DRAGONOLOGY – An exploration of dragon mythology
Part of the accompanying text to the documentary series CHASING THE DRAGON
The theme of the Dragon was put right in front of me literally from the moment I was born because of the year I was born. Besides my life long obsession with these creatures, I was at some stage, bound to question the origins of the dragon.
The Shēngxiào, better known in English as the Chinese Zodiac, is a scheme that relates each year to an animal and its reputed attributes, according to a 12-year mathematical cycle. It has widely used and it’s ideologies acknowledged in several East Asian countries such as China, Korea and Japan.
Identifying this scheme using the term “zodiac” reflects several similarities to the Western zodiac:
Both have time cycles divided into 12 parts.
Each label at least the majority of those parts with names of animals, and each is widely associated with a culture and practice of attributing influence of the zodiac to a person’s relationships personality and events in their life.
Nevertheless, there are major differences the Shengxiao and the Hermetic Zodiac:
The “Chinese” 12-part cycle corresponds to years rather than months.
There are twelve animals represent the Chinese zodiac, whereas some of the signs in the Western zodiac are not animals, despite the implication of the Greek etymology of “zodiac” which means “animal wheel”. Unlike the characters of the Western Hermetic zodiac, the animals of the Chinese zodiac are not associated with constellations, nor do they have anything to do with the movement of the stars and the sun.
Upon finding out that I was born in the Year of the Dragon when I was young, I curiously pondered all eleven other representations on the Chinese zodiac. It was very obvious to me, even as a child, that every creature represented was a very common and easily recognizable animal that most people had knowledge of or had seen, and that most people considered to exist in day to day reality. The only creature on the Chinese zodiac that did not fit into this category was the Dragon.
Officially, the Dragon, much like fairies and mermaids, have been regarded by modern day society as a “mythological creature”, which is not “real” and does not actually exist, or at least, that is what they teach us at school. This beckons the question, why would there be, what we are told is a non-existent creature, in the Zodiac?
BEING being born in the Year of the Dragon, the following is supposed to describe me:
Magnanimous, stately, vigorous, strong, self-assured, proud, noble, direct, dignified, eccentric, intellectual, fiery, passionate, decisive, pioneering, artistic, generous, and loyal.
Can be tactless, arrogant, imperious, tyrannical, demanding, intolerant, dogmatic, violent, impetuous, and brash.
(s o u r c e:- Wikipedia)
Much like western Hermetic Astrology, Chinese Astrology is often used to characterise personality traits of people, which corresponded symbolically with a representation in the zodiac.
This beckons the next logical question:
How can they base characteristics and traits on a creature that did not exist?
The use of the Dragon in the Chinese Zodiac is based on something and represents something.
It does not fit with the logic of what we know about Chinese Astrology, that a dragon be represented, if it did not in fact exist, as we are taught through most main stream education to believe.
Why have other supposedly non-existent or mythological creatures such as unicorns not been used in the Chinese Zodiac? The only logical answer is that, to the people who formatted the Chinese Zodiac as we have come to know it, the Dragon was a very real creature.
So lets us consider this for a moment, are dragons real?
And if they are, what about the many other supposedly mythological creatures such as mermaids, vampires, pixies and fairies?
Could they have some basis in reality?
For those of you who are familiar with my past work as Freedom Central (www.freedomcentral.info), you are probably aware by now that there is so much that we are not being told, and we have been categorically lied to and programmed into believing a false version of reality. If I have come to know anything for sure, it is that we must question everything we have been taught.
The most essential thing is to pay attention and FOLLOW THE CLUES!
Like so many of the clues in my life, the most important ones were right in front of me. A good example of this is how my first name begins with the letter “M”, which happens to be the 13th letter in the alphabet.
The number 13 is very significant in numerology, but specifically in relation to me, I had always been taught that 13 was number that was to be hidden. Indeed, many homes would sooner number their home 12A, than use the number 13.
Bringing together the opening themes, it is interesting to note at this point that in the tradition of Western Hermetic Astrology, the 13th Astrological sign has also been hidden. Much like the Chinese Zodiac, the Western Hermetic Zodiac only has twelve official representations.
The 13th Astrological representation of Western Hermetic Astrology is called Ophiuchus, the Serpent Barer.
Ophiuchus is located between Aquila, Serpens and Hercules, and is situated in the northwest of the centre of the Milky Way.
The southern part of the constellation Ophiuchus, lies between Scorpius to the west, and Sagittarius to the east.
In the northern hemisphere, Ophiuchus is best visible in summer, and is located opposite Orion in the sky.
Ophiuchus is depicted as a man grasping a serpent, whilst the interposition of his body divides the snake constellation Serpens into two parts, Serpens Caput and Serpens Cauda, which are nonetheless counted as one constellation.
There is so much that we have been taught to ignore as myths and legend, thus hiding the very obvious in plain sight, as has been the case with the thirteenth constellation of Ophiuchus.
By labelling creatures like dragons as legendary, we have been taught that they are non historical.
The definitions of “Legendary” and “Mythological” have been debated with no widely agreed upon application. However, interest in mythology has grown steadily though out the last hundred years, and it has peaked in recent years as the Great Awakening has taken hold of people, who are now empowered by the realisation that myths are not just pre scientific explanations of the world, or childish stories made up in order to account for the forces of the universe, rather, what we consider “mythology” provides some accurate insights into reality.
Myths and legends exist in all societies and are part of the very fabric of human life, moulding behaviour, expressing beliefs and justifying institutions, as often, many superstitions, religions and ritual practices, are based on them.
The Encyclopedia of Mythology defines Myths as:
“Imaginative traditions about nature, history and the destiny of the world, the gods, man and society. They are concepts, which deserve serious attention, for what they mean to those who believe in them, and as statements about fundamental issues in life. One of the disadvantages of the old fashioned derogatory use of the word ‘myth’, to mean a ‘foolish story’ or ‘false idea’, is the implication that myths are trivial. The reality is the reverse. It is the things which people find important that find place in their mythology”
The patterns and similarities between dragons of distant geographical regions, indicates that what ever the dragon race is or was, at some point, there were absolutely everywhere. They were equally revered, worshipped, loved and feared by almost every ancient culture of our planet. Dragons took on many forms as different cultures interpreted these creatures in their own language, symbolism, and artistic representations. Despite the fact that the dragon has been represented in many different ways, the basic stories, themes and symbolism tie together all these creatures across all different cultures of history, precipitating almost every ancient mythology, known and unknown.
A secret organisation, the self proclaimed “illuminated ones”, recorded the hidden history of humanity primarily through covert symbolism. Considered the root of all knowledge, the dragon’s bloodline is consistent of illumination and emblematic of the sun, which is a symbol of creation, just as the dragons are credited in many ancient cultures as being our creators.
Dragons are intrinsically linked with light, knowledge, or illumination, and are often referred to in Judaic literature as the “shining ones”.
Before we go any further, it is important to be able to decipher the hidden symbolism of the dragon, which is hidden in plain sight, which will make it easier to reference and contextualise the rest of this material in it’s rich and multilayered format.
Let’s start with the physical appearance of dragons:-
Often depicted with long serpent like bodies, which were sometimes winged, feathered, and sometimes with plumage on top of their heads.
They are often depicted with fish like scales, and they are often associated with water, oceans, seas, salt, pearls, rivers and wells.
Dragons are often symbolically represented as snakes or serpents.
A common depictions of dragons or serpents is eating or biting it’s tail.
This universal symbol is found everywhere and is known as the ouroboros.
The Ouroboros is often depicted encircling the world, and an extension of this is carrying the world like Atlas, who like all pantheon gods, was a representation of a dragon.
Another extension of this symbol is the grasping of an orb, common in East Asian Dragons
Dragons are thought to feast on humans and / or drink human blood.
They have an appetite or obsession with gold and / or silver
Dragons are thought to be able to shape shift, and are often depicted as half human, half fish/serpent as if in the middle of metamorphosis.
In many cultures, they are attributed as being the our creators or gods
Royalty, kings Queens, emperors are said to descend from dragons, which are in tern often depicted as wearing crowns
Dragons are often guardians of churches, temples, shrines, castles, palaces and other sacred places
Associated with sun, moon, stars, gods and heavens, with the Draco constellation giving even further homage to these supposedly non existent creatures.
Dragons are commonly hidden by symbols an all seeing “eye”, found in several religions, or often as an anthropomorphic “sun” symbol. Sun symbolism evolved into the cross, which became the symbol of Christianity. The Christian cross is actually an evolution of the pagan cross, which does not represent the cross of the crucifixion, but rather stems from the cross of the hermetic Western Zodiac, which is the oldest conceptual image known to man. The Hermitic Zodiac tracks the suns travels across the sky though out the year. The vertical and horizontal lines of the cross mark out solstice and equinox.
Often serpents are hung around crosses in ancient Christian mythology.
There are constant re occurring parallel stories of Dragons (basilisks, serpents or snakes) being slaughtered by saints and angels, as in the instances of St. George and the Dragon, St. Michael and the basilisk, and St. Patrick and the snakes.
There is reoccurring mythology though out the world about Dragons being at war with the gods & angels and / or with each other.
Dragons are symbols of knowledge and wisdom, which is largely hidden, which is why they are historically a symbol of the occult. Occult simply means that which is hidden.
