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More on the God King Scenario (GKS)
Hathor
Hathor 1
Fig 1 - Hathor
Anybody who is vaguely familiar with ancient Egypt is aware it comprises
of many hundreds of mythological deities - Amun, Osiris, Horus, Hathor,
Isis, Horus, Ptah to name but a few. Convention wisdom says the ancient
Egyptians invented these gods in an attempt to explain the workings of
the cosmos and their place in it. That is to say, the simple rising and
setting of the sun, moon and stars and the subtle changes in the
environment were somehow encapsulated in the many thousands of myths,
legends and stories attributed to some 2,000 gods in all.
I question this premise by asking some very fundamental questions, such
as, how does the invention of so many ?made-up? deities attributable to
no physical thing or phenomenon explain the workings of the cosmos? How
many gods do you need to explain one of the sunniest and driest climates
in the world? If Egypt?s pantheon of gods is an attempt to explain the
universe and the Egyptians place in it, then why is so alien to us ? why
can?t we even begin to associate with it? The only two things that
separate us from our ancient forebears are time and technology; if we
were to subtract these, would we see the world in the same bizarre way?
In my book I show there is only one plausible explanation for this
extraordinary world and in a roundabout way it doesn?t deviate from the
orthodox view - the Egyptians were indeed attempting to explain the
workings of the cosmos only this wasn?t the same relatively stable world
we experienced today, far from it. It was a world dominated by 3,000
years of cosmic chaos (duration of Pharaonic Egypt) primarily involving
the planets Mars, Venus, Mercury and the Moon which entered into
repeated encounters with earth as divine kings and queens ? celestial
bodies believed to be the /kas/ (doubles) of humans here on earth (See
GKS1) .
Moreover, my reconstruction takes the common sense notion that there
were no mythical gods whatsoever in ancient times. All of Egypt?s gods
did at some point hold real physical presence; all can be attributed to
planetary chaos and any phenomena associated with it. And by this I am
referring to asteroids, cometary bodies, dust and gasses,
electromagnetic disturbances, lighting bolts, light refraction, shock
waves, light apparitions, etc. etc. It is here where we will find the
true physical identification for many of Egypt?s so-called mythical
gods. The reason we cannot identify with the ancient world and its
enigmatic ?sky? gods is because chaos has all but subsided and any
phenomena associated with it is no longer extant.
A prime example of a deity that once held true physical presence but has
since dissipated is the mothering goddess Hathor (Fig 1 above). I
identify this bovine goddess as the name given to a gigantic cosmic ring
of ?milky? debris that once orbited around earth?s equatorial regions.
An analogy would be Saturn?s rings only much thicker and denser.
In order to corroborate this ground-breaking identification it is
necessary to first briefly explain how earth gained a gigantic ring(s)
and then follow with how the Egyptians deified this in the form of the
nurturing goddess Hathor. It will be shown that Hathor?s images,
attributes and epithets are completely consistent with a giant cosmic
hazy band of debris arching across the heavens. Further, by invoking the
God King Scenario it will become apparent why and how Hathor, as Earth?s
hazy ring, played such prominent role in the lives of the celestial god
kings. This, in turn, providing further corollary support for the GKS.
Approximately 5,200 (3,200 BC) years ago cosmic chaos began when a giant
interloper entered our solar system and smashed into the largest planet,
Jupiter. The force exerted upon Jupiter was enough to blast the Earth
into smithereens many times over. It caused an apocalyptic explosion
which resulted in the birth of Venus as well as unimaginable quantities
of space debris (including our Moon) and a Dark Age on Earth (The Dark
Age of 3,200 BC. See Geological Evidence ).
The evidence for the initial cataclysmic explosion on Jupiter is still
with us today in the form of Jupiter?s Great Red Spot
(erroneously believed to
be a raging storm) and the asteroid belt
which is a rocky band of
debris orbiting between Mars and Jupiter.
