Professional Documents
Culture Documents
BY
ROBERT ALLEN CAMBELL, C. E.
Unſpeakable Preſs
333 Via Nefanda, Lelag, Leng
2008
First published St. Louis: R. A. Campbell & Company, 1887.
This electronic copy created by Unspeakable
Press (Leng), in the year 2008
of the common error.
Release 1.00
P R E F A C E.
——
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6 PREFACE.
Page.
PREFACE, . . . . . . . . 5
DEFINITIONS, . . . . . . . 13
INTRODUCTION, . . . . . . . 21
CHAPTER I.
The Pillar, . . . . . . . 49
The Triad, . . . . . . . 56
The Triangle, . . . . . . . 62
The Cross, . . . . . . . 69
The Serpent, . . . . . . . 76
CHAPTER II.
The Pillar, . . . . . . . 81
The Cross, . . . . . . . 91
Serpent Symbols, . . . . . . 101
Miscellaneous Emblems, . . . . . 106
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10 CONTENTS.
CHAPTER III.
PHALLIC CULTS AND CEREMONIES.
Page
Phallism in India, . . . . . . 121
Phallism in Egypt, . . . . . . . 141
Phallism in Assyria, Phœnicia, Syria, Babylon and Phrygia, . 151
Phallism among the Jews, . . . . . 167
Greek and Roman Phallism, . . . . . 174
Non-Phallic Zoroasterism, . . . . . 191
Middle Age and Modern Phallism, . . . . 193
———————
L I S T O F I L L U S T R A T I O N S.
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Figure. Pages
Frontispiece.
2–9, Pillar and Triadic Symbols, . . . 61
10–19. Yonic Symbols, . . . . . 66, 67
20–31. LINGA-Yoni Symbols . . . . 67
32–43. YONI-Linga Symbols, . . . . 68
44–49. LINGA-YONI Symbols, . . . . 69
50–57. Linga-in-Yoni Symbols . . . . 71, 72
58, The Cross, . . . . . . 73
59, The Cobra de Capella, . . . . 78
60. Stonehenge, England, . . . . 82
61–63. Irish Round Towers, . . . . 82
64–65. Newton Stone, Scotland, . . . . 82
66. Rude Stone, England, . . . . 83
67. Innis Mura Stone, Ireland, . . . . 83
68. Pillar, Kerry County, Ireland, . . 83
69–71. Phallic Monuments, Pompeii, . . . 83
72. Parthian Linga, . . . . . 84
73–74. Linga and Sun-stone, Figi Islands, . . 84
75. Sivaic Shrine, India, . . . . 84
76–77. Linga-Yoni Temples, India, . . . 85
78. Menhir Temple, Petrea, . . . 85
79. Rude Linga-in-Yoni, Gothland, . . . 85
CONTENTS. 11
Figure. Pages
80. Sacred Hill, Karnak, Egypt, . . . 85
81. Linga-Yoni Picture, Rome, . . . 86
82. Linga and Yoni Stones, Gozo, . . 86
83. Phallic Column, Cuzco, . . . 87
84–85. Phallic Shrines, Mexico, . . . . 87
86–87. TA-AROA and Ta-Rao, Polynesia, . . 89
88. The Cross, . . . . . 91
89–94. Crux Ansata, . . . . . 92
95–96. Egyptian Crosses, . . . . . 93
97. Hindu Cross — simple, . . . 93
98. Xaca Cross, . . . . . 93
99–100. Assyrian Crosses, . . . . 93
101. Ancient Cross, Egypt, . . . . 93
102. Ezekiel’s Tau, . . . . . 94
103. Thor’s Harrmer, Norsland, . . . 94
104. Original Greek Cross, . . . . 94
105. Maltese Cross — Triadic, . . . . 95
106. Greek Cross — Triadic, . . . 95
107. Latin Cross — Triadic, . . . . 95
108. Templar’s Cross . . . . . 95
109. Linga-Yoni Cross — elaborate, . . . 96
110-113. Linga-Yoni Crosses, . . . . 96, 97
114. Hindu Cross, Ancient, . . . . 97
115. Cross and Crescent, Greek Church, . . 97
116. Middle Age Cross, . . . . . 97
117–118. Hindu Crosses, . . . . . 98
119–141. Linga-in-Yoni Symbols, India, . . 98-100
142. Impregnation of Mary — Catholic, . . 100
143. The Serpent, . . . . . 101
144. Eternity, . . . . . 102
145. Wisdom, . . . . . . 102
146. Rod of Life, . . . . . 102
147. Roman Standard . . . . . 103
148. Tree of Life and Serpent, . . . 103
149. Staff of Salvation, . . . . . 103
150. Trident of Jupiter, . . . . 103
151. Fire Pillar, . . . . . . 103
152. The Temptation, . . . . 104
153. Serpent Goddess — or Witch, . . . 104
154. Serpent, Sun and Moon — Gem, . . 104
155. Serpent and Pillar — Gem, . . . 106
156. Serpent, Tree, Pillar and Ark — Gem, . 106
12 CONTENTS.
Figure. Pages
157–161. Crozier — five forms, . . . . 107
162. Divining Rode, . . . . . 107
163. Indian Amulet, . . . . . 107
164. The “Great Four” Emblem, . . . 107
165. Staff of Isis, . . . . . 107
166. The Arrow, . . . . . 107
167. The Steering Oar, . . . . . 107
168. The Hammer, . . . . . 109
169. The Staff in the Ring, . . . . 109
170–171. The Sun and Moon, . . . . 109
172. The Crescent Moon, . . . . 109
173–177. Phallic Triads, . . . . . 111
178–182. Phallic Triads — India, . . . . 111
183. Masculine Hand, . . . . 111
184. Triadic-Yonic Hand, . . . . 112
185. Horseshoe, . . . . . 114
186. Vescia Piscis — Hindu, . . . . 114
187. Another Form of same, . . . . 114
188. Vesica Piscis — Catholic Picture, . . . 115
189. Vesica Piscis — Catholic Medal, . . 116
190. Yoni Worship, . . . . . 116
191–192. Concha Veneris, . . . . 116
193. Cornucopia, . . . . . 116
194. Feminine Hand, . . . . 116
195–196. The Eye, . . . . . . 117
197. Shekel, Seven-branched Palm, Jewish, . 120
198. Time and Truth Worshiping Siva, India, . . 124
199. Maia Worshiping the Linga, India, . . 125
200. Temple of Peace, Thibet, . . . . 125
201. The Masculine Hand, India, . . . 126
202. The Yonic Charm Hand, India, . . . 129
203–205. Linga-in-Yoni, India, . . . . 131
206. Ardanari-Iswari, India, . . . . 133
207. Addha-Nari, India, . . . . 135
208–209. The Tortoise, India, . . . . 136
210. Isis and Horus, Egypt, . . . . 149
211–213. The Sistrum of Isis, Egypt . . . . 150
214. The Grove, . . . . . 159
215. The Worship of the Grove, . . . 160
216. The Royal Collar . . . . . 162
217. Triune Design, . . . . . 163
218. Babylonian Gem, . . . . 163
219. Ancient Gem, . . . . . 165
DEFINITIONS.
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14 RELIGION AND WORSHIP.
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22 INTRODUCTION.
THE PILLAR.
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50 THE FIVE GREAT SYMBOLS.
PRIMITIVE MAN
Fig. 10. Fig. 10. Fig. 12. Fig. 13. Fig. 14. Fig. 15.
Fig. 20. Fig. 21. Fig. 22. Fig. 23. Fig. 24. Fig. 25.
Fig. 26. Fig. 27. Fig. 28. Fig. 29. Fig. 30. Fig. 31.
Fig. 32. Fig. 33. Fig. 34. Fig.35. Fig. 36. Fig. 37.
Fig. 38. Fig. 39. Fig. 40. Fig. 41. Fig. 42. Fig. 43.
Fig. 44. Fig. 45. Fig. 46. Fig. 47. Fig. 48. Fig. 49.
THE CROSS.
Fig. 50. Fig. 51. Fig. 52. Fig. 53. Fig. 54. Fig. 55.
THE SERPENT.
THE PILLAR.
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82 DIFFUSION AND MODIFICATION OF SYMBOLS.
Fig. 61. Fig. 62. Fig. 63. Fig. 64. Fig. 65.
THE CROSS.
Fig. 89. Fig. 90. Fig. 9!. Fig. 92. Fig. 93. Fig. 94.
case, and why she was necessary, but a man was not, in
the other — are “mysteries” not explained.
SERPENT SYMBOLS.
Fig. 147. Fig. 148. Fig. 149. Fig. 150. Fig. 151.
MISCELLANEOUS EMBLEMS.
Fig. 157. Fig. 158. Fig. 159. Fig. 160. Fig. 161.
Fig. 162. Fig. 163. Fig. 164. Fig. 165. Fig. 166. Fig. 167.
Fig. 169. Fig. 169. Fig. 170. Fig. 171. Fig. 172.
all that is. The moon and the earth, beinglooked upon
as receptive only - were in like manner denominated
mother—feminine creative principle, or goddess maternal
of all that is created. To the sun, therefore, was at-
tributed all manly and virile attributes. David, in his
psalms, shows this idea as common to the Jews, for he
speaks of the sun as “a bridegroom coming out of his
chamber,” i.e., as a virile man replete with generative
vigor. The vernal equinox was celebrated as the mar-
riage of the sun and earth. The swelling bud and open-
ing flowers typed the promise of fruit, as the result of
their consummating this union; and the clustering grape,
luscious fruits and sustaining grains were welcomed as
the offspring of this celestial-nataral union of the
masculine and feminine creative principles.
As the sun and moon and face of nature remain the
same from year to year—with apparently ever renewed
life and vigor — remaining as it were in the prime of
life, fresh and unchanged by age, and unweakened by
use, the ancients came to think of the moon as the ever
continuing virgin wife of the sun-god — and the
everlasting virgin mother of all inferior deities and
beings. The ancient month was measured by the in-
terval between a new moon and the next new moon.
This interval of time also marks the recurrence of the
functional peculiarity of women, which ceases as soon
as pregnancy occurs. The lunar crescent — new
moon — probably from this cause among others — be-
came a symbol of virginity. This is one of the most
common and widely diffused emblems, and is found in
MISCELLANEOUS EMBLEMS. 111
Fig. 173. Fig. 174. Fig. 175. Fig. 176. Fig. 177.
Fig. 178. Fig. 179. Fig. 180. Fig. 181. Fig. 182.
Fig. 189. Fig. 190. Fig. 191. Fig. 192. Fig. 193.
to the top of the hill and there, upon the summit, offer
to the divine the sacred fowl — spattering his blood
over their Tsur-oo-Salem — “Rock of Ages.” Payne
Knight reproduces a design in which the body of a
man has for its head the body of a cock, of which the
beak is a linga — the pendant wattles being the other
two members of the masculine triad, and these, with
the comb, suggesting very plainly the capilary adorn-
ment. The illscription reads “Soter Kosmou — Sav-
ior of the World,” a term applied to all deities, but
more especially to those charged with creative functions.
The weather cock — or its substitute, the arrow, which
has the same meaning — is the modern survival of the
ancient emblem. Whether on the pole, barn, or church
spire — in which last place it is a peculiarly appropriate
adornment—it stands forth in vital and defiant dignity,
with its head meeting and dividing the wind, which is
the natural emblem of the active creative feminine.
The Chinese represent the sun by a cock in a circle,
and a modern Parsee will on no account kill one. The
cock is a common symbol on Greek monuments.
THE TREE. — The pine tree, by its height, straight-
ness, and evergreen foliage, was recognized as especially
appropriate to represent the ideal phallus. From this
it was easy to adopt the pine cone, as a masculine em-
blem symbolizing especially the testes, and thus energy
and impregnating potency. Thus, it is easily seen why
the wand of Bacchus — the thrysus — terminates in a
pine cone.
The palm tree, for similar reasons, in the countries
120 DIFFUSION AND MODIFICATION OF SYMBOLS.
where it was the “great tree,” was used for the same
purpose, and so palm branches have been used as they
are now, and, in their absence, pine or other evergreens,
as emblems of life, peace, and. happiness.
Even within the present century the women of France,
on Palm Sunday, carried in procession, at the end of
their palm branches, phalli made of bread, which they
called “la pine” — the French euphonism of the phal-
lus — whence it was called the Feast of the “Pines.”
These “pines,” having been blest by the priest, were
kept for the year as an amulet.
The palm tree, when used as a sacred emblem, was
usually conventionalized as having seven branches.
The first Jewish coinage, under the Mac-
cabees, shown by the shekel given in
Figure 197, at once tells of the palm as
being a sacred tree, and also that seven
branches, as spoken of in Exodus and
Fig. 197. Revelation, was likewise a revered na-
tional emblem.
For similar reasons the oak, in the countries where it is
the tree dominant in size, has been dedicated to similar
purposes with like interpretation.
In India the Banyan is, for like reasons, the sacred
tree.
CHAPTER III.
————
PHALLISM IN INDIA.
LINGA WORSHIP,
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122 PHALLISM IN INDIA.
SACTI WORSHIP.
SIVA-SACTI WORSHIP.
Fig. 206.—ARDANARI-ISWARI
[From an original drawing by Chrisna Swami, Pundit.]
Fig. 207.—ADDHA-NARI.
box, and the woman who has the same number found
on the garment — even were she sister or daughter of
the man who draws it — is his partner for the night
in the lascivious orgies that follow. All these cere-
monies, in their wildest excesses, are engaged in by
the most devout and pure-minded men and women —
most of whom, outside of this ceremony, that they
consider a sacred and solemn obedience to their re-
ligious requirements, are, according to their ideas of
purity, as modest and chaste as any devotee of their,
more enlightened neighbors of the Western civilization.
A peculiar custom, still common in India, is thus
described by General Forlong:—
“Many a day have I stood, at early dawn, in the
door of my tent, pitched in a sacred grove, and gazed
at the little group of females stealthily emerging from
the adjoining half sleeping village, each with a little
garland or bunch of sweet flowers, and perhaps costly
oil, wending their way to that temple in the grove or
garden of the god and goddess of creation; and, when
none were thought to see, accompanying their earnest
prayer for pooli-palarn (child-fruit) with a respectful
abrasion of a certain part of their person on linga-jee,
and a little application of the drippings that are forever
trickling from the orifice of the Argha.”
In Oriental villages it is common to see two stones —
one circular, and the other small, smooth and upright —
near together; they indicate the male and female.
Women step upon the circular stone, adjust their
drapery so that perfect contact with the vulva can
PHALLISM IN EGYPT. 141
PHALLISM IN EGYPT.
Fig. 215.
NON-PHALLIC ZOROASTERISM.
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206 EDITORIAL NOTE.