Dragons and serpents have long since thought to be part of the revelation of knowledge and wisdom, and the freeing of humanity. Paradoxically, also known as the enslavers of humanity.
Dragons are often depicted Dualistically and are dualistic nature, presenting both aspects of light and dark, or the yin and yang energies, also known as the active and passive generative principles of the universe.
Dragons are often associated or depicted with Mirrors, implicating multiple aspects, as is the case with mermaids. In the case of vampires, they have an aversion to mirrors, which reveal their true nature, their hidden or alternative aspect.
This theme is further expanded by the repeated representation of dragons with multiple heads, or with serpent heads for hair, as is the case with Medusa, the gorgon, a god of the Greek Pantheon.
The creation of music and instruments are often associated with Dragons and their symbolism, including Harps (angels), horns, flutes (think Pan flute)
A common reoccurring theme in many mythologies, is the Tree of life, or the tree of knowledge of good and evil, often to be found within serpents and dragon mythology
Vines, Grapes, ivy, roses and lilies (Fleur de Lis) are often found in Dragon associated symbolism, often depicting dragon bloodlines, as is the case of the Merovingian or Merovee bloodline.
Serpents are a symbol of medicine and Healing (caduceus), fertility and sex
There is repeatedly occurring mythology about dragons having sex with and breeding with human.
Eggs are often found in dragon themed art, as serpents are often depicted around them.
Serpents are often found in Christian art, underfoot of the Catholic Mother Goddess known as the Virgin Mary, often depicted standing on a moon with serpents.
Owls, eagles, the Phoenix, bats, peacocks and garudas have all been associated with dragons.
Other creatures known to been used to symbolise dragons include, Lions, which are also a sun symbol, Foxes, horses, sphinxes, dogs, crocodiles and lizards.
In fact, Dragons have been so widely recorded in all parts of the world, and through all different times and civilisations, that they have taken on other forms and characteristics in folklore and fairy tales, and have been artistically represented as such.
Having taken the time to explore dragon and serpent etymology, we now take a look at other common creatures in popular mythology that are know by other names and representations, but are in fact dragons. Again, we approach this through the etymological root.
In the Occult language of Latin, One of the expressions of the word snake or serpent translates into ‘anguem’ and ‘anguis’. From this we get the words ‘anguish’ and ‘anger’. The word Anglo stems from this root, and thus England and English also come from the same serpentine roots.
In fact, the Dutch, the word for Angel (Engel) and English (Engels) is the same, giving further credence to the fact that English is is the language of the Angels, angels are in fact dragons, thus making English a serpentine language, language of the dragons.
There are many types of angels all innvocative of serpent origins.
For example, the group of angels known as the Seraphim, which has the same OPHI root, with the O being replaced by the A, as Often vowels are substituted with each other as language evolves.
In fact, all angels including cherubim, Putti and even Cupid are actually representations of DRAGONS.
As discussed, ROYALTY are inextricably linked to dragons, and in many cases, they are in fact dragons.
A Latin word for KING is BASILEUS.
This invokes the next serpentine creature, the BASILISK, known as the King of Serpents, and is said to have the power to cause death with a single glance.
The basilisk is often depicted as a Cockatrice, which is a dragon with some features belonging to a cockerel. Hence the appearance of cockerels on the top of some churches.
The Leviathan The word has become synonymous with any large sea monster or creature
The Leviathan of the Middle Ages was used as an image of Satan, endangering both God’s creatures—by attempting to eat them—and God’s creation—by threatening it with upheaval in the waters of Chaos. The Leviathan has been described as the demon of envy, and as one of the Seven Princes of Hell, corresponding to the seven deadly sins. The Leviathan became associated with, and may originally have referred to, the visual motif of the Hellmouth, a monstrous animal into whose mouth the damned disappear at the final judgement, predominantly found in Anglo-Saxon art from about 800 AD onward, and is prevalent all over Europe
The notion of vampirism has existed for millennia; cultures such as the Mesopotamians, Hebrews, Ancient Greeks and Romans had tales of demons and spirits which are considered precursors to modern vampires. However, despite the occurrence of vampire-like creatures in these ancient civilisations, the folklore for the entity we know today as the vampire originates almost exclusively from early-18th-century southeastern Europe, when verbal traditions of many ethnic groups of the region were recorded and published.
In European folklore. a vampire as we have come to know it, A vampire is a supposed corpse, often with shape shifting capacities, that leaves its grave at night to drink the blood of the living by biting their necks with long pointed canine teeth.
They also have a sensitivity to sunlight, supposedly sleep in coffins, and have are one of the most over produced genre TV series and film. ( They have also been referenced as Angels of the night, demons, incubus, succubus, the damned, true blood (think royalty)
The griffin, griffon, or gryphon (Greek: γρύφων, grýphōn, or γρύπων, grýpōn, early form γρύψ, grýps; Latin: gryphus) is a legendary creature with the body, tail, and back legs of a lion; the head and wings of an eagle; and an eagle’s talons as its front feet.
Because the lion was traditionally considered the king of the beasts, and the eagle the king of birds, the griffin was thought to be an especially powerful and majestic creature. The griffin was also thought of as king of all creatures. Griffins are known for guarding treasure and priceless possessions. One one expression of the word Griffin, is to spell it as gryphon, which has the serpent OPHI root encoded backwards.
Nāga is the Sanskrit and Pali word for a deity or class of entity or being, taking the form of a very great snake, specifically the king cobra, found in Hinduism, Buddhism, Jainism and Sikhism. A female Nāga is a nāgī or nāgiṇī.
In the great epic Mahabharata, the depiction of nagas tends toward the negative. An epic calls them “persecutors of all creatures”, and tells us “the snakes were of virulent poison, great prowess and excess of strength, and ever bent on biting other creatures” (Book I: Adi Parva, Section 20).
At some points within the story, nagas are important players in many of the events narrated in the epic, frequently no more evil nor deceitful than the other protagonists, and sometimes on the side of good.
The epic frequently characterises nagas as having a mixture of human and serpent-like traits. Sometimes it characterises them as having human traits at one time, and as having serpent-like traits at another.
The word Naga comes from the word that is cognate with the English “snake”, both sharing the ‘na” root.
A mermaid is a legendary aquatic creature with the upper body of a female human and the tail of a fish. Mermaids appear in the folklore of many cultures worldwide, including the Near East, Europe, Africa and Asia. The first stories appeared in ancient Assyria, in which the goddess Atargatis transformed herself into a mermaid out of shame for accidentally killing her human lover. Mermaids are sometimes associated with perilous events such as floods, storms, shipwrecks and drownings. In other folk traditions, they can be benevolent or beneficent, bestowing boons or falling in love with humans. Christopher Columbus reported seeing mermaids while exploring the Caribbean, and sightings have been reported in the 20th and 21st centuries in Canada, Israel, and Zimbabwe.
Mermaids have been a popular subject of art and literature in recent centuries, such as in Hans Christian Andersen’s well-known fairy tale “The Little Mermaid” published in 1836.
Mermaids have subsequently been repeated depicted romanticised in operas, paintings, books, films and comics.
In Greek mythology the Sirens were dangerous yet beautiful creatures, portrayed as femme fatales who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. In the Euripides’ play called Helen, the lead character of the same name, in her anguish calls upon “Winged maidens, daughters of the Earth“.
Although they lured mariners, the Greeks portrayed the Sirens in their “meadow starred with flowers” and not as sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys (notice the ‘orc’ etymological root) Sirens are found in many Greek stories, particularly in Homer’s Odyssey.
A fairy (also fay, fae; from faery, faerie, “realm of the fays“) is a type of mythical being or legendary in European folklore, a form of spirit, often described as metaphysical and supernatural. Fairies resemble various beings of other mythologies, though even folklore that uses the term fairy offers many definitions. Sometimes the term describes any magical creature, including dragons, goblins or gnomes, but at other times, the term only describes a specific type of more ethereal creature or sprite. Various folkloristic traditions refer to them euphemistically, by names such as the fair folk.
DJINN & GENIE
Jinn or djinn (singular: jinnī, djinni, or genie; Arabic: الجن al-jinn, singular الجني al-jinnī) are supernatural creatures in Islamic mythology as well as pre-Islamic Indian mythology. They are mentioned frequently in the Quran (the 72nd sura is titled Surat al-Jinn) and other Islamic texts. They inhabit an unseen world in dimensions beyond the visible universe of humans. The Quran says that the jinn are made of a smokeless and “scorching fire”, but are also physical in nature, being able to interfere physically with people and objects and likewise be acted upon. The jinn, humans and angels, make up the three sapient creations of God.
Like human beings, the jinn can be good, evil, or neutrally benevolent and hence have free will like humans and unlike angels. The shaytan jinn are the analogue of demons in Christian tradition. Jinn is a noun of the collective number, which in Persian literally meaning “hidden from sight”, and it derives from the Arabic root j-n-n(pronounced: jann/ junn جَنّ / جُنّ) the meaning “to hide” or “be hidden”.
Jinn is the plural, meaning many Jinn. The singular is Jinni. One Jinni, many Jinn.
The word genie in English is derived from Latin genius , meaning a sort of tutelary or guardian spirit thought to be assigned to each person at birth.