The impact was of such high velocity that it caused a SOLAR-SYSTEM-WIDE
catastrophe scattering dust, gases and debris throughout the ecliptic
plane, the flat disk on which the sun and the planets lie. The sun (&
planets) was a spinning star cocooned in a pea-soup of haze and gasses
as a gigantic flat ring of debris formed stretching out from the sun and
beyond the outer planets Jupiter, Saturn and possibly even as far out as
Uranus and Neptune. This ?ecliptic haze? was constantly fed by ongoing
planetary chaos primarily involving the planets Jupiter, Mars and Venus.
Jupiter churning out countless tons of debris for several millennia
after its initial ?eruption, Mars and Venus in entering into repeated
encounters with earth also subsequently scattering countless tons of
debris throughout. The sun (Re) with the assistance of the afore
mentioned planets ultimately vacuumed up this debris - a process that
took at least 3,000 years and comes to us via the wars and battles of
the warrior sky pharaohs (the kas) and the sun gods eternal battle
against the forces of evil.
Ptah statue
Fig 2 - Ptah
From the prospective of earth, the ecliptic debris appeared as a hazy
band arching across the night sky on an east-west axis (apparent path of
the sun and planets today). The Egyptians believed it was created by the
god Ptah and described it as a giant
mental plate that was the floor of heaven and the roof of the sky. I
identify Ptah (Fig 2) as Jupiter which I believe was clearly seen amidst
the ecliptic haze as a gigantic star (sometimes blue, hence blue
skullcap). Ptah?s epithets completely consistent with my identification
? i.e. he was the god of craftsmen, rebirth and creation? a master
architect, one who made all and created the gods and framer of
everything in the universe.
Isis & Nefertari
Fig 3 Nefertari & Isis
Isis & Pharaoh
Fig 4 Isis & Pharaoh
Descending the stairway to heaven and moving much closer to home the
?ecliptic haze? was deified as the goddess Isis
. As the Queen of Heaven, the
Brilliant One in the Sky, Great Lady of Magic, Mistress of the House of
Life, mother of the pharaoh, Isis is to be seen as a goddess who
basically presided over the path (the ecliptic) taken by the sun (Re)
and the god king planets as they reigned over earth.
Fig 3 depicts the goddess Isis handing Nefertari (wife of Ramesses) the
symbol of life (ankh). This is Venus in the guise of Nefertari (GKS)
appearing amidst Isis (the ecliptic haze), and in the process of being
led to an eternal life among the stars - the duel world of Upper Egypt.
Fig 4 is very similar in its meaning. It depicts Isis (ecliptic haze)
wrapping her wings around the mummified ka (double) of a pharaoh
(Mars??), thus protecting him as he too is led towards eternal life
above. These images will be further understood as we proceed with Hathor.
The Red Sun
Ra the Red Sun
Fig 5
Ra the Red Sun
The evidence for the existence for the ecliptic band of debris that once
engulfed our solar system comes to us via the art of the Egyptians and
the way in which they portrayed the sun (Fig 5 Ra, the RED sun
). The Egyptians always depicted the sun,
not as a golden yellow ball with a complete set of sunrays as we would
paint it but as a relatively lifeless RED disk, why? The answer is so
simple it beggars belief. The Egyptians drew, painted and carved a red
disk because the sun in ancient times appeared as a red disk. Our sun,
the very same sun of ancient times appeared red because it was hazed
behind 93 million miles (distance between the sun and Earth) of dust and
debris ? the elliptic haze. The Egyptians depicted EXACTLY what they saw
when observing the sun. They would never tempt the wrath of their
pre-eminent deity (Re) by getting his true form (that of a golden
glaring orb) wrong. This, and the fact that the planets in chaos
appeared as red disks is the very reason why the red disk dominates
Egyptian art. I cover the Red Sun more comprehensively in my book but
its worth mentioning now because it effects what follows (Also, please
note when studying Egyptian art, the lack of a simple white crescent
moon, why? Because it had yet to settle down into its regular monthly
cycle).
A natural sequential order of things saw masses upon masses of the
ecliptic debris tidally drawn in towards the planets forming gigantic
ring systems around their equatorial regions. The ?Lord of the Rings?
