Emperors were later buried - the Temple set Ritually as at Eleusis on a rising spur. In the Oresteia the High Aryan Spear plays a vital role - as has completely escaped 540 the professors. Agamemnon is Ritually Slaughtered with Strokes from Three Weapons - First the Titanic Double Axe to chop off the limbs (as for a tree) - then the Black Horn as at once a Flint Sickle - as the Semitic Last Crescent of Destruction - for a Castration - and Akhaian Sword at the Neck - the Two combined as a Double-edged Weapon - however Ritually Four Strokes (as for Dionysos in the Frogs) were required for Annihilation - the complete Destruction for Nirvana - what was the Fourth - why wasn't it given? These Three Strokes - all in Dharam - were set Creatively for the Risen God - as in turn Destruction of Arth Kam Dharam - the Fourth thus represented Arth - the Aryan Spear in the Heart - completing the Destruction for Nirvana - as beside the Creative Arrow of Kam of Eros setting Flame in the Heart. However there 550 was no Spear! The role of Kasandra has not been understood - her Mask ignored. She wears a Gold Spear-Mask as Athena - as ambiguously the Arrow-Mask as Artemis - as even the Torch-Mask for Hephaistos and the Titanic Culture - presenting all three Rituals at once - herself primarily the High Aryan Spear and Undying Flame - in her scene She Destroys herself and so the Spear - and Eternal Glow. Thus neither can Klytemnestra Annihilate Agamemnon - nor now Rise with Salvation of the Demi-god - and She must go back to the ancient Kretan Rite of the Sword without a Spear. Thus too the Heart remains - and so - as in the Myth of Zagreus - Agamemnon can now Rise again in Peace as the Sun-God Helios (Kh 986) - to play his role in the Rite of the Divine Child - thus too Theseus Peleus Jason Odysseus can return again after a Time 560 in Death - as also Aison the Father of Jason - and Laertes) - for a momentary role of Peace before their final Nirvana. Elektra - Pleiad and Okeanid - now as Kasandra in Death - also wears a Spear-Mask - as now White - her primary objective being restoration of her rightful role - with Life and Marriage - Success declaring restoration of the Spear - and Resurrection as Athena - now in a Bronze Spear-Mask- showing the Ritual identity of the Three - as in turn Aryan of the High Ritual as Dharam - Daktylic as Kam - Akhaian as Arth - for reestablishment of Salvation of the Demi-god. Elektra in Death cannot really be reestablished in the Creation - thus achieving her desires in the wrong order - as 570 first a grotesque Ritual Marriage - establishing Orestes as Lord of Destruction - and after the Slaughter Life - both as directed to the Precinct of Salvation - and Brazen Athena - identifying herself as Aisa `Queen of the Law of Bronze' - now in White as transformed for Peace - leading out the Eumenides - is correctly presented as Goddess of this new Precinct (as `Down' - Eum 929). The Flame-Mask - at once Spear and Arrow - worn by the Maiden - as primarily Kam - represented only the Resurrection - while the Symbol of Destruction for Nirvana - as Dharam - set with the Man - and with the Kretan Demi-god as beside the Spear of Athena - was the Sword - as of Thyestes and Peleus - while for Ares - as Aryan 580 Creator with the Kretan Demi-god - and for the Aryan Demi-god - as related directly to the Flame-Mask - the Bow - representing the Crescent Moon of Divine Resurrection of the Moon-God - as Sin - now declaring Nirvana for the Warrior Salvation of Kam - thus the famous Herakleitian Fragment `The Name is Life - the Work is Death'. Both Greek and Indian Myth speak of famous Bows - the Symbol of Salvation - as Apollo is regularly `Lord of the Silver Bow' as Bow of the Moon-God of Salvation - the Bow of Shiva giving Nirvana - and of Ram giving Salvation - the Brazen Arrows of Artemis - and Bow of Odysseus (associated with Apollo). The Odyssean Rite of the Axe-handles is clear - the Axes as in the Minoan Symbol represented the Kretan Rite of Peace - Blade of Destruction with Handle of Nirvana (the Chorus point Sword-Handles towards 590 Aigistos - as declaring his Nirvana) - for Daktylic Salvation - as represented by the Rings - Kam Arth Dharam shooting an Aryan Arrow through the Rings (Twelve as Aryan Kam) - set new Kam of Flame in Nirvana of Dharam - transforming for Arth of Salvation - declaring the new Aryanized Rite of Dharam - only he who could perform this Rite - could wield the new power and perform the High Ritual. This Bow was taken over by the Aryans as Priam - and set in the High Ritual as the Golden Bow of Apollo - still declaring the High Principle of Peace - and the change comes with the Aryan Demi-god - as explicitly in the Indian Myth - the Divine Child Ram asked - like the Suitors of Penelope - himself here as Suitor of Sita (Titanic 600 Daughter of Janak - with v-y alternation the W-anax of Greece) - to shoot the Bow - declaring himself fit to wield power as an Aryan King - scandalises the Brahmans by bending it till it breaks - equally Herakles outshoots the Bow of Apollo - as later given to Odysseus - both declaring advent of a higher power - the deeper Salvation of Peace of the Demi-god. The Brahmans have good reason to be scandalised - Ram is declaring the overthrow of Brahmanic power in the High Ritual - with establishment of the Aryan High Principle of War (though never fulfilled). The role of the Bow and Arrows of Herakles in the Trojan War can now be understood as representing the power - as Dharam Kam - of the Divine Child of Arth - as superior to that of the Bow and Spear of the High Aryan Sun-God and Aryan Demi-god Priam of Troy. Even the 610 Name Philoktetes `Lord of the Herd of Love' - representing the Divine Child in his Nirvana - is ritually correct - with Love in the Oresteia and no doubt in general - as the Love of God that gives Salvation - the Herd being as the Eumenides - thus he Rises again for his Rite. The Bow is presented with Agamemnon (as Ram is regularly pictured with his Bow) - thus completing her Ritual Destruction - and Kasandra can properly say `Let Suffice the Aryan Bow' (Aga 1314) - as declaring that Destroying herself as Spear-Arrow - she has yet preserved the Bow - it can only be Destroyed within its own Ritual - as Sufficient (as Bearing - Akhaianized Daktylic Rite) for the Resurrection of Peace of Agamemnon - the Bow is borne again by Orestes and his Companions in the Second Play - the Spear-Arrow is restored by Elektra - as thus in 620 the Third Play appearing as Athena - the Bow is again seen with Apollo - and with his Divestiture of Nirvana set on Dionysos-Orestes. Beside the Two Warrior Symbols of Akhaian Sword and Aryan Spear a Third Symbol - representing the Titanic Culture - was established for the People of Peace - found explicitly in a compound word describing Eleusis and translated by the savants as `mystic-receiving' (Ar Nu 303) - does this verbal form add to the understanding? - the second part has another meaning but the Lexicon avoids it - and the word means correctly `Of the Cross of the Mysteries' -relating it to Eleusis - as the derived Greek dokana (a plural form) used for the Double Cross of the Spartan Dioskouroi - 630 but because of the Christian Symbol Western professors have been wilfully blind. The Cross as a representation of the Tree - as `Gallows-tree' - was most ancient - going back in some form to the Neolithic Sun-God of Peace - the single Pole as the Maypole representing Dharam - Trees like Fig and Olive with Green and Blue Fruit - representing Semitic Dharam - both Sterile of Nirvana and Creative of Salvation - and fruitless evergreens as Pine and Cedar - the two aspects combined again in the Dark and Silver Aspen of Wisdom. The T-Cross - as the Staff of Hermes - and Trees associated with White and Yellow - as the Pear with White blossoms and Yellow fruit - represented Kam - the Pear-tree 640 being the special symbol of the Titanic Goddess of the Full Moon as Hera - dressed as a Christian Bride in Silver-White of Kam - also associated with the Red-Gold of the Apple of Arth - while the Three-branched Cross as of the Christians - and Trees associated with Red - as above all the Apple and Pomegranate - represented Arth - as primary Principle of the Tree - Tree and Three being related - the ancient Third Millennium BC Symbol having angled arms as a closer representation of a Tree - the `Tree' in Greek - and no doubt in all ancient Myth - should regularly be taken as a Cross - as the Gallows-tree - Hera associated with the Pear-tree presents a Cross of Pear-Wood. The Cross itself was the Titanic Symbol of Resurrection - Gold in the High Ritual - of Wood for the Creator - declaring the identity of Father and Son - 650 the Gods of Peace could not wear the Dagger of War - in the High Ritual - the Three Principles expressed in Unity - the Cross was the Symbol of Arth - the Heart - the Gold Cross of the High Ritual representing the true Heart of the Society - ritually on the Right side (where the Christ on the Cross was pierced) for the Resurrection. In the Ritual of Creation - with Principles differentiated - the Cross of Wood was set in the Left hand as Dharam of Arth - as a Staff-Sceptre of Peace - as presented with the Risen Christ - indeed all his Symbols declaring the Resurrection. From its form the Cross - at least in the Oresteia - is declared in Destruction as a Yoke - the Christ bearing the Cross in the Ritual of Golgotha is literally Yoked 660 (as Kh 676) - then from the Three-branched Wooden Titanic Cross of Peace - of Arth and Destruction for Death - a corresponding Four-branched Bronze Cross of War (as a Red Cross - as original of the modern Medal) was established as Symbol of Kretan Destruction for Nirvana - now also for Salvation - as Arth of the Anti-Creation - Four the Kretan Number - this Kretan Cross of (Arth of) Dharam was transformed by the Akhaians into the Eight-branched Swastika - Kretan Four of Defence doubled for Attack - Eight the Akhaian Number - representing the Akhaian Glow of Arth - Gold of the High Ritual as Symbol of Akhaian Salvation (Flame-coloured for the Creation - the Black Nazi version inauspiciously representing Nirvana without Salvation). The Akhaian Eight was divided giving Seven Years of the Sun-God of Peace - and Akhaian 670 Eighth Year of War. The Seven of Peace and Nirvana giving the Ritual of Scourging – Four of Kretans for Salvation of Dharam – Three for People of Nirvana. The Titanic Three-branched Cross - emphasizing the Princlple of Peace - was transformed for Salvation by the Kretan Demi-god - and made of Olive-wood wielded by Athena - and a Seven-branched Cross of Wood – as wielded by Apollo was Symbol of Semitic Salvation of the Aryan Demi-god – while the Moon-God presented the Nine years of Peace and Nirvana with the Menorah – the Nine-branched ritual candlestick. When Pelops and the Akhaians brought down Gold from the High Ritual - with the High Symbol of Gold Cross over the Heart - expressing the High Principle of Peace - and 680 rose as Warrior Creator - he represented the Principles of both War and Peace - as bearing the Sword - declaring the Pyre of Salvation - in the Left Hand of Victory - as thus not to be used - upholding the Principle of Peace - Golden Apple of Divine Golden Apple of Divine Resurrection of Dharam in the Right - still wearing over the Heart the ancient Titanic Symbol - now transformed as the Creative Bronze Cross of Divine Resurrection of Arth - representing the Precincts Kretan Daktyl Akhaian - as Dharam Kam Arth - the Gold Cross worn over the Heart by Athena as Goddess of Divine Resurrection - as their new Salvation of Arth. The Aryans - as now transformed and declaring Sun-Salvation - and living within the City of Peace - rejected the hard Warrior Culture of the Guards - and Bronze of the Anti-Creation - and representing 690 the High Principle of Peace took over Cross of Peace - of Gold in the High Ritual - and in the Creation as the Olive Cross - and now with the Saffron Aryan Flame - as represented by Wool as Kam - of Sheep as the Semitic people as Arth - established as the Cross Aflame of their Salvation of Kam - as beginning Oidipous Tyrannos - presented by the Elders - in this time of Death they ask for Salvation as new Life. The Demi-gods in turn - arising from that ancient Titanic Culture and setting War in the High Ritual - extended Salvation to the People of Peace - and beside Sword of the Guards and Aryan Spear - they presented the new Salvation with that ancient Symbol - the Fiery Titanic Cross - Dharam Kam Arth - and all three combined in the 700 establishment of the new Creator-Lord of Salvation - Dionysos - the Divine Child of Peace - as including and surpassing all previous Salvations in his new Rite - and representing the High Ritual - he now - for the first time in the Creation - set a Gold Cross over the Heart - as now seen also in Egypt as the Ankh (first appearing Late Bronze Age) - ritually identical to the Christian Cross - both worn over the Heart as Arth on Arth - as the `Staff of Life' - where Life is Life after Death - declaring Salvation of the Demi-god - the form of Ankh and Dokos shows that now the right-angled Cross is standard - and precisely because wearing the Cross Dionysos expressed the Principle of Peace - he is regularly presented as a Weakling. 710 The Cross was indeed one of the great Symbols of Eleusis - and plays a vast role in the Tragedy - with ambiguity between Bronze of the Creation - and Gold of the High Ritual - as worn above all by Klytemnestra-Demeter as the ancient Titanic Queen of Death and Resurrection (as the order - Aga 84)- also by Agamemnon as Aryan Demi-god and High Aryan Sun-God - by High Akhaian God Aigisthos - by Divine Child Orestes - Elektra as Daktylic Pleiad - Herald Pylades - wielded as Brazen Scourge (Kh 290) - finally in the Cave of Delphi Hermes holds the Gold Cross of Divine Resurrection - and after Brazen Athena sets the Golden Apple in the Right Hand declaring the Risen God Orestes-Dionysos - Hermes sets the Gold Cross in the Left Hand for the new Rite of Peace. The establishment of Dionysos is associated with Four Divine figures on 720 the Stage - as representing the different Cultures invested in him - all expressing the Daktylic Rite - Hermes as Titanic-Semitic Dharam - Athena Akhaian Kam - Golden Apollo of Aryan Arth - Klytemnestra wielding the Sword Kretan Salvation of Peace - following the Man-Woman Principle of the Play - Cultures of Kam correctly given the Symbol of Woman are here represented by Man - Cultures of Dharam correctly given the Symbol of Man represented by Woman - as emphasizing the new Salvation of Arth. Chapter 12 The Eleusinian Ritual The principal function of the Demi-god - to establish a new Ritual of Salvation for 730 the People - primarily involved transformation of Priestesses presiding over the Burial-Rituals of Peace. Ritually Death - as represented by widows - is presented in two ways today - in the West wearing Black - in India White. Black for Death and Nirvana of Kam - the Western form Semitic in origin - while White for Resurrection of Dharam was established by the Titanic and Neolithic Farming Cultures of Peace - associated with Earth-Burial - as originally for the Sun-Creator - and taken over for Salvation of Dharam of Peace of the Titanic People - for Warriors with the Rite of Cremation - as again giving Nirvana now for the Warrior Resurrection Of Dharam - the colour was Blue (as Smoke) as with the Guards - this is the Blue of the Indian Gods as regularly with Krishna - the People retaining the White of Peace - though 740 now given the Cremation of War. Thus there were two Queens of Death - one Dark for Semitic Peace and Nirvana as the Chorus - the other White for Titanuic Nirvana as the Queen of Earth Demeter - as the Pleiad Elektra in the Play. The Titanic Rituals of both Kretan Cremation and Earth-Burial of Peace were presided over by Demeter - the White Queen of Peace - but the Semitic Culture kept the Rituals apart - and a Semitic Flame-Ritual of Nirvana (without Cremation - the Body was given to the Dogs and Birds) was established under Artemis for the Fighters - while Earth-Burial was under the Dark Queen of Peace and Nirvana - and the Brazen Goddess of War Akhaian Athena acted for Warrior Salvation. Then when the Kretan Demi-god declared the new Salvation of Peace - the White Queen of Earth was transformed as representative and 750 Symbol of the new dispensation - with the Temple of the Demi-god named after Her as Demeter - this ritual transformation presented here with Klytemnestra playing the central role - at first as White or Silver - She alone appears in all three Plays - while Agamemnon - identified as Priam - both Aryan Demi-god - Akhaian and Aryan - as preceding the new Creation - combining all the Rites - Rises established in the Third Play as Risen Dionysos - as one of the fundamental themes of the Oresteia - a key to understanding the structure of the Trilogy. The Queen of Earth is an Old White Cow (as jumped over the Moon!) - representing Death - and to represent Salvation as Life again - she appears in the First Play 760 still White - but now as gleaming Silver - as Bride for a new Marriage (Aga 1179) - Wielding a Spear - as Titanic Silver of Peace and Nirvana transformed for War - and presenting the Light of Salvation - as Euphrone `Of Mind Aglow' (eg Aga 351) - Holy Night set in the High Ritual - as declared by the `Glow'. Two things are necessary for the transformation - that She identifies herself with the Principle of War - as Aryan Kam - and drinks the Blood of a Sheep given Ritual Slaughter - Semitic Rite. She does both - wielding the Sword for Semitic Slaughter of Agamemnon - wearing the Golden Fleece as Ritually a Sheep - as then drinking his Blood. As Risen from Death she is Ritually a God (masculine required) - and Second Play gives the Sacrament of her own Flesh and Blood to Elektra - as transformed Bay - and to the Chorus - old 770 Women of Peace - all ritually in Death (wearing Black - Kh 11) - for Resurrection - for the new Precinct and Salvation of Peace. There is the distinction - the Titanic White Queen is transformed through the Sheep and Semitic Rite - while as Justice wielding the Curving Kretan Sword - and the Semitic Dark Queen - as the Chorus - through the Cow-Bull and Kretan Rite - both thus combine - uniting the different Rites and so the castes in the one Salvation of the Demi-god. In the final Play - establishing the new Creation - all are presented in their proper roles - now Klytemnestra herself still in Red - the Old Cow of Nirvana transformed for the new Salvation of Peace - shown holding the Scales of Life and Death balanced Equally - declaring Salvation and the Risen God - as the Lady of Justice - the word - as in 780 its essential meaning - declares the Judges of the Dead - She is Blind - as relying not on Sight but on Insight - representing the Night of Nirvana - out of which will arise Creation ex nihilo - and presenting the Ritual of Salvation - while having supremacy she will only preside - the Eyes of Salvation are with Brazen Athena - as Goddess of the Law of Bronze - who will still perform the Ritual - while the Chorus in turn is established as the Eumenides. With the Queen of Earth as Mother there is also the Daughter - a younger Goddess as High Goddess of the new Salvation - while the Demi-god ruled for the Decade - this High Goddess - as a re-enactment of the Tenth-Year Rite - after Destruction of the 790 Aryan Creation - as completing the Annihilation - was Ritually Destroyed every year at the end of August - just before New Moon in Virgo (the Zodiac Symbol represents this Goddess) - ready for the New Year. This was the Rape of Persephone. The Rape has not been understood. In the Culture of Peace - with Creation Destroyed - there remains only the Father - and Goddess of Holy Wisdom - identified as the `Glow' - therefore for Annihilation He himself Destroys the Virgin Goddess his Daughter - as at once the `Glow' - with his own Destruction - this is regularly seen as a Rape. In practice the High Goddess was regularly represented by a young girl on the verge of puberty - Rape declaring her womanhood. In the annual cycle Persephone was Born in the High Titanic Ritual of Peace early December as Goddess of Kretan Salvation - 800 as Kore - then High Ritual of the Solstice - the High Titanic God - as associated with the Kretan Demi-god - was transformed into Sun-God of War - and still with the ancient Titanic Name Kronos - as then identified with an ancient pre-Indo-European Semitic Deity of Peace (of Bowmen) as Kronian Zeus - Olympian Zeus of the Classical Age. Thus Demi-god as Peleus or Kadmos was Man and Stranger - as Kronian Zeus High God and Father of Gods and Men - as High Titanic God Father specifically of Kore - herself transformed at the High Titanic Ritual of the Solstice to represent the new Salvation of Peace of the Kretan Demi-god. The professors are confused on the description of the Rape - the High Goddess cries 810 `Father' (Hom Hym Dem II 21) - the professors assume a cry to the Father for aid - they are mistaken - she was crying out the name of the criminal - as required by Attic law - the Father (ambiguously Kronos as Initiating Father - and Hades as his title in Ritual) was himself the Rapist - and in the process he Destroyed himself as Sun-God of War - so that Sun-God of Peace Helios could Arise - and he alone is the Witness - there is no-one else - and over the next three months the Poseidonian and Hadeian Ages could be established in turn. The three High Gods - Poseidon Hades Kronian Zeus - in turn Kretan Dharam - Aryan Kam - Titanic Arth - representing the three great Cultures of the Bronze Age. However there were only two Demi-gods - as arranged that the Warrior Child as Theseus Jason Peleus was Born - Initiated at a 820 Warrior High Ritual - and Reinitiated as Divine Child at a special High Ritual - as Kretan with the Equinox - and Aryan Tenth of October (Day of the Indian Ritual of Ram as Divine Child) - and while the Kretan Demi-god taking over the Titanic High Ritual of the Winter Solstice - after his Decade - was Destroyed with the summer Solstice - the Aryan Demi-god taking over Ritual of Laxmi Sixteenth of October - was in turn Destroyed Full Moon Leo. Both Demi-gods were given the Name Zeus (an ambiguity used regularly by Aiskhylos) - as explicitly presented and identified in the Maiden s Cry - Father is both Hypatos `the Lower One' as Hades - and Hypsistos `Most High' as the Olympian God. 830 The High Goddess - representing the High Principles of War and Peace - was Bride of the Demi-god - Destroyed at the end of August and reestablished with the Demi-god as Zeus - the Lower Zeus - with the Aryan Ritual - as presented with the entry of Hades Persephone as Agamemnon Kasandra into the Temple at Eleusis. The Ritual has not been understood. When the God Rises He is Alone - yet there is Another - Death. The Risen God is Father of the Goddess of Holy Wisdom - then who is the Mother? - There is no-one else - it is the Queen of Death - and Resurrection - the original Titanic role of Demeter. She is also with her Name the Queen of Earth - associated with Corn and the Fruits of Earth as declaring that - as the Chorus Third Play in Delphi - she is Goddess in Destruction of an ancient Farming Culture - now a caste 840 of the Titanic Trading Culture of Peace - then with the Symbol transformed into the Queen of Death and Resurrection - a dual role - so her reign in the Temple brings pestilence - the land is barren. The professors have been blind concerning the Temple of Demeter - as she reigns as Queen of Death - so the Temple - as the abode of Hades - is the Temple of Death - Hades itself. One of the curiosities of the Temple - noted by the archaeologists - is that the supporters by the door are inside - this has been treated as just an architectural variation - as in fact necessary and deliberate. Supporters outside the door are as Guards - declaring that inside is the Created World of God - and 850 setting the supporters inside presents an inversion - Outside is Inside - Inside is Outside - that the Temple is outside the Creation of God - as the world of Darkness and Death - as Hades - thus the Doors - as a powerful Symbol of Greek literature - are the Gates of Salvation (as Lord of Salvation Krishna is Lord of Dwarka `City of the Door'). In the Frogs Dionysos going to Hades is going to the Temple of Demeter at Eleusis - giving quite properly the Eleusinian hymns in the middle of the Play. With the Return of the Demi-god the Queen of Death must leave the Mother is not required - thus also Eris is not invited to the Marriage of Peleus - both showing the Union of Cultures - Aryan Demi-god beside Titanic Demeter - Semitic Eris beside 860 Akhaian Guard - now with Titanic Persephone as High Goddess of the new Daktylized Salvation and Aryan High God Hades as Lord of Gold - Creation can be reestablished. However in the Tragedy the Mother Klytemnestra refuses to leave - having been the Bride once - she insists on being the Bride again - thus in every Play we see the Two Brides - both Destructive (Aga 1319) - the Mother as Earth-Demeter - regularly Klytemnestra - Destroying for Nirvana - and Daughter as Lady of Salvation - giving Life as Initiation of Arth for the Creation - however directed to Destruction for Salvation (as Kh 127-8) - the different Goddesses presented through the Plays - Kasandra as High Goddess appearing as Pyre-Queen for Death - White Pleiad Elektra transformed into Flaming Erinys for Life - Athena declaring Equality and Peace - 870 and regularly the union of Rituals is presented - the Queen of Death and Nirvana transformed with Destruction as Justice acting for Salvation - the Goddess of Salvation giving Life presented acting for Nirvana. The structure of the First Play can now be understood - very simply it reveals the greatest secret of the Classical Age - the High Ritual of Eleusis - also the Lesser Ritual as presented in the other Two Plays. Aiskhylos himself came from one of the two hierophantic (`papal') families of Eleusis - the Rituals as an integral part of his life - and when he produced his greatest Trilogy - as the climax of his Life - the summing-up and declaration of the vast Culture he represented - as against the 880 insidious propaganda and false ideas of so-called liberal democracy - he turned to the highest element of his experience - the Rituals of Eleusis - and it is indeed Ritual that gives the vast Harmony of the Play. Very little is known of the High Ritual - the Secret of Secrets - the Mystery of Mysteries - but the little known is here - Iphigeneia giving the cry of Father (Aga 227) before Destruction - Agamemnon and Kasandra Returning as Hades Persephone - Klytemnestra awaits them as Demeter - the role of Peace of Agamemnon declared with his descriptionas Atreid (eg Aga 784) - where Atreus is High Aryan Sun-God of Kam - the role of Klytemnestra as Queen of Death declared with her description as Creator 890 from Leda-Themis (Aga 914) the Queen of Night. The Myth has Hermes bringing them back - in the Eleusinian Ritual the Daidoukhos enters first - in the Play it is the Herald - the three are the same. Then Aigisthos appears Bowed - as Atlas Upholding the Sky - both as Akhaian Guard - with long White Beard - beside his newly-wedded Bride - wrapped in Bands - as at once Old - as a Bridegroom newly Initiated into Manhood - as a Babe - thus presented as Lord of the Age (of the Creation) - and as ambiguously Lord of Time (of the High Ritual) - the Swaddling Bands ambiguous - as presenting a Babe - as again a Mummy (as Lazarus - taking the role of Lord of the Age - Daktylic Dharam of Salvation in the Christian Myth) - declaring Resurrection as the Risen God - as himself the Hierophant - the embodiment of the High Lord of 900 of Salvation - thus before him the Chorus are all in the Kowtow. The beginning of the Play has not been understood - the Guard on the Roof sees the Fire - as on Mount Arakhnaion - and follows suit - lighting a Fire on the Roof (as Aga 310f) - precisely as in the Eleusinian Ritual (as presented in Herodotos by the former King of Sparta during the invasion of Xerxes). This Fire - as beginning the High Ritual of Eleusis was evidently lit on the same basis - on seeing the Fire on the Mountain-top - as bringing the Fire from Tempe - and combined with Fire from Delos Crete and other centres for the High Ritual - the Eleusinian Fire - as the Fire of Cosmic Destruction - identified with Burning Troy - was at once of Cosmic 910 Creation - the Blaze set on the Roof - at Eleusis on the Anaktoron (as Kh 357) - as this was the Underworld - as `Hypo-' and phrases like `under Troy' (Aga 1457). Now look at the Chain of Mountains - and ask again - why an epithet for this one Mountain only - why this Name Aigiplanktos `of Wandering Goatskins'? - The answer is now clear - the Name is deliberately vague - that the peasants - Uninitiated - will see it as the Stage - and assume it is Aigialeus - but to the Initiated (as Aga 38f) it is Eleusis itself - the line from Kithairon to Aigialeus passes in fact directly over Eleusis - the Initiates entered wearing White Goatskins. So also here in the Play the Chorus - as of old men Roaming around the Orchestra (Aga 82) - wear 920 White Goatskins - giving the references in the Play to Herds and Sheep (including Goats) - thus when Klytemnestra declares `Stand now already the Sheep towards the Throat-cutting Sacrifice' (Aga 1057) - she is in fact referring to the Chorus. Tragedy regularly ends with the Chorus going out singing - and the savants wonder why here there is no concluding Choric song - simply the Chorus - like Agamemnon - go as in Silence (as Aga 1344) to their Slaughter (as Aga 1298) - `Lead the Way O King' (Aga 782) is not just a greeting but intended literally - as the King Leads so the people follow - and here too the Chorus like Agamemnon crawl out as Dogs (Yelpings Aga 1672) - as Dharam beside Semitic Guard in Goatskins of Kam - going to their Nirvana without Salvation - the word is not found in the Second Play - where 930 Orestes goes to his Nirvana - while the Chorus on the Peak give a Bakkhic Dance of Flame - while in the Third Play (Eum 307) - in their Scarlet Dresses of Arth - they follow Golden Orestes-Dionysos - Roaming representing the Semitic Nirvana of Kam - as the `Wandering Jew' - thus with the Name the Poet declares that this Palace - presented as Temple of Salvation at Eleusis - is in truth a Temple of Destruction and Death - the Chorus are come as for the regular Creative High Ritual at the end of the Tenth Year establishing the new Time - as however Corrupted into the Ritual of Destruction at the beginning of the Tenth Year - declaring War and Destruction and Barbarism. 940 The Rituals of the Demi-god included the Ritual Initiation of the new crop of Youth into Manhood - and the Old Men have come as Youth for Initiation in this Eleusinian High Ritual (Aga 584) - and the Corruption is seen at the end of the Play with the Rite of Initiation - as parallel to the correct Rite in the Eumenides - there with the Warrior Rite Athena - wielding her long Torch-Spear - gives Flame - as received by the Initiates with their Torch-Spears in turn - here for this Kretan Rite there are no Spears - and Aigisthos wields his Cross as a Sword - the Chorus responding with their Swords - but instead of the Blade they point the Handle towards him (Aga 1651-2) - as the Weapon held back ready to strike - presenting at once the Base of Dharam and Nirvana appropriate for Aigisthos - in the parallel scene at the end of 950 the Second Play of Perversion - when Elektra offers the `Golden Apple' - the Head of Aigisthos - Orestes runs away - showing again the basis of the construction of the Trilogy - Names are general - so the Three Plays presented different forms of same ritual theme in parallel - giving the deep symmetry of the Poetic Scheme. As Vehicles of Initiation the High Rituals of the Demi-god were reenacted annually - the same individuals in both roles - in each Time one being dominant - the other subordinate - however at the end of the Ninth year of the Decade the Rituals were Destroyed - and with the Tenth Year of War and Destruction - the Demi-god went to his Nirvana - while the Divine Child performed his Rite of Succession - to Rise as alternate Demi-god for the next Decade - so they took it turn and turn - no doubt 960 with minor differences in the Ritual between its dominant and subordinate roles. The Chorus indeed declares this the Tenth year (Aga 40) of War - the Aryan Ritual represented by Priam Destroyed - the World as Troy in Degradation and Barbarism - the Aryan Demi-god Returning for Death and Nirvana - as the Kretan Divine Child performs his Ritual of Succession - Slaying the Pair - Rising as Kretan Demi-god. However a deliberate ambiguity is played upon by Aiskhylos - does this end the Nine years of Peace when the Ritual is Destroyed - the Demi-god going out for his Ritual of Conquest in the Tenth year of War - or end of the Tenth year - with the Demi-god Returning for Death and Nirvana - and the Divine Child establishes himself as the 970 new Demi-god? The Poet identifies the Kretan Decade as the Year of Degradation - Aigisthos is come as Kretan Child - and at once for the Year-long reign of the Lord of Misrule - both shown with Ritual correctness - a Warrior assuming the Principle of Peace and Rising as Creator - without Initiation and Ritual of Succession - as Christ or Midas pretending to be Dionysos - and this Corruption is seen also with Klytemnestra - as Demeter the ancient Queen of Death Risen like Antigone as Titanic Bride - as Hera the Silver Goddess of the Full Moon - ready for transformation into the High Goddess of War and Peace or as Bride of Dionysos - as Goddess of the new Salvation - as Athena in the Third Play - and indeed succeeding - as some grotesque Goddess - Corrupted into the Pyre-Queen - offering some debased Rite of Salvation - 980 drips with Blood as Golden - become Bronze - wielding the Weapon - only a Sword - no Spear - no Warrior Flame - no Woman following Man - the Poet shows Man following Woman - as against the Glow of the new Salvation he presents Smoke of Kretan Pyre - as the Fireless Titanic Culture of Peace Corrupted - transformed for the Principle of War - instead of Harmony and Light there is Darkness and Discord - as Creation identified with Anti-Creation of the Pyre - as `Sheep in Wolf's Clothing' - the World turned Inside Out - and pretending to be the High Culture of the Demi-god. As in turn Orestes - in the Tenth Year of Degradation - performs ambiguously the Rite of Succession - Destroying the Lords of Misrule - as at once Kretan Divine Child at the end of Aryan Time - and Aryan Divine Child at the end of Kretan Time - uniting 990 and identifying the two Rituals - to Rise as the new Dionysos. Chapter 13 The Septerion The savants have not noticed the relevance of an obscure Ritual - the Septerion - the Lesser Ritual of Delphi. I recall writing down the Name - and decided I should put down the meaning. After considering it for a few seconds I wrote Purification. After I finished I decided to see if any more information was available and found a small monograph in the library. It added nothing but ended with a discussion of the Name. Clearly the savants were baffled - wild suggestions made including the idea - 1000 which prevailed for decades - that the name was wrong and should be Stepterion! - but it concluded by noting the meaning given anciently - Purification! - this had just been rejected by the savants - clearly they knew better! - the savants do not understand Language - here the Ritual set the meaning - the Name derived from Greek `sapha' - wrongly translated as `true' - the word in fact still standard in India - and no doubt the Middle East - means `clean' or `pure'. Again it is called the Ninth-Year Ritual. The savants - again following the Greek inclusive counting - which causes difficulties when applied to the national Games - declare it took place every Eight years. The year number should be taken within the 1010 the Ritual - not from outside. Eight was indeed the ritual Number of Dharam of War of the original Akhaians of Dharam - as Pelopid Time - for Aryans it was Fourteen - period of Exile of Ram - and Number of the Athenian tribute to Minos - Twelve as Aryan Kam (Number of Suitors slain by Oinomaos) - and from the Titanic and Jewish Cosmic Numbers - Ten the Number of the Sun-God-Creator of Peace - also of the Aryan Creator - of Demi-gods of Arth - and of Dionysos and Herakles - both representing the Akhaianized Rite. Apollo was Akhaian of Kam - the Name having the same root as Akhaian of Dharam Pelops (Pel- with Semitic prefix) - as Aryanized - accepting the authority of the Aryan King - Time then altered to conform to the Aryan Number - as again of the Demi-god. The association with Nine is clear from his Birth after Nine 1020 Days of Labour - conforming precisely to the Ritual of Ram - Destroying Ravan with the Setting Sun Ninth October - the Tenth as Day of Ram - also of the High Ritual establishing Apollo (as a Seven-month Child - April as first month giving October). This Ninth-Year giving the year of the Decade - the Demi-god Destroying the Rituals at the end of the Ninth year for Tenth year of War - Destroyed the entire Creation of the Demi-god - and so also the Ritual of Delphi - with the Septerion Apollo left the Temple - and as now in Desolation for the Tenth Year the Oracle was Silent - as Plutarch - in the work a Spartan (as Akhaian of Dharam) confidently gives his views as if he had good knowledge - his listener turning to a third comments `Philip (as Akhaian of Kam) whereof we have knowledge thereof we should speak' - savants take 1030 this as commendation of the Spartan's views - in fact he is politely saying the Spartan is talking rubbish - the Spartan of course understands and thereafter keeps quiet and listens. A Child - identified as Apollo - comes as Lord of Destruction - Slays the Guarding Serpent - sets Fire to the Barn-Palace of the Queen of Earth - and runs away. He remains Exile for a year - then performing a ritual in Tempe - returns Charioted - with a guard - given Divine honours the whole way - as precisely describing Orestes in the Trilogy. The Second Play begins with a Coronation - the Creative Ritual of Peace perverted for War - preceding instead of following a Victory in Battle - 1040 presenting Orestes as Warrior-Lord of Destruction - as King of `as much Land as a Dead man needs' (Aga Sept 731-2) - the Precinct as Anti-Creation. The First Play corrupts Creation into Anti-Creation - now the Precinct of Nirvana is perverted into the Precinct of Salvation - as basis of testablishment of a new Salvation of Peace. Orestes enters as Aigisthos before - Babe in White Linen Swaddling-bands - as now presenting the Risen Agamemnon - as Divine Child of the Demi-god as Golden Lion - the Lion's Cub (Aga 717) - Elektra as Kasandra in Death - yearning for the Divine Marriage - now establishing the Groom - sets the Rite on Orestes - against the Gold Serpent-Crown of Agamemnon - a Red Viper-Crown of Destruction (Kh 248f) - against the Golden Apple in the Right Hand - a Brazen Urn in the Left - against the 1050 Straight Sword - Gold-Hilted Silver-studded Iron Blade - erect in the Left - the same Sword - Red with Blood and Rust - Bent (`Damage of the Sword' - Aga 1529) - as the Sickle-Sword of Perseus - is now set by Pylades - as by Hermes for Perseus - erect in the Right - the Battle is still to be fought - the Three - Pylades Elektra Orestes - as Titanic Dharam - Daktylic Kam - Akhaian Arth - all in Warrior Dharam - combining Guards of thse Three Cultures. The Hand is ritually important - Sword in the Right - as Orestes ready for Battle - in the Left - as Agamemnon declaring the Victory - as after Battle moved - to use the Right for seizing Loot as Gold - as represented by the Golden Apple - Agamemnon 1060 and Orestes thus appear from opposite sides of the Stage (Aga 117) - Agamemnon from the Left as for Actors - Right for audience (as modern stage-directions) - Kasandra sits helpless on his Left - as Spear of Victory - Driving the Chariot of Salvation (Aga 1185) - the Aryan Chariot-Lord stood on the Right to keep his War Arm free - while Orestes enters the Palace on foot - the Chariot-Creation Destroyed - Elektra as Spear of Destruction and Nirvana on his Right - equally ready to give Battle - indeed the Spear is necessarily on the same side as the Sword - showing again the symmetry between the Plays. Orestes receives the Four Strokes of Scourging - Blood pours down like Rain - drenching his dress Red-Saffron (Aga 239) - appearing Golden as Agamemnon - as Jason performing his Ritual - declaring himself ready for Death 1070 (as famously the Rajput defenders of Chitor for the final battle - and even today the Sikhs). The final rite is Anointing (Kh 500-3) of Kam - not with Creative Sweet Oil but bitter Vinegar of Destruction of Peace (Aga 322) - brought as offering for the Dead (Kh 517) - the grotesque Ritual completed after the Battle - in a parody of the Ritual of the Resurrection of Arth - Elektra declaring Victory by presenting the `Golden Apple' - the Bloody Head of Aigisthos - thrown with obscene cries at retreating Orestes (Kh 1052) - as Eris casting the Golden Apple on the Ground. The Play is parallel to the Septerion - Orestes Slays first Aigisthos `Lord of the Goatskin' - the Goatskin Aigis being Shield of the Semitic Guard (cf Aga 1626) - 1080 however Aigisthos as Child of both Kretan Demi-god Thyestes and High Aryan Sun-God Atreus combined in himself the Rituals and Cultures as Kretan Child - thus with his Name emphasizing the Semitic Symbol as declaring the union of Rites - while wearing Kretan Bull-Horns and Serpent-Crown (cf Kh 1047) - as at once a Guarding Serpent - as the complete Guard ready for transformation as Dionysos. The Divine Child then performs the Slaughter of Klytemnestra as White Queen of Earth - and Burns down her Palace of Poverty (cf Aga 1574) - for the Queen of Earth this is Ritually a Barn as Storehouse of Grain - the Wealth of Peace of a Farming Culture - Poor indeed beside the vast Wealth of Warrior Gold of the Demi-god - as overwhelmed Midas - set by the Gate directly under the Captain himself - guarded by the Absolute power of Death - 1090 the basis of the Classical use of Temples as Treasuries - as explicitly at Delphi - and now the City here - as in the First Play Corrupted in principle into the Kretan Anti-Creation - is presented as such in reality with the Cremating Fire - the Pyre giving Fire-references of the ending - and ritually necessary for reestablishment of the Glow. `Ready for Death' is necessary - an ambiguity lies in the picture - who indeed wins the Battle - Klytemnestra or Orestes? - being chased by a fearsome apparition of a Woman - is she Elektra - or Klytemnestra? - it is a Bloody Orestes who runs away (eg Kh 1056) - thus does the Poet express a fundamental principle of War - true Battle is between Equals - both sides will Die - as Theban Eteokles and Polyneikes and other such Pairs. In Peace the Battle is with the Self and Prize of 1100 Victory Nirvana - in War Battle is with the Other - the Prize of Victory Death and the Risen God. Thus Orestes appears after the Battle as Dark and Bloody - indeed as as with the Stigmata - as having passed through the Fire of Cremation - and now in Death going to the Cave of Delphi - Lying as on the Tomb of Dionysos - ready for the Resurrection. The presentation of the Septerion - Second Play - simply declares the true Oresteian Rite - Agamemnon as Father presents the High Ritual of Eleusis - Orestes as Divine Child the Lesser Ritual (as Kh 707-8) - as Death and Resurrection of the Creator-Lord of Salvation Dionysos - as through the Lesser Ritual the Poet identifies Argos and Delphi. 1110 The savants have not grasped the significance of `Bromios holds the Dark Country' (Eum 24) - Apollo has left Delphi - the Country as in Desolation is now Dark - as presenting Nirvana - as before Salvation - and Dionysos in his Nirvana is Lord of the Land - thus Orestes in his Nirvana is now as in identification found on the `Tomb of Dionysos' set in the Cave of Delphi. Dionysos regularly ruled Delphi for three months of the year - coinciding with the Titanic-Semitic Creation of Peace - but ruling for the whole desolate year of the Septerion - in his Nirvana as Lord of Death (as an older God given his older Name). The relationship with the Septerion is completed as Orestes performs the Ritual of Tempe at Athens - Rising as a God - and mounting his Chariot - with a Guard - the Five Aryans of Salvation in Red - as 1120 voted for him - he exits Left as on his way to establish his new Creation. `Left' is deliberate - ritually Argos as Aryan and as Creation is on his Right - Orestes appearing to go to Argos is now presented as going to the Wall (cf Aga 1337) - as correct for a Guard as Apollo - as to reestablish the Anti-Creation - and again to `Lead the Way O King' (Aga 782 - cf Eum 307) - to Nirvana and Salvation. The Poetic Scheme is now clear - the Three Plays follow the annual cycle - as First the Autumn High Ritual of the Demi-god as in Corruption - Second the Fireless Winter Titanic Creation of Peace as in Perversion - Third the Dionysian Aryan Creation of Spring in Perfection - the Poet regularly uses the words First Second Third - as related to the Three Rituals. 1130