English borrowed the French descendant of this word genie; its earliest written attestation in English, being in 1655, from the the French translators of The book of One Thousand and One Nights, which used génie as a translation of jinnī, because it was similar to the Arabic word in sound and in meaning. This use was also adopted in English and has since become dominant. The concept of the Genie of the Lamp was further popularised by the legendary performance of Robin Williams in the walt disney classic Aladdin.
Dragons have been our gods and our devils, and have characterised both Lucifer and Satan
“And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world.”
The New Testament Book of Revelations, Chapter 12, Verse 9)
Almost all religions feature the occurrence of dragons and serpents in their respective mythologies. This is because all religions stem from Serpent Worship. Ophioletreia is the original pagan religion, which gave birth to all other religions, polytheistic, and monotheistic. All religions as we know them today, use multilayered symbolism to mask the true function of the religion, which ultimately is all about the worship of the Dragon.
The symbolism of the dragon was often preserved in architecture or carved into churches, temples castles, and other sacred places. The secrets of these symbols was thus kept into a secret society of initiated Building Masons, which became the Freemasons.
The word Basilica comes from the world Basilisk
There is an obelisk outside St. Peter’s Basilica… co incidence?
The word VATICAN means DIVINE SERPENT.
The Hagia Sophia or Aya Sophia, is a 2000 year old Catholic Cathedral in Istanbul, Turkey.
The name Sophia comes from Serpent origins.
If one looks at the Latin Name of the Aya Sophia in Istanbul, it is know as the Sancta Sapienta. Sancta invokes Sanctuary, and Sapien means Serpent, hence, the Hagia Sophia being the home of the Serpent.
Dragon symbolism is often included in the carvings and architecture of churches, temples and other sacred places. The Hagia Sophia has many columns taken from older temples and palaces. The word column invokes the word ‘coluber’, which is another Latin word for ‘serpent’.
The seal of the city of Zwolle in Holland, depicts St. Michael killing the Basilisk. In the city of Zwolle, there is a Roman Catholic Basilica, which is covered inside with dragons.
The city of Basel in Switzerland uses a basilisk with cockatrice features as it’s emblem. Basel comes from the word Basilisk.
in 1007 AD, The roman emperor Basil II, commissioned a sculpture of a Basilisk, which he gifted to the Basilica of Saint Ambrogio
Before Movies, TV and Newspaper, the most useful tool of propaganda, was art and sculpture.
The grand masters of the masterpieces which adorn the various Cathedrals, Basilicas, churches and palaces of the world, were also by and large, members of dragon worshipping secret societies. For anybody who has seen the Da Vinci Code, you will already be aware, that Leonardo Da Vinci, was an initiated member of the Priory of Sion, entrusted with occult knowledge, which he included in his artworks. The amazing artworks that adorn Vatican City, are all propaganda pieces, commissioned by those that wish to create an image in the minds of others, by portraying elaborate religious scenes, often hiding import and clues and symbols therein. Some of these artists would sign their work with an occult symbol, instead of using their name.
Once such artist is german renaissance painter known as Lucas Cranach the Elder. He was the court painter to the Electors of Saxony for most of his career. He was initiated into the a secret society in 1508, where he was given the emblem of a black winged dragon wearing a crown, with a ruby ring in its mouth. From this date onwards, Lucas Cranach signed all his work with this symbol.
In almost every cultural mythology across the world, there is an overwhelming reoccurrence of dragons and serpents, in literature, art, sculpture and ritual, playing into the lives and history of long past peoples. All religious, cult and ritual practices, including most modern day entertainment such as ball sport, theatre and music, is rooted Ophiolatry.
Dragons and serpents are some of the oldest and most widespread MYTHOLOGICAL SYMBOLS. They have been associated with some of the oldest rituals known to humankind and represent the dual expression and ubiquitous duality of good and evil. In order to grasp the role of dragons, which, through occult means, is interwoven into our culture, we need to delve deeper into the hidden meanings and symbolism of the dragon, which is not only found symbolic representations, but also in our language, in a literal, allegorical, phonetic and philological context.
‘The basic tool for the manipulation of reality is the manipulation of words. If you can control the meaning of words, you can control the people who must use the words’
PHILIP K. DICK
Through an examination of many symbols and languages across the world, it has become abundantly clear, that in order to know the truth about nature of our reality, it is essential to chase down dragon mythology, symbolism and language across all histories, faiths, mythologies, cultures and languages.
To paraphrase the Oxford English Dictionary:
‘Language is the method of communication, either written or spoken, consisting of words in an agreed way, extending to a community or country”
This definition likewise extends to that of the SYMBOL, which is defined as:
‘ A mark or character taken as the conventional or occult sign of a being, object, idea, function or process.’
Symbols are not just pictorial motifs, they are also encoded into our language to denote a symbolic equivalent, particularly through the mode and application of synonyms or homonyms as symbolic indicators. The purpose of a sign, symbol or synonym is to substitute the object with a symbolic counterpart. Adoption and use of symbols is universal to all cultures and are primarily used as mechanisms of subterfuge, in order to hide the truth about the existence of dragons, which is the the very root of our culture.
In order to grasp the full extent of the multi layered symbolism, it is important to cross reference these symbols with some of the etymological roots of our language, not only in the words, but in the very structure of our language through grammar and syntax. This is such a vast expanse of information that it is difficult to go at it in a linear fashion by starting at the beginning and finishing at some all defining end.
Where does one begin?
I guess we begin at the beginning… literally .
If we were to talk about a man who crossed the road, we would say:
A man crossed the road
The man crossed the road
The variables in these two sentences being “A” and “The” prior to the subject of ‘man’ being referenced.
Almost all sentences in the English languages are constructed in this manner.
It would not be grammatically correct to say “Man crossed the road”.
In this context, the grammatically correct way to phrase this sentence would be to reference it as “The man”, or the indefinite reference of “A man”.
And thus the question beckons, what is the true purpose of “A” and “The”, that they have to start a sentence or be put before a reference to a subject prior to engaging the subject of the said sentence?
Much like the “A” goes at the beginning of the sentence, so the “A” is also found at the beginning of the Alphabet. In fact, the Alphabet is named after the first two characters being Alpha (A) and Beta (B) as they are known in Latin.
IF one looks at the symbolic representation of the Alpha in it’s capitalised form, it is actually a representation of the all seeing eye in the capstone which is separated from the pyramid, as represented on the ONE Dollar bill, which as discussed in part one, is a symbolic representation of the dragon.
Don’t believe me?
Why do you think they call that famous Italian car “Alpha Romeo”, is represented by a crown wearing man eating dragon?
Even the use of the word Alpha in English in a contextual form, denotes that of being above and before all, coming first, or being at the top, the leader of the pack, as per the term Alpha Male or Alpha Dog.
In much the same way, the letter A, much like the Alpha, is positioned at the beginning of the Alphabet, and sits prior to a subject in a grammatically correct sentence construction.
This context of Alpha is further proven by the Book of Revelations verse “I am the alpha and the omega” clarified with the additional title “the beginning and the end”. This verse is meant to indicate God speaking in the first person, laying claim to being the beginning and the end (Revelation 21:6, 22:13)
Hence, Alpha is the beginning, it comes before all else. Alpha is thus an allegorical reference to the gods or dragons, and have been revered and praised, put before all else, even literally and symbolically in the English language, and in fact all languages that have evolved from Greek and Latin root, resulting in the use of the Alphabet as we have come to know it, and the 26 symbols represented in it.
Other letters which have symbolic representation include the letter S, with it’s shape, sound originating and representing SERPENTS
The letter W originates and is representative of WATER, and the letter O originates and is representative of the OUROBOROS.
Further proof of the positioning at the beginning of a sentence being of significance, comes when we look at the word “The”
as in “The man crossed the road”.
In grammatically correct English, THE is placed before the subject, and does not actually have much of a meaning or function or so it would seem, that is of course, unless one were to consider the Occult meaning of THE.
The etymological root of the word THE, originates with dragons.
THE is taken from the Greek THEOS,
In it’s Greek context, the word THEOS or THEOI refers to angels, demons, dragons, fairy watchers, also collectively known as “the gods”
This is further expanded in words such as MONOTHEISM, meaning the belief in one god,
or POLYTHEISM, the belief in many gods
The temple of the gods in rome was known as the PANTHEON.
The Greek word THEOTOKOS refers to the offspring of the gods
HEMITHEOI is the Greek expression referring to a being that is half human and half dragon, no doubt the THEOTOKOS progeny
THE is also cognisant of THEBES, the old capital of Egypt, and a city of ancient Greece, both being places of sacred knowledge, .
The symbol of the Theban Priesthood was a Cobra
(SOURCE – THE MURDER OF REALITY by Pierre Sabak)
The relationship between DRAGONS and LANGUAGES are universal, and are found encoded into all human languages.
THE is also indicative of THESAURUS, meaning a collection of words or concepts.
This is rooted in the Greek noun, THESAURUS, meaning A TREASURE.
In the Grecian mysteries, TREASURE implies intellectual riches such as sacred or occult knowledge.
And thus it is said, a DRAGON guards TREASURE.
THE also forms the root words such as THEATRE a place where a play of written word is spoken, as well as the word THESPIAN, being a speaker of the words of said play, known today as an ACTOR or ACTRESS
In Part ONE, the interconnection between Basilisk and Basileus was demonstrated.
The BASILISK is historically documented as the KING OF SERPENTS.
The world BASILEUS is the Ancient Greek language reference to KING.
This interconnection between KING / ROYALTY and SERPENTS / DRAGONS is clearly repeated and documented in the Indo-European languages.
The Akkadian noun PEOR, which means SNAKE, relates to the Sanskrit title PALA, which means KING.
PEOR / PALA / PARA is an important word grouping, and further reveals the dragon allegory interwoven into our language through the root words and phrases.
The interconnection of this word grouping relating to DRAGON ROYALTY is evident in Egypt with “Par-o” or PHARAOH.
PALA also connects to the Indo-European root word PARLE, which means TO SPEAK.
This is further expanded in the word PARABLE, which is a story expressed often through symbolic allegory. Words from same group include PARAPHRASE and PARAGRAPH.
In THEATRE and ritual, PARABLES are often NARRATED in a PLAY.
The word PLAY is similar to the word PARLE, meaning ‘TO SPEAK’.
The word NARRATE is taken from the Latin stem NARRA, meaning TO TELL or REPORT.
NARRA is etymologically similar to NAGA, the Sanskrit and Pali word, for a SNAKE like god or dragon
The theme of TREASURE implying intellectual riches, is further expressed with the use of the word PAREL, being the Dutch word for PEARL, a play on PARLE, meaning ‘to speak”.
Hence the expression, PEARLS OF WISDOM.
In Japan, the red serpent is known as the TENGU, which is a play on the Japanese noun TANGO, which means WORD.
In African Mythology, the ‘serpent’ is called NYOKA, which also means THE INSTRUCTOR or EXPERT
This theme is further expanded in Egyptian mythology by SOBEK, which corresponds with the Arabic word SABAQ, which means a LESSON or LECTURE.
In Latin, SERPENS, meaning SERPENT, contrasts with SAPIENS, which means INTELLIGENT.
Again we see the patterns in the Arabic verb KHAFA, meaning TO KNOW, which is cognisant with ‘af’a, a VIPER in the Middle Eastern Languages.
The Greek word SKOLEX means WORM.
The word WORM came from the word the old English WURM, which means a SERPENT, SNAKE or REPTILE.
SKOLEX corresponds with the Latin word SCHOLA, which means a LECTURE, SCHOOL, SECT or FOLLOWERS.
SCHOLA evolved into the English words SCHOOL and SCHOLAR.
If someone is a good SCHOLAR, they may be referred to as a GENIUS.
Both the Latin and Hebrew expressions of GENIUS and GEONI, are definitions both rooted in DJINN / JINN, taken from the old Semitic noun DJEN, meaning a SERPENT.
DJEN is written in Hieroglyphics as a cobra, which is also a symbol of the Theban Priesthood or Brotherhood
The Latin word for BROTHERHOOD is FRATERNITAS, derived from the Arabic classification IFRIT or IFREET, meaning a malevolent demon or djinn, the equivalent of Satan.
The IFRIT’s existence is concealed by the FRATERNITY, which are guardians of DRAGON knowledge.
Judaic lore equates the IFRIT with WRITING, codified within religious scriptures.
In Hebrew for example, the stem IVRIT denotes the Hebrew language.
IFRIT exposes the Arabic verbal stem IRIF which means TO KNOW or TO HAVE KNOWLEDGE.
The Arabic word SHATANI which in English is SATAN, parallels with the adjective SHA’TIR, meaning WISE
The Aya Sophia in Istanbul is a 2000 year old Catholic Cathedral used as a Mosque for some time. It’s name is pronounced AYA SOPHIA in English and Turkish, despite being spelt differently in these respective languages, which gives clear indication to the Serpent allegory intended, not only in the name Sophia, but in the use of two differently spelt out prefixes to the name SOPHIA, and I will go on to discuss the further synonymic allegory of SOPHIA, which gets even more interesting,
ENGLISH = AYA SOPHIA
TURKISH = HAGIA SOFIA
First we look at the words AYA and HAGIA, the prefix to SOPHIA, both words of Arabic origin, indicating the Cathedral’s time as a Mosque.
But more interestingly, the same themes are played out here with the Arabic synonyms AYA, meaning VERSE, and HAIYA, which means SNAKE.
This pattern is again evident in the Semitic-Grecian word play SURA meaning VERSE and SAUROS meaning REPTILE.
A further extension of this theme, comes from the Hebrew word ZOHRA or ZOHAR, which means BRILLIANCE, and is abridged with the Semitic root word SAU, meaning LIGHT.
Apart from having the very obvious serpent OPHI root, the Goddess SOPHIA was famously known as the personification of Wisdom.
SOPHIA invokes SOPHER, which is taken directly from the Judaic word SOFER, which means A WRITER or SCRIBE
This leads onto of the word SEFER, which means BOOK, indicative of he word SIPPUR which means A TALE or STORY, which is further expounded with the word LE’SAPHER, meaning TO TELL.
This then evolves into the English transliteration LUCIFER, which stems from the Latin word LUX FERRE, meaning LIGHT BRINGER.
The ELOHIM, as mentioned in the Old Testament of the bible, is derived from the Aramaic word ELOH, meaning LIGHT.
This is abbreviated in HEBREW as EL, and in Arabic as IL.
The IL root is presented in words such as ILLUMINATE and ILLUMINATI, and cognisant with LUCIFER the LIGHT BRINGER.
The EL root is evident mostly in the names of Biblical dragons or ANGUIS taking the form of ANGELS (ang’EL), such as AzazEL, AzraEL, GabriEL and MichaEL,
ELOH is transformed into the Modern Arabic ELAH, meaning GOD or LORD.
ELAH is the etymological variation of ALLAH, the god of Islam.
ALLAH is in tern etymologically similar to PALA, a Sanskrit word for SERPENT ROYALTY.
The etymological root EL, is found in our most common greeting of HELLO, which is normally the first thing we say to someone, taking ALPHA positioning like A and THE.
EL is found in words such as ELITE, ELVES and ELEVEN, and this is no co incidence.
And of course, there is an obvious similarity between EL and EEL, an ELECTRICAL water snake.
A Dutch word for a famous Dutch delicacy of smoked EEL is known as PALING, which is phonetically similar to PALA, the word PALACE being derived from this root.
Repeated over and over again, the same signifiers of found in all the world’s languages, which indicates the DRAGON intrinsically interwoven into our language though a multi layer symbolic exchange of expressions, left for us to DECIPHER.
Intrinsically, the semitic noun NAHASH or NKHASH meaning A SERPENT, shares the additional meaning TO DECIPHER.
NAHASH in it’s shortened form (written as NHSH) indicates the verb TO DECEIVE
Incidentally, the words DECEIVE and DECIPHER are from the same family of words.
As can be seen through our exploration of DRAGONOLOGY, the evidence of DRAGON existence is written in codified form. But the more interesting theme that starts to emerge is the the duplicitous nature of the dragon, and how openly it has been recorded, whilst concealing it’s existence. Dragons hide behind occult ritual, not wishing to be found, whilst imbedding themselves symbolically into language. Indeed, the very essence of language loans itself to symbolism, which can be DECIPHERED to reveal the existence of dragons, interwoven into the very fabric of our existence, though language, literature, art, architecture, music, theatre, sport and many other popular cultural aspects. Once you know the indicators and signifiers, CHASING THE DRAGON reveals the truth about mythology, folk lore and fairytale, their root ORIGIN, and the truth about the root of our entire modern day culture as we know it.
In the Roman language, the analogy between SNAKE and BIRD is encoded in the philological relationship between COLUBER meaning SNAKE, and COLUMBA meaning DOVE, hence the repeated depiction of doves in christian art, sculpture and literature.
This also accounts for the use of repeated used of CLOUDS in art and sculpture, and the repeated COLUMNS in architecture.
This etymological stem lends itself to Columbus, Columbia and all variations that are rooted with the COLO / COLU / CULU / CULA root.
In traditional Christian mythology, the Dove is said to be representative of the “Holy Spirit” or “Holy Ghost”aspect of the trinity.
The word SPIRIT comes from the word SPIRO, which is another word for Dragon.
SPIRO is also the etymological root of SPRITE, a DRAGON or FAIRY like being.
In my attempts to Chase Dragon Mythology, one of the most interesting themes about dragons which keeps reoccurring, is the ability of dragons, to change form, and how obviously this encoding of a serpent root word (ORPH) into words that denote a change of form, has been achieved, as evident in words such as MORPH or METAMORPHOSIS. Although there have been stories recorded of dragons taking on the forms of other creatures, the most commonly reoccurring theme is a shape shift from dragon to human, or from human to dragon, a theme that has been recorded throughout history, and is an ability which seem to be particularly associated with Royalty and dragon bloodlines, and I will go on to explore this theme when we climb into some more DRAGONOLOGY.
The second example of form shifting by Dragons recorded in historical accounts, is associated with their ability to move from physical form, to an invisible disincarnate ghost or entity, or the reverse, to materialise out of seemingly nowhere.
This theme becomes evident in the word and meaning of SPIRIT, which has evolved from the root word SPIRO.
The word SPIRO also forms the root of the word SPIRAL, which alludes to DRAGON and SERPENT symbolism.
For example, the CADUCEUS depicts SPIRAL SERPENTS.
Depictions of SPIRALS in architecture are symbolic of SERPENTS, appearing for example, on the tops of COLUMNS (COLU).
SPIRALS in the CAPITALS of COLUMNS are stylised symbolic representatives alluding to the DRAGON.
Also rooted in the root word SPIRO, is the shortened modern day eclectic term SPOOK, commonly referencing GHOSTS or SPIES.
The word SPY as a verb is interpreted as LOOK or SEE.
In it’s use as a noun, the word SPY is a shortening of ESPIONAGE, which is also finds it’s root in the word SPIRO, meaning DRAGON.
This theme of SPIRIT or SPOOK is then further extended by the entity that we have come to know as a PHANTOM, which can be both physical or ghost like in nature, and has been depicted as both aspects in literature, theatre and film. The word PHANTOM originates with the root word PHANE which means SNAKE.
The appearance of these spirit or phantom like gods or dragons to a human or other being, out of seemingly nowhere, is known as a THEOPHANY, meaning THE APPEARANCE OF GOD, taken from the Ancient Greek word THEOPHANIA, indicating the THE and PHANE root words.
The etymological evidence of these words suggests that dragons do exist, and sometimes they are visible to us, and sometimes not.
Hidden from sight, we have been watched by spirits and phantoms, angels and demons, gods and devils, all making their appearance in mythology under various titles, words and symbolic representations of the dragon.
The word OCCULT, meaning THAT WHICH IS HIDDEN FROM SIGHT, is derived from the Latin word OCULUS, meaning EYE. In Biblical accounts, Dragons have been references as the WATCHERS. Again this is further represented by the re occurring ALL SEEING EYE symbolism found on the back of the one dollar bill, on and in churches, and many other interesting places. In line with this theme, eyes are often found on artwork of HEXPTYGONS, which as the same GON root as draGON and gorGON, being the Seraphim Angel with six wings, which are often depicted with numerous single eyes within it’s wings, symbolically demonstrative of the WATCHERS.
And whilst touching on the theme of wings, is is pertinent to point out that they are one of the most prevalent and obvious symbols of dragons, appearing not only joined to the back of numerously depicted beings, wings also make appearances in other interesting and unusual places. Often wings are depicted on the head of pantheistic gods as in the case of the Gorgon Medusa. The Greek God Hermes, which became known as Mercury under the Romans, is also depicted with wings on his head, but more interestingly, he is often depicted with winged sandals or winged feet, and is described as Serpentipedis, or dragon footed.
More intriguing dragon symbolism is that of the winged sun, a commonly known depiction of divinity, royalty and power in the Ancient Near East, particularly in Egypt, Anatolia, Mesopotamia and Persia.
Modern variations of this symbol are to be found on Chrysler, Mini and Bentley motor vehicles.
In Egypt, the solar disk between the two wings is often depicted with a pair of URAEUS, which is a rearing cobra. The URAEUS is often found on the Royal Pharaoh’s headress.
Headresses, hats, crowns, adornments, and even horns, have by and large been worn as symbolic representations of status or function by all civilisations even to this very day.
What is interesting to recognise just how many of them are rooted in dragon symbolic representations.
MITRE – The Mitre is a hat, which an alternative to the crown worn by the Pope, but is also worn by other high ranking members of the Priesthood. It is in fact modelled after a fish head, in honour of the Babylonian fish Dagon. The word DAGON is etymologically similar to DRAGON.
The word MITRE is etymologically similar to MITHRA, a sun god, who wore a PHRYGIAN CAP, which turns up in some interesting places, including on an old United States army flag beneath a serpent.
PHRYGIAN CAP – The phrygian cap also appears on Typhon, the most feared of the Greek gods. The phrygian cap is the basis of the wizards cap, as worn by Gandalf in Lord of the Rings, who is often references by the name of Mithrandia after Mithra, from where the Phrygian cap originates. Variations of the Phrygian cap can be found adoring the head of Buddha. The Phrygian cap in it’s modern day incarnation is found adorning the head of Christmas icon, Santa.
The word Santa, comes from the same group of words as Satan and Saint, which again, can be traced back to dragon etymology.
PLUMAGE – Dragons have often been depicted with plumage on the top of their heads, which has inspired the head dress of many Native American tribes, but most notably, the roman army who wore dragon inspired plumage on their helmets. Representations of this are found in some interesting places such as the AMERICAN EXPRESS logo.
In the 17th Century, Roman Catholic controlled France had an army called the DRAGOONS, who persecuted Protestants, rejectors of the Roman Catholic Church. Those who escaped prosecution by fleeing Europe were known as the Huguenots, a group of people from whom I am descended.
HORNS – One of the most obvious symbols of the dragon is the appearance of horns on the head. Horns appear in many dragon depictions, especially on those know as “The devil”, Satan or Lucifer, but they are most likely rooted with the Roman God Pan, most often depicted with horns and goat like features, including cloven hooves, appearing part human and part goat at times. The word GOD and GOAT are etymologically similar, and share the same root, again revealing the further dualistic nature of the dragon.
HALOS – Halos are found depicted in Artwork and represent a circular motif, usually representing LIGHT, or more specifically, the SUN, depicted around the head area. In Byzantine artworks, SUN circle or HALO was commonly depicted with a cross, giving correspondence to the solar cross of the zodiac. Halos have been used in the iconography of many religions to indicate a holy or sacred figures, and sometimes being used to indicate rulers and royalty. Halo are solar disks, sun symbolism of course represents the Dragon. The halo of glowing light is sometimes depicted as surrounding the entire figure, not just the head. In such instances, this is known as the AUREOLA. In Latin it is called the AUREA, which means GOLDEN. Much like HALOS, AUREOLAS are luminous clouds, which in painting, have been said traditionally to represent sacred personages. The AUREOLA’S deeper function is to mask the dragon by acting as a symbolic representation. In fact, AUREOLA’s have been depicted with sun rays around them, giving clear indication to sun symbolism, which is used to mask the dragon.
CROWN – The common multi pointed gold crown is actually meant to represent the SUN, which as discussed in part one, sun symbolism is representational of the DRAGON. Crowns are most often depicted as being worn, sometimes by clergy, but mostly by royalty, who are most likely THEOTOKOS, offspring of the dragon. The word CROWN is derived from the Greek God CRONUS, a dragon god of the Greek pantheon, also known as the god of time, from which the words CHRONOLOGY and CHRONOLOGICAL is derived.
The Modern clock face is based on the exact same design and the Cross of the Zodiac, being that of a circle, with a cross in the middle, dividing the circle into quarters, each quarter containing three units of time, totalling a number of 12. The central point of the circle where the two lines cross, represents the 13th OCCULT or SILENT principle. Madame Blavatsky, founder of the THEOSOPHICAL society, states in her book THE SECRET DOCTRINES, that the symbolic significance of the point within the centre of the circle, references the “First differentiation of the ever eternal nature… the first cause, but that from which it emanates, is passed over in silence”.
The cross of Hermetic Zodiac and the Roman clock face are both both based on the exact same template, whilst depicting totally different measures of time, whilst all corresponding with the movement of the SUN, a most ubiquitous symbol of a multilayered construct. The cross within the circle is found in many logos, and forms the basis of the BMW logo.
The Egyptian SUN GOD HORUS, lends his name to the etymological root of HOURS.
HORUS is also the root of the Dutch word HORLOSIE, which references a time piece we commonly reference in English as a WATCH, again alluding to WATCHER, EYE, OCULUS, OCCULT themed symbolic thread.
Both HORUS and MITHRA share the same birthday as JESUS, being 25 December, the birth day of all solar messiahs such as the Greek God Attis, born of the VIRGIN NALA
(a homonym of PALA a ROYAL SERPENT)
This birth day is also shared by DIONYSIS and KRISHNA, a Indo SUN GOD variation of CHRIST.
It easy to spot DRAGONS disguised under SUN symbolism, further disguised by an ANTHROPOMORPHIC representative such as JESUS, MARY or ANGELS.
They are usually depicted with signature symbols such as AUREOLAS, horns SERPENTS, CROSSES and WINGS.
WAS JESUS A DRAGON?
There is much evidence pointing to the fact that Jesus is either (A) a symbolic and allegorical representation of the serpent or dragon, or (B) Jesus was a dragon, or at least, of Serpentine genealogy, theotokos, or hemitheoi.
Lets deal with (A) first.
As discussed SUN symbolism is a representation of the Dragon. It is very likely that Jesus as we have come to know him in Christian mythology, was in fact a SOLAR MESSIAH, not a real person, but an allegorical symbol alluding to SUN and DRAGON Worship. Jesus is referenced in the Bible as being the “SON OF GOD”. The first clue lies in how phonetically identical the two words SON and SUN, are. Despite appearing outwardly to have two totally different meanings, they are in fact both literal and allegorical symbolic references to exactly the same principle, and thus, it is not by chance that SON and SUN sound identical when spoken, this is in fact the very intention.
Another clue lies in the naming of the Christian’s sacred day of worship as SUNDAY.
Now dealing with option (B) being the possibility that Jesus was a dragon or at least from the Serpentine bloodline.
The most obvious evidence of this lies in the facts surrounding the conception of Jesus.
It is said that Jesus was the result of IMMACULATE CONCEPTION.
In Latin, one of the most common words for the word SERPENT, is IACULUS, which is the root and origins of the word IMMACULATE.
IACULUS of course sharing the COLO/COLU/CULU/CULA root of COLUBER / COLUBRA, COLUMN, COLUMBUS, COLUMBIA & DRACULA.
COLUBRA is a Latin word for SNAKE. If one removed the LU from COLUBRA, you are left with COBRA.
Now the LU is the root of, that’s right, LUCIFER, LUX FERRE, ILLUMINATE, ILLUMINATI, and all variations thereof.
As you can see, the multi layered tapestry of words begins to thread together a much bigger picture of DRAGON worship, intricately interwoven into our reality through language.
It is quite interesting to note that in CHASING the trail of the DRAGON, we end up on the trail of he HOLY GRAIL, which in Christianic mythology, is said to be the cup
that Jesus drank from at the Last Supper, and the cup that caught the blood drops of Jesus as he was crucified.
IN Leonardo Da Vinci’s painting of THE LAST SUPPER, it clearly shows symbolism that relates to the SERPENTINE bloodline, by Da Vinci’s acknowledgement of the numerical code that alludes to the fact that Jesus is a astro theological hybrid of a SUN GOD, like the many pre Christian SUN GODS that came before him.
The numerical code in this painting mirrors that of the Cross of the Zodiac, which depicts the sun’s movements across the sky through the course of the year, and is divided up into twelve representations, which are then further divided into 4 by the vertical and horizontal equinox and solstice lines, to each contain 3 parts.
This is demonstrated by the mathematical equation of 4 x 3 = 12 with the point of the originating creative principle, being the 13th OCCULT principle, being represented at the point of the centre of the cross.
Leonardo Da Vinci’s observance to the multilayered literal, numerical, astrotheological and allegorical symbolism, not to mention his openly acknowledged membership of the Priory of Sion, places him firmly in the realms of a high level secret society initiate, endowed with OCCULT knowledge.
The HOLY GRAIL or HOLY CHALICE is also known as the CUP OF THE COVENANT, it is often depicted in artworks as a chalice holding wine, which is representative of blood, and is occasionally depicted with a serpent on the cup, which of course represents the SERPENTINE bloodline.
The serpent spiralling around the cup is a commonly used symbol of the Pharmaceutical industry.
As documented in the book HOLY BLOOD, HOLY GRAIL, the cup is not actually a lost relic, rather, it is a symbolic indicator of the protected sacred royal bloodline, said to be the bloodline of Jesus.
The Holy Grail turns up in the Arthurian Legends, which recall the events though various historians, writers and storytellers, of King Arthur Pendragon of Camelot.
Arthur took his name from his father Uther Pendragon.
Pen Dragon meaning Head Dragon.
The HOLY GRAIL iconography with a snake on the chalice, also turns up interestingly enough in the medieval heralding depictions of Melusine, also known as Melusinde and Melusina. The story of Melusine is important in our efforts of CHASING THE DRAGON through history, as the story of Queen Melusine have been recorded in several different historical texts as events that actually transpired. Melusine also forms the focal point of one of the Starbucks coffee empire’s logo, so even if you have never heard of her, you sure have seen her, so I will spend a moment discussing the etymological significance of her name.
In her expression MELUSINA, the meaning when broken down though Latin, quite literally means DARK & LIGHT.
MEL or MAL = dark.
First we deal with the word MEL, the root of my own name, which is also the root of the word ‘MELANIN’, which is the substance in your skin that reacts to SUNLIGHT by turning DARK. It is also the root of the word MELANOMA, which is a DARK coloured skin cancer, usually derived from too much SUNLIGHT exposure.
The word CARAMEL also comes from this root. This delicious confectionary treat is created by cooking cream and sugar together until they darken, hence the term “CARAMELISATION”.
The second part of MELUSINA is LUSINA.
LUSINA = light
Other variations include ILLUMINATE & LUCIFER.
In heraldic depictions of Melusine, she is shown with one wing DARK and one wing LIGHT.
A little side note here, my name is MEL and the name of my first book is LIGHT & DARK. The co incidence is quite by chance… or is it???
Melusine is often depicted in folk lore and fairy tale as a feminine water sprite or mermaid, the guardian of sacred springs and rivers. Melusine is often depicted wearing a crown, and with her tail split in two, with either part of her tail in each hand.
Mermaids take the etymological origins from the word Latin word MARE, also being the root of MARINE, MARITIME, and MARY
Melusine is referenced in literature as being FAY, which is another word for FAIRY.
The word FAY is a homonym of PHANE, the root word of PHANTOM, which means SNAKE. The word FANTASY finds it’s origins in the FAY / PHANE root.
There are many variations of the story of Queen Melusine, and she is the best example of how historical facts, have been transmuted into folk lore, considered by the scientific standards of our modern age, to be fiction. The term “FAIRY TALE” is in fact rooted with Melusine, who was known as the Queen of the FAERIES in European folkloristic traditions. The word TALE referencing her dragon TAIL. In Europe, the story of Melusine was passed down from generation to generation, often becoming part traditions of stories between spinners and weavers as they worked, becoming the subject of medieval story books, and thus, not really taken seriously as part of historical accounts, taking it’s place along side all dragon stories, rooted firmly in the category of semi dismissive “mythology”.
But Melusine was not a made up story told to delight and entertain children. Historical records document the existence of Queen Melusine, and the events surrounding her were known far and wide at the time. The most famous literary version of Melusine tales, is that of Jean d’ Arras, compiled from about 1382 until 1394 .
Melusine was one of three triplet daughters of Dragon Queen Pressyne. Her two sisters were known as Melior and Palatyne (PALA referencing Serpent Royalty). Palatyne was also known as Plantina, and spawned the Plantagenet blood line that ruled over Britain.
The story of Melusine mirrors that of her mother Pressyne on some very significant facts, which is why we start our exploration of the facts surrounding Melusine, with her Mother Pressyne.
At the time of the Crusades, Elynas was the King of Albany also known as Alba, an old name for Scotland. The story goes that he when hunting one day and came across a beautiful lady in the forest. She was Pressyne, mother of Melusine. It is not known for sure if Pressyne put an enchantment on the king, or if the King genuinely asked Pressyne to marry him out of falling in love. But Pressyne agreed to become his wife, and she took her place as the Queen of Albany, along side King Elynas. The marriage however came with some conditions that should never be violated, for to do so would result in devastation. It is said in “Fairy Tale” that there is often a hard and fatal condition to any pairing of FAY and mortal. The conditions agreed to, was that the King was never to enter Pressyne’s chamber when she was bathing. The King was further forbidden from being in the chamber when her triplet daughters were born, and he was also forbidden from being in the chamber when the daughters were bathed. What makes you think the Queen was trying to hide something. The Queen so loved her beloved King Elynas, that when he violated this oath, seeing the queen and her daughters in their real dragon form, instead of killing the King, Pressyne left Albany, taking her three daughters with her. Pressyne took refuge in the lost isle of Avalon, home of dragons, fairies and fay.
Plantina, Melior and Melusine grew up in Avalon, and I will go on to discuss the great significance of AVALON.
The folkloristic story goes that Guy de Lusignan, the Count of Poitou, found Melusine in the Forest of COLOMBIERS (notice COLO root) in France.
Just as her Mother had done, Melusine swore the count to honour their agreement of not intruding on her weekly bathing ritual which took place on a Saturday.
Once the servants had prepared Melusine’s bath, she was always left in complete privacy.
Melusine used her magical gifts to build the magnificent Lusignan Castle, and to assist her husband in gaining power and riches. The name LUSIGNAN originating being rooted with MELUSINE.
Melusine was said to be unspeakably cruel, and was often references as the Devil’s daughter.
Whispers and rumours about Melusine began to spread and it is historically documented that servants reported that Queen Melusine had legs that were scaly like a lizard.
The Count was increasingly confronted with rumours, until one day, his curiosity could no longer be contained.
He concealed himself in Melusine’s bathing chamber and observed her as she bathed, and saw that she was half woman, and then serpent from the waist down.
Melusine discovered the Count had betrayed their agreement, but she forgave him.
When during a disagreement, he called her a SERPENT in front of his entire court, she assumed the form of a fully transfigured dragon.
There are actually three Queen Melusines in historical accounts. One of the most interesting is that of Melisende, Queen of Jerusalem, who was born in 1105 and died 11 September 1161.
She was the eldest daughter of Queen Morphia of Melitene, and Baldwin II, King of Jerusalem. She went onto inherit her father’s kingdom and married Fulk V of Anjou.
It was from Fulk that we get the term FOLKLORE, after the law of Fulk, which relegated stories about dragon royalty to semi dismissive tales and mythology, in order to protect the royal dragon bloodline.
MELUSINE is often associated with the LADY OF THE LAKE of Arthurian legends, who plays a pivotal role in many stories including giving King Arthur his sword Excalibur, enchanting Merlin, and raising Lancelot after the death of his father.
The LADY OF THE LAKE is supposed to be the ruler of AVALON, the place where Melusine and her sisters were raised.
Like most myths, AVALON has long since been dismissed as an actual place, in favour of being a non existent place of myths and legends, but has been associated from an early date with mystical practices and magical people. There are even stories that Joseph of Arimathea founded AVALON. Joseph of ArimaTHEa was a wealthy tin merchant and noble man.
It is claimed that he travelled with Jesus when he was a young man, to the area known now as Somerset in England. Incidentally, the hills of Somerset are laced with Tin.
Despite the many confusing legends, if actually you follow the etymological clues, it becomes very obvious as to what Avalon was, what it is called now, and it’s significance.
