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The Hindu Origin of the Myth of Atlantis

Introduction

The most fundamental technique for decoding myths is to study the several etyms of the toponyms and
theonyms that gure in the story, as well as those of the assonances which lend themselves to wordplays
with these names. These holy names usually hold the key to the esoteric message that is encoded in the
allegories. In fact, myths are often composed from such plays on words with the sacred names in question,
usually in the sacred languages of India, Sanskrit and Dravida.

The present essay relies heavily on the sacred (often secret) etymologies of such names in order to explain
the more recondite aspects of the ancient myths relating to Atlantis and to Lemuria, that were, respectively
the Great Father and the Great Mother of Mankind. The reader is forewarned that our aim here necessarily
involves the use of obscure languages and relatively far-fetched explanations which may baf e a few of
our readers. Again, the etymologies we give here are the esoteric ones, and may sometimes disagree with
the “standard” ones given by the Hindu gurus, very often interested in straying the inquisitive profane and
the arrogant specialist.

The present work is a sample of one of the most important scienti c “tools of the trade” that we utilized in
order to crack the secret code with which the wise ancients disguised the true story of Atlantis. The linguistic
arguments presented here are recognizedly dif cult to follow in detail, except maybe by the specialists. But
they were written with the general public in mind and are, hence, accessible to the intelligent layperson that
takes the trouble to follow the meanders of our reasoning. As the French say, la critique est aisée, mais l’art est
dif cile [“criticism is easy, but the art is dif cult”].

All true arts, and particularly the Initiatic Arts, are dif cult and rebarbative at rst. But then they become a
second nature, and grow spontaneously, causing the greatest pleasure both to the artist and to the spectator.
Dedication is indeed the price of Initiation for those who choose the Narrow Road of rationality instead of the
broad one of faith and the even wider one of ignorance. The choice is yours, dear reader. What we offer you is
the true Bread of Life, the Elixir that is reserved to the Heroes in Valhalla, one of the many disguises of Atlantis.

The reader disinterested in linguistic details may skip the complex etymologies, and cling to the essential
argumentation, leaving them for a second reading, or taking them for granted. We hope that, at least, the
reader will be able to realize how the clever ancients hid their secrets away right under the noses of all, and
how even the specialists have been misled and are hence understand how the story of Atlantis could be so
perfectly disguised under the veil of the apparently inane allegories embodied in the heroic sagas and the
initiatic novels that came to us from deepest antiquity.
The Royal Sport.
In the present work we play with words, more or less in the way the ancient bards and the Medieval
troubadours did. We hope that the dear reader has so much fun in following these puns and wordplays as we
did in deciphering them from the ancient texts and traditions where they were hidden and essentially lost to
the world. This kind of play was the game of the kings and the courtiers when they had already eaten too
much, and were tired of playing with their harems.
Solomon played this game with the Queen of Sheba, who came all the way from Indonesia just to meet him for
the purpose, dragged by her curiosity to meet the sole person in the world whose wisdom was a match for hers.
Among the Celts and later, in the Irish courts, the lid —the Irish counterparts of the bards and mythographers
of the nations of antiquity — would continue and preserve this pristine Atlantean tradition. Samson’s enigmas
to the Philistines and the riddle posed by the Sphinx to Oedipus are also well-known instances of the ancient
art.
The troubadours— the masters of the trobar clus (“closed composing”)  — succeeded them Celtic beads in the
Middle Ages. They composed their poems full of hidden wordplays, which the smarter persons in the audience
strove to decipher. But only the initiates would catch the deeper levels of the secrets thus conveyed in public,
and preserved from one generation to the other, throughout the millennia.
Though formidably equipped for the task, their language, Provençal, was de nitely no match for the Hindu holy
tongues, Sanskrit and Dravida. In them, the ancient myths were originally composed, in the samghams (poetic
academies) of ancient India and, prior to this, of Indonesian Atlantis itself. The present author certainly
inherited his taste, and possibly even some skill for deciphering such riddles from his Celtic ancestors. After all
we are of Iberian blood, and Provençal was the mother tongue of the Portuguese language. This happened
because the troubadours and the Cathars, persecuted and murdered in their native Provence by the French
incensed by the Holy Inquisition, were forced to move to the Iberian Peninsula. There the troubadours and,
later, the Knights Templar would start the revolution that eventually resulted in the discovery of the Americas
and the reopening of the sea route to the Indies. These traditions had been forgotten since time immemorial,
together with the traditions of Atlantis. These discoveries did not happen by chance. These knowledge encoded
in the ancient myths sung by the troubadours, along with their Religion of Love, the religion for the 3rd.
millennium, the one we are just about to enter now.
The great god of the troubadours, the Lord of the Third Coming, is precisely that little guy, the virgin Boy-Girl,
the lovely ephebus that shoots his/her arrows into our hearts, conquering our love forever. Pay attention dear
reader, and you too may discover it between the lines I did not dare to open too much, for the time for that is
not ripe yet, though the codks are already starting to crow.
Myths Originated in Ancient India.
We have written this essay for the lay but intelligent reader, interested in the real meaning of the ancient
myths, rather than for the professionals. However, since most of our etyms and explanations are rather novel,
the open-minded specialist in Comparative Mythology will certainly pro t by it, for our exegesis is strictly
scienti c.
Given that most, if not all myths, ultimately derive from India, it is in its sacred tongues that we must quest the
clues for their interpretation and exegesis. However, the possibilities of these magic tongues are almost
endless, for these tongues are polyssemic. In other words, each component radix has dozens of different
meanings, and result in literally hundreds of possible etyms for the composite names.
Space does not allow a fuller explanation than the ones given, for the connections are virtually endless. One
must, hence, exert the wisdom of the proverbial swan, and pick out only the interesting ones, “for the Science
of Words has no end”. In the present chapter we adduce a few of the virtually hundreds of etyms of the word
Atlantis in the holy languages of India, Sanskrit and Dravida. These two are visibly the sacred tongues in which
the legend of Atlantis was originally composed, as these etyms unequivocally attest. So, it is in them that we
must strive to recover their long lost esoteric sense.

The Fabric Myths Are Made Of

As we said above, in the present work we play with some of these sacred radices in the manner of the ancient
bards and mythographers who composed the myths of Atlantis and Paradise. We do this not as a display of
expertise in this dif cult science, but in order to illustrate, with practical examples, the in nite resources of 
the magic tongues of ancient India.
The best way not to get lost is to learn with the great masters, who often utilize puns and wordplays in order to
compose their myths. The Bible is, likewise, full of such assonant wordplays, which are employed in explaining
the so-called “popular etymologies”. Such etyms frequently embody the hidden message and, indeed, often
form the “surrealistic” facets of the myth itself. Very often, the so-called “popular etymologies” include the
factual wordplays in the tongues in which the myths were originally composed, the ones which did not
translate properly and had to be adapted into the new tongue.
The basic features of Atlantis are, according to Plato, its 10 Princes; its 7 dvipas (“islands” or “continents”); its
name; its huge population; its invincibility in combat; the circular triple ditch that circumscribes it; its round,
diametrically crossed channels; its triple citadel; its Paradisial fertility; its intense naval commerce; its divine
af liation; its tropical climate that allowed two or three crops a year; its characteristic produce, etc..
But, more than anything, we have the fact that Atlantis was a worldwide empire, which left its paideuma
imprinted in essentially all sacred traditions of humanity. Plato and other sources add that Mt. Atlas was the
Pillar of Heaven. Mt. Atlas was sited under the Pole, exactly in the Center of the World. The exaggerated
arrogance (hubris) of the Atlanteans lead to Doom and the sinking of their nation by the Flood, after a ferocious
war with the “Greeks” (i.e., Aryans).
Other features concerning Atlantis are its overseas location; the huge size of the country; its continental (i.e.,
“insular”) nature; its overseas location; its precipitous shores; the abundant “sea froth” that rendered its seas
impassable; the peculiar nature of its produce; the semi-divine nature of its inhabitants; the bull sacri ce; the
pristine piety of its kings and people, the gradual decay,  that ensued, the the “innavigable Seas”, the
destruction by a volcanic cataclysm and the nal sinking under the seas.
In the Indian sources, the myth of Atlantis corresponds, one way or the other, to that of the sunken Atala (or
Patala), the Primordial Paradise also called Kushathali (or Kushasthali). Other legendary Indian cities connected
with the myth of Atlantis are Bhogavate, Kanyakubja Dvaraka, Tripura, Dashapura, Ayodhya, Dasharna-dvipa,
Jambu-dvipa, Suktimat, Kaushambi, Mathura, Kapilavastu, Hastinapura, and a myriad others.
The central idea of the ancient myths concerning Atlantis and its sinking is, however, the one of the terrible
chasm in which it became converted. This Chasm is Earth’s Yoni, both the engenderer and the swallower of
Atlantis, when it turned into the Fiery Mare which we will be discussing bellow. This fearful Black Hole, Earth’s
Chasm, has a myriad names and gures in the myths of many ancient nations.
In Greece it is the Khasma Mega (“Great Abyss”) of Hesiod, as well as the Khaos (“Fissure”) whence Creation
originates. In Homer and in the Argonautica it is the Symplegades crossed by the heroes, as well as the dark
Charybdis (“Black Hole”) where Ulysses’ men meet their doom, and from which the Hero barely escapes, most
miraculously. In Buddhist traditions and in Persian ones it is Barucacha, the Dark Abyss which engulfs the
world. In Hindu traditions it is the Vadava-mukha, the Fiery Mare.
