Now, we are going to compare the Anunnaki war, the war between Kali and Durga and the Asuras and the Egyptian story on Sekhmet. Let's start with the Anunnaki creating these beings called the Igigi:
Igigi are the mythological figures of heaven in the mythology of Mesopotamia. Though sometimes synonymous with the term "Anunnaki", in the Atrahasis myth the Igigi were the younger beings who were servants of the Annunaki, until they rebelled and were replaced by the creation of humans.
Akkadian Paradise is described as a garden in the myth of Atrahasis where lower rank deities (the Igigi) are put to work digging a watercourse by the more senior deities (the Anunnaki).[3]
When the gods, man-like, Bore the labour, carried the load, The gods' load was great, The toil grievous, the trouble excessive. The great Anunnaku, the Seven, were making the Igigu undertake the toil. The Igigi then rebel against the dictatorship of Enlil, setting fire to their tools and surrounding Enlil's great house by night. On hearing that toil on the irrigation channel is the reason for the disquiet, the Anunnaki council decide to create man to carry out agricultural labour.
Now, we definitely know that the Igigi are the Jinn and the Divs. They said that they don't know what happened to them but shows that they were "replaced" by the humans or modern man.
Based from Kali states this: Her most well-known appearance is on the battlefield in the sixth century text Devi Mahatmyam. The deity of the first chapter of Devi Mahatmyam is Mahakali, who appears from the body of sleeping Vishnu as goddess Yoga Nidra to wake him up in order to protect Brahma and the world from two asuras (demons),Madhu-Kaitabha. When Vishnu woke up he started a war against the two asuras. After a long battle with Vishnu, the two demons were undefeated and Mahakali took the form of Mahamaya to enchant the two asuras. When Madhu and Kaitabha were enchanted by Mahakali, Vishnu killed them.[15]
In later chapters, the story of two asuras who were destroyed by Kali can be found. Chanda and Munda attack the goddess Kaushiki. Kaushiki responds with such anger that it causes her face to turn dark, resulting in Kali appearing out of her forehead. Kali's appearance is dark blue, gaunt with sunken eyes, wearing a tiger skin sari and a garland of human heads. She immediately defeats the two asuras. Later in the same battle, the asura Raktabija is undefeated because of his ability to reproduce himself from every drop of his blood that reaches the ground. Countless Raktabija clones appear on the battlefield. Kali eventually defeats him by sucking his blood before it can reach the ground, and eating the numerous clones. Kinsley writes that Kali represents "Durga's personified wrath, her embodied fury".[15]
Other origin stories involve Parvati and Shiva. Parvati is typically portrayed as a benign and friendly goddess. The Linga Purana describes Shiva asking Parvati to defeat the asura Daruka, who received a boon that would only allow a female to kill him. Parvati merges with Shiva's body, reappearing as Kali to defeat Daruka and his armies. Her bloodlust gets out of control, only calming when Shiva intervenes. The Vamana Purana has a different version of Kali's relationship with Parvati. When Shiva addresses Parvati as Kali, "the dark blue one", she is greatly offended. Parvati performs austerities to lose her dark complexion and becomes Gauri, the golden one. Her dark sheath becomes Kaushiki, who while enraged, creates Kali. In the Devi Bhagavata Purana, Kali turns black out of rage, while battling the demons Shumbha and Nishumbha.
Based on Durga states this:
The historian Ramaprasad Chanda stated in 1916 that Durga evolved over time in the Indian subcontinent. A primitive form of Durga, according to Chanda, was the result of "syncretism of a mountain-goddess worshipped by the dwellers of the Himalaya and the Vindhyas", a deity of the Abhiras conceptualised as a war-goddess. Durga then transformed into Kali as the personification of the all-destroying time, while aspects of her emerged as the primordial energy (Adya Sakti) integrated into the samsara (cycle of rebirths) concept and this idea was built on the foundation of the Vedic religion, mythology and philosophy. Epigraphical evidence indicates that regardless of her origins, Durga is an ancient goddess. The 6th-century CE inscriptions in early Siddhamatrika script, such as at the Nagarjuni hill cave during the Maukhari era, already mention the legend of her victory over Mahishasura (buffalo-hybrid demon). Durga as a demon-slaying goddess was likely well established by the time the classic Hindu text called Devi Mahatmya was composed, which scholars variously estimate to between 400 and 600 CE. The Devi Mahatmya and other mythologies describe the nature of demonic forces symbolized by Mahishasura as shape-shifting and adapting in nature, form and strategy to create difficulties and achieve their evil ends, while Durga calmly understands and counters the evil in order to achieve her solemn goals.
The most popular legend associated with the goddess is of her killing of Mahishasura. Mahishasura was a half-buffalo demon who did severe penance in order to please Brahma, the creator. After several years, Brahma, pleased with his devotion, appeared before him. The demon opened his eyes and asked the god for immortality. Brahma refused, stating that all must die one day. Mahishasura then thought for a while and asked a boon that only a woman could be able to kill him. Brahma granted the boon and disappeared. Mahishasura started to torture innocent people. He captured Svarga and was not in any kind of fear, as he thought women to be powerless and weak. The devas were worried and they went to Trimurti. The Trimurti combined their power, and gave a physical form to the sum of their divine energy, Adi Shakti, a warrior woman with many arms. Himavan, the personification of the Himalayas, gifted a lion as her mount.
Durga, on her lion, appeared before Mahishasura where the demon took on different forms and attacked the goddess. Each time, Durga would destroy his forms. At last, Durga slew Mahishasura with her trident when he was transforming as a buffalo demon. According to Vaishnava tradition, Durga is among the various epithets and avatars of Yogamaya, the personification of the illusory power of Vishnu. Vishnu offers Durga the task of transferring the seventh child of Devaki into the womb of Rohini, as well as being born on earth as the infant daughter of Yashoda and Nanda, so that she could be swapped with Krishna. When Kamsa attempted to slay her, she manifested her true form of an eighteen-armed goddess, wearing a garland of lemons. The goddess announced that Kamsa's slayer had already been born, before vanishing.[77]Durga is often conceptualised in this role as a sister of Vishnu.
Here states that Vishnu and Kali/Durga were generally together before the God Siva, though Siva is Kali/Durga's husband depending on stories. But Siva having the Ganas and him being worshiped by the Asuras, details that this as a different concept on him being Mahishasura. If this is the case as Siva was never of Kali or Durga but Vishnu, as Siva being of the Asuras would often be linked to riding on the bull or calf connecting to Mahishasura and Yama the fire God. However, I still find that Vishnu, Siva and Mahakala are generally the same and is linked to Kali, Durga and Parvati, but will get this as well.
Now, since the story of Thoth and the Atlanteans has been established as the destruction of Lemuria, then we can further break down that the God of Lemuria is Poseidon who is Vishnu the seven headed serpent. So, before I had some idea on Poseidon being separate from Hades, but in actuality they are very much connected because they all represent the serpent and the symbol of Sirius which is where the Dog, Dagon and Dragon came from. Osiris and Isis both represent Sirius and are Serapis, Bacchus to Shiva and the goddess Kali have their connections to the water symbolism and the underworld. This is where the devil having the pitchfork comes from as the Trident of Poseidon and the Trishula of Shiva all connect together. We will see how this connects to the "Dweller" in Thoth's Emerald Tablets".
Then to the Dragon being red was that this is African Densu the wrathful red God of the waters with his wife Mami Wata and is also noted to have red hair and black skin connecting to Typhon or "Typhoon", and Gong Gong the Dragon God of the waters. Just as the Scylla is known for dogs and is the Goddess of the waters, also the same was said for Poseidon who is Osiris and Dagon. Osiris would be ordained with scales and him being the lord of the underworld connecting to Apep the serpent all details the same God. Then comes Shiva who is noted to have the trident in the same way as Poseidon and yet is an amalgamation of Yama who is the Demon God of the underworld, however, Poseidon is also shown to be a chthonic deity linking to the Underworld. Poseidon is the God of the Earth, thus having his domain from the waters and the lands. Then the "Black Conical stone" mentioned in Ignatius Donnelly's book "Atlantis: The Antediluvian world" is shown to be the Sivalingam all connecting to the cult of Dagon and is the representation of the Black Buddha and the serpent. The Sivalingam is Poseidon's "flint stone" that came to America after the fall of Atlantis (Lemuria) and is also called the stone of Aphrodite.
It's noted that Poseidon is the God of the Earth, meaning that he is the King of the World, in both the underworld and the seas originally. This is where we start connecting the Black Buddha to Shiva, the seven headed serpent and how this God had fought against the Michael the Archangel.
Let's recap on Poseidon:
"Poseidon is one of the twelve Olympians in ancient Greek religion and mythology, presiding over the sea, storms, earthquakes and horses.[2]He was the protector of seafarers and the guardian of many Hellenic cities and colonies. In pre-Olympian Bronze Age Greece, Poseidon was venerated as a chief deity at Pylos and Thebes, with the cult title "earth shaker";[2]in the myths of isolated Arcadia, he is related to Demeter and Persephone and was venerated as a horse, and as a god of the waters.[3]Poseidon maintained both associations among most Greeks: he was regarded as the tamer or father of horses,[2]who, with a strike of his trident, created springs (the terms for horses and springs are related in the Greek language).[4]His Roman equivalent is Neptune.
Homer and Hesiod suggest that Poseidon became lord of the sea when, following the overthrow of his father Cronus, the world was divided by lot among Cronus' three sons; Zeus was given the sky, Hades the underworld, and Poseidon the sea, with the Earth and Mount Olympus belonging to all three.[2][5]In Plato's Timaeus and Critias, the legendary island of Atlantis was Poseidon's domain.[6][7][8]In Homer's Iliad, Poseidon supports the Greeks against the Trojans during the Trojan War. In the Odyssey, during the sea-voyage from Troy back home to Ithaca, the Greek hero Odysseus provokes Poseidon's fury by blinding his son, the Cyclops Polyphemus, resulting in Poseidon punishing him with storms, causing the complete loss of his ship and numerous of his companions, and delaying his return by ten years.
Poseidon is famous for his contests with other deities for winning the patronage of the city. According to legend, Athena became the patron goddess of the city of Athens after a competition with Poseidon, though he remained on the Acropolis in the form of his surrogate, Erechtheus. After the fight, Poseidon sent a monstrous flood to the Attic plain to punish the Athenians for not choosing him.[9]In similar competitions with other deities in different cities, he causes devastating floods when he loses. Poseidon is a horrifying and avenging god and must be honoured even when he is not the patron deity of the city. Some scholars suggested that Poseidon was probably a Pelasgian god or a god of the Minyans. However, it is possible that Poseidon, like Zeus, was a common god of all Greeks from the beginning.