Official records of the meaning of AVALON traces it to it’s Welsh name YNYS AFALLON, claiming it means The Isle of APPLES
The word AVALON, shares a root with babyLON, and LONdon, and that is no co incidence. More interestingly the first syllable AVA, is rooted in the Arabic word AF’A, meaning VIPER, a kind of SNAKE. As previously discussed, vowel sounds are often substituted, resulting in the serpent word EF’E, which evolved into EVE.
APPLES and EVE… where have I heard that before?
AVA informs on the root of AVE Maria, the LATIN representation of the VIRGIN Mary… VIRGIN, VIPER, VENOM and VENUS come from the same group of words, thus sharing a common root, and we will get onto VENUS later.
So for all intents and purposes, AVALON was the home of DRAGONS / FARIES / FAY, which is clearly represented in the etymology.
+LUCIFER is documented in Christian mythology as being a fallen angel, and angels as discussed, are dragons.
But what is particularly interesting in this context is the reference to the kind of Angel that Lucifer is, being A FALLEN angel,
which corresponds with Avalon’s Old Welsh name of YNYS AFALLON.
AVALON has also bee n references as the ISLE OF THE DEAD
AVALON has also been identified as the place where the famous sword of King Arthur, called EXCALIBUR or CALIBURN, was forged.
Much like the HOLY GRAIL, which is represented as a drinking vessel or chalice, so too was EXCALIBUR a symbol of the dragon bloodline,
and is associates with the claim of sovereignty over Britain.
In fact, the sword and the chalice are not only symbols of the dragon / royal bloodline, they are inextricably linked and used in RITUAL, and the root of all ritual is dragon worship
(more on that in part three).
The word EXCALIBUR or CALIBURN, invokes the word CALIBER, which refers to the quality of someones character or the level of their ability or acceptability.
Using this in context for example… “Only a man of the right CALIBER would become King”, referencing the DRAGON bloodline and the Divine Right of this bloodline to be King and to rule.
When Arthur was seriously wounded after fighting Mordred at the Battle of Camlann, he was taken by an enchantress MORGAN LE FAY to AVALON where he was cared for by the FAIRIES until his death. Morgan was one of nine sisters, and was said to be a close blood relative to Arthur.
As if her second name LE FAY (referencing FAY or FAIRY) was not enough to give away that Morgan was a dragon, the name MORGAN, shared the serpent etymological root of OR, much like GORGON.
Where is Avalon now? Although many dismiss Avalon as a non existent mythological place, Glastonbury has been identified as AVALON, although this has been disputed. My own investigations leads me to believe that Glastonbury is in fact the place that was once known as AVALON, and again, the evidence lays in the etymology.
Although no longer an island, in the twelfth century, the high conical bulk of Glastonbury Tor had been surrounded by marsh before the surrounding fenland in the Somerset Levels was drained. In earlier centuries, the area had been flooded when sea levels rose, and the area now known as Glastonbury, was an island surrounded by water and marshlands. Incidentally, Apples have always been prevalent in the greater Somerset area where Glastonbury is.
Around 1190, Avalon became associated with Glastonbury, when monks at Glastonbury Abbey claimed to have discovered the bones of Arthur and his queen. The discovery of the burial is described by chroniclers as being just after the reign of King Henry II, when the new abbot of Glastonbury, Henry de Sully, commissioned a search of the abbey grounds. At a depth of 5 meters or 16 feet, the monks discovered a massive tree trunk coffin and a leaden cross bearing a Latin Inscription:
Hic jacet sepltus inclitus rex Arthurus in insula Avalonia
m e a n i n g:
Hear lies entombed the renowned King Arthur in the island of Avalon
Inside the coffin were two bodies thought to be Arthur and his queen. According to Gerald of Wales, who was an eye witness to the events, the body of King Arthur was described as being gigantic. Modern day accounts of Royal dragons in their transfigured state put these creatures at between 7 and 8 feet tall.
Further clues about Glastonbury being AVALON, lies in the root of the name GLASTONBURY.
GLASTONBURY’S name is derived from an old Celtic name meaning Isle of Glass, hence GLAStonbury.
Much like the hidden dragon bloodline is concealed by symbolism of the HOLY GRAIL, which is interpreted and represented symbolically as a drinking vessel,
so drinking vessels are made out of GLASS.
In fact, we often references a drinking vessel as A GLASS, as in “I drink a glass of wine”.
And thus, GLASS is a symbol of the ROYAL DRAGON bloodline.
This will become more obvious when I go on to explain the significance and symbolism of CINDERELLA and the GLASS SLIPPER.
But for now, the HOLY GRAIL, a drinking vessel, which we commonly reference in our modern tongue as A GLASS, is or was a symbol of the royal dragon bloodline, and turns up in Arthurian stories, because Arthur Pendragon is in fact a DRAGON, as stated by his name.
Much of modern art and culture was influenced passed on by dragons, including the skills in crafts such as GLASS making.
Stained Glass windows became a feature in many historically significant religious structures such as churches, abbeys and Cathedrals.
When we talk about a glass part of a window, we refer to a window PANE. This is etymologically similar to PHANE, meaning SNAKE
As per the discovery of the remains of Arthur at Glastonbury, that gives indication that this is where Arthur was buried
Hence GLASTONBURY. The place where the GLASS represented bloodline were buried.
AND…If we look at Leonardo Da Vinci’s painting of THE LAST SUPPER, it is obvious that all the cups on the table are made of GLASS.
+The Lost Da Vinci features Jesus holding a GLASS BALL, spheres and balls will be covered in more detail in part three, but the attention to detail given
to the accuracy of the GLASS BALL in this painting, indicates that it was of importance, is demonstrated as such
AVALON, now known as GLASTONBURY, was obviously a very special place, because it is where the DRAGON / FAIRY / FAY / ROYAL bloodlines lived in safety, and were BURIED when they died. Today it is commonly known that there is something very special about GLASTONBURY, as it draws artists and revelling worshipers to an annual ritual of cultic musical celebration, usually held around the summer solstice.
It is interesting to note that the neolithic henge in Wiltshire, England, not too far from GLASTONBURY, know as AVESBURY is the biggest megalithic stone circle in Europe.
Applying the same etymology root principles to AVESBURY perhaps gives some indication as the the significance and purpose of these massive stone circles in the English countryside, that this too was a place inhabited by DRAGON and FAY, who may have constructed AVESBURY hence, and may have been buried there, and perhaps still are.
As discussed in part one, the name ENGLAND originates from ANGLO, which is rooted in the Latin Serpent words ANGIUEM or ANGUIS, referencing biblical angels.
There was a time when England was the land of fairies, dragons and angels. It was not just Avalon that was seen as mystical Isle, so too was the Isle that Avalon was on, being what we call today, the British Isles. In pre Roman times, England was a sacred place, the refuge of angels, dragons and fairies, who have left their mark with hedges, and continue to do so with crop designs, just to let us know that they are there, whilst remaining hidden from us.
Their is an actual traceable root to the mystical places and beings of FAIRY TALE, MYTH and LEGEND, all originating in the same concept and root.
The influence of the original FAIRY TALE has been widely interpreted in art, books, theatre, television and cinema.
Traces of the themes relating to this string of mythology are found in many modern stories.
But before we pull together all of the themes to reveal the common root, lets take a look at the story of Cupid and Psyche
The theme of pairing of “MORTAL & FAY / FAIRY / DRAGON / ANGEL is constantly reoccurring throughout history, making appearances in literature, art, theatre and film, and having taken on many different interpretations and interesting story lines, some sharing very similar themes.
Cupid and Psyche is a story from the Latin novel Metamorphoses. Cupid sometimes called Eros or Amor.
There was once a king and queen, rulers of an unnamed city, who had three daughters of conspicuous beauty. The youngest and most beautiful was Psyche, whose admirers, neglecting the proper worship of the love goddess Venus instead prayed and made offerings to her. It was rumoured that she was the second coming of Venus, or the daughter of Venus from an unseemly union of the goddess and a mortal. Venus is offended, and commissions Cupid to work her revenge. Cupid, however, falls in love with the girl and desires to possess her for himself.
Although her two humanly beautiful sisters have married, the idolised Psyche has yet to find love. Her father suspects that they have incurred the wrath of the gods, and consults the oracle of Apollo. The response is unsettling: the king is to expect no human son-in-law, but rather a dragon-like creature who harasses the world with fire and iron and is feared by even Jupiter and the inhabitants of the underworld.
Psyche is arrayed in funeral attire, conveyed by a procession to the peak of a rocky crag, and exposed. Marriage and death are merged into a single rite of passage, a “transition to the unknown”. Zephyr the West Wind bears her up to meet her fated match, and deposits her in a lovely meadow, where she promptly falls asleep.
The transported girl awakes to find herself at the edge of a cultivated grove. Exploring, she finds a marvellous house with golden columns, a carved ceiling of citrus wood and ivory, silver walls embossed with wild and domesticated animals, and jewelled mosaic floors. A disembodied voice tells her to make herself comfortable, and she is entertained at a feast that serves itself and by singing to an invisible lyre.
Although fearful and without sexual experience, she allows herself to be guided to a bedroom, where in the darkness a being she cannot see makes her his wife. She gradually learns to look forward to his visits, though he always departs before sunrise and forbids her to look upon him, and soon she becomes pregnant.
Psyche’s family longs for news of her, and after much cajoling, Cupid, still unknown to his bride, permits Zephyr to carry her sisters up for a visit. When they see the splendour in which Psyche lives, they become envious, and undermine her happiness by prodding her to uncover her husband’s true identity, since surely as foretold by the oracle she was living with the vile winged serpent, who would devour her and her child.
One night after Cupid falls asleep, Psyche carries out the plan her sisters devised: she brings out a dagger and a lamp she had hidden in the room, in order to see and kill the monster. But when the light instead reveals the most beautiful creature she has ever seen, she is so startled that she wounds herself on one of the arrows in Cupid’s cast-aside quiver. Struck with a feverish passion, she spills hot oil from the lamp and wakes him. He flees, and though she tries to pursue, he flies away and leaves her on the bank of a river.
After a complex series of trials, they do eventually marry, but for now we end the story there, as I wish at this point to draw all the themes together.
These mythological stories, have been reinterpreted in many ways, and traces of them are evident in many modern day renderings, interpretations and retellings. .
Just like in the tale of Melusine, the hiding of true form between a pairing of DRAGON and HUMAN is a reoccurring theme, as is the dire consequence of this pairing.
In the 1984 Mermaid film SPLASH, several interesting folkloristic fairytale themes are repeated. The most obvious theme of note is the pairing of human and mermaid.Then of course, it is the big secret of her true form held by Madison, the mermaid character played by Daryl Hannah.
When Madison decides to visit Alan, the character played by Tom Hanks, she has 7 days before she must return to the sea or she will never be able to return as a mermaid again.
The 7 day theme is rooted in Melusine, who bathed every seven days.
Much Like Melusine, it was in the bath tub that Madison transformed into a mermaid and her secret almost discovered.
The theme of the tough or dire consequence of pairing of mortal and fay is illustrated in Splash by the choice that must be made, of either character having to give up their old life to begin a new one, in order to pursue true love. In the end, Alan makes the sacrifice and returns to the sea with Madison, and can never return home to see his Freddie.
The original version of the Little Mermaid by Danish Author Hans Christian Anderson, details the well known story of a young mermaid willing to give up her life in the sea and her identity as a mermaid, to gain a human soul and the love of a human prince. The tale was first published in 1837 and has been adapted to various media including musical theatre and animated film.
In LORD OF THE RINGS trilogy, The character Aragorn, the rightful King of Men of Middle Earth, who is a mortral, is paired with Arwen, a fairy elf being who is immortal. In Tolkien’s rendering of this story, there is a very noted and long winded homage given to this deep love shared between Aragorn and Arwen, and there is a choice that Arwen must make in order to stay with the man she loves, which results in Arwen choosing a mortal life. Arwen is by Aragorn’s side when Aragorn is crowned King, by Gandalf or Mithrandir, symbolic of the priestly orders, who have always traditionally crowned the Kings. As if this was not enough of a symbolic indicator as to they royal, dragon, angelic, fay bloodline being played out in classical literature, then take a look at the King’s name, being Aragorn. Phonetically it is very similar to Dragon, as well as containing the serpentine etymological root of “OR”. After all, South African born author JRR Tolkien was a 33rd degree freemason.
In Tolkien’s novel of the same series named THE HOBBIT, there is a reference to the already discussed common symbolic allegory of a DRAGON guarding TREASURE.
The theme of the great secret, being that a character is in fact a dragon, angel, mermaid or fairy, has managed to seep it’s way into modern day popular culture and fashion.
Anybody every wonder, what was Victoria’s Secret besides super sexy undergarments?
And why does the annual Victoria Secret fashion show put wings on the back of scantily clad underwear models?
If you have not yet put 2 and 2 together, look at the etymology of the name Victoria, which bears the “OR” serpentine root.
Much like Melusine and Pressyne, both shape shifting FAY, were found in the Forest, to be married to a King, so the recent Hollywood offering of SNOWHITE AND THE HUNTSMAN starts with the very same storyline. Other interesting corresponding elements and themes that reoccur include mirrors, apples, and shape shifting.
The influence of these themes can be seen in FAIRY TALES such as BEAUTY AND THE BEAST, THE PRINCESS AND THE FROG, SHREK, BEOWOLF, and LADYHAWKE
The influence of the story of Cupid and Psyche is also evident in the circumstances of Cinderella, which also involves two antagonistic sisters, much like PSYCHE.
As discussed earlier, the symbolic significance of glass being an indicator of the DRAGON bloodline, reoccurs in the tale of Cinderella in the form of the GLASS SLIPPER.
The name CinderELLA bares the an etymological root similarity of ELOH and ALLAH meaning light.
The objective of the Prince in the story of Cinderella, of finding his princess by making all the women of the land try on the glass slipper, was to find a princess of the appropriate bloodline, the one who’s foot symbolically fitted the Glass Slipper, which as already demonstrated, is a representation of the DRAGON bloodline.
The expression “IF THE SHOW FITS, WEAR IT” originates with this concept of being the right CALIBRE to marry the prince, and that meant being of the corresponding bloodline.
In the Story of Arthur, he became King after he pulled the famous sword EXCALIBER, from the stone. Many tried to pull the sword from the stone, but only the rightful king, the man of the right calibre, meaning the DRAGON BLOODLINE, could pull the sword from the stone.
In much the same way, the GLASS SLIPPER would indicate the Royal / dragon BLOODLINE symbolically. Only the foot of the necessary CALIBRE, being the one to fit the GLASS SLIPPER, would be allowed to marry the prince. Royalty has always been obsessed maintaining the DRAGON BLOODLINE, hence the multi generational incestual interbreeding that has gone on between the ELITE ROYAL DRAGON BLOODLINES resulting in the dragon ruling elite.
Venus is the Roman Goddess of Beauty, Love, Sex and Fertility, and is often worshipped under her aspect as Aphrodite.
The Roman Emperor, Julius Caesar, claims Venus as his ancestor, which could very well be true, because as evidence has shown, Royalty and Rulers are descended from DRAGONS.
VENUS is depicted as being born from an Oyster shell, much like a PEARL.
DRAGONS and PEARLS are inextricably linked though a complex series of etymological symbolic indicators,
+Dragon pearls are also demonstrated as GLASS or crystal sphere or BALL.
A glass sphere turns up in the lost Da Vinci, in the hands of Jesus. Dragons, Royalty and High ranking members of the priesthood are often depicted in art and sculpture with or grasping spherical balls
+This theme is further demonstrated by the name of the bridge which lead to Avalon, which was originally known as Ponte Perle, but is today known as Ponter’s Ball.
The theme of Balls is further explored in part three, as we take on the cult of ball worship, or more accurately, Baal worship
The ambivalence of Venus’s function is suggested in the etymological relationship of the root venes- with Latin venenum which means poison.
This leads to the word VENOM, which leads us further onto the serpent roots, as poisonous venom is synonymous with SNAKES..
The innate sexuality of Aphrodite or Venus, is evident in the phonetic similarity between Venus and Penis, but also in the allegory of the pairing of VENOM and SEAMEN, PENIS and SERPENT becomes obvious in the Latin word JACULUS, meaning SNAKE, which forms the root of the word EJACULATE.
Indeed symbolically, a EJACULATING PENIS, is representational of a SPITTING COBRA,
and this greater symbolic allegory of this becomes obvious when we further explore CULTS and RITUAL.
The Latin word JACULUS, meaning SERPENT, is the root of EJACULATE
The Latin word IACULUS, meaning SERPENT, is the root of IMMACULATE
They are all linked by the COLO / COLU / CULA / CULU root group of words
The COLO / COLU / CULA / CULU group of words links to DRACULA and PALA, which in tern links with ALLAH.
ALLAH links to ELLA, which links to ELOH, which means LIGHT.
EL is also the root of ELECTRICITY, which is synonymous LIGHT
LIGHT is synonymous with the SUN, LUMINATION, ILLUMINATION, ILLUMINATI and LUCIFER., or LUX FERRE, the LIGHT BRINGER
Indeed, the beginnings of our very language and culture being rooted with dragons is evident in words such as
ORIGIN, ORIENTATION, ORIENTAL
The beginning of the Bible starts with a story about creations, allegedly man’s ORIGIN.
This story has the talking serpent and EVE, a name rooted in Serpentine Etymology, through EF’E and AF’A meaning VIPER.
The associated symbolism with EVE is that of the APPLE, but more interestingly to note is the etymological root of the word PEAR.
Indeed, APPLES and PEARS are synonymous, and thus the allegory of PEAR is rooted in the etymological similarity to PEOR.
The Akkadian noun PEOR, which means SNAKE, relates to the Sanskrit title PALA, which means KING.
PALA links to the root word PARA, evident in the word PHAROAH and PARADISE,
The concept of PARADISE or EDEN is of course also rooted in the biblical creational story of man’s ORIGINS.
The serpentine etymological roots also extend to the words ORGAN, ORPHAN, ORTHODOX, ORGASM and ORGY, the significance of these themes, being detailed in part three
Having CHASED the trail of the DRAGON though ART, SCULPTURE, ARCHITECTURE, LANGUAGE and LITERATURE, it becomes increasingly obvious that DRAGONS are at the root of our CULT culture, and were celebrated, revered and worshipped, and they still are, under many different symbols, disguises, encryptions, and occult practices, most of which are engaged in without conscious knowledge of the homage paid to the DRAGON.