Saturn (Sokar ) a
prime example. In fact, I believe Saturn?s rings today are the remnants
of a once much thicker and denser ring system that existed only a few
thousands years ago. But of importance here is Earth also developed one
enormous band of debris around its girth. Forming shortly after the
birth of chaos and remaining for at least 3,000 years (Pharaonic Egypt)
it was constantly fed by ongoing chaos. It also periodically contributed
(along with the ecliptic haze) in diminishing the sun red from the
perspective of Earth. Although a ring to modern day minds, from the
perspective of ancient cultures who believed the earth to be flat and
the centre of the universe, earth?s celestial ring arched across the
heavens on an east-west axis (celestial equator) as a thick hazy band of
milk and honey. It was clearly seen during the night, twilight hours and
also during the day, although this would depend upon the intensity of
chaos and just how bright the red sun (Re) was allowed to shine.
Unlike the ecliptic which moves throughout the day and slowly throughout
the seasons as a result of earth spinning on its axis and its orbit
around the sun, earth?s band remained a virtually constant east-west
feature. It should be seen as a visible form of earth?s celestial
equator (earth?s equatorial region projected upon the sky) as it spun
with earth in a relatively constant motion (chaos permitting).
Hathor ? time to grant
this enigmatic goddess real ?physical? status - earth?s ring of debris
was deified as the goddess Hathor.
Hathor 3
Fig 6 Hathor
By examining the epithets and attributes of this deity, it will become
clear that the connection is related to Earth?s rings.
Hathor Run Disk
Fig 7 Hathor
?Important bovine goddess worshiped in three forms; as a woman with the
ears of a cow, as a cow, and as a woman wearing a headdress consisting
of a wig, horns and Sun disk. Her associations and cult centres were
among the most numerous and diverse of any of the Egyptian deities.?
(Dictionary of Ancient Egypt, Shaw & Nicholson p 119)
If we look at a selection of Hathor?s titles, we immediately find a link
between Hathor and Earth?s ring of debris. These titles include the
following:
? Lady of the sky
? Daughter of Re
? The mistress of heaven
? Lady of the stars
? Goddess of love, music and beauty
? Goddess of fertility, children and childbirth
? The Mothers of Mothers, the celestial nurse
? Goddess of the dead, lady of the west
? The mistress of life
? The great wild cow
? The golden one
? Mistress of Turquoise
? Lady to the limit of the universe
? The powerful one
? Mistress of the desert
? Lady of the southern sycamore
? Lady of malachite
? The great one of many names
All the above titles have deep significant meaning and all correlate
with my identification of Hathor as a great ring of debris that once
encircled Earth?s girth. There are many others as Hathor?s epithets were
among ?the most numerous and diverse of any of the Egyptian deities.?
Hathor - a variety of Colours and forms
Hathor traditionally took on more forms than any other Egyptian deity,
many of whom were limited to only one or two shapes. In terms of
imagery, she is the most fluid of all the Egyptian deities, rivalled
only by the god of chaos, Seth. For example, the goddess Bastet appeared
in two forms ? as a cat and as a woman with a cat?s head. Hathor took on
innumerable forms: woman, goose, cat, lion, malachite, sycamore fig etc.
This is consistent with the infinite number of forms displayed by the
hazy band of space debris over the millennia. Earth?s band was a hive of
activity as asteroids, comets (kas of the AE's), dust and gasses of all
shapes and sizes combined to create a variety of manifestations.
As well as forging different shapes, at certain times of the day Hathor
appeared in a kaleidoscope of colours, this depending on things such as
the intensity of chaos, light refraction, day, night, dust, gasses, ice
particles as well dust and gasses in earths atmosphere. All this and
more would play a part Hathor?s colour - sure enough we find reference
to this.
?The Beautiful, with numerous colours...?
(Temple at Deir El-Bahari)
However, it is with titles such as ?the lady of turquoise? and ?the
golden one? that we find Hathor?s more prominent colours. There are many
references to gold and turquoise, especially turquoise, the Egyptians
carried out many expeditions into the Sinai to mine for turquoise,
Hathor?s most sacred colour. Turquoise was mined to venerate Hathor in
her most prominent colour.
If I can draw your attention to image fig 6 above. Here traces of yellow
and blue paint can clearly be seen on the Hathor?s face and wig. Such
images should be taken at face value with the gold on the top and down
the side of the wig as representing the middle part of earth?s band with
the turquoise colouring at the ends as representing the further most
east and west points. I would suggest this is a daytime representation
of Hathor.
It would have been a spectacular sight and it is no wonder ?her
associations and cult centres were among the most numerous and diverse
of any of the Egyptian deities.?
It is puzzling that scholars, when referring to Hathor as the golden
one, refer to her close relationship with Re (daughter of Re) as the
likely source of this title. This is incorrect because Re was depicted
as red-coloured disk (Fig 5) and not golden, so there is no connection
between Hathor?s golden colour and the Sun.
Hat-hor ? ?House of the king.?
Hat-Hor
Fig 8
?The literal meaning of Hathor was ?House of Horus,? (hat-hor) and it
was written in the form of a falcon contained within a hieroglyph
representing a rectangular building (Fig 8). Since the pharaoh was
identified with Horus, Hathor was correspondingly regarded as the divine
mother of each reining king, and one of the royal titles was ?son of
Hathor.? (ibid)
The planets in chaos (Mars, Venus, Mercury and the Moon) in undergoing
repeated encounters with earth in the guise of the divine monarchy (kas)
were many times? born in this ?house,? hence the titles ?Mysterious One
who gives birth to the divine entities...? and ?You from whom the Divine
Entities come forth?? They also reigned in this house, a divine
relationship encapsulated in the title ?son of Hathor.? And, finally as
they slowly moved away from earth towards the west, they died in this
?house.? That's why Hathor was also known as the ?Goddess of the dead,
lady of the west.? I cannot think of a more appropriate name for earth?s
ring of debris than ?house of the king? ? Hathor.
If we examine the orthodox belief of Hathor as a mythological figure it
is actually nonsensical for how can the ?house? of an earth-bound human
king be located in the heavens? Hathor was a sky goddess, this isn?t
disputed but how can a human king inhabit the sky? My identification of
Hathor allows us to take the literal translation of her name at face value.
Hathor Hairdo
Hathor 5
Fig 9 Hathor
Hathors Capitols
Fig 10
Hathor Capitols
The emergence of royalty amidst Hathor and the subsequent ?mothering?
can be supported by looking at a very common image of Hathor. If I can
draw your attention to figs 9, 10 and 1, 6. These particular images of
Hathor with cow?s ears and an unusual hairstyle was standard and
ubiquitous. It is regularly found atop architectural columns (to reach
the heavens) and was traditionally used to decorate Hathor?s musical
instrument, the sistrum.
Hathor?s hair was so distinctive that scholars have dubbed it the
?Hathor hairdo.? It was not a heavily bejewelled or elaborately braided
hairstyle as was typical of ancient Egyptian imagery or custom. It was
simplicity in the extreme and took the form of a simple quiff which was
frequently parted down the middle and wrapped around Hathor?s face as
part of an elaborate style.
I believe this particular trait, and in fact Hathor?s entire image, was
wholly symbolic of Earth?s celestial ?haze? as it wrapped itself around
the ?royal? celestial bodies. A universal cosmic phenomenon enveloped
the kings as they were born to earth ? the ?lady to the limit of the
universe? wrapped herself around the kings as they took to the throne as
?sons of Hathor.?
How else could the ancient Egyptians represent such a manifestation? The
planets were gods; they were ?swathed? by a phenomenon that remained for
millennium and this divine relationship demanded representation. Hathor
was given a human face which symbolically represented the face of the king.
The debris which enshrouded the kings was represented by the ?curling?
hairdo. The ancient Egyptians could not portray the king?s face within
Hathor?s hair as this would merely be the king with the same hairstyle
as Hathor which would be totally confusing. The kings did not become
Hathor ? they were merely nurtured by this goddess; they did not take on
her attributes but emerged from within them. When the kings died and
moved away from Earth to become stars (Osirians), they were occasionally
portrayed in the image of Osiris (Seti would be one such king). This was
understandable because they took on this god?s ?star? attributes, it?s
the same principle.
* *
Hathor?s bovine attribute ? Saturn?s Moons suckling ?milk? from its
rings ? a phenomenon observed thousands of years ago.
Hathor?s most famous manifestation is as a cow. Even when she appeared
as a woman, she often wore cow?s horns, or a pair of cow?s ears. Hathor
is frequently depicted suckling the pharaoh, whether in the guise of the
cow or as a sycamore fig, a tree that exudes a white milky substance. At
the Shrine of Hathor; Hatshepsut (Venus), a queen who would rule as
pharaoh and Tuthmosis III (Moon) are depicted bringing offerings to
Hathor. Hatshepsut (Venus) is also seen nursing from the divine cow as
seen in fig 11 and drawing 11a.
Hatshepsut & Hathor 2
Fig 11
Hathor Suckling Hatshepsut
Hatshepsut & Hathor
Fig 11a A drawing of fig 11
If we examine this image in more detail, we will see that Hathor is
depicted as a very large cow with horns. There is also a large sun-disk
between the horns; in the usual tradition this was once painted Red.
Hatshepsut is shown at least a quarter of the size of Hathor and is
kneeling below Hathor?s rear legs sucking milk from her udder.
The figure at the front, leading Hathor is the god Amun (in subsequent
books I will give real physical identity to this god known as the
?hidden one?).
This imagery may seem strange and unfamiliar to us. Are we to assume
that ancient Egyptians lived in a world of giant cows? Why did they
portray such a surreal scene? By using the GKS, I will show that such
images had a purpose and came about as a direct result of observations
of planetary bodies sucking material from earths rings. To explain this
further we must visit Saturn?s rings.
Saturn is the sixth planet from the Sun and is the second largest in the
solar system and its prominent ring system makes the planet one of the
most beautiful objects in the solar system. Consisting mostly of ice
particles with a smaller amount of rocky debris and dust Saturn?s rings
brake up into countless narrow ringlets which resembled the grooves of
an old-fashioned gramophone record.
Although there are countless rings, it is possible to make out bands
with distinctive, bright features. Planetary scientists have sectioned
out a least seven ?bands? and have labelled them A to G. Some of the
gaps separating the bands have also been named. There is the narrow
?Encke division? and the larger ?Cassini division? which spans 5000
kilometres and separates the A and B rings. It is believed that these
gaps were created by tiny satellites as they swept out bands of
particles. For example, the two ?shepherd? moons, Pandora and
Prometheus, orbit in gaps either side of the narrow F ring. They are
known as shepherds because they prevent the ring particles from straying.
Saturn's Ring Suckling Prometheus
Prometheus
Fig 12 Prometheus
NASA/JPL/Space Science Insitiute
A recent space probe called Cassini was sent to study Saturn?s rings and
its moon, Titan, in September 2004 and made a remarkable discovery. It
went through a gap in Saturn?s rings and captured an incredible image of
the moon Prometheus ?sucking out? some of the dust particles from
Saturn?s F ring. Here is a photo of this incredible event (Fig 12).
More information at NASA here
Full Resolution Link
As can be seen, a faint stream of material or ?streamer? connects the
moon to the ring. The moon is gravitationally perturbing the material as
the satellite passes near to the ring ? Prometheus is slowly ?sucking
on? Saturn?s F ring.
This incredible event of a body sucking material from a planetary ring
system was observed by humans long before we sent space probes to Saturn!
This phenomenon was observed thousands of years ago by ancient cultures
throughout the world as they looked up and observed planetary kings and
queens (& lesser bodies) sucking material from the enormous ring system
(Hathor) that once orbited Earth. Further, such events were common place
and took place on a far grander scale due to the heightened celestial
events of 4,000 years ago.
In ancient times there was no ?art for art sake,? whether it be caved
hieroglyphs, images or the jewellery worn by the monarchy, all had a
connection to the gods and the worship of them. The above image of the
Hathor giving milk Hatshepsut is no different; it is a symbolic
representation of Venus in the guise of Hatshepsut, literally sucking
material from Earth's ring of Debris - Venus/Hatshepsut taking advantage
of the nourishing generosity afforded by Hathor.
Another example of Hathor suckling can be found Cairo museum, here we
find a statue that depicts Hathor suckling the pharaoh Amenhotep II.
This represents Amenhotep as a facet of Mars within Earth?s rings
?sucking? in the finer dust and debris ? Hathor suckling Mars.
It is a reoccurring image because Hathor remained for the duration of
pharaonic Egypt and many pharaohs were observed sucking milk from the
?Mothers of Mothers, the celestial nurse.? It is clear that the
nourishing manifestations of Hathor can easily be understood, and the
iconography surrounding this goddess can be taken at face value.
Hathor 6
Fig 13 Hathor as a Cow
Hathor ? the sky cow interacting with the kas or doubles of the people
here on Earth.
Hathor & Ramesses
Fig 14 Hathor and Ramesses II
Hathor - the sky cow nurturing Ramesses II (Mars)
* *
* *
* *
* *
* *
* *
* *
Lady of the sycamore - suckling traits continued.
Hathor & Tuthmoses
Fig 17 Hathor Suckling Tuthmosis
If we examine Hathor in the guise of giving milk as ?the lady of the
sycamore? this too can be explained. This represents many satellites
feeding (or planets) from the edges of Earth?s ring. Hathor?s great
cosmic band arches across the heavens on an east/west axis with many
small moons (the ka?s or doubles of humans) in the southern sky
?suckling? from the hazy edges of Hathor. This gives the illusion of a
gigantic cosmic tree with small celestial bodies sucking from its branches.
The sycamore fig exudes a white milky substance which is why this tree
was used to assist Hathor in her bovine guise. Ancient people as you
would expect drew on the natural world around them to represent events
in the heavens and since the sycamore fig tree excreted ?milk? and
Hathor was known to give milk, then the milk-producing tree was chosen
to represent this particular aspect of Hathor?s. Fig 17 depicts Hathor
in the guise of a tree suckling Tuthmosis. I identify Tuthmosis as one
of the many names given to the Moon (i.e. Tuthmosis = born of the lunar
god Thoth) and this scene represents the moon drawing material from
earth's ring. Something the Moon did numerous times over as it was left
behind (captured) to finish the job of clearing earth's ring of debris.
Hathor ? housing the red disk of the kingly planets
Hathor 7
Fig 15 Hathor as a Goddess
As mentioned above the red disk dominates Egyptian art. This, because
the sun appeared as a red disk and the pharaonic planets also appeared
as red orbs, hence the planetary kings considered as ?offspring of the
sun? (/sa re/). In one way or another these personified godly orbs were
?looked after? or ?housed? by certain cosmogonical gods - Amun, Horus,
Osiris, Isis and of course Hathor.
In the same vein of the meaning of Hathor?s name i.e. hat-hor ? ?house
of the king? this very common image (Fig 15) represents both Hathor?s
housing and bovine (sheltering - protective) qualities. We have earth?s
band of haze personified as a beautiful mothering goddess bearing the
red disk between her horns; the housing of heavenly orbs embodied in the
headdress.
I actually believe the black cow horns are not merely a symbolic
representation of ?housing the disk? but derive from actual naked eye
observations of the effects of the solar wind (charged particles from
the sun) upon planetary bodies when close to earth. This is subject for
another essay, suffice to say, the best way to understand this is the
solar wind produced a bow-shock when encountering planetary bodies, and
this wrapped itself around orbs creating the image presented in Hathor?s
headdress (and Isis for that matter).
Hathor was a very prominent goddess with centres of worship throughout
Egypt. Her involvement with the divine monarchy is well known and well
attested to. Given my interpretation of things this is totally
understandable, however, Hathor, as you would expect, also ?housed? the
solar deity Re (sun). This occurred at least twice a year around the
time of the equinoxes, a time when Earth?s celestial equator ?pairs up?
with the ecliptic. Due to the thickness of earth?s ring the sun (Re)
would rise and set within Hathor several days (probably weeks) prior too
and after the equinoxes. The exact number of days spent within Hathor
dictated by Hathor?s width, this in turn influenced by the intensity of
chaos. With such interactions, it is no wonder Hathor was identified as
Re?s wife.