Poseidon was the chief god at Pylos. The title wa-na-ka appears in the inscriptions. Poseidon was identified with wanax from the Homeric era to classical Greece. (anax). The title didn't mean only king, but also protector. Wanax had chthonic aspects, and he was closely associated with Poseidon, who had the title "Lord of the Underworld". The chthonic nature of Poseidon is also indicated by his title E-ne-si-da-o-ne (Earth-shaker) in Mycenean Knossos and Pylos. Through Homer the epithet was also used in classical Greece. (ennosigaios, ennosidas).
During the Mycenean period, the ancestral male gods of the Myceneans were probably not represented in human forms, and the information given by the tablets found at Pylos and Knossos is insufficient.[32]Poseidon was the chief deity at Pylos and Thebes. He is identified with Anax and he carried the title "Master of the Underworld". Anax had probably a cult associated with the protection of the palace.[24]In Acrocorinth he was worshipped as Poseidon Anax during the Mycenean age.[34]In the city there was the famous spring Peirene which in a myth is related to the winged horse Pegasus.[35]In Attica there was a cult of Anax heroes who was connected to Poseidon.[34]A cult title of Poseidon was "earth-shaker" and in Knossos he was worshipped together with the goddess Eleithyia who was related to the annual birth of the divine child.[34]Potnia was the Mycenean goddess of nature and she was the consort of Poseidon at Pylos. She is mentioned together with bucrania in decorated jugs and he was associated with the animals and especially to the bull.[24]In Athens Poseidon was an inland god who created the salt-sea Erecthēιs (Ερεχθηίς), "sea of Erechtheus". In Acropolis his cult was superimposed on the cult of the local ancestral figure Erechtheus.[2]In Athens and Asine he was worshipped in the house of the king during the Mycenean period.[35]The bull was the favourite animal for sacrifices and it seems that horses were rarely used during the burial of the Mycenean leaders.
The Arcadian Myth:
In the Arcadian myths, Poseidon is related to Demeter and Despoina (another name of Kore- Persephone) and he was worshipped with the surname Hippios in many Arcadian cities.[10]At Thelpusa and Phigalia there were sister worships which are very important for the study of primitive religions. In these cults Demeter and Poseidon were chthonic divinities of the underworld.
Near Thelpusa the river Ladon descended to the sunctuary of Demeter Erinys (Demeter-Fury). During her wandering in search of her daughter Demeter changed into a mare to avoid Poseidon. Poseidon took the form of a stallion and after their mating she gave birth to a daughter whose name was not allowed to be told to the uninitiated and a horse called Arion (very swift). Her daughter obviously had the shape of a mare too. At first Demeter became angry and she was given the surname Erinys (fury) by the Thelpusians. The Erinyes were deities of vengeance, and Erinys had a similar function with the goddess Dike (Justice).[36]In the very old myth of Thelpusa Demeter-Erinys and Poseidon are divinities of the underworld in a pre-mythic period. Poseidon appears as a horse. In Greek folklore the horses had chthonic associations, and it was believed that they could create springs.[10]In European folklore the water-creatures or water-spirits appear with the shape of a horse or a bull. In Greece the river god Acheloos is represented like a bull or a man-bull.[37]Many people when sacrificed to Demeter should make a preliminary sacrifice to Acheloos[29]
At Phigalia Demeter had a sanctuary in a cavern and she was given the surname Melaina(black). The goddess was related to the black underworld. In a similar myth Poseidon appears as horse and Demeter gives birth to a daughter whose name was not allowed to be told to the uninitiated (At Lycosura her daughter was called Despoina). Demeter angry with Poseidon put on a black dressing and shut herself in the cavern. When the fruits of the earth had perished, Zeus sent the Moirai to Demeter who listened to them and led aside her wrath. In this cult we have traces of a very old cult of Demeter and Poseidon as deities of the underworld. In another Arcadian myth when Rhea had given birth to Poseidon, she told Cronus that she had given birth to a horse, and gave him a foal to swallow instead of the child.[10][38]In the Homeric Hymn Demeter puts a dark mourning robe around her shoulders as a sign of her sorrow.[29]Demeter's mare-form was worshipped into historical times. The xoanon of Melaina at Phigalia shows how the local cult interpreted her, as goddess of nature. A Medusa type with a horse's head with snaky hair, holding a dove and a dolphin, probably representing her power over air and water.
Boeotian myths:
The myth of Poseidon appearing as a horse and mating with Demeter was not localized in Arcadia. At Haliartos in Boeotia near Thebes Poseidon appears as stallion. He mates with Erinys near the spring of Tilpousa and she gives birth to the faboulous horse Arion.[10]At Tilpusa we have a very old cult of the chthonic deities Erinys and Poseidon. The water-god Poseidon[40]appears as a horse which seems to represent the water-spirit[37]and Erinysis probably the personification of a revenging earth-spirit.[41][36]From earlier times at Delphi Poseidon was joined in a religious union with the earth-goddess Ge. She is represented as a snake which is a form of the earth-spirit.[40]
In the Theogony of Hesiod Poseidon once slept with the monstrous Medousa near the mountain Helikon. She conceived the winged horse Pegasus who sprang out of her body when Perseus cut off her head. Pegasus stuck the ground with his hoof and created the famous spring Hippocrene near Helikon. Praxidicai were female deities of judicial punishment worshipped in the region of Haliartos in the historical times. Their origin is probably the same with Erinys. Their images depicted only the heads of the goddesses probably a representation of the earth goddess emerging from the ground.[29]Praxidice is an epithet of Persephone in the Orphic Hymn. Persephone is sometimes depicted with her head emerging from the ground.
During the Mycenean period Poseidon was worshipped in several regions in Greece. At Pylos and some other cities he was a god of the underworld (Lord of the Underworld) and his cult was related to the protection of the palace. He carried the title anax, king or protector. His consort potnia, lady or mistress, was the Mycenean goddess of nature. Her main aspects were birth and vegetation.[24]Poseidon had the title "Enesidaon" (earth-shaker) and in Crete he was associated with the goddess of childbirth Eleithyia. Through Homer the Mycenean titles were also used in classical Greece with similar meaning. He was identified with anax and he carried the epithets "Ennosigaios" and "Ennosidas" (earth-shaker).Potnia was a title which accompanied female goddesses.[44]The goddess of nature survived in the Eleusinian cult, where the following words were uttered: "Mighty Potnia bore a strong son".[45]In the heavily sea-dependent Mycenaean culture, there is not sufficient evidence that Poseidon was connected with the sea; it is unclear whether "Posedeia" was a sea-goddess.The Greeks invaders came from far inland and they were not familiarized with the sea.
In the primitive Boeotian and Arcadian myths Poseidon, the god of the underworld, appears as a horse and he is mating with the earth goddess.[40]The earth goddess is called Erinys or Demeter and she gives birth to the fabulous horse Arion and the unnamed daughter Despoina, which is another name of Persephone.[10]The horse represents the divine spirit (numen) and is related to the liquid element and the underworld.[47]In Greek folklore the horse is associated with the underworld and it was believed that it had the ability to create springs.[10]In the European folklore the water-spirit appears with the shape of a horse or a bull. In Greece the river god Acheloos is represented as a bull or a man-bull.
Burkert suggests that the Hellenic cult of Poseidon as a horse god may be connected to the introduction of the horse and war-chariot from Anatolia to Greece around 1600 BC. In the Boeotian myth Poseidon is the water-god and Erinys is a goddess of the underworld.[40]She is probably the personification of a revenging earth spirit[41][48]and it seems that she had a similar function with the goddess Dike (Justice).[36]At the spring "Tilpousa" she gives birth to Arion. In the Arcadian myth Poseidon Hippios (horse) is mating with the mare-Demeter. At Thelpousa Demeter-Erinys gives birth to Arion and to an unnamable daughter who has the shape of a mare. In some neighbour cults the daughter was called Despoina (mistress), which is another name of Persephone.[10]The theriomorphic form of gods seems to be local in Arcadia in an old religion associated with xoana.
According to some theories Poseidon was a Pelasgian god or a god of the Minyans. Traditionally the Minyans are considered Pelasgians and they lived in Thessaly and Boeotia. In Thessaly (Pelasgiotis) there was a close relation to the horses. Poseidon created the first horse Skyphios hitting a rock with his trident and managed in the same way to drain the valley of Tempe.[13]The Thessalians were famous charioteers.[49]Some of the oldest Greek myths appear in Boeotia. In ancient cults Poseidon was worshipped as a horse. The horse Arion was a sire of Poseidon-horse with Erinys and the winged horse Pegasusa sire of Poseidon foaled by Medousa.[10]At Onchestos he had an old famous festival which included horseracing.[10]However it is possible that Poseidon like Zeuswas a common god of all Greeks from the beginning.[13]
It is possible that the Greeks did not bring with them other gods except Zeus, Eos, and the Dioskouroi.[47]The Pelasgian god probably represented the fertilising power of water, and then he was considered god of the sea. As the sea encircles and holds the earth in its position, Poseidon is the god who holds the earth and who has the ability to shake the earth.[50]The primeval water who encircled the earth (Oceanus) is the origin of all rivers and springs. They are children of Oceanus and Tethys.[35]
Farnell suggested that Poseidon was originally the god of the Minyans who occupied Thessaly and Boeotia. There is a similarity between the Boeotian and Arcadian myths and especially between the myths which represent the god of the waters Poseidon as a horse.[40]The mythical horse Arion appears in both regions. The offspring of Poseidon winged horse Pegasus creates famous springs near Helikon and at Troizen. Some springs of Poseidon have similar names in Boeotia and Peloponnese.[13][12]It is possible that the name of Poseidon Helikonios in Boeotia whose fest included horseracing derives from the mountain Helikon. The Minyans had trade contacts with Mycenean Pylos and the Achaeans adopted the cult of Poseidon Helikonios. The cult spread in Peloponnese and then to Ionia when the Achaeans migrated to Asia Minor.
Nilsson suggested that Poseidon was probably a common god of all Greeks from the beginning. The Greeks occupied Thessaly, Boeotia and Peloponnese during the Bronze Age. In all these regions Poseidon was the god of the horses. The origin of his cult was Peloponnese and he was the inland god of the Achaeans, the god of the "horses" and the "earthquakes". When the Achaeans migrated toIoniathere was a transition to regarding Poseidon as the god of the sea because the Ionians were sea-dependent.[35]With no doubt he was originally the god of the waters. The Greeks believed that the cause of the earthquakes was the erosion of the rocks by the waters, by the rivers in Peloponnese which they saw to disappear into the earth and then to burst out again. The god of the waters became the "earth-shaker".[35][51]This is what the natural philosophers Thales Anaximenes and Aristotle believed and could not be different from the folk belief.[52]In the Greek legends Arethusa and the river Alpheus traversed underground under the sea and reappeared at Ortygia. In any case, the early importance of Poseidon can still be glimpsed in Homer's Odyssey, where Poseidon rather than Zeus is the major mover of events. In Homer, Poseidon is the master of the sea.[55]He is described as a majestic, scary, and avenging monarch of the sea.
