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 PART 5: SECRETS OF THE PYRAMID

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PostSubject: PART 5: SECRETS OF THE PYRAMID   PART 5: SECRETS OF THE PYRAMID I_icon_minitimeMon May 27, 2013 2:01 pm

ZENITH 2016
Did Something Begin In 2012...
That Will Zenith In 2016?
Posted: May 28, 2013
8:00 am Eastern

PART 5: SECRETS OF THE PYRAMID

A New Investigation by Tom Horn

PART 5: SECRETS OF THE PYRAMID Masonicgod

Where the numerology and astrological signs related to the all-seeing eye add to why certain symbolism on the Great Seal was important to Freemasons, it is the unfinished pyramid upon the seal’s reverse side that Manly Hall called the “trestleboard” that set forth symbolically the “task to the accomplishment of which the United States Government was dedicated from the day of its inception.”

This language, drawn directly from how trestleboards are used and what they represent in both operative and speculative Masonry, is revealing, as the trestleboard is the board upon which the Master Mason draws out the diagrams and geometric figures that are to be used as a blueprint for directing the workers in the construction of the task. In speculative Masonry, the trestleboard also takes on spiritual meaning, which reflects lessons from the Books of Nature and the will of the Great Architect of the Universe. In Masonic rituals, this means a spiritual plan has been put in place and that it is to be carried out on an individual, family, social, national, and international level. The plan includes the timing as to when the project should officially start, as well as generally when it is to be concluded. Thus, if the pyramid on the Great Seal is the trestleboard laying out the “task of which the United States Government was dedicated from the day of its inception,” it is the drawing board for the destiny of America and is branded by 1) the identity of the Great Architect to whom the work is dedicated; and 2) the date on which the work was started and is to be completed.

Concerning the first subject matter—the identity of the Great Architect—we illustrate numerous times in the upcoming book Zenith 2016 how the symbols and mottoes speak for themselves in communicating who this deity is. In the prologue of his book, The Lost Keys of Freemasonry, Manly Hall joins in this revelation by recounting the familiar story of Hiram Abiff, the Tyrian “First Grand Master” of the order of Masons and the chief builder who sets out to construct the temple of the Great Architect of the Universe, but is killed by three spectres. This story, impersonated every time an initiate reaches the level of Master Mason, is by admission of Freemasons a retelling of the death-epic of the god Osiris. In Lost Keys, Hall narrates how the Great Architect gives Hiram (Osiris) the trestleboard for the construction of the great temple, and when he is killed by three ruffians, the Great Architect bathes him in “a glory celestial,” as in the glory surrounding the all-seeing eye of Osisis above the pyramid on the Great Seal. The Great Architect follows this by charging those who would finish the building with the task of finding the body of Hiram (Osiris) and raising him from the dead. When this has been accomplished, the great work will conclude and the god will inhabit the temple:

Seek ye where the broken twig lies and the dead stick molds away, where the clouds float together and the stones rest by the hillside, for all these mark the grave of Hiram [Osiris] who has carried my Will with him to the tomb. This eternal quest is yours until ye have found your Builder, until the cup giveth up its secret, until the grave giveth up its ghosts. No more shall I speak until ye have found and raised my beloeved Son [Osiris], and have listened to the words of my Messenger and with Him as your guide have finished the temple which I shall then inhabit. Amen.[i]

PART 5: SECRETS OF THE PYRAMID Zenith-11

“So once again we are brought back to the Great Pyramid of Giza,” writes Peter Goodgame, “the first built and last remaining of the Seven Wonders of the ancient world, which is the reputed resting place of Osiris. The Great Pyramid itself is but one structure within a major Necropolis that was designed according to the layout of the constellation Orion, the Great Hunter in the sky [Osiris/Gilgamesh/Nimrod]. As we have endeavored to show, Osiris is none other than the Biblical Nimrod, the ‘mighty hunter before the Lord.’”[ii]

The Encyclopedia of Freemasonry identifies the character Nimrod with this legend of the Brotherhood as well, in the Old Constitutions, where it distinguishes him as a founder of Masonry. “Thus in the York MS., No. 1, we read: ‘At ye making of ye toure of Babell there was a Masonrie first much esteemed of, and the King of Babilon yt called Nimrod was a Mason himself and loved well Masons.’”[iii]

Other authorities not only connect the Masonic founder Hiram Abiff with Osiris and Nimrod, but explain that Nimrod plus the building of the Tower of Babel—not the temple of Solomon—was the true origin of Masonic cosmology.
In Symbols of Freemasonry, translated from the French Les Symboles des Francs-Macons, Daniel Beresniak notes:

The date of the construction of King Solomon’s temple has not always been the key date in the Freemasons’ cosmology. This central role was once given to the Tower of Babel. The Regius manuscript, which predates Cooke [1410] by twenty years, cites King Nemrod, the builder of that famous tower, as “the first and most excellent master.” He it was, and not King Solomon, who gave the Masons their first “charge,” their rules of conduct and professional code.…

A Masonic text known as the Thistle manuscript, of 1756, says that Nemrod “created the Masons” and “gave them their signs and terms so that they could distinguish themselves from other people…it was the first time that the Masons were organised as a craft.”[iv]

Thus the appearance of the uncapped pyramid of Giza on the Great Seal of the United States echoes the ancient pagan as well as Masonic beliefs concerning the old mysteries, and the prophecy of the return of Osiris/Apollo/Nimrod. In Rosicrucian and Masonic Origins, Manly Hall, who had said in The Secret Teachings of All Ages that the Great Pyramid was “the tomb of Osiris,”[v] explains that Preston, Gould, Mackey, Oliver, Pike, and nearly every other great historian of Freemasonry were aware of this connection between Freemasonry and the ancient mysteries and primitive ceremonials based on Osiris.

“These eminent Masonic scholars have all recognized in the legend of Hiram Abiff an adaptation of the Osiris myth; nor do they deny that the major part of the symbolism of the craft is derived from the pagan institutions of antiquity when the gods were venerated in secret places with strange figures and appropriate rituals.”[vi]

But whereas Freemasons like Manly Hall considered the symbolism and myth related to the pyramid on the Great Seal and the history of Apollo/Osiris/Nimrod to be the working “trestleboard” laying out the secret destiny of America, New Age esotericists like Robert Hieronimus—one of the world’s foremost authorities on the reverse of the seal’s symbolism—view the circular design and symbolism on the Great Seal to be an “initiatory mandala.”

Mandalas, from the Hindu term for “circle,” are concentric diagrams, such as is familiar in Tantrism, Buddhism, and Hinduism, having ritual and spiritual use for “focusing” or trance-inducing aspirants and adepts who seek mystical oneness with the cosmos or deeper levels of the unconscious mind. Related to the design of the Great Seal, Hieronimus, as an occultist, views the geometric patterns as representing a type of mandala or microcosm embodying the cosmic or metaphysical divine powers at work in the secret destiny of America, including the god or universal forces represented in the diagram that herald a coming new age of gods and demigods.

Occultists often use mandalas based on the concept of a “protective circle” or variation, which they believe allow certain doorways into the supernatural to be opened or closed, and entities compelled accordingly, as in the magical five-pointed pentagram circle. This is similar to an initiatory mandala used in Hindu and Buddhist Tantrism, in which deities are represented by specific locations in the diagram. In Yoga: Immortality and Freedom, scholar Mircea Eliade explains the importance of this part of the mandala design:

At the periphery of the construction there are four cardinal doors, defended by terrifying images called “guardians of the doors.” Their role is twofold. On the one hand, the guardians defend consciousness from the disintegrating forces of the unconscious; on the other, they have an offensive mission—in order to lay hold upon the fluid and mysterious world of the unconscious, consciousness must carry the struggle into the enemy’s camp and hence assume the violent and terrible aspect appropriate to the forces to be combated. Indeed, even the divinities inside the mandala sometimes have a terrifying appearance; they are the gods whom man will encounter after death, in the state of bardo. The guardians of the doors and the terrible divinities emphasize the initiatory character of entrance into a mandala.… The typical initiatory ordeal is the “struggle with a monster”…both spiritual (against evil spirits and demons, forces of chaos) and material (against enemies)…who [attempt] to return “forms” to the amorphous state from which they originated.[vii]

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http://www.raidersnewsupdate.com/zenith-6.htm
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