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The Nummo
*************************************************
SHANNON DOREY
Copyright ©2004 by Shannon Dorey
Revisions 2006, 2008, 2013 and 2019
Elemental Expressions Ltd. 2019
PDF ISBN 978-0-9950405-5-7
All rights reserved. No part of this book may be reproduced or utilized in any form
or by any means, electronic or mechanical, including photocopying, recording, or by
any information storage and retrieval system, without permission in writing from
the author.
ii
Acknowledgements
The Dogon, Germaine Dieterlen, and Marcel Griaule should be commended for
preserving this rich mythology for the world. Robert Graves’ research in The
Greek Myths and The White Goddess was used extensively in my first edition and is
used here again in this revision. Without Graves’ research it would have been
impossible to do a comparative analysis between Greek mythology and Dogon
mythology. This revised edition also includes excerpts from Robert Eisler’s
Orpheus the Fisher: Comparative Studies in Orphic and Early Christian Cult Symbolism.
I want to give special thanks to Bob Hill for his love and support, and to Erin
Radoja for her perpetual encouragement. I also want to thank Liam Dorey for his
technical assistance, and Barbara Ardinger Ph.D. for her patience while editing
the first version of The Nummo.
Every attempt has been made to observe the legal requirements with respect to
the rights of copyrighted materials. If any errors or omissions have been made,
please accept the author’s apology and apply to the author for claims.
iii
PREFACE
While researching for this updated version of The Nummo, I came across an
electronic version of Robert Eisler’s 1921 book, Orpheus the Fisher: Comparative
Studies in Orphic and Early Christian Cult Symbolism. It was reaffirming reading
Eisler’s research, which substantiated my own, and I have included some of his
work in this revision. So often I find that brilliant works such as Eisler’s have
seemingly disappeared from the historical record. Somewhere in the middle of the
20th century, the truth stopped being important, and the works of many brilliant
scholars were considered irrelevant because they didn’t agree with the thinking of
the day. Powerful religious institutions like the Vatican held sway in those days,
and it is unfortunate for us as a species that the truth has been relegated to the
dung heap of the 20th century. I encourage all historical researchers to go back to
that period in time and to resurrect the works that were deemed irrelevant. Give
those scholars their due, many of who were ostracized and humiliated by their
peers for their research. Find the ones who took the most abuse and in their
works you will probably find some of the most pertinent and wonderful
revelations. For what is truth anyway? If it isn’t reality?
What the Catholic Church and other patriarchal institutions didn’t realize
when they were stamping this religion out of existence, is that it was left for us for
a reason. Understanding the science behind the events that happened here is
important for all humanity. While the things Ogotemmêli shared with Marcel
Griaule are still difficult for us to accept more than seventy years later, we at least
have some understanding of space travel, alien beings, and genetic engineering.
These things have been acknowledged by us as potential realities.
Although Ogotemmêli told Griaule that both Lébé and the Master (Mistress)
of Speech were androgynous but primarily female, they were identified as males
by Griaule. This was probably because they played key roles in the religion, and
Griaule lived in a very patriarchal period of history. France was one of the oldest
and strongest Catholic nations in the world. It was just the year before recording
Dieu d’Eau: Entretiens avec Ogotemmêli (God of Water: Conversations with Ogotemmêli)
that Women in France were legally allowed to vote. It would have been socially
unthinkable for him to identify the key figures as “Goddesses of Water”, which is
how they were described by Ogotemmêli. For this reason, I have included the
female pronoun when referring to these individuals to remind the reader of the
correct sex of these characters. This is critical to placing the Dogon religion in its
proper place in history as an ancient matriarchal religion. It predates the
patriarchal religions, and is the religion on which they were based. It may be
because of France’s association with Catholicism that Griaule’s research has not
found the place it deserves in the historical record.
My first book, The Master (Mistress) of Speech, is based primarily on an analysis of
Conversations with Ogotemmêli. The Pale Fox is another compilation of work on
Dogon mythology written by Germaine Dieterlen and Marcel Griaule, and
compiled after Griaule’s death in 1956. Compared to Conversations with Ogotemmêli,
which was recorded in 1946, the symbolism in The Pale Fox is difficult to follow
on its own. It is necessary to understand the symbolism presented in Conversations
iv
with Ogotemmêli before moving on to The Pale Fox. It is a significant body of work
nonetheless and continues to teach the religion at a more advanced level. It
reaffirms everything I concluded from my analysis of Conversations with Ogotemmêli.
The Pale Fox contributes to Dogon mythology in the way of pictures and diagrams
that seem to express the biological engineering and the creation of life from a
scientific and visual perspective. In this book, I use examples from both books to
provide the reader with a more complete picture of the Dogon religion.
In my view, Ogotemmêli’s ability to explain his religion to Griaule is one of
the most important anthropological events to have occurred in modern history. I
predict that as historians and anthropologists continue to study Conversations with
Ogotemmêli, they will begin to appreciate its significance. It is a work that has been
grossly underestimated.
I should clarify the spelling of the name of the alien beings. “Nummo” is also
spelled “Nommo” in some works. I used the spelling “Nummo” in my first book
and continue it here. For clarity’s sake any quotes or references to “Nommo” will
also appear as “Nummo” in this text.
Although the Dogon religion is still practiced by some people today, it is
evident that changes have taken place as a result of the Dogon people’s
interaction with Europeans. More recently, Islamic beliefs have become prevalent
in the area of Mali where the Dogon live. It is for this reason that the religion is
primarily referred to in the past tense in this book.
Shannon Dorey
December, 2018
v
“What is left—which is unknown—will be known later to man
[humans] and will change the world. It is said that this revelation
will come slowly at first like a fog, then swiftly like the rain and
the wind.”1
—Marcel Griaule and Germaine Dieterlen, The Pale Fox
vi
Contents Page
Preface iv
1. The Master (Mistress) of Speech 1
2. Heaven’s Smiths 19
3. The Arthurian Mythos 32
4. Odin and Rosslyn Chapel 51
5. Iaw and the Jackal 65
6. The Celtic Cross 76
7. The Symbol of the Word 94
8. Trees and the Alphabet 102
9. The Cord of God 118
10. The Om Symbol 126
11. The Door of the World 136
12. The Pegu and Regeneration 142
13. The Cathars 152
14. The Jackal’s Circumcision 160
15. The Book of Kells 169
16. The Days of the Week 183
17. Molecular Genetics 191
18. The Maya and Aztec Associations 208
19. The Chinese Connection 222
20. The Silk Funeral Banner 240
21. Gnosticism and the Failed Experiment 251
22. Mary Magdalen and the Bridal Chamber 263
23. Greek Mythology and the Hunt 279
24. Mother Scorpion and Asclepius 287
25. Amma and Ammonites 294
26. The Impure Earth of the Fox 310
27. The Cosmos 326
The Conclusion 339
Bibliography 341
Index 350
Reference Notes 363
vii
Chapter 1
The Master (Mistress) of Speech
“Mitochondrial Eve” is the name given by researchers to the woman who is

believed to be the last common matrilineal ancestor of all human beings living
today. A member of a population of humans living somewhere in East Africa
around 150,000 to 200,000 years ago, this “Eve” was identified through
“mitochondria organelles”.2 This is not to say that other humans didn’t exist at
the same time as “Mitochondrial Eve”. It is just that this particular woman’s line
is the only one that has survived to the present day, and from which all modern
humans originate. The Dogon referred to this ancient mother of modern-day
humans as Lébé.
The alien Nummo, who came from space and were the key spiritual figures
described by the Dogon people, were immortal.3 The first humans and Lébé were
also immortal. When they died and were reborn, these beings could remember
their previous existence. Lébé, who had a human upper body and a serpent and
fish-tailed lower body, was born as a hermaphrodite but five generations after her
birth, humans lost their androgyny and became single-sexed beings. Over time
humans also lost their Nummo, fish and serpent-like characteristics, which I
believe was a gradual process. This loss of androgyny, along with our Nummo-
like appearance, was an important aspect of the Dogon religion. They associated
our lost androgyny with our lost immortality. Although they were
hermaphrodites, the Nummo were identified with the divine feminine, and once
the patriarchal religions began to supplant this matriarchal religion, the attributes
associated with the Nummo became identified with evil. The loss of the
“pythonical spirit” is described in the Bible. I refer to this in Day of the Fish where
in Leviticus 20 of the Catholic Douay-Rheims Bible it reads, “A man, or woman,
in whom there is a pythonical or divining spirit dying, let them die: they shall
stone them. Those persons are said to be pythons in whom the devil works
extraordinary things.”4
This lost immortality and androgyny, which provides the basis of the Dogon
religion, is a theme of many ancient world religions. Divinity, which is associated
with androgyny, is found in “the Yin and the Yang combined in the Chinese holy
woman T’ai Yuan, the Zuni Indian chief god Awonawilona, who is he-she, the
child of Hermes and Aphrodite, Hermaphrodite and in Eros himself, who is both
male and female….”5 “The cabalistic teachings of the medieval Jews, as well as
the Gnostic Christian writings of the second century represent the Word Made
Flesh as androgynous…. ‘God created man in his own image, in the image of
God he created him, male and female he created them.’ (Genesis 1:27)6 One of
the principal deities of Hinduism, Shiva, appears united in a single body with
Shakti, in the manifestation known as Arhanarisha, “The Half-Woman Lord.”7
In the Dogon religion, the alien Nummo, the Master (Mistress) of Speech,
and Lébé were symbolized by the sun, which was a female symbol. The Nummo
were described as having green skin that sometimes shimmered like all of the
colours of the rainbow. The Nummo had horns or casques like chameleons. They
1
The Nummo
had noses that looked like cow’s noses, and they had slanted eyes and only
auditory holes for ears. The mythology suggests that they spent more time in
water than on land and they communicated using sonar. In my first book, The
Master (Mistress) of Speech, I describe the similarities between the alien Nummo and
the goddesses of Greek and Egyptian mythology. I also refer to the serpent
goddess statues found in Ur in southern Iraq that date from the Ubaid period,
around 4500 BCE. These goddesses have the same lines across their fish- and
serpent-like bellies that were described by the Dogon elder Ogotemmêli in
reference to the alien Nummo. The statues have casques, slanted eyes, cow noses,
fish tail, serpent-like bodies, and strange bumps on their shoulder joints that were
spoken of by Ogotemmêli. The close resemblance of these statues to descriptions
of the Nummo helps to support my belief that the serpent goddess figures found
in world mythology evolved from the images and stories about the alien Nummo.
Some of the other goddess figurines, which I associate with the Nummo, are
extremely ancient, such as the one found in a Palaeolithic settlement in the Czech
Republic and dated from 29000 – 25000 BCE.8 Known as the Venus of Dolni, it
is believed to be the oldest known ceramic in the world, predating the use of fired
clay to make pottery.9 The lion symbolized Lébé, and I believe that a lion ivory
mammoth sculpture, thought to be the world’s oldest known animal shaped
image, symbolizes Lébé. This figurine, which is about 32000 years old, gives
human characteristics to the lion, and comes from the Aurignacian culture. It was
found in a cave in Swabian Alb, Germany. The flutes found in the same cave are
some of the oldest musical instruments in the world, and reinforce the lion
figure’s identification with Lébé, who was associated with music.10
In their spaceships, the Nummo were known as “Celestial Rams”. This was
because the piping that curved around the outer edge of the spaceship was said to
contain water or liquid copper, and was curved like the horns of a ram.11 As a
result of this association, the ram became an important symbol of the Nummo in
the Dogon religion. The ram also appears as an important historical religious
figure in other ancient cultures.
Because I have found fragments of the Dogon religion all over the world, I
believe that modern humans must have had this knowledge before they left
Africa in a major dispersal around 70,000 years ago.12 This group of humans was
thought to have “followed the southern coastline of Asia, and reached Australia
around 65,000-50,000 years ago. Western Asia was ‘re-occupied’ by a different
derivation from this wave around 50,000 years ago, and Europe was populated
from Western Asia beginning around 43,000 years ago.”13 My research indicates
that the Dogon religion is the key religion from which every other major religion
in the world has evolved. Because it is a matriarchal religion, it may be described
as being the “mitochondrial religion” of the world.
According to the Dogon, there wasn’t any intelligent life on the planet when
the Nummo first came to Earth; there was some suggestion in the mythology that
the Nummos’ world had been dying, which is why they ended up here. They had
planned to live on the Earth and combine their DNA with the animals they found
here to create a new life form they could inhabit. What Dogon mythology tells us
2
is that the Nummos’ experiment failed. Not only was humanity born from this
failure, but as a result, humans became forever twinned to the alien Nummo.
In my first book, The Master (Mistress) of Speech, I refer to the three genetic
experiments that the hermaphroditic Nummo carried out on the Earth animals.
During the first experiment, the androgynous Nummo/Earth beings were born
self-fertilizing and immortal like the Nummo. I speculate in The Master (Mistress) of
Speech that the Nummo procreated much like the amphibious, androgynous
killifish do on Earth. In about 85 per cent of the cases, the offspring are born as
self-fertilizing hermaphrodites. Male killifish are only born periodically to provide
genetic diversity to the species. I believe the Nummo procreated much the same
way and it wasn’t until one of these single-sexed Nummo/Earth males was born
that the Nummo realized their experiment had failed. Unlike the androgynous
Nummo, who were immortal, the being born as a single-sexed male had no
knowledge of a previous existence. He was born completely separated from the
Nummos’ spiritual essence. He was tied to the underdeveloped spiritualism of the
Earth. The Dogon thus viewed him as having been born soulless. This male was
called “the Jackal” and represented the evil in the Dogon religion. There was
some suggestion in the mythology, that there was more than one male born like
the Jackal and that these individuals eventually rebelled against the Nummo and
their androgynous siblings. The androgynous beings born at the same time as the
Jackal represented the good element in the religion and were associated with the
sacred feminine, the Nummo, and the goddess. According to Ogotemmêli, while
the sun and the number four symbolized the Nummo and those first perfect
androgynous beings; the moon and the number three symbolized males and the
Jackal. I believe these numbers had something to do with genetics.
In order to correct the mistake of the first experiment, the Nummo tried a
second experiment. They took the DNA of the Jackal and his androgynous
sibling and combined them together to create the Eight Ancestors. The Eight
Ancestors were all immortal hermaphrodites but the first four were primarily
male and genetically associated with the Earth, while the latter four were primarily
female and more closely linked to the Nummos’ world, known as heaven. The
Second of the Eight Ancestors was considered to have the weakest DNA,
because he was genetically associated with the Jackal’s DNA. The Seventh
Ancestor, who was associated with the Jackal’s androgynous sibling from the first
experiment and known as the Master (Mistress) of Speech, was perceived to have
the perfect combination of human and Nummo DNA. The Master (Mistress) of
Speech (Seventh Ancestor) included the number four, which identified the sacred
feminine and the Nummo, and the number three, which identified males, the
Earth and the Jackal. The Second Ancestor was only allowed to procreate with
the Master (Mistress) of Speech (Seventh Ancestor) so that his negative DNA
could be offset by her positive DNA.
Everything was fine on the Nummos’ world until the first two ancestors had
an affair and one of the ancestors became pregnant. This was very disturbing for
the Nummo, who feared losing their own immortality because of the indiscretion.
In order to prevent this from happening, a third experiment was carried out
where the Nummo removed some of their DNA from the Earth animals leaving
3
The Nummo
humans as mortal beings. It was in the third experiment that Lébé was born. The
name “Lébé” was a combination of the two Dogon words, “ley be”, an expression
which meant “those two” or “two together”.14 This was because Lébé was
considered a regeneration of the Eighth Ancestor using the Seventh Ancestor’s
(the Master (Mistress) of Speech’s) DNA. This was symbolically represented by
the Master (Mistress) of Speech first swallowing, and then regurgitating Lébé.
I believe that Lébé was created to offset the DNA of the child born of the
first two ancestors. The first two ancestor’s child was known as “Lebe of the
Fox” yurugu lebe. He was considered a combination of Ogo and the Fox,15 Ogo
was the First Ancestor, and the Fox, the Second Ancestor, whose DNA was
closely associated with the Jackal’s DNA. In the Dogon religion, the First
Ancestor was known as the Smith “iru”, and the Second Ancestor was known as
the Shoemaker “dau”, which was from the Dogon word “da”, which meant to
separate. The Dogon said that some of the Fox’s (Jackal’s) umbilical cord was
used to create the Shoemaker.16 It was because of his DNA, and the first two
ancestor’s sexual indiscretion, that humans lost their immortality and became
single-sexed beings.
The mythical swallowing and regurgitation of Lébé to reveal the genetic
regeneration is found in many different ancient religions. The catacombs, where
early Christians were buried beneath Rome, are important for displaying early
Christian art and symbolism. Figure 1-1, a painting found on the Appian Way in
the Roman Catacomb of San Callisto (also Saint Callistus or Callixtus), and dated
from the second century,17 is very telling. The Catacomb of San Callisto contains
the Crypts of the Popes, and this painting, which is supposedly of Jonah in the
belly of the whale, is depicting the swallowing and regurgitation found in the
Dogon religion. The Nummo were green with horns and this painting depicts a
green horned aquatic being whose head looks more like a goat or horse than a
whale. The Nummo were identified with the silurus, a type of catfish.18 Most of
these fish have barbs, which are whiskers on the lower jaw. As shown in some
Dogon drawings, the Nummo had these same whiskers. The green fish being
depicted on Figure 1-1 right, has whiskers. The figure on the boat is diving for the
creature rather than being thrown overboard by fishermen, as is told in the Jonah
story. Once he is swallowed and regurgitated, he appears content as in the
depiction on the left (Figure 1-1), where he is comfortably reclining. Figure 1-2
shows a close-up of the swallowing. In this quote from The Master (Mistress) of
Speech, I associate the Jonah story with the mythical swallowing and regurgitation
of Lébé to create the “Third Word”.
Joseph Campbell describes the Biblical account of Jonah being swallowed,

perhaps symbolically, by a great fish (popularly called a whale) as it is illustrated
on a 3rd century lamp. He discusses the significance of the fish in world
mythology.
A Christian lamp of about the third century is decorated with the Jonah
legend, which is symbolic of the coming of the human out of the fish
condition. So you can take a legend and read into it a mystic reading which
4
may or may not have been there in the first place. The Jonah story is that he
was a missionary who was told by God to preach in Nineveh, but he fled on a
ship and was a source of trouble to everyone. Evidently off center and a
negative presence, he was thrown overboard and consumed by a fish, but
later he came out of the fish. This motif is known as the ‘night sea journey.’
It’s an old, old story. Hiawatha was consumed by a fish, the raven hero of the
Northwest Coast Indians was consumed by a fish, and so forth. This is the
going down into the abyss and coming out again….19
The same “old old story” appears in the Dogon religion. The regurgitation
of Lébé symbolized regeneration. This is exactly what occurs with the story of
Jonah and the big fish, or whale.20
Figure 1-1. Catacomb of San Callisto, Second Century21
Figure 1-2. Close-up of Catacomb of San Callisto22
The association of the fish-like Nummo with salvation is evident in many

ancient religions like Orphism and the Dionysiac mysteries. On an early Christian
earthenware lamp in the Museum of Marseilles (see Figure 1-3) the soul has “put
on the fish” as a garment. Christians and Jews clothed themselves in fish-skins to
create the illusion of immortality. In The Master (Mistress) of Speech, I associate the
primarily female, hermaphroditic Master (Mistress) of Speech, who was also
known as the Seventh Ancestor, with Christ.23 According to Robert Eisler,
“By ‘putting on’ their mystically fish-shaped divinity just as certain Greek
and Assyrian worshippers of the fish-god clothe themselves with fish-skins,
the Christian neophytes equally believe themselves to be symbolically
transformed into ‘fishes’ by the baptismal immersion.”24 …“Certain priests
of the Babylonian moon-sanctuary in Harran, which continued to exist until
the Mongolian invasion, wrapped, themselves, in fishing-nets when entering
the temple on a certain day, evidently with a similar intention as the same, or
5
The Nummo
a kindred, priesthood had when they used to put on fish-skins.”25 …Jewish