So, based on the Poseidon details him to being the cause of earthquakes, in which will connect to the Emerald Tablets. Here states on Yam:
Yam was a god representing the sea and other sources of water worshiped in various locations on the eastern Mediterranean coast, as well as further inland in modern Syria. He is best known from the Ugaritic texts. While he was a minor deity in Ugaritic religion, he is nonetheless attested as a recipient of offerings, and a number of theophoric names invoking him have been identified. He also played a role in Ugaritic mythology. In the Baal Cycle he is portrayed as an enemy of the weather god, Baal. Their struggle revolves around attaining the rank of the king of the gods. The narrative portrays Yam as the candidate favored by the senior god El, though ultimately it is Baal who emerges victorious. Yam nonetheless continues to be referenced through the story after his defeat. In texts from other archaeological sites in Syria, attestations of Yam are largely limited to theophoric names. In Emar he was among the many deities venerated during a local festival, zukru, which took place once every seven years.
Yam was also known in Ancient Egypt, though there is no evidence that he was actively worshiped in ancient Egyptian religion. He plays a role in a myth preserved in the so-called Astarte Papyrus, which is presumed to be an adaptation of western motifs, though not necessarily of the Baal Cycle. Yam is portrayed as an enemy of the Ennead who demands a tribute from the other gods, while the eponymous goddess is tasked with bringing it to him. Set, who serves as a stand-in for Baal, is responsible for defeating him, though the outcome of their battle is only known from references in incantations, as the ending of the Astarte Papyrus is not preserved. Yam is also present in the Tale of Two Brothers.
In the Hebrew Bible, Yam appears as an enemy of Yahweh. It is presumed that his presence reflects a reference of a shared West Semitic tradition on early Israelite literature. A further possible reference to Yam has been identified in the Phoenician History of Philo of Byblos, a Hellenistic euhemeristic work combining Phoenician and Greco-Roman elements. One of the figures mentioned in this work, Pontos, is presumed to constitute a translation of Yam.
In comparative scholarship, Yam's role in the Baal Cycle is often analyzed alongside other myths from the region focused on battles between figures representing the weather and the sea. Historically the conflict with Tiamat in Enūma Eliš was seen as a close parallel, though in more recent scholarship differences between these two narratives and the respective roles of these figures have also been pointed out. Comparisons have also been made between Yam and Kiaše and Ḫedammu from Hurrian mythology.
In the Baal Cycle (KTU1.1-1.6) Yam is portrayed as one of the enemies of the eponymous god, Baal.[44]He is his main rival in the struggle for the status of king of the gods.[45]The conflict between Yam and Baal is considered one of the three major episodes of the Baal Cycle, with the other two being the construction of Baal’s palace and his conflict with Mot. It forms approximately one third of the full composition.[11]Theodore J. Lewis has summarized the confrontation between them as “the second most riveting scene in the Baʿlu Cycle (bettered only by Baʿlu’s battle with Motu)”. The motif of the combat between the weather god and the sea first occurs in a letter sent by a certain Nūr-Sîn, a representative of Mari in Aleppo, to king Zimri-Lim.[49]A passage in it has the form of a message from Adad:
I gave the entire of this land to Yahdun-Lim! Furthermore, because of my weaponry, he had no rival. He forsook me, so the land that I had given to him I gave to Shamshi-Adad. [...] that I could restore you to the throne of your father’s house. I did restore you! I gave you the weaponry with which I did battle with the Sea. I anointed you with the oil of my triumph, so no one stood against you. It has been argued that an incantation from Ebla in which the weather god, Hadda, vanquishes snakes with the help of Ammarik, might be an even earlier example,[51]but according to Daniel Schwemer no conclusive evidence in favor of this interpretation is available.[52]In the early tradition the enemy of the weather god was known as Têmtum,[53]a “sea numen” (Meernumen).[52]The name of this figure was written without the so-called divine determinative (dingir) in cuneiform. Seals showing a weather god striking a serpent have been tentatively identified as a representation of the battle between Adad and Têmtum.[54] Maciej Popko [de] has proposed that the motif of battle against the sea reached inland Syria from Ugarit, but this interpretation is regarded as unlikely.[52]Most likely a variant of the account known from the Mari was integrated into Ugaritic tradition, and as a result eventually into the Baal Cycle.[55]
In the beginning of the Ugaritic narrative, Yam is presented as El’s favored candidate for the position of the king of the gods, and he seemingly enjoys the support of much of the divine council.[56]He is described as “the beloved of El” (mdd ‘il),[57]which reflects the special status assigned to him by the head of the pantheon.[45]He also receives the name Yam from him in place of his original name YW(𐎊𐎆).[58]The interpretation of the latter remains a matter of scholarly dispute, though it has been tentatively related to Ieuo known from Philo of Byblos’ Phoenician History, a deity apparently worshiped in Beirut in antiquity.[59]Smith argues that "Ieuo is more likely to be a deity indigenous to Phoenicia than to Israel, and the identification to Ieuo with Yamm/yw, though by no means assured, is preferable to an equation with Yahweh"[60]It is possible that Athirat is responsible for proclaiming the bestowal of the additional name upon Yam.[61]El also addresses Yam as his son, which might reflect either actual parentage or adoption related to his royal status.[62]Furthermore, he orders Kothar-wa-Khasis to build a palace for the sea god.[63]Its construction is meant to signify his legitimacy.[64]Baal’s position in the narrative is comparatively weaker, but he is presented as the better candidate for the position of the king of the gods by the narrator.[56]
Yam is also mentioned in the passage which follows the description of El enlisting Kothar-wa-Khasis’ help, which focuses on Shapash, but due to the state of preservation of the tablet the full context remains uncertain.[65]The sun goddess, apparently acting as a messenger, is talking with Athtar, who has just learned about Yam’s new position and shows displeasure with not being selected himself.[66]However, she points out to him that if El wants to make Yam the king, he will not hearken to Athtar’s opinion.[67]She also warns him that if he questions the new status quo, El might in turn question his authority.[68]Athtar as a result does not interfere with Yam’s activities.[69]Yam subsequently meets with his own messengers.[70]These two minor deities, addressed as "the embassy of judge Nahar" (t’dt ṯpṭ nhr), are left unnamed.[71]They are described as fiery.[72]This lead researchers to compare them with other messengers known from Ancient Near Eastern religious literature said to possess similar qualities, such as the Mesopotamian god Ishum (“fire”), an attendant of Erra, as well as the angel from Exodus 3:2 described as a “fiery flame” or the seraphim, whose name is derived from the root*śrp, “to burn”.[73]While a "servant of Yam" or "youth of Yam" (gml ym)[74]is also mentioned in the Epic of Kirta, according to Manfred Krebernik [de]this phrase might only be a poetic way to refer to a wave or sea creature in this context.[75]Yam tells the messengers to visit the divine assembly, instructing them in advance to not bow down to El.[70]This represents a breach of social norms, as in theory as deities of lesser rank they are not permitted to show defiance.[76]They are also told to repeat Yam’s announcement to the other gods:
Decree of Yamm, your Master,
Your Lord, Judge River:
"Give up, o Gods, the one you obey,
The one you obey, o Multitude;
Give up Baal that I may humble him,
The Son of Dagan that I may seize his gold.”[78]
As soon as the gathered gods notice they the approaching, they bow their heads, but Baal rebukes them for it.[79]The reaction of the assembly presumably reflects submission to Yam’s rule.[80]The messengers eventually arrive, and following Yam’s instructions do not bow to anyone while presenting the message.[81]El responds by declaring Baal is now to be considered Yam’s captive, and obliges him to provide the sea god with tribute.[82]Baal wants to attack the messengers, though he is stopped by Ashtart and Anat.[83]It has been argued that this point of the narrative represents the peak of Yam’s power over the pantheon, with only Baal being willing to oppose him.[84]The next passage is poorly preserved, but it has been proposed that either Baal or Yam issues a declaration of battle to the other through messengers. The beginning of the section describing the confrontation between the two rivals is difficult to interpret, but it is presumed Baal falls under the power of Yam, apparently described as “the sieve of destruction”.[86]Mark S. Smith argues that since Yam is still at “the apogee of his power”, Baal apparently curses against him.
It has been proposed that he subsequently sinks underneath Yam’s throne and a third party, possibly Ashtart, affirms that he is losing, though the interpretation of this fragment is disputed.[88]However, Kothar-wa-Khasis reassures Baal and crafts two weapons for him, declaring that he will be able to defeat Yam.[89]They are presumed to be either maces or fictional lightning-like weapons, known from depictions of weather gods.[90]They both receive names, meant to designate them as capable of “expelling” and “driving away” Yam from his throne.[91]Baal first strikes him with Yagarrish (“may-it-drive-out”), but is unsuccessful, and only with the second strike, using Ayyamarri (“anyone-it-may-expel”), does he actually defeat him.[48]Yam collapses on the ground,[92]though the fight continues.[93]Baal might be “ensnaring” him.[94]A possible reference to “drying up” has also been identified.[95]In the following passage Ashtart according to most interpreters rebukes Baal, possibly because he did not act quickly or wisely enough in battle.[96]Alternate proposals include understanding her words as a warning not to further harm already defeated Yam, or a curse directed at the sea god.[48]The meaning of the term describing Baal’s actions in Ashtart’s speech, bṯ, is uncertain, though “scatter” has been proposed based on a possible Arabic cognate, baṯṯa, and on similar phrasing of the later section of the text dealing with Anat’s victory over Mot.
Ashtart subsequently proclaims Yam is now their captive.[48]This declaration constitutes a reversal of El ordering Baal to become Yam’s captive in an earlier section of the story.[97]In the next passage uncertain speakers, possibly Ashtart and Kothar-wa-Khasis, proclaim Baal’s kingship and state that Yam is dead.[99]However, it is a matter of debate if he is actually destroyed or killed as a result of his battle with Baal.[100]Meindert Dijkstra assumes that he was not,[101]and Baal’s victory only curtailed his power.[102]Mark S. Smith notes that while the verb used to describe the conclusion of the fight,tkly, does have the base meaning of “destroy”, in the light of further references to Yam in the story it is possible that either itsverbal moodis meant to indicate that Baal only “would destroy” him if given the chance, or that it constitutes a relic of an earlier version of the story.[100]He proposes that incorporation of the conflict between Baal and Yam into a longer narrative necessitated his reappearance despite a possible earlier version simply concluding with his death.[103]It is also possible that Yam’s continuous presence is meant to highlight that he represents a lasting threat, and perhaps hint at the battles against him repeating eternally.