Isis & Nefitari 2
Fig 16 Isis & Nefitari
The image on the left is again (same as Fig 3 above) the goddess Isis
handing Queen Nefertari the symbol for life, the ankh. You will note
Hathor and Isis are very similar in appearance. In the absence of
hieroglyphs denoting their names it would be impossible to tell them
apart - they are, very much interchangeable. Given the above, this is
hardly surprising. They both presided over two basic east-west paths
across the heavens ? Hathor taking control of earth?s celestial equator,
Isis responsible for the ecliptic. Added to this, the fact that at least
twice a year (equinox) they literally crossed paths.
* *
* *
Hathor Sekhmet ? a destroyer of mankind.
History reveals that Hathor occasionally took on an uncharacteristic
destructive aspect and in one myth Hathor was said to have been sent to
destroy humanity. In this manifestation she was known as ?Hathor Sekhmet.?
It is logical to assume that Earth?s band had the ability to destroy
mankind. During times of immense chaos, Hathor was ?fierce and terrible?
and had the power to totally blot out the Red Sun (Ra) and cause
complete devastation on Earth. Hathor also sent space debris crashing to
earth which caused further chaos.
There was also ?fallout? from chaotic events such as acid rain and,
although the god of evil, Seth was the major contender for such deeds,
it is also possible they were attributed to Hathor. Although some dark
periods were caused by other sources such as the close passing of Mars
or Venus (god king & queen), from the perspective of the ancient
Egyptians the female goddess Hathor was in all probability held responsible.
Sekhmet increases in popularity around the time of Amenhotep III (title
?the dazzling sun disk of all lands? = Mars) with many Sekhmet statues
produced around this time. This is no coincidence; this is the time
shortly before and during the birth of the Aten (Mercury) from Mars. The
increased production of Sekhmet statues merely reflects the increasing
chaos in the heavens and the Egyptians venerating evil in an attempt to
appease it.
The clattering of the heavens ? Hathor and the sistrum.
Chaos resulted in a melee of huge asteroids, comets, gigantic lumps of
rock and ice, all colliding with one another in a pea soup of dust and
gasses orbiting Earth?s girth. The number and ferocity of so many
collisions was audible from earth.
?Her connection with the music was particularly represented by the
sistrum, ceremonial examples of which were often endowed with Hathor
heads, sometimes surmounted by a naos, and frequently shaken by the
priestesses of the cult of Hathor. (ibid)
This music of the gods was represented by an instrument called the
sistrum. This was an ancient Egyptian percussion instrument consisting
of a thin metal frame with rods or loops that jingled when shaken. On
top of the handle was the carved figure of the goddess Hathor. The
sistrum was called shesheset by the ancient Egyptians and was a favoured
instrument in many religious ceremonies and rites, particularly those
associated with Hathor. The distinctive shape of the instrument is found
in many contexts ranging from small mortuary objects to the columns of
temples such as those at the Temple of Hathor in Dendera. I believe this
instrument was invented as a result of Earth?s hazy band which arched
across the heavens producing audible noises and it was used to placate
the deities, particularly Hathor.
In the following of Hathor.
?Each evening she (Hathor) was considered to receive the setting Sun,
which she then protected until the morning. The dying therefore desired
to be ?in the following of Hathor? so that they would enjoy a similar
protection in the netherworld. Hathor was also one of the deities who
was thought to be able to determine the destinies of new born children.?
(ibid)
This was Hathor (Earth?s band) which came into prominence in all her
glory as the Sun set in the west. As discussed, Hathor appeared to
enshroud Re many times as the Sun set. Slowly progressing towards the
west she wrapped her protective haze around the perennial solar deity,
perhaps turning Re a deeper shade of red in the process, and protected
him until he rose rejuvenated in the east.
Re was the perennial father to all. The divine relationship between the
Sun and the haze was such that Hathor was considered the daughter of Re
in a relationship that continued for the duration of Pharaonic Egypt.
Summary.
The attributes and imagery of Hathor (and all gods) do not descend from
a ?bizarre world? of infinite imaginary gods or fairytales. They point
to actual events and a real world of chaos; they are all symbolic of
celestial phenomena which has since disappeared.