Kabbalists believed that when they died, “the souls of the righteous were
clothed after their departure in the skin or covering of a fish.”26
Figure 1-3. Early Christian Lamp27
Figure 1-4. Speared Dolphins in the Catacombs of Praetexta, Rome28
Even Tertullian (155 –240 AD) of Carthage, North Africa, who was the first
Christian author to produce an extensive body of Latin Christian literature29
states, “But we the Christians are little fishes (pisciculi) after the type (secundum) of
our great IXӨΥΣ (=Fish) Jesus Christ, born in the water”. Eisler refers to a Letter
of Paulinus of Nola to Bishop Delphinus. The bishop had baptised Paulinus and
Paulinas writes, “I shall always remember that I have been made a son of the
6
dolphin so that I have become one of those fishes which pass through the paths
of the sea. (a quotation from the Vulgate of Ps. viii. 9).” According to Eisler, “this
alludes to the Bishop’s name Delphinus and of course also to the dolphin pierced
by a trident in the catacombs probably as a symbol for the passion of Christ on
the cross.”30 (Figure 1-4) According to the Greek grammarian Hesychios
of Alexandria, the Greek word delphys, which was intimately related to delphis
meaning “dolphin”, was a name for the womb.31 Hesychios lived around the 5th
or 6th century CE and compiled the richest lexicon of unusual and
obscure Greek words that has survived to the present.32
Figure 1-4 shows four dolphins pierced by tridents found in the Christian
catacomb of Praetexta Rome dated to around the 2nd-3rd century. In the middle is
the Good Shepherd with a lamb around his neck along with two other animals,
possibly sheep and a bird. Surrounding the shepherd is a circular donut-shaped
symbol, which was known to the Dogon as the “Star of the Milky Way”. In The
Rose: Dogon Star Knowledge, I associate it with the Milky Way Galaxy.33 According
to Eisler, one of the most important sayings written on Orphic graves was “as a
kid I have fallen into the milk”. A well-known Pythagorean doctrine stated that
souls had to pass on their way down as well as on their return to the sky through
the Milky Way Galaxy. Comets passing through the Galaxy were known as
“tragoi” meaning goat.
This leads to the conclusion that comets or shooting stars crossing the
Milky Way were believed to be the souls of those blessed and redeemed ones,
returning to their heavenly home after escaping from the ‘circle of necessity.’
Dionysus was worshipped ‘under the form of the sacred kid and later on as
the sacred goat, as Dionysus Eripbios or Tragios…’ The ‘falling into the milk’
must have been symbolised by cooking the sacrificial meat in a milk broth;
for many a popular tale notably the story of Medea dismembering and
cooking first a kid and then old Pelias, or Demeter cooking and restoring the
‘satyrs to eternal youth’ bears testimony to the custom of boiling the victim,
intended as a reviving ceremony.”34
In the Dogon religion, the events in space coincided with the genetic changes
that occurred when Lébé was mythically swallowed and regurgitated by the
Master (Mistress) of Speech. In The Rose: Dogon Star Knowledge, I associate this
swallowing and regurgitation with the events that happen in space when a large
sun reaches the end of its life and becomes a red giant star. At that time, it
swallows everything around it including planets and stars, and eventually explodes
as supernova to regenerate the Milky Way Galaxy, and to give birth to new stars
and planets. I believe that this is what these references to “boiling” “falling into
the milk” and “cooking” are describing. A red giant star, which was a symbol of
the Master (Mistress) of Speech, was considered a pregnant sun by the Dogon.
My research in The Rose: Dogon Star Knowledge indicates that throughout history a
red rose symbolized a red giant star. I believe that the ancients knew about red
giant stars even though it has just recently been rediscovered by modern
astronomers. I believe that the rose windows found in many Christian churches
7
The Nummo
symbolize a red giant star exploding as a supernova to regenerate the Milky Way
Galaxy.35
The Constellation Auriga was important in the Dogon religion. The
goatherder’s star was identified with both the Constellation Gemini (the twins),
and the Constellation Auriga. The star of the goatherds was also associated with
Auriga.36 The star of the goatherder and the star of the goatherds were closely
related in the mythology and in some instances Griaule and Dieterlen mixed up
the myths between the two stars or constellations. The Nummo were known as
the shepherds that guide the flock, meaning humans. “The Dogon said that ‘the
Nummo guides the Universe: he [she] is like the goatherd [er] who leads the
flocks, i.e., Mankind [Humans] and the seeds.’” This could be the source of the
“Good Shepherd” imagery that appears in the catacombs and is shown on Figure
1-4. The Jackal, who was the first man, was symbolized by a goat. The Dogon
goatherders celebrated the funeral of the millet and the death of the Fox (Jackal)
annually.37 One unusual representation of Auriga, from 17th-century France,
shows Auriga as the biblical Adam kneeling on the Milky Way with a goat
wrapped around his shoulders.38 In Greek myth, the stars forming Capella in the
Constellation Auriga were associated with the goat Amaltheia. One of her horns
was the Horn of Plenty for the immortals, and the source of Nectar and
Ambrosia.39 Refer to The Rose: Dogon Star Knowledge for more information on these
constellations and stars.
The red giant star, known to the Dogon as Emme ya tolo, was the star that
symbolized the Master (Mistress) of Speech. The white dwarf star, known as Po
tolo, symbolized the Jackal. The colours red, for the Master (Mistress) of Speech,
and white, for the Jackal, also appear in the Celtic religion as red and white
dragons and in later secret societies as red and white roses. There is evidence to
indicate that the Christian Mary Magdalen may have been associated with the
original Master (Mistress) of Speech figure. Red and rose were often associated
with Mary Magdalen in medieval paintings, though occasionally she was dressed
in green.40 Red and green were identified with the Master (Mistress) of Speech.
Because they were self-fertilizing and could perform genetic engineering, the
Nummo were associated with virgin goddesses, and Mary Magdalen was
identified with the virgin in early Christianity. The town of her birth was called
Magdala Nunayya, “Magdala of the Fishes,” and identified with the Greek name
Taricheæ.41 Like the Master (Mistress) of Speech, who was the Seventh Ancestor,
Magdalen was identified with the number seven. In The Gospel According to Mark,
Jesus expels seven demons from her.
Before Christianity, the rose was identified with the Virgin Sophia, and the
Bride of the Song of Solomon was described as the ‘Rose of Sharon’. “In
Ecclesiasticus, Wisdom is likened to the ‘rose plant in Jericho’.”42 The sister-bride,
the name associated with the Magdalen, was identified with the colours red and
white. To medieval alchemists, red and white were considered a union of
opposites. Red and white roses also appear as emblems during civil wars between
branches of the Plantagenet royal house (1444-1487). The House of Lancaster
used the red rose, the House of York, the white rose. They also used the symbols
of a red dragon and a white boar in place of the roses on the battlefield. The
8
Nummo were associated with dragons, and the boar is a sacrificial king figure that
will be referred to later. Henry VII eventually united the two royal houses and the
two roses, creating the red and white Tudor rose, which later became the symbol
of England. In their uprisings following 1688, the Jacobites’ adopted the white
rose.43 The colours were also present in the geography of Egypt, where they were
identified with the Red Sea and the Dead Sea.
Figure 1-5. Rose, Tripod and Seven Baskets Catacombs of San Callisto44
Figures 1-6. Seven Disciples instead of Twelve. Seven Baskets.45
Figure 1-7. Catacomb of San Callisto (2nd century)46
9
The Nummo
In Figure 1-5 from the Christian catacombs of San Callisto, the rose is
depicted along with seven bread baskets, two fish and a religious figure beside a
tripod. In patriarchal Greece, the tripod was associated with the Greek sun god
Apollo, and the regeneration of Dionysus. It is quite possible, however, that this
religious figure is a woman, since a woman appears with her arms up beside a
tripod in another depiction in the same catacomb, and was described as being
Pistis (faith) or by some others as a personification of the Church. (See Figure 1-
7)47 The Gnostic scripture refer to “Pistis Sophia,” which may be who this figure
represents, since Sophia (wisdom) was symbolized by a rose. Figure 1-6 from San
Callisto also shows two fish, seven bread baskets and seven disciples, rather than
the traditional twelve. These images are associated with the Master (Mistress) of
Speech, who was the Seventh Ancestor and symbolized by a red calabash that in
other cultures became associated with a red rose.
Figure 1-8. Calliope and the Seven Sages Photo by Clemens Schmillen48
In early patriarchal Greece, there was a description of Seven Sages who were
identified with various Greek statesmen, who lived around the 6th century BCE
and were known for their wisdom.49 “A compilation of 147 maxims, inscribed at
Delphi, was preserved by the fifth century CE scholar Stobaeus as ‘Sayings of the
Seven Sages.’”50 In addition to their pithy sayings, the wise ones were also famed
for their practical inventions and for the creation of useful devices attributed to
science.51 I believe this associates the sages with the Eight Nummo Ancestors.
Figure 1-8 depicts a mosaic of the muse Calliope in the center surrounded by the
Seven Sages (although eight actually appear in the mosaic, reinforcing their
10
association with the Eight Ancestors). According to one story, there was a golden
tripod, or in some instances a bowl or cup, which was given to the wisest of the
Seven Sages. It passed from one to another until it was given to the wisest, who
dedicated it to Apollo.52 I believe that Apollo’s tripod, cup, or bowl is being
associated with the device used in the Nummo regeneration process. In the
Dogon religion, the process involving the experiment to create humans was
described as being carried out in a chalice or bowl-like object that had a
mushroom shaped cap (Figure 15-3). It also occurred in the smithy, which was
the granary and the Nummo spaceship.
The mosaic, Figure 1-8, which is from Baalbeck and dated to the 3rd century
CE, is found in the National Museum of Beirut.53 Calliope in Greek means
“beautiful voiced.” She is the muse that presides over eloquence and epic poetry
and is usually seen with a writing tablet in her hand associating her with the
Master (Mistress) of Speech. Hesiod and Ovid called her “Chief of all Muses”.
Calliope was the daughter of the River god Nestus and in some cases was referred
to as the mother of the Sirens.54 Sirens played the lyre or the double flute as they
sang. Sirens, usually seen in pairs and carved on tombstones, were shown as
having a bird’s body with a human head added, and often women’s breasts and
arms. The talon-feet were often very powerful and sometime ended in a lion’s
pad, a symbol associated with Lébé. The lower part of the body was sometimes
egg shaped. They had a talent for music.
Temple pointed out that initially Homer thought there were only two Sirens,
but Plato claimed there were eight because that number matched the number of
the musical notes of the octave.55 Because Lébé was comprised of the DNA of all
of the Eight Ancestors, the octave was a metaphor for Lébé’s birth.56 Calliope
had two sons, Orpheus and Linus, and was considered the wisest of the muses
and taught Orpheus his verses.57 These descriptions associate Calliope with the
Master (Mistress) of Speech, and the androgynous or “twin” Lébé with Orpheus
and Linus. According to Joseph Henderson, the religion of Orpheus was
associated with androgyny.58
Figure 1-9. Calliope Roman Coin 56 BCE59
Calliope is depicted on a Roman coin dated 56 BCE holding a lyre, Figure 1-

9, right. Although the left figure is identified with Apollo, it is probably Calliope.
The long neck, barley corn crown, and the rose beside the ear, associate this
image with the divine feminine. Even as late as the early 1500s, the Christian
Virgin Mary was depicted with a long neck. A painting of Mary with Jesus, by the
11
The Nummo
Italian painter Parmigianino in 1535, is known as “The Madonna of the Long

Neck.”60 Dogon wood carvings of the Nummo Twins and the Master (Mistress)
of Speech show them with long necks. (Refer to Day of the Fish for more about the
long necks.)
Figure 1-10. Orpheus from Domitilla Catacomb61
The mosaic from Baalbeck, Figure 1-8, is important because a depiction of

Orpheus on a painted ceiling from the Domitilla Catacomb (3rd century CE)
Figure 1-10, depicts him in a similar way in the center with his lyre, surrounded by
various individuals and animals, suggesting an association between Orpheus and
the mosaic of Calliope with the Seven Sages. Around the edges of the mosaic
Figure 1-10, appear ram heads with sprigs of barley grain or wheat in the shape of
a fish, a Nummo symbol. Individual rams also appear in two of the sections, in
one, the ram is seated, and in the other, the ram is standing. A dove appears in
each corner, and dual lions appear in one of the sections, which is associated with
the androgynous Lébé. There is also a dog in another section and a bull in
another, which are both Jackal symbols. An individual with a fishing rod appears
in one section, and a fish is being hung up in a box topped by a triangle in
another. This triangular image appears on an Etruscan omphalos stone in The
Master (Mistress) of Speech, and is associated with regeneration.62 In the centre of
Figure 1-10, is a peacock, a symbol of immortality, and two birds, another symbol
of the omphalos stones. We can also associate this image of Orpheus with
Calliope and her lyre, Figure 1-9, and with Figure 1-11 of the big-breasted
lutenist, and with Figure 1-12, of the cat with a lute.
Figure 1-11 depicts a musician with large breasts resting on the lute she is
playing. This sculpture was excavated in the temple of Bel at the Mesopotamian
holy city Nippur (modern day Iraq).63 Nippur was one of the longest-lived sites,
beginning in the prehistoric Ubaid period (c. 5000 BCE.).64 This sculpture, Figure
12
1-11, depicts an Orpheus like figure, who is female like Lébé and the Mistress
(Master) of Speech, surrounded by animals.
Figure 1-11. Big Breasted Lutenist65
Figure 1-12. Orpheus as a Cat with a Lute66
Figure 1-12 is a Roman mosaic, excavated at Soussa in 1882, on the site of