Yam continues to play a role in the story of the Baal Cycle after his defeat. The section which immediately follows describes Baal hosting a banquet on Mount Saphon, possibly in order to celebrate Yam’s defeat, but neither the attendees nor its purpose are known due to a lacuna. In another passage, Anat mentions Yam while enumerating enemies she defeated after being approached by Gupan and Ugar:
Surely I struck down Yamm, the Beloved of El,
Surely I finished off River, the Great God,
Surely I bound Tunnanu and destroyed him.
I struck down the Twisty Serpent,
The Powerful One with Seven Heads.
I struck down Desire, Beloved of El,
I destroyed Rebel, Calf of El.
I struck down Fire, Dog of El,
I annihilated Flame, Daughter of El,
That I might fight for silver, inherit gold.
Based from the "Ba'al" cycle:
The beginning of the story of the battle between Baʿal and Yamis lost, but we first hear of Kothar-wa-Khasis, the craftsman of the gods being summoned to El, who resides at the confluence of the rivers and the two oceans. El tells him to build a palace for Yam, and to do so quickly in case Yam should take hostile action. When Athtar hears of this, s/he takes a torch down, the purpose of which is not known due to the damaged text, but s/he is confronted by Shapash, who tells her/him that El is to bestow royal power on Yam, and so opposition is useless. Athtar then complains that he has no place or court, and that he now fears defeat at the hands of Yam. Shapash suggests the reason to be that he has no wife, perhaps meaning he is too young.[6]
The text following is lost, but resumes with El sitting in his banquet hall. Here he is addressed by the other deities, who complain that Yam is being put to shame. Though the damaged text makes the reason unclear, it seems the reason is connected to his palace. The gods threaten that unless this situation is resolved they will wreak destruction. El gives them curdled milk, apparently a mark of esteem. El calls that his son's name hitherto has been Yaw, a personal name. El then proclaims that his name should be 'darling of El'. However, he informs Yam that he would have to drive his rival Baʿal from his throne and the seat of his dominion. Following this there is a banquet.[7]
When the story resumes, Kothar-wa-Khasis has arrived under the sea and tells Yam that he has risen presumptuously to his position, and that Baʿal cannot stand idly by. He threatens that Yam will be destroyed by a magic weapon. Yam then sends word to El, on the mount of Lel, El's abode, demanding the surrender of Baʿal and his henchmen. However, Baʿal, upon hearing this on the mount of Lel attacks the envoys, though Anat and Athtart hold him back.[8]
When the story resumes, Baʿal has already started to battle Yam, but is in despair due to the power of Yam, and the fierce sea-creatures. Kothar-wa-Khasis assures Baʿal that he will be victorious and will win a kingdom without end, and fetches two divine clubs for Baʿal's use. He gives them magic names, and strikes Yam the first two times himself. Baʿal then drags out Yam and finishes him off. Then Athtart tells Baʿal to scatter his rival, which he does, and then he cries out that Yam is dead, and that he shall be King.
Job Chapter 41
1Canst thou draw out leviathan with an hook? or his tongue with a cord which thou lettest down?
2Canst thou put an hook into his nose? or bore his jaw through with a thorn?
3Will he make many supplications unto thee? will he speak soft words unto thee?
4Will he make a covenant with thee? wilt thou take him for a servant for ever?
5Wilt thou play with him as with a bird? or wilt thou bind him for thy maidens?
6Shall the companions make a banquet of him? shall they part him among the merchants?
7Canst thou fill his skin with barbed irons? or his head with fish spears?
8Lay thine hand upon him, remember the battle, do no more.
9Behold, the hope of him is in vain: shall not one be cast down even at the sight of him?
10None is so fierce that dare stir him up: who then is able to stand before me?
11Who hath prevented me, that I should repay him? whatsoever is under the whole heaven is
12I will not conceal his parts, nor his power, nor his comely proportion.
13Who can discover the face of his garment? or who can come to him with his double bridle?
14Who can open the doors of his face? his teeth are terrible round about.
15Hisscalesare his pride, shut up together as with a close seal.
16One is so near to another, that no air can come between them.
17They are joined one to another, they stick together, that they cannot be sundered.
18By his neesings a light doth shine, and his eyes are like the eyelids of the morning.
19Out of his mouth go burning lamps, and sparks of fire leap out.
20Out of his nostrils goeth smoke, as out of a seething pot or caldron.
21His breath kindleth coals, and a flame goeth out of his mouth.
22In his neck remaineth strength, and sorrow is turned into joy before him.
23The flakes of his flesh are joined together: they are firm in themselves; they cannot be moved.
24His heart is as firm as a stone; yea, as hard as a piece of the nether millstone.
25When he raiseth up himself, the mighty are afraid: by reason of breakings they purify themselves.
26The sword of him that layeth at him cannot hold: the spear, the dart, nor the habergeon.
27He esteemeth iron as straw, and brass as rotten wood.
28The arrow cannot make him flee: slingstones are turned with him into stubble.
29Darts are counted as stubble: he laugheth at the shaking of a spear.
30Sharp stones are under him: he spreadeth sharp pointed things upon the mire.
31He maketh the deep to boil like a pot: he maketh the sea like a pot of ointment.
32He maketh a path to shine after him; one would think the deep to be hoary.
33Upon earth there is not his like, who is made without fear.
34He beholdeth all high things: he is a king over all the children of pride.
Isaiah 27:1: “In that day the LORD with his sore and great and strong sword shall punish leviathan the piercing serpent, even leviathan that crooked serpent; and he shall slay the dragon that is in the sea.”
Isaiah 51:9: “Awake, awake, put on strength, O arm of the LORD; awake, as in the ancient days, in the generations of old. Art thou not it that hath cut Rahab, and wounded the dragon?”
So, now that we have connected the Ba'al Cycle to the battle between Garuda and the Naga, we can then find that the God that Job was worshiping was Zeus, and based on the identity of Satan who apparently was cursing Job, details this to be Leviathan himself. The we come to the Emerald Tablets as Thoth meets the "Dweller" and the Seven Lords and Nine Masters. Based from John Keel's Documentary on the Men in Black, details that they are the three messengers who are sent from Lord of the World. This is then identified as the three strangers or Angels that met with Abraham that he would have a child Isaac. Now, based on the apparent flood story details this in the Emerald Tablets:
TABLET V: THE DWELLER OF UNAL
Oft dream I of buried Atlantis,
lost in the ages that have passed into night.
Aeon on aeon thou existed in beauty,
a light shining through the darkness of night.
Mighty in power, ruling the earth-born,
Lord of the Earth in Atlantis' day.
King of the nations, master of wisdom,
LIGHT through SUNTAL,
Keeper of the way,
dwelt in his TEMPLE,
the MASTER of UNAL,
LIGHT of the Earth in Atlantis' day.
Master, HE, from a cycle beyond us,
living in bodies as one among men.
Not as the earth-born,
HE from beyond us,
SUN of a cycle, advanced beyond men.
Know ye, O man, that HORLET the Master,
was never one with the children of men.
Far in the past time when Atlantis first grew as a power,
appeared there one with the KEY of WISDOM,
showing the way of LIGHT to all.
Showed he to all men the path of attainment,
way of the Light that flows among men.
Mastering darkness, leading the MAN-SOUL,
upward to heights that were One with the Light.
Divided the Kingdoms, HE into sections.
Ten were they, ruled by children of men.
Upon another, built HE a TEMPLE,
built but not by the children of men.
Out of the ETHER called HE its substance,
moulded and formed by the power of YTOLAN
into the forms HE built with His mind.
Mile upon mile it covered the island,
space upon space it grew in its might.
Black, yet not black, but dark like the space-time,
deep in its heart the ESSENCE of LIGHT.
Swiftly the TEMPLE grew into being,
moulded and shaped by the WORD of the DWELLER,
called from the formless into a form.
Builded HE then, within it, great chambers,
filled them with forms called forth from the ETHER,
filled them with wisdom called forth by His mind.
Formless was HE within his TEMPLE,
yet was HE formed in the image of men.
Dwelling among them yet not of them,
strange and far different
was HE from the children of men.
Chose HE then from among the people,
THREE who became his gateway.
Choose HE the THREE from the Highest
to become his links with Atlantis.
Messengers they, who carried his council,
to the kings of the children of men.
Brought HE forth others and taught them wisdom;
teachers, they, to the children of men.
Placed HE them on the island of UNDAL to stand as
teachers of LIGHT to men.
Each of those who were thus chosen,
taught must he be for years five and ten.
Only thus could he have understanding to bring
LIGHT to the children of men.
Thus there came into being the Temple, a dwelling place
for the Master of men.
I, THOTH, have ever sought wisdom,
searching in darkness and searching in Light.
Long in my youth I traveled the pathway,
seeking ever new knowledge to gain.
Until after much striving, one of the THREE,
to me brought the LIGHT.
Brought HE to me the commands of the DWELLER,
called me from the darkness into the LIGHT.
Brought HE me, before the DWELLER,
deep in the Temple before the great FIRE.
There on the great throne, beheld I,
the DWELLER, clothed with the LIGHT
and flashing with fire.
Down I knelt before that great wisdom,
feeling the LIGHT flowing through me in waves.
Heard I then the voice of the DWELLER:
"O darkness, come into the Light.
Long have ye sought the pathway to LIGHT.
Each soul on earth that loosens its fetters,
shall soon be made free from the bondage of night.
Forth from the darkness have ye arisen,
closer approached the Light of your goal.
Here ye shall dwell as one of my children,
keeper of records gathered by wisdom,
instrument thou of the LIGHT from beyond.
Ready by thou made to do what is needed,
preserver of wisdom through the ages of darkness,
that shall come fast on the children of men.
Live thee here and drink of all wisdom.
Secrets and mysteries unto thee shall unveil."
Then answered I, the MASTER OF CYCLES, saying:
"O Light, that descended to men,
give thou to me of thy wisdom that
I might be a teacher of men.
Give thou of thy LIGHT that I may be free."
Spoke then to me again, the MASTER:
"Age after age shall ye live through
your wisdom, Aye, when o'er Atlantis the ocean waves roll,
holding the Light, though hidden in darkness,
ready to come when e'er thou shalt call.
Go thee now and learn greater wisdom.
Grow thou through LIGHT to Infinity's ALL."
Long then dwelt I in the Temple of the DWELLER
until at last I was One with the LIGHT.
Followed I then the path to the star planes,
followed I then the pathway to LIGHT.
Deep into Earth's heart I followed the pathway,
learning the secrets, below as above;
learning the pathway to the HALLS of AMENTI;
learning the LAW that balances the world.
To Earth's hidden chambers pierced I by my wisdom,
deep through the Earth's crust, into the pathway,
hidden for ages from the children of men.
Unveiled before me, ever more wisdom
until I reached a new knowledge:
found that all is part of an ALL,
great and yet greater than all that we know.
