The Franklin Files

Franklin · Senior Member

Luna - Ouroboros Barrier - 7 - 13 Hidden In Plain Sight....

Franklin · Senior Member

Symbolism

History is full of Serpent Symbolism....

Where to Start:

Ancient Cults?
Hermetics/Alchemy?
Religions?
Astronomy?
Astrology?

The Ouroboros leads to them all........................

Franklin · Senior Member

http://www.crystalinks.com/ouroboros.html

Ouroboros is an ancient alchemy symbol depicting a snake or dragon [DNA] swallowing its own tail, constantly creating itself and forming a circle. It is the Wheel of Time - The Alchemy Wheel - 12 Around 1 to manifest grid programs that give the illusion of linear time allowing souls to experience emotions.

Ouroboros is associated with Alchemy -- Gnosticism and Hermeticism. It represents the cyclical nature of things, eternal return, and other things perceived as cycles that begin anew as soon as they end.

In some representations the serpent is shown as half light and half dark, echoing symbols such as the Yin Yang, which illustrates the dual nature of all things, but more importantly, that these opposites are not in conflict.

Origins of the Ouroboros

The serpent or dragon eating its own tail has survived from antiquity and can be traced back to Ancient Egypt, circa 1600 B.C.E.

From there it passed to Phoenicia and then to the Greek philosophers, who gave it the name Ouroboros ("the tail-devourer").

Norse Mythology - the serpent Jormungand, one of the 3 children of Loki - the Trickster who grew so large that it could encircle the world and grasp its tail in its teeth.

Hindu Mythology - the dragon circling the tortoise which supports the four elephants that carry the world.

The serpent or dragon also appears in Aztec, Chinese, and Native American mythology.

Christians adopted the Ouroboros as a symbol of the limited confines of this world (that there is an "outside" being implied by the demarcation of an inside), and the self-consuming transitory nature of a mere this-worldly existence following in the footsteps of the Preacher in Ecclesiastes.

It could very well be used to symbolize the closed-system model of the universe of some physicists even today.

Symbology behind the Ouroboros

The ouroboros has several meanings interwoven into it. Foremost is the symbolism of the serpent biting, devouring, eating its own tail. This symbolizes the cyclic Nature of the Universe: creation out of destruction, Life out of Death. The ouroboros eats its own tail to sustain its life, in an eternal cycle of renewal. In the above drawing, from a book by an early Alchemist, Cleopatra, the black half symbolizes the Night, Earth, and the destructive force of nature, yin. the light half represents Day, Heaven, the generative, creative force, yang.

Alchemy

Alchemically, the ouroboros is also used as a purifying glyph. Ouroboros was and is the name for the Great World Serpent, encircling the Earth.

The word Ouroboros is really a term that describes a similar symbol which has been cross-pollinated from many different cultures. Its symbolic connotation from this owes to the returning cyclical nature of the seasons; the oscillations of the night sky; self-fecundation; disintegration and re-integration; truth and cognition complete; the Androgyny; the primeval waters; the potential before the spark of creation; the undifferentiated; the Totality; primordial unity; self-sufficiency, and the idea of the beginning and the end as being a continuous unending principle.

Ouroboros represents the conflict of life as well in that life comes out of life and death. 'My end is my beginning.' In a sense life feeds off itself, thus there are good and bad connotations which can be drawn. It is a single image with the entire actions of a life cycle - it begets, weds, impregnates, and slays itself, but in a cyclical sense, rather than linear.

Thus, it fashions our lives to a totality more towards what it may really be - a series of movements which repeat. "As Above, So Below" - we are born from nature, and we mirror it, because it is what man wholly is a part of. It is this symbolic rendition of the eternal principles that are presented in the Emerald Tablets of Thoth.

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*Emerald Tablets explain how to get past the Guardian by using angles*.....

Franklin · Senior Member

Michael Tsarion - The Real Stargate

Real Stargate...The Real Stargate...Michael Tsarion

Watch video here Hide video - Related videos

When the original pursuers of the “Serpent Brotherhood” destroyed the planet Tiamat,
they made ready to leave this solar system and return to their own. They had to leave
in a hurry, so as not to be hindered by the cosmic forces which would be unleashed
throughout the solar system. Because of their haste, they did not have time to precisely
scan the planet Earth, and so they did not locate their enemies hidden deep within the
caverns and beneath the seas of pre-diluvian Earth. The masters of the Nephilim were
relatively convinced that even if their enemies were on Earth they could not survive
the paroxysms and furor that Tiamat’s obliteration would bring on. However, these
unknown pursuers did not just leave our solar system without instigating precaution-
ary measures. Before they made the journey back to their own planet, they established
an etheric barrier around our planet that would be along the same orbit trajectory as the
Moon’s around the Earth. This barrier still exists and is utterly impenetrable to the
Atlantean progeny, because the technology by which it was erected was of an
extremely advanced level. From that time onwards, the Moon would come to represent
(in almost all cultures) arcane powers of protection and magic. This apotropaic barrier,
often referred to as by native peoples as the “the great web in the sky,” was put there
obviously to prevent the Atlanteans from ever leaving this place. The Earth was to be
their tomb.

When the predicament of the Stargate was fully accepted, the scions of Atlantis knew
something had to be done, lest all their aeons of effort and tribulation would be for
nothing. They convinced themselves that what technology could erect, technology
could eventually take down. It became their avowed and solemn intention to move
humanity forward to the point where it became intellectually evolved and capable
enough to develop the high technical sciences that could expedite their freedom.So, it
was decided by the Royals of England, the Tudor Dynasty, that though their present
researches and operations would not be halted, a new approach was needed. The man
with the idea for this new approach and the one who would undertake its execution
was Sir John Dee, the court astrologer and ambassador of Queen Elizabeth Tudor.

Franklin · Senior Member

http://www.geocities.com/bweatherby/bw_symbols.html

What is an Ouroboros?

Brandon Weatherby

The ouroboros (Greek: “tail-eater,” alternatively spelled ourobouros, oureboros or uroboros) is a serpent forming a circle, eating its own tail. The origin of the symbol is unclear. Some trace it to Neolithic cultures, and the seventh century writer Horopollon stated that the Egyptians used the ouroboros to illustrate their concept of the universe--eternity and immortality (Shepard 1232). The Egyptian goddess Isis held a sun disk mounting an ouroboros, which was called Abraxas. Isis mythology became embedded in the beliefs of the Gnostics, an offshoot of early Christianity that adopted Abraxas as the name of its high aeon (Guiley 2). The Gnostic text Pistis Sophia states that the sun disk was imagined as a great dragon with its tail in its mouth, an image also featured on Gnostic gems (Walker 268-9). The ouroboros was the “universal serpent that passes through all things… [an] unchanging law” (Cirlot 235). Sects called the Naassenes or Hophites saw the serpent as the Soul of the World, encircling all of creation (Hutin 44).

Greek alchemists later adopted the ouroboros. The symbol was possibly a variant symbol for Hermes, Mercury, Thoth or other related deities, who under the name Hermes Trismegistus, was the mythical founder of alchemy (Cirlot 235, Walker 268-9). The Chrysopoeia of Kleopatra contains a drawing of the ouroboros with the Greek inscription En to pan: ”All is One” (“Circle” 422, Shepard 1232); the same inscription appears in the second century Codex Marcianus. Sometimes, as in a Venetian alchemical manuscript, the serpent is half-light, half-dark, signifying the balance of opposing principles (Cirlot 235). Alchemists viewed the ouroboros as the guardian of a mystical treasure that had to be “destroyed or dissolved” to gain knowledge of the treasure. It was also a sign of the sun, as it had been for the Gnostics (Shepard 1232).

Alchemy was a closed process that purified substances, so the tail-eater could serve as a symbol for alchemy itself. Sometimes two creatures, the top one a winged dragon standing for volatility, were depicted swallowing each other (Biedermann Dictionary 363). Occasionally, the symbol consisted of two long-necked birds (Becker 316). The process of alchemy was viewed as having neither a beginning nor an end (Hutin 35). The opposite ends of alchemical work, the raw material and the final product, were the same. On one level, this referred to the “unity of matter,” the idea that the alchemist could reduce all material to a single primordial substance that could not be destroyed, only transformed (Hutin 77-8). On another level, the process referred to the perfection of the soul, with the raw material and the end product consisting of a human being. Thus the Latin phrase Ars totum requirit hominem: “The art requires the whole man” (Biedermann “Alchemy” 72). For those following a mystical path, the ouroboros represented the unity of sacrificer and sacrificed (Shepard 1232).