the ancient Phoenician colony of Hadrumetum founded in around the 11th
Century BCE. It shows the Orpheus figure as a cat playing a lute. The colony of
Hadrumetum pre-dated Carthage and stood on the site of modern
day Sousse, Tunisia.67 This image of the lute playing cat is important because
Lébé was symbolized by the lion. I refer to ancient cat symbolism, which is found
all over the world, in Day of the Fish, and which I associate with Lébé, and with the
Nummo, who were catfish.68 Eisler identifies the figure with an ape, and
associates him with the Egyptian god Thoth.69 I believe the figure looks more like
a cat than an ape. The single leg suggests a fish-tailed being. On many ancient
artifacts associated with the Nummo and Nummo Ancestors, the figures
representing them often have their left leg tucked underneath them. This is
because the Nummo were perceived as having only one leg, which was always
13
The Nummo
associated with the right leg. In other instances, the figure’s legs are crossed at the
ankles to signify a fish tail. It has been suggested that the words lute and oud may
derive from Arabic al-‘oud meaning “the wood”.70 “The British musicologist and
Arabist, Henry George Farmer, considers the similitude between al-‘ūd and al-
‘awda to mean, ‘the return’ –of bliss.”71
Figure 1-13. Orpheus from the Roman Catacombs72
Figure 1-13 depicts other paintings from the Christian catacombs in Rome.
The top image shows the swallowing and regurgitation associated with the birth
of Lébé, and the bottom image depicts Orpheus with his lyre surrounded by
goats, ewes and rams. Notice how the legs are crossed at the ankles in both
images to depict a fish tail. The top middle figure looks to be female with breasts
and in the last image, at right, has her arms raised like the female figures in the
earlier images from the catacombs, Figures 1-5 and 1-7. In the top left image, she
is being regurgitated in water on perhaps a lake, by the green, serpent like figure,
who I associate with the Master (Mistress) of Speech. In the background are
bread loaves, which were depicted on Figure 1-6. In the Dogon religion, grain
was a symbol of human “seed”. Barley grain often appears in catacomb
depictions, which is important because beer fermentation in the Dogon religion
was associated with the seeds fermenting in the womb. This had to do with the
gas and dust from a red giant star forming a nebula, a stellar nursery where new
stars and planets were born. “According to the Dogon, the life placed inside the
seeds by “the Word” was comparable to the fermentation process of beer
brewing.”73 It was for this reason that beer brewing was a religious ceremony.74
The special language of the Dogon masks, which was identified with males, was
taught by the goatherders during beer drinking ceremonies.75 The Earth mounds
depicted in the bottom image behind Orpheus are associated with the
14
regeneration process, which occurred in similar Earth mounds that the Dogon
referred to as “anthills”.76 These Earth mounds are found all over the world,
including North America, and are referred to in Day of the Fish.77
Figure 1-14. Orpheus or Bacchus (Dionysus) Crucified78
My research indicates that wine had the same significance in ancient Greece
that the beer making rituals had in the Dogon religion. The fermentation would
have been associated with the regeneration of the seeds. This is supported by the
research of Jane Ellen Harrison, who discovered that “Dionysus the Wine-god
was a later superimposition on Dionysus the Beer-god also called Sabazius” and
that “tragedy may be derived not from tragos, ‘a goat’ as Virgil suggests but from
tragos, ‘spelt’– a grain used in Athens for beer-brewing.”79 I believe that the word
tragos was probably associated with all three words, “goat, tragedy and spelt.”
“Barley beer was probably one of the first alcoholic drinks developed by
Neolithic humans.” Later barley was used for currency.80 This likely had to do
with its association with “the Word”, in the same way that cloth and cowries were
used for currency in the Dogon culture, because they were a symbol of “the
Word”. According to Deuteronomy 8:8, “barley is one of the ‘Seven Species’ of
crops that characterize the fertility of the Promised Land of Canaan, and it has a
prominent role in the Israelite sacrifices described in the Pentateuch (see e.g.
Numbers 5:15).81 The “Seven Species” are likely being associated with the
Seventh Ancestor. These references are important because the Eight Ancestors
were identified with seeds. The seven bread baskets in the Catacombs of San
Callisto, Figures 1-6, is reiterating this association. In the Dogon religion, the
15
The Nummo
Eight Ancestors and Lébé were related to the harvest. After their experiment
failed on Earth, the Nummo moved to the Pleiades star system. It was from the
Pleiades that the Eight Ancestors came back to Earth. The nine stars of the
Pleiades represented the Eight Ancestors and Lébé, who symbolized the number
nine, which was chieftainship.82 The Dogon said the Pleiades were like a “pile of
harvested millet—eight grains and the seed of the calabash in the ninth.” The
stars represented the seeds the Smith brought from the sky for the first sowing.83
The fact that only seven stars of the Pleiades are visible to the human eye helps
support the Dogon claims that they had received their stellar knowledge from the
Nummo.
Seven stars of the Pleiades appear on a seal from about 300 CE, in which
Orpheus or Bacchus (Dionysus) is crucified, Figure 1-14. Campbell refers to a
moon on top of a cross as a death and resurrection motif. The inscription
‘Orpheos Bakkikos’ was intended to identify the crucified Christ with the
‘Orpheus’ of the Bacchic mysteries.”84 The Pleiades was a constellation known to
antiquity as the ‘Lyre of Orpheus’. Ogotemmêli described the Eight Ancestors in
a similar way carved in the earrings of the Dogon: “The eight copper studs in the
form of a large crescent worn on the edge of the helix are the Eight Ancestors.” I
believe this indicates that the seven stars on the seal, Figure 1-14, represent the
Seventh Ancestor, who later became the Orpheus figure in Greek mythology, and
then later the Christ figure of Christianity.85 Like Christ, the Master (Mistress) of
Speech was sacrificed for humanity but according to Ogotemmêli, she didn’t
really die because she was immortal.86 According to Eisler, the cross in Figure 1-
14 is probably identified with the main stars of Orion, whom the ancients
sometimes held to be the constellation of Dionysus. The cross is also identified
with the Smith’s hammer, which will be referred to later. The Dogon spoke about
various constellations and some of those are referred to in Chapter 26. (For more
detailed information on the cosmos refer to my fourth book, The Rose: Dogon Star
Knowledge.)
The numbers three and four, which identified the Master (Mistress) of
Speech as having the perfection combination of Nummo and human DNA, were
described as male and female numbers. It is important to understand, however,
that the number three (male) represented the Earth and humans, and the number
four (female) represented the androgynous Nummo and their world, identified
with heaven. As with other pagan figures in male-dominated societies, the
prominent female-hermaphroditic symbols later became associated with single-
sexed male figures. As a result of these changes, the meanings of these symbols
became confused over time. For instance, in later Greek mythology, the
androgynous sun goddess became the sun god and the moon became identified as
feminine. Joseph Campbell refers to the reversal of the earlier symbols as being
carried out by the intrusive patriarchal warrior tribesmen whose traditions have
come down to us in the Judeo-Christian Old and New Testaments, and in the
Greek myths. Campbell calls it solarization, where the male becomes associated
with the sun and the female with the moon.87 The unfortunate result of the
reversal is that the original meaning of the mythology was lost and with this loss,
the importance of hermaphroditic beings to human origins.
16
Lébé’s birth was supposed to provide the perfect balance of human and
Nummo DNA in humanity. This duality or balance was associated with humans
eventually regaining their androgynous fish or Nummo form, and their
immortality.88 This balance is expressed in Figure 1-15, a Roman mosaic symbol,
which like Figure 1-12, was excavated at Soussa on the site of the ancient
Phoenician colony of Hadrumetum.89 The symbol depicts two fish-shaped objects
opposite to one another but creating a balance. Many of the mosaics found there
have to do with the pagan religion including a number of images of Orpheus,
Dionysus, Hermes, Diana (Greek Artemis), Medusa, dolphins and fish tailed
horses, all of which I associate with the Dogon religion. A similar dual or
balanced image appears in the Celtic Book of Kells and on a St. Stephen miniature
from 1360, which I refer to in The Rose: Dogon Star Knowledge.90
Figure 1-15 Mosaic Photo by Ad Meskens91 Figure 1-16 Yin-Yang Symbol92
This understanding of balance also appears in the Chinese “Yin-Yang or

Taijitu (太極圖) symbol of Taoism, with black representing yin and white
representing yang.”93 (Figure 1-16) In the symbol, we see two fish-shaped objects,
one black and one white, with the opposing colours creating the circles for the
fish eyes. In Classical Chinese, Yin is associated with the moon Tàiyīn 太陰, and
Yang with the sun Tàiyáng 太陽.94 In the Dogon religion, the Nummo were
symbolized by the sun, and humans with the moon.95 This was associated with
the loss of our second sun, which affected our DNA and was ultimately
responsible for humans becoming single-sexed beings.96 Because the moon was
created at the same time that our second sun was lost, it became a symbol of the
lost sun. The Yang and Yin depicted in the Tao symbol is believed to form the
basis of the cosmos.97
The Dogon associated this cosmic balance with a binary or dual star system,
which is missing from our solar system.98 This agrees with what modern
astrophysicists have discovered, in that our sun is an anomaly in the universe.
According to NASA, our sun is unusual in that it is alone as most stars do occur
in multiple or binary star systems. The majority of stars “form in twos, and stay
paired, kept in place by the force of each other’s gravity.” It is this duality that the
17
The Nummo
Dogon identified with immortality. It is because we only have one sun in our
solar system that the Dogon considered humans mortal.99
In Chinese philosophy, yin and yang “Chinese: 陰陽 yīnyáng, which literally
means “dark-bright”, or “negative-positive”, “describes how seemingly opposite
or contrary forces may actually be complementary, interconnected, and
interdependent in the natural world, and how they may give rise to each other as
they interrelate to one another.”100 The Yin-Yang symbol reflects “the inescapable
intertwined duality of all things in nature… No quality is independent of its
opposite, nor so pure that it does not contain its opposite in a diminished
form…”101 According to the Dogon, we are still twinned with the Nummo but
our communication with them exists on a deeply spiritual level through symbols
found in the unconscious.
It is this symbolic language that tells the story of the Dogon religion. These
symbols, which come from an oral culture, are connected through a spherical
pattern with no beginning or end and are different from what we are used to
today, as most written literature is presented in a linear fashion with a beginning
and end. By using the globular structure in its creation, the Dogon religion
provides us with a metaphor for immortality. The psychologist Carl Jung refers to
these symbols as archetypes. According to Jung, all people are born with these
archetypal symbols in their unconscious in the same way that animals are born
with instincts.102 Jung believes that these inherited symbols mean the same things
for each of us. An example is water, which is a universal symbol for rebirth and
baptism. In Dogon mythology, water was the essence of the alien Nummo. The
words “water” and “Nummo” were used interchangeably. According to the
Dogon elder, Ogotemmêli, water was the symbol for the life-force of the world.
The Nummo were present in all water: they were water, “the water of the seas, of
the coasts, of torrents, of storms, and of the spoonfuls we drink.”103
18
Heaven’s Smiths
Chapter 2
Heaven’s Smiths
In their ancient religion, the Dogon talked about DNA, the Big Bang, and
aspects of science we are just now beginning to understand. They believed there
were seven vibrations that began the universe and which were found in DNA. It
was these seven vibrations that stimulated DNA to develop into a human being, a
plant, or an animal. They further believed these vibrations connected all humans,
plants, and animals on Earth with all other entities in the universe. It was these
vibrations that became corrupted on Earth, and this was a significant part of their
mythology. The Nummo experiment didn’t fail because of a simple biological
problem. The mistake was so complex it was connected to the very fabric of the
universe.
The Dogon believed these seven vibrations were both the soul and the life
force of the universe. In Hidden Meanings, Laird Scranton relates these Dogon
vibrations to what is known in physics as the theory of superstrings. According to
Scranton, while the superstring theory hasn’t yet been verified, it may well provide
us with “the last indivisible component particle of matter…. It continues to be
the most viable candidate for a unified theory of the universe.”104
In Dogon mythology, the musical octave was a metaphor for the third and
final Nummo experiment. The octave is eight notes on a scale over a space of
seven intervals. The Dogon believed the seven intervals, or notes, symbolized the
seven vibrations, which in turn created the Eighth Ancestor identified with the
eighth note. The Master (Mistress) of Speech, or Seventh Ancestor, who was the
perfect combination of Nummo and human DNA, was symbolic of the seven
vibrations.105
In the Dogon society, these notes or vibrations were expressed through the
ringing sound of the hammer striking the anvil in the smithy. The smithy was like
a church, temple, or sanctuary in the Dogon society, and the Smith was an
important figure in the religion because the alien Nummo were said to be
“Heaven’s Smiths.”106 The fire from the Nummo spaceship and the sound of the
vibrations that emitted from the ship no doubt contributed to the association of
the Nummo spaceship with a smithy. It was also in the smithy where humans and
various implements were created.
The figure of the Smith, like the Nummo themselves, had a dual role: he was
both a helper and destroyer of humanity. This dual role suggests that the Smith
symbolized the Nummos’ interference with the Earth. This was indicated in the
Dogon religion by the identification of the male Jackal with the Smith. In the
guise of the Smith, the Jackal stole fire from the Nummos’ workshop and fled
with it back to Earth. The fire symbolized both the Nummos’ spaceship and the
Nummos’ DNA. When he crashed the spaceship, he created fire and devastation
worldwide. I refer to this in more detail in my first book, The Master (Mistress) of
Speech. In Chapter 1, the Smith was also identified with the First Ancestor, who
fell in love with the Second Ancestor and destroyed the second experiment. As
long as procreation was controlled, the second experiment was supposed to allow
19
The Nummo
all humans to maintain their immortality. The second experiment corrected the
first mistake but because of the indiscretion, the experiment was considered a
failure. The Nummo feared their own immortality would be jeopardized by the
ancestors’ actions. At the time of the indiscretion, the ancestors were living on the
Nummos’ planet somewhere in the Pleiades and the two lovers were either told
to leave the Nummos’ world or left on their own. Either way, they ended up back
on Earth. The other six ancestors went with them, so all of the Eight Ancestors
ended up returning to Earth. Once they were here, they taught those humans
who had survived the initial fiery devastation caused by the Jackal.
The figure of the Smith, like the Nummo themselves, represented the
disastrous circumstances that followed the Nummos’ experimentation. After the
third experiment, it was the Smith’s responsibility to help humans find their way
back to truth and immortality. The Smith, who in this instance was being
identified with the First Ancestor, held a separate yet prominent place in the
Dogon village highlighting his importance to the religion. Only the Smith could
manufacture the ritual objects, whether of wood or metal, used in religious
ceremonies. Smiths, known as iru, often lived in special areas at the edge of the
village, separate from the rest of the population.107 This probably mimicked the
behaviour of the alien Nummo and the Nummo Ancestors, who lived in their
spaceships outside the perimeter of the village because of their concern the ships’
fiery emissions might scorch the Dogon fields.108
Figure 2-1. Wayland’s Smithy ©Robert Hill109
The importance of the Smith can be seen in the history of other places
throughout the world. In these other cultures, however, only fragments of the
original mythology exist, and none of these fragments explain where the myth
originated or why the Smith would play such a significant role in these religions.
The appearance of this character suggests that Dogon stories do indeed come
from the very beginning of known history. The Greek smith god Hephaistos, the
Egyptian smith god Ptah, the Egyptian moon god Thoth, and the Roman smith
god Vulcan are all related to the Smith of Dogon mythology. The Smith also
appears in the Celtic cultures where Dogon symbols flourish. In the Celtic
20
Heaven’s Smiths
Hallstatt Culture, for instance, the Smith was identified as a dangerous wizard.
According to Campbell, the Hallstatt Culture, which occupied what is now
modern Germany around 900 BCE, was characterized by a gradual introduction
of iron tools fashioned by a class of itinerant smiths, who in later mythic lore
appear as dangerous wizards. An example can be found in the German legend of
Wayland the Smith.110 Wayland (also Weyland, Weland, Volund, and Volundr)
was the traditional Saxon god of smiths. Many places in the British Isles were
associated with him, in particular Wayland’s Smithy (Figure 2-1), a Neolithic
burial chamber in Oxfordshire near Swindon and Ashbury. Saxon settlers,
believing it to have been made by the smith god, named the tomb Wayland’s
Smithy. Later, a legend grew that Wayland would re-shoe the horse of any passing
traveller who left a silver penny beside the tomb.
In 1996, unexplained crop circles depicting the Vesica Piscis were found near
Wayland’s Smithy. According to Peter Sorenson, the crop circles consisted of a
large circle, inside of which were two crescent moons, creating the Vesica Piscis
in between the shapes. In the depiction of the crop circle the two circles didn’t
quite touch each other, which as Sorenson points out, was very interesting. The
centres were well into the standing crop, leaving no marks or damage at all to the
wheat.111 Vesica Piscis means bladder of the fish in Latin.112 It is a symbol associated
with the Master (Mistress) of Speech and will be referred to in more detail in
Chapter 7.
Wayland’s association with the tomb is important. The fish-tailed Nummo
lived underground in their spaceships. They also lived in caves and in bodies of
water to prevent the sunlight from drying out their skin, which they needed to
keep moist in order to stay alive. Since, the spaceship was the place of death and
regeneration, it was associated with a tomb. Ogotemmêli said that Lébé, the
androgynous Eighth Ancestor, whose birth created the “Third Word”, was
regenerated in her/his own tomb.113
According to John and Caitlin Matthews, Wayland was likewise associated
with the world of the dead:
Wayland may also open for you the door to the Underworld, where he is a
king in his own right. Wayland’s Smithy in Oxfordshire has the strongest
associations with him. He is almost the only Saxon deity who has remained
active, assuming the roles of earlier Welsh and Irish gods. This is an
indication of the special position accorded to smiths, who were the first
makers and knew the mystery of iron—the origin of the folk belief that
witches and faery folk cannot cross a threshold protected by ‘cold iron.’
Wayland shares many affinities with the ancient green king, the man of the
woods, who leads to the deeper levels of lore. He is also said to have made
many magical weapons, including, in all probability, Arthur’s sword,
Excalibur.114
These associations of Wayland with the Green Man and Excalibur are
important. The fish tailed Nummo were also green and in the Arthurian myths,
the sword was presented to Arthur by the Lady of the Lake, known as Nimue.115
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The Nummo
The androgynous but primarily female Nummo were known as “Heaven’s

Smiths” and also resided on water, making these references about Excalibur and
the Lady of the Lake relevant.
Figure 2-2. Cybele 50 AD, Photo by Marshall Astor116
In discussing the Smith, Campbell reports on the findings of Mircea Eliade

who wrote that the “leading idea of the mythology was of the stone as a mother
rock and the iron, the iron weapon, as her child, brought forth by the obstetric art
of the forge.” This was compared to the saviour Mithra, born from a rock with a
sword in his hand.117 According to Eisler, “the divine fish ‘Orphos or Di-orphos’,
who was the son of Mithra and the Sacred Stone, was none other than a cult-
symbol of the Mother Goddess Cybele, the Anatolian (modern day Turkey)
Mother Goddess.118 She was Phrygia’s only known goddess and her cult was
adopted by Greek colonists of Asia Minor, where it eventually spread to mainland
Greece and distant western colonies around the 6th century BCE.119
At Pessinos in Phrygia, the mother goddess — identified by the Greeks as

Cybele— took the form of an unshaped stone of black meteoric iron.
…Romans knew Cybele as Magna Mater (“Great Mother”), or as Magna Mater
deorum Idaea (“great Idaean mother of the gods”), equivalent to the Greek
title Meter Theon Idaia (“Mother of the Gods, from Mount Ida”). Rome
officially adopted her cult during the Second Punic War (218 to 201 BCE).
…The goddess arrived in Rome in the form of Pessinos’ black meteoric
stone.120
Cybele was depicted in Phrygian art of the 8th century BCE with attendant
lions, which associates her with Lébé, the mother of humanity. In Figure 2-2, a
marble figurine from the Getty Museum and dated to 50 CE, she is “enthroned
with lion, cornucopia and mural crown.”121 Her processions were accompanied
with wild music and she was described as being “born from stone.” Lébé was also
born from stone and associated with music.122 According to Ovid, “when
Cybele’s sacred stone was taken in procession from the Palatine temple to the
22
Heaven’s Smiths
Porta Capena and down the Appian Way to the stream called Almo, a tributary of
the Tiber, the stone and sacred iron implements were bathed in ‘the Phrygian
Manner’ by a red robed priest.”123 Red was the colour that symbolized the Master
(Mistress) of Speech. This was because her sacrifice was associated with the
sacrifice of the star Emme ya, a red giant star that once exploded to regenerate the
universe. I believe it is the source of the myths relating to meteors or stones
falling from heaven. I refer to this in The Rose: Dogon Star Knowledge.
According to explicit accounts given to Griaule and Dieterlen in the 1930s

by informants “it was the burning mass of ‘heart’s blood’, from the sacrifice
of the Nummo [Master (Mistress) of Speech]”, which hollowed out the crater
of Lake Bosumtwi in Ghana, which they called the “pool of the descended
anvil” el viq sugu bunnp. According to Griaule and Dieterlen, this knowledge
about Lake Bosumtwi was known by all West African blacksmiths. The anvil
is a female symbol and the heart was identified with the star Emme ya on the
Dogon star map... “The Lake Bosumtwi impact crater is 10.5 km in diameter,
slightly larger than the present lake, and is estimated to be 1.07 million years
old (Pleistocene period). … According to Dieterlen, for the Ashanti, the
Dogon, and the blacksmiths, the ‘sacred Ashanti Lake’ was a source of
supernatural power. Dieterlen reported a list of taboos concerning the lake. It
was forbidden to use metal or to have it anywhere near the lake: This
included iron hooks of any description, or any kind of lure or live fishing . . .
brass or metal pans (only wooden ones could be used).” Fishing in the lake
was done from wooden planks…. Dieterlen referred to Rattray’s work on the
Ashanti, who lived near Lake Bosumtwi. He reported about a “spirit”, which
was supposed to inhabit the lake. An annual sacrifice was “offered on a
sacred stone situated in the village of Abrodwum.” The Abrodwum Stone
was the spiritual center of the lake.124
Astarte or Ashtoreth, which is the Hellenized form of the Middle Eastern