Searched I Infinity's heart through all the ages.
Deep and yet deeper, more mysteries I found.
Now, as I look back through the ages,
know I that wisdom is boundless,
ever grown greater throughout the ages,
One with Infinity's greater than all.
Light there was in ancient ATLANTIS.
Yet, darkness, too, was hidden in all.
Fell from the Light into the darkness,
some who had risen to heights among men.
Proud they became because of their knowledge,
proud were they of their place among men.
Deep delved they into the forbidden,
opened the gateway that led to below.
Sought they to gain ever more knowledge but
seeking to bring it up from below.
He who descends below must have balance,
else he is bound by lack of our Light.
Opened, they then,
by their knowledge,
pathways forbidden to man.
But, in His Temple, all-seeing, the DWELLER,
lay in his AGWANTI, while through Atlantis,
His soul roamed free.
Saw HE the Atlanteans, by their magic,
opening the gateway that would
bring to Earth a great woe.
Fast fled His soul then, back to His body.
Up HE arose from His AGWANTI.
Called HE the Three mighty messengers.
Gave the commands that shattered the world.
Deep 'neath Earth's crust to the HALLS of AMENTI,
swiftly descended the DWELLER.
Called HE then on the powers the Seven Lords wielded;
changed the Earth's balance.
Down sank Atlantis beneath the dark waves.
Shattered the gateway that had been opened;
shattered the doorway that led down below.
All of the islands were shattered except UNAL,
and part of the island of the sons of the DWELLER.
Preserved HE them to be the teachers,
Lights on the path for those to come after,
Lights for the lesser children of men.
Called HE then, I THOTH, before him,
gave me commands for all I should do, saying:
"Take thou, O THOTH, all of your wisdom.
Take all your records, Take all your magic.
Go thou forth as a teacher of men.
Go thou forth reserving the records
until in time LIGHT grows among men.
LIGHT shalt thou be all through the ages,
hidden yet found by enlightened men.
Over all Earth, give WE ye power,
free thou to give or take it away.
Gather thou now the sons of Atlantis.
Take them and flee to the people of the rock caves.
Fly to the land of the Children of KHEM."
Then gathered I the sons of Atlantis.
Into the spaceship I brought all my records,
brought the records of sunken Atlantis.
Gathered I all of my powers,
instruments many of mighty magic.
Up then we rose on wings of the morning.
High we arose above the Temple,
leaving behind the Three and DWELLER,
deep in the HALLS 'neath the Temple,
closing the pathway to the LORDS of the Cycles.
Yet ever to him who has knowing,
open shall be the path to AMENTI.
Fast fled we then on the wings of the morning,
fled to the land of the children of KHEM.
There by my power,
I conquered and ruled them.
Raised I to LIGHT,
the children of KHEM.
Deep 'neath the rocks,
I buried my spaceship,
waiting the time when man might be free.
Over the spaceship,
erected a marker in the form
of a lion yet like unto man.
There 'neath the image rests yet my spaceship,
forth to be brought when need shall arise.
Know ye, O man, that far in the future,
invaders shall come from out of the deep.
Then awake, ye who have wisdom.
Bring forth my ship and conquer with ease.
Deep 'neath the image lies my secret.
Search and find in the pyramid I built.
Each to the other is the Keystone;
each the gateway that leads into LIFE.
Follow the KEY I leave behind me.
Seek and the doorway to LIFE shall be thine.
Seek thou in my pyramid,
deep in the passage that ends in a wall.
Use thou the KEY of the SEVEN,
and open to thee the pathway will fall.
Now unto thee I have given my wisdom.
Now unto thee I have given my way.
Follow the pathway.
Solve thou my secrets.
Unto thee I have shown the way.
TABLET I: THE HISTORY OF THOTH THE ATLANTEAN
.....Down through the ages I lived,
seeing those around me taste of the cup
of death and return again in the light of life.
Gradually from the Kingdoms of Atlantis passed waves
of consciousness that had been one with me,
only to be replaced by spawn of a lower star.
In obedience to the law,
the word of the Master grew into flower.
Downward into the darkness turned the
thoughts of the Atlanteans,
Until at last in this wrath arose from his AGWANTI,
the Dweller, (this word has no English equivalent;
it means a state of detachment)
speaking The Word, calling the power.
Deep in Earth's heart, the sons of Amenti heard,
and hearing, directing the changing of the flower of fire
that burns eternally, changing and shifting, using the LOGOS,
until that great fire changed its direction.
Over the world then broke the great waters,
drowning and sinking, changing Earth's balance
until only the Temple of Light was left
standing on the great mountain on UNDAL
still rising out of the water;
some there were who were living,
saved from the rush of the fountains.
Called to me then the Master, saying:
Gather ye together my people.
Take them by the arts ye have learned of far across the waters,
until ye reach the land of the hairy barbarians,
dwelling in caves of the desert.
Follow there the plan that yet know of.
Gathered I then my people and
entered the great ship of the Master.
Upward we rose into the morning.
Dark beneath us lay the Temple.
Suddenly over it rose the waters.
Vanished from Earth,
until the time appointed,
was the great Temple.
Fast we fled toward the sun of the morning,
until beneath us lay the land of the children of KHEM.
Raging, they came with cudgels and spears,
lifted in anger seeking to slay and utterly destroy the Sons of Atlantis.
Then raised I my staff and directed a ray of vibration,
striking them still in their tracks as fragments
of stone of the mountain.
Then spoke I to them in words calm and peaceful,
telling them of the might of Atlantis,
saying we were children of the Sun and its messengers.
Cowed I them by my display of magic-science,
until at my feet they groveled, when I released them.
Long dwelt we in the land of KHEM,
long and yet long again.
Until obeying the commands of the Master,
who while sleeping yet lives eternally,
I sent from me the Sons of Atlantis,
sent them in many directions,
that from the womb of time wisdom
might rise again in her children.
Long time dwelt I in the land of KHEM,
doing great works by the wisdom within me.
Upward grew into the light of knowledge
the children of KHEM,
watered by the rains of my wisdom.
Blasted I then a path to Amenti so
that I might retain my powers,
living from age to age a Sun of Atlantis,
keeping the wisdom, preserving the records.
Great few the sons of KHEM,
conquering the people around them,
growing slowly upwards in Soul force.
Now for a time I go from among them into
the dark halls of Amenti,
deep in the halls of the Earth,
before the Lords of the powers,
face to face once again with the Dweller.
Raised I high over the entrance, a doorway, a gateway
leading down to Amenti.
Few there would be with courage to dare it,
few pass the portal to dark Amenti.
Raised over the passage, I, a mighty pyramid,
using the power that overcomes Earth force (gravity).
Deep and yet deeper place I a force-house or chamber;
from it carved I a circular passage
reaching almost to the great summit.
There in the apex, set I the crystal,
sending the ray into the "Time-Space,"
drawing the force from out of the ether,
concentrating upon the gateway to Amenti.
Other chambers I built and left vacant to all seeming,
yet hidden within them are the keys to Amenti.
He who in courage would dare the dark realms,
let him be purified first by long fasting.
Lie in the sarcophagus of stone in my chamber.
Then reveal I to him the great mysteries.
Soon shall he follow to where I shall meet him,
even in the darkness of Earth shall I meet him, I,
Thoth, Lord of Wisdom, meet him and hold him
and dwell with him always.
Builded I the Great Pyramid,
patterned after the pyramid of Earth force,
burning eternally so that it, too,
might remain through the ages.
In it, I builded my knowledge of "Magic-Science"
so that I might be here when again I return from Amenti,
Aye, while I sleep in the Halls of Amenti,
my Soul roaming free will incarnate,
dwell among men in this form or another. (Hermes, thrice-born.)
Emissary on Earth am I of the Dweller,
fulfilling his commands so many might be lifted.
Now return I to the halls of Amenti,
leaving behind me some of my wisdom.
Preserve ye and keep ye the command of the Dweller:
Lift ever upwards your eyes toward the light.
Surely in time, ye are one with the Master,
surely by right ye are one with the Master,
surely by right yet are one with the ALL.
Now, I depart from ye.
Know my commandments,
keep them and be them,
and I will be with you,
helping and guiding you into the Light.
Now before me opens the portal.
Go I down in the darkness of night.
This is when Thoth came to meet the Dweller.
TABLET II
THE HALLS OF AMENTI
Far in a past time, lost in the space time,
the Children of Light looked down on the world.
Seeing the children of men in their bondage,
bound by the force that came from beyond.
Knew they that only by freedom from bondage
could man ever rise from the Earth to the Sun.
Down they descended and created bodies,
taking the semblance of men as their own.
The Masters of everything said after their forming:
"We are they who were formed from the space-dust,
partaking of life from the infinite ALL;
living in the world as children of men,
like and yet unlike the children of men."
Then for a dwelling place, far 'neath the earth crust,
blasted great spaces they by their power,
spaces apart from the children of men.
Surrounded them by forces and power,
shielded from harm they the Halls of the Dead.
Side by side then, placed they other spaces,
filled them with Life and with Light from above.
Builded they then the Halls of Amenti,
that they might dwell eternally there,
living with life to eternity's end.
Thirty and two were there of the children,
sons of Lights who had come among men,
seeking to free from the bondage of darkness
those who were bound by the force from beyond.
Deep in the Halls of Life grew a flower, flaming,
expanding, driving backward the night.
Placed in the centre, a ray of great potence, Life
giving, Light giving, filling with power all who came near it.
Placed they around it thrones, two and thirty,
places for each of the Children of Light,
placed so that they were bathed in the radiance,
filled with the Life from the eternal Light.
There time after time placed they their first created bodies
so that they might by filled with the Spirit of Life.
One hundred years out of each thousand must the
Life-giving Light flame forth on their bodies.
Quickening, awakening the Spirit of Life.
There in the circle from aeon to aeon,
sit the Great Masters,
living a life not known among men.
There in the Halls of Life they lie sleeping;
free flows their Soul through the bodies of men.
Time after time, while their bodies lie sleeping,
incarnate they in the bodies of men.
Teaching and guiding onward and upward,
out of the darkness into the light.
There in the Hall of Life, filled with their wisdom,
known not to the races of man, living forever 'neath the cold
fire of life, sit the Children of Light.
Times there are when they awaken,
come from the depths to be lights among men,
infinite they among finite men.
There before them was I led by the Dweller,
watched him blend with ONE from above.
Then from HE came forth a voice saying:
"Great art thou, Thoth, among children of men.
Free henceforth of the Halls of Amenti,
Master of Life among children of men.
Taste not of death except as thou will it,
drink thou of Life to Eternity's end,
Henceforth forever is Life,
thine for the taking.
Henceforth is Death at the call of thy hand.
Dwell here or leave here when thou desireth,
free is Amenti to the Sun of man.
Take thou up Life in what form thou desireth,
Child of the Light that has grown among men.
Choose thou thy work, for all should must labor,
never be free from the pathway of Light.
One step thou has gained on the long pathway upward,
infinite now is the mountain of Light.
Each step thou taketh but heightens the mountain;
all of thy progress but lengthens the goal.
Approach ye ever the infinite Wisdom,
ever before thee recedes the goal.
Free are ye made now of the Halls of Amenti
to walk hand in hand with the Lords of the world,
one in one purpose, working together,
bring of Light to the children of men."
...Before me arose a great throne of darkness,
veiled on it seated a figure of night.
Darker than darkness sat the great figure,
dark with a darkness not of the night.
Before it then paused the Master, speaking
The Word that brings about Life, saying;
"Oh, master of darkness,
guide of the way from Life unto Life,
before thee I bring a Sun of the morning.
Touch him not ever with the power of night.
Call not his flame to the darkness of night.
Know him, and see him,
one of our brothers,
lifted from darkness into the Light.
Release thou his flame from its bondage,
free let it flame through the darkness of night."
Raised then the hand of the figure,
forth came a flame that grew clear and bright.
Rolled back swiftly the curtain of darkness,
unveiled the Hall from the darkness of night...
Based on these passages' states that the "Children of light" came down and had taken forms of bodies like men, and yet they are not like us. This details that they would take avatars of human bodies to walk the Earth. This is where the "Men in Black" comes in as these "Angels" would take the forms of people and do the work of the "King of the World". When Jordan Maxwell details his experience on meeting the father of his girlfriend to whom had detailed every bit of his life, reveals these are the Angels who take on Human bodies as The Emerald Tablets details. Then when you see his interview by Project Avalon, he details meeting the Freemasons that uphold the "double headed eagle" symbolism, and how there are others that were said by strangers how they would encounter Jordan Maxwell. This details exactly what the Emerald Tablets states as they are Angels that take forms of human bodies, but these are not their "true forms". When Jordan states on meeting the Past Life regressionist, she states that he came from the Pleiades constellation, thus was sent as an emissary and how when he comes back, he will see how really looks instead of this human form.
Hebrews 13:2: “Be not forgetful to entertain strangers: for thereby some have entertained angels unawares.”
Then states that these Angels dig underneath the Earth and made the Earth "Hollow" detailing the opening is most likely in Antarctica and Northern parts above Alaska. Based on the book by Rene Guenon details the King of the World being Melchizedek who in the Bible is the King of Salem. Credo Mutwa had detailed this in his Interview with David Icke "Reptilian Agenda" as a group of Americans had threatened to shut up about certain information and how a creature called something like "Aza-a-Zar" or "Melchizedek" is watching him. This is the King of the World and Thoth was said to be his emissary. This is why Thoth was told to gather everything on the ship and take the people, thus detailing them going to the lands and meeting the hairy barbarians to which they are taught the mysteries as well, though as we see the result is shown the Hindu/Buddhist culture spread all over the earth. In any case, this would be the reason why the Governments knows about the truth on Antarctica and underground facilities like Area 51 and such. They are dealing with the apparent "Angels" who take on human forms and do task for the King of the world and other entities. This is somewhat deceptive considering they can take on different forms from the races.
Enki, also known as Ea was the Mesopotamian god of wisdom, crafts, fresh subterranean waters, magic, and incantations.[1][4]He was believed to rule the Abzû. In Mesopotamian astronomy, he was associated with the stars of the southern band of the sky.[18]Enki’s wife was Damgalnuna, and their children included Nanshe, Asalluhi, Marduk and Enbilulu. His sukkal (attendant deity) was Isimud. Servants of the god included lahmu, kulullû, and the Seven Sages.
Enki’s primary symbols included the goat-fish, the ram-headed staff and the turtle. In art, he was commonly depicted with water streams flowing from his body, or holding a vase from which water flows. Enki frequently appears in Mesopotamian myths in the role of a crafty counsellor who finds solutions to difficult problems. Mesopotamian tradition regarded him as the creator of mankind from clay. Several Mesopotamian myths deal with the story of the creation of mankind. In Enki and Ninmah, Enki comes up with the plan to fashion the new being, meant to take over the labour of the gods. In Atra-hasis, Enki works with Belet-ili to create man from clay and divine blood. The advice he gives to his human protegee later allow humanity to survive Enlil’s attempts to wipe it out, which culminate in the sending of the flood.
The name Enki is usually translated as “Lord of the Earth” in Sumerian. Enki/Ea had a variety of other names and epithets reflecting his different functions and his association with his abode, Abzû, and his cult center, Eridu.[56]Galter remarks that the majority of other names of Ea are only documented from sources from the late second millennium, and therefore he presumes that they represent an effort to fully encompass and describe all of the aspects of the god.[57]Craftsmanship deities such as Uttu and Ninagal could be regarded as alternative names of Ea in late sources. The majority of akkadian epithets of Ea reflect his role as the god of wisdom.[59]Such epithets include for example, bēl nēmeqi (‘’Lord of wisdom’’),bēl tašīmti (‘’Lord of understanding’’),[60]andapkal ilī.(‘’Sage of the gods’’).[61]Bēl nagbi,(‘’Lord of the subterranean waters’’)[62]was a frequently attested epithet of Ea in his aspect as a water god.[50]He could be referred to as bēl tenēšēti, ‘’Lord of mankind’’.[63]His association to the arts of incantation was reflected in his epithets mašmaš ilī, ‘’Exorcist of the gods’’,[64]and bēl išīputti (‘’Lord of the purification rites’’).
Enki/Ea was worshipped as the god of wisdom, arts, crafts, fresh subterranean waters, springs, and by extension incantations and magic. He also had the function of a creator god.[1]He was believed to reside in the Abzu, imagined as an under-earth fresh water region.[73]
Enki/Ea’s association with wisdom is already attested from sumerian sources of the pre-sargonic period.[74][75]He was believed to be able to grant it to both humans and gods.[76]Curse formulas invoking him could similarly ask him to take away the wisdom and intellect of an enemy.[77]He was also connected to the determination of fate. A Neo Babylonian text refers to him as the king of destinies.[78]The nature of the wisdom connected to Enki/Ea has been described by modern scholars as practical skill, cunning or craftiness. In Mesopotamian mythology, he often uses guile or magic to turn situations to his advantage, and gives his advice to both gods and men. He could be referred to as the one ‘’who knows the hearts of the great gods’’.[76]Though he is the protagonist of only a few of the preserved Mesopotamian myths, he is one of the deities that intervenes most often in them.[20]In the Agushaya hymn, he devises a plan to calm the heart of the warlike Ishtar, crafting a double of her from clay to be her adversary.[84]In Ninurta and the turtle, he outwits the warrior god who was plotting against him.[85]In the Adapa myth, his instructions allow Adapa to ingratiate himself with three gods.[19]Some scholars have described the god's behaviour in some myths as similar to that of atrickster figure. In one of these myths, Enki is bound by an oath not to reveal to humanity the gods plan to wipe them out with a flood, but he warns his human protege by pretending to speak to a reed wall.[88]
As the god of arts and crafts Enki/Ea could be invoked to assist with building projects. In later periods, through his assimilation of initially distinct minor craftsmanship deities, he was identified as the patron of craft professions such as weavers, blacksmiths, and builders, but also of agricultural professions such as goatherds and gardeners, as well as professions such as musicians, lamentation priests (kalû) and scribes.
Enki/Ea was believed to be typically a benevolent deity. Mesopotamian tradition regarded him as the god responsible for the creation of humans from clay. In the Šurpu incantation series, he is referred to as the god ‘’whose hands created mankind’’. This process of creation has been compared to the work of a craftsman.[93]In myths predating the Enuma Elish, Enki works together with a mother goddess (Ninmah,Belet-ili) to fashion the new being, and in the Enuma Elish, its creation is the product of Ea’s collaboration with his son Marduk. In the Mesopotamian Flood myth, he gives advice to his mortal protege which allows humanity to survive Enlil’s attempts to wipe it out. In sumerian texts, such as the myth Enki and the World Order,[4]he is depicted as the god responsible for the organization of the earth.[97]In the myth Inanna and Enki, he is depicted as the guardian of theme-s, fundamental powers and decrees of the gods which enable the functioning of human civilization.[4]
As the god of the underground sweet waters and springs, Enki/Ea was believed to ensure the prosperity of the land by allowing sufficient irrigation.[48]He was also believed to be able to deny access to fresh water, and could be invoked for that purpose in curses.[98]Ea could be also connected to river water, though the river itself was worshipped as a separate deity, Id.[99]He was one of the deities that could be invoked in relation to the river ordeal.[100]In sumerian, the same sign was used to designate water and semen.[101]Sumerian literature about Enki could be explicit; the myth Enki and Ninhursag features sexual encounters between the god and several goddesses[102], and in Enki and the World Order he creates the waters of the Tigris by filling the river with his semen.[103]This portrayal of the god has been contrasted with the one of akkadian texts where Ea chiefly appears in his role as a crafty counsellor.
Enki/Ea also appears as one of the most important gods in incantation texts. Groundwater was believed to have purifying and healing properties, and because of this it played a major role in incantations and magic.[105]Enki/Ea was invoked for a broad variety of purposes, including exorcism, purification, curing physical ailments, house building, and appeasing gods and demons.[106]A common Mesopotamian incantation narrative, dubbed the Asalluhi-Enki or Marduk-Ea formula, describes a dialogue between Enki and his son Asalluhi (Marduk in the akkadian version). Asalluhi comes across a problem that he cannot solve, and asks Enki for help. Enki tells Asalluhi that he knows everything that his father knows, but still proceeds to instruct him in the course of action to take.[107]This formula already existed in the Early Dynastic Period, as attested by an incantation to counter snake bite.[108]
The Mesopotamians divided the sky into three zones assigned to the gods Anu, Enlil, and Ea. They associated Ea with the stars nearest to the equator, while those near the poles were assigned to Enlil, and the central stars to Anu.
Enki/Ea is considered one of the few Mesopotamian deities with a recognizable iconography. His most distinguishing features are water streams flowing from his body, often accompanied by fish swimming in the water. These features are first attested in the Old Akkadian Period. Enki’s iconography in the older periods is uncertain. It has been proposed that he is depicted on an Early Dynastic seal representing a sitting god with two fish beneath his feet, though this identification is not universally accepted. Enki/Ea’s water streams could be depicted as coming from his shoulders or his hips, or he could be depicted sitting within his shrine or abode, with the streams surrounding it in the shape of a rectangle. Additionally, he could often be depicted with water sprouting vessels, carrying them either on his shoulders, in his hand or above his hand.
His emblems include the goat-fish and the ram-headed staff.[118]They were often depicted together, for example on kudurrus.[119][120]The kudurru of Nazi-Maruttash refers to them as ‘’the great emblems of Ea’’.[120]The ram-headed staff is attested in art from the Old Babylonian period until the Achaemenid period. In Neo Assyrian seals, Ea is sometimes represented carrying a crook, which Jeremy Black and Anthony Green suggest may be a symbolic representation of the staff.[121]The goat-fish is attested in Mesopotamian art from the Neo Sumerian period until Hellenistic times, and it was later adopted into roman art.[122]It is at the origin of the zodiacal constellation Capricorn.[123]Ea could often be represented sitting or standing on it.[120]While the goat-fish’s connection to Ea is well attested, it could also be depicted as a general apotropaic figure, not attached to any god.[124]Clay figurines of goat-fishes could be used in apotropaic magic.
One sumerian text of Middle Babylonian origin refers to the goat-fish (suḫurmāšu), a supernatural being well attested as an emblem of Enki/Ea, as the ‘’lofty purification priest of the Abzû’’.[192]
Lahmu were a class of supernatural beings regarded as servants of Ea, and later of his son Marduk.[193]They were associated with water.[194]They were believed to reside in Ea’s subterranean domain and act as doorkeepers of his temple.[191]Certain texts number fifty Lahmu at Ea’s service.[195]Lahmu could be depicted in art as a male, long haired figure usually with six or four curls, either naked or wearing a girdle. This figure is sometimes referred to as ‘’nude hero’’ or ‘’wild man’’ by art historians.[196]The so-called Göttertypentext edited by F. Köcher mentions supernatural creatures in the service of Ea also referred to as ‘’lahmu’’.
Their appearances are varied, combining the body parts of fish, humans, and other animals.[199]According to Wiggermann, the usage of the term ‘’lahmu’’ in the Göttertypentext represents an evolution from the original meaning of the word and that here it was used to refer to newly invented categories of creatures. The kulullû, or fish-man, was also a class of supernatural beings who could be associated with Enki/Ea. The Göttertypentext refers to the kulullû as a creature of this god.[201]In art this being was depicted with a human upper half and the lower body of a fish. Textual evidence instead describes the kulullû as a being with the head of an unidentified creature, the kissugu, the upper body of a human and the lower body of a carp.[202]
The Seven Sages (apkallu) were fish-men creatures of the Abzû regarded as responsible for teaching mankind various aspects of human culture[203], in a Babylonian and Assyrian tradition dating to the late second and the first millenium BCE.[204]They are described as servants of Ea in the Epic of Erra,[205]and are called ‘’the Seven Sages of Eridu’’ in a text from the first millennium BCE known as the Twenty One Poultices. Mesopotamian traditions around the Seven Sages were the source for the later Babyloniaca of the Babylonian priest Berossos, which relates that a hybrid fish-human creature named Oannes came out of the sea to teach the inhabitants of Babylonia various aspects of human culture, such as writing, temple building and sciences. The Seven Sons of the Abzû are servants of Ea which appear in incantations, and who were concerned with the purifying of water and curing of sicknesses. It is presumed that they are identical with the Seven Sages.[209]
A connection between Ea and the South Wind is documented in texts; Essarhadon refers to her as the breeze of this god, and in an Assyrian incantation she is called ‘’the beloved of Ea’’.
Enki and Ninmah:
This myth is known from a few tablets in sumerian from theOld Babylonianperiod, as well as a bilingualsumerian-akkadiancopy from theNeo Assyrianperiod.[362]In the first part of the myth, Enki creates mankind in collaboration with hismother,Ninmah, and several helper goddesses, while the second part focuses on a drunken contest between Ninmah and Enki. The beginning of the myth describes a time in which the gods had to work for their food themselves. The gods who work grow dissatisfied with their situation. Enki, who lies asleep in his bed in theAbzû, is woken up by Nammu, here his mother, who informs him of their complaints and tells him to create a substitute to perform the hard labour. Enki devises a plan to create mankind from the clay of the Abzû, and delegates its execution to his mother, assisted by Ninmah and seven helper goddesses.
In the second section, the gods take part in a banquet, where Enki is praised. Enki and Ninmah get drunk, and start a competition. Ninmah fashions six humans with some kind of physical disabilities, the nature of which is not always understood. Each time, Enki successfully finds a place in society for them. Then they exchange roles. Enki creates two beings, the second of which, called Umul, is in such bad shape that Ninmah cannot decree a ''good fate'' for them. As a result, she loses the competition. Then Ninmah gives a difficult to interpret speech where she complains about being chased from her city after it was attacked, accusing Enki of being responsible for her misfortune. Due to the damage to this section of the text, Enki’s answer and the resolution of the myth is unclear, but it seems that he attempts to appease Ninmah and that he finds a place for Umul. Some scholars have interpreted Umul as a premature or not fully developed baby.
(This is the story of Susanoo and Amaterasu having a competition on making the humans. The same story is shown between Poseidon and Athena as Poseidon is then angry with losing in the competition and then creates a flood whereas Athena protects the people from the catastrophe. This is merely the same story on the Gods competing for the control of the three worlds as based on the Garuda who fights against the Naga in this symbolism. The same states for the Chitauri who wanted to challenged God for the control of the Heavens to Jann ibn Jann who fought against Azazil who was sent by God)
Atra-ḫasīs:
This mythis the longest preserved Old Babylonian Epic. It is known from Old Babylonian tablets, the best preserved being three tablets written by the scribe Ku-Aya under the reign of Ammi-ṣaduqa, perhaps from Sippar, two Middle Babylonian pieces, one from Ras Shamra and one from Nippur, as well as fourteen Neo Assyrian pieces from the library of Ashurbanipal.[410]Enki plays a crucial role in Atra-ḫasīs. He first creates mankind alongside the mother goddess (variously named Mami, Mama, Nintu, and Bēlet-ilī ), and later opposes Enlil’s attempts to wipe it out, which culminate in the sending of the flood.
The myth begins describing a time in which the gods had to work for their food themselves. The gods divide the world between themselves; Anu claims the Heavens as his domain, Enlil claims the Earth, and Enki claims the underground water ocean Abzû. The task of working falls to the Igigi gods. After 40 years of toiling, they grow discontent and rebellious. They set fire to their tools and surround Enlil’s Ekur shrine in Nippur. Enlil is woken up by his vizier Nusku, who informs him of the situation.[416]Anu and Enki are brought into Enlil’s presence.[417]Enki suggests that the mother goddess creates a new being, man, to bear the load of the work instead of the Igigi.[418]He proposes a plan to create man from a mix of clay and divine blood, and works together with the mother goddess to fashion this new creature. The god Wê-ilais killed and his blood used to create mankind. The process of creation of mankind itself is not entirely preserved.[421]The mother goddess is congratulated and named ‘’Mistress of all gods’’, Bēlet-kāla-ilī.
In the next section of the myth, mankind has multiplied, and they create so much noise that Enlil is unable to sleep. He decides to wipe out humanity by sending a plague. The text introduces Atra-ḫasīs, who prays to his god, Enki, for help. Enki instructs him to tell his fellow men to stop praying and sending offerings to all of the gods, and to instead concentrate their offerings on the god responsible for the plague,Namtar. Atra-ḫasīs executes Enki’s instructions and Namtar, pleased and embarrassed by the gift, alleviates the plague. Humans multiply, and once again Enlil is unable to sleep due to the noise. He decides this time to wipe out humanity with a famine and orders Adad, the weather-god, to withhold his rain. Once more Atra-ḫasīs prays to Enki, who instructs him to tell his fellow men to stop praying and sending offerings to all of the gods, and to instead concentrate their offerings on Adad. Adad is embarrassed by the gift and discreetly allows enough rain for humanity to survive. The composition at this point is fragmentary and entire passages are missing. Enlil resumes the drought but appoints Anu and Adad as guards of the heavens, Enki as guard of the regions under the earth, and himself as guard of the earth. His plan is foiled in an incident which involves fish being freed on the starving humanity. Enlil then confronts Enki. He decrees that humanity will be wiped out by a flood, and has him swear an oath against his will to ensure his cooperation.
Enki finds a way to bypass his oath and sends a dream to Atra-ḫasīs. When Atra-ḫasīs seeks clarification about the dream, Enki speaks indirectly to him through a reed wall, and instructs him to build a boat and destroy his house. He warns him that the flood will come on the seventh day. Atra-ḫasīs speaks with his elders and explains his departure by telling them that since Enki had a falling out with Enlil, he, as Enki's servant, must leave Enlil’s earth. The people help him build his boat and load it with animals. Before the departure, he holds a banquet, but he cannot take part in it himself, as he is feeling sick with the knowledge of the impending destruction. On the seventh day the flood comes and wipes out humanity, with the exception of Atra-ḫasīs and his family on the boat. Enki and Bēlet-ilī grieve for their creation, and the gods begin to suffer from hunger, since they no longer receive food offerings.
The flood lasts for seven days and seven nights. When the flood ends, Atra-ḫasīs makes an offering to the gods. When he discovers that a part of humanity survived, Enlil is furious and confronts Enki again. The section of the text containing Enki’s reply is damaged, but Enlil is convinced to let humanity live. In exchange, he has Enki and Bēlet-ilī institute ways of controlling their population. Only a part of the proposals of Enki and Bēlet-ilī is preserved; it concerns the creation of infertile women, and the institution of classes of priestesses that do not bear children.
Below details the God with a double headed bird symbolism above him.
The Eridu Genesis:
This fragmentary myth in the Sumerian language preserves another account of the Mesopotamian story of the flood. It is reconstituted from several related, but distinct variants preserved from two fragments, one from Nippur and one from Ur, both dating to the Old Babylonian period (circa 1600 BCE), as well as a bilingual sumero-akkadian fragment from the library of Ashurbanipal.[448]As the oldest fragment preserving the this myth dates from around the same period as the tablets preserving Atra-ḫasīs, the relation between the two texts is uncertain.
Though much of the text is lost, it is presumed that Enki plays the same role as he does in other accounts dealing with the flood, and ultimately placates Enlil, ensuring that humankind is allowed to survive.[450]The beginning of the composition seemingly deals with the creation of man,[451]an act for which An, Enlil, Enki and Ninhursag are credited. Another fragmentary section dealing with the establishment of the first cities describes Nintu giving Eridu to Enki. A badly preserved portion of the text deals with the scene where the flood hero, here named Ziusudra, receives Enki’s warning about the flood through a wall.
Tablet XI of the standard edition of the akkadian Epic of Gilgamesh tells thestory of the flood, in which Ea plays the same role as in Atra-ḫasīs. The flood story in the Epic of Gilgamesh is believed to be based on the one in Atra-ḫasīs. Gilgamesh meets the flood survivor, here named Utnapishtim, during his quest for immortality. Utnapishtim tells him how he and his wife survived the flood and were made immortal by the gods as a result.[457]The reason why the gods sent the flood is not given. They swore an oath to make sure the task would be accomplished. Ea, who did not wish to see mankind destroyed, found a way around his oath and warned Utnapishtim. He sent him a dream, and then, speaking his words through a reed wall ,he instructed him to demolish his house and build a boat. When Utnapishtim asked him what to tell the elders and the people of his city of Shuruppak, Ea instructed him to tell them that since he had fallen out with Enlil, he could not remain on the earth and that he was going to live in Ea’s underground ocean.
With the help of his people, Utnapishtim built a massive boat that he filled with his kin, possessions, and animals.[461]The flood came and wiped out humanity. It lasted for six days. When the flood stopped, Utnapishtim sent three birds to see if the waters had decreased enough for him to land. This episode has been compared to a similar one in the account of the flood related in the Book of Genesis. After the last bird failed to come back to the boat, Utnapishtim prepared an offering for the gods on the top of the mountain. When Enlil realized that humans still lived, he was furious, and demanded to know the reason for their survival. Ninurta answered that Ea was the only one capable of this feat. Ea told Enlil that his decision to wipe out humanity was a disproportionate punishment, and proposed other ways to control the size of its population. Enlil, convinced to let humanity live, granted Utnapishtim and his wife immortality.
Then based on the "Seven sages" details this:
Apkallu or and Abgal (𒉣𒈨;Akkadian and Sumerian, respectively[2]) are terms found in cuneiform inscriptions that in general mean either "wise" or "sage".
In several contexts the Apkallu are seven demigods, sometimes described as part man and part fish or bird, associated with human wisdom; these creatures are often referred to in scholarly literature as the Seven Sages. Sometimes the sages are associated with a specific primeval king. After the Great Flood(seeEpic of Gilgamesh), further sages and kings are listed. Post-deluge, the sages are considered human, and in some texts are distinguished by being referred to as Ummanu, not Apkallu. Another use of the term Apkallu is when referring to figurines used in apotropaic rituals; these figurines include fish-man hybrids representing the seven sages, but also include bird-headed and other figures. In a later work by Berossus describing Babylonia, the Apkallu appear again, also described as fish-men who are sent by the gods to impart knowledge to humans. In Berossus, the first one, Oannes (a variant of Uanna), is said to have taught humans the creation myth, the Enūma Eliš.
Uanna (Oannes) or Adapa?:
The first of these legendary fish-man sages is known as Oan/Oannes, Sumerian Uanna/U-An; on a few cuneiform inscriptions this first sage has "adapa" appended to his name. Borger notes, however, that it is difficult to believe that the half-man half-fish Adapa is the same as the fisherman of the Adapa myth, the son of the god Ea.[12][14]A potential solution was given by W. G. Lambert[15]—evidence that "adapa" was also used as an appellative meaning "wise".[12]
Kvanvig 2011considers the case for Adapa being one of or a name of one of the Apkallu. They note that while some texts contain plays on words between the terms "adapa" and "uan" and posit that "adapa" may be an epithet, though in the Adapa myth itself it is likely a proper name. In terms of the name of the first Apkallu they consider that both terms "adapa" ("wise") and "ummanu" ("craftsman") together form the whole proper name. Additionally, they note closer similarities between the 7th Apkallu Utuabzu, who is said to have ascended to heaven (in the Bit Meseri), and the myth of Adapa who also visited heaven. Both Adapa and the Apkallu have legends that place them halfway between the world of men and gods; but additionally just as Oannes in the Greek version passes all the knowledge of civilization to humans, so Adapa is described as having been "[made] perfect with broad understanding to reveal the plans of the land." However, despite some clear parallels between Adapa stories and both the first and last Apkallu, Kvanvig finally notes that the name used for the first Apkallu is given in both Berossus, and in the Uruk King list—that is Uan.
Oannes was once conjectured to be a form or another name of the ancient Babylonian god Ea. It is now thought that the name is the Greek form of the Babylonian Uanna, an Apkallu.
Depictions in ancient art:
Representations of 'apkallu' were used in apotropaic rituals; in addition to fish-headed ones (similar to descriptions of the seven sages), other hybrids were used as 'apkallu' in this context (generally bird-headed humans). Apkallu reliefs appear prominently in Neo-Assyrian palaces, notably the constructions of Ashurnasirpal II of the 9th century BC. They appear in one of three forms, bird-headed, human-headed or dressed in fish-skin cloaks. They have also been found on reliefs from the reign of Sennacherib.[1]The form taken of a man covered with the 'pelt' of a fish is first seen the Kassite period, continuing is used to the period of Persian Babylonia– the form was popular during the Neo-Assyrian and Neo-Babylonian periods.
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Here states this in the Preface:
".... Some thirteen hundred years B.C., Egypt, the ancient Khem, was in turmoil and many delegations of priests were sent to other parts of the world. Among these were some of the pyramid priests who carried with them the Emerald Tablets as a talisman by which they could exercise authority over the less advanced priestcraft of races descended from other Atlantean colonies. The tablets were understood from legend to give the bearer authority from Thoth. The particular group of priests bearing the tablets emigrated to South America where they found a flourishing race, the Mayas who remembered much of the ancient wisdom. Among these, the priests settled and remained. In the tenth century, the Mayas had thoroughly settled the Yucatan, and the tablets were placed beneath the altar of one of the great temples of the Sun God. After the conquest of the Mayas by the Spaniards, the cities were abandoned and the treasures of the temples forgotten......"
Here states that the Mayans are the Atlanteans as this is the case from "In search of" by Zachary Quinto on the Atlantis and the Rh-negative connections. There is something to address because the Mayans having the God as the same as the Japanese, details that this is the God of the Aryan people and how they are connected to Atlantis. Now, in my other premise I had stated on the Lemurian accounts belonging to the Seven Headed Dragon who is Vishnu and how those are the Black people who brought the cult of Buddhism from India, and had thought in this case, that Thoth would actually come from there because that's where everything started. So, instead I'll keep that in mind, but focus on the actual Atlantis continent as they state to be where the Mayan people came from. These people would have the resemblance of birds and can see how they represent the eagle who is Michael the Archangel and amongst the Aztecs is Huitizilopochtli as the Eagle that eats the serpent. So, could there have been a war between these two continents as one represents the eagle and the other the seven headed serpent? Other accounts state that Atlantis represented Poseidon, but it's shown that this God who is Vishnu represented Lemuria to which the Seven headed Serpent is based on the Naga God of the black race.
Now the notion is that Thoth would bring the cult of the Seven headed serpent to the whole world as they would be the black people, but let's say that these are the "red race" that Edgar Cayce had stated on them being the Atlantean race and how they came to America after the destruction of Atlantis. Based on "Ancient Aliens" details the continent of Antarctica to being Atlantis and how there was a war between two Extraterrestrials forces as the God the represented the Bird fights against the God that represents the serpent.
Now, based on the black conical stone that was mentioned by Ignatius Donnlly's Atlantis: The Antediluvian world" details the Black conical stone to which is shown to be the Black stone of Aphrodite and the Sivalingam of India, but that is based on Lemuria (and perhaps Dwarka) which connected to India. It is based on the stone of Poseidon which after the flood or destruction, the people had landed in India spreading the cult of Dagon. The stone is represented as the Buddha who is Krishna as Christ, and spread from India to Egypt Africa then to the Americas, which is why the Mayans and Aztecs had the Cross with their Gods before the Spanish brought Christianity.
This is why in Ignatius' book had detailed when the Spanish came amongst the Indians and saw the cross with the symbolism and how they were doing the same exact practices as them, they thought that the Devil had cloned the religion to give to them as imitation. They didn't know that the apparent "Devil" that brought them the Indians the culture were the same people that brought Christianity in Europe and is the "real" reason why they were burning the books. They had the same religion, just the Indians hadn't cleaned up the religious practices like the Europeans. They were doing the same bloodletting practices here in America just like Asia, Middle East and Europe while having the cross. In the video details how the Olmecs came from "Atlantis" when they renamed it "lemuria" out from India, as they are one and the same. This also explains the Cobra symbolism in Egypt as the image of the serpent came from India, and from there we can break things down easily as Vishnu's cult was worshiped in India.
Based on the youtuber "trillblack", on the Olmec influence from the East to America, details why the Indians called them the black devils that came from the east and how they were cruel to them as they were the ones that brought the cult of Dagon which is the Serpent religion. Though I also find those Indians that came after the Black people came there with their Pyramids ordained with the dragon symbolism, but it's noted that the Indians all got mixed with black. This is where we start to see their connections all over the world as Thoth and the "Lemurians" came all over the world spreading the cult of Dagon. The Devil and his Angels are based on the Black Gods as they are the Jinn and Asuras who are led by Shiva/Vishnu as the Seven headed serpent Dagon. Based on his video connects to the Olmecs coming from "Atlantis" to which this European Historian had detailed the second Spain which is based on Egypt and the Pyramids was attributed from them.
Once we understand how everything was spread based on the "Emerald Tablets" only then we can find where the symbols like the double headed bird is based on as this is the symbol of Vishnu coming forth from India and further back. So, with all of this put to rest as to where these religions and symbols come from, we can see how Thoth and the "Lemurians" were the ones that brought this culture to every nation on Earth and how everyone has been deceived by the God of this world who is the Dweller. The other God who is Michael the Archangel told his people not to worship their Gods as this has been spread all over the Earth as this is the cult of Enki/Dagon. Enki, who is Dagon, is symbolized as the "Goat fish" to whom represents "Saturn" as the God that was defeated by the other God.
The black Gods came down with the black stone detailing this "intervention" story that these Occultist would detail, though it's now shown as the Gods coming forth from the seas who resemble "Sirius", though this details the culture and religion being taught to mankind on Earth. This occurs when the Dragon God wanted to fight against the real God but then was cast to the Earth and this realm which is synchronized with the coming of the red dragon and his angels. This is where we get the Chituari and Nommo story relating to the coming of the Cross of the Dragon God and their practices. So, like I had stated before as "Atlantis" or "Lemuria" were not on Earth and the "flood" story is based on "Vajra" weapon that used against their God and how they had to escape from the nuclear disaster. The "flood" or rain that is shown in most Myths is Zeus who cast a flood upon the earth to wipe out mankind, Enlil then to Indra who cast a flood, whereas the other God who is the serpent was called the "preserver" who is Vishnu, Krishna, Prometheus and Enki. Indra casting rain upon the people who are the Gopis and Krishna who lifts the mountain or "govardhan hill" to shelter the people from the disaster is literally the same story as God casting the flood upon the people and the other God having his people to escape. This is just another rendition of Thoth and the Atlanteans being told by the "Dweller" to gather the people on a ship and escape to a different land but instead is detailing the coming of the Dragon Gods to Earth.