The ouroboros continued to appear in the symbolism of Western magic for centuries. It connected the zodiac signs on the Greek Cross of the Zodiac, an emblem of the Order of the Golden Dawn. The Order was a nineteenth century British “university” of magic (Cavendish 1042). The ouroboros entered the popular imagination of the twentieth century through its use in mass media, such as in the titles of E. R. Eddison’s 1922 fantasy-adventure story The Worm Ouroboros (Shepard 1232) and episodes of the science-fiction television series Red Dwarf and Gene Roddenberry’s Andromeda. Its most well-known appearance was in Chris Carter’s television series Millennium.

The ouroboros reflects the cosmic serpent of mythology through its reconciliation of opposites (Griffiths 2339-40, Walker 268-9). The tail-eater is the synthesis between chthonian and celestial principles (Cirlot 235). Thus, the symbol may be related to the yin-yang of Chinese symbolism (Shepard 1232). Jormungandr, the serpent that laid at the base of the Tree of Life in Norse tradition, grew so big that he encircled the world, biting his own tail (Coulter and Turner 252). {It has been postulated that this image only entered Norse symbolism after the introduction of Christianity [Moon 132].) The snake was often a symbol of reincarnation because of its apparent ability to constantly rejuvenate itself through shedding its skin. The ouroboros also carried this connotation (Biedermann Dictionary 362). Furthermore, the ouroboros is related to the dragon, a common symbol of beginnings and ends--and in Semitic and Indo-European myths, the primordial chaos that must be overcome to create life and order (Moon 132).

A psychological interpretation of the ouroboros sees it as an archetype symbolic of the undifferentiated personality--the Self that exists prior to the development of the ego. It may also stand for the "ongoing reality behind the individuating ego," representing the recognition of the self-sustaining individual (Moon 132-3).

Not only did the ouroboros represent the journey of the soul between the physical and spiritual realms, the cycle of death and rebirth (Becker 316, Biedermann Dictionary 363), it also signified the universe as a whole because the circle encloses everything, yet is one thing in itself (“Circle” 422). The ouroboros is an image of the eternal return (including global cycles of destruction and restoration)--the cycle of endless repetition reminding us that in every end there is a new beginning. (Biedermann Dictionary 362). It is self-sufficient Nature, the continuity of life, expressed in a cyclic pattern (Cirlot 235). The ouroboros is the “closing of the circle” (Biedermann Dictionary 362).

Works Cited

Becker, Udo. The Continuum Encyclopedia of Symbols. Trans. Lance W. Garmer. New York: Continuum, 1994.

Biedermann, Hans. “Alchemy.” Man, Myth and Magic: The Illustrated Encyclopedia of Mythology, Religion and the Unknown. Ed. Richard Cavendish. New York: Marshall Cavendish, 1995.

---. Dictionary of Symbolism. Trans. James Hulbert. New York: Facts on File, 1992.

Cavendish, Richard. “Order of the Golden Dawn.” Man, Myth and Magic: The Illustrated Encyclopedia of Mythology, Religion and the Unknown. 21 volumes. Ed. Richard Cavendish. New York: Marshall Cavendish, 1995.

“Circle.” Man, Myth and Magic: The Illustrated Encyclopedia of Mythology, Religion and the Unknown. 21 volumes. Ed. Richard Cavendish. New York: Marshall Cavendish, 1995.

Cirlot, Juan Edvardo. A Dictionary of Symbols. Trans. Jack Sage. New York: Philosophical Library, 1962.

Coulter, Charles Russell and Patricia Turner. Encyclopedia of Ancient Deities. Jefferson: McFarland & Company, Inc., 2000.

Griffiths, J. Gwyn. “Serpent.” Man, Myth and Magic: The Illustrated Encyclopedia of Mythology, Religion and the Unknown. 21 volumes. Ed. Richard Cavendish. New York: Marshall Cavendish, 1995.

Guiley, Rosemary Ellen. Encyclopedia of Angels. New York: Facts on File, 1996.

Hutin, Serge. A History of Alchemy. Trans. Tamara Alferoff. New York: Walker and Company, 1962.

Moon, Beverly. ed. An Encyclopedia of Archetypal Symbolism. Boston: Shambhala, 1991.

Shepard, Leslie. ed. Encyclopedia of Occultism and Parapsychology. 2 volumes. Detroit: Gale Research Inc., 1991.

Walker, Barbara. The Women’s Dictionary of Symbols and Sacred Objects. San Francisco: Harper & Row, 1988.