The Children of Agni

So now that we have an understanding of the symbolism between Indra and Vritra who are known as Garuda and the Naga, then we can see how Genesis 3:15 details the enmity between the two races. This verse is based on two groups of Angels one being the Suras and the other the Asuras. I have established the well-known connections of Agni who has different forms throughout Buddhism, Hinduism, Greco-Roman and Mesoamerican and Egyptian. But then out of all this we come back to Jacob's ladder and how he apparently saw God almighty above this ladder. It's obvious that this is the Freemasonic ladder revealing their understanding of this Angel, but also the very symbol that makes him well known, and that is the Shiva lingam. 

Now, I'm sure many people would know the story of Jacob in Genesis 28. I have already addressed this in "Shiva in the Bible" Chapter, as the apparent Pillar and the ritual done unto these leads back to the religion of Hinduism. If people don't know, Jordan Maxwell knew about this symbolism and why the three major religions as Christianity, Judaism and Islam are based on the "Mother" of all religions which is Hinduism.

First let's recap on Genesis 28:

"1And Isaac called Jacob, and blessed him, and charged him, and said unto him, Thou shalt not take a wife of the daughters of Canaan.

2Arise, go to Padanaram, to the house of Bethuel thy mother's father; and take thee a wife from thence of the daughters of Laban thy mother's brother.

3And God Almighty bless thee, and make thee fruitful, and multiply thee, that thou mayest be a multitude of people;

4And give thee the blessing of Abraham, to thee, and to thy seed with thee; that thou mayest inherit the land wherein thou art a stranger, which God gave unto Abraham."

5And Isaac sent away Jacob: and he went to Padanaram unto Laban, son of Bethuel the Syrian, the brother of Rebekah, Jacob's and Esau's mother.

6When Esau saw that Isaac had blessed Jacob, and sent him away to Padanaram, to take him a wife from thence; and that as he blessed him he gave him a charge, saying, Thou shalt not take a wife of the daughters of Canaan;

7And that Jacob obeyed his father and his mother, and was gone to Padanaram;

8And Esau seeing that the daughters of Canaan pleased not Isaac his father;

9Then went Esau unto Ishmael, and took unto the wives which he had Mahalath the daughter of Ishmael Abraham's son, the sister of Nebajoth, to be his wife."

10And Jacob went out from Beersheba, and went toward Haran.

11And he lighted upon a certain place, and tarried there all night, because the sun was set; and he took of the stones of that place, and put them for his pillows, and lay down in that place to sleep.

12And he dreamed, and behold a ladder set up on the earth, and the top of it reached to heaven: and behold the angels of God ascending and descending on it.

13And, behold, the LORD stood above it, and said, I am the LORD God of Abraham thy father, and the God of Isaac: the land whereon thou liest, to thee will I give it, and to thy seed;"

14And thy seed shall be as the dust of the earth, and thou shalt spread abroad to the west, and to the east, and to the north, and to the south: and in thee and in thy seed shall all the families of the earth be blessed.

15And, behold, I am with thee, and will keep thee in all places whither thou goest, and will bring thee again into this land; for I will not leave thee, until I have done that which I have spoken to thee of.

16And Jacob awaked out of his sleep, and he said, Surely the LORD is in this place; and I knew it not.

17And he was afraid, and said, How dreadful is this place! this is none other but the house of God, and this is the gate of heaven.

18And Jacob rose up early in the morning, and took the stone that he had put for his pillows, and set it up for a pillar, and poured oil upon the top of it.

19And he called the name of that place Bethel: but the name of that city was called Luz at the first.

20And Jacob vowed a vow, saying, If God will be with me, and will keep me in this way that I go, and will give me bread to eat, and raiment to put on,

21So that I come again to my father's house in peace; then shall the LORD be my God:

22And this stone, which I have set for a pillar, shall be God's house: and of all that thou shalt give me I will surely give the tenth unto thee."

Genesis 31:13:

¹⁰And it came to pass at the time that the cattle conceived, that I lifted up mine eyes, and saw in a dream, and, behold, the rams which leaped upon the cattle were ringstraked, speckled, and grisled.

¹¹And the angel of God spake unto me in a dream, saying, Jacob: And I said, HereamI.

¹²And he said, Lift up now thine eyes, and see, all the rams which leap upon the cattle are ringstraked, speckled, and grisled: for I have seen all that Laban doeth unto thee.

¹³I am the God of Bethel, where thou anointed the pillar, and where thou vowed a vow unto me: now arise, get thee out from this land, and return unto the land of thy kindred.

Genesis 35:14: 

¹¹And God said unto him, I am God Almighty: be fruitful and multiply; a nation and a company of nations shall be of thee, and kings shall come out of thy loins;

¹²And the land which I gave Abraham and Isaac, to thee I will give it, and to thy seed after thee will I give the land.

¹³And God went up from him in the place where he talked with him.

¹⁴And Jacob set up a pillar in the place where he talked with him, even a pillar of stone: and he poured a drink offering thereon, and he poured oil thereon.

¹⁵And Jacob called the name of the place where God spake with him, Bethel.

Thus, the "House of God" is the Lingam, which is the Phallus of the fertility God Shiva.

Based from the Wiki states this on the "Herm": "A herma (Ancient Greek: ἑρμῆς, pl. ἑρμαῖ hermai), commonly herm in English, is a sculpture with a head and perhaps a torso above a plain, usually squared lower section, on which male genitals may also be carved at the appropriate height. Hermae were so called either because the head of Hermes was most common or from their etymological connection with the Greek word ἕρματα (blocks of stone), which originally had no reference to Hermes at all. The form originated in ancient Greece, and was adopted by the Romans (called mercuriae), and revived at the Renaissance in the form of term figures and atlantes."

Origin: "In the earliest times Greek divinities were worshipped in the form of a heap of stones or a shapeless column of stone or wood. In many parts of Greece there were piles of stones by the sides of roads, especially at their crossings, and on the boundaries of lands. The religious respect paid to such heaps of stones, especially at the meeting of roads, is shown by the custom of each passer-by throwing a stone on to the heap or anointing it with oil. Later there was the addition of a head and phallus to the column, which became quadrangular (the number four was sacred to Hermes)."

Uses: "In ancient Greece the statues were thought to ward off harm or evil, an apotropaic function, and were placed at crossings, country borders and boundaries as protection, in front of temples, near to tombs, outside houses, in the gymnasia, palaestrae, libraries, porticoes, and public places, at the corners of streets, on high roads as sign-posts, with distances inscribed upon them."

"Before his role as protector of merchants and travelers, Hermes was a phallic god, associated with fertility, luck, roads and borders. His name perhaps comes from the word herma, referring to a square or rectangular pillar of stone, terracotta, or bronze; a bust of Hermes' head, usually with a beard,[5] sat on the top of the pillar, and male genitals adorned the base. The surmounting heads were not, however, confined to those of Hermes; those of other gods and heroes, and even of distinguished mortals, were of frequent occurrence."

"In this case a compound was formed: Hermathena (a herm of Athena), Hermares (of Ares), Hermherakles (of Herakles), Hermaphroditus (of Aphrodite—not to be confused with the son of Hermes and Aphrodite with the same name, Hermaphroditus, who had the genitals of both sexes), Hermanubis, Hermalcibiades, and so on. In Athens, where the hermai were most numerous and most venerated, they were placed outside houses as apotropes for good luck."

"They would be rubbed or anointed with olive oil and adorned with garlands or wreaths. This superstition persists, for example the Porcellino bronze boar of Florence (and numerous others like it around the world), where the nose is shiny from being continually touched for good luck or fertility."

"In Roman and Renaissance versions (termini), the body was often shown from the waist up. The form was also used for portrait busts of famous public figures, especially writers like Socrates and Plato. Sappho appears on Ancient Greek herms, and anonymous female figures were often used from the Renaissance on, when herms were often attached to walls as decoration."

Pg18 of "The Anacalypsis" 7. "Of all the different attributes of the Creator, or faculties con- ferred by him on his creature, there is no one so striking or so interesting to a reflecting person as that of the generative power. This is the most incomprehensible and mysterious of the powers of nature. When all the adjuncts or accidents of every kind so interest- ing to the passions and feelings of man are considered, it is not wonderful that this subject should be found in some way or other to have a place among the first of the human superstition. Thus every- where we find it accompanying the triune God, called Trimurti or Trinity, just described, under the very significant form of the single obelisk or stone pillar, denominated the Lingham or Phallus,^ and the equally significant Yoni or Cteis, the female organ of generation ; sometimes single, often in conjunction. The origin of the worship of this object is discussed at large in my Celtic Druids^ and will be found in the index by reference to the words Phallus, Linga, Lithoi."

Pg 127-128 "....We have seen that of ipaXo9 meant a navel. It is the name given to Delphi : and Delphi, as Mr. Faber has observed, has the meaning of the female organ of generation, called in India Yoniy the Os Minxse. Jones says, OM^H Oracle, AEA^YS — Matrix, womb. In one of the plates in Moore's Hindoo Pantheon, Brahma is seen rising from the navel of Brahme-Maia with the umbilical cord uncut : this justifies the last rendering of Jones, Matrix, Closely allied to 0^1^17 seems to be the word ofi^aXi;, or o/A^aXo9. I find ^0X17 or foXos to mean Phallus or Linga, the membrum virile^ constantly used for the generative power. Then 0/190X17 will mean the generative power O/a, or the generative power of Om."

"I find the oracle or Divina vox at Delphi called Omphalos, and the word Delphi or AcX^vs means the female genera- tive power ; and in front of the temple at Delphi, in fact constituting a part of the religious edifice, was a large Phallus or Linga, anointed every day with oil This, all taken together, shews very dearly that Omphale means the oracle of the generative (androgynous) power of Om...."

So, they state that the Phallic stone would be "rubbed" with oil or other drink offerings for a sign of good luck and fertility. Then below is shown the Sivalingam amongst the Vatican's archive.

Based from "The Anacalypsis" by Godfrey Higgins pg 373 details this interesting excerpt on the "Phallus":

"...It is no small confirmation of the superior antiquity of Buddha, that over ail India, whether among Buddhas, Saivas, or Vaishnavahs, the day of Woden, or Wednesday, is called Budhvar.*

In Sanskrit it is Bou-ta vir, and in the Balic, Van Pout; in the northern nations Woden's day ; the latter having no B, write W (see Asiat. Res. vol I. pp. x6i, 162), where the reader may also find additional proofs that Mercury or Hermes, Sommonacodom and Buddha, are all the same — with Maia for their Mother. As I have formerly said, the fact of Buddha giving name to one of the days of the week, Wednesday, fixes him to the very earliest period of which we have any record or probable tradition. He is acknowledged to be the Sun or the Surya, with seven heads, of Siam and Japan and Ceylon ; and to be the son of Maia. Thoth and Teutates and Hermes are allowed to be identical, and Hermes is allowed to be Mercury ; and Mercury is the God to whom Wednesday is dedicated, and the mother of Mercury is Maia."

"Sir William Jones clearly proved that the first Buddha was Woden, Mercury, and Fo, and I think, however he may have alarmed himself and his prejudices when he came to see the consequences of his proofs, he never was able to overthrow them.* Mr. Faber says, " The Egyptian cosmogony, like the Phoenician, is professedly of the Buddhic school : for the fullest " account which we have of it is contained in a book ascribed to " Hermes or Thoth : but Hermes or Thoth is the same person as "Taut, who is said to have drawn up the Phoenician system ; and " Taut again is the same as the Oriental Tat or Buddha."

"The Tau, T, is the emblem of Mercury, of Hermes. It is the crux ansata, and the crux Hermis. It was the last letter of the ancient alphabets, the end or boundary, wlience it came to be used as a terminus to districts ; but the crux Tau was also the emblem of the generative power, of eternal transmigrating life, and thus was used in- discriminately with the Phallus. It was, in fact, the phallus."

"The Tau is the Thoth, the Teut, the Teutates of the Druids ;2 and Teu- tates was Mercury, in the Sanskrit called Cod or Somona-cod-om ; and in German God. In old German Mercury was called Got..."

VOLUME I - BOOK II - CHAPTER I Page 62 "The fact that Abraham worshipped several Gods, who were, in reality, the same as those of the Persians, namely, the creator, preserver, and the destroyer, has been long asserted, and the assertion has been very unpalatable both to the Jews and many Christians; and to obviate or disguise what they could not account for, they have had recourse, in numerous instances, to the mistranslation of the original, ..."

Based from "The Anacalypsis", by Sir Godfrey Higgins.

The fertility symbol is described as being "circumcised", and is poured with oil and other drink offerings as the Hindus practice is called "Abhishekam", or sometimes "rudrabhishekam".

But here let's look at the term "Rock and Roll" and see it's etymological connections to the Pillar. Rock: "stone, mass of mineral matter," c. 1300, from Old English rocc (as in stanrocc "stone rock or obelisk") and directly from Old North French roque, which is cognate with Medieval Latin rocca (8c.), from Vulgar Latin *rocca, of uncertain origin, according to Klein sometimes said to be from Celtic (compare Breton roch). So, this pertains to the "Obelisk" for the phallus in Old English. "to sway," late Old English roccian "move a child gently to and fro," related to Old Norse rykkja "to pull, tear, move," Swedish rycka "to pull, pluck,"

Middle Dutch rucken, Old High German rucchan, German rücken "to move jerkily." Meaning "cause to sway back and forth" is from late 13c. Intransitive sense from late 14c. For popular music senses, see rock (v.2). Related: Rocked; rocking."

"To rock the boat in the figurative sense "stir up trouble" is from 1914. Rock-a-bye first recorded 1805 in nursery rhyme. "action of rocking; a movement to and fro," 1823, from rock (v.1). As short for rock and roll, by 1957; but sense of "musical rhythm characterized by a strong beat" is from 1946, in blues slang. Rock star attested by 1966."

Then there is the term "Roll": roll (n.) early 13c., "rolled-up piece of parchment or paper" (especially one inscribed with an official record), from Old French rolle "document, parchment scroll, decree" (12c.), from Medieval Latin rotulus "a roll of paper" (source also of Spanish rollo, Italian rullo), from Latin rotula "small wheel," diminutive of rota "wheel" (see rotary)."

"Meaning "a register, list, catalogue" is from late 14c., common from c. 1800. Meaning "dough which is rolled before baking" is first recorded mid-15c. Sense of "act of rolling" is from 1743. Meaning "quantity of material rolled up" is from late 14c.; meaning "quantity of paper money" is from 1846; sense of "quantity of (rolled) film" is from 1890. Meaning "act of sexual intercourse" is attested from 1942 (compare roll in the hay), from roll (v.)."

"Dutch rol, German Rolle, Danish rulle, etc. are from French. Rock and roll (n.) also rock 'n' roll, 1954 in reference to a specific style of popular music, from rock (v.2) + roll (v.). The verbal phrase had been an African-American vernacular euphemism for "sexual intercourse," used in popular dance music lyrics and song titles at least since the 1930s. Then there is Bed-roll: (n.) "bedding rolled up in a bundle," 1905, from bed (n.) + roll (n.). There is a citation of an identical word from 1650s in the sense "a list of women for sleeping with."

So, even the word "roll" has a connotation to sex. Then maybe you can see why the music of "Rock and Roll" has a lot to do with this God, as he is the one known for the phallus symbol, and how it's basic "sex magic".

Then there is the Orisha called "Elegua". In the Wiki states this: "Elegua (Yoruba: Èṣù-Ẹlẹ́gbára, also spelled Eleggua; known as Eleguá in Latin America and Spanish-speaking Caribbean islands) is an Orisha, a deity of roads in the religions of Santeria (Santería), Umbanda, Quimbanda, Candomblé."

"He is syncretized with either Saint Michael, Saint Anthony of Padua, or the Holy Child of Atocha. Elegua is known as Èṣù-Ẹlẹ́gbára in the Yoruba religion and is closely associated with Eshu. Ẹlẹ́gbára means the "master of force" in the Yoruba language. Eleguá is known in Cuba and Puerto Rico as the orisha and "owner" of caminos, or roads and paths."

"All ceremonies and rituals in Santería must first have the approval of Eleguá before progressing. He is the messenger of Olofi. Within the "Regla de Ocha" [Cuba], he slightly differs from Echu, who in this case is seen as his brother, by having less dangerous and less aggressive characteristics. Eleguá moves silently; in contrast, Echu "breaks through". Manifestations of Eleguá includes Akefun, Aleshujade, Arabobo, Awanjonu, Lalafán, Obasín, Oparicocha, and Osokere."

"There is a patakí (story) in Santería in which Olodumare gives Eleguá the keys to the past, present, and future; for this reason, Eleguá is often depicted holding a set of keys. A figure of Eleguá may be placed in the house behind the entrance door."

Then when you go to the "Holy Infant of Atocha or Santo Niño de Atocha", it states this: "....is a Roman Catholic image of the Christ Child popular among the Hispanic cultures of Spain, Latin America and the southwestern United States. It is distinctly characterized by a basket he carries, along with a staff, drinking gourd, and a cape affixed to which is a scallop shell, symbol of a pilgrimage to Saint James." When you look up the Orisha "Elegua", he is shown carrying, and/or holding an "egg" shaped object (called "Elegua head") with two eyes and a mouth.

I find this to strangely connect to the "Behelit egg" in the show "Berserk", from which shows similar facial features. "Let him who has eyes to see let him see..." This egg has a considered connection to the "Phallic Black stone", that is worshiped in India towards Shiva, and states how he is associated with the "dog" symbolism. So, of course, "Elegua" connects to Osiris as he is "Dionysus", the God that died and was risen again in the same manner as Tammuz. Here he is represented with the pillar and the "Egg".

Now, the infamous Aleister Crowley had drew of what had contacted him, thus called "Lam". In the website "Boudillion.com/Lam" from Daniel V. Boudillion, does thorough research on the being called "Lam", in which Crowley had contacted. The Amalantrah Working: "In January through March of 1918 Crowley began a series of magickal workings called the Amalantrah Workings in furnished rooms in Central Park West, New York City. These were a performed via Sexual & Ceremonial Magick (his spelling) with the intent to invoke certain "intelligences" to physical manifestation."

"In actuality, the workings typically manifested as a series of visions and communications received through the mediumship of his partner, Roddie Minor. Be that as it may, at least one such "intelligence" was brought into physical manifestation via the Magickal Portal they created. (A portal in this context is a "magickally" created rent in the fabric of time and space.)"

"The entity that came through is the one pictured above left. Crowley maintained the picture is actually a portrait and drawn from real life. This entity either called itself "Lam," or was named "Lam" by Crowley. Either way, he considered it to be of interdimensional origin, which was the term then for extraterrestrial."

"In communications with Lam, the symbolism of the egg featured prominently."

"Aleister Crowley included the portrait of Lam in his Dead Souls exhibition held in Greenwich Village, New York, in 1919. In that same year it was published as a frontispiece labeled The Way to Crowley's commentary to Blavatsky's The Voice of the Silence. Beneath the picture was the following inscription:

"LAM is the Tibetan word for Way or Path, and LAMA is He who Goeth, the specific title of the Gods of Egypt, the Treader of the Path, in Buddhistic phraseology. Its numerical value is 71, the number of this book."

Here states that Aleister Crowley had used an egg to communicate with Lam. This is what the movie "Faust" from 1994, as Faust breaks the egg that was in the bread, and the devil appears to him. This is the "Shiva Lingam" is the pillar of Osiris as the "black orifice stone" and the "Omphalos stone".

This "egg" is shown in many Cultures, pop culture, movies, cartoons etc. 

Let's look up some excerpts based on the Phallus worship around the world. Here the Wiki states this:

Egypt: "The phallus played a role in the cult of Osiris in ancient Egyptian religion. When Osiris' body was cut in 14 pieces, Set scattered them all over Egypt and his wife Isis retrieved all of them except one, his penis, which was swallowed by a fish; Isis made him a wooden replacement. The phallus was a symbol of fertility, and the god Min was often depicted as ithyphallic, that is, with an erect penis."

Note: This is the story of Llao being cut up by Skell in the Klamath story.

"In traditional Greek mythology, Hermes, god of boundaries and exchange (popularly the messenger god) is considered to be a phallic deity by association with representations of him on herms (pillars) featuring a phallus. There is no scholarly consensus on this depiction and it would be speculation to consider Hermes a type of fertility god. Pan, son of Hermes, was often depicted as having an exaggerated erect phallus. Priapus is a Greek god of fertility whose symbol was an exaggerated phallus. The son of Aphrodite and Dionysus, according to Homer and most accounts, he is the protector of livestock, fruit plants, gardens, and male genitalia. His name is the origin of the medical term priapism. The city of Tyrnavos in Greece holds an annual Phallus festival, a traditional event celebrating the phallus on the first days of Lent. The phallus was ubiquitous in ancient Roman culture, particularly in the form of the fascinum, a phallic charm."

"The ruins of Pompeii produced bronze wind chimes (tintinnabula) that featured the phallus, often in multiples, to ward off the evil eye and other malevolent influences. Statues of Priapus similarly guarded gardens. Roman boys wore the bulla, an amulet that contained a phallic charm, until they formally came of age. According to Augustine of Hippo, the cult of Father Liber, who presided over the citizen's entry into political and sexual manhood, involved a phallus. The phallic deity Mutunus Tutunus promoted marital sex. A sacred phallus was among the objects considered vital to the security of the Roman state which were in the keeping of the Vestal Virgins. Sexuality in ancient Rome has sometimes been characterized as "phallocentric".

Another example is the "Maypole" festival, and how this connects to the "Wicker man". The Maypole festival is similar to the Indian "Kolattam Dance" for Rama which is interesting (though they would do this without a pole sometimes). They carry sticks similar to the British Morris Dance to which the title "Morris" has debatable connotations as black face and connection to Moors. I have reviewed videos based on the Morris Dance having a similar style to the Zaouli dance of Ivory Coast.

Now, based on the God of the Pillar, it's important to learn about the God called "Dionysus", because once you understand this deity then you will begin to understand the religions and their symbolism towards him. Here you can see the leopard skin because he is really the Hindu god Shiva. Among his many epithets, he is called this as the Wiki states:

"Aegobolus ("Goat-shooter"), Bassareus, a Thracian name for Dionysus, which derives from bassaris or "fox-skin", which item was worn by his cultists in their mysteries.

(Within the Pythagorean mathematic system details the alphabetical system and the numbers 1-9 to link towards each other. When connecting the word "FOX" actually details the number "666". So, like the channel news FOX is not a coincidence pertaining to Dionysus. It also shows that "666" also pertains to XXX, connecting to Pornography within the fertility and revelry rituals, and the movie triple X. Look up the news CNN and you will see the numbers "355", adding to the number "13" the number of the woman. ABC is 123 to "6", then NEWS is 5551 adding 16 which adds 1=6 to 7. 6=7 is "13". There is a movie called "Precint 13", and if you can see the symbolism on Ellen King's "Exs and Ohs", she sings the eXs as 6, the Ohs 3 times as "666"...)

Briseus ("he who prevails"), Bromios ("Roaring" as of the wind, primarily relating to the central death/resurrection element of the myth, but also the god's transformations into lion and bull, and the boisterousness of those who drink alcohol. Also cognate with the "roar of thunder", which refers to Dionysus' father Zeus, as the thunderer.

Choiropsalas ("pig-plucker": "pig," also used as a slang term for the female genitalia). A reference to Dionysus's role as a fertility deity.

Chthonios ("the subterranean") (This reveals him to be the "god of this World" as I will reveal in the "King of the World chapter")

Dendrites ("he of the trees"), as a fertility god Dithyrambos, used at his festivals, referring to his premature birth.

Eleutherios ("the liberator"), an epithet shared with Eros.

Endendros ("he in the tree").

Enorches ("with balls," with reference to his fertility, or "in the testicles" in reference to Zeus' sewing the baby Dionysus "into his thigh", understood to mean his testicles). used in Samos and Lesbos.

Eridromos ("good-running"), in Nonnus' Dionysiaca.

Liknites ("he of the winnowing fan"), as a fertility god connected with mystery religions. A winnowing fan was used to separate the chaff from the grain (a very interesting symbolism towards Jesus).

Lyaeus, or Lyaios (Λυαῖος, "deliverer", literally "loosener"), one who releases from care and anxiety.

Melanaigis ("of the black goatskin") at the Apaturia festival. (You should know the "black goat" reference as it pertains to the Wiccan and Satan symbolism).

Morychus (Μόρυχος, "smeared") in Sicily, because his icon was smeared with wine lees at the vintage. Oeneus, as god of the wine press. Omadios, Eusebius writes in Preparation for the Gospel that, Euelpis of Carystus states that, in Chios and Tenedos they did human sacrifice to Dionysus Omadios (this is a reference to the "green man" or specifically "The Wicker man", as they do human sacrifice towards this deity.

Pseudanor (literally "false man", referring to his feminine qualities), in Macedonia (He would be called "androgynous" due to his effeminate looks).

In the Greek pantheon, "Dionysus" (along with Zeus) absorbs the role of "Sabazios", a Thracian/Phrygian deity. In the Roman pantheon, Sabazius became an alternative name for Bacchus (This will be revealed on how the "hand of Sabazios" is among the Christians) He would be known as Osiris as he was cut up by the fire deity Set, and later becomes the god of the underworld. He is Zagreus (and sometimes Hades) as he is god of the underworld. He is Bacchus/Iacchus of the Romans, "Flufluns" of the Etruscans and even "Liber", in which we get "Liberty".

He is said to have the symbolism of Thyrsus (a weapon dripping with honey, ivy plants and a pine cone on top), grapevine, bull, panther, ivy, goat, masks, chalice (the holy Chalice that pertains to the drink of immortality, like the Amrit of the Devas and the Ambrosia of the Olympians) He is followed by his female worshipers called "Maenads", in whom are called "ravers".

Here in Wiki states this:

"Often the maenads were portrayed as inspired by Dionysus into a state of ecstatic frenzy through a combination of dancing and intoxication. During these rites, the maenads would dress in fawn skins and carry a thyrsus, a long stick wrapped in ivy or vine leaves and tipped with a pine cone. They would weave ivy-wreaths around their heads or wear a bull helmet in honor of their god, and often handle or wear snakes."

"These women were mythologized as the "mad women" who were nurses of Dionysus in Nysa. Lycurgus "chased the Nurses of the frenzied Dionysus through the holy hills of Nysa, and the sacred implements dropped to the ground from the hands of one and all, as the murderous Lycurgus struck them down with his ox-goad".

"They went into the mountains at night and practiced strange rites. According to Plutarch's Life of Alexander, maenads were called Mimallones and Klodones in Macedon, epithets derived from the feminine art of spinning wool. Nevertheless, these warlike parthenoi ("virgins") from the hills, associated with a Dionysios pseudanor "fake male Dionysus", routed an invading enemy. In southern Greece they were described as Bacchae, Bassarides, Thyiades, Potniades, better source needed and other epithets. The term maenad has come to be associated with a wide variety of women, supernatural, mythological, and historical, associated with the god Dionysus and his worship."

"Cultist rites associated with worship of the Greek god of wine, Dionysus (or Bacchus in Roman mythology), were allegedly characterized by maniacal dancing to the sound of loud music and crashing cymbals, in which the revelers, called Bacchantes, whirled, screamed, became drunk and incited one another to greater and greater ecstasy. The goal was to achieve a state of enthusiasm in which the celebrants’ souls were temporarily freed from their earthly bodies and were able to commune with Bacchus/Dionysus and gain a glimpse of and a preparation for what they would someday experience in eternity."

"The rite climaxed in a performance of frenzied feats of strength and madness, such as uprooting trees, tearing a bull (the symbol of Dionysus) apart with their bare hands, an act called sparagmos, and eating its flesh raw, an act called omophagia. This latter rite was a sacrament akin to communion in which the participants assumed the strength and character of the god by symbolically eating the raw flesh and drinking the blood of his symbolic incarnation. Having symbolically eaten his body and drunk his blood, the celebrants became possessed by Dionysus."

It's noted that there are 3 celestial bodies called Morning stars. One is Venus, Mercury and Sirius.

"Dionysus came to his birthplace, Thebes, where neither Pentheus, his cousin who was now king, nor Pentheus’ mother Agave, Dionysus’ aunt (Semele's sister) acknowledged his divinity. Dionysus punished Agave by driving her insane, and in that condition, she killed her son and tore him to pieces. From Thebes, Dionysus went to Argos where all the women except the daughters of King Proetus joined in his worship. Dionysus punished them by driving them mad, and they killed the infants who were nursing at their breasts. He did the same to the daughters of Minyas, King of Orchomenos in Boetia, and then turned them into bats. According to Opian, Dionysus delighted, as a child, in tearing kids into pieces and bringing them back to life again. He is characterized as "the raging one" and "the mad one" and the nature of the maenads, from which they get their name, is, therefore, his nature."

"The foundation myth is believed to have been reenacted every other year during the Agrionia. Here the women of Thebes were organized into three dance groups and rushed off to Mount Cithaeron with ritual cries of "to the mountain!" As "mad women," they pursued and killed, perhaps by dismemberment (sparagmos), the 'king', possibly represented by a goat. The maenads may have eaten the meat of the goat raw (omophagia) or sacrificed it to Dionysus. Eventually the women would be freed from the madness and return to Thebes and their usual lives, but for the time of the festival they would have had an intense ecstatic experience."

"The Agrionia was celebrated in several Greek cities, but especially in Boeotia. Each Boeotian city had its own distinct foundation myth for it, but the pattern was much the same: the arrival of Dionysus, resistance to him, flight of the women to a mountain, the killing of Dionysus’ persecutor, and eventual reconciliation with the god."

"German philologist Walter Friedrich Otto writes: The Bacchae of Euripides gives us the most vital picture of the wonderful circumstance in which, as Plato says in the Ion, the god-intoxicated celebrants draw milk and honey from the streams. They strike rocks with the thyrsus, and water gushes forth. They lower the thyrsus to the earth, and a spring of wine bubbles up. If they want milk, they scratch up the ground with their fingers and draw up the milky fluid. Honey trickles down from the thyrsus made of the wood of the ivy, they gird themselves with snakes and give suck to fawns and wolf cubs as if they were infants at the breast. Fire does not burn them. No weapon of iron can wound them, and the snakes harmlessly lick up the sweat from their heated cheeks. Fierce bulls fall to the ground, victims to numberless, tearing female hands, and sturdy trees are torn up by the roots with their combined efforts."

Now, as stated above, do you see the resemblance towards Moses "striking the rock" and out comes forth water? Then the term "milk and honey" comes into play in the same manner as God states "land of milk and honey". Here in Wiki states this: "The earliest cult images of Dionysus show a mature male, bearded and robed. He holds a fennel staff, tipped with a pine-cone and known as a thyrsus. Later images show him as a beardless, sensuous, naked or half-naked androgynous youth: the literature describes him as womanly or "man-womanish". He supposed to be androgynous.

"In its fully developed form, his central cult imagery shows his triumphant, disorderly arrival or return, as if from some place beyond the borders of the known and civilized. His procession (thiasus) is made up of wild female followers (maenads) and bearded satyrs with erect penises; some are armed with the thyrsus, some dance or play music. The god himself is drawn in a chariot, usually by exotic beasts such as lions or tigers, and is sometimes attended by a bearded, drunken Silenus".

"This procession is presumed to be the cult model for the followers of his Dionysian Mysteries. Dionysus is represented by city religions as the protector of those who do not belong to conventional society and he thus symbolizes the chaotic, dangerous and unexpected, everything which escapes human reason and which can only be attributed to the unforeseeable action of the gods. Dionysus was a god of resurrection and he was strongly linked to the bull."

"In a cult hymn from Olympia, at a festival for Hera, Dionysus is invited to come as a bull; "with bull-foot raging". Walter Burkert relates, "Quite frequently [Dionysus] is portrayed with bull horns, and in Kyzikos he has a tauromorphic image", and refers also to an archaic myth in which Dionysus is slaughtered as a bull calf and impiously eaten by the Titans."

"The snake and phallus were symbols of Dionysus in ancient Greece, and of Bacchus in Greece and Rome. He typically wears a panther or leopard skin and carries a Thyrsus – a long stick or wand topped with a pine cone. His iconography sometimes include maenads, who wear wreaths of ivy and serpents around their hair or neck. The cult of Dionysus was closely associated with trees, specifically the fig tree, and some of his bynames exhibit this, such as Endendros "he in the tree" or Dendritēs, "he of the tree". Peters suggests the original meaning as "he who runs among the trees", or that of a "runner in the woods" (Attributes towards Shiva as Cernunnos).

"Janda (2010) accepts the etymology but proposes the more cosmological interpretation of "he who impels the (world-)tree". This interpretation explains how Nysa could have been re-interpreted from a meaning of "tree" to the name of a mountain: the axis mundi of Indo-European mythology is represented both as a world-tree and as a world-mountain."

"Dionysus is also closely associated with the transition between summer and autumn. In the Mediterranean summer, marked by the rising of the dog star Sirius, the weather becomes extremely hot, but it is also a time when the promise of coming harvests grow. Late summer, when Orion is at the center of the sky, was the time of the grape harvest in ancient Greece. Plato describes the gifts of this season as the fruit that is harvested as well as Dionysian joy. Pindar describes the "pure light of high summer" as closely associated with Dionysus and possibly even an embodiment of the god himself. An image of Dionysus' birth from Zeus' thigh call him "the light of Zeus" (Dios-phos) and associate him with the light of Sirius."

In the Wiki about Sirius states this: "The proper name "Sirius" comes from the Latin Sīrius, from the Ancient Greek Σείριος (Seirios, "glowing" or "scorcher"). The Greek word itself may have been imported from elsewhere before the Archaic period, one authority suggesting a link with the Egyptian god Osiris."

He is also known as Liber. In the Wiki states this: In ancient Roman religion and mythology, Liber ("the free one"), also known as Liber Pater ("the free Father"), was a god of viticulture and wine, male fertility and freedom. He was a patron deity of Rome's plebeians and was part of their Aventine Triad. His festival of Liberalia (March 17) became associated with free speech and the rights attached to coming of age. His cult and functions were increasingly associated with Romanized forms of the Greek Dionysus/Bacchus, whose mythology he came to share.

Liber's associations with wine, inebriation, uninhibited freedom and the subversion of the powerful made him a close equivalent to the Greek god Dionysus, who was Romanised as Bacchus. In Graeco-Roman culture, Dionysus was euhemerised as a historical figure, a heroic saviour, world-traveller and founder of cities; and conqueror of India, whence he had returned in the first ever triumph, drawn in a golden chariot by tigers, accompanied by a retinue of drunken satyrs and maenads. In some cults, and probably in the popular imagination, Liber was gradually assimilated to Bacchus and came to share his Romanized "Dionysian" iconography and myths. Pliny calls him "the first to establish the practice of buying and selling; he also invented the diadem, the emblem of royalty, and the triumphal procession."^[11]Roman mosaics and sarcophagi attest to various representations of this exotic triumphal procession. In Roman and Greek literary sources from the late Republic and Imperial era, several notable triumphs feature similar, distinctively "Bacchic" processional elements, recalling the supposedly historic "Triumph of Liber".

Liber also personified male procreative power, which was ejaculated as the "soft seed" of human and animal semen. His temples held the image of a phallus; in Lavinium, this was the principal focus for his month-long festival, when according to St. Augustine, the "dishonourable member" was placed "on a little trolley" and taken in procession around the local crossroad shrines, then to the local forum for its crowning by an honourable matron. The rites ensured the growth of seeds and repelled any malicious enchantment (fascinatus) from fields.

Sirius plays an important part for this God, so it's good to know what the Sirius star symbology is based on Shiva, Osiris, Nergal as Agni the Fire God. Based on Bacchus symbolism of his body being torn apart is secretly based on the Eucharist, but that will be addressed later. There is reason why the 2024 opening Olympics details the Last supper scene as Bacchus in place of Jesus, and that is because of the Eucharist symbolism (Bread and wine as flesh and blood of Jesus). The person who plays Bacchus is painted blue, but they know that Bacchus is a "black" God with "red hair". Secretly the Hindu Gods that are shown in blue are black. This is very much shown with Shiva and Krishna. The Olympics is shown with hidden symbolism but people that don't know think they were mocking the last Supper which isn't true. Michael Angelo had set up the Last supper in the Astrological sense but that is also detailed in another chapter.

The Anacalypsis, pg44: Diodorus Siculus says, that it was the belief of the ancients that Osiris, Serapis, Dionysus, Pluto, Jupiter, and Pan, were all one. 3

Ausonius represents all the deities to be included under the term Dionusos.4

Sometimes Pan 5 was called the God of all, sometimes Jupiter.6

Nonnus also states, that all the different Gods, whatever might be their names, Hercules, Ammon, apollo, or Mithra, centred in the Sun.

Mr. Selden says, whether they be called Osiris, or Omphis, or Nilus, or Siris, or by any other name, they all centre in the Sun, the most ancient deity of the nations. 7

Basnage8 says, that Osiris, that famous God of the Egyptians, was the Sun, or rather the Sun was the emblem of the beneficent God Osiris.

Serapis was another name for the Sun. Remisius gives an inscription to Jupiter the Sun, the invincible Serapis.

Mithras was likewise the Sun, or rather was but a different name, which the Persians bestowed on the Egyptian Osiris.

Harpocrates also represented the Sun. It is true, he was also the God of Silence ; he put his finger upon his mouth, because the Sun was worshiped with a reverential silence, and thence came the Sige of the Basilidians, who had their origin from Egypt. 

By the Syrians the Sun and Heat were called norr hme, Chamha ; 2 and by the Persians Hama. 3 Thus the temple to which Alexander so madly marched in the desert, was called the temple of the Sun or of Ammon. Mr. Bryant shews that Ham was esteemed the Zeus of Greece, and the Jupiter of Latium.

pg46 from the Anacalypsis: Jupiter is the king, Jupiter himself is the original source of all things ; there is one power, one god, and one great ruler over all.1 But we have seen that Jupiter and all the other Gods were but names for the Sun ; therefore it follows that the Sun, either as emblem or as God himself, was the object of universal adoration.

The Heathens, even in the later days of their idolatry, were not so gross in their notions, but that they believed there was only one supreme God. They did, indeed, worship a multitude of deities, but they supposed all but one, to be subordinate deities. They always had a notion of one deity superior to all the powers of heaven, and all the other deities were conceived to have different offices or ministrations under him — being appointed to preside over elements, over cities, over countries, and to dispense victory to armies, health, life, and other blessings to their favourites, if permitted by the Supreme Power. Hesiod supposes one God to be the Father of the other deities j

— — &suv TJaryp ^Se kui Avtiouv'

and Homer, in many passages of the Iliad, represents one Supreme Deity as presiding over all the others ;2 and the most celebrated of their philosophers always endeavoured to assert this theology.3 5. Dr. Shuckford has shewn that the Egyptians originally worshiped the Supreme God, under the name of Cneph, affirming him to be without beginning or end. Philo Biblius says, that they represented him by the figure of a serpent with the head of a hawk, in the middle of a circle — certainly a very mythological emblem ; but then he represents them to have given to this Being all the attributes of the Supreme God the Creator, incorruptible and eternal. Porphyry calls him rou Av)[j.i8f>yov, the Maker or Creator of the universe.4 The opinion entertained by Porphyry may be judged of from the following extract : " We will sacrifice," says he, " but in a manner that is proper, bringing choice victims with the " choicest of our faculties ; burning and offering to God, who, as a wise man observed, is above " all — nothing sensual : for nothing is joined to matter, which is not impure ; and, therefore, " incongruous to a nature free from the contagion belonging to matter ; for which reason, neither " speech, which is produced by the voice, nor even internal or mental language, if it be infected " with any disorder of the mind, is proper to be offered to God ; but we worship God with an c< unspotted silence, and the most pure thoughts of his nature."5

Here we see that this Zeus is based on Pan who is Osiris, Bacchus going back to Shiva and Agni. However, it's noted that there are two beings referred to as Zeus and Thoth, as one who is based on Garuda who is Indra that defeated Vritra, and then the latter as the Devil as Bacchus. 

pg 106 from The Anacalypsis:

To destroy, according to the Vedantas of India and the Sufis of Persia, that is, the <ro(J>oi or wise men of Persia, is only to regenerate and reproduce in another form ; and in this doctrine they are supported by many philosophers of our European schools. We may safely affirm, that we have no experience of the actual destruction, — the annihilation of any substance whatever."

"On this account it is that Mahadeva of India, the destroyer, is always said to preside over generation, is represented riding upon a bull, the emblem of the sun, when the vernal equinox took place in that sign, and when he triumphed in his youthful strength over the powers of hell and darkness : and near him generally stands the gigantic Lingham or Phallus, the emblem of the creative power. From this Indian deity came, through the medium of Egypt and Persia, the Grecian mythos of Jupiter Genitor, with the Bull of Europa, and his extraordinary title of Lapis — a title probably given to him on account of the stone pillar with which his statue is mostly accompanied, and the object of which is generally rendered unquestionable by the peculiar form of its summit or upper part."

"In India and Europe this God is represented as holding his court on the top of lofty mountains. In India they are called mountains of the Moon or Chandrasichara ; in the Western countries Olympuses. He is called Trilochan and has three eyes. Pausanias tells us that Zeus was called Triophthalmos, and that, previous to the taking of Troy, he was represented with three eyes. As Mr. Forbes2 says, the identity of the two Gods falls little short of being demonstrated.

In the Museum of the Asiatic Society is an Indian painting of a Cristna seated on a lotus with three eyes — emblems of the Trinity. 

Here states that Krishna would have 3 eyes connecting to Erlang Shen, the 3 eyed Zeus to Shiva and Agni. 

Since I have deconstructed the Dragon God as having red hair and black skin to having three heads. I want address the African God called Densou or Adentohoe who is depicted as a water deity. "Densu, three headed god of the Densu river, often represented as red, and having a bad temper." So again, being red or black all over and having a temper is likened to the Satan of Asia who is Mahakala and Shiva. There is one image of densu stepping on the serpent similar to the form of Shiva Nataraja which shows Shiva stepping on the demon. Would the devil step on the serpent and yet be the devil based on the serpent symbolism? Basically, the God that is referred to the dog symbolism is based on Anubis/Osiris who is Bacchus, to which is the Lord of the Underworld. The Dragon is the dog based on the symbol of Sirius who is Hermanubis.

Here is not too much information on this deity, but based upon description details that this is the God Shiva with 3 heads, and since Densou is Shiva then they would connect to the Red Dragon and Satan in the Bible. He also has the Phrygian cap like Mithra, and Mithra would be Sun Wukong and Hermes. There are other deities with 3 heads such as Dattatreya, Triglov, Hermes, and even the 3 headed Jesus. Even the 3 headed Cerberus dog that stands by Hades side is symbolic to this deity, as this Densou is Ogun and Anubis as well.

Let's recap on what the Wiki states on this subject: "Erlang Shen (二郎神) or Erlang, also known as the Lord of Sichuan (川主), is a Chinese god with a third truth-seeing eye in the middle of his forehead. Erlang Shen may be a deified version of several semi-mythical folk heroes who helped regulate China's torrential floods dating variously from the Qin, Sui, and Jin dynasties."

"A later Buddhist source identifies him as the second son of the Northern Heavenly King Vaishravana. In the Ming semi-mythical novels Creation of the Gods and Journey to the West, Erlang Shen is the nephew of the Jade Emperor. In the former, he assists the Zhou army in defeating the Shang. In the latter, he is the second son of a mortal and the Jade Emperor's sister Yaoji. In the legend, he is known as the greatest warrior god of heaven."

Li Erlang: "Li Erlang was the second son of Li Bing from the Qin dynasty. According to the "Story about Li Bing and His Son in Harnessing the Rivers" in the Records of Guansian, Li Erlang assisted his father in the construction of the complex irrigation system that prevented the Min River from flooding and irrigated the Chengdu Plain. In thanks for the prosperity that this brought to them, the local people elevated the father and son to gods and dedicated the Two Kings Temple in their honor."

"Legend states that Governor Li Bing sent his son out to discover the source of the flooding. He spent a year exploring the county without success. One day whilst sheltering in a cave, he encountered a tiger which he slew and seven hunters who had witnessed this bravery agreed to join him in his quest. The group finally came to a cottage on the outskirts of Guan County (modern Dujiangyan City). From within they heard the sound of an old woman crying. The woman was Grandma Wang and she told them that her grandson was to be sacrificed to an evil dragon who was the local river god. Li Erlang reported this to his father who devised a plan to capture the dragon. The eight friends hid in the River God Temple and jumped out on the dragon when it arrived to claim its offering."

"The dragon fled to the river pursued by Li Erlang, who eventually captured it. Grandma Wang arrived with an iron chain and the dragon was secured in the pool below the Dragon-Taming Temple, freeing the region from floods. Another legend tells of Li Erlang suppressing a fire dragon that lived in the mountains north of Dujiangyan by climbing to the top of Mount Yulei, turning into a giant and building a dam with 66 mountains then filling it with water from Dragon Pacifying Pool."

Now, in the Quran I came across this chapter called "An-najm" which means “The star”, and in verse 49 states:“And that He (Allah) is the Lord of Sirius.” if you were to look up the word “morning star” then you will find the name to connect to three celestial bodies. One is the famous bright planet called Venus, then there is the star called Sirius which is located around the Canis major constellation. Then there is the least known morning star which is Mercury. The star Sirius is also known as the “dog star.”

Among the Hindus it is the symbol of Rudra called "Mrgavyadha" which means “deer hunter”, or "Lubdhaka" or the “hunter”, thus connecting to the dog symbolism. Then when you cross reference this star, it shows among the Scandinavians to be called "Lokabrenna", as “Loki’s Torch”. So, does Loki have a connection to Rudra? And why call it “Loki’s Torch?" Prometheus is shown carrying a torch and Agni is said to have brought the fire to mankind, so now Loki’s star is also called by this name indicating Him to be a light bearer (Lucifer).

Now, Rudra would be said to have a connection to dogs as His symbol, and as well Iblis whose spit created the dog. Based from the story of "Ogun" of the Yoruba and Dahomey, would detail this God having the dog as his assistant. Based from the Wiki states these excerpts: "In Yoruba religion, Ogun is a primordial orisha in Yoruba Land. In some traditions, he is said to have cleared a path for the other orisha to enter Earth, using a metal ax and with the assistance of a dog. To commemorate this, one of his praise names, or oriki, is Osin Imole or the "first of the primordial Orisha to come to Earth". He is the god of war and metals. The primary symbols of Ogun are iron, the dog, and the palm frond. In Dahomey religion, Gu is the vodun of war and patron deity of smiths and craftsmen. He was sent to earth to make it a nice place for people to live, and he has not yet finished this task."

Now, Loki was also said to be a fiery God as well as having red hair and a link to Rudra. Apparently, one of his children is the great wolf "Fenrir", along with the world serpent "Jorgmandur", the daughter "Hel" and the eight-legged steed "sleipnir". Although Loki would also have the bird symbolism, It also states that he shapeshifts into a bird in one point of the story.

In Chinese astronomy Sirius is known as the star of the "Celestial wolf". Many nations among the indigenous peoples of North America also associated Sirius with canines; the Seri and Tohono O'odham of the southwest note the star as a dog that follows mountain sheep, while the Blackfoot called it "Dog-face". The star Sirius is also referenced as Rudra's star and Lokabrenna or "Loki's Torch". The Cherokee paired Sirius with Antares as a dog-star guardian of either end of the "Path of Souls". The Pawnee of Nebraska had several associations; the Wolf (Skidi) tribe knew it as the "Wolf Star", while other branches knew it as the "Coyote Star". Further north, the Alaskan Inuit of the Bering Strait called it "Moon Dog". Even the word "Tengu" is based from Tiangou which means "Heavenly dog" (different than the bird version). Then Yama's two dogs are based on "Canis Major" and "Canis Minor".

Now, based on "Phanes" states this:

In Orphic cosmogony Phanes/ˈfeɪˌniːz/(Ancient Greek:Φάνης,romanized: Phánēs, genitiveΦάνητος) or Protogonos/proʊˈtɒɡənəs/(Ancient Greek:Πρωτογόνος,romanized: Prōtogónos, lit.'Firstborn') is a primeval deity who was born from the cosmic egg at the beginning of creation. He is referred by various names, including Erikepaios "Power"/ˌɛrɪkəˈpiːəs/(Ancient Greek:Ἠρικαπαῖος/Ἠρικεπαῖος,romanized: Ērikapaîos/ Ērikepaîos) and Metis "Thought"

"Phanes /ˈfeɪˌniːz/ (romanized: Phánēs\) or Protogonus (Ancient Greek: romanized: Prōtogónos, lit. 'first-born') was the mystic primeval deity of procreation and the generation of new life, who was introduced into Greek mythology by the Orphic tradition; other names for this Classical Greek Orphic concept included Ericapaeus or Erikepaios (Ancient Greek: romanized: 'power') and Metis ("thought"). "In Orphic cosmogony, Phanes is often equated with Eros and Mithras and has been depicted as a deity emerging from a cosmic egg, entwined with a serpent. He had a helmet and had broad, golden wings. The Orphic cosmogony is bizarre, and quite unlike the creation sagas offered by Homer and Hesiod. Scholars have suggested that Orphism is "un-Greek" even "Asiatic" in conception, because of its inherent dualism."

"Chronos (Time) is said to have created the silver egg of the universe, out of which burst the androgynous first-born deity Phanes, or Phanes-Dionysos. Phanes was a male God, in an Orphic hymn he is named as "Lord Priapos". Phanes was a deity of light and goodness, whose name meant "to bring light" or "to shine"; a first-born god of light who emerged from a void or a watery abyss and gives birth to the universe. Nyx (Night) is variously said to be Phanes' daughter or older wife."

"Many threads of earlier myths are apparent in the new tradition. Phanes was believed to have been hatched from the World-Egg of Chronos (Time) and Ananke (Necessity or Fate) or Nyx in the form of a black bird and wind. His older wife Nyx called him Protogenus. As she created nighttime, Phanes created daytime, and also created the method of creation by mingling. He was made the ruler of the deities and passed the sceptre to Nyx. This new Orphic tradition states that Nyx later gave the sceptre to her son Uranos before it passed to Cronus and then to Zeus, who retained it."

"According to Aristophanes, whence Phanes is called Eros, he was born from an egg created by Nyx and placed in the boundless lap of Erebus, after which he mates with Chaos and creates the flying creatures. This passage seeks to demonstrate that the flying creatures are considered older than all other living creatures, even older than the other gods."

The "Protogonos Theogony" is known through the commentary in the Derveni papyrus and references in Empedocles and Pindar. According to Damascius, Phanes was the first god "expressible and acceptable to human ears" . Another Orphic hymn states: "You scattered the dark mist that lay before your eyes and, flapping your wings, you whirled about, and throughout this world you brought pure light." "For this I call you Phanes, I call you Lord Priapos, I call you sparkling with bright eyes." The Derveni Papyrus refers to Phanes: "Of the First-born king, the never end one; and upon him all the immortals grew, blessed gods and goddesses and rivers and lovely springs and everything else that had then been born; and he himself became the sole one". Dionysus or Zagreus of the Orphic tradition is intimately connected to Protogonos. In Orphic Hymn 30, he is given a list of epithets that also allude to Protogonos: "primeval, two-natured, thrice-born, Bacchic lord, savage, ineffable, secretive, two-horned, two-shaped."

"In the Orphic tradition, Dionysus-Protogonos-Phanes is a dying and rising god. Eusebius tells us the story of his death and recreation. The Titans boil the dismembered limbs of Dionysus in a kettle, they roast him on a spit and eat the roasted "sacrificial meat", then Athena rescues the still-beating heart from which (according to Olympiodorus) Zeus is able to recreate the god and bring him back to life. Kessler has argued that this cult of death and resurrection of Dionysus developed the 4th century CE; and together with Mithraism and other sects this cult formed, were in direct competition with early Christianity during late Antiquity."

So the three headed God would have a serpent intertwined around him. This is serapis as well:

Serapis or Sarapis is a Graeco-Egyptian god. A syncretic deity derived from the worship of the Egyptian Osiris and Apis,^[1]Serapis was extensively popularized in the third century BC on the orders of Greek Pharaoh Ptolemy I Soter,^[2]as a means to unify the Greek and Egyptian subjects of the Ptolemaic Kingdom. The cultus of Serapis was spread as a matter of deliberate policy by subsequent Ptolemaic kings. Serapis continued to increase in popularity during the Roman Empire, often replacing Osiris as the consort of Isis in temples outside Egypt. Alongside his Egyptian roots he gained attributes from other deities, such as chthonic powers linked to the Greek Hades and Demeter, and benevolence derived from associations with Dionysus.

Serapis was depicted as a Greek god in general appearance with Egyptian trappings, sometimes identified either as Pluto (Hades),Osiris, Dionysus, Amun, Zeus, Jupiter, Pan, Asclepius, and Dis Pater.^[d]The depictions of Serapis combined iconography from many Egyptian Greek cults, in most cases signifying the abundance and resurrection, namely, as the cornucopia horn and Calathus basket. Moreover, Serapis was generally considered to be the god of the underworld, healer, and protector of distressed, providing an asylum in his temple.^[3] The Greeks had little respect for animal-headed figures, and so a Greek-style anthropomorphic statue was chosen as the idol, and proclaimed as the equivalent of the highly popular Apis.^[e]It was named Userhapi (i.e. "Osiris-Apis"), which became Greek Sarapis,^[14]and was said to be Osiris in full, rather than just his ka (life force).

The cult statue of Serapis that Ptolemy I erected in Alexandria enriched the texture of the Serapis conception by portraying him in a combination of both Egyptian and Greek styles.^[15]The statue suitably depicted a figure resembling Hades or Pluto, both being kings of the Greek underworld, and was shown enthroned with the modius, a basket/grain-measure, on his head, since it was a Greek symbol for the land of the dead. He also held a sceptre in his hand indicating his rulership, with Cerberus, gatekeeper of the underworld, resting at his feet. The statue also had what appeared to be a serpent at its base, fitting the Egyptian symbol of rulership, the uraeus.

So, based on the term "Phanes" is where Phoenix comes in as the God who is resurrected. He is the same God as Serapis who is Osiris, Yama, Shiva, Hermes, Sun Wukong, Yaldabaoth, Hermanubis, Mithras Kronos as the three faced God going back to Agni.

Here is what the Wiki states of "Yaldabaoth": "In the Platonic, Neopythagorean, Middle Platonic, and Neoplatonic schools of philosophy, the demiurge is an artisan-like figure responsible for fashioning and maintaining the physical universe. The Gnostics adopted the term demiurge. Although a fashioner, the demiurge is not necessarily the same as the creator figure in the monotheistic sense, because the demiurge itself and the material from which the demiurge fashions the universe are both considered to be consequences of something else. Depending on the system, they may be considered to be either uncreated and eternal or the product of some other entity."

"The word demiurge is an English word derived from demiurgus, a Latinised form of the Greek δημιουργός or dēmiurgós. It was originally a common noun meaning "craftsman" or "artisan", but gradually came to mean "producer", and eventually "creator". The philosophical usage and the proper noun derive from Plato's Timaeus, written c. 360 BC, where the demiurge is presented as the creator of the universe."

"The demiurge is also described as a creator in the Platonic (c. 310–90 BC) and Middle Platonic (c. 90 BC – AD 300) philosophical traditions. In the various branches of the Neoplatonic school (third century onwards), the demiurge is the fashioner of the real, perceptible world after the model of the Ideas, but (in most Neoplatonic systems) is still not itself "the One". In the arch-dualist ideology of the various Gnostic systems, the material universe is evil, while the non-material world is good. According to some strains of Gnosticism, the demiurge is malevolent, as it is linked to the material world. In others, including the teaching of Valentinus, the demiurge is simply ignorant or misguided...."

Neoplatonism: "Plotinus and the later Platonists worked to clarify the Demiurge. To Plotinus, the second emanation represents an uncreated second cause (see Pythagoras' Dyad). Plotinus sought to reconcile Aristotle's energeia with Plato's Demiurge, which, as Demiurge and mind (nous), is a critical component in the ontological construct of human consciousness used to explain and clarify substance theory within Platonic realism (also called idealism). In order to reconcile Aristotelian with Platonian philosophy, Plotinus metaphorically identified the demiurge (or nous) within the pantheon of the Greek Gods as Zeus...."

"....One Gnostic mythos describes the declination of aspects of the divine into human form. Sophia (Greek: Σοφία, lit. 'wisdom'), the Demiurge's mother and partial aspect of the divine Pleroma or "Fullness," desired to create something apart from the divine totality, without the receipt of divine assent. In this act of separate creation, she gave birth to the monstrous Demiurge and, being ashamed of her deed, wrapped him in a cloud and created a throne for him within it. The Demiurge, isolated, did not behold his mother, nor anyone else, and concluded that only he existed, ignorant of the superior levels of reality."

"The Demiurge, having received a portion of power from his mother, sets about a work of creation in unconscious imitation of the superior Pleromatic realm: He frames the seven heavens, as well as all material and animal things, according to forms furnished by his mother; working, however, blindly and ignorant even of the existence of the mother who is the source of all his energy. He is blind to all that is spiritual, but he is king over the other two provinces. The word dēmiurgos properly describes his relation to the material; he is the father of that which is animal like himself."

"Thus Sophia's power becomes enclosed within the material forms of humanity, themselves entrapped within the material universe: the goal of Gnostic movements was typically the awakening of this spark, which permitted a return by the subject to the superior, non-material realities which were its primal source...."

Angels: "Psalm 82 begins (verse 1), "God stands in the assembly of El [LXX: assembly of gods], in the midst of the gods he renders judgment", indicating a plurality of gods, although it does not indicate that these gods were co-actors in creation. Philo had inferred from the expression "Let us make man" of the Book of Genesis that God had used other beings as assistants in the creation of man, and he explains in this way why man is capable of vice as well as virtue, ascribing the origin of the latter to God, of the former to his helpers in the work of creation. The earliest Gnostic sects ascribe the work of creation to angels, some of them using the same passage in Genesis. So Irenaeus tells of the system of Simon Magus, of the system of Menander, of the system of Saturninus, in which the number of these angels is reckoned as seven, and of the system of Carpocrates."

"In the report of the system of Basilides, we are told that our world was made by the angels who occupy the lowest heaven; but special mention is made of their chief, who is said to have been the God of the Jews, to have led that people out of the land of Egypt, and to have given them their law. The prophecies are ascribed not to the chief but to the other world-making angels. The Latin translation, confirmed by Hippolytus of Rome, makes Irenaeus state that according to Cerinthus (who shows Ebionite influence), creation was made by a power quite separate from the Supreme God and ignorant of him. Theodoret, who here copies Irenaeus, turns this into the plural number "powers", and so Epiphanius of Salamis represents Cerinthus as agreeing with Carpocrates in the doctrine that the world was made by angels."

Yaldabaoth: "In the Ophite and Sethian systems, which have many affinities with the teachings of Valentinus, the making of the world is ascribed to a company of seven archons, whose names are given, but still more prominent is their chief, "Yaldabaoth" (also known as "Yaltabaoth" or "Ialdabaoth").

In the Apocryphon of John c. AD 120–180, the demiurge arrogantly declares that he has made the world by himself: "Now the archon ["ruler"] who is weak has three names. The first name is Yaltabaoth, the second is Saklas ["fool"], and the third is Samael. And he is impious in his arrogance which is in him. For he said, 'I am God and there is no other God beside me,' for he is ignorant of his strength, the place from which he had come." "He is Demiurge and maker of man, but as a ray of light from above enters the body of man and gives him a soul, Yaldabaoth is filled with envy; he tries to limit man's knowledge by forbidding him the fruit of knowledge in paradise. At the consummation of all things, all light will return to the Pleroma. But Yaldabaoth, the Demiurge, with the material world, will be cast into the lower depths. Yaldabaoth is frequently called "the Lion-faced", leontoeides, and is said to have the body of a serpent. The demiurge is also described as having a fiery nature, applying the words of Moses to him: "the Lord our God is a burning and consuming fire". Hippolytus claims that Simon used a similar description."

"In Pistis Sophia, Yaldabaoth has already sunk from his high estate and resides in Chaos, where, with his forty-nine demons, he tortures wicked souls in boiling rivers of pitch, and with other punishments (pp. 257, 382). He is an archon with the face of a lion, half flame, and half darkness. Under the name of Nebro (rebel), Yaldabaoth is called an angel in the apocryphal Gospel of Judas." "He is first mentioned in "The Cosmos, Chaos, and the Underworld" as one of the twelve angels to come "into being [to] rule over chaos and the [underworld]". He comes from heaven, and it is said his "face flashed with fire and [his] appearance was defiled with blood". Nebro creates six angels in addition to the angel Saklas to be his assistants. These six, in turn, create another twelve angels "with each one receiving a portion in the heavens".

The most probable derivation of the name "Yaldabaoth" was that given by Johann Karl Ludwig Gieseler. Gieseler believed the name was derived from the Aramaic yaldā bahuth, ילדאבהות, meaning "Son of Chaos". However, Gilles Quispel notes: Gershom Scholem, the third genius in this field, more specifically the genius of precision, has taught us that some of us were wrong when they believed that Jaldabaoth means "son of chaos", because the Aramaic word bahutha in the sense of chaos only existed in the imagination of the author of a well-known dictionary."

"This is a pity because this name would suit the demiurge risen from chaos to a nicety. And perhaps the author of the Untitled Document did not know Aramaic and also supposed as we did once, that baoth had something to do with tohuwabohu, one of the few Hebrew words that everybody knows...."

"It would seem then that the Orphic view of the demiurge was integrated into Jewish Gnosticism even before the redaction of the myth contained in the original Apocryphon of John. ... Phanes is represented with the mask of a lion's head on his breast, while from his sides the heads of a ram and a buck are budding forth: his body is encircled by a snake. This type was accepted by the Mithras mysteries, to indicate Aion, the new year, and Mithras, whose numerical value is 365. Sometimes he is also identified with Jao Adonai, the creator of the Hebrews. His hieratic attitude indicates Egyptian origin. The same is true of the monstrous figure with the head of a lion, which symbolises Time, Chronos, in Mithraism; Alexandrian origin of this type is probable."

"Samael" literally means "Blind God" or "God of the Blind" in Hebrew (סמאל‎). This being is considered not only blind, or ignorant of its own origins but may, in addition, be evil; its name is also found in Judaism as the Angel of Death and in Christian demonology. This link to Judeo-Christian tradition leads to a further comparison with Satan. Another alternative title for the demiurge is "Saklas", Aramaic for "fool". The angelic name "Ariel" (Hebrew: 'the lion of God') has also been used to refer to the Demiurge and is called his "perfect" name; in some Gnostic lore, Ariel has been called an ancient or original name for Ialdabaoth. The name has also been inscribed on amulets as "Ariel Ialdabaoth", and the figure of the archon inscribed with "Aariel". He is also called "Serapis" who is Osiris.

Based on "Phanes" connects to "Prajapati" the Vedic Creation God who emerged from the "Golden Egg". There are many myths on a particular God who emerges from an Egg to which the Creation is then sprung forth, however, based from the egg symbolism this emergence is linked to Mithra who is Thoth and Dionysus. Prajapati is known as Brahma the Creator as one of his epithets, but breaking down everything shows that there is more to this myth.

Based on the Wiki: Prajapati (Sanskrit:प्रजापति,lit.'Lord of the people') is a Vedic deity of Hinduism. He is later identified with Brahma, the creator god. Prajapati is a form of the creator-god Brahma, but the name is also the name of many different gods, in many Hindu scriptures, ranging from the creator god Brahma to being the same as one of the following deities: Vishvakarma, Agni, Indra, Daksha, and many others, because of the diverse Hindu cosmology. In classical and medieval era literature, Prajapati is the metaphysical concept called Brahman as Prajapati-Brahman, and Brahman is the primordial matter that made Prajapati.

The origins of Prajapati are unclear. He appears late in the Vedic layer of texts, and the hymns that mention him provide different cosmological theories in different chapters.^[3]He is missing from the Samhita layer of Vedic literature, conceived in the Brahmana layer, states Jan Gonda.^[9]Prajapati is younger than Savitr, and the word was originally an epithet for the sun.^[10]His profile gradually rises in the Vedas, peaking within the Brahmanas.^[9]Scholars such as Renou, Keith and Bhattacharji posit Prajapati originated as an abstract or semi-abstract deity in the later Vedic milieu as speculations evolved from the archaic to more learned speculations.

A similarity between Prajapati (and related figures in Hindu mythology) and Phanes, also named as Protogonus (Ancient Greek:Πρωτογόνος, literally "first-born") of the Greco-Roman mythology has been proposed: Phanes is the Classical mythology equivalent of the Hindu god Brahma's Prajapati form in several ways: he is the first god born from a cosmic egg, he is the creator of the universe, and in the figure of Phanes— worshippers participate in his birth, death, rebirth, redeath.

— Kate Also brook, The Beginning of Time: Hindu Greco-Roman Theogonies and Poetics^[12]

According to Robert Graves, the name of /PRA-JĀ[N]-pati/ ('progeny-potentate') is etymologically equivalent to that of the oracular god Phanes at Colophon (according to Macrobius^[13]), namely /prōtogonos/.^[14]The cosmic egg concept linked to Prajapati and Phanes is common in many parts of the world, states David Leeming, which appears in later Greco-Roman worship in Greece and Rome.

His role varies within the Vedic texts such as being one who created heaven and earth, all of waters and beings, the creator of the universe, the creator of gods and goddesses, the creator of devas and devis and asuras and asuris and the cosmic egg and the Purusha.^[2][7]His role peaked in the Brahmanas layer of Vedic texts, then declined to name a group of creators in the creation process.^[2]In some Brahmana texts, his role is paired since he co-creates with the powers of the creator goddess "Vac".

In the Rigveda, Prajapati appears as a name for Savitr, Chandra, Agni and Indra, who are all praised as equal, same and gods of creatures.^[18]Elsewhere, in hymn 10.121 of the Rigveda, is described Hiranyagarbha (golden embryo) that was born from the waters containing everything, which produced Prajapati. It then created manas (mind), kama (desire),tapas (heat) and Prajapati created the universe. And this Prajapati is a creator god who created the universe, one of many Hindu cosmology theories, and there is no supreme god or supreme goddess in the Rigveda. One of the striking features about the Hindu Prajapati myths, states Jan Gonda, is the idea that the work of creation is a gradual process, completed in stages of trial and improvement.

In the Shatapatha Brahmana, embedded inside the Yajurveda, Prajapati was self-created from Brahman (Ultimate Reality) and Prajapati co-creates the world with Vac.^[23]It also includes the "golden cosmic egg" mythology, wherein Prajapati is stated to be born from a golden egg in primeval sea after the egg was incubated for a year. His sounds became the sky, the earth and the seasons. When he inhaled, he created the devas and devis, and light. When he exhaled, he created the asuras and asuris, and darkness. Then, together with the Vac, he and she created all beings and universe.^[24]In Chapter 10 of the Shatapatha Brahmana, as well as chapter 13 of Pancavimsa Brahmana, is presented another myth where in Prajapati is a creator god, becomes creating with Vac, the creator goddess, all living creatures generated, then Mrtyu seizes these beings within his and her womb, but because these beings are created by Prajapati and Vac, they desire to live like him and her and Prajapati and Vac kill Mrtyu and creates the universe with releasing all living creatures in his and her womb.

The Aitareya Brahmana tells a different myth, wherein Prajapati, having created the gods and goddesses, turns into a stag and approaches his daughter with Vac, Ushas who was in the form of a doe, to produce other animals. The gods and goddesses are horrified by this incest, and joined forces and created the angry destructive Rudra to kill Prajapati for doing incest with Ushas and before Prajapati mates with Ushas, Rudra drives Prajapati away. Then Rudra kills Prajapati and Ushas runs away and Prajapati is resurrected.^[24]The Sankhyayana Brahmana tells another myth, wherein Prajapati created Agni, Surya, Chandra, Vayu, Ushas and all deities. Agni, Surya, Chandra, Vayu, Ushas and all deities released their energies and created the universe.^[24]

In section 2.266 of Jaiminiya Brahmana, Prajapati is presented as a spiritual teacher. His student Varuna lives with him for 100 years, studying the art and duties of being the "father-like king of gods and goddesses" and is a king of the gods and goddesses.

Anyway, there is the strange component of the Vedic stories stating that Prajapati is also amongst these other Gods as they are one, but this Deity isn't clearly stated as to its identity. Based from this role details Prajapati to being Kashyapa the originator of the Gods (and a Rishi who was amongst the boat saved from the flood), though this story of him emerging from the Cosmic egg is based on Mithraic religion and Sun Wukong who came forth from the egg. Prajapati is noted to be the God that was cut into pieces in the same way as Bacchus.

Now, like Murugan, Hermes is also shown to have a cockerel symbol and as well "Abraxas". This is where the term "Demiurge" is said to be based on, whatever people state the being is good or evil. Some would call him the devil based on this position, while others view him as a benevolent being who upholds justice and righteousness. He is said to be the ruler of “365” Eons or heavens. Now, Murugan as the Peacock angel can connect to the Sumerian God "Nergal" meaning "Dunghill Cock". Here in the Wiki states this:

"Nergal, Nirgal, or Nirgali is a deity that was worshipped throughout ancient Mesopotamia (Akkad, Assyria, and Babylonia) with the main seat of his worship at Cuthah represented by the mound of Tell-Ibrahim. Other names for him are Erra and Irra. Nergal is mentioned in the Hebrew Bible as the deity of the city of Cuth (Cuthah): "And the men of Babylon made Succoth-benoth, and the men of Cuth made Nergal" (2 Kings, 17:30). "According to the Talmudists, his emblem was a cockerel and Nergal means a "dunghill cock", although standard iconography pictured Nergal as a lion. He is a son of Enlil and Ninlil, along with Nanna and Ninurta."

"Nergal seems to be in part a solar deity, sometimes identified with Shamash, but only representative of a certain phase of the sun. Portrayed in hymns and myths as a god of war and pestilence, Nergal seems to represent the sun of noontime and of the summer solstice that brings destruction, high summer being the dead season in the Mesopotamian annual cycle. He has also been called "the king of sunset".

"Over time Nergal developed from a war god to a god of the underworld. In the mythology, this occurred when Enlil and Ninlil gave him the underworld. Nergal was also the deity who presides over the netherworld, and who stands at the head of the special pantheon assigned to the government of the dead (supposed to be gathered in a large cave known as Aralu or Irkalla)."

"In this capacity he has associated with him a goddess Allatu or Ereshkigal, though at one time Allatu may have functioned as the sole mistress of Aralu, ruling in her own person. In some texts the god Ninazu is the son of Nergal and Allatu/Ereshkigal. Ordinarily Nergal pairs with his consort Laz. Standard iconography pictured Nergal as a lion, and boundary-stone monuments symbolize him with a mace surmounted by the head of a lion."

"In the late Babylonian astral-theological system Nergal is related to the planet Mars. As a fiery god of destruction and war, Nergal doubtless seemed an appropriate choice for the red planet, and he was equated by the Greeks to the war-god Ares (Latin Mars)—hence the current name of the planet. In Assyro-Babylonian ecclesiastical art the great lion-headed colossi serving as guardians to the temples and palaces seem to symbolize Nergal, just as the bull-headed colossi probably typify Ninurta." Similar to Murugan who is also known for the symbol of Mars." As well, there are references in the Bible as God having a "Cockatrice".

Based from the etymology states this: "cockatrice (n.) fabulous monster, late 14c., from Old French cocatriz, altered (by influence of coq) from Late Latin *calcatrix, from Latin calcare "to tread" (from calx (1) "heel;" see calcaneus), as translation of Greek ikhneumon, literally "tracker, tracer." "It was fabled to kill by its glance and could be slain only by tricking it into seeing its own reflection. In classical writings, an Egyptian animal of some sort, the mortal enemy of the crocodile, which it tracks down and kills. This vague sense became hopelessly confused in the Christian West, and in England the word ended up applied to the equivalent of the basilisk."

"Popularly associated with cock (n.1), hence the fable that it was a serpent hatched from a cock's egg. It also sometimes was confused with the crocodile. Belief in them persisted even among the educated because the word was used in the KJV several times to translate a Hebrew word for "serpent." In heraldry, a beast half cock, half serpent. Also, in old slang, "a loose woman" (1590s)."

Based from Abraxas states this:

Abraxas (Biblical Greek:ἀβραξάς,romanized: abraxas, variant formἀβράναξromanized:abranax) is a term for the "Great Archon" in Gnostic Christianity^[1][2][3]The word is found in Gnostic texts such as the Holy Book of the Great Invisible Spirit and the Apocalypse of Adam, and also appears in the Greek Magical Papyri. It was engraved on certain antique gemstones, called on that account Abraxas stones, which were used as amulets or charms.^[4]As the initial spelling on stones was Abrasax (Αβρασαξ), the spelling of Abraxas seen today probably originates in the confusion made between the Greek letters sigma (Σ) and xi (Ξ) in the Latin transliteration.

The seven letters spelling its name may represent each of the seven classic planets.^[5]The word may be related to Abracadabra, although other explanations exist. There are similarities and differences between such figures in reports about Basilides's teaching, ancient Gnostic texts, the larger Greco-Roman magical traditions, and modern magical and esoteric writings. Speculations have proliferated on Abraxas in recent centuries, which has been claimed to be both an Egyptian god and a demon.

In the system described by Irenaeus, "the Unbegotten Father" is the progenitor of Nous "Discerning Mind"; Nous produced Logos" Word, Reason"; Logos produced Phronesis "Mindfulness"; Phrones is produced Sophia "Wisdom" and Dynamis" Potentiality"; Sophia and Dynamis produced the principalities, powers, and angels, the last of whom create "the first heaven". They, in turn, originate a second series, who create a second heaven. The process continues in like manner until 365 heavens are in existence, the angels of the last or visible heaven being the authors of our world.^[4]"The ruler" [principem, i.e., probably tonarchonta] of the 365 heavens "is Abraxas, and for this reason he contains within himself 365 numbers".

The name occurs in the Refutation of All Heresies(vii. 26) by Hippolytus, who appears in these chapters to have followed the Exegetica of Basilides. After describing the manifestation of the Gospel in the Ogdoad and Hebdomad, he adds that the Basilidians have a long account of the innumerable creations and powers in the several 'stages' of the upper world (diastemata), in which they speak of 365 heavens and say that "their great archon" is Abrasax, because his name contains the number 365, the number of the days in the year; i.e. the sum of the numbers denoted by the Greek letters in ΑΒΡΑΣΑΞ according to the rules of isopsephyis 365:

Α = 1, Β = 2, Ρ = 100, Α = 1, Σ = 200, Α = 1, Ξ = 60

With the availability of primary sources, such as those in the Nag Hammadi library, the identity of Abraxas remains unclear. The Holy Book of the Great Invisible Spirit, for instance, refers to Abraxas as an Aeon dwelling with Sophia and other Aeons of the Pleroma in the light of the luminary Eleleth. In several texts, the luminary Eleleth is the last of the luminaries (Spiritual Lights) that come forward, and it is the Aeon Sophia, associated with Eleleth, who encounters darkness and becomes involved in the chain of events that leads to the Demiurge's rule of this world, and the salvage effort that ensues. As such, the role of Aeons of Eleleth, including Abraxas, Sophia, and others, pertains to this outer border of the Pleroma that encounters the ignorance of the world of Lack and interacts to rectify the error of ignorance in the world of materiality.

In the Apocalypse of Adam, Abrasax is sent along with Sablo and Gamalielto bring some of the Gnostic people "out of the fire and the wrath, and take them above the aeons and the rulers of the powers, and take them away [...] of life [...] and take them away [...] aeons [...] dwelling place of the great [...] there, with the holy angels and the aeons. The men will be like those angels, for they are not strangers to them."^[14]

The Catholic church later deemed Abraxas a pagan god, and ultimately branded him a demon as documented in J. Collin de Plancy's Infernal Dictionary, Abraxas (or Abracax) is labeled the "supreme God" of the Basilidians, whom he describes as "heretics of the second century". He further indicated the Basilidians attributed to Abraxas the rule over "365 skies" and "365 virtues". In a final statement on Basilidians, de Plancy states that their view was that Jesus Christ was merely a "benevolent ghost sent on Earth by Abraxas".

Here states this: "In the late Babylonian astral-theological system Nergal is related to the planet Mars. As a fiery god of destruction and war, Nergal doubtless seemed an appropriate choice for the red planet, and he was equated by the Greeks to the war-god Ares (Latin Mars)—hence the current name of the planet. In Assyro-Babylonian ecclesiastical art the great lion-headed colossi serving as guardians to the temples and palaces seem to symbolize Nergal, just as the bull-headed colossi probably typify Ninurta."

Now, it is interesting as far as the cockerel's connection to Nergal, and how he is referenced as Lord of the underworld, a fiery God of war and destruction and is Hermes who is also known of the rooster or cockerel. He connections and qualities of being called "burner" and having raging nature. This is Murugan who is also known for the symbol of Mars and the rooster symbolism. Then based on him being a fire God can connect him to Shiva and Agni. Based on the creature called "the Cockatrice" is mentioned a few times in the Bible.

Here are the verses: Isaiah 11:8 "And the sucking child shall play on the hole of the asp, and the weaned child shall put his hand on the cockatrice' den."

Isaiah 14:29 "Rejoice not thou, whole Palestina, because the rod of him that smote thee is broken: for out of the serpent's root shall come forth a cockatrice, and his fruit shall be a fiery flying serpent."

Isaiah 59:5 "They hatch cockatrice' eggs, and weave the spider's web: he that eateth of their eggs dieth, and that which is crushed breaketh out into a viper."

Jeremiah 8:17 "For, behold, I will send serpents, cockatrices, among you, which will not be charmed, and they shall bite you, saith the LORD."

So, now we have to come back to "Jacob's ladder", as the stone pillar towards this particular God reveals this to be Shiva. However, it's also shown that Shiva has other epithets throughout the different Mythos, and one of them is based on Bacchus and Osiris.

Now, based from understanding the "Stairway to Heaven" scenario, details that this "ladder" is based on the symbology connecting to the "Freemasonic Staircase". This Freemasonic Staircase, is based on this particular God, as this is the one that had made a covenant (contract) to Jacob and his seed. And based from this "dream", shows that it leads to what they call the "Bright and Morning Star."

Does this sound like the song “Stairway to heaven” by Led Zeppelin? There is a song called "Sirius/ eye in the sky" by The Alan Parson's project to which has Occultic meaning to Genesis 28, as based on Jacob's ladder....

Here in KJV Psalms 33:18 states this: "Behold, the eye of the Lord is upon them that fear him, upon them that hope in his mercy.” The "Eye" is singular, and has something to do with Shiva. Sirius has some interesting ties to this deity, so just to recap let's see what the Wiki states on the Etymology on

Sirius: "The proper name "Sirius" comes from the Latin Sirius, from the Ancient Greek Σείριος (Seirios, "glowing" or "scorcher"). The Greek word itself may have been imported from elsewhere before the Archaic period, one authority suggesting a link with the Egyptian god Osiris. The name's earliest recorded use dates from the 7th century BC in Hesiod's poetic work Works and Days. In 2016, the International Astronomical Union organized a Working Group on Star Names (WGSN) to catalog and standardize proper names for stars. The WGSN's first bulletin of July 2016 included a table of the first two batches of names approved by the WGSN, which included Sirius for the star α Canis Majoris A. It is now so entered in the IAU Catalog of Star Names. Sirius has over 50 other designations and names attached to it."

"In Geoffrey Chaucer's essay Treatise on the Astrolabe, it bears the name Alhabor and is depicted by a hound's head. This name is widely used on medieval astrolabes from Western Europe In Sanskrit it is known as Mrgavyadha "deer hunter", or Lubdhaka "hunter". As Mrgavyadha, the star represents Rudra (Shiva). The star is referred to as Makarajyoti in Malayalam and has religious significance to the pilgrim center Sabarimala. In Scandinavia, the star has been known as Lokabrenna ("burning done by Loki", or "Loki's torch"). In the astrology of the Middle Ages, Sirius was a Behenian fixed star, associated with beryl and juniper. Its astrological symbol Sirius - Agrippa.png was listed by Heinrich Cornelius Agrippa."

Here again leads to Sirius as the symbol of the Dog, and apparently Shiva, Osiris and Bacchus are known for this star. They have the symbolism of the pillar or phallus that represents them. Both Nergal and Bacchus are referenced as "Scorcher", pertaining to the star Sirius. Here in Revelations 22:16: "...I am the root of David, and the bright and morning star." Based on the symbolism towards the "bright and morning star", it's shown to relate to Mercury, Venus, and Sirius, although this pertains to Venus and Sirius the most and Mercury as the lesser known.

But first let's detail the Pyramid symbology. Now, why do you think there is a "Pyramid" shown amongst "God the Father's" head? This is what Jacob had saw above the apparent ladder (stairway to Heaven).

Now, there is a stone called the "BenBen" stone pyramid linking to the Bennu Bird (like the Phoenix). The Bennu bird is said to be known as the "Lord of Jubile", (interesting connection to the year of Jubilee) and his place is in Heliopolis with a standing Obelisk.

(Helios is the alternate name to Apollo the Sun God)

Here is what the Wiki states on the BenBen Stone: "In the creation myth of the Heliopolitan form of ancient Egyptian religion, Benben was the mound that arose from the primordial waters Nu upon which the creator deity Atum settled. The Benben stone (also known as a pyramidion) is the top stone of the pyramid. It is also related to the obelisk."

"The Benben stone, named after the mound, was a sacred stone in the temple of Ra at Heliopolis (Egyptian: Annu or Iunu). It was the location on which the first rays of the sun fell. It is thought to have been the prototype for later obelisks and the capstones of the great pyramids were based on its design. The capstone or the tip of the pyramid is also called a pyramidion. In ancient Egypt, these were probably gilded so they shone in sunlight."

"Many Benben stones, often carved with images and inscriptions, are found in museums around the world. The bird deity Bennu, which was probably the inspiration for the phoenix, was venerated at Heliopolis, where it was said to be living on the Benben stone or on the holy willow tree. According to Barry Kemp, the connection between the benben, the phoenix, and the sun may well have been based on alliteration: the rising, weben, of the sun sending its rays towards the benben, on which the bennu bird lives. Utterance 600, § 1652 of the Pyramid Texts speaks of Atum as you rose up, as the benben, in the Mansion of the Bennu in Heliopolis."

Based from the the "Bennu bird" details this: "According to Egyptian mythology, Bennu was a self-created being said to have played a role in the creation of the world. He was said to be the ba of Ra and to have enabled the creative actions of Atum. The deity was said to have flown over the waters of Nun that existed before creation, landing on a rock and issuing a call that determined the nature of creation. He also was a symbol of rebirth and, therefore, was associated with Osiris. Some of the titles of Bennu were "He Who Came Into Being by Himself", and "Lord of Jubilees"; the latter epithet referred to the belief that Bennu periodically renewed himself like the sun was thought to do. His name is related to the Egyptian verb wbn, meaning "to rise in brilliance" or "to shine".

Now, they state the "Bennu bird" to be associated with Osiris, and based from the Pyramid, other sources states to mean "fire in the middle". Perhaps an interesting connotation to the Pyramid being "phallic" in shape. As stated from the last Chapter, I had detailed how the Triangle that is upright pertains to the Phallic symbology. Then based from said images you can see the "BenBen" stone to be "detached" from the rest of the body. This stone would be the same as the detached stone viewed on the Dollar Bill. There are references in the Bible detailing the "Head stone".

Psalms 118:22 “The stone which the builders refused is become the head stone of the corner.”

1 Peter 2:7 “Unto you therefore which believe he is precious: but unto them which be disobedient, the stone which the builders disallowed, the same is made the head of the corner,”

Now, just to recap, whenwe look at the mythos on "Sirius", in the Wiki states this: "Sirius designated α Canis Majoris (Latinized to Alpha Canis Majoris, abbreviated Alpha CMa, α CMa)) is the brightest star in the night sky. Its name is derived from the Greek word Σείριος Seirios "glowing" or "scorching"..... The proper name "Sirius" comes from the Latin Sīrius, from the Ancient Greek Σείριος (Seirios, "glowing" or "scorcher"). "The Greek word itself may have been imported from elsewhere before the Archaic period, one authority suggesting a link with the Egyptian god Osiris."

"Sirius has over 50 other designations and names attached to it. In Geoffrey Chaucer's essay Treatise on the Astrolabe, it bears the name Alhabor and is depicted by a hound's head. This name is widely used on medieval astrolabes from Western Europe."

"In Sanskrit it is known as Mrgavyadha "deer hunter", or Lubdhaka "hunter". As Mrgavyadha, the star represents Rudra (Shiva). The star is referred as Makarajyoti in Malayalam and has religious significance to the pilgrim center Sabarimala. In Scandinavia, the star has been known as Lokabrenna ("burning done by Loki", or "Loki's torch"). In the astrology of the Middle Ages, Sirius was a Behenian fixed star, associated with beryl and juniper. Its astrological symbol Sirius - Agrippa.png was listed by Heinrich Cornelius Agrippa."

"...Many cultures have historically attached special significance to Sirius, particularly in relation to dogs. It is often colloquially called the "Dog Star" as the brightest star of Canis Major, the "Great Dog" constellation. Canis Major was classically depicted as Orion's dog. The Ancient Greeks thought that Sirius's emanations could affect dogs adversely, making them behave abnormally during the "dog days", the hottest days of the summer."

"The Romans knew these days as dies caniculares, and the star Sirius was called Canicula, "little dog". The excessive panting of dogs in hot weather was thought to place them at risk of desiccation and disease. In extreme cases, a foaming dog might have rabies, which could infect and kill humans they had bitten..."

"In Iranian mythology, especially in Persian mythology and in Zoroastrianism, the ancient religion of Persia, Sirius appears as Tishtrya and is revered as the rain-maker divinity (Tishtar of New Persian poetry). Beside passages in the sacred texts of the Avesta, the Avestan language Tishtrya followed by the version Tir in Middle and New Persian is also depicted in the Persian epic Shahnameh of Ferdowsi. Due to the concept of the yazatas, powers which are "worthy of worship", Tishtrya is a divinity of rain and fertility and an antagonist of apaosha, the demon of drought. In this struggle, Tishtrya is depicted as a white horse." "In Chinese astronomy Sirius is known as the star of the "celestial wolf" (Chinese and Japanese: 天狼 Chinese romanization: Tiānláng; Japanese romanization: Tenrō;) in the Mansion of Jǐng (井宿). Many nations among the indigenous peoples of North America also associated Sirius with canines; the Seri and Tohono O'odham of the southwest note the star as a dog that follows mountain sheep, while the Blackfoot called it "Dog-face".

"The Cherokee paired Sirius with Antares as a dog-star guardian of either end of the "Path of Souls". The Pawnee of Nebraska had several associations; the Wolf (Skidi) tribe knew it as the "Wolf Star", while other branches knew it as the "Coyote Star". Further north, the Alaskan Inuit of the Bering Strait called it "Moon Dog".

"Several cultures also associated the star with a bow and arrows. The ancient Chinese visualized a large bow and arrow across the southern sky, formed by the constellations of Puppis and Canis Major. In this, the arrow tip is pointed at the wolf Sirius. A similar association is depicted at the Temple of Hathor in Dendera, where the goddess Satet has drawn her arrow at Hathor (Sirius). Known as "Tir", the star was portrayed as the arrow itself in later Persian culture."

Now, based from the book "Pueblo Gods and Myth" by Hamilton A. Tyler, will detail some excerpts on the God of the Underworld.

"The God Masau'u or Skeleton man": Death, to the Western mind is so definitively an ending that the reader maybe surprised to find a God of death placed squarely at the beginning of the book, where he will cast a certain shadow across an otherwise cheerful prospect...."

"...As we shall later see, there are gods who live on the distant ranges of the mind. Before meeting them, we face an immediate God whom some call Skeleton man, the god of the Hopi underworld and of the surface of the earth, whose names has been variously transcribed by writers as Masau'u, Masau, or Massau. In early accounts Skeleton man was an anthropomorphic God, though in size he was said to be somewhat larger than mortal man. Despite his spectral nature as the God of death, Masau'u is, nonetheless, a very humane and reachable being, a quality which has made him an attractive gathering point for attributes perhaps not originally his own. Primitively, he may have been a God of death and fire, a fearsome personification, something like our view of a Hades or a Satan, who was kept at bay by the magic of the fire rituals, but any such thought will have to be modified or abandoned as soon as we meet him."

"To begin with we shall see him on his home fields as the original owner of all the good things on earth, limited though they may be in Hopi land. In the dark he tends a fire by which he warms himself; and the same fire, which seems to be something like a Sun symbol, causes his crops to grow with magic speed. Very soon we shall hear the Male Demeter, then as the god of boundaries, of property, and of travelers. Masau'u is a trickster figure. After the turn of our Century he emerges as something of a Tribal war god for the Traditionalist, and in our own day he is firmly set as an omniscient and omnipresent Supreme God...."

(So, then it details on the legends of the Hopi coming out of the Underworld and meeting the God Masauu. It states that he can assume any form he pleases, as he can shapeshift into a handsome man just to be approachable)

Then the excerpt states this on page 6: "....In addition to the fire, the Hopi had seen the footprints of a being larger than living man, and were naturally frightened at the sight. The Chief decided that the way to meet the unknown creature would be a ceremonious approach, just as is used today. Accordingly they held a smoke and made prayer feathers for the unknown being. The Chief then called for volunteers to undertake the dreadful duty of carrying the offerings; four brave men accepted."

"Going over with a tray of prayer offerings they saw at first in the distance only a faint of light and they were very much afraid. Coming closer, they could see someone sitting by the fire and facing away from them and they could only see the back of his head. This head, was rather a great size, like the biggest squash, and there was no hair on it. As they came closer they were more and more frightened, but at last they got to him. He would not turn his face towards the fire, so they called to him and asked him who he was, but he would not answer." (Four is both a ceremonial and magical number for the Pueblos; if one is asked a question four times he is compelled to answer) "Then he answered and said that he was surprised to see that they had come close to the fire because no one had ever gotten near so near him before."

"When he said this he turned around toward the light and his face was all bloody and he had a mask on; his head was big and his mask was terrible looking. These four men were very much frightened and all felt something creeping in the back of their heads...."

Then he details how the Gods used to roam the earth and wrestle for power until one is overthrown. Then states that there was a mysterious rumbling coming from the earth, and that the gods saw that it was people coming from the earth, Masau'u had befriended them, whereas the gods wanted to kill them. So, Masau'u then became a friend to mankind and loyal to them.

He then details further connections based on Masau'u and the Greek God Hermes, as they are both considered to be Psychopomps or guide the dead to the underworld. He also states this excerpt in pg 10: "The analogy between Masau'u and the Christian Devil has not escaped the Hopis, whether they were Traditionalist or Baptists, and the fancy was much to their taste besides...."

He also details how Masau'u would have a tail, to which would was dreaded by people, so he cut it and chop it into pieces and threw into the waters. This caused the chopped tails to become the fish of the Oceans. Then it also states this in pg 11: "...The speaker then turns suddenly from this fancy to a serious concern about the appearance about the God. "His feet are shaped like a man's but are about the length of a forearm. He is always black, shining black..."

He then talks about the Masau'u encounter from Dr. Fewkes (Jesse W. Fewkes), to which the story seems pretty much like the Faustian concept. Pg 12: "..Nevertheless, however humane he may appear at times, he does wear a bloody mask and is just the God of the dead." He then states that Masau'u "Kiva" or Shrine is based on the graveyard.

Pg 13: "It has already been said that if you catch sight of Masau'u maybe portent of imminent death. Sometimes he works his power from a distance: "he is frightful; frightens people, and no one dares to disturb him. Merely to see him will frighten you. He will not shoot you, yet you will fall asleep. He emits a horrible stench. Consequently everyone is afraid of him."

(There are specified groups who are exempt from fear of the sight of the God)

They detail that there is another god of the underworld called "Muingwa" or Alosaka the germinator, but generally they would detail Masau'u as the "Great Spirit". In pg 17 details Masau'u has the giver of fire and the one who taught the people the use of fire, as he is a god of fire. It states that he would always carries a blazing torch, which he uses to light his way in the dark. However, other statements detail that he may not have always been a God of fire, as one story states that this title had belonged to the "Spider woman", who would be the keeper of fire. One the same account details that he can't face the sunlight due to his blindness.

Then on the account of having a bloody head details that he would go hunting and hid his game in a "Swale north of Wapi". Then he was discovered by a group of hunters searching for rabbits, then in the state of surprise, had dashed madly into one direction and punctured his head upon a sharp rock. After repeating the same blind error in three directions, then his head became the bloody mask which is shown as his characteristic. It states that this god may not highly be elaborated in relation to fire, as observed from story and ceremony, but that depends on the person's perspective.

Then in pg 19 details the fertility quality belonging to both Masau'u and Muingwa, though the Author states the former seems to have more relation to the fertility aspect. Then states in pg 20: "While Germinator is the God of vegetation, Masauu is a general fertility spirit.....The blood upon his head is literally that of rabbits, or perhaps formerly a deer which is to say that he is in a part a god of game animals." Pg 21: "...Nevertheless, he is male God with markedly phallic qualities- the slightly enlarged size, the head shaped like a squash, and the fact that before the emergence of the Hopis "Heard him walking around up there".

Then details returning to the fire symbol, and the association with the "fire drill", and hence fire with the male element. He states that Robert Graves mentions why the God Hermes to became a fire God. "The invention of fire making was ascribed to Hermes, because the twirling of the male drill in the female stock suggested phallic magic". Masauu also brought the fire to the people in the same fashion as the Greek God Hermes (pg 21).

Now, this is where things get more interesting. Here states this in pg 25 and 26 details the Hopis placing a heap of stone in the fashion of a "pillar". Here he states that they would ask Masauu to protect them along the way. In pg 26 states this excerpt: "Since the Greek god Hermes, whose name means "he of the stone heap", developed from the similar stone cairn which served as both a shrine and as a boundary marker, we are justified in looking for the alternate symbol, which is an upright stone post often called a "herma" in English."

He then states that these "Cairn" or "boundary stones" are also done by the Zuni people. And they the stone pillar would be two feet high. Based from Stephen's "Hopi Journal" in 1888 details two brothers, one at Shumo Pavi and Oraibi lands using certain field markings in the figure of Massau'u. The latter placed a monument here and agreed that if Shumopavi increased sufficiently to need more farming land, then the monument can be moved towards Oraibi. He states that the stone is depicted two feet tall.

There is a similar stone marked with the head of Masau'u, commemorated the deity's original claim to the entire domain, boundaries and shrines erected to the South and Northeast corner.

Now, let's see what Genesis details on the "heap of stone".

Genesis 31:52 “This heap be witness, and this pillar be witness, that I will not pass over this heap to thee, and that thou shalt not pass over this heap and this pillar unto me, for harm.”

Now, this is where things get more interesting. Here states this in pg 25 and 26 details the Hopis placing a heap of stone in the fashion of a "pillar". Here he states that they would ask Masauu to protect them along the way. In pg 26 states this excerpt: "Since the Greek god Hermes, whose name means "he of the stone heap", developed from the similar stone cairn which served as both a shrine and as a boundary marker, we are justified in looking for the alternate symbol, which is an upright stone post often called a "herma" in English."

Let's see what the "Cairn" is on Wiki:

A cairn is a human-made pile (or stack) of stones raised for a purpose, usually as a marker or as a burial mound. The word cairn comes from the Irish: carn [ˈkʰaːrˠn̪ˠ] (plural cairn [ˈkʰaːrˠɲ]).^[1]

Cairns have been and are used for a broad variety of purposes. In prehistory, they were raised as markers, as memorials and as burial monuments (some of which contained chambers).

In the modern era, cairns are often raised as landmarks, especially to mark the summits of mountains, and as trail markers. They vary in size from small piles of stones to entire artificial hills, and in complexity from loose conical rock piles to elaborate megalithic structures. Cairns may be painted or otherwise decorated, whether for increased visibility or for religious reasons.

Europe:

The building of cairns for various purposes goes back into prehistory in Eurasia, ranging in size from small rock sculptures to substantial human-made hills of stone (some built on top of larger, natural hills).^[2]The latter are often relatively massive Bronze Age or earlier structures which, like kistvaens and dolmens, frequently contain burials; they are comparable to tumuli(kurgans), but of stone construction instead of earthworks.^[3]Cairn originally could more broadly refer to various types of hills and natural stone piles, but today is used exclusively of artificial ones.

Ireland and Britain:

The word cairn derives from Irish (with the same meaning), which is essentially the same as the corresponding words in other native Celtic languages of Ireland, Brittany and Britain, , including Welsh carn(and Carnedd),Breton karn, Irish carn, and Cornish karn or carn.^[2]Cornwall (Kernow) itself may actually be named after the cairns that dot its landscape, such as Cornwall's highest point, Brown Willy Summit Cairn, a 5 m (16 ft) high and 24 m (79 ft) diameter mound a top Brown Willy hill in Bodmin Moor, an area with many ancient cairns. Burial cairns and other megaliths are the subject of a variety of legends and folklore throughout Ireland and Britain. In Ireland, it is traditional to carry a stone up from the bottom of a hill to place on a cairn at its top. In such a fashion, cairns would grow ever larger. An old Scottish Gaelic blessing is Cuiridh mi clach air do chàrn, "I'll put a stone on your cairn".^[4]In Highland folklore it is recounted that before Highland clans fought in a battle, each man would place a stone in a pile. Those who survived the battle returned and removed a stone from the pile. The stones that remained were built into a cairn to honour the dead. Cairns in the region were also put to vital practical use. For example, Dún Aonghasa, an all-stone Iron Age Irish hill fort on Inishmore in the Aran Islands, is still surrounded by small cairns and strategically placed jutting rocks, used collectively as an alternative to defensive earthworks because of the karst landscape's lack of soil. In February 2020, ancient cairns dated back to 4,500 year-old used to bury the leaders or chieftains of Neolithic tribes people were revealed in the Cwmcelyn in Blaenau Gwent by the Aberys truth Archaeological Society.^[5]

Scandinavia and Iceland:

In Scandinavia, cairns have been used for centuries as trail and sea marks, among other purposes, the most notable being the Three-Country Cairn. In Iceland, cairns were often used as markers along the numerous single-file roads or paths that crisscrossed the island; many of these ancient cairns are still standing, although the paths have disappeared. In Norse Greenland, cairns were used as a hunting implement, a game-driving "lane", used to direct reindeer towards a game jump.

Greece and the Balkans

In the mythology of ancient Greece, cairns were associated with Hermes, the god of overland travel.^[7]According to one legend, Hermes was put on trial by Hera for slaying her favorite servant, the monster Argus. All of the other gods acted as a jury, and as a way of declaring their verdict they were given pebbles, and told to throw them at whichever person they deemed to be in the right, Hermes or Hera. Hermes argued so skillfully that he ended up buried under a heap of pebbles, and this was the first cairn. In Croatia, in areas of ancient Dalmatia, such as Herzegovina and the Krajina, they are known as gromila.^[

Portugal:

In Portugal, a cairn is called a moledro. In a legend the moledros are enchanted soldiers, and if one stone is taken from the pile and put under a pillow, in the morning a soldier will appear for a brief moment, then will change back to a stone and magically return to the pile.^[8]The cairns that mark the place where someone died or cover the graves alongside the roads where in the past people were buried are called Fiéis de Deus. The same name given to the stones was given to the dead whose identity was unknown.^[9]

North and northeast Africa:

Cairns (taalo) are a common feature at El Ayo, Haylan, Qa'ableh, Qombo'ul, Heis, Salweyn and Gelweita, among other places. Somalia in general is home to a lot of such historical settlements and archaeological sites wherein are found numerous ancient ruins and buildings, many of obscure origins.^[10]However, many of these old structures have yet to be properly explored, a process which would help shed further light on local history and facilitate their preservation for posterity.^[11] Since Neolithic times, the climate of North Africa has become drier. A reminder of the desertification of the area is provided by megalithic remains, which occur in a great variety of forms and in vast numbers in presently arid and uninhabitable wastelands: cairns (kerkour), dolmens and circles like Stonehenge, underground cells excavated in rock, barrows topped with huge slabs, and step pyramid-like mounds.^[12]

Middle East:

The Biblical place name Gilead(mentioned in the Old Testament books of Genesis, Numbers, Judges and elsewhere) means literally 'a heap of testimony (or evidence)' as does its Aramaic translation Yegar Sahaduta.^[13]In modern Hebrew, gal-'ed(גל-עד) is the actual word for "cairn". In Genesis 31the cairn of Gilead was set up as a border demarcation between Jacob and his father-in-law Laban at their last meeting.^[14]

Asia and the Pacific:

Starting in the Bronze Age, burialcists were sometimes interred into cairns, which would be situated in conspicuous positions, often on the skyline above the village of the deceased. Though most often found in the British Isles, evidence of Bronze Age cists have been found in Mongolia.^[15]The stones may have been thought to deter grave robbers and scavengers. Another explanation is that they were to stop the dead from rising. There remains a Jewish tradition of placing small stones on a person's grave as a token of respect, known as visitation stones, though this is generally to relate the longevity of stone to the eternal nature of the soul and is not usually done in a cairn fashion.^[16]Stupas in India and Tibet probably started out in a similar fashion, although they now generally contain the ashes of a Buddhist saint or lama.

A traditional and often decorated, heap-formed cairn called an ovoo is made in Mongolia. It primarily serves religious purposes, and finds use in both Tengriist and Buddhist ceremonies. Ovoos were also often used as landmarks and meeting points in traditional nomadic Mongolian culture. Traditional ceremonies still take place at ovoos today, and in a survey conducted, 75 participants out of 144 participants stated that they believe in ovoo ceremonies. However, mining and other industrial operations today threaten the ovoos^[17]

In Hawaii, cairns, called by the Hawaiian word ahu, are still being built today. Though in other cultures, the cairns were typically used as trail markers and sometimes funerary sites, the ancient Hawaiians also used them as altars or security towers. The Hawaiian people are still building these cairns today, using them as the focal points for ceremonies honoring their ancestors and spirituality.^[19] In South Korea, cairns are quite prevalent, often found along roadsides and trails, up on mountain peaks, and adjacent to Buddhist temples. Hikers frequently add stones to existing cairns trying to get just one more on top of the pile, to bring good luck. This tradition has its roots in the worship of San-shin, or Mountain Spirit, so often still revered in Korean culture.^[20]

The Americas:

Throughout what today are the continental United States and Canada, some Indigenous peoples of the Americas have built structures similar to cairns. In some cases, these are general trail markers, and in other cases they mark game-driving "lanes", such as those leading to buffalo jumps.^[21]

Religious Practices (North America)

• Stacked rock features have been noted to have religious significance to the Klamath and Modoc Tribes of indigenous people of the Western United States, the respective tribes prohibiting photography of or touching the stone formations. These cairn-like structures are noted to be constructed for ritual and prayer purposes. Indigenous tribes practiced piling rocks (forming a rock cairn) as a step in a series of physically demanding tasks in part of a ritual to receive what they call spirit dreams. This practice is part of the vision quest ritual within the puberty rite the boys of the tribe undergo.^[22]
• Cairns were often used to mark the cremation sites for burial practices. When the Klamath tribe traveled within their territory, a person may pass away during this period. If the death occurs away from their village, the passed person would be buried near where they passed and a cairn would be constructed to mark this site. Burial cairns constructed by indigenous people, taking the shape of stone mounds, have been found throughout the Midwest and South of the United States. These mounds are typically made in large piles and mark the burial site, also protecting it from wildlife.^[22][23]

Peoples from some of the Indigenous cultures of arctic North America (i.e. northern Canada, Alaska and Greenland) have built carefully constructed stone sculptures called inuksuit and inunnguat, which serve as landmarks and directional markers. The oldest of these structures are very old and pre-date contact with Europeans. They are iconic of the region (an inuksuk even features on the flag of the Canadian far-northeastern territory, Nunavut).^[24]

Cairns have been used throughout what is now Latin America, since pre-Columbian times, to mark trails. Even today, in the Andes of South America, the Quechuan peoples build cairns as part of their spiritual and religious traditions.

He then states that these "Cairn" or "boundary stones" are also done by the Zuni people. And they the stone pillar would be two feet high. Based from Stephen's "Hopi Journal" in 1888 details two brothers, one at Shumo Pavi and Oraibi lands using certain field markings in the figure of Massau'u. The latter placed a monument here and agreed that if Shumopavi increased sufficiently to need more farming land, then the monument can be moved towards Oraibi. He states that the stone is depicted two feet tall. There is a similar stone marked with the head of Masau'u, commemorated the deity's original claim to the enire domain, boundaries and shrines erected to the South and Northeast corner. Now, let's see what Genesis details on the "heap of stone".

Genesis 31:52 “This heap be witness, and this pillar be witness, that I will not pass over this heap to thee, and that thou shalt not pass over this heap and this pillar unto me, for harm.”

Joshua 7:26

“And they raised over him a great heap of stones unto this day. So the LORD turned from the fierceness of his anger. Wherefore the name of that place was called, The valley of Achor, unto this day.”

2 Samuel 18:17

“And they took Absalom, and cast him into a great pit in the wood, and laid a very great heap of stones upon him: and all Israel fled everyone to his tent.”

Job 8:17

“His roots are wrapped about the heap, and seeth the place of stones.”

Joshua 7:26

“And they raised over him a great heap of stones unto this day. So the LORD turned from the fierceness of his anger. Wherefore the name of that place was called, The valley of Achor, unto this day.”

Genesis 31:46

“And Jacob said unto his brethren, Gather stones; and they took stones, and made an heap: and they did eat there upon the heap.”

Here details the Cairn as connect to this as a practice towards Hermes and is shown throughout the world. The Mounds, Stupas, Dolmens and even pyramid-like structures reveal that Thoth, who is Hermes, is tributed. Again, it was Thoth who had something to do with the Pyramids apparently, but also Ancient Aliens did an episode on the "Druids" and detailed how they were worshipers of Cernunnos.

Then in pg 27 states this: "The Traits of both Hermes and Masauu share looking backward over the material so far covered, and forward to two qualities yet to be discussed. The process which brings the bits together runs something like this: both are gods of the dead and the underworld; and are gods of fertility, and fertility, whether vegetable or human, is represented by Phallic images. These images may take the form of stone cairns or pillars which have a double purpose; they have a magical effect in fructifying the field by which they stand, and they may serve as a boundary marker......"

"In relation to the former idea is the concept of fire as a generating life principle, while the boundary marker is also subject to two ideas. After you have passed the boundary, or that your village, you are a traveler or a subject to the dangers that entails among which is the great possibility of death, a thought which brings the complex full circle and ends in the underworld where it began. The Phallic boundary stone may become a tombstone."

Again, let's now see what the Bible states.

Genesis 35:20 “And Jacob set a pillar upon her grave: that is the pillar of Rachel's grave unto this day.”

So, it's revealed the connection of the stone heap and the pillar going back to Jacob, as he made the pillar towards this God.

Here is a story in pg 73, detailing a man name Don who dies and goes into the underworld, but is pursued by Masau'u: "...And now "when I peered down I saw a gruesome creature in the shape of a man climbing the cliff. He was taking long strides with his shining legs and big feet; an old tattered rag of a blanket was flying from his shoulder as he approached swiftly with club in hand. It was big, black, bloodied-headed Masau'u, the God of death coming to catch me...."

This is based on Masau'u trying to catch Don but is able to escape from his clutches. Now, this is where we start going deep based on these connections on Masauu to the God of the pillar in Jacob's dream. But first I want to address something from "Alosaka God" book by Jesse Walter Fewkes, detailing a Bird God. Here is an excerpt "THE BIRD-MAN IN THE SOYALURA: One of the most striking features of the rites of the Winter Solstice ceremony in the chief kiva is the personation, before an altar, of a Bird-man who is thought to represent a solar god. This episode at Walpi has been elsewhere described,’ but as at Oraibi it immediately precedes certain rites directly related to the Al‘dsaka cult, a few notes on the personation of the Bird-man in the latter pueblo will be introduced." (pg 527)

Then here states some interesting excerpts based on the Phallus: pg 526 and 527 "The Hopi have another shrine at which they worship in the New-fire ceremony, but instead of an image this contains a log of silicified wood called Tuwapantumi, " Earth-altar-woman.''

"Exactly who this personage is, the author has not yet discovered, but it is instructive to know that among the Hopi totems which he obtained, one of the men gave as his signature a figure of a lizard, a circle representing the earth, and a horned human figure which was called Tuwaporzttimsi. As this figure recalls that of Alosaka, and as the shrine of the being it represents is visited at the same time as that of Talatumsi by priests guided by Alosaka, it is not impossible that Tuwapontumsi is connected with the Alosaka cult."

"A visit to this shrine was made by the two phallic societies, Tatatdkyamd and Wiiwiitcimtd, directly after the kindling of the new fire in the chief kiva at Walpi. They were led by a man personating AZisukn, and after praying at the shrine they marched in single file to the site of Old Walpi, on the terrace below the present pueblo, and encircled the mounds of this old habitation four times, sprinkling prayer-meal as their leader, Aldsaka, directed. This place is called a sl‘pnpd, and below it are thought to dwell the ancients. The prayers were addressed to the old men who have died. “ Down below us they dwell,” said an old priest. “There the ancients dwell,” said he, patting the ground with his foot.

“ We are now praying to them.” There are many facts which show the existence of ancestor worship atnong the Hopi, but the author never heard it stated more clearly by the priests than the night he accompanied the phallic societies to the ancient site of Walpi in the celebration of the New-fire ceremonies in November, I898."

Then based from the notes states this: "The two societies called the Tninzrki,amzZ and W~~wiifci~itd are termed phallic because they wear on their breasts, arms, and legs, figures of human phalli, and carry in their hands realistic representations of the external female organ of generation cut out of wood or watermelon rind...."

This speaks all to well on the Shiva lingam......

Now, based from learning about the description of this God carrying a "fire drill", definitely connects to the Black God of the Navajos, and in turn does carry a fire drill in the same manner. In fact, both Gods are pretty much the same at this point, but what gets me is the description of this God. Here Masau'u is revealed to having a large oblong head in the shape of a squash, he is taller than a man, is known for the phallic stone, is considered to be black or "shining black", is said to have a tail, his foot is long as the forearm, is said to be frightening in appearance and smells really bad, to being bloody looking, and having face of a skull, thus coining the term "Skeleton God".

Now, I have stated this is the Chapter "The Black God" and "Thoth is Enoch" that the Phallic stone worship is based on Shiva. The descriptions shows Masau'u to somewhat resemble like that of a "Xenomorph", which is shown in a similar manner. When learning about the late H. R. Giger, I noticed that some of the influences seems to connect to H.P. Lovecraft's books like "Necronomicon", leading to the Book of the dead. It seems that a mere man wouldn't be compared to the frightening aspect being described as Masauu. Interesting enough, Giger's art embedded in the Alien movie in 1979 and Species, details the same biomechanical body type shown in the movies as they look like "skeletons". Then when I came across the Alien designs for the 1979 "Alien", it shows that the creature called the "Xenomorph" originally had the skull exposed revealing to be the Skeleton God of the underworld.

Now, the God Masau'u to being likened to the "Christianized Devil", thus connecting to Hermes who is Shiva and Agni the fire God. Based from understanding the "Pillar" shows that it's based on the Dragon God Osiris, Papa Legba, Mahakala who would be the Hindu God Shiva to having other epithets shown throughout the Mythologies. 

The "Black King" is based on the "Black God" who is Bacchus, Mahakala or "Saturn". This would be the God that connects to Osiris/Anubis and would be called "The Lord of Sirius". If you remember, Credo Mutwa details how the Chitauri would have "3" eyes, with the third eye on their forehead, even Krishna was described having the same thing.

Here states some interesting clues as this God Kayra Khan is called the "Black King", as this is similar to the Black God of fire among the Navajos and Massau'u the Lord of the Underworld. In the Bible states that this fire deity had taught the people on how to make "liquors", in which is what the Israelites giving wine offerings to Him. Perhaps, this would be the reason why Madame Blavatsky stated that the God in the Bible is "Bacchus" himself. Even Dionysus is known for the star of "Sirius", thus linking him to "Anubis", "Shiva" and "Osiris". He is called "Chthonios" ("the subterranean"), "Dendrites" ("he of the trees") as a fertility god, and "Lenaius" ("god of the wine-press").

Let's see this excerpt from the book "Isis Unveiled" by Madam Blavatsky [[Vol. 2, Page]] 487 THE GREAT RED DRAGON. According to Josephus, the Hyk-sos were the ancestors of the Israelites.* This is doubtless substantially true. The Hebrew Scriptures, which tell a somewhat different story, were written at a later period, and underwent several revisions, before they were promulgated with any degree of publicity. Typhon became odious in Egypt, and shepherds "an abomination". In the course of the twentieth dynasty he was suddenly treated as an evil demon, insomuch that his effigies and name are obliterated on all the monuments and inscriptions that could be reached.

"....Seth was god of the Hyk-sos, Enoch, or Inachus, of the Argives; and Abraham, Isaac, and Judah have been compared with Brahma, Ikshwaka, and Yadu of the Hindu pantheon. Typhon tumbled down from godhead to devilship, both in his own character as brother of Osiris, and as the Seth, or Satan of Asia...." (Keep in mind the "Satan" of "Asia").

[[Vol. 2, Page]] 524 ISIS UNVEILED. "On the other hand, the characteristics of the Mosaic Jehovah exhibit more of the moral disposition of Siva than of a benevolent, "long-suffering" God. Besides, to be identified with Siva is no small compliment, for the latter is God of wisdom. Wilkinson depicts him as the most intellectual of the Hindu gods. He is three-eyed, and, like Jehovah, terrible in his resistless revenge and wrath. And, although the Destroyer, yet he is the re-creator of all things in perfect wisdom."

Now, in the Wiki states this excerpt on the "Hyksos" and "Set":

"When, c. 1522 BCE, Ahmose I overthrew the Hyksos and expelled them, Egyptians' attitudes towards Asiatic foreigners became xenophobic, and royal propaganda discredited the period of Hyksos rule. The Set cult at Avaris flourished, nevertheless, and the Egyptian garrison of Ahmose stationed there became part of the priesthood of Set. The founder of the Nineteenth Dynasty, Ramesses I came from a military family from Avaris with strong ties to the priesthood of Set. Several of the Ramesside kings were named after the god, most notably Seti I (literally, "man of Set") and Setnakht (literally, "Set is strong"). In addition, one of the garrisons of Ramesses II held Set as its patron deity, and Ramesses II erected the so-called "Four Hundred Years' Stele" at Pi-Ramesses, commemorating the 400th anniversary of the Set cult in the Nile delta."

Based from the website "Sacredtext.com "History of the Devil: Ancient Egypt" details this segment: "Sety I., the second king of the nineteenth dynasty, the shepherd kings, derives his name from the god Set a sign of the high honor in which he was held among the shepherd kings; and indeed we are informed that they regarded Set, or Sutech, as the only true God, the sole deity, who alone was worthy of receiving divine honors. If the time of the shepherd kings is to be identified with the settlement of Jacob's sons in Egypt, and if the monotheism of the Hyksos is the root of Moses's religion, what food for thought lies in the fact that the same awe of a fearful power that confronts us in life, changes among the Egyptians into the demonology of Set, and among the Israelites into the cult of Yahveh! In spite of the terror which he inspired, Set was originally not merely an evil demon but one of the great deities, who, as such, was feared and propitiated."

Now, they state that the Hyksos who are identified as the Jews were the worshipers of Set and based on the 400 years sounds like the Israelites being bound for 400 years in Egypt. However, there is an issue. Based from Madame Blavatsky is correct as the Jews have the three eyed God called Shiva, he is Fudo Myoo and Acala the fire God and is known for the phallic pillar to which Jacob had made the pillar towards this God. It's shown that Shiva who is Agni is really Osiris and not Set, whereas Set is Michael the Archangel who defeated Osiris. The dragon god that was cut up into pieces is based on Michael as the Egyptian god Set cutting up Osiris (as stated from "the Legend of the Bird God" chapter). Based on the statement on the 3 eyed Shiva connects to Osiris and the Lingam which is the pillar. He is known for the sign of Sirius which connects to the Dog symbolism who is Anubis and the Lord of the underworld. Now, what about Set, I will later detail that the God labeled as Set is the real God to have brought the people out of Egypt. There is a reason why this Angel is being written out but again, here I will detail the two "Enochs" or "Thoths" as the two Gods being dealt with by the Israelites. 

Another reference shown to dogs is in Judges chapter 6 about the story of Gideon and the 300 warriors fighting against the Midianites along with other nations. (which is similar to Leonidas and the 300 fighting Greeks against the Persians) In verse 4 and 5 states of God telling Gideon of how many people should go to war against the Midianites. At first Gideon needed to test God on the fleece to be dried out in the wet cold as a sign to go against the Midianites, so then God did so as confirmation. But still, there were too many people to fight ranging from 22,000 to 10,000 so, to cut down the number of men going to war, the God said for those to go down and drink the water and who ever drinks bowing down with their knees shall go home, but the ones that drank the water like a “dog” shall come to war against them. Judges 7:5: “So he brought down the people unto the water: and the LORD said unto Gideon, Every one that lappeth of the water with his tongue, as a dog lappeth, him shalt thou set by himself; likewise every one that boweth down upon his knees to drink.”

So, here Shiva and Anubis has dogs for his symbol, thus connecting to Osiris. Here Dionysus would symbolize the star "Sirius", which is why Ronnie James "Dio" would have a dog like beast who is Satan shown in his Album cover.