goddess Ishtar, was also identified with a meteor. She was worshipped from the
Bronze Age (3300-1200 BCE) through classical antiquity.125
The omphalos stones, which were referred to in detail in The Master (Mistress)
of Speech, also have to do with regeneration and were associated with the
Nummos’ smithy. On many omphalos stones found in ancient Greece, Babylon,
and Egypt, the serpent is seen winding around the stone like a mother protecting
an egg. In some of the omphalos stones, a rod like device rises and has rope like
strands emerging from it. At the ends of these strands appear small round, heart-
shaped, or pinecone-shaped stones.
Ogotemmêli said that the Master (Mistress) of Speech transformed Lébé’s
dead bones into 640 coloured stones that formed the outline of a skeleton.
He [she] placed the stones one by one, beginning with the one for the
head, and with the eight principal stones, one for each ancestor, he [she]
marked the joints of the pelvis, the shoulders, the knees and the elbows. The
right-hand side came first; the stones of the four male ancestors were placed
23
The Nummo
at the joints of the pelvis and shoulders, that is, where the limbs had been
attached, while the stones of the four female ancestors were placed at the
other four joints.126
Figure 2-3. Omphalos Stone, Tullie House ©Shannon Dorey
The fact that some of these smaller stones resembled pinecones may explain
how the pinecone later became a symbol of the omphalos stone. The omphalos
stone, shown as Figure 2-3, was found in the excavation of Roman Carlisle in
England and is housed at Tullie House Museum in Carlisle. The stone is
described as being a pinecone wrapped around by a snake, a characteristic
associated with the Nummo. During the process when humans were created and
regenerated in the omphalos stones, the individual being regenerated would be
wrapped around with what the Dogon referred to as the “Cord of God”.
According to the Dogon, during the regeneration process the soul was transferred
into the newly created body and the “Cord of God” became the new body’s
backbone.
The identification of the omphalos with the smithy may explain how the
smithy became linked to the “obstetric art of the forge” and how the stone
became associated with “mother rock.” Interestingly, the label given to the Tullie
House stone identified the snake with the soul and the pinecone with the symbol
of life after death. This is important because it essentially means the same thing as
it did in the Dogon religion: the regeneration of the dead body. The pinecone was
also a symbol of the Nummo because its shape resembled a Nummo’s tail. The
image would thus have been further associated with immortality.
The Smith’s hammer and other Dogon religious symbols appear on Celtic
Pictish stones. The Celtic Pictish religion was known to have existed as early as
the first millennium. The first recorded mention of the Picts comes from a
Roman poem written in the third century, which refers to them as Picti or Painted
Men:
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Heaven’s Smiths
Other myths detailing the origins of the Picts survive. Ninnius, writing in the
early 9th century, states that they arrived from the north, landing first in
Orkney and then sweeping down across much of northern Britain. Ninnius
may have been confusing the Picts with the Norsemen, who raided by sea
down the east coast of Britain. An Irish legend states that the Picts came
from Scythia, near the Black Sea, and migrated up through Europe before
arriving in Ireland, where they helped the Irish against their enemies.127
Figure 2-4. Abernethy Pictish Stone ©Robert Hill
The significance of sound in conjunction with the hammer and anvil can be
seen on this ancient Pictish stone, Figure 2-4. There are four symbols on the
stone, including the hammer and anvil. Between the hammer and anvil is a tuning
fork. At the bottom is part of a crescent and a V rod, a common symbol found
on other Pictish stones. The rod looks like a bent arrow with a point on one end
and the fletching at the other end. What is interesting is that the bow was
originally a musical instrument, which may be what this object represents. This
stone was found at Abernethy Village, Scotland, at the base of a round tower that
was associated with similar Celtic towers found in Ireland. It is believed that the
tower was built in the late eleventh century. Abernethy was a principal seat of the
Pictish kingdom.
In the Dogon religion, the arrow was identified with the Jackal and the Smith
as well as with the regeneration process and with the spaceship as it made its
descent. The spaceship was described as being an enormous spindle-whorl, which
had served as a target for an arrow, which had been shot by the Smith as he made
his descent to Earth.128 On his journey through space, the Smith held an arrow in
his hand. The Smith or Jackal figure is shown on ancient boundary stones with an
25
The Nummo
arrow. The Dogon word sagatara meant “powerful and strong” and designated a
young man.129 For three weeks after the birth of a male child in the Dogon
society, the mother held an arrow in her hand. It was intended to demonstrate the
celestial origin of humanity.130 Although linguistics show no connection between
the words, I believe the word sagatara has an ancient association with the root of
the word Sagittarius from the zodiac, whose glyph is an arrow. Other symbols of
the zodiac as they relate to the Dogon religion are referred to in more detail in
The Master (Mistress) of Speech and The Rose: Dogon Star Knowledge.
A Pictish stone found at Dunfallandy also shows the hammer and anvil as
well as the V rod with the crescent moon. This crescent shape with the V symbol
was later incorporated into Masonic symbols. The Masonic regalia of the fourth
Earl of Rosslyn shows a V-shaped compass over a crescent,131 which looks very
much like the crescent and V rod found on the Pictish stones. In the center of the
Masonic symbol is a sun, above is a five-pointed star, which are both symbols
associated with the Nummo.
The Nummo were amphibious and didn’t have human legs. Because they
lived in water, they had tails, and these tails prevented them from moving very
quickly over land. To help them move more quickly, they had travelling devices
that looked like an iron sandal that was said to emit fire as it moved. In instances
when the Nummo couldn’t use their flying device because it might scorch the
Dogon fields, they were carried on the backs of humans. The Nummo were thus
perceived as being “crippled”.132 Thus the characteristic of smith gods being
“crippled” is an important detail, as it relates to the alien Nummo.
The Smith god Wayland was associated with horses, magic, metalworking,
cunning, skill, and healing. He made exquisite jewellery and according to legend,
King Niduth was said to have crippled Wayland so he couldn’t escape from an
island where he was forced to make jewellery for the king. In time, however,
Wayland made his escape by fashioning a flying device made from the feathers of
birds.133 Hephaistos, Vulcan, and Ptah, were similarly identified. Ptah was green
like the Nummo and pictured with legs wrapped up like a mummy’s.134
Hephaistos was born crippled or became crippled after being thrown off Mount
Olympus, either by Zeus or his mother, Hera.135 Vulcan, who was conflated with
Hephaistos, was depicted on an ancient vase seated in a wheelchair type device
with wings, a serpent, and a fishtail protruding out the back. Some scholars have
identified the flying device as a chariot.
Graves also observed that “the lame King was frequently connected with the
mysteries of the smithcraft.”136 The lame king was likewise associated with the
sacrifice of the king referred to in detail in The Master (Mistress) of Speech. In the
Dogon religion, the male Jackal was regenerated, which I believe is the basis for
some of these later myths involving the death of the king. In order for
regeneration to occur in the Dogon religion the individual had to die first. The
genetic material from the Jackal was indirectly used in the eventual creation of
Lébé, who was born as an immortal hermaphrodite. Lébé’s birth was perceived as
the hope for humanity. Because Lébé had a fish tail instead of two legs like
humans, she/he was also considered “crippled”. This was in contrast to the
Jackal, who had been born with two serpent-like legs. In The Master (Mistress) of
26
Heaven’s Smiths
Speech, I associate the Dogon Lébé with the Greek Dionysus. Lébé was
androgynous and all research seems to indicate that Dionysus may have also been
androgynous and amphibious with a fish tail. According to Graves,
Dio-nysus was usually translated as “The Light God of Mount Nyse” but
more likely to mean “The Lame God of Light”. Nysos was a Syracusan word
for “lame”... Dionysus may really have taken his name from Nysë, Nyssa or
Nysia, a name attached to various shrines in the area where the sacred
lameness was cultivated.137
Earlier, Lébé’s regeneration occurred underground in the spaceship, which

was also the smithy and the granary, because that is where the “seed” (DNA) was
stored. It was associated with Lébé’s grave and the omphalos stones. Marija
Gimbutas also describes the regeneration of Dionysus by the Greek sun god
Apollo as being associated with the omphalos and taking place underground. The
Nummo were symbolized by the sun and responsible for regenerating Lébé.
“According to Orphic religion, the god Dionysus was killed and

dismembered. He, like Persephone, receded into the dark depths of the earth
and remained there as a seed. Women saved the seed or phallus, laid it in a
winnowing fan, and performed the reawakening ritual of the god.” In the
myth, Zeus entrusts the limbs of Dionysus to Apollo, who sets them beside
his own tripod at Delphi. The omphalos at Delphi is what marked the holy
site, considered the centre of the Greek universe. It is Apollo, who is the
healer and bringer of light, who eventually revitalizes the “dismembered,
suffering, temporarily mad Dionysus. Each god needed the other, for they
represented the complementary aspects of darkness and light. This
reunification brought bliss to the Earth.”138
Apollo’s tripod was shown earlier on the catacomb painting at San Callisto,
Figure 1-5, along with the rose and seven bread baskets. Carl Kerényi identifies
Dionysus with the amphibious King Proteus, said to have come from Pharos.
Proteus was known as the Oracular Old Man of the Sea who lived in a cave.
Proteus knew the depths of the sea and was immortal.139 He was a shape shifter
like Dionysus, Merlin and Llew (also Lleu) Llaw.140 The amphibious Nummo and
the Eight Ancestors were also shape shifters with fish and serpent like tails.
Figure 2-5 is emblem 183 of Proteus as he was envisioned by Jörg Breu in The
Book of Emblems by Andrea Alciato (1531).141 Alciato’s Book of Emblems, a
collection of 212 Latin emblem poems, was influential and popular in the 16th
and 17th centuries. Each emblem consisted of a motto, a picture, and a short
text.142
According to Greek myth, Proteus could foretell the future, but wouldn’t do
it willingly and would change his shape to avoid it. He would only tell it, if he was
captured and forced into it. Figure 2-6 is an engraving of Proteus by Bonasone,
Giulio, ca. 1498-1580. This emblem or symbol, identified as Symbol LXI, shows
Menelaus wrestling with Proteus in order to find out from Proteus how he can
27
The Nummo
get back home, as told to Telemachus in Book 4 of the Odyssey.143
Figure 2-5. Proteus (1531)144 Figure 2-6. Proteus and Menelaus145
Both the German mystical alchemist, Henrich Khunrath and the Swiss
psychologist Carl Jung, associate Proteus with the unconscious, and because of
his gift of prophecy and shape-shifting, with the alchemical god Mercury.146 The
Roman god Mercury, who is the Greek god of thieves Hermes, is a Jackal figure,
who is associated with the Second Ancestor. The name Proteus, however, comes
from the Greek word, “πρῶτος” “first”,147 which would identify him with the
First Ancestor. Both the First and Second Ancestors were associated with the
Smith, which could be how the confusion arose. The First Ancestor was
identified with the Smith after the second experiment when the Eight Ancestors
were created. In the first experiment it was the Jackal, who was in the guise of the
Smith when he stole the Nummos’ fire. Since the Second Ancestor’s DNA was
closely associated with the Jackal’s DNA, this indirectly associated him with the
Smith as well.
According to Homer, Proteus lived on the sandy island of Pharos off the
coast of the Nile Delta.148 “In Hellenistic times, Pharos was the site of
the Lighthouse of Alexandria, one of the seven wonders of the ancient world.”149
There are legends in the 3rd century biographical work Life of Apollonius that say
that Proteus incarnated himself as the 1st century philosopher.150 Ogotemmêli
indicated that at one time humans could consciously control their souls after they
died, which is how they were able to be regenerated.151 This legend about
Apollonius may in fact be true. The fascinating thing about Figure 2-6, is the
foreground, which depicts sleeping creatures, who are lizard-like with human
heads and horns, and curved backs. Beside them is a fish tailed horse, another
symbol of the Nummo and the Eight Ancestors. These creatures also appear in
Chinese mythology in the figure of Chiyou (Chi You), Figure 2-7, as depicted on a
tomb relief of the Han dynasty (206 BCE – 220 CE).
28
Heaven’s Smiths
Figure 2-7. Chi You Tomb Relief152
Chiyou (蚩尤) was a Supreme Emperor of Cooree (九黎) in ancient

Korea. In China, he is best known as the tyrant who fought against and was
defeated by the future Yellow Emperor during the Three Sovereigns and Five
Emperors era in Chinese mythology. For the Hmong people, Chiyou was a
sagacious mythical king. He has a particularly complex and controversial
ancestry, as he may fall under Dongyi, Miao or even Man, depending on the
source and view. Today, Chiyou is honored and worshipped as the God of
War and one of the three legendary founding fathers of China.153
The Jackal was a war figure, perhaps identifying Chiyou with the Second
Ancestor, who was the closest of the ancestors to the Jackal. “In some sources,
Chiyou had certain features associated with various mythological bovines: his
head was that of a bull with two horns, although the body was that of a
human.”154 The bull is a symbol associated with the Jackal and the sacrificial king
figure. In other literature, Chiyou is credited with knowing the constellations and
having ancient spells for calling upon the weather. The Nummo could also
control the weather. During the Battle of Zhuolu, Chiyou called upon a fog to
surround Huangdi and his soldiers.155 Chiyou is also regarded as a leader of the
Nine Li tribe, perhaps associating the tribe with the Eight Ancestors and Lébé. In
the earliest oracle bone script, in his association with the figure of Dongyi,
Chiyou was described as a person with a bent back and legs.156
In Frank Waters, Book of the Hopi, Oswald White Bear Fredericks depicts a
red frog figure with a round back and claws on his feet, not unlike the claws on
the creatures in Figure 2-6. To the Hopi, this figure was associated with the Fire
Clan, and was known as “Taknokwunu, the spirit who controls the weather.”157
The Fire Clan may be associated with the Jackal and the stolen fire. This figure
was based on a rock painting drawn by members of the Hopi Fire Clan at
Betatakin, Arizona. The red frog figure has curved rainbow stripes on either side
of him, and two human hand prints, perhaps suggesting his hybrid nature as
being part human and part frog. The Nummo were also identified with a rainbow.
In another painting, beside this red frog figure, appears a circle divided into four
quadrants, three of which are full of dots, with the fourth section being left
29
The Nummo
empty. According to the Hopi, the three sections had dried up because of a lack
of rain.158 This is opposite to the Dogon religion, where a similar painting appears
but the empty quadrant is the defective section and lacks water. (See Figure 17-18
and 17-19) The Dogon associated the dots in the picture with seeds and
circumcision. To the Dogon, the red frog toru banu was evidence of the blood of
the Jackal’s circumcision,159 which may have some association with the red frog in
the Hopi painting. Another figure in the Hopi religion, who has a curved back is
the hump-backed flute player, Kókopilau, who appears in the Snake and Flute clans
and carries seeds of flowers and plants in his hump. He sometimes has a large
penis to symbolize the seeds of human reproduction.160 He appears all over
North America, including at Peterborough Petroglyph Park in Ontario, Canada.
Perhaps he is an early version of the Greek god Pan, another Jackal figure, who
had horns and was known for his pipe. A similar Hopi figure with horns and
clawed feet appears at the village of Wénima with vertical rainbow stripes, and is
known as Panaiyoikyasi,161 perhaps having some lost etymological association with
Pan.
Because Proteus had a fish tail like Lébé and the Nummo, he would have
been considered lame by the Dogon people. The lame Jacob of Genesis was
connected to a cult of the Kenite smith-god, and Velchanos, a Cretan cock-
demon, became the Roman smith god Vulcan when his worship was introduced
into Italy. In the Dogon religion, the cock was a symbol of the Dogon Jackal,
who was likewise identified with the Smith. In Italy where he was identified with
Hephaistos, Vulcan was said to be lame and to walk with the help of high-heeled
gold shoes. Graves also refers to the winged-sandals of Hermes, Perseus and
Theseus. “It is likely that the eagle-wings on Hermes sandal were originally not a
symbol of swiftness but a sign of the holiness of the heel, and so, paradoxically a
symbol of lameness.”162 Hermes is referred to in detail in The Master (Mistress) of
Speech, because he is the god of thieves and is associated with the thieving Jackal.
Hermes carried the caduceus, a symbol that looks like DNA. His winged sandals
may be associated with the Nummo’s device that allowed them to fly over land.163
The Celtic Llew (Lleu) is another figure identified with lameness. Llew (Lleu)
Llaw Gyffes was known as ‘the Lion with the Steady Hand’.164 Lébé was
symbolized by the lion in the Dogon religion and was perceived as being lame,
which would associate both of Llew’s characteristics with Lébé. According to
Bayley, “The Welsh word llew, meaning light and also lion, is probably a corroded
form of el Hu, “Lord Hu,” and may certainly be equated with the Irish Sun-god
Lugh. …Lug, an alternative title of Lugh, is a contracted form of Lugus, the
Gaulish Sun-god, and the Gaulish Lugus is what the Greeks called Logos, the
divine word.”165
Ogotemmêli said that Lébé was “a new Word created by two females.”166 In
Chapter 1, the DNA of the Seventh and Eighth Ancestors was used to create
Lébé. Although both ancestors were androgynous, they were primarily female,
which is why Lébé was said to have been a new “Word created by two
females.”167 The “swallowing” to regenerate Lébé is also evident in the Celtic
version, when Llew’s mother, Dechtire, conceives by swallowing a may-fly.168 The
poem Kadeir Taliesin refers to the “golden pipes of Lleu”, which further associates
30
Heaven’s Smiths
him with Lébé, who was identified with music in general, and whose birth was a
metaphor for the musical octave. Llew is referred to as one of the three “golden
shoemakers”169 and in Chapter 1, the Second Ancestor was identified with the
Shoemaker “dau”, which came from the Dogon word “da”, which meant to
separate.170 Lébé’s birth was associated with our lost androgyny and immortality
but was supposed to rid the world of the Second Ancestor’s and the Jackal’s bad
DNA. Five generations after Lébé’s birth, humans became single-sexed and
mortal beings. This was symbolically recreated in the Dogon religion through the
act of circumcision. Graves describes a similar thing happening to the Celtic Llew
(Lleu).
Llew was to become the sacred king by marriage with Blodeuwedd, the May
Bride. But he was not properly equipped for his office until he had sustained
Jacob’s injury which would prevent him from ever again putting his sacred
heel on the ground, even by mistake.... Originally the king died violently as
soon as he had coupled with the queen; as the drone dies after coupling with
the queen-bee. Later, emasculation and laming were substituted for death;
later still, circumcision was substituted for emasculation and the wearing of
buskins for laming.171
Circumcision symbolized the removal of some of the Nummo’s DNA from