In the Rig Veda the Vadava is Sule Abhvan (“Great Abyss”). In Egypt it is Nun, the Primordial abyss whence the
First Land (Tatenen) emerges at Creation. In Sumero-Babylonian traditions it is the Apzu, the abyss of the sweet
waters of doom. Even in the Americas we have identical traditions in, say, the Ivy-momo (“Earth’s Hole”) of the
Guarani Indians and their counterparts of the other Indian nations. Many others such could still be quoted, for
the list is virtually endless. In some traditions, this Abyss is equated with the giant Yoni of the Great Mother,
and is even identi ed with her, in her black, lethal aspect, as Kali or Durga, the Harsh One.
The Real Nature and Location of Paradise
The basic feature of Indian myths concerning Paradise is that it is usually placed near the Indian sub-continent
itself. In contrast, all other nations place Paradise “in the Far Orient”, usually beyond the Ocean. This fact alone
would seem to indicate that India is the source of such myths, whence they diffused everywhere at an early
date, which is lost forever in the darkest prehistory.
It is only logical, hence, to start the quest of Paradise — no matter if it is called Atlantis, Lemuria, Eden, Dilmun,
Ophir, Punt, Amenti, Phaeacia, Troy, Thebes, Ys, Aztlan, Hyperborea, or whatever — in the Orient; in India and,
more exactly, in the two Indies, India and Indonesia. Furthermore, it is reasonable to suppose that the
Terrestrial Paradise — meaning the original birthplace of mankind — is one, rather than many.
Hence, we should consider all Paradises as just one and the same, which we will call Atlantis for convenience.
But that myth embodies, within itself, the sundry myths of all places which, of course, respond by a diversity of
names. The many different names result from the translation of the original legend in the many tongues of the
different nations that preserved the tradition as their own. They attempted to identify the original locations
inside their own territory, recreating local replicas of the original Paradise.
The name of Atlantis applies to two different places and empires, which correspond to the two Indies or, rather,
India and Indonesia. Atlantis is, hence, dual, like our gods and the paideumas that form the essence of our Soul
and our Spirit. These two are often personi ed as the Primordial Couple; as the Twins that created the World; as
the Gods and the Devils, and so on. In modern terms they are called Atlantis and Lemuria, respectively located
in the Far Orient and the far Occident, the two extremes of the ancient world of the Hindus.
Finally, one should keep in mind that the ancients wished the esoteric message of their myths to remain secret.
Hence, they often employed allegories and paraphrases that altered the names and the directions given in
exoteric contexts. Puns and wordplays often get lost under translation, resulting in the senseless and in the
popular etyms that we nd, f. i., in the Bible and in the Odyssey.
Atala, The Sunken Paradise
Let us start with the name of Atlantis proper, and with its many Sanskrit etyms. Atala means “steady”, “ rm”,
words which are usual epithets of the Pole Star. Atlantis was often likened to Mt. Meru, the Polar Mountain, and
to Hyperborea, the “land under the Pole Star”. Thule was another of its names, and the word means tula (or
“balance”), being another usual designation of the Pole Star. Shambhalla (“place of assembly under the Bear
Constellation”) is another of the many nicknames of the furtive Paradise.
Ursa, the Pole Star, is really the allegory of the patron god of the Dravidas, rather than an actual geographical
site. Atta means “high” “lofty” and, particularly, a “watchtower”. The word recalls Mt. Atlas, the lofty stay of the
world and prop of Heaven. We will see that Dvaraka (aka = “horn”, “pillar”) and Kushasthali (asthali = “stay “,
“prop”) also express the same idea. Attala (or attalas) also designates the same thing, and more closely evokes
the name of Atlantis and of Mt. Atlas as the Pillar of Heaven.
Atala designates the third hell of Patala. Atlantis, we should recall, was sunk underground (or underseas), and
became the archetype of Hell or Hades. Atala is said to be a realm of gold like the Aeaea in Homer, the golden
submarine kingdom of Poseidon. Atala literally means “bottomless”, and is a usual name of Hell, the Bottomless
Pit. Atala also means “nowhere” and is, hence, synonymous with Utopia (Greek utopos or “nowhere”), the
esoteric Paradise of the Alchemists and the Utopians.
Atala is, yet, a name of Shiva Atalas, whom, we shall see, is the deity who symbolizes Mt. Atlas as the Cosmic
Phallus. It is interesting to note the reversal of Attatta (very high) turning into Atala (“bottomless pit”) after its
fall.
Finally, atala (or atata) denotes “having no shore”, “precipitous”, an idea embodied in Plato’s description of
Atlantis. This etym also recalls Qaf, the legendary Paradise of the Arabs, which can be reached “neither by sea
nor by land”. The concept of “having no land” implies nomads or rovers like the Jews and the Gypsies, and
recollects the fact that the Atlanteans became roving nomads after their Paradise was destroyed with the long
initial a (vaî) that means the negation of negation, Âtala mean “the Land of the Palm Tree”. This is the
primordial Phoenicia (phoinix = palm tree”), the original home of the Phoenician, likewise sunken under the
sea. The Palm Tree was in their traditions, the same as the Tree of Life.
The Lofty Towers of Atlantis
The word atala passed into the Arabic tongue as at-talaia, a word that denotes a watchtower or a watcher. In
this “lofty tower”, we recognize the Tower of Babel, which scraped the skies, and which was felled like Lucifer
and Adam and other such proud heroes who dared defy the laws of Nature.
This lofty tower is also the Tower of Tarot (Arcane no 16) which is also the House-God (Maison Dieuor Bethel). 
The Tower symbolizes the Temple of Jerusalem, and other such temples and holy mountains and is also gured
by the ziggurats, stupas, pagodas, pyramids, temples, cathedrals, obelisks, asherahs, spires, towers, campaniles,
etc..
The word Atala recalls Athaliah (attalyah = “Jahveh is exalted”), the Biblical heroine of II Kings 11:1 ff.. Athaliah
was the evil woman who killed all the royal descendants, so that she could reign alone. But one escaped
(Joash) and was kept hidden within the watchtower of the Temple, whence he came out later to avenge the
murders of the evil queen. The name of Athaliah seems to play on that of Atlas or Atalas (Shiva), as well as on
that of a lofty pillar (atala).
Even the Hebrew etym of her name also suggests the same idea. The story is confused, but tells of
watchtowers, of the destruction of Baal’s temple and of the House of God (II Chr. 24:7), as well as of Athaliah
herself (II Ki. 11:20; II Chr. 23:21). Shortly after Alhaliah’s death, the Temple was rebuilt (II Chr. 24:2 ff.). Clearly,
the story of Athaliah is related to that of the Fall of Atlantis, and shows that she represents Baal’s Temple,
rebuilt as that of Jahveh, or, yet the second Holy Mountain that is the dual of that of Jahveh.
The myth of Athaliah and of Joash, her defeater — who came out of the Pillar of the Temple in order to kill her
— resembles the one of Narasimha, the Man-Lion of the Hindus, who did the same thing to the evil Hiranya-
kashipu. Joash is Hebrew for “Pillar of Jahveh”. This name is the same as that of Jachin, one of the two pillars of
the Temple of Solomon. In other words, Joash is the “twin” of Athaliah, who is the alias of Atlas, the other
“Pillar of the World”. It is throw esoteric myths such as this one, that the secret story of the world is told in the
Bible, just as it is in the corresponding Hindu myths or those of other nations.
The Many Aliases of Ishtar and Venus
Atarah (“crown”), the mother of Onan (I Chr.2:26), seems to provide another connection with the myth of
Atlantis. Atarah may personify Atlantis as the Temple of God. Ataroth is the name of a city, and means “crowns”.
The name evokes that of Astaroth or Ishtar, the Babylonian name of Venus. In I Chr. 2:54, Ataroth Beth Joab
(“The Crowns of the House of Joab”) is connected to the name of Bethlehem and his brother. Again, the two
seem to represent the two “Pillars of God”, Jachin and Boaz.
Ataroth evokes the crown seen falling from the top of the Tower of Arcane no.16 of the Tarot deck. It also
recollects the Pole Star called Tara (“eye-star”) in India, and identi ed to Ishtar. In other words, we actually have
two Towers or Temples, one corresponding to Jachin (“Jah erected”) and the other to Boaz (“strong serpent”).
They also correspond to the twin Pillars of Hercules and Atlas; to the twin obelisks of Egyptian temples, the
twin-peaked Mt. Meru, etc..
The two, as we shall see further below, also represent the Male and the Female deities, and their respective
Pole Stars (Ursa and Lyra). More exactly, the Twin Pillars correspond to the Sumeru and the Kumeru of the
Hindus, the two Polar Mountains where their two Paradises are located. These they placed, one in the Extreme
Occident, and the other in the Extreme Orient. The twin peaks of Mt. Meru were often called the “Mountain of
the Orient” and the “Mountain of the Occident”, both in India and in Egypt.
They are, as we just said, the ones we identify with Atlantis and Lemuria. These two Paradises, the Greeks
called Hesperia and Island of the Blest, with they placed in the two extremes of the world. In a confused way
they also identi ed their two Paradises with the twin Pillars of Hercules, or of Atlas and Hercules, the
counterparts of the Primordial Twins.
Atlantis as the Land Ancestral
Atta denotes “mother” in both Sanskrit and Dravida. The word is borrowed from the Dravidian attan (“father”,
“mother”, “grandfather”). Atlantis would, accordingly, be Atta-land (“ancestral land”) or Ata-land-is (“ancestral
island”). Athar denotes “ re”, and Athar-land or Athar-land-is is then the “Island of Fire”, which is the Paradise of
the Egyptians, the same one they also called Punt or Amenti.
Atharvan (“priest of the Fire”) is the instituter of the sacri ces of Soma to Fire (Agni). Atharvan was the rst
Prajapati and the eldest son of Brahma. He is also called Angiras or Dadhyanch, the original sacri ced one, and
an alias of Purusha. Atharvan denotes the same as Atharanti (“being near re”), an assonance of Atlantis, the
land consumed by Fire (Agni) and Water (Soma), precisely the essence of Atharvan’s name.
Atharvana is a name of the god Shiva, as the Primordial Sacri ce. Atri or Atra (“food”, “devourer”) is one of the
Seven Rishis (Ursa Minor), the Polar Constellation that hovers over Mt. Meru in Hyperborea, marking the site of
Atlantis. Atra or Atri is also called Atras, and is said to be one of the Ten Prajapatis of Lyra, the other Pole Star.
He is said to be either a Rakshasa (devil) who eats human esh, or a sage who composed several hymns of the
Rig Veda.
The Sons of Atri (called Atrayas) are a class of Pitris or Prajapatis (Progenitors) who correspond to the seven
stars of Ursa Minor, or the ten of Lyra. These two are the Polar Constellations which patronize, respectively, the
Chamites and the Semites. Atras is also the same as Atlas, as is evidenced by the closeness of both their names
and their myths.

Minerva as the Great Black Mother

Since we are talking of the Great Mother, we cannot fail to mention Minerva, the Great Mother of both the
Greeks and the Romans. The Greeks called Minerva by the name of Pallas Athena, the patroness of Athens, the
famous city having taken its name from her after the famous dispute with Poseidon. The etyms of the names of
both Athena and Minerva are unknown, a fact that shows that the goddess is an imported deity, just as
Herodotus and several other ancient authorities attest.
As we shall see, both these names are unequivocally of Hindu origin. Indeed, Herodotus admits that Athena
was a Libyan goddess, the Libyans being directly identi ed with the Pious Ethiopians of Indonesian Atlantis. In
Rome, Minerva was the Great Mother of the Etruscans, who called her Menerva or Minerva. Other authorities
claim that Minerva-Athena was of Pelasgian origin. These three nations are deeply connected with the
mysterious Sea Peoples, who originally came out of nowhere into the Mediterranean region.
Though often identi ed with the Black Virgin Mother — the same goddess the Hindus call Kali (“Black One”) —
Minerva was indeed blonde and blue-eyed, as represented in her vast iconography. Moreover, one of her most
frequent epithets was Glauko-opis (“Blue-eyed”). This and several other facts show Minerva’s connection with
Indonesia, the land of the blue-eyed Ethiopians who originated in Lemurian Atlantis, as we just said.
These tall, blonde, blue-eyed Atlanteans were called Nagas in Hindu legends, a name that means something
like “Serpent” or “Dragon”. In Dravida they are called Minas, meaning both “White” as well as “Fish”. This “ sh-
people” is the same as the “dragon-people” who are the mythical Civilizing Heroes of most if not all ancient
nations.
Minerva and the Foundation of Atlantis
Plato connects Athena-Minerva with the founding of Atlantis, and mentions the goddess in two episodes of his
dialogue on the sunken continent. In one, the philosopher tells of her dispute with Poseidon for the patroning
of the city Athens. Poseidon offered the horse, and Athena the olive tree. The later was considered more useful
by the Greeks, who chose the goddess for their patroness. Poseidon was given the patroning of Atlantis, which
became the traditional enemy of Athens. Olives and, more exactly, olive oil, have their use in ritual anointing, a
rite whose purpose and origin are strictly Atlantean, but which cannot be explaned here.
In another passage, the great philosopher tells of the Panatheneas, the great festival of the goddess, where the
victory of the gods over the Titans was commemorated. As the scholiasts of Plato explain, this war was the
Great war of the Athenians against the Atlanteans, who had invaded the region. Herodotus tells of a very
similar tradition among the Libyans and the Egyptians, where Minerva was commemorated by a ritual battle of
the people divided into two moieties for the purpose.
Again, Both myths have directly to do with the legend of Atlantis. And, as they far precede the times of Plato,
we are led to conclude that the Athenian philosopher could not possibly be inventing the story of Atlantis.
Plato also (esoterically) connects Athena-Minerva with the founding of Atlantis when he relates the fact that
Poseidon engendered Atlas and the other Atlantean princes with Cleito, daughter (or alias) of Leucippe. In
Greek, Leucippe means “the White Mare” (Leuka-hippe).
And the myth indeed refers to the legend of Poseidon raping the Great Mother, Demeter under the guise of a
horse. This myth is indeed a verbatim copy of an important Hindu Cosmogonic myth, that of Sharanyu and
Vishvasvat. Sharanyu is the Great Mother of Hindu traditions, and Vishvasvat is the Sun, the alias of Varuna.
Varuna fell down from the Skies and later became a marine deity (Apam Napat), the true archetype of Poseidon
or Neptune, the founder of Atlantis.
In the Hindu myth — which dates from the Rig Veda and is hence older than the Greek nation itself and which
closely parallels the Greek one just mentioned — the goddess takes the shape of a mare in order to escape the
incessant lust of her insatiable husband. But that was of no avail. The god takes the shape of a stallion and
rapes the mare goddess. Later, the Ashvin Twins — the archetypes of the “horse-like” twins of Gemini, Castor
and Pollux — were born to Sharanyu, who thus became the Great Mother.
The name of the Ashvins means “horse-like”, and derives from the Sanskrit ashva, meaning “horse”. The Ashvin
Twins are the archetypes of the similar personages we encounter the world over. They are indeed the aliases of
Atlas and Gadeiros (Hercules), the Twins to whom Plato attributes the founding of Atlantis, itself “twin”.
As we said above, Cleito-Leucippe, the Great Mother of Atlantis according to Plato is indeed the White Mare,
the alias of Minerva, of Demeter and of Sharanyu, among many other goddesses gured as mares. The
association is with the Vadava-mukha (“the Submarine Mare”), the terrible chasm that swallowed Atlantis, as
we mentioned further above. But that is another story [LINK] which we tell elsewhere. What interests us here is
the connection of the White Mare — alias White Goddess or Eve (Ava), whose name also means “mare” (ava) in
Sanskrit — with Minerva-Athena, the Great Mother of the Greeks and the Romans.
Minerva and the Foundering of Atlantis
Minerva-Athena was often connected with horses, particularly in a mystic way. First of all, she was called
Hippia (“Horse-woman”, in Greek) or Equestris (idem, in Latin), names which embody a pun with her equine
nature. The goddess is also connected with Poseidon Hippios, her male counterpart, said to be her father or,
alternatively, her lover. This idea is also copied from the Hindu myth of Sharanyu, where Vishvasvat, the Sun, is
both the father and domesticalm of the lover of Sharanyu. These traditions apparently disclose the fact that the
horse — whose the origin is unknown — indeed originated in Atlantis, precisely as Plato af rms.
In a Greek myth, Athena disputes with Poseidon, and beats him at his own game of horse taming. As such, she
is identical to Hippodamia (“Tamer of Horses”) and to Hippolyta (“Releaser of Horses”), the queen of the
Amazons. Minerva-Athena was also called Hippoletis of obscure meaning, but perhaps signifying “the Hidden
Mare”.
The suf x letis apparently relates to the name of Leto (the mother of the twins Apollo and Diana), her alter ego,
and to Lethes, the river of Hades whose waters imparted oblivion. These words relate to the idea of “hide”, and
hence, to Hades and to Latium, again mystic names of Atlantis-Eden. These names relate to bases such as the
Greek lanthanein and the Latin latere, both of which mean “to hide away”. The esoteric allusion is to the
Vadava, the Source of the Mare, hidden away under the seas, in the site of Paradise.
These names of Athena also connect to Hippocrene (“The Fountain of the Horse”), said to have been created by
Pegasus, at the spot where his feet touched the ground. Hippocrene is the “Source of Doom”, the very one
linked to the Flood and the doom of Atlantis. Again, the myth of Pegasus and that of Hippocrene is Hindu in
origin, and so are their connection with the Flood and with Kadesh Barnea and Gades (another name of
Atlantis). In fact, Hippocrene “the Source of the Horse__” is the Vadava-mukha itself, the actual Source of Doom
that marks the spot where Atlantis sunk away under the seas.
Triton and Athena Tritogeneia
As a further connection with the idea of the foundering of Atlantis and the Vadava, we have the epithets of
Athena as Tritonia or Tritogeneia. These are again somewhat obscure, but can be explained in Hindu languages.
Trito or Tritois indeed the Vedic water-god Trita Aptya. Trita means “triple one” in Sanskrit, and evokes the idea
of Atlantis as a triple city, as described by Plato. Aptya means “Born in the Waters”, the same as Apam Napat (or
Napat-am = Neptunus). In other words, Trita is Varuna, the Hindu counterpart and archetype of Poseidon-
Neptune, the founder/founderer of Atlantis.
The Tritonic (or Tritonides) Marshes gure centrally in many Greek myths having to do with the sinking of
Atlantis. They correspond to the Vadava, being the spot where the mariners get lost and their ships sink, carried
under by the whirling waters like the ones of Charybdis, the giant maelstrom faced by Ulysses and his men. The
Argonauts too get stranded there, but are miraculously saved by the direct intervention of Triton himself.
This theme is, once again, taken verbatim from Hindu myths, where Varuna is the god who rescues his
supplicants in identical straits. Even the Psalms, of the Bible allude to an identical event. And the Buddhists too
tell, in one of the Jatakas, of a similar succor of Buddha to the navigants who beg for his help. Again, the list of
related myths is virtually endless.
It is interesting to note the idea that the god who creates is also the one who destroys. This is an intriguing
allegory of volcanic Mt. Atlas, who was the cause of the foundation of Atlantis at its site — for volcanoes bring
abundance with their fertilizing ashes, attracting humans like ies to honey. But when they explode they also
kill everybody, engendering myths such as that of the Great Mother who goes mad and devours her own
children.
The same is true of heroes such as Hercules, who kills his sons, or of gods such as Kronos who devours his. The
motif of the all-sucking Chasm of Death is also related to the theme of the Sea Sargassos where ships are
detained by these vines and dragged to the bottom, as if by the hand of Satan himself. Once more, this pristine
Sea of Sargassos, — that Columbus and his men mistook for the one of the Caribbean, and which populated the
ancient legends — lay in the region of Indonesia, where the peril is indeed very real.
The Hindu Origin of Athena and Minerva
As we said above, Herodotus and several other Greek authorities af rmed that Pallas Athena was not originally
Greek. This claim is con rmed by the fact that her name is not Greek, and has no known etyms in that
language. For that matter, the same is true of the name of Minerva, which has no etym in Latin. In fact, it is
known that Minerva was originally an Etruscan goddess. Herodotus af rms that Athena is indeed a Lybian
goddess, and other ancient authorities af rm tat she is originally Pelasgian. The fact that the eponymous
goddess of the Athenians is foreign is very strange, and shows the foreign origin of the myth of Atlantis, with
which she is intimately connected.
It is not exceedingly dif cult to show that Athena is indeed of Hindu origin. If so, the just mentioned
af rmations are true, and the Pelasgians, the Libyans and the Etruscans themselves are originally Indian. More
exactly, the blue-eyed goddess (Glauco-opis) is an Indonesian Naga, or rather, a Nagini, a female Naga. We saw
above the intimate connection of Minerva-Athena with serpents and with serpent-haired Medusa, as well as
with the terrifying Vadava-mukha which the monster personi es.
All these being Indonesian features, the only reasonable conclusion is that the goddess is herself of Indonesian
origin. In fact, the blond Indonesians in question are the Seres or Hyperboreans, in fact living in the paradisial
island of Taprobane and being blond and blue-eyed, as described by Pliny and Solinus and, indeed, by other
ancient authorities as well. Her name of Pallas ultimately derives from the Dravida *palla, meaning “girl”,
“virgin”. As such, Minerva often appeared as a little girl, for instance to Ulysses, when he reaches Phaeacia, the
Realm of the Dead (Atlantis).
Pallas Athena is hence the same as Kanya or Uma, the “Virgin” of Hindu myths that is indeed the same as the
Great Virgin Mother of a myriad names. In Greece Kanya appears as Kore (“Girl”) or Persephone, who becomes
the Queen of Hell when dragged under by her rapist, Hades. Kanya is also called Kanyakubja, one of the many
Hindu epithets of sunken Atlantis.
The name of Minerva is likewise Dravida is easy to show. As we said above, the word has no etym in Latin,
having been introduced by the mysterious Etruscans, who came in from sunken troy (read Atlantis) led by
Aeneas. In fact, her name in Dravida derives from Min-arva, meaning “White Mare”. This etym, which we already
explained above in detail, is precisely the one of Leucippe (Leuk-hippe), the founding mother of Atlantis.
Athena is, again, derived from the Dravida. Her name derives from Atti-na meaning “Mother of the Nagas”, that
is, of the Dragon races of Atlantis. Other Dravidian etyms are likewise instructive: Att-enna = “Mother of Corn”
and Att-ina = “United Mother”. The radix ina here means “united”, “joined”, “twin”, “lover”. As such she represents
the same as Yami, (“Twin”, in Sanskrit), the twin sister and lover of Yama.
The Virgin Mother and Her Wondrous Son
Yami is also the Virgin Mother of many mythologies, who ends up as the lover of her own son or her father, as
we saw in the myth of Sharanyu and Vishvasvat told above. The “Corn Mother” is another monumental gure.
She is the same as Ceres, the mother of cereals of the Greeks, as Anna Perenna, the Roman counterpart of the
Hindu Anna Purna; as Hainuwele in Melanesia, as Mani in South America, and so on.
Everywhere, the Mother of Cereals — called Sanina Saris (Saris = Ceres) in Indonesia — represents Lemurian
Atlantis, the paradisial land where agriculture was invented in the dawn of times. In fact, as Max Mueller has
shown, Athena is indeed the same as Ahana, the Vedic goddess of dawn. Dawn is in fact Ushas, called Eos (or
Hestia) in Greece and Aurora (or Vesta) in Rome. She is associated with re, and is said to have invented suttee
by throwing herself into the ery pyre of her dead husband. This feat allegorizes the sinking of Atlantis into the
Fiery Pit.
In fact, among the many possible etyms of Pallas in Dravida, we have pala meaning the same as the above, that
is “shiny”, “pure”, “dawn”, “milk white” and “golden”, as the metal puri ed by re. So, Pallas is indeed Dawn under
disguises such as the ones just mentioned. In other words, all those etyms and allegories that do not make any
sense whatsoever in Greece, nd their natural explanation in the myths and symbols and holy tongues of
ancient India. What else but their origin there can explain these otherwise mysterious coincidences?
Let us take a further instance of such “coincidences”: the association of Minerva-Athena with the owl. We
believe that this strange connection has never been satisfactorily explained before. Space does not allow a
fuller explanation. But we can say that the name of Ushas (Dawn) and Vesta (Ush = Vesh = “Dawn”, “Fiery One”)
is indeed an allusion to her volcanic nature (the Vadava-mukha).
Moreover, the name also refers directly to Indonesia, being called Eoos (“Dawn”, “Fiery”) in Greece and Rome
because of its associatiation with volcanoes and with the dawn, being the point where the new day started by
convention in antiquity (International Date Line).
Ushas is also called Ulka in India, both words meaning the same in Sanskrit, and indeed deriving from the same
radix. Ulka, in turn, derives from the Dravida ul-kan meaning “inner re” and, more exactly “hearth”, “ replace”
and, by extension, “volcano”. In fact, the Latin vulcanus and the English “volcano” derive from the Dravida ul-
kan, pronounced as “vulcan”.
Indonesia is indeed the “Land of Volcanoes”, as there are hundreds of active volcanoes there. But in Sanskrit,
the owl is said ulukka, which closely assonates with ulka. So, the owl associated with the Great Mother is just a
way of saying that Minerva indeed stands for volcanoes or, yet, that her true name is Ulka or Ulukka, both Owl
and Volcano in the holy tongues of India, where the myth was visibly contrived.
Fig. 1 – Pallas Athena, the Black Virgin Mother
(P. Decharme, Mythol. pg. 97)
[Legend of Figure] In Fig. 1 above we have Pallas Athena as portrayed in one of her many statues, as a war
goddess. She is clad with an armor (the aegis), and wields her lance and shield (both missing the gure). In her
cask we have Pegasus, the Flying Horse and, at her elbow, the Gorgon’s head. She wears a loose peplos (wide
dress) decorated with snakes. The Gorgon (Medusa) represents the Vadava-mukha, that is, the goddess in her
most terrifying aspect. The snakes embody her relationship with the Nagas. And Pegasus represents her
relationship with horses (Hippias) and, again, with the Vadava, the terrible Fiery Mare. The peplos, with its
plaits undulating with the wind, represents the crust of the earth shaking under the effect of the formidable
earthquake that destroyed Atlantis. More exactly, the [white, undulating] peplos of Minerva represents the
“veil” of volcanic cinders that covered the earth and the seas of the region of Atlantis-Eden  at the occasion of
its destruction. And the enormous tuft that issues from the cask of Minerva represents the “atomic mushroom”
of the giant volcanic explosion.
The Origin of Communion
The radix at or ad (“to eat”) denotes “communion” (adman), “commensal” (admasad), and a sacri cial bread
(adga or purodasha). This piece of bread is offered as an oblation, along with soma, in a sacrament which is the
clear counterpart of the Christian Communion. The radix ad also gave words such as adri, the stone or grail
used in Soma preparation.
Adri is also a name of the vajra. This etym is extremely important, as it links Atlantis to the fall of the vajra and
to the Eucharist or Host. The Occult meaning is precisely the same in both cases: it represents the Sacri ce of
the Primordial Christ (Adam or Purusha), which aliases the one of Atlantis and of Lemuria.
Indeed, experts have recognized that the Sacri ce of the Mass was cribbed from the Persian Haoma, in lum 
copied from that of the Vedic Sacri ce of Soma. Here we see how the mashing of soma with the stone that is
the alias of the vajra and the Grail (a ceraunic stone) corresponds to the Fall of Adam or that of Lucifer’s crown
(atarah).
The word “crown” is really a well known euphemism for the crown of the phallus, both being called mani
(“jewel”) in Sanskrit. This “crown” fell upon Atlantis, and there formed the Holy Mountain, Mt. Atlas. In a
previous avatara (“star fall”), it fell upon Lemuria, destroying it and creating the other Holy Mountain, the dual
of the former one. Mount Atlas, the Holy Mountain of Atlantis, was also called the “Crowning Mountain”. This is
the same as Mt. Calvary, legendarily formed in the same way as Mt. Atlas, Mt. Meru and many other Holy
Mountains of Paradise, in diverse mythologies.
The Fall of Lucifer
Likewise, the name of Atlantis can also be derived from Ad-thali or At-thali, “the tower (or elevation or
mountain) consumed (at) by re (thali)”. The name of Atlantis, the lofty tower which was felled by the vajra (as
shown in Arcane no16 of Tarot) gave rise to the legend of the Fall of Adam and that of Lucifer “falling like
lightning from the skies”. This mishap is also ascribed to Jesus and to Krishna, his Hindu archetype. And the
fallen Adam became “the vilest of men”, like the humbled Trita, held in the Bottomless Pit, and later saved by
Varuna.
Indeed, the Sanskrit Adhama (“lowest of men”, “in mus”) gives exactly that etym for the name Adam. And the
assonance with Atlantis (adhara) denotes precisely the same, with a correlation with Hades, the Bottomless Pit,
and the Yoni of the Earth. The suf x antis can also imply the idea of “lowest”, “vilest”, as in the Sanskrit antya.
We also have the form Adharanti implying an idea of “lowest hell” or “vilest hell”, the same as Atala, the
Bottomless Pit.
Atyanti means “having gone too far” or “having transgressed all limits”. This concept is often connected with
Atlantis, which fell because it had sinned with hubris (or “excess”) for having constructed Mt. Atlas too tall,
exceeding allowed limits. This story closely evokes the one of the Tower of Babel. Adam, Lucifer, Prometheus
and many other pristine civilizing Heroes are also blamed with the same fault, that of excessive arrogance.
The idea is that Atlantis ful lled its era and was hence doomed to destruction, as are all things both evil and
good. In real terms, the sin of hubris of Atlantis seems to have been that of excessive population, excessive
pollution, excessive consumerism and excessive pride in treating the lesser brothers. These are also the sins of
our own era, as is becoming evident. Are we to follow the fate of Atlantis and meet our end soon?
Tyre and the Anointed Cherub
Antar denotes “supreme”, “inner”, “interior”, “central”, “heart”, “mind”, “soul”, etc.. So, Atlantis can also be
interpreted as Ati-antar “the Supreme Soul” or “Inner Mind”. Such etyms are frequent epithets of Purusha and
his many counterparts. Dialectically, they recall the King of Tyre of Isaiah (ch. 23-25) and Ezekiel (ch. 26-28);
the Anointed Cherub who tried to place his throne above that of God himself (the Supreme Spirit).
Indeed, the prophecy of Ezekiel and Isaiah concerning Tyre is an allegory of the Fall of Atlantis/Eden. “Tyre” is
there described as an island beyond the sea, which was sunk by its waters after being invaded by the ruthless
“King of the North”. It is there called “the crowning city” (Atarah); an “island” (like Atlantis); “a merchant city full
of ships” (the ships of Tarshish) which was laid waste, etc..
Tyre is there further described as a harlot; a haughty nation, burnt down and turned into a pit; a dealer in ivory
and ebony, spices, gemstones and myrrh (exclusive produce from India); the Holy Mountain of God, turned to
ashes and then ooded by the sea; etc.. Clearly, the “Sidon” or “Tyre” in question here is the Sindhu or Sind, the
Upper Indus Valley, and not it replica in the Near Orient.
The name of Tyre really means “plug” or “lid”, etyms which parallel those of the Malay Archipelago, called “the
lid (or fence) of the sea”, which it effectively blocks, separating the Paci c from the India Ocean. The suf x antis
of Atlantis, may well derive from the Sanskrit anti denoting “pyre” or “ replace”. So, Atlantis can well be the
Attar-anti or Atta-anti, i.e., “the pyre of the burnt mother”. The idea evokes the myth of Semele (“the Earth
Mother”), the mother of Dionysos, charred and killed by a shiny theophany of Zeus.
The Hindu archetype of Atlantis was called, in India, Kushathali or Kushasthali, an etym which we will study
later in this text. A variant of this name is Attasthali or Attatthali, all of which are assonances of Atlantis.
Attasthali means “lofty tower” (or mountain or stake). Attasthali was also called Dhumadi (“smoke covered”).
The idea is that Atlantis (Attasthali) became Hades, covered with mist or smoke and turned invisible (the very
etym of Patala and Hades).
Alternatively — and Sanskrit etyms are never purely coincidental — the idea may be that Dhumadi (or Atlantis)
is the Sacri ced One, the Fiery Oblation “that fell as the vajra (dhuma) from above (adhi)”. Dhuma is also the
name of Agni (Dhuma-ketu = “smoke-bannered”) and of Ketu (who fell as the 0vajra from the skies).
We see how the burning of Dhumadi (or Kushasthali) affords the true reason for the myth of Semele, the
mother of Dionysos burnt down by Zeus’ splendor. And Dionysos, we repeat, was recognizedly a Hindu god, a
fact that again shows the Indian origin of the myth of Atlantis. This etymology is the one behind the universal
myth of the Great Mother that gave birth to the Sun, but was terribly bunt by thereat.
The Burning Down of Paradise
The suf x tis or dis of Atlantis may also be derived from the Sanskrit. It can be appended to all the above etyms
to improve the assonance with Atlantis. The suf x tis of Atlantis is akin to the dis (or desha) of Paradise
(Paradesha, in Sanskrit), and denotes “country”, “place”, “region”. Dis denotes “to produce”, “exhibit, “show”,
“teach”, and implies the idea that Atlantis was charred as an example intended to show all nations of the power
of God. More exactly, this suf x apparently derives from the Dravida tix meaning more or less the same as the
Sanskrit desha and, more exactly as dvipa, that is, a sinky island.
Disha means “sky-staff” or “Celestial phallus” (Diso-danda). The word names a particular constellation which is
indeed Ursa Minor, the Celestial Linga. Di denotes “shiny”, “bright”, and dis is a form of dris denoting “visible”.
Hence, Atlantis’ Mt. Atlas is an alias of the giant Jambu Tree of India (Jambu-dvipa), tall and shiny like a
agstaff; “an ensign visible to all nations”.
Dhi means “to anoint”, and shows that Atlantis was the Christos or Messiah; the “Anointed One” who was
incended and became Agni or Kama. These are the ery ones who atoned for the salvation of all men. Anda
denotes an “egg” or “testicle” and evokes the Brahmanda or Hiranya Garbha, the Egg of Brahma from which the
world was created.
The radix ci — pronounced “tchee” — means “shiny”, “visible”, and designates a lofty pillar or mountain or
funereal pyre visible from afar. More exactly, it refers to a volcano, whose smoky plume serves as a sort of
lighthouse to guide navigants on their way, like the one who guided the Hebrews in their way out of Sinai.
In another context it means “to avenge”, being related to the Greek tisis, meaning the same. This base forms the
name of Tisiphone, (“the avenger of murder”). Tisiphone is the same as Persephone, whose name means the
same. More exactly, she is the Fury who punished murderers in Hell. Tisiphone is connected to many legends
related to the myth of Atlantis.
The Egg of Brahma
The story of the Egg of Brahma — really two eggs, like those of Kronos, in Orphic mythology — esoterically
refers to the Primordial Castration of the Androgyne, a recurrent mythical motif. And this strange myth is just
an allegory of the destruction of Atlantis/Eden, an event which scattered its population and forced it out,
resulting in the civilizing of the other nations. The two eggs or embryos are the two Paradises where humanity
was primordially hatched from the apish ancestors that originated in Africa. Sometimes the twin eggs are
represented as the twin halves of the Yine Yang, one black, the other white.
Atara means “crossing over a river” or “ferrying across”. These are precisely the etyms of words such as Habiru
(Hebrews), Perates (a Gnostic sect), Pharaoh (the “ferrier” king of Egypt), Charon (the barger of Hell), etc.. St.
Christopher (Christo-phoros or “Ferrier of Christ”) was a legendary giant, like Atlas, who ferried Christ (and the
World) on his back across a river. The idea here is that Atlas was a Saviour or Tirthankara (“ferrier”) or Manu
(manoch = “ferrier”).
Atati means something like “I am”, one of the many names of God. It also relates to the base Adi-adi (“the very
rst”). Both etyms refer to Atlas or Atlantis as the rst, godlike nation. Attha designates “speech” and, hence,
Attha alam means “the able speaker” or, really, the Logos that is the same as Brihaspati, the Lord of Prayer.
The Gates of Paradise
Ata denotes the frame of a door. Hence ata-las (“shiny door”) means the same as Dvaraka (“shiny door”), the
legendary capital of Krishna. Dvaraka is the true archetype of Atlantis, as we shall see further below. More than
pure legend, the capital of Krishna indeed existed, and its remains were recently found by Indian archaeologists
in the Indus Valley, near the site of the famous prehistoric civilization of Harappa and Mohenjo-daro.
We can also interpret the name of Atlantis in Sanskrit as ata lasa (“door of incense”), the same etym as Dvaraka
(“the gate of tears (of incense)”). The legends of Paradise frequently equated its name to “gates” and “portals”, in
an esoteric reference to Dvaraka and to its Indonesian dual, the city of Lanka.
These two are known in India as Koti or Ghatt, words that mean the same as “gates”, “portals”, “strait”, “passage”.
Here we see the reason for the connection, as the two Hindu Paradises were truly guarded by the “gates” or
straits that allowed the entrance to the other sides of the world and which were associated with guardians such
as Hercules and Atlas, as well as the Cherubs of Eden, Tisiphone, the guardian of Hades, Scylla and Charybdis,
and many other of their terrifying aliases.
Atras means “to overcome”, meaning that the Titan was nally forgiven, after, he underwent the Flood (an alias
of Baptism). In another context it implies the idea of “overcoming a dif cult passage” which we just discussed.
America as the Land Antipodal
Anti means the same as the pre x anti (“before”, “facing”) or as anti (“counter”, “against”). It gave rise to names
such as Antilia (“the facing island” or “the opposite continent”), the name given to the Antilles of America by
Columbus, who thought it was India. In fact, the name of Antilia, “the Isle (or Continent) Opposite” was the
same as the Antichthon, “the land antipodal”, whose name means precisely the same as that of Antilia.
This antipodal land of (Antichthon) gured, from remotest antiquity, in maps such as that of Hecateus of
Miletus and others known to Plato and Herodotus. The origin of the concept can, as usual, be traced to the
ancient geographical treatises of the Hindus, which indeed derive from Atlantean traditions. The antipodal
continent was postulated as a necessity for the equilibration of the earth’s crust, which would shift without this
counter balancing.
In fact, many modern scientists postulate such disequilibrum as the cause of Pole Shift. The discussion of the
reality of antipodals, of earth’s sphericity and even the Law of Gravitation gure in very modern terms in the
ancient Hindu geographico-astronomical treatises just mentioned, and which date from remotest antiquity.
Among such treatises we may quote Varamihira’s Panchasiddhantika and Brahmagupta’s Brahmasiddhanta.
Though their actual dates are relatively recent (500 AD or later), the originals on which these authors based
themselves actually date from Atlantean times. The Hindu doctrines were known to the Greek philosophers,
who traditionally went to India to be initiated into this esoteric knowledge. Very often, misunderstanding the
Hindu dvelms, the Greek philosophers transformed them into their absurd Cosmogonic conceptions such as
those of Thales, Anaximander, and Heraclitus, among many..
Plato discusses Atlantis in a way that alludes to its characteristic as both an “island” and a passage (strait)
allowing the access to the Outer Continent. We can see in a pep how India was the Antilia (or Anti-ilis or Anti-
ilia), the legendary antipodals of Europe. The true site of Paradise lay, not in America, but in India. Anti (or
Antika) also means “elder sister” and implies an idea of “twin” or “adversary”, another recurrent mythical motif.
Atlantis is thus seen to be Yama, the twin who was killed by his own brother, who is no other than Hercules.
A great many further etyms of the name of Atlantis can be produced in Sanskrit, indeed a “magic tongue”.
However, the above should suf ce as the most pertinent for the present end. We see how a linguist’s task is
never nished, as the Hindus says for, truly, the Science of Words has no end. But we are sure that the linguists,
now that the key was found, will discover many further etyms which the mythographers utilized in order to
compose the myth of Atlantis.
The whole myth of Atlantis can be deduced in detail from the many Dravidian and Sanskrit etyms of the sacred
names that gure in the legends concerning its fall. More than sheer coincidence, or even pure fable created by
its talented bards of long ago, these etyms all compose to tell the secret story of this region, which was indeed
the paradisial cradle of Mankind in the Far East.
The ancients loved this kind of salon game, and the court bards were often given such etyms as a burden,
which they had to embroider in the tales they spun, in some serendipitous way. The reader is invited to play
with the radices given, and to discover by himself further pertinent etyms that help us to uncover the secret
history of Atlantis and Lemuria, the two Pristine Paradises where humanity rst achieved a civilized status,
Summary
The most important of the literally hundreds of Sanskrit etyms of Atlantis that we discussed above and
elsewhere can thus be summarized as follows:

1) Atala = “Bottomless Pit ” — The third hell of Patala.

2) Atala = “No land” = Utopia — A Paradise that is no more.
3) Atala = A name of Shiva, the castrated god, as The Pillar of Heaven.
4) Atala = “Watchtower” = Athaliah, the evil destroyer of the Temple.
5) Atala = “Palm-tree-less”. Indra’s Palm Tree, the Tree of Life, felled by the Flood.
6) Attalandis = “Motherland” or “Ancestral Island”.
7) Atharlandis = “Island of Fire” — The Egyptian name of Paradise.
8) Atras = Atlas = “Food”, “Host”, “Sacri ce” — Another name of Brahma.
9) Adthali or atthali = “Consumed by Fire” or, rather, by its ery volcano.
10) Atyanti = “Transgressor” — Literally, “having gone too far”.
11) Atiantar = “Supreme Soul” — An epithet of Brahma or Purusha.
12) Attasthali = “Lofty Tower ” — A city destroyed by re = Dhumadi.
13) Attalantis = “The Land of the Lofty Fiery Pillar” = Atlantis
14) Atalas = ” The Shiny (or Golden) Gate” = The Gates of Paradise (Dvaraka).
15) Atara or Atarot = “Destitute of Pole Star”, or “Fallen Pole Star”.
The Dravidian Etyms
In Dravida, the etyms are as numerous as in Sanskrit. And they are even more meaningful, as this tongue is the
mother of Sanskrit. It was the one in which the myth of Atlantis was originally composed. Hence, we should
expect to nd in it the clearest and the best etyms of all. And such is indeed the case, as this tongue is truly
magical. Dravida has many cerebral consonants, which sound rather like r, and are transcribed accordingly, for
simplicity’s sake.
Atta (or Atti) — which passed into the Sanskrit language — is as we saw, “mother”, “father”, “ancestor”. Likewise,
ata means “old”, “stale”, “hoary”.
Atala or (atali) is “noise”, “din”. And we should recall the din of the ports of Atlantis, as Plato and others
repeatedly narrate. This is also the roaring confusion that irritated the gods and led to the Flood in both the
Egyptian and the Babylonian accounts.
Ataram (or adara, etc.) is “pride”, “arrogance”, etyms we already saw in Sanskrit. Attalam is “supper”, an idea that
recalls the Last Supper, offered out of the Savior’s own body (the Host), commemorating the Sacri ce of Soma
and that of Atlantis.
Alam is a saltpan or a maritime tract or a saline marshy land. The word relates to the Irish lann and the Celtic
land, denoting a moor or bay, whence the English “land” originated. In this connection, Atlantis would literally
be “the mother (atta) land (alam)”. But this etym says more. It shows that the ravished Atlantis became a
saltpan, a dismal salty marsh like that of the Rann of Kutch, the site of the sunken Dvaraka, the very city of
Atlantis.
To this etym we should add the suf x tis or tix discussed above, and meaning the same as the Skt desha or,
rather, dvipa, that is a sinking island. I also has a connection with Tisiphone and her Fiery Pillar, visible from
afar. This pillar is Mt. Atlas, the ery volcano that eventually destroyed the region. As a result, Atlantis became
desolate and deserted, being identi ed to Hades or Hell, the dismal realm of Yama. This suf x also gures in
the name of Aphrodite, as we saw further above. Both Mother Goddesses also relate to the Fiery Pillar, rising
from the waters as a sort of “atomic mushroom”, the Golden Lotus of Onehel traditions.
Yama is the archetype of Pluto or Hades, the Lord of the Dead. Tisiphone or Persephone is his faithful wife, who
committed the primordial suttee, and who the Hindus equate with Ushas and Mahavidya Chinnamastaka. The
Etruscan called Hades or Pluto by the name of Larthy Titibal, an epithet that means “Lord of Hell”. The titi in his
name means the same as “ ery hell”, and suggests a land devastated by a cataclysm of re and water.
The name of Atlantis can also be derived from the Dravida atta-alam meaning “ancestral land”, that is, the
ancient land, hoary with age like the Ancient of Days, the pristine Paradise of all nations. Atlantis is,
accordingly, personi ed as Kala (Time) or Chronos (idem) or Zurvan Akarana (idem); as the All-Father whom all
legends represent as hoary with age and often associate with death and castration (Kronos, Kala, etc.). in the
feminine form (Kali), the name applies to the Great Mother, the wife of Kala (Shiva). Kali and Kale personify the
two Atlantises (Lemuria and Indias), both destroyed in the Primordial Sacri ce.
The Man-in-the-Wheel
In Dravida, Ala or Alant means “measure”, an etym that explains the insistence of Holy Books such as Revelation
on the measuring of the Holy City. Leonardo’s famous The Measures of Man indeed represents the same idea,
and portrays Purusha as a personi cation of Atlantis, spanning the distance between Heaven and Earth. As
usual, the Mamm the Wheel is an ancient Gnostic motif (Leonardo was secretly a Gnostic) representing Atlantis
as a replica and of the Pyramid.
Prometheus (Para mit = “ rst measurer”) is also another embodiment of this idea. So are Christ, Ixion,
Vishvasvat and others who pertain to the same primordial motif of spanning the distance between Heaven and
Earth with their immense size, or with that of the phallic instrument of torture they are pinned to. All these
deities were often represented as a type of Man in the Wheel closely resembling Leonardo’s. In this connection,
Atlantis would be “the ancestral measurer” (Atta alant), the idea of “measuring” implying that of “probing” and,
hence, “copulating”.
Ala (or alant) implies “mingling”, “holding intercourse”. As such it recalls how the angels of Atlantis, the Sons of
God, such as Angiras, mingled freely with the Daughters of Man, the sin that led to Doom. Atal denotes shaking,
dancing, coition, saying, singing, reciting, gambling, etc.. So, we are instructed at what price the Sons of God
taught the Daughters of the Giants the stage arts in ancient Atal-alant.
Alan (or ali) denotes “ruler”, “king”, “shepherd”. So the Atlanteans are the “Kingly Fathers” or, perhaps, the
Shepherd Kings (Hyksos) that invaded Egypt when they ed from their wasted Paradise. The above etyms are
also supported by attal-antar, that is, the “ancestral shepherds”. Again, an in nity of similar assonances is
possible, but the above will have to do for the moment being. The reader may be surprised to see that we are
approaching the myths from essentially all nations as if they all belonged to a single tradition. But this is
exactly the case, at least insofar as the myths of Atlantis are concerned.
Atlantis is the Primordial Land whence the Civilizing Herves of all nations originally came. And their myths on
Paradise are their common heritage, passed down the times, by word of mouth, as the sacred history of the
primordials of Mankind. This tradition is the true religion that indeed links us back to the gods and the
Paradisial events, exactly as implied by the etym of the word “religion”. In fact this word stems from two basic
ideas, those of “recollection” (relique) and of  “re-link”(religo). In other words, religion is the recollection of the
Atlantean events, the attempt to “re-link” with our lost past.
A Few Further Sanskrit Etyms
A few further Sanskrit etyms of Atlas (or Atlantis) are listed below. We limited the nearly in nite varieties to
those that rung the bell on our minds as apparently related to Atlas’ legend.
A-tata (pronounced atara, with cerebral t) = “shoulderless”, an usual picturesque epithet of the Phallus and,
hence, of Shiva or Atlas. Tata is any slanting portion of the body, as the shoulders or the waist. Hu-Gadarn, the
Celtic equivalent of Atlas and Manu, was also called “shoulderless” or “bald one”, implying the same idea. Tata
is a name of Shiva as the Shivalinga. And a-tata also means “shoreless”, “precipitous”, an etym that applies to
Atlantis, as explained below.
A-tala is “bottomless”. Tala means the base of fundament or bottom part, as well as a low land, usually marshy.
The word is an usual name of Hell, and is usually rendered as “Bottomless Pit”. However, all Sanskrit etym are
dual, and the word may mean “not in the bottom”. The story of the Bottomless Pit is (in India) associated with
Trita (or Apam Napat) thrown down the Pit by his envious brothers, but rescued by Varuna or Brihaspati.
This etym is also connected with that of Paradise (Dravidian) denoting “Pan’s plowed (or at) land” or “Pan’s
cleft land”. The second etym ties in with the Bottomless Pit (a chasm), and the rst with its dual denoting a
atland or a saltpan such as that of the dismal Rann of Kutch (the Indus Delta). The word tala also evokes the
idea of a spread out hand, one of its etyms. This is also a name of the Indonesian Peninsula, as we will see
further below.
In his Critias (118), Plato describes how the beaches of Atlantis were “lofty and precipitous on the side of the
sea but… a level plain around the city”. This description probably derives from a wordplay with atata (“not
sloping”), a word that applies to precipitous beaches such as those of Atlantis. The idea is that Atlantis
consisted of a lofty mountain (Mt. Atlas) surrounded by a at marshy plain of enormous size, which was
subsequently invaded by the seas, in a cataclysm.
Such is precisely the topography of the lower Indus Valley, in the region of the Rann of Kutch (“The Marshes of
Death”), as well as of the Indonesian islands. The “level plain” or “plateau” relates to tala, a word denoting a
plain or at, in both Sanskrit and Dravida. It is in these two destroyed regions that the two Atlantises, Mother
and Son, are indeed to be found, buried under the mind deposited by of the Flood.
The Primordial Castration and the Felling of the Tree of Life
A-tala is “Phallus-less” or “Castrated”. Tala denotes the palmyra or toddy palm. Its scienti c name is Borassus
abelliformis, and its Dravidian names are tar, tali, tari, tati, etc.. The name Tala is often applied to Shiva, the
slender and graceful trunk of the palm-tree being an usual symbol of the phallus. Indeed, the toddy palm has a
sweet palmetto (heart), which is used to prepare a spirituous drink called toddy or arrack. But the main etym of
Tala (or Âtala) is indeed connected with Indra’s Palm Tree, the true archetype of the Tree of Life in the Indies.
The toddy cat (Viverra) — a mustelid that is hunted and castrated for the musk produced by its phallus — is
natural enemy, as it climbs to the top of the palm and ravishes its heart for its sugar. The toddy cat is the
animal represented by Ursa Minor, the Polar Constellation of the Phallus, and the toddy palm is its dual,
symbolizing Lyra (the Yoni), the other Pole Star. We discuss this subject in detail in our essay on The Song of
Songs which we direct the interested reader.
Indeed, this beautiful poem describes the two lovers, the Prince and the Shulamite (“veiled one”) in brilliant
images having to do with the duel of the toddy cat and the toddy palm in their quest of the Pole Position. The
two lovers are clearly the two Pole Stars, and the profane atmosphere of the poem betrays its Oriental origin,
and its deep eschatological message, as we show in our work just mentioned.
Oddly enough, the palmyra or toddy palm is often confused with the betel palm (arecca catechu), also used, for
the production of toddy. The name betel closely recalls that of Bethel and betyls, precisely the Celestial stones
associated with the “castration” of the Pole Star and the fall of the Celestial Phallus. This castrated phallus
becomes Mt. Atlas, the Polar Mountain that links Heaven and Earth like the standing stone of Abraham’s
strange vision.
We just saw how tala (“palm tree”) is a name of Shiva, the Linga. Shiva Atalas is the god who later became A-
tala (or “Phallus-less”), after his castration. Such castrations are an obsessive motif in Hindu myths and indeed,
in most mitologies. The motif dates from the Rig Veda (hymn 10:86, etc.), which tells of the castration of
Vrishakapi (“the inseminating monkey”) by Indrani (Indra’s shakti or female avatar). This happens during coition,
exactly as in the case of Ouranos castrated by Kronos.
The expression used there is ” to cut off the head” (decapitation), but the contents leave no doubt that the
subject matter is a castration. Tala also denotes the throne of Durga, the female of Shiva. And this “throne” is
the phallus, as will be obvious from the many pictures of Durga (Kali) astride over Shiva’s ithyphallic corpse,
whom she is about to decapitate or castrate or both. [LINK] [Linkar com o retrato de Kalit Shiva].
Again, the word tala in Dravidian denotes “head”, whereas atala means “headless” or “decapitated”. This word
also means “treetop”, “eminence”, “peak”, “hair”, “chief”, “captain”, “mountain”. Its dual, tarah (or tari) denotes an
ax, or the action of felling a tree. In mythical terms, “decapitation” is synonymous with “castration”.
The palmyra or betel is also called pana or pakku in Dravidian names that assonate with those of Pan  and
Bacchus.The idea of pakku is “cleft”, “split”, “cutoff”, and the knife used for cutting betel nuts is called pakutti.
Pan or Bacchus — the Phallic God of the Greeks and Romans — has a name and nature that derives from the
Dravidian names of the toddy palm, the emblem of the erect phallus.
We see that the name of Bacchus denotes “the castrated one”, an etym that ts his myth and which links the
great god to Atlas and to Shiva, who also suffered an identical mishap. Many authorities have recognized the
Hindu origin of both Pan and Bacchus (Dionysos), and we see that they also link with the legend of Atlantis,
whose Indian origin is hereby con rmed.
Pan, the Primordial Castrate
Pan too, like Bacchus was a castrated god. He was an alias of Bacchus or Dionysos, in a more primitive avatar.
And the story of the nymph Syrinx stealing Pan’s “ ute” and being persecuted by the desperate god is a
transparent allegory of her stealing his phallus, which she plucked off in the manner the queen bee. It is easy
too see how the myth of Pan’s castration derives most directly from the one of Vrishakapi and Indrani, which we
discussed above.
This etym of Pan has further relations with castration. The name of Bacchus, the goat-god, is related to the
English “buck”; the German bock; the Celtic bukkos, etc., denoting “goat”. More precisely the word denotes
“castrated”, these lascivious animals being indeed often castrated for several reasons. The ultimate etym of this
name of the goat (buck) is the Dravidian pakku mentioned above.
The idea of “cleft” also denotes the mouth (Latin bucca) and the vagina (cf. the English “bush”, “box”, and its
vulgar name in Portuguese.). The “cloven” feet of Bacchus and of the Devil, and the “lameness” of Hephaistos
(bandy-legged) and even the “lotus-feet” of Krishna (Krish = “cleft”) imply the same idea.
The Flail of the Gods
The palmyra is called abellifera (“ ail-bearing”) or fan palm because its top fans out like an open hand or a
ail. And the ail or thresher was a well known phallic symbol. It was carried as a royal insignia by the
Pharaoh, who used it as a sort of scepter. This is shown explicitly, f. i., in the well known golden statue of
Tutankamon’s sarcophagus.
The ailing of criminals and slaves is a supreme humiliation which allegorizes impalement, and is said to expel
even devils. Flails are often made of bull’s phalluses, again for ritual reasons, and are much used by mystic
ascetics. In Egypt, the god Min often bore a ail on one hand while the left held his penis by the root. The
scenes suggests castration and the punishment with ailing.
Self-castration was often practiced by the priests of Cybele (the Galli) and many other worshippers of the
Mother Goddess. Attis, Adonis, Osiris, Min, Tammuz, Pan, Shiva are a few of the many castrates either by
themselves or by the goddess who represents their female moiety. Rituals such as in bulation and circumcision
also clearly relate to castration in honor of femininity.
A-tala — The word tala also denotes the palm of the hand and, more exactly, the open outspread hand with its
ve ngers. The palmyra or fan-palm is so named because it resembles an open hand, as we said above. And
Tala (“Hand”, “Palmtree”) is a name of the Malay Peninsula, as we saw above. This peninsula is also called Kara
or Kra, meaning the same in Sanskrit.
This name associates with the island of Man Satanaxio (“Hand of Satan”), a mysterious island near the region
where the Hand of Satan suddenly rose from the waters, carrying under the ships and sailors that ventured in
its neighborhood. The Hand of Satan closely recalls the Charybdis of Homer and the Vadavamukha of the
Hindus which, as we saw, also link to the sinking of Atlantis that rendered the region inavigable. It is extremely
interesting to see this feature connected with the region of Indonesia and with the Atlantis legend. In the
Thousand and One Nights and in other Oriental sources the site of this terrible vortex is place in the Malay
archipelago
The same idea of the Hand of Satan is also embodied in the Sanskrit pan (or pach or panch or pancha) and the
Dravidian pakku (or pana), denoting both the palm-tree and the palm of the hand or the number ve (the hand
spread out, showing its ve ngers). We see how the Greek pan (“all”) and their great god Pan — so often
associated with the number ve — ultimately derived their etym from the Dravidian words in question, which
rst passed into Sanskrit. In other words, India’s Palm Tree the Tree of Life, is the same as the Hand of Satan,
both named Tale of Atala, after Atlantis.
The outspread, raised hand was used by the Celts and the Nazis to salute their heroes. The compliment derives
from India and corresponds to the mudra (gesture) used by Shiva and denoting “fear not”. The idea is that one is
not to fear the Flood or Phallus of God, because it will be so sudden that it will not hurt.
More esoterically, the gesture suggests the raised phallus which is the main attribute of Pan and Shiva, and
which denotes the resurrection or rising of the Phallic Star (Ursa) once again, now that the time has nally
arrived. And, above all, it denotes the resurgence of Atlantis and its lofty Pillar, as well as of its downtrodden
races, in the Golden Age that is dawning. In other words, the Tree of Life — the “Palm Tree” that marked the site
of Atlantis before its destruction — became the Tree of Death, the Giant Hand of Satan that signaled the site of
the disaster.
Pan, the Primordial Creator
The Dravidian meaning of the word pan — from which derives the name of the great god Pan — is the same as
that of the Sanskrit kri, denoting an act of Creation by “cleaving” or, more exactly, by copulating with a female.
Pan also came to denote the same as ” to manufacture” or “to fabricate with the hands” (or, of course, the
phallus). Pan or Pani is the name of the Dravidians in the Rig Veda, the clever Dasyus of the lofty towers
relentlessly destroyed by Indra.
The Panis are also the Panyar castes, worshippers of the banyan (panyar), the tree that is the Tree of Life and
the very emblem of resurrection. This tree is the Indian gtree, (Ficus indica) grows inverted, downwards from
the top of its dual, the Bodhi Tree of Knowledge (the sacred gtree, Ficus religiosa). The Panyars were also the
enterprising merchants who later became known as Phoenicians (“reds”), and who roved the seas peddling the
precious products of India since earliest times.
The Rites of Palm-Sunday
The decapitated palm-tree whose name (Atala) is embodied in that of Atlas is also celebrated by the Christians
in Palm Sunday. All Biblical events are to be explained and understood as allegories (not always decipherable).
Christ himself conceded that he only spoke “through riddles and parables”, and that most of his secret
teachings were reserved for the Apostles only. Palm Sunday is the one preceding Easter. It commemorates the
triumphal entry of Christ in Jerusalem, when the people strewed palm branches before him (John 12:13; Rev.
7:9). The symbolism of the palm tree branches as an emblem of victory is well attested in the Bible. (Rev. 7:9;
Psa. 92: 12; Rev. 7: 9; etc.).
The palm branch is also a symbol of resurrection akin to the Golden Bough of Aeneas and of Diana Nemorensis
(the one of the lake in Ariccia that so intrigued Sir J. G. Frazer). The Christian martyrs often hold palm branches
in their hands as an emblem of their expected resurrection at Doom. They, are the ones who acclaim the
resurrected Lamb in the Celestial Jerusalem (Rev. 7: 9), and the one who sits on the Throne, the same as the
tala of Shiva (Rev. 7:10, 5:13).

In the passage of John, Christ rides a donkey and, as it is written there:

Fear not, daughter of Sion; behold, the king cometh, sitting on an ass’s colt.

This is a quote from Zacharias (9:9) which is indeed strange and distorted. But comparing with its equivalent in
Jeremias (23:5) and in Luke (19:28-45), we see that Jesus is the Branch of David, who saves both Israel and
Judah, and who fells the Temple’s occupants (or “the chariot of Ephraim”). The donkey is an usual phallic
symbol, the attribute of Dionysos Priapus and of Apuleius’ Golden Ass.
Indeed, it represents the Ashvin twins and other such ass-headed Saviours (Dadhyanch, etc.), particularly from
India and Egypt (Seth). The Branch is the palm tree that resurrects. He is Atala becoming Tala, that is, the
decapitated one growing a new body or phallus or head or “bottom” = tala. The “Fear Not” in the above passage
is an esoteric reference to the tala gesture (mudra) commented above, and which embodies an allusion to the
“Palm Tree” of Atlantis. Again, it also refers to the Phoenix, itself an allegory of Atlantis. In Greek (as in other
tongues) the palm tree and the Phoenix are both named the same (phoinix). The Phoenix and the Palm are
both considered as emblem of resurrection did Judeu-Christianism and, indeed embody a hidden allusion to the
rebirth of Atlantis, the true Celestial Jerusalen.
The Celestial Tent
The concept that the sky is a tent propped up by a palm-tree can only have originated in India, from plays on
the word nabhas-tala (“cloudy surface” or “sky”). Nabhas also denotes the navel (nabhi) or nave or axle or pivot,
as well as the musk deer (mriga-nabhi), the alias of the Pole Star and of the toddy cat. The word also names the
Yoni (Lira) and a Kshatrya. (“warrior”). The two words both derive from nabh meaning a “needle” or “bursting
across with a prick” or, yet, from nah denoting “to knit” “to sew “, “tissue”, “connect”, “bind” (as with an umbilical
cord). Tala denotes an expanse (like the sky) and, as we saw, a palm tree trunk (tala).
Hence we see that, by confusing or playing with the words, one arrives at the ideas that of a tent or expanse of
tissue (nah) supported by a pole (tala). Another idea is that of a lofty mountain or tower as a “skyscraper”. This
etym is embodied in the Jewish kapporeth (“tent”), and in the Juwiswh festival of Sukkot (or Reast
ofTabernacles).
Here, the Jews feast not really their tents in the Sinai desert, but indeed their exiting of the primordial Koti
(“tabernacle”, “tent”), which is the name of the region of Indonesia or Lanka in the local languages. Such images
of Paradise as the Primordial Tent are also commemorated by the peculiar shape of the tents of the Germanic
tribes, or those of the North American Indians (teepees).
The idea is that of “piercing with a prick” expressed by nabh, and that of tala as a lofty pole which pierces the
skies like a tent form the word Nabhastala, the name Atlantis as the Primordial Paradise in Sanskrit. A further
mythical wordplay concerns the Cosmogonic Marriage. Here the Tala is the phallus ( or Linga) that pierces the
Celestial expanse of “tissue”, exactly as the phallus (nabhi) pierces the hymeneal membrane.
The passages on the palm tree are repeated in Nehemiah (8:15), except that the branches are used to build a
house (or booth). But the symbolism is the same. So in Jeremiah 10:3 ff., where a tree trunk, “upright as a palm
tree”, is decked with gold and silver and worshipped as the Phallus or Pillar (asherah). This Pillar is the same
one of the “Fear Not” gesture of Shiva, the Shiva-linga that collapses at the end of time, destroying the world.
The Pillars of the Temple of Solomon
Palm tree trunks serve as the pillars of the Temple in Ezekiel (40:16; 41:18-20) and are guarded by two-faced
Cherubs just as is the Tree of Life everywhere. They clearly stand for the Pole Star or, more exactly, for their
succession as the eras elapse. In the oniric imagery of the Song of Songs the palm tree (tamar in Hebrew)
gures prominently, as elsewhere in the Bible.
The palm tree is rather rare in Israel, as it does not withstand its mountainous, bone dry climate. It is only seen
in the coasted region and the Jordan valley, and never in the region of Jerusalem. Hence, the “Jerusalem” where
Jesus was acclaimed with palm tree branches by the population can only be the archetypal Hieros Salem of
India.
Celestial Jerusalen is also the Primordial Heliopolis which is the true home of the Phoenix. This region is also
called Phoenicia, “the Land of the Palm-trees”, which the Phoenicians replicated in their new abode, in the Near
East. We note also that many Egyptian temples had pillars of stone replicating palm trees, exactly as in the one
of Ezekiel. Even the Brazilian Amerinds call their ancestral homeland by the name of Pindorama, “the Land of
the Palm Trees”.
The Egyptian palm columns were later substituted by papyri stems, but the phallic symbolism is thereby
preserved verbatim. The phallus here represented is that of the Monkey (Vrishakapi or Hanumant), the animal
whose phallus actually recalls an umbrella or a palm-tree. In the Song of Songs (7: 7 ff.) the Beloved One is
compared to “a tower of ivory… whose stature is like a palm tree”. The Prince says to her:

I will climb the Palm Tree and ravish its frond.

As we saw further above, the Lover is the toddy cat or pole cat (Ursa Minor or Mriga), that gures Atlantis’
destruction. He is here seen climbing the toddy palm in order to ravish its heart and steal its juicy soma (toddy).
And he will throw down the leaves that he cuts off in this archetypal act of castration so laden with
eschatological symbolism. It is those leaves that cover the way of Christ when he rides the donkey (the humble,
phallic version of Pegasus) into the Celestial Jerusalem of Heliopolis.
Israel, having very few palm trees, and no civet cats or toddy cats could never be rightfully called the
Phoenicia, the Land of the Palm Tree or embody such archetypes as its symbol. Indeed, the only place in the
whole area that ts the requirements is Indonesia, as is visible by a study of the phytogeography of the region.
Besides, monkeys are notably absent in the Near East, and it is also hard to see how their mythology could
have evolved there. And, of course, the toddy cat is another animal that inexists in the region of the Near East
we can only conclude that the Song of Songs originated farther east, in the Indies. In fact, we analyze this
problem in detail elsewhere, arguing in detail that both the Song of Songs and the Thousand and One Nights,
indeed originated in the Indies, where traditions anchas those of the Ramayana and the Jatavas.
The Resurrection of Atlantis
A-tata means “unbeaten”, a word which is akin to Athatha (“not fallen down”). This means that, contrary to a
widespread belief, Atlantis/Eden did not indeed fall down forever. This is also embodied in the name of Adam,
an alias of Atlas, named after the Greek and the  Sam atamas adamas???? (“diamond”), “the untamable stone”
(a-damas). The same idea is embodied in A-tantatta or Atanthas derived from a radix tan denoting “spread”,
“extended”, “enduring”, “persistent”. Hence, Atlantis both is and is not, having or having not reached its end,
according to the point of view of those who believe in its resurrection or not.
A-tata or A-tata is “fatherless”. We recall how Karttikeya is fatherless, having been born from the “seed” (or
phallus) of Agni or Shiva. His twin and dual is born “without the help of the male”, like Christ and Typhon.
Ganesha has an elephant head, a phallic emblem (the trunk or the tusks) that implies “castration” or
“decapitation”, as told in his myth.
Ganesha was decapitated when his head was burnt out by Shiva. His head was subsequently replaced with that
of an elephant. The idea is that this head was really that of his phallus (the palladium). Typhon too was a
serpentine dragon, like the phallus he imaged. A-tatra means “nowhere”. This etym is the same as that of Utopia
(u-topos = “no-where”). This last name was used by Thomas Morus in his undue divulgation of certain secrets
concerning Atlantis (Utopia). And he was beheaded for just that transgression.
Shiva and Atlas, the Cosmic Pillars
Atalas means “unfathomable”. This is name of Shiva as the lofty pillar or mountain that supports the skies,
cleaving Heaven and Earth asunder. The word Atalas is essentially identical with the name of Atlas, another
world-supporter. There can be no doubt that these two names have a common origin.
Given that the name of the Titan means nothing known in Greek, but is laden with hidden meanings in
Sanskrit, the natural conclusion is that the Greeks copied the myth of Atlas from India. The word Titan (Tiitan in
Greek) derives, as we showed, from the name of the Todas and means something like “ironsmith”, the invention
of the art of metallurgy being mythically ascribed both to the Titans and the Todas.
Shiva as the linga or pillar that supports the skies is, perhaps, the most popular god in India. There, lingas
made of rock crystal or alabaster are worshipped by the millions, exactly as is the Christian Cross in the West.
Indeed, the Cruci x is the image of Christ as the Purusha tied to the Cosmic Pillar, which is precisely the image
of the phallic Shivalinga. More exactly, the linga of stone and the Cross of wood are duals, as implied by the
materials they are made of, and which represent the two kinds of gods and the respective humanities, one of
“stone”, the other of “wood”.
The Myth of the Fiery Pillar
A famous Indian myth discloses the meaning of the linga as the Cosmic Pillar. One day, Vishnu and Brahma
were discussing who was the mightier of the two. A ery pillar suddenly appeared before them which stretched
up into the skies and down to the bottom of the Ocean. The two gods then decided to fathom the pillar’s
dimensions.
Brahma assumed the shape of an eagle and ew up, attempting to reach the top of the pillar. Vishnu changed
into a boar, and dived under the seas, reaching for the base of the pillar. After a long time of unsuccessful
exertion, the two gods returned and realized that Shiva, the Fiery Pillar, was the greatest of the three gods of
the Trimurti.
In fact both the Fiery Pillar (the Linga) and the Fiery Yoni (the Shakti or Vulva) represent the twin Atlantises,
gured as the Great Father and the Great Mother, both destroyed by Fire and Water, in the Primordial
Cataclysm.
The Cosmic Pillars in the Bible
Several nations also have myths concerning such a Cosmic Pillar that serves as Earth’s support. One such
appears in disguised form as the primordial Creation Act of Genesis (1:1):

In the beginning God created Heaven and Earth.

The idea is that the word “Creation” (Skt. Kri) embodies both the concepts of “chaving”, “separating”, as well as
that of  “copulating” (“cleaving”  a woman).

The same conception is repeated in Gen. (2:4) in a slightly divergent form called “the Second Creation”:

This is the story of the generation of Heaven and Earth when they were created…

This idea is elaborated further in Job (38:4 ff.) when God asks the virtuous Patriarch:

Where wast thou when I laid the foundations of the Earth? Declare, if thou hast understanding. Tell who hath
fathomed the measures thereof if thou knowest? Or who hath stretched the line upon it? Whereupon are the
foundations thereof fastened?
Or, who laid the cornerstone thereof, when the Morning Stars sang together, and all the Sons of God shouted
aloud, in joy? Who shut up the sea with sluice-gates when it brake forth from its maternal womb?
When I wrapped it up in a blanket of clouds and cradled it inside a dark fog? When I set its boundaries, xing
its doors and bars in place, and said, “Hitherto thou canst come, and no further, and here shall thou surging
waves be halted?”.
New subtitle (not speci ed which)
We quoted that remarkable passage of Job because it sheds a lot of light over the matter of Atlantis. But we
return to the discussion of the passages of Genesis 1 and 2 quoted above. As we said above, the word “creation”
derives from the Sanskrit kri or krit denoting “to cleave asunder” and, by extension, to violate a woman, forcing
her to cleave open her legs in order to accept the male’s penetration. In contrast the corresponding passage in
Gen. 2, the Second Creation where all things happen in reverse, expresses the idea of “union”, “generation”
(“join-cration”); of what had been “created” (or separated). This can be seen from a close reading of the above
passage and of others related to it (Job 38:4; Jer 10:11, etc.).
The Separation of Heaven and Earth
The idea is also that of fathering or manufacturing in the manner of a smith or an arti cer. The concept
detailed in Job is also that of as slow and painful arti cial creation rather than something as sudden and brutal
as the Big Bang. In other words, the passage of Gen 1: 1 should be read thus: “In the beginning God cleft
Heaven and Earth asunder”, whereas that of Gen. 2:4 should be understood as “the story of the “rejoining” (or
regenaration) of Heaven and Earth after then were “cleft apart (kri).
In this way, Genesis is seen to conform to the other mythologies that tell of the Separation of Earth and Sky. In
particular this has to do with the limit those of India and of Egypt, as shown in pictorial form in Fig. 2. This
expression is a standard formula of the Rig Veda, whence it was taken verbatim.
Fig. 2- Geb and Nut Separated by the Cosmic Pillar (Shu)
(Enc. Brit. 81:IV:446 and M. Lurker. Dict., pg 259).
In Fig. 2 (a), the gigantic phallus of the recumbent Geb props up Nut, his sister and wife. Geb is the Earth god
and Nut is the Sky goddess. Geb was considered the physical support of the world, a sort of Cosmic Pillar, akin
to Shiva and Atlas. In Fig. 2 (b) the phallus of Geb is replaced by Shu, the atmospheric god who becomes the
Pillar of Heaven. It is interesting to note that Shu has both a twin sister and wife in Tefnut. Thus, the two were
considered the primordial couple in Heliopolis, where Geb and Nut were considered their twin children.
Shu and Tefnut are frequently identi ed with the twin lions called Akher or Ruti, revered in Leontopolis and
elsewhere. The two were also represented as the Standing Serpent and the Coiled Serpent or, yet, as those of
the uraeus. They also corresponded to the Solar and the Lunar eyes of the god Horus, a conception that
originated in the Indies.
The Akher was often represented as a sort of serpentine lion with heads at the two extremities, which
corresponded to the two extremes of earth, respectively in the Orient and the Occident. These two lions also
represent the twin guardians of the entrance and the exit of the underworld. The twin lions are also the ones of
China, which we see guarding the door of their temples and palaces.
In Greece, the Twin Lions are gured as Cerberus and Orthrus, the twin leonine dogs that guard, respectively,
the Eastern and the Western Gates of Hades. As the twin Sarameyas, the two are visibly the same as Sharvara
and Vritra, the twin Sons of Sarama, the bitch of Indra in the Rig Veda. The Sarameyas are also triple-headed
(like Cerberus), and are the guardian-dogs of Yama and Yami, the twin kings of the underworld.
The Egyptian Double-Crown and the Pillars of Hercules
It is interesting to recall that the Egyptian double-crown was imaged after the linga, with the white miter (atef)
of Lower Egypt penetrating the red diadem (pschent) of Upper Egypt, precisely as the linga penetrates the yoni
in the Shivalinga. The two crowns represented the two Pillars of the World, one a lofty peak (Sumeru) and the
other a bottomless abyss (Kumeru).
As the two Standing Serpents, Shu and Tefnut evoke the Twin Pillars of Solomon and Hiram, called Jachin and
Boaz. They also correspond to the two Pillars of Hercules and Atlas, posted at the two extremes of the world.
Indeed, these two pillars are the Straits of Gibraltar and of Malacca, as we discuss elsewhere.
Gibraltar is located at the exit of the Mediterranean into the Atlantic Ocean, and the Strait of Malacca is the
equally narrow gate at the exit of the Indian Ocean into the Paci c Ocean. The Red Sea was also open from
earliest times to the Mediterranean via the prehistoric Suez Canal. This canal was rst opened by the legendary
Pharaoh Sesostris or even earlier. But it was subsequently closed due to silting up, and had to be reopened by
others, including Pharaoh Neccho, King Darius of Persia, and Ptolemy Euergetes, not to mention the last one,
Ferdinand de Lesseps.
The Nec Plus Ultra of Navigation
These twin “gates”, Gibraltar and Malacca, were the Nec plus ultra of navigation — the impassable barriers of
the Ancient World. They were guarded by Phoenician ships and by forts which blockaded the passages. These
passages were the doors of admission to the Indies, whose lucrative commerce the Phoenicians jealously kept
for themselves as a monopoly.
The Argonautica, the Odyssey, the Kalevala, the Periplus of the Erythrean Sea, and other such heroic sagas are
encrypted descriptions of the secret route to the Indies. These were identi ed as Hades and Tartarus, the two
Realms of the Dead of the Ancient World, one Paradisial and the other infernal. In some accounts, two other
Gates were added, one in the Bosphorus, exiting into the Black Sea, and one in Dvaraka, allowing the ingress to
India. Altogether, we have ve Gates or Pillars, corresponding to the Five Cardinal Directions: the usual four
plus the Center.
Gibraltar was the Western Gate; Malacca the Eastern; Dvaraka the Central; Bosphorus the Northern, and the
Bab-el-Mandeb (or Suez) the Southern. These attributions were sometimes interchanged or altered of even
extended to seven, or eight with the inclusion of Hormuz Strait and the Suez Straight. These four or ve or
seven were often called The Four (or more) Pillars of the Earth. Even the Strait of Bering and that of Magellan
were known of the ancients and often gured in their secret maps of the Four Pillars of the World, as we
discuss in detail elsewhere.
The two extreme gates, which accessed the Outer Ocean, were Gibraltar and Sunda Strait. They were guarded
by lofty lighthouses — the tall towers described as the Tower of Babel or as the Pillars of Hercules and Atlas —
which scraped the bottom of Heaven and menaced its integrity, as so vividly portrayed in Fig. 2.
The Epic of Gilgamesh
These two lofty towers were also described as Cherubs (or Karibu), the “stingers” or Standing Serpents with the
ery sword that guarded the way to the Tree of Life both in myth and in reality, as we discussed further above.
The earliest saga of mankind, the famous Epic of Gilgamesh, of Summer and Babylon, already tells how the
Hero met such Scorpion Men (or Cherubs) on his way to Dilmun. Dilmun is the Babylonian Paradise, located, as
usual, “beyond the Ocean”.
An early Egyptian tale also records how a sailor, on his way to Punt or Amenti (the Egyptian Hades), also met a
Standing Serpent who was the king and guardian of the region of Paradise described as a sing island identify
Atlantis in all details. The King Serpent took a liking to the sailor, and gave him a fabulous treasure of gold and
gemstones. The serpent and the scorpion are both “stingers”, and are often confused in myths. More frequently,
however, the Cherubs or Karibus would resist all intruders, and routinely impaled them as a warning to
trespassers.
What these obsessive allusions to ravishing and impalement are allegorizing is the fact that the penalty
imposed by the Phoenicians on whoever attempted to cross these two impassable barriers at the two extremes
of the world was the penalty of “cruci xion” or, more exactly, of impalement on stakes called Karibu. Indeed,
the word Cherub derives from the Babylonian Karibu denoting the Guardians of the Tree of Life.
The Scorpion-Men and the Cherubs of Eden
An early Hebrew philactery (amulet) from Persia, now at the Einhorn Collection (Tel-Aviv), shows two standing
scorpions with human faces guarding the Tree of Life. A cock — very like the weathercocks seen surmounting
Christian churches — is shown impaled upon its top as if to suggest its identity with the Cross and the impaling
stake it replicates. The standing scorpions are the same as the Scorpion Men of the Epic of Gilgamesh, a fact
that demonstrates the essential unity and continuity of the Judeo-Christian and the Pagan traditions.
The scorpion is everywhere identi ed as “the stinger”, and such is its name in Sanskrit and Dravida. This name
is also applied to the phallus and to the impaling pole, and we see how the Karibu — whose function is
precisely that of the scarecrow so often represented as a man impaled on a pole — very probably denoted the
penalty of impalement applied by the Phoenicians on whoever dared to attempt to cross the impassable
barriers they imposed on the two accesses to the Outer Ocean.
Among the many etyms of the word Cherub — and they all add in composing the myth — one of the most
interesting derives from the Dravida. We noted how the name of the Cherubs (or Karibu) is related in Genesis
3:24 to the “whirling ery sword” that they brandish at the Gates of Eden. It is at least a remarkable coincidence
that the word karibu can be decomposed as car rubi, precisely the same etym as “whirling (car) re (rubi)”, in
Dravida.
Indeed, the Dravidian car denotes a whirling object such as a lighthouse, a ashy sword an in amed phallus, a
car or cart, a wheel, a whirlpool, etc.. Rubi denotes “ ery” or “ruddy” and is the same word we encounter in the
English “ruby”, the Sanskrit, the Latin rubeus, etc.. The idea of whirling associated with re or gold or rubies
evokes the shiny Mt. Meru, the Whirling Mountain ashing with gold and gemstones. It also recalls Mt. Calvary,
its alias, whose name derives from a pun with calavera (“skull”) and karavala (“sword”).
The word karibu (or kar-rubi) also evokes the Solar Wheel, the karu or karuvi or impaling pole where criminals
were impaled, just as Christ was immolated on the stake (or Cross). Other similar puns involve the name of
Charybdis, “the whirlpool (car) of death (ubdi)”, as well as that of Cerberus (Sharvara), the phallic guardian dog
of Hades, who used to bugger (ruvi) every newcomer to Hell.
Scylla and Charybdis, the Twin Guardians of Hades
Indeed, the word Charybdis likewise relates to Cherubs, and also denotes the Whirling Fire or Whirlpool that
sucked down the ship of Ulysses and almost killed the Hero himself. Scylla, its dual, was a lofty pillar guarded
by a monster, and was as terrifying as Charybdis itself. The twin terri ers, Scylla and Charybdis, are allegories of
the two Pillars of Atlas and Hercules posted at the two extremes of the world. They are the same as Indra’s
Palm Tree and as the Hand of Satan that we discussed further above.
A close reading of Homer’s Odyssey reveals their true identity as the Guardians of Paradise and of Hades. As we
show elsewhere, the two monsters of Homer are close parallels of the Fiery Linga and the Fiery Yoni of the
Hindus, also identi ed there with the Vadavamukha and the Fiery Pillar or, yet, with the Sumeru and the
Kumeru, the sites of their two Paradises. In some Hindu myths, these Twins are represented as Kubera and
Yama, and are shown impaled upon their lofty Pillars, as the archetypes of Christ and Adam, whom they
pre gure by several millennia.
There can be no doubt — at least to those who toil in the Science of Words — that the talented mythographers
who composed the legend of the cruci xion of Christ; of the “caresses” of Cerberus; of the whirling Mt. Meru; of
the impalement of the heroes on the Solar Wheel of the whirling chasm of Charybdis sucking Ulysses down to
Hades; of the ery whirling swords of the Cherubs who guarded the way to Eden; etc., all had the same idea in
mind when they played on the word kar-rubi. The odds against the possibility of a random coincidence are too
enormous to even consider seriously.
Sataspes, the Impaled One
Another far subtler allusion to the myth of the Cherubs as Karibus is Herodotus’ story of Sataspes, the impaled
one. According to the historian (Hist. IV: 43), Sataspes was a Persian navigator, condemned by Darius to
impalement for having raped a girl. His death sentence was commuted, at the instance of his mother (a relative
of the king), to the circumnavigation of Africa.
Sataspes departed from Egypt, reaching for Gibraltar and the Mediterranean. But he failed and returned before
the rounding of Africa, and was, hence, executed on the impaling pole. The story of Herodotus is probably an
allegory, telling of the death penalty imposed by the Phoenicians on whoever attempted to cross the Strait of
Gibraltar (the Pillars of Hercules) and, hence, undertake the route to India by the rounding of Africa.
A similar death sentence was likewise imposed by the Phoenicians on whoever attempted to cross the Strait of
Sunda (or Pillars of Atlas), at the entrance of the Paci c Ocean, on the opposite side of the world. This death
sentence was carried out by impalement and, hence, the hidden allusions to “Fiery Swords” or “Solar Wheels” or
“Crosses” which guarded the gates of Eden both in the East (Strait of Sunda) and in the West (Gibraltar).
The ancient sagas such as the Argonautica, the Odyssey, the Kalevala, the Epic of Gilgamesh, etc., are,
demonstrably, verbal maps of the secret sea route to Eden/India. And mythical references to “impassable seas
are coded warnings against the dangerous Phoenician outposts, the towers or pharos such as those of
Alexandria and Rhodes, which guarded the forbidden way at the critical passages.
By the way, the name of the Scandinavian Kalevala closely reminesces the Sanskrit karavala (“sword”) and the
Portuguese caravela (caravel). Clearly, they indicate both the way to reach India, and the high toly price of the
impediment of the attempt. The word caravela was taken, by the Portuguese, from India, where they also
obtained the design of such fast, ef cient ships, that allowed their excellent mastery of the high seas.
A Brief Exegesis of the Book of Job
Returning to the text of The Book of Job quoted further above. This remarkable passage suggests a lofty pillar,
too tall and too deep to fathom, and too thick to girdle with a string. The allusions to the tall pillar; the sluice-
gates which contained away the sea; the Morning Stars (or Pole Stars) that sing in unison; the darkness and the
foggy covering; the nec plus ultra of navigation; and the Flood, are all hallmarks characteristic of
Atlantis/Eden/India. Atlantis was both the queen of the seas and the home of the original Phoenicians (or
Reds), the great navigants ever, after the times of Atlantis.
This remarkable passage continues further and mentions Doom (the “shaking of the wicked”); Mt. Atlas (the
“high arm” of the wicked); its lighthouse (the mysterious “light” removed); the earth turned red with the blood
of the carnage of Doom (the earth turned red like brick clay); the “Gates of Death” (Dvaraka), the “marine
sources” (the River Oceanus = Indus); the Bottomless Pit (Atala). Cf. also Psalm 9 for identical motifs whose
discussion does not t here, but which we explain elsewhere.
Likewise connected with Atlantis, are the gate-keepers of the Country of Shadow (that is, the Cherubs of Hades,
wrongly translated as “doors of Sheol”); the deposits of snow and ice (the Himalayas = “abode or deposit of
snow”); the realm of darkness (Hades and, also Mt. Meru or Paradise); the “very ancient days”; “the divide of
light ” (i. e., of night and day = the Orient); the device for bringing rains to the desert; the reference to the Pole
Star and their in uence on the weather; the sons of God, etc..
The Book of Job is deemed the earliest in the Bible, and is hence a reliable though dif cult source of early
myths and pristine traditions. It may date from the Middle Bronze Age, or about 1,500 BC, or even earlier. But
the type of myths, traditions and doctrines is so typically Hindu as to leave no doubts about its ultimate Indian
origin. And this seems to imply, at least to us, that the myth of Atlantis, true or not, is verily of Indonesia origin.
Though dif cult and obscure, the Book of Job is one of the most profound and disturbing testaments in the
Bible, as well as, perhaps, its most beautiful one. It provides a reliable source and foundation for the matter of
Atlantis, one that is subscribed by God himself.
A further quote from that remarkable book (26:5 ff.) will show how the subjects treated there hinge on the
matter of Atlantis in an unequivocal way. The passage refers to a circular island surrounded by a circular dike
and canal, which was placed in the con nes of the world, and was later sunk underseas, becoming an
abomination. What else but Atlantis?, one is forced to question. We concisely annotated the translation in order
to render it more understandable:
The dead giants (Rephaim) writhe with fear under the earth,
And so the waters of the abyss and the inhabitants thereof.
Hades (Atlantis) is laid bare before him,
And Abbadon (“destruction” = Lemuria) sheds its cover.

He hath placed Septemtrio over the devastation,

And supported the Earth upon the void…
He hides the face of his throne,
Spreading his clouds upon it

He has traced a circle above the waters

At the boundary of Day and Night.
The Pillars of Heaven quake,
Swirling at his command.

Against the Fortress he sent the Sea (the Flood),

Striking the Standing Serpent (Rahab) with his mighty weapon.
His breath has cleared the skies,
And his hand has pierced the Coiled Serpent (Leviathan).
The might of his thunderbolt, who can understand?
The Darkening of the Skies
Some versions precede the rst two verses by 25:5-6:

The Moon, though full, refuses to shine,

And the stars pale away at his sight.

These above passage merits some discussion. The darkening of the skies is an usual attendance of Doom, and
can be traced to the famous Kumarasambhava of Kalidasha, and to the Rig Veda and other Holy Books of India.
Why do the skies darken and the stars fade out at Doom? Because of the dust thrown up into the stratosphere
by the volcanoes and earthquakes that attend the Flood. What is the mighty thunderbolt of Jahveh? It is what
the Hindus call the vajra or, yet, the Trident of Shiva or the Thunderbolt of Indra.
The Rephaim are the same the Nagas of the Hindus and the Titans of the Greeks, imprisoned in Hades with
Kronos, their leader. They are the dead Atlanteans, the ancestors of the gigantic Todas of India. As the passage
shows, there are two such places, respectively called Abbadon and Sheol, corresponding to Hades and Tartarus
and to Atlantis and Lemuria.
Septemtrio is Ursa Minor, the Polar Constellation. Here, it marks the site of the destruction. We recall how
Paradise — the equivalent of Atlantis and Lemuria, as well as their Holy Mountains — is invariably placed under
the Pole Star in essentially all mythologies. The Pole Star is indeed a signature of the Atlanteans, who are
indeed the Dravidas, an eponym that means “Pole Star”, just the same as the name of Atlantis.
The “Earth supported upon the void” (i. e., the seas) is an ancient image of Atlantis and its many replicas. This
corresponds to Homer’s Phaeacia and Apollo’s oating Island of Delos, not to mention the Whirling Island of
the Celts, and the image of the Earth, as conceived by Thales and by the Babylonians and the Jews. The idea
derives from the Hindu Tripura, the city of the devils, destroyed by Shiva.
Tripura is also the archetype of the Celestial Jerusalem of Revelation, as well as its dual, the Messianic
Jerusalem submerged under the seas. The Throne of Jahveh is his lofty Pillar or Mountain, the same as the
Pillar of Hercules, here equated with Mt. Sinai. Its “hiding” refers to its explosion and disappearance under the
seas. Mt. Sinai is “the Decapitated Mountain”. This is the same as the Kumeru or Vadavamukha of the Hindus
and the sucking maëlstrom of Charybdis in Homer’s Odyssey.
The clouds (of smoke) that hide away the site of the throne of Jahveh and darken the skies over it is another
recurrent mythical motif of the ancients. It singles out the site of the Lemurian Atlantis, the same as Homer’s
gloomy Cimmeria, and the Dhumadi of the Hindus. In reality the text refers to the immense clouds of dust and
smoke generated by the cataclysmic explosion of the pristine Mt. Atlas or Kumeru, the volcanic peak of
Lemurian Atlantis.
The “circle on the surfaces of the waters” is the circular River Oceanus which surrounded Hades, according to
Homer and others. Job places it at the “boundary of Day and Night”, an expression that unequivocally
designates the Ortum Solis or Anatole Helaios which we discussed further above. This is the site of Meridian
0º, exactly that of Lanka in Hindu tradition. There a new day conventionally starts when the Sun crosses its
zenith.
The “Pillars of Heaven” that quake in Job’s text are precisely those of Atlas and Hercules, the two so named in
Greek tradition. Their “swirling” is an elegant way to say that they are the same as the Polar Mountain that
whirls under the Pole Star.
The sea “sent against the Fortress” is the Flood, the same as the vajra of the Lord Jahveh which wiped out both
Atlantis and Lemuria. The Standing Serpent and the Coiled Serpent are Leviathan and Rahab, the aliases of the
Hindu serpents Shesha and Vasuki. These two are often identi ed as the Pillars of the Earth, which they
support at the two extremes. They also correspond to the two giants, Atlas and Hercules, the two Titans who
perform this task for the Greeks.
The two Serpents or Dragons are both killed by Jahveh, the Jewish counterpart of Shiva. The Coiled Serpent,
Leviathan, closely corresponds to the likewise rounded discus of Vishnu, a sort of circular vajra. The Standing
Serpent and the Coiled Serpent are allegories of the two Holy Mountains, one of which exploded and turned
into a circular volcanic crater or caldera, deemed to be the entrance to Hell.
The mighty “breath” of Jahveh, which cleared up the skies, apparently means the gigantic explosion pushing
away the smoke and the dust gathered around the Holy Mountain as the result of previous normal activity. The
noise of the explosion is narrated in several Biblical passages, as well as in innumerous Hindu Holy Books. The
Hindus associate it to a lion’s roar, and attribute it to Rudra (“Howler”), and to the mystic syllable Aum, the
Cosmic sound of Creation.
The Lord’s vajra which we discussed above has, as all things mythical, a dual character, being both Infernal and
Celestial. The two correspond to the Trident of Poseidon and Shiva or to the Thunderbolt of Zeus and Indra. In
actual terms they are the two volcanoes of the two Atlantises, one Submarine (Poseidon’s), and the other
Celestial, coming from the summit of Mt. Sumeru, which falls down as a sort of meteorite from the skies.
The Thunderstruck Tower
As shown in Arcane no16 of Tarot, it is the vajra or ceraunos, the “bolt out of the blue”, that strikes down the
Tower. This fact is shown in detail in our discussion of this remarkable arcane. This vajra is either a Celestial
meteorite or a giant volcanic bomb falling from above the Holy Mountain.
What are, indeed, Rahab, the Standing Serpent and Leviathan, the Coiled Serpent or Ouroboros? They are, at
the Terrestrial level, the wall or dam that encircled Atlantis, and the lofty tower called the Pharos or yet, Mt.
Atlas. The Pharos (or Lighthouse) is the Phallus, the Shivalinga. And the Coiled Serpent that girthed it is the
Yoni, the dam that kept away the seas and protected the Holy City, precisely as af rmed in the text of Job.
The giant Rephaim are an actual people, the ancestors of the Palestinians and other ruddy races that preceded
the Aryo-Semites almost everywhere. They are indeed, the Atlanteans, the rakshasas of Lanka buried
underground in Hades or Patala. And their maritime counterpart, the inhabitants of the waters, are those of the
sunken moiety, the Najas or Oannés or Sea Peoples of India. Abbadon — not really “destruction” but “destroyed
one” — is Atlantis/Eden, lost for a little while but bound to return soon.
The Coiled and the Standing Serpents
Septemtrio shining over the devastated Atlantis is really an anachronism or an intentional misunderstanding.
The original says “North Star” or, more precisely, “Canopy of the Skies”. This ringed constellation is Lyra, the
Yoni; the Celestial counterpart of Leviathan and the Ouroboros, the Coiled Serpent. Septemtrio is really its dual,
the other Pole Star, that of the Linga.
Septemtrio is the constellation of the Standing Serpent (Rahab), the Pole Star that rules the present era. At the
epoch of Atlantis doom — some 11,000 years ago — it was Lyra and not Ursa that shone its light upon the
dismal scene. Perhaps the Book of Job is really talking of two different eras and two different Atlantises, one
destroyed about 11,000 years ago (Atlantis) and the other at about 25,000 years ago, when Polaris was, as
today, the Pole Star.
It is clear that Atlantis was built — as are indeed many other Holy Cities patterned after it — as an image or
replica of the skies. The inner ring represented the Polar Circle and the outer, immense one the zodiac. Mt.
Atlas represented the Polar Axis, and was tangent to this circle. The ring and the tangent straight line are the
attributes of Shamash, the Sun God and of his many aliases, both male and female. The two objects of the
Sumerian Sun god then represent the passage of the eras and of Circular Time, of which Shamash was the Lord,
like Shiva.
There can be no doubt about this interpretation, as we show elsewhere. Besides, what do these two peculiar
forms represent but the Linga and the Yoni? These two represent the two Pole Stars and are the supreme (i.e.,
polar) gods everywhere. In India, the Coiled serpent is Called Ananta (“endless”), and represents unending,
Circular Time.
Her dual is Vasuki, the Standing Serpent who represents ordinary, Linear Time. More exactly, the circle and the
tangent straight line represent the Polar Circle and the Polar Axis whirling away the eras on the skies,
according to the Precession of the Equinoxes. This clear-cut image is an irrefutable proof, among many others,
that the ancients knew of the Precession of the Equinoxes far before their rediscovery by Hipparchus.
Of course, the gods are not really the Pole Stars, but only the principles behind the image: those of Dissolution
(Yoni) and of Consolidation (Linga), the Solve et Coagula of the Alchemists and the Kalpa and Pralaya of the
Hindus. The two are the two forces or principles that dictate the eras and the fate of Mankind both in the past
and in the future.
Abbadon, the Angel of Death
It is enlightening to see Atlantis called Abbadon (“destruction”) here, the same term used in Revelation.
Abbadon or Apollion is the angel of destruction, the archetype of Apollo. The Archer of the Silver Bow is the
god who, with Neptune (Poseidon) built and destroyed Troy (Atlantis) with the Flood and Plague that
devastated the famous City.
As such, he is Arjuna, who, together with his twin Krishna, the other archer (the one of the Golden Bow),
destroyed the world. This destruction of the world is allegorized in India as that of the forest of Khandava, in
the beautiful myth entitled The Incending of the Forest, told in the Mahabharata.

The Floating Island

The earth supported “upon the void” is not really the planet Earth but Atlantis, often called “the Earth” or “The
Wide Earth”. The void here means two things. First the seas — called “abyss” or “pit” in ancient parlance — and
second, the network of crypts and tunnels that pierced the underground of the City, and which served as the
archetype for the crypts of temples, catacombs and labyrinths found almost everywhere.

The “face of his throne”, hidden by a cloud-cover, is really the tip of Mt. Atlas scraping the skies and penetrating
its cloudy canopy as a sort of linga. God is elsewhere described as sitting upon the tip of Mt. Zion (Mt. Atlas or
Calvary or Kailasa) not only in Job and other books, but, indeed, in all mythologies.
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