humanity. According to the Dogon elder Ogotemmêli, in the beginning humans
had two souls, one soul which was associated with the Nummo, and the other
soul which was associated with the Earth. This dual soul symbolized androgyny
and immortality. When the Nummo removed some of their genetic makeup from
humans, it was in the form of the second sex and the second soul. I describe it in
this passage.
The second sex was symbolized as the second soul and its eventual
removal was done to help stabilize humans. The second soul was represented
by the clitoris in girls and the prepuce in boys. The second soul was not
completely severed after circumcision, however, but became associated with
the unconscious and was the spiritual connection that humans still had with
the Nummo. The identification of the clitoris in girls and the prepuce in boys
with the opposite sex shows how the Dogon incorporated the concept of
androgyny into single-sexed beings.172
According to Ogotemmêli, while the boy’s prepuce was excised during

circumcision, the girl’s clitoris was excised by an invisible hand during
childbirth.173 A corrupted version of female circumcision later became the norm,
and the clitoris was physically removed causing serious health problems for girls
and women, especially during childbirth, and increasing the infant mortality rate.
31
The Nummo
Chapter 3
The Arthurian Mythos
Tales about the Nummos’ smithy evolved in later mythologies. For example,
the sword that was forged in a normal smithy took on magical characteristics.
Campbell reports that the earliest German Hallstatt culture represented an “entry
into Europe of the ritual lore of drawing swords from stones, both in the smithy
of the soul and in the fires of the forge.”174 He believes that the Hallstatt lore of
drawing swords from stones evolved into the Arthurian theme of the sword
drawn from the stone, suggesting a sense of magic.175 The similarities in the
symbols and themes found in the Arthurian mythos with that of Dogon
mythology are quite significant and may be attributed to a possible Dogon
connection with the Hallstatt culture. Graves refers to the fact that many of the
Welsh religious myths had been rewritten by the Norman-French trouvères and
Malory to create the Arthurian stories. According to Graves:
The Norman-French trouvères and Malory who collected and collated their
Arthurian romances had no knowledge of, or interest in, the historical and
religious meaning of the myths that they handled. They felt themselves free
to improve the narrative in accordance with their new gospel of chivalry
fetched from Provence—breaking up the old mythic patterns and taking
liberties of every sort that the Welsh minstrels had never dared to take.176
In the Dogon religion, when the First Ancestor and the Second Ancestor,
who were part human and part Nummo, fell in love and had an affair, it
represented the same theme found in the Arthurian mythos, that of sacrificing
honour for love. We can find other stories of honour being sacrificed for love. In
one Arthurian tale, Prince Tristan falls in love with Isolde, who is betrothed to
King Mark, Tristan’s uncle. Tristan’s love is so powerful he accepts eternal
damnation in hell so he can be with her.177 This is similar to the First and Second
Ancestors, whose affair causes the Nummo to create a third experiment, turning
humans into mortal beings.
This is also what happens in the story of Lancelot and Guinevere. When I
compare the Arthurian story with the two ancestors of the Dogon religion, I see
Guinevere as a parallel to the Second Ancestor, or the bad DNA. The Second
Ancestor was supposed to procreate only with the Seventh Ancestor, whom I see
as a parallel to Arthur. The Seventh Ancestor, who was the Master (Mistress) of
Speech, was androgynous but primarily female. As is evident in so much of the
mythology relating to the Dogon religion, the sexuality of these characters was
reversed to accommodate later patriarchal societies.
The Welsh word for bear is arth, from which the name Arthur is derived.178
The British bear god Artos, whose cult was widespread, was absorbed into the
figure of Arthur.179 The bear is the symbol associated with Artemis, who was
known to the Romans as Diana. The bear association may indicate that the name
Arthur comes from Artemis, who was known as the queen of witches. This
32
relates back to Smiths being identified with wizards. In The Master (Mistress) of
Speech, I associate Artemis with the Nummo.180 As I referred to in Chapter 1, the
Nummo were identified with the silurus, a catfish.181 Most of these fish have
barbs, which are whiskers on the lower jaw. As shown on some Dogon drawings,
the Nummo had these same whiskers. Some early Greek Gorgon artifacts
associated with Artemis depict her with whiskers or barbs like the Nummo.182
According to Marija Gimbutas, the Gorgon extends back to at least 6000 BCE.
She says that masks recovered from Old European excavations very likely
represent the snake goddess. Archaeologists unearthed Gorgon masks from the
Varna cemetery in eastern Bulgaria on the Black Sea coast. Gimbutas says that the
masks’ round eyes, long mouth, and studs representing teeth are characteristic of
the snake.183 These descriptions of the Gorgon with their combination of snake-
like bodies and whiskers may describe the Nummo. Since Artemis was the queen
of witches it may explain how cats, which also have whiskers, became associated
with witches. Cats were also worshipped in ancient Egypt, and Dogon mythology
is closely associated with Egyptian mythology. Lébé was likewise symbolized by
the lion.
“The Egyptians believed that before the world was formed, there was a
watery mass of dark, directionless chaos known as Nun. In this chaos lived the
Ogdoad of Khmunu (Hermopolis), four frog gods and four snake goddesses of
chaos.”184 Like the Nummo, frogs are amphibians, and frog-like creatures,
including the Hopi painting of a red frog, were referred to in Chapter 2. The
goddess Artemis was worshiped as a toad in Egypt, Italy, and Lithuania.185 I
believe the four frog gods and four snake goddesses are being associated with the
Eight Ancestors. Nun is the fourteenth letter of the Hebrew alphabet, which is
Phoenician in origin.186 It comes from nwn, which is the Semitic noun, *nūn,
meaning fish. In the earliest alphabet, the Proto-Canaanite, dating from about
1500 BCE, a squiggly line, which represents the symbol of both the snake, nahs,
and the fish, nun, evolved into the Greek letter nu.187 The Nummo were described
as being both like fish and serpents.
Figure 3-1. Green Man, Rosslyn Chapel ©Shannon Dorey

33
The Nummo
One archaic Greek Gorgon from the seventh to the fifth centuries BCE, has
staring eyes, large fangs, extended tongue with vines, snakes and lizards
emanating from her head.188 This figure looks like images of the Green Man. Is it
possible that this Gorgon may have been the forerunner of the image of the
Green Man? The Smith god Wayland was associated with the Green Man and the
Nummo were known as ‘Heaven’s Smiths’. Ogotemmêli described the second
generation of Nummo/human offspring (the Eight Ancestors), of which the
Master (Mistress) of Speech was one, as being green and having wide-open eyes.”
The Nummo were described as being lizard-like and they were also green. Figure
3-1 shows a carving of the Green Man from Rosslyn Chapel. Notice the fangs
representing vines, which may be associated with the Nummos’ whiskers.
The Nummo and the Master (Mistress) of Speech were feminine and
identified with water. Nimue (the Lady of the Lake) was the foster-mother of Sir
Lancelot. She was referred to earlier in association with Wayland, and according
to the Arthurian myths, she raised Sir Lancelot beneath the murky waters of her
lake. She was responsible for creating the sword Excalibur,189 associating her with
the Nummo and the smithy. A variant of the name of the Lady of the Lake is
Vivienne, which is related to the Celtic Vi-Vianna and is probably derived from
Co-Vianna, a variant of the name of the Celtic water-goddess, Coventina.190 In
one image, Coventina is seen reclining on waves lapping against a bank, waving a
water lily leaf in one hand and holding an overturned pitcher of flowing water in
the other. The water lily is a symbol identified with the Nummo and will be
referred to again later when discussing the Aztec water goddess, Chalchiuhtlicue,
who also held a water lily in her hand. Coventina was likewise seen accompanied
by a dog,191 a symbol of the Dogon Jackal.
According to Graves:
Spenser’s White Goddess is the Arthurian ‘Lady of the Lake’, also called ‘the
White Serpent’, ‘Nimue’ and ‘Vivien’, whom Professor Rhys in his Arthurian
Legend identifies with Rhiannon. She is mistress of Merlin (Merddin) and
treacherously entombs him in his magic cave, when as Llew Llaw to
Blodeuwedd, or Samson to Delilah, or Curio to Blathnat, he has revealed
some of his secrets to her. However, in the earliest Welsh account, the
Dialogue of Gwenddydd and Merddin, she tells him to arise from his prison and
‘open the Books of Inspiration without fear’. In this dialogue she calls him
‘twin-brother’ which reveals her as Olwen, and she is also styled Gwenddydd
wen adiam Cerddeu, “White Lady of Day, refuge of poems’, which proves her
to be the Muse Cardea-Cerridwen, who inspires cerddeu, ‘poems’, in Greek,
cerdeia.192
In the above passage, Merlin is the twin of the Lady of the Lake. In the
Dogon religion, the Jackal or Smith was perceived to be the twin of the Master
(Mistress) of Speech. This is because the Master (Mistress) of Speech was
associated with the immortal, androgynous being born during the first experiment
when the Jackal was born. She was considered perfect and good and the Jackal
was mortal and evil. In this respect she was the sister of the Jackal and perceived
34
to be his twin. During the second experiment, her DNA and the Jackal’s DNA
were combined to create the Eight Ancestors. Because the Master (Mistress) of
Speech, who was the Seventh Ancestor had the perfect combination of human
and Nummo DNA, she was only allowed to procreate with the Second Ancestor,
who was identified with the Jackal and the bad seed. This was so that the good
seed would cancel out the bad seed. Because of these associations, she was
perceived to be both the Jackal’s sister (from the first experiment), and his wife
(from the second experiment). Since the Nummo and the Eight Ancestors were
androgynous, the Dogon referred to them as twins. In this regard the Master
(Mistress) of Speech was also identified as a twin.
Campbell believes the Smith’s work evolved into the Arthurian theme of the
sword drawn from the stone, suggesting a sense of magic. Because he was related
to magic, Merlin can also be associated with the Dogon Smith. The Smith and the
Nummo probably evolved into characters like Merlin because their knowledge of
science made them appear to be wizards or magicians. Merlin was said to have
fallen in love with Nimue, the Lady of the Lake. In Sparta, Artemis was known as
the “Lady of the Lake” in her association with Britomartis.193 In Sir Thomas
Malory’s Le Morte d’Arthur, the horsewoman who bursts into Arthur’s court was
called the “Lady of the Lake.”194 Besides Artemis, Graves also identifies
Rhiannon with the “Lady of the Lake” and the “White Serpent”. Rhiannon is
likewise associated with horse-symbolism. Many scholars have equated Rhiannon
with the Celtic European horse-goddess Epona. Graves identifies the mare-
headed Demeter with Rhiannon. This is important because the horse was also a
symbol of the Nummo and Nummo Ancestors.195
Figure 3-2. Hand, Bust and Body of the Spirit196
Figure 3-2 is a drawing of the anvils found in the Dogon Sanctuary of Fire,
which included all of the implements used in the Smithy. These three images are
the anvils of the Smith and embedded within them are the hand, bust and body of
the Nummo. The anvil was considered a female symbol in the Dogon religion,
whereas the Smith’s hammer was a male symbol.197 Figure 3-2 appears in the
French version of Conversations with Ogotemmêli, (Dieu d’Eau Entretiens Avec
Ogotemmêli). This image shows how important the symbol of the horse was in
association with the Nummo Ancestors. The human hand and upper torso are
clearly human while the lower body is a horse. In most descriptions, the Nummo
Ancestors had a human upper body and a fish-tailed or serpent-like lower body.
These anvils show that both hybrid images were associated with the Eight
Nummo Ancestors.198 The Dogon word in the Wazouba language for “horse”
35
The Nummo
meant “power.” A horseman, symbol of Amma, was sometimes placed next to or

on a horse, which was a symbol of the Nummo.199 The god Amma, who was
symbolic of the colour white, was associated with the source DNA that became
corrupted on Earth.
Figure 3-3. Celtic goddess Epona 5th Century BC to 5th Century AD200
I believe the Celtic horse goddesses Epona and Rhiannon, and the Greek
goddess Demeter, who was likewise associated with a horse, are later
representations of the Nummo. An early representation of a mare with a
Gorgon’s head was found in ancient Boeotia, Greece.201 Figure 3-3 is a Gaul-
Roman bas-relief made from the marble of Saint-Béat in the South of France
representing the Celtic goddess Epona, dated around 5th century BCE to 5th
century AD. Notice the aquatic figures, a dolphin and other fish surrounding
Epona further associating her with descriptions of the Nummo. There is also a
relief of a rose and a fire wheel. The fish tailed horned bull is an important figure
on this relief. A depiction of the great underwater or underground wildcat known
as Mishipeshu (also Mishibijiw in Ojibwe) from the National Museum of the
American Indian, shown in my third book, Day of the Fish, depicts him with
similar bull’s horns. Mishipeshu was the most important of the underwater animals
for the Ojibwe. Earlier I identified Lébé with the Celtic god Lugh Llew Llaw
36
Gyffes. In The Rose, I refer to the fact that the Cumbric word llewn associated with
Lugh Llew Llaw Gyffes meant lynx in an ancient language related to the Celtic
Welsh.202 Mishipeshu translates into “the Great Lynx”,203 revealing an association
between these two figures.
Graves also identifies the Muse Cardea-Cerridwen with the “Lady of the
Lake” or “The White Lady of Day.” “Cerridwen’s name is composed of the
words cerdd and wen. Wen means ‘white’ and cerdd in Irish and Welsh means ‘grain’
and also ‘the inspired arts, especially poetry.’”204 The reference to Cardea-
Cerridwen inspiring cerddeu, “poems,” or, in Greek, cerdeia may associate her with
the Master (Mistress) of Speech, and “the Word”, which along with grain was a
symbol of DNA in the Dogon religion. According to Graves, Cerridwen’s name
is like the Greek words cerdos and cerdia, from which derives the Latin cerdo, a
craftsman.”205 Cardea was worshipped as the White Goddess by the Latins, and in
his Fasti, Ovid connects her with the word cardo, “hinge.” According to Ovid, she
was the mistress of Janus, the two-headed god of doors, who was depicted as two
males joined back to back. Janus’ wife was Jana, who was Diana (later conflated
with Artemis). The Nummo twins were also depicted joined back to back, one
side female and one side male.206 Cardo, “hinge,” is the same word as cerdo,
“craftsman.” Ovid also wrote that “Her power is to open what is shut; to shut
what is open.” The Irish god of craftsmen, Credne, who specialized in hinges,
locks, and rivets, originally claimed the goddess Cerdo or Cardea as his
patroness.207 This associates Credne with the Smith in the Dogon religion.
The references to doors and locks involving Cardea, Jana and Janus, are
important since according to the Dogon, one of Amma’s doors was locked and
represented what Amma kept for himself, whereas the other had the key in the
lock and represented what Amma was prepared to open and give to humanity.
Keys represented chromosomes in the Dogon religion. (These associations will be
referred to in Chapter 11, The Door of the World.) Cardea was likewise
associated with beans, an important reference that also links her to the Dogon
god Amma and the Jackal, who was likewise identified with beans and the colour
white. This suggests a sexual reversal of some of the male and female
characteristics.
Cerridwen was a white sow-goddess who was equated with the sow,
Demeter. This is important since the boar was a symbol of the sacrificial king
figure. In Greek mythology, Demeter and Persephone were worshipped together
as the Twain.208 “In Greek myth she [Persephone] symbolized dying vegetation,
as her mother, Demeter, represented revived and growing vegetation.”209
According to Vicki Noble, they were also known as “the Demetres, a name that
stresses the oneness of their divinity…one goddess in two guises.”210 This relates
to the Master (Mistress) of Speech in the Dogon religion, who was perceived as
being part human, which signified mortality (death), and part Nummo, which
signified immortality (life). Because the Master (Mistress) of Speech was
androgynous, she was identified as a ‘twin’. Demeter was not only the Greek
Grain Mother but she was associated with fire. In the Dogon religion, grain
represented the biological nature and fire represented the spiritual nature. The
smithy, which was the Nummo spaceship, was also a granary. In Demeter’s myth,
37
The Nummo
when she cared for the child, Demophoon, son of Keleos, the disguised goddess
exposed him to the full strength of the fire every night like a billet of wood that
was being made into a torch. Through this process, the goddess was attempting
to turn him into a never-ageing immortal.211 This burning to create immortality is
similar to Demeter’s reviving ceremony, involving cooking, referred to in Chapter
1. Demeter and Persephone were referred to in detail in The Master (Mistress) of
Speech.212
Cerridwen likewise appears in the Celtic Book of Taliesen, which tells of a
magical cauldron of regeneration and the birth of the poet Taliesen. Taliesen was
originally named Gwion. He was guarding Cerridwen’s cauldron when a few
drops of the liquid fell on his finger. He stuck his hand in his mouth and was able
to hear everything in the world and understand both past and future. He knew
Cerridwen would be angry when she found out, so he ran away. Gwion changed
himself into a hare, then a fish, an otter, a bird, a hawk, and a grain of wheat,
which Cerridwen, who had transformed into a hen, finally caught and swallowed.
She became pregnant and in nine months bore Gwion, who was renamed
Taliesen.213 According to Graves, in the Hans Taliesen, Gwion has been named
Merlin (Merddin), ‘dweller in the sea’, and he had also been called John the
Baptist.214 The swallowing myth is associated with the swallowing and
regurgitated of Lébé, which is indirectly referring to the regeneration of the
Jackal. These myths are about the sacrifice of the male for regeneration.
The collective ritual hunt in the Dogon religion, which involved the
regeneration of the Jackal, and which will be referred to in more detail later, was
called tala. The men of the entire Dogon community performed the hunt before
the sowing feast.215 In the Dogon religion, the Master (Mistress) of Speech
(Seventh Ancestor) played a key role in the hunt. In Greek myth, Artemis was
known as the Goddess of the hunt. In the Arthurian legends, King Arthur was
likewise the Master of the hunt. Is the Dogon name tala representing the Dogon
ritual hunt associated with the word Taliesen? Stories related to the Indo-European
root word tela are related to the sacrifice of the king. The same symbolism keeps
appearing in these myths relating to thieving, dismemberment, dogs, sacrifice, and
regeneration. This is similar to the Dogon ritual hunt, tala, where the thieving
Jackal was also regenerated.
According to Graves:
Taliesen’s name in Welsh means ‘radiant brow’, a characteristic of Apollo’s,

but the ‘Tal’ syllable is often present in the primitive names of Hercules. In
Crete he was Talus, the man of bronze, whom Medea killed. In Pelasgia he
was the tortured Tan-talus, from whose name the word ‘tantalize’ derives.
The Irish Tailltean Games are probably called after an agricultural Hercules
the first syllable of whose name was Tal. In Syria he was Telmen. In Greece
he was Atlas Telamon and ‘Atlas’, like ‘Telamon’, was derived from the root
Tla or Tal which contains the senses ‘take upon oneself’, ‘dare’, and ‘suffer’.
Dr. MacCulloch suggests that ‘Taliesin’ is also a divine name and that the
swallowing of the grain of corn by the black hen in the Romance of Taliesen
proves Taliesin to have been a Barley-god.216
38
The collective Dogon ritual hunt, the tala, performed before the sowing feast
may have some ancient association with the Irish Tailltean Games, which Graves
said were probably named after the agricultural Hercules, the first syllable of
whose name was “Tal”. The story of Taliesen is the same story of the death of
the sacred king that I refer to in The Master (Mistress) of Speech. Gwion essentially
stole immortality from Cerridwen in the same way that the Jackal stole the
immortal fire representing the Nummos’ DNA. As a result of these events, the
Jackal had to die and was indirectly regenerated into Lébé. Barley is associated
with beer-brewing and the fermentation of the seeds, which was referred to
earlier.
Figure 3-4. Atlas and the Hesperides by John Singer Sargent (1925)217
According to The American Heritage Dictionary of Indo-European Roots, the

English root tela means “to lift and to support.” A suffixed form of tela is telamon,
“supporter, bearer.” The root may also be related to the Greek gods Atlas and
Tantalus. Atlas and his brother, the fire stealer Prometheus, were referred to in The
Master (Mistress) of Speech. Prometheus stole fire from Zeus in the same way that
the Jackal stole fire from the Nummos’ workshop. Atlas’ carrying of a great
burden may identify him with the Nummo, who had the responsibility of
regenerating humans after the failed experiment. The Nummos’ experiment
affected the entire galaxy, so Atlas holding up the heavens is appropriate.218 Atlas
is depicted in this oil painting with the Hesperides, Figure 3-4, by John Singer
Sargent. The Hesperides play an important role in the events that happened and
are referred to in greater detail in The Rose: Dogon Star Knowledge. “Atlas, known as
the god of dangerous wisdom, was well acquainted with the depths of the sea. In
39
The Nummo
earlier times, he owned the pillars that held the earth and sky asunder.” Atlas was
perceived as a giant condemned to eternal toil at the western edge of the Earth,
while Prometheus suffered his punishment at the eastern edge.219 The name
Atlantis comes from his name. Atlantis, which is associated with the events that
happened on Earth, is analyzed in more detail in The Master (Mistress) of Speech.
Tantalus was the name of a legendary king known as “the sufferer”.220 Not
only did he betray Zeus’ secrets and steal divine food to share among his mortal
friends, but he also stole a golden dog, and—most famously—cut up his own
son, Pelops, and added the pieces to the stew prepared for the Olympians. (This
is similar to what the sons of Lycaon did to their brother, Nyctimus, which is
referred to in The Master (Mistress) of Speech.) Eating is associated with the sacrifice
and regeneration process. To punish Tantalus for such evil deeds, Zeus ruined
Tantalus’ kingdom and forced him to hang from the bough of a fruit-tree over a
marshy lake in the underworld to be forever consumed by thirst and hunger. An
enormous stone hung over the tree and eternally threatened to crush his skull.221
This represents the same thing as Prometheus’ punishment. It symbolizes
mortality and the human condition.
In the thirteenth century poem attributed to Taliesen, it was written that only
the breath of nine virgins could heat the cauldron of Annwn, the subject of
Arthur’s quest.222 These nine virgins may be identified with the Eight Ancestors
and Lébé, who were associated with virgins because they were self-fertilizing and
immortal. The Nummo’s ability to perform genetic engineering and creation may
have contributed to the image of the virgin and the cauldron. Earlier the nine
stars of the Pleiades were associated with the harvest and symbolized the Eight
Ancestors plus Lébé, who was identified with the number nine, which was
chieftainship.223
Another Arthurian story is that of Gawain and the shape-shifting Green
Knight who rode a green horse.224 Since the Nummo were green and were
symbolized by a horse, I attribute this to story to Dogon mythology. The tale of
Sir Gawain and the Green Knight ends with the revelation that the entire episode was
a creation of Morgan le Fay, who was trying to test Arthur and his knights.
Geoffrey of Monmouth reported that Morgan could fly and change her shape.
These are attributes that identify the Nummo, who were shape shifters and could
fly. Morgan was likewise the leader of the nine maidens of Avalon who took King
Arthur away in a barge after the Battle of Camlann. She was a healer who healed
the king’s mortal wounds.225 The Eight Ancestors and Lébé may be associated
with the nine maidens in this Arthurian story. Morgan le Fay’s personality was
often associated with Cerridwen, referred to earlier.226 Cerridwen was likewise
identified with Demeter and Demeter in turn with Rhiannon.
Earlier, I identified the Eight Ancestors with the Sirens of Greek mythology.
Graves likewise identified the birdwoman image of the Sirens with the Birds of
Rhiannon, who mourned for Bran and other heroes:
Sirenland is best understood as the sepulchral island which receives the dead
king’s ghost, like Arthur’s Avalon; the Sirens were both the priestesses who
mourned for him, and the bird that haunted the island-servants of the Death-
40
goddess. … Pairs of Sirens were still carved on tombs in the time of

Euripides, and their name is usually derived from seirazein, ‘to bind with a
cord’.227
The “Cord of God”, which was wrapped around the individual during the
Nummos’ regeneration process, may be associated with this reference by Graves.
According to Graves, by the time the “Biblical legend of Adam and Eve reached
North-Western Europe, the fruit of the Tree of Knowledge of Good and Evil
was understood as an apple- not as a fig, despite the fig-leaf context.” The apple
tree was considered the tree of immortality and “the poets of Wales were always
aware of its spiritual pre-eminence… Where did King Arthur go to be healed of
his grievous wounds? To the Isle of Avalon, the secret ‘island of apple trees.’”228
Humans were created in omphalos, or navel, stones and some of the images
associated with these stones depict them unraveling like trees. I believe this image
later became associated with the Tree of Life. Since these rods coming from the
stones became related to the Tree of Life and the creation of humanity, I
associate the stones on the end of the strands with the mythology of the apple in
the Garden of Eden.229 I refer to the Adam and Eve myth in my first book and
associate it with the creation and regeneration in the Dogon religion.
The apples from the Tree of Knowledge of Good and Evil in the Garden of
Eden may have been identified with precious stones in other myths. For instance,
precious stones appear in the Epic of Gilgamesh, when the hero is searching for the
plant of immortality and arrives at the mountain where scorpion men guard the
gate. One of the scorpion men opens the gate, and Gilgamesh goes in and finds a
great park and a wonderful tree that bears precious stones as its fruit. Its branches
are exceedingly beautiful and at its top is lapis lazuli, which is a blue stone that
dazzles the eye. Gilgamesh next arrives at the home of a mysterious female who
tells him that when the gods created humans, “they apportioned death to
mankind; and retained life to themselves.” She tells him to enjoy everything the
Earth has to offer because that is his lot in life.230 In Dogon mythology, humans
were supposed to live and die until they had spiritually evolved back into
immortal beings. The scorpion was a symbol of “twinness,” meaning androgyny,
and symbolized the Nummo Ancestors. The symbol of the scorpion appears in
the zodiac and was referred to in The Master (Mistress) of Speech.231
The association of the Holy Grail with a precious stone appears in Wolfram’s
Parzival, where the sparkling and radiant “lapsit exillis stone was borne by a young
queen, daughter of a line of royal custodians chosen by the Grail itself.232 It is
believed that the word lapsit exillis is derived from the words lapis ex coelis or lapis
de coelis, both of which mean: ‘the stone from the heavens’. Bodo Mergell even
suggests that lapsit exillis might be a contraction of lapis lapsus ex illis stellis, which
translates as: ‘the stone which came down from the stars.’”233
The traditions concerning the quest for the Holy Grail are closely linked with
that of Percival and King Arthur.234 The Grail quest makes up an important
segment of the Arthurian cycle, appearing first in works by Chrétien de Troyes, a
French poet of the twelfth century. The legend appears to be composed from a
combination of Christian lore and Celtic myth involving a cauldron endowed with
41
The Nummo
special powers.
There are two veins of thought concerning the Grail’s origin. The first,
championed by Roger Sherman Loomis, Alfred Nutt, and Jessie Weston,
holds that it derived from early Celtic myth and folklore. Loomis traced a
number of parallels between Medieval Welsh literature and Irish material and
the Grail romances, including similarities between the Mabinogion’s Bran the
Blessed and the Arthurian Fisher King, and between Bran’s life-restoring
cauldron and the Grail. Other legends featured magical platters or dishes that
symbolize otherworldly power or test the hero’s worth. Sometimes the items
generate a never-ending supply of food, sometimes they can raise the dead.235
Figure 3-5. Mosaic at Lydney Park236
In Sir Thomas Malory’s, Le Morte D’Arthur, it was the Fisher King who was
the keeper of the Holy Grail. I believe the Fisher King symbolizes the fish-tailed
Nummo. The Fisher King, who appears in the first Grail story by Chretien de
Troyes, was “crippled” and spent most of his time fishing.237 He was impotent
and early versions suggest that his kingdom suffered as he did, with his impotency
affecting the fertility of the land and reducing it to a barren wasteland.238 The
Fisher King may be associated with the single-sexed male Jackal, who wasn’t able
to fertilize himself and was associated with the Nummo, whose world had been
dying, which is why they ended up on Earth in the first place. The Jackal was
responsible for the destruction of the Earth, or the wasteland. It was in the guise
of the Smith that he destroyed the Earth. The name Nodens, which is associated
with the Fisher King of the Arthurian legends, was the Irish form of Nuada,
which has been traced to the root nuta, meaning “fisher.” Nodens’ links with the
sea are supported by this mosaic at Lydney Park in Gloucestershire, Figure 3-5,
which shows Nodens with tritons surrounded by marine creatures.239 Nodens was
also identified with the Roman god Mars,240 whose symbolism is associated with
the Dogon Jackal. The Smith’s hammer and arrow appear in this mosaic.
Arthur’s pot or cauldron may be associated with the regeneration and
creation of humans in the smithy. “Dyrnwch Wyddel (the Irishman) is a figure
42
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Title: Kaksi rakastavaista
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KAKSI RAKASTAVAISTA
Kirj.
ROMAIN ROLLAND
Ranskankielestä suomentanut
Eino Voionmaa
Porvoossa, Werner Söderström Osakeyhtiö, 1921.
Amori
Rakkaudelle
Pacis amor deus —

Rauhan rakkaus jumala
(Propertius)
1.
Pierre hävisi maanalaiseen. Raakaa, kuumeista väkeä. Lähellä

ovea seisten, puristuneena ihmisolioita täynnä olevaa penkkiä vasten
ja hengittäen näiden suun kautta kulkenutta huonoa ilmaa katseli
hän, heitä näkemättä, mustia ja jyliseviä holveja, joita pitkin junan
kiiluvat valot liukuivat. Hänen mielessään oli sama synkkyys, sama
tuike, ankara ja väräjävä. Palttoon kaulus pystyssä, sen sisään
tukehtumassa, käsivarret pitkin ruumista ja huulet
yhteenpusertuneina, otsa nihkeänä hiestä, ja vähänväliä, kun ovi
avattiin, kylmänä ilman vedosta, koetti hän olla näkemättä,
hengittämättä, ajattelematta, koetti olla elämättä. Nuoren
kahdeksantoistavuotiaan pojan sydän, melkein lapsen vielä, oli
täynnä synkeätä epätoivoa. Hänen yllään, tämän pimeän
holviverhon, tämän rotankolon yllä, jossa ihmistoukkia kihisevä
metallihirviö vilisti — oli Pariisi, lumi, tammikuun kylmä yö, elämän ja
kuoleman painajainen, — sota.
Sota. Siitä oli neljä vuotta, kun se oli alkanut. Se oli painanut
hänen nuorukaisikäänsä. Se oli yllättänyt hänet sinä murroskautena,
jolloin nuorukainen levottomana aistiensa heräämisestä huomaa
säikähtyneenä petomaiset, sokeat, murskaavat voimat elämässä,
jonka raadeltavaksi hän on joutunut, vaikka ei ollut pyytänyt
elämään päästä. Ja jos hän on helläluontoinen, herkkäsydäminen,
hentoruumiinen, kuten Pierre, niin tuntee hän tympäisyä, kauhua,
jota hän ei uskalla tunnustaa muille rehevän ja raatelevan luonnon
tylyyden, saastan, mielettömyyden vuoksi — tämän viruvan emäsian
vuoksi, joka syö sikiönsä. — Jokaisessa kuusitoista-,
kahdeksantoistavuotiaassa nuorukaisessa on hiukan Hamletin sielua.
Älkää vaatiko häntä ymmärtämään sotaa! (Hyvä teille, vakaantuneet
miehet!) On yllinkyllin, jos saa hänet ymmärtämään elämää ja siihen
sopeutumaan. Tavallisesti hän hautautuu unelmiin ja taiteeseen,
kunnes hän on tottunut uuteen hahmoonsa ja kotelo on suorittanut
ahdistavan kulkunsa toukasta hyönteiseksi. Rauhaa ja
ymmärtämystä hän tarvitsee näinä elämän kypsymisen utuisina
huhtikuun-päivinä! Mutta hänet etsitään piilopaikkansa perältä,
raastetaan esiin varjosta, uuden keden arimmillaan ollessa, heitetään
julmalle näkymölle, tylyyn ihmisjoukkoon, jonka hurjuus ja viha
hänen täytyy hetipaikalla omaksua, niitä ymmärtämättä ja
saattamatta sovittaa.
Pierre oli ikäluokkansa, kahdeksantoista-vuotiasten lasten, mukana

kutsuntavuorossa. Kuuden kuukauden kuluttua tarvitsi isänmaa
hänen lihaansa. Sota vaati häntä. Kuusi kuukautta hengähdyksen
aikaa. Kuusi kuukautta. Jos edes voisi sen ajan olla ajattelematta!
Jäädä tähän maanalaiseen! Näkemättä enää julmaa päivänvaloa!…
Hän painautui varjoon kiitävän junan mukana ja sulki silmänsä…
Kun hän jälleen ne avasi — oli muutaman askeleen päässä

hänestä, kahden vieraan ihmisen erottamana, nuori tyttö, joka juuri
oli noussut junaan. Aluksi ei hän nähnyt tytöstä muuta kuin hienon
profiilin hatun varjossa, vaalean suortuvan laihahkolla poskella,
viehkeälle poskipäälle sattuvan valon, nenän ja ylähuulen veikeän
piirteen ja puoliksi avoimen suun, joka vielä värisi kiireisestä
juoksusta. Tyttö astui hänen silmiensä portin kautta hänen
sydämeensä, astui kokonansa, ja portti sulkeutui. Ulkoa kuuluva
melu vaikeni. Hiljaisuus. Rauha. Hän oli siellä.
Hän ei katsahtanut Pierreen. Ei edes tiennyt vielä, että hän oli

olemassakaan. Ja oli kuitenkin hänen sisässään! Pierre piti hänen
sanatonta, sykkyräistä kuvaansa sylissään eikä uskaltanut hengittää,
pelosta että hänen henkäyksensä haihduttaisi sen…
Seuraavalla asemalla sekasortoinen tungos. Kirkuen syöksyi

ihmisiä jo täyteen vaunuun. Pierre tunsi ihmisaallon työntävän,
kantavan häntä. Holvin yllä, ylhäällä Kaupungissa ankaria
pamahduksia. Juna lähti taas. Tällä hetkellä syöksi asemanportaita
alas huumaantunut mies, joka peitti kasvojaan käsillään ja kaatui
maahan. Ehti juuri nähdä, että hänen sormiensa välistä pursui
verta… Taas tunneli ja yö… Vaunussa kauhun huutoja: "goottilaiset
ovat tulleet!…" Yleisessä jännityksessä, joka sulatti nämä
yhteensulloutuneet oliot yhdeksi, oli Pierren käsi tarttunut käteen,
joka hipaisi häntä. Ja avatessaan silmänsä näki hän, että se oli Hän.
Tyttö ei vetänyt kättään pois. Pierren sormien puristukseen

vastasivat sormet levottomina, vähän hermostuneina ja jäivät sitten
suloisina, polttavina paikalleen, hievahtamatta. Näin seisoivat he
sitten suojelevassa varjossa, kädet niinkuin kaksi samassa pesässä
hykertelevää lintua; ja heidän sydämensä veri juoksi yhtenä ainoana
virtana kätten lämmön kautta. He eivät sanoneet sanaakaan. Eivät
tehneet pienintäkään liikettä. Hänen suunsa melkein hipaisi
suortuvaa poskella ja korvan reunaa. Tyttö ei katsonut häntä.
Kahden asemavälin perästä irroitti hän itsensä Pierrestä, joka ei
häntä pidättänyt, solui tungoksen välistä ulos ja meni menoansa
Pierreä näkemättä.
Tytön lähdettyä ajatteli Pierre seurata häntä… Liian myöhään. Juna
oli liikkeessä. Seuraavalla pysäkillä astui hän ulos ja nousi pinnalle.
Hän tapasi taas yöllisen ilman, muutamien lumihiutaleiden
näkymättömän hipaisun ja pelästyneen ja pelostaan huvitetun
Kaupungin, jonka yllä sangen korkealla liitelivät sotalinnut. Mutta
hän ei nähnyt muuta kuin sen, joka oli hänen sisässään; ja hän
palasi kotiansa, pitäen tuntemattoman kättä.
2.
Pierre Aubier asui vanhempainsa luona lähellä Clunyn puistikkoa.

Hänen isänsä oli virkamies; hänen kuutta vuotta vanhempi veljensä
oli ollut rintamalla sodan alusta saakka. Hyvä, porvarillinen,
aitoranskalainen perhe, herttaisia ja sävyisiä kunnon ihmisiä, jotka
eivät milloinkaan olleet uskaltaneet ajatella itse ja hyvin luultavasti
eivät edes epäilleet semmoista mahdolliseksikaan. Peräti rehellisenä,
virkansa velvollisuuksia korkeasti kunnioittavana olisi presidentti
Aubier suuttunut ja mitä suurimpana loukkauksena torjunut epäilyn,
että hänen arvosteluunsa olisi saattanut vaikuttaa muut näkökohdat
kuin oikeudenmukaisuuden ja hänen omantuntonsa ääni. Mutta
hänen omantuntonsa ääni ei ollut koskaan puhunut (tai
sanoisimmeko: edes kuiskannut) hallitusta vastaan. Se oli
syntyperäisin virkahenkinen. Se ajatteli vaihtelevasti, mutta varmasti
Valtion toiminnan mukaan. Olemassa oleva valtiovalta oli hänestä
pyhitetty selviö. Hän ihaili hartaasti entisaikojen teräksisiä luonteita,
vapaita ja taipumattomia suuria virkamiehiä; ja uskoi kukaties
salassa kuuluvansa heidän riviinsä. — Rouva Aubier taas oli yhtä
hyvä kristitty kuin hänen puolisonsa oli hyvä tasavaltalainen. Yhtä
hartaasti ja rehellisesti kuin mies asettui valtiovallan kuuliaiseksi
välineeksi kaikkea vapautta vastaan, joka ei ollut virallinen, liitti
vaimo rukouksensa, täydellisessä sydämen puhtaudessa, niihin
miesmurhan pyyntöihin, joita sotaa varten sommittelivat Euroopan
kaikissa maissa katoliset papit, protestanttiset pastorit, rabbiinit ja
poopat, tämän ajan lehdet ja oikein ajattelevat ihmiset. — Ja
molemmat, isä ja äiti, jumaloivat lapsiansa, tunsivat oikeina
ranskalaisina heitä kohtaan vain syvää, järkkymätöntä rakkautta,
olisivat uhranneet heille kaikki ja, tehdäkseen niinkuin muutkin,
uhrasivat heidät epäröimättä. Kenelle? Tuntemattomalle jumalalle.
Kaikkina aikoina on Abraham vienyt Iisakin polttoroviolle. Ja hänen
kunnioitettu kiihkonsa on vieläkin esikuvana kurjalle ihmiskunnalle.
Tämän kotilieden piirissä oli, niinkuin usein on laita, paljon

rakkautta, mutta avomielisyyttä ei vähääkään. Kuinka voisikaan
ajatuksia vapaasti vaihtaa, kun kukin karttaa katsoa edes omansa
pohjaan. Jos joku jotain tunteekin, niin hän tietää, että täytyy
säilyttää määrätyt uskonkappaleet; ja jos asia on arkaluontoista jo
silloinkin, kun uskonkappaleet pysyvät niille vedettyjen rajojen sisällä
(kuten, ylimalkaan, on haudantakaista koskevien laita), mitä
sanotaankaan, jos ne pyrkivät sekaantumaan elämään, sitä
kerrassaan määräämään, niinkuin maalliset ja pakolliset
uskonkappaleemme tekevät! Menkääpäs unohtamaan Isänmaan
uskonkappale! Uusi uskonto taannutti meidät Vanhaan
Testamenttiin. Se ei tyytynyt huulten tunnustuksiin ja lapsellisiin
menoihin, terveydenhoidollisiin, naurettaviin, kuten
uskontunnustukseen, perjantain paastoon, sunnuntain lepoon, jotka
olivat haltioittaneet "filosofiemme" intoa niinä, aikoina, jolloin kansa
oli vapaa — kuninkaiden alla. Se vaati kaikki, se ei tyytynyt
vähempään: ihmisen kaikkinensa, hänen ruumiinsa, hänen verensä,
hänen elämänsä ja ajatuksensa. Varsinkin hänen verensä. Meksikon
aztekkien jälkeen ei jumala milloinkaan ole ollut näin ahvattu. Olisi
kovin kohtuutonta sanoa, että uskovaiset eivät siitä kärsineet. He
kärsivät, mutta uskoivat. Voi raukat ihmisveljeni, joille kärsimyskin on
jumalaisen todistus!… Hra ja rva Aubier kärsivät samoin kuin muut ja
jumaloivat samoin kuin muut. Mutta eihän voinut vaatia nuorelta
pojalta tätä sydämen, aistien ja terveen järjen kieltämistä. Pierre olisi
tahtonut ymmärtää ainakin sen, mikä häntä ahdisti. Kuinka
polttivatkaan häntä kysymykset, joita hän ei voinut tehdä! Sillä
kaikkien ensimmäinen sana olisi ollut: "Mutta jos minä en siihen
usko!" — Jo se olisi herjaus. — Ei, hän ei voinut puhua. He olisivat
katseellaan ilmaisseet hämmästynyttä, paheksuvaa typertymystä,
tuskaa, häpeää. Ja kun hän oli siinä plastillisessa iässä, jolloin sielu,
iholtaan ylen ohuena, väreilee pienimmistäkin ulkoa tulevista
henkäyksistä ja niiden salakähmäisissä sormissa vapisten
muovautuu, tunsi hän itsensä ennakolta itse surulliseksi ja
häpeäväksi. Ah! kuinka he kaikki uskoivat! (Mutta uskoivatko he,
kaikki?) Mitenkä he sitten tekivät? — Sitä ei uskaltanut kysyä.
Uskottomana yksinänsä kaikkien keskessä, jotka uskovat, on kuin
vailla jotakin elintä, ehkäpä tarpeetontakin, mutta joka kaikilla muilla
on; ja punastuen peittää vajavainen alastomuutensa toisten silmiltä.
Ainoa, joka olisi voinut ymmärtää nuoren pojan ahdistusta, oli

hänen vanhempi veljensä. Pierre tunsi Philippeä kohtaan sitä ihailua,
joka pienemmillä usein on (mutta jonka he huolellisesti salaavat)
vanhempaa kohtaan, veljeä tai sisarta, vierasta toveria, jopa joskus
hetken haihtunutta näkemystä kohtaan — joka heidän silmissään
toteuttaa kaikki unelmat siitä, mitä he tahtoisivat olla ja mitä he
tahtoisivat rakastaa: siveää ihailua ja sekavan nykyisyyden
herättämää levottomuutta tulevaisuudesta. Iso veli oli huomannut
tämän lapsellisen ihantelun ja oli siitä maireissaan. Vielä äskettäin oli
hän koettanut lukea poikasen sydäntä ja hellävaroen sitä hänelle
selittää: sillä, vaikka hän oli rotevampi, oli hän, samoin kuin
poikanenkin, sitä hienoa laatua, joka parempain ihmisten lapsissa
säilyttää hiukkasen naisellisuutta eikä sitä punastu. Mutta sota oli
tullut ja temmannut hänet pois työstä, opinnoista,
kaksikymmenvuotiaan unelmista, ja avomielisyydestä nuoren veljen
kanssa. Hän oli jättänyt kaikki ensi hetken huumaavassa
innostuksessa, niinkuin suuri hurja lintu, joka nousee avaruuteen
mahtavin ja mielettömin kuvitelmin, että hänen nokkansa ja
kyntensä tekevät lopun sodasta ja palauttavat maan päälle rauhan
valtiuden. Sittemmin oli suuri lintu pari kertaa palannut pesään; ah!
joka kerta yhä pahemmin siipisatona. Hän oli saanut tinkiä paljon
kuvitelmistaan, mutta tunsi itsensä siitä liian masentuneeksi sitä
sanoakseen. Häntä hävetti, että oli niihin uskonut. Tyhmyyttä, ettei
osannut huomata elämää semmoiseksi kuin se on! Nyt pyrki hän
kiihkeästi irtautumaan sen lumoista ja kylmästi katsomaan sitä siksi,
mikä se on. Hän ei ruoskinut vain itseänsä; hänen pettymyksensä
ajoi häntä ruoskimaan omia unelmiansa myöskin nuoren veljen
sydämessä, jossa hän näki niiden uusiutuvan. Kun Pierre, hänen
ensimmäistä kertaa palatessaan, oli sielunsa telkeämistä kuumeisena
rientänyt hänen luokseen, oli häntä heti jäätänyt vanhemman veljen
vastaanotto, herttainen tosin, kuten aina, mutta sävyssä jotakin
nimettömän kitkerää ivaa. Kysymykset, jotka pursuivat hänen
huulillaan, nielaisi hän samassa takaisin. Philippe näki niiden tulevan,
mutta yhdellä sanalla ja katseella ehkäisi ne. Parin kolmen yrityksen
jälkeen luopui Pierre kyselystä, sydän suruisena. Hän ei tuntenut
enää veljeänsä.
Veli puolestaan tunsi hänet hyvin. Tunsi hänessä sen, mitä hän
taannoin itse oli ollut eikä enää voinut olla. Mutta pani hänet
maksamaan sen. Jälkeenpäin se häntä säälitti, mutta hän ei sitä
näyttänyt ja teki sen uudelleen. Molemmat kärsivät; ja
väärinkäsityksestä, joka sattuu hyvinkin usein, tämä heidän toinen
toiselleen niin läheinen kärsimyksensä, jonka olisi pitänyt heitä
yhdistää, loitonsi heitä. Ainoa ero heidän kärsimystensä välillä oli,
että vanhempi tiesi sen läheiseksi, mutta Pierre luuli olevansa
kärsimyksinensä yksin, ilman ketään, jolle voisi sen ilmaista.
Miksei hän sitten kääntynyt ikäistensä, koulutoveriensa puoleeni

Olisihan luullut näiden nuorukaisten voivan liittyä yhteen ja olla
toinen toisensa tukena. Mutta siitä ei tullut mitään. Paha sattuma piti
heitä päinvastoin erillään, hajaantuneina pieniin ryhmiin, vieläpä
näiden pikkuruisten ryhmienkin keskuudessa erillisinä ja
sulkeutuneina. Typerimmät olivat silmät kiinni sukeltaneet pää edellä
sotakuulumiin. Useimmat pidättyivät siitä eivätkä tunteneet mitään
yhteisyyttä edellisten miespolvien kanssa; he eivät missään
suhteessa tunteneet niiden intoa, toivoa ja vihaa; he katselivat tätä
raivopeliä, niinkuin raittiit ihmiset katsovat juopuneita. Mutta mitä
mahtoivat he tuolle metelille? Monet olivat perustaneet pieniä
viikkolehtiä, joiden elämä sammui ensimmäisiin numeroihin ilman
puutteesta; sensuuri poisti ilman; kaikki Ranskan ajatus oli ilmatiiviin
kuvun alla. Etevimmät nuorista miehistä tiesivät ennakolta
joutuvansa laskemaan niskansa sodan kirveen katkaistavaksi, mutta
olivat liian heikkoja nousemaan kapinaan ja liian ylpeitä
ruikuttamaan. Odottaessaan teurastusvuoroansa katselivat ja
arvostelivat he hiljaisuudessa, kukin kohdaltaan, muutamat
välinpitämättömän ylenkatseellisina, enimmät ivallisina.
Halveksuvasta vastarinnasta laumakantaa vastaan olivat he
heittäytyneet jonkinlaiseen henkiseen ja taiteelliseen yksilöisyyteen,
aatteelliseen aistimusoppiin, jossa ahtaalle ajettu personallisuus vaati
oikeuksiansa ihmisten yhteistyttämistä vastaan. Mainio
yhteistyttäminen, joka näiden nuorukaisten mielestä ilmeni
ainoastaan siinä, että pantiin yhdessä nipussa murhattavaksi!
Varhainen kokemus oli kuihduttanut heidän kuvitelmiansa: he olivat
nähneet, mitä nämä kuvitelmat merkitsivät heitä vanhemmille ja että
he, jotka eivät niihin uskoneet, saivat kuitenkin ne maksaa
hengellänsä. Heidän luottamuksensa oli sammunut ikäisiinsäkin
nähden, ihmisiin ylimalkaan. Tähän aikaan ei kannattanut luottaa
kehenkään! Joka päivä toi julki jonkun ajatusten, yksityiskeskustelun
ilmiannon, jonka oli tehnyt joku isänmaallinen urkkija, jonka intoa
hallitus palkitsi ja kannusti. Niinpä nuorukaisetkaan —
pettymyksestä, halveksumisesta, varovaisuudesta, oman ajatuksensa
yksinäisyyden tunteesta — eivät hevin ilmaisseet ajatuksiaan toinen
toisellensa.
Pierre ei voinut heidän joukostaan löytää Horatiota, jota

kahdeksantoistavuotiaat pikku Hamletit hakevat. Kun hänen
ajatuksensa poikkeaminen yleisestä mielipiteestä (tuosta portosta)
häntä kammoksutti, tunsi hän tarvetta yhtyä vapaasti oman
valintansa mukaisiin sieluihin. Hän oli liian hento voidakseen tyytyä
itseensä. Hän kärsi yleistä kärsimystä. Se musersi hänet surunsa
summalla, jota hän suurenteli: — sillä kun ihmiskunta sitä kaikesta
huolimatta sietää, niin sillä on paksumpi nahka kuin heiveröisen
nuorukaisen herkkä iho. — Mutta se, mitä hän ei suurennellut ja
mikä sattui häneen vielä kipeämmin kuin maailman kärsimys, oli sen
typeryys.
Mitäs on kärsiä, mitä kuollakaan, kun näkee sen tarpeellisuuden.

Uhri on hyvä, kun ymmärtää minkä vuoksi. Mutta mitä järkeä on
maailmalla ja sen repelemisellä nuorukaisen mielestä? Mitenkä, jos
hän on vilpitön ja puhdas, saattaa hän ottaa osaa kiihtyneiden
kansojen sekavaan tappeluun, jotka ovat kuin typerät pässit kuilun
partaalla, jonne he kaikki kierähtävät? Olihan tie kuitenkin kyllin
leveä kaikille. Miksikä siis tämä raivo ruveta itseänsä raatelemaani
Miksikä näitä korskuvia isänmaita, näitä rosvoavia valtioita, näitä
kansoja, joille opetetaan murhaamista velvollisuudeksi! Miksikä
varsinkaan ihmisten tappamista? Miksikä pitää maailman syödä
itsensä? Miksikä tämä kaamea, hirvittävä ja koskaan loppumaton
ketju, jonka jokainen rengas upottaa hampaansa toisen niskaan, syö
sen lihaa, iloitsee sen surusta ja elää sen kuolemasta? Miksikä
taistelua ja miksikä surua? Miksikä kuolemaa? Miksikä elämää?
Miksikä? Miksikä?…
Tänä iltana, kun lapsi tuli kotiin, oli miksikä vaiennut.
3.
Kaikki oli oikeastaan ennallaan. Hän oli papereita ja kirjoja täynnä

olevassa huoneessaan. Ympärillä tavallista kotiliikettä. Kadulta
ilmoitti torvensoitto, että vaaran uhka oli ohi. Portailla tyydytti
jaarittelu kellareista palaavien talonasukkaiden uteliaisuutta. Kerrosta
ylempänä käveli itsepintaisesti edestakaisin vanha naapuri, joka yhä
odotti jo kuukausimääriä sitten kadonneeksi ilmoitettua poikaansa.
— Mutta hänen huoneessaan ei ollut enää niitä huolia, jotka olivat
jääneet sinne väijyksiin.
*****
Sattuu joskus, että mielessä soi jokin soraääninen sävel; se

häiritsee, kunnes siihen liittyy toinen ja joku sattuma soinnuttaa ne
yhteen, vaikka ehkä ovat aivan vastakkaisia ja keskenään kylmän
vieraita, niinkuin vieraissakävijät, jotka eivät tunne toisiaan ja
odottavat esittelyä. Sen tapahduttua on jää murrettu ja molemmissa
viriää sopusointu. Tämän kemiallisen muutoksen hänen mielessään
oli tuo arka ja salainen kosketus aikaansaanut. Pierre ei ollut tämän
muutoksen syystä tietoinen; hän ei ajatellut sen erittelyä. Mutta hän
tunsi että ulkomaailman tavallinen tympäisy oli äkkiä haihtunut.
Vihlova päänkivistys on vaivannut teitä tuntikausia; äkkiä te
huomaatte, että se on poissa; miten se on tapahtunut? Ohimonne
saattavat vielä tykyttää sen muistosta… Pierre oli epäluuloinen
tämän uuden rauhan suhteen. Hän epäili sen vain lyhyen aselevon
varjoon kätkevän hengähtämään asettuneen vaivan julmempaa
palausta. Hän tunsi jo taiteen suomat levonhetket. Kun meidän,
silmiimme tunkeutuu piirteiden ja värien jumalainen sopusuhta, tai
viulun vienosti soidessa väräjää hajaantuvien ja kokoontuvien
sävelten vaihteleva kaunis leikintä sointujen sovun lakien mukaan,
niin syntyy meissä rauha ja ailahtaa ilo. Mutta se on säteilyä, joka
tulee meille ulkopuolelta; voisi puhua auringosta, jonka kaukainen
valo tenhoaa ja nostaa meidät oman elämämme yläpuolelle. Sitä
kestää vain hetken; ja sitten me putoamme takaisin. Taide ei
milloinkaan ole muuta kuin todellisuuden ohimenevä unohdus.
Pelokkaana odotti Pierre samaa pettymystä? — Mutta säteily olikin
tällä kertaa sisäistä. Ei kerrassaan mitään ollut unohdettu. Mutta
kaikki oli sopusoinnussa. Muistot, uudet ajatukset. Jopa esineetkin,
kirjat, paperit huoneessa saivat eloa ja herättivät mielenkiintoa,
jonka ne olivat menettäneet.
Jo kuukausia oli hänen henkinen kasvantansa ollut surkastuneena,

niinkuin nuori puu, jota kesken kukinta-aikaa hyytää jäinen halla.
Hän ei ollut niitä käytännöllisiä poikia, jotka käyttivät hyväkseen
kutsuntaan joutuville ikäluokille myönnettyjä yliopistollisia
helpotuksia kahmaistakseen itselleen kiireesti diploomin tutkijain
armahtavaisesti katsellessa sormien läpi. Ei hän myöskään tuntenut
niiden nuorten miesten epätoivoista intoa, jotka, nähdessään
läheisen kuoleman, syövät kaksinkertaisia suupaloja ja ahmivat
tietoja, joita he eivät voi koskaan käyttää elämässä. Alituinen
lopullisen tyhjyyden tunne, tyhjyyden, joka piili kaikkialla, maailman
julman ja mielettömän välkyttelyn alla — masensi kaiken hänen
intonsa. Hän tarttui johonkin kirjaan, johonkin ajatukseen, — mutta
luopui sitten masentuneena. Mihinkä se johtaa? Mitä varten
opiskella! Miksikä rikastua, jos täytyy kaikki menettää, kaikki jättää,
jos ei mikään teille kuulu? Jotta toiminnalla, jotta tiedolla olisi jotakin
tarkoitusta, täytyy elämällä olla tarkoitus. Mutta ei mikään järjen
ponnistus, ei mikään sydämen rukous saanut siihen tarkoitusta. — Ja
kas nyt, se oli tullut ihan itsestään… Elämällä oli jokin tarkoitus…
Mikä sitten? — Ja etsiessään, mistä tämä sisäinen hymyily tuli,

näki hän puoliavoimen suun, jota vastaan hän palavasti olisi
painanut omansa.
4.
Tavallisena aikana ei tämä hiljainen haltioituminen luultavastikaan

olisi kestänyt. Sinä nuoruuden kautena, jolloin ensin alkaa kaivata
rakkautta, näkee sitä kaikissa silmissä; halukas ja häälyvä sydän
poimii hunajaa kaikkialta; eikä mikään kiiruhda kiintymään yhteen
kohti; sen päivä on vasta alussa.
Mutta tämänpäiväinen päivä on lyhyt: täytyi kiiruhtaa.
Nuorukaisen sydän kiiruhti sitä enemmän, se kun oli myöhästynyt.

Suuret kaupungit, jotka kaukaa katsoen näyttävät aistillisuuden
savuavilta tulikivipesäkkeiltä, suojelevat sielun ja ruumiin puhtautta
ja viattomuutta. Kuinka uskomattoman paljon niissä onkaan
nuorukaisia ja neitoja, jotka kunnioittavat rakkautta ja säilyttävät
aistimensa koskemattomina avioliittoon saakka. Jopa
hienostuneissakin piireissä, missä uteliaisuus näissä asioissa on
keskenkasvuisissa herännyt, miten hämmästyttävää
tietämättömyyttä peitteleekään usein vapailla puheillansa nuori
maailmannaisenalku tai ylioppilas, joka tuntee kaikki eikä tiedä
mitään. Pariisin sydämessä on viattomuuden keitaita, pyhiä
luostarilehtoja, puhtaita lähteensilmiä. Pariisi ei anna kirjallisuutensa
pettää itseänsä. Sen nimessä puhuvat usein vain saastaisimmat. Ja
tiedetäänhän muuten hyvin, että väärä ihmispelko estää monestikin
puhtaita tunnustamasta viattomuuttaan. — Pierre ei tuntenut vielä
rakkautta; ja sen ensimmäinen kutsu kiehtoi hänet.
Hänen ajatuksensa lumoukseen tuli lisäksi vielä se, että rakkaus oli
syntynyt kuoleman siiven alla. Sinä säikähdyksen hetkenä, jona he
tunsivat päidensä yllä pommien vaaran, jona haavoittuneen miehen
verinen näky kouristi heidän sydäntään, olivat heidän kätensä
etsineet toisiansa; ja molemmat olivat siinä tunteneet pelosta
johtuneen värinän ohella tuntemattoman ystävän hyvänsuopaa
lohdutusta. Hetkellinen kädenpuristus! Toinen käsistä, miehen,
sanoi: "Turvaa minuun!" — Ja toinen karkoitti äidillisenä oman
pelkonsa sanoakseen: "Pikkuruiseni!"
Mitään kaikesta tästä ei sanottu eikä kuultu. Mutta nämä sisäiset

mielteet ilmaisi sielu paremmin kuin sanat, tuo koristeverho, joka
peittää ajatuksen. Pierre tuudittautui tähän tunnelmaan. Kuin
olemassaolon valohämyssä väikkyvän kulta-ampiaisen surinaan.
Hänen päivänsä untuivat hänen uuteen raukeuteensa. Yksinäinen ja
alaston sydän unelmoi pesän lämpimyyttä.
Näinä helmikuun alkuviikkoina laski Pariisi viimeisen lentorynnäkön
raunioita ja nuoleskeli haavojansa. Koirakoppiin suljettu
sanomalehdistö ärhenteli kostotoimia. Mutta "Kahlehtivan miehen"
sanan mukaan kävi hallitus sotaa — ranskalaisia vastaan. Alkoi
kavallusjuttujen kausi. Eräs kurja, joka puolusti päätään, jota yleinen
syyttäjä ankarasti vaati, jännitti koko Pariisia, jonka teatterihalu ei
ollut saanut kylläkseen neljästä sotavuodesta ja kymmenestä
miljoonasta kulisseihin kaatuneesta kuolleesta.
Mutta nuorukaisen mieli oli kiintynyt yksinomaan siihen

salaperäiseen vieraaseen, joka oli hänen luokseen tullut. Kumma
voima näillä rakkauden näkemyksillä, jotka olivat sielun pohjaan
painuneet ja kuitenkin muodoltaan aivan epämääräiset. Pierre ei olisi
voinut selittää kasvojen piirteitä tai silmien väriä tai huulten muotoa.
Hänellä ei niistä ollut säilynyt muuta kuin oma liikutuksensa. Kaikki
yritykset palauttaa mieleensä hänen kuvansa epäonnistuivat. Eikä
luonnistanut paremmin, kun hän ryhtyi etsintään Pariisin kaduilla.
Joka hetki luuli hän hänet näkevänsä. Sen aiheutti joku hymy, joku
nuori valkoinen niska, joku katsahdus. Ja sydän alkoi tykyttää. Mutta
ei ollut mitään, ei kerrassaan mitään yhtäläisyyttä näiden
vilahtelevien kuvien ja sen todellisen kuvan välillä, jota hän etsi ja
jota hän luuli rakastavansa. Eikö hän sitten rakastanut? Rakasti
varmasti; juuripa senvuoksi näki hän hänet kaikkialla ja kaikissa
muodoissa. Sillä hän on itse hymy, itse valo, itse elämä. Kun hän itse
löytyisi, tulisi tälle kaikelle kyllä raja. — Mutta hän etsi tätä rajaa,
saadakseen kiinni rakkauden ja omistaakseen sen.
Vaikkei nuorukainen enää milloinkaan näkisi häntä, niin tiesi hän,

että hän oli hän, ja että hän oli pesä. Satama myrskyssä. Majakka
yössä. Stella Maris, Amor. (Miehen tähti, rakkaus). Rakkaus, valvo
yllämme kuoleman hetkellä!…
5.
Pierre kulki Seinen rannalla, pitkin Instituutin sivua, katsellen

hajamielisesti erään vanhojen kirjain kauppiaan näytehyllyä, yhden
niitä harvoja, jotka olivat jääneet uskollisesti paikalleen. Hän oli Pont
des Arts-sillan portaiden kohdalla. Katsahtaessaan ylös näki hän sen
tulevan, jota hän odotti. Piirustuskotelo käsivarrella astui tyttö
portaita alas kuin nuori kauris. Pierre ei harkinnut sekunnin
osaakaan; hän riensi tyttöä vastaan ja noustessaan ylös tätä kohti,
joka oli alaspäin tulossa, kohtasivat heidän katseensa toisensa
ensimmäistä kertaa ja tunkivat toisiinsa. Ja saavuttuaan tytön eteen
hän pysähtyi ja punastui. Ja hämmästyneenä nähdessään Pierren
punastuvan punastui tyttökin. Ennenkuin Pierre sai vedetyksi
henkeään, oli kauriin pieni askel jo mennyt ohi. Kun Pierre sai
voimansa takaisin ja saattoi kääntyä, katosi tytön hame Seinen
rannalle antavaan pylväikköön. Pierre ei yrittänyt häntä seurata.
Nojautuen sillan kaidetta vasten katseli hän omaa katsettansa
vierivän virran kalvossa. Hänen sydämellään oli kotvaksi aikaa uutta
ravintoa… (Oi rakkaat, tuhmat nuorukaiset)
Viikkoa jälkeenpäin Pierre käveli Luxembourgin puistossa, jonka

aurinko täytti kultaisella sulollaan. Tänä surullisena vuonna säteilevä
helmikuu! Unelmoiden silmät auki ja enää tietämättä oikein sitäkö
hän unelmoi mitä näki, vai näkikö sitä mitä unelmoi, raukeudestaan
nauttien, salaperäisen onnellisena, onnettomana, rakastavana,
täynnänsä hellyyttä yhtä paljon kuin aurinkoa hän hymyili
kävellessään, katse hajamielisenä ja huulet tietämättään hymisten
erästä laulua, sen sanojen mennessä sikin sokin. Hän katsoi hiekkaa;
ja, kuin ohilentävän kyyhkysen siiven suhahduksen, sai äkkiä
vaikutelman, että joku hymy oli kulkenut ohi. Hän kääntyi ja näki,
että he juuri olivat kulkeneet sivu toistensa, hän ja se tyttö. Ja juuri
tällä hetkellä, kuitenkaan herkeämättä kävelemästä, käänsi tyttö
päätään, hymyten katsoakseen häntä. Silloin Pierre ei enää
epäröinyt, vaan riensi tytön luo, kädet miltei oikoisina, niin
nuorekkaalla ja lapsellisella innolla, että tyttö vaistomaisesti jäi häntä
odottamaan. Pierre ei pyytänyt anteeksi. Heillä ei ollut mitään
ujostelemista. Hän näytti jatkavan alkanutta keskustelua.
— Te nauratte minulle, sanoi hän; ja siihen onkin täysi oikeus!
— Enkä naura. — (Hänen äänensä oli, niinkuin askelkin, eloisa ja

sulava.) — Te hymyilitte yksinänne; ja minä hymyilin; kun näin
teidät.
— Hymyilinkö todellakin?
— Te hymyilette vielä nytkin.
— Nyt tiedän minkä vuoksi.
Tyttö ei häneltä sitä kysynyt. He kävelivät yhdessä. He olivat

onnelliset.
— Herttaisen kaunis päivä! sanoi tyttö,
— Uudestisyntynyt kevät!
— Sillekö te äsken hymyilitte?
— En yksin sille. Ehkä enemmän teille.
— Viekastelija! Ilkiö! Tehän ette tunne minua.

— Kaikkia te puhutte! Mehän olemme nähneet toisemme jo en
tiedä kuinka monta kertaa!
— Kolme, kun tämä lasketaan.
— Ah! Te muistatte!… Näette nyt, että me olemme vanhoja

tuttavia.
— Puhutaan siitä!
— Mielelläni. Sitähän minä vain tahdon!… Oo, istutaan tuonne!

Hetkiseksi, eikö niin? Siinä on niin hyvä, veden reunalla!
(He olivat lähellä Galatéen suihkukaivoa, jonka ylle muurarit

rakensivat suojusta pommeja vastaan.)
— Minä en voi, minä myöhästyn raitiovaunusta…
Tyttö ilmoitti ajan. Pierre osoitti että oli lähes puoli tuntia aikaa.
Vaikka, mutta hänen piti ensin mennä ostamaan välipalansa

Racine-kadun kulmasta, missä on hyviä sämpylöitä. Pierre otti
sämpylän taskustaan.
— Ei parempia kuin tämä… Ettekö tahdo?…
Tyttö nauroi ja epäröi. Pierre pani sen hänen käteensä eikä

laskenutkaan kättä irti.
— Te tekisitte minulle niin suuren ilon! Tulkaa, tulkaa istumaan…
Hän vei tytön eräälle penkille suihkulähteen allasta reunustavan

käytävän keskipaikoille.
— Minulla on vielä muutakin…
Hän veti taskustaan palan suklaata.
— Herkkusuu!… Ja mitä vielä?…
— En tiedä kehtaanko… se ei ole paperissa.
— Antakaa, antakaa!… Nythän on sota.
Pierre katseli kun tyttö pureksi.
— Ensimmäistä kertaa kai, sanoi hän, minä tulen ajatelleeksi, että

sodasta on mitään hyvää.
— Oi, ei puhuta siitä! Se on niin kauhean kamalaa!
— Niin, vastasi Pierre innostuneena, me emme puhu siitä koskaan.
(Ilma tuntui äkkiä kevyemmältä.)
— Katsokaa noita varpusia, sanoi tyttö, jotka tulevat kylpemään.
(Hän näytti varpusia, jotka siivosivat itseänsä altaan reunalla.)
— Mutta sittenhän te sinä iltana (Pierre seurasi omaa ajatustaan),

sinä iltana junassa, sanokaa, te siis näitte minut.
— Tietysti.
— Mutta te ette kertaakaan katsahtanut minun puolelleni… Te

seisoitte koko ajan kääntyneenä toisaanne päin!… Nähkää, niinkuin
nyt…
(Pierre näki hänen profiilinsa, joka nakersi hänen leipäänsä
katsoen eteensä silmät veitikkamaisina.)
— … Katsokaa minua hiukan!… Mitä te katselette?
Tyttö ei kääntänyt päätään. Pierre tarttui hänen oikeaan käteensä,

jonka hansikkaan etusormi oli revennyt, niin että siitä näkyi sormen
pää.
— Mitäkö minä katselen?
— Te katselette minun hansikastani… Antakaa olla repimättä sitä

enempää!
(Pierre oli hajamielisesti suurentamassa reikää.)
— Oo, anteeksi!… Mutta kuinka te voitte nähdä?
Tyttö ei vastannut; mutta veitikkamaisessa profiilissa näki Pierre

hymyilevän silmän.
— Ah! Viekas!
— Se on aivan yksinkertaista. Kaikki tekevät niin.
— Minä en voisi.
— Koettakaa!… Katsotte vain kieroon.
— Minä en koskaan voisi. Nähdäkseni täytyy minun katsoa ihan

suoraan vasten naamaa.
— Ei, ei noin vasten naamaa!

— Mutta nythän minä näen teidän silmänne.
He katsoivat toisiaan herttaisesti nauraen.
— Mikä teidän nimenne on?
— Luce.
— Se on kaunis nimi, kaunis kuin tämä päivä!
— Entä teidän?
— Pierre… Niin tavallinen.
— Hyvä nimi, jolla on siivot ja kirkkaat silmät.
— Niinkuin minun.
— Kirkkaat ne kyllä on.
— Kun näkevät Lucen.
— Lucen!… Sanotaan: "Neiti".
— Ei.
— Eikö?
(Pierre pudisti päätään.)
— Te ette ole "neiti". Te olette Luce ja minä olen Pierre.
He pitivät toisiaan kädestä; ja katsomatta toisiansa, silmät

lehdettömien puiden oksien välitse taivaan hienossa sinessä,
vaikenivat. Heidän kättensä kautta kulki ajatusten virta yhteen. Luce
sanoi:
— Sinä iltana me pelkäsimme molemmat.
— Niin, sanoi Pierre, mutta tuntui niin hyvältä. (Myöhemmin he

hymyilivät, että kumpikin oli lausunut, mitä toinen ajatteli.)
Tyttö irroitti kätensä ja nousi äkkiä, kuullessaan kellonsoiton.
— Oh, minulla ei ole enää aikaa kuin…
He läksivät yhdessä kulkemaan lyhyttä juoksujalkaa, joka

parisilaisilta käy niin sirosti ettei, nähdessään heidän juoksevan, tule
ajatelleeksi vauhdin nopeutta, kun se näyttää niin vaivattomalta.
— Kuljetteko te täällä usein?
— Joka päivä. Mutta enimmäkseen toisella puolen pengertä. (Hän

näytti puutarhaa, Watteaun puita.) Minä palaan Museosta.
(Pierre katsoi piirustuskoteloa.)
— Maalariko? kysyi hän.
— Ei, vastasi tyttö, se on liian suuri sana. Huono töhertäjä.
— Mitä varten? Huvinko vuoksi?
— Oo ei! Rahasta.
— Rahasta!
— Se on rumaa, eikö olekin? Harrastaa taidetta rahasta?

— Ihmeellisintä on ansaita rahaa, jos ei osaa maalata.
— Siinäpä se juuri on. Minä selitän, toisen kerran.
— Toisen kerran, suihkukaivon luona syödään vielä.
— Saa nähdä. Jos on kaunista.
— Mutta tulettehan aikaisemmin? Eikö totta?… Sanokaa… Luce…
(He olivat pysäkillä. Tyttö hypähti vaunun astinlaudalle.)
— Vastatkaa, sanokaa, päivänsäde…
Tyttö ei vastannut; mutta kun vaunu lähti, sanoi hän silmillään

"tulen", ja vaikkei hän mitään puhunut, saattoi Pierre lukea hänen
huuliltaan:
— Minä tulen, Pierre.
Kotia kulkiessaan ajatteli kumpainenkin:
— Kumma, kuinka ihmiset ovat tyytyväisen näköisiä tänään.
Ja he hymyilivät tahtomatta tehdä itselleen tiliä siitä, mitä oli

tapahtunut. He tiesivät vain että he olivat sen löytäneet, saaneet sen
kiinni, ja että se oli heillä. Mikä? Ei mikään. He ovat rikkaita tänä
iltana!… Kotia tultuaan katsoivat he itseään peilistä, niinkuin
katsotaan ystävää, lempein silmin. He sanoivat itselleen: "Hän katseli
sinua." Ja menivät levolle varhain, uupuneina, mistä siis? suloisesta
väsymyksestä. Ja riisuutuessaan he ajattelivat:
— On sentään hyvä, että on olemassa huomispäivä.

6.
Huomispäivä!… Meidän jälkeemme tulevien polvien on vaikea

kuvitella, mitä nimetöntä epätoivoa, mitä määrätöntä tuskaa tämä
sana herätti neljäntenä sotavuonna!… Mitä tympäisyä! Miten monesti
olivatkaan toiveet pettäneet! Sadat huomiset seurasivat toisiaan
eilisen ja tämänpäivän kaltaisina, aivan yhtäläisesti uhrattuina
odotukseen ja tyhjään ja tyhjän odotukseen. Aika ei enää kulkenut.
Vuosi oli kuin Tuonelan virta, joka mustamujuisin vesinsä saartaa
elämän umpeen; jonka hämyiset laineet eivät liiku. Huomispäiväkö?
Huomispäivä on kuollut.
Näiden kahden lapsen sydämissä oli Huomispäivä ylösnoussut.
Huomispäivä näki heidät uudelleen istumassa suihkulähteen luona.

Ja seuraavat huomiset. Kaunis ilma suosi näitä ylen lyhyitä
kohtauksia, jotka hiukan pitenivät joka päivä. Kumpikin toi
mukanaan välipalansa, nautinnon vuoksi saada niitä vaihtaa. Pierre
odotti nyt Museon portilla. Hän tahtoi nähdä Lucen töitä. Vaikka Luce
ei ollut niistä ylpeä, näytti hän niitä estelemättä. Ne olivat
pienoisjäljennöksiä kuuluisista tauluista tai taulujen osista, joku
ryhmä, joku henkilö tai muu kohta. Eivät suorastaan epämiellyttäviä
ensi silmäyksellä, mutta aivan arvottomia. Siellä täällä oikeita ja
siroja otteita, mutta rinnalla oppilasvirheitä, jotka eivät ainoastaan
ilmaisseet alkeellista tietämättömyyttä, vaan myös täydellistä
huolettomuutta siitä, mitä niistä saattoi ajatella. — "Joutavia! Kyllä
se kelpaa näinkin!…" — Luce mainitsi jäljennettyjen taulujen nimet.
Pierre tunsi ne hyvin. Hänen teki pahaa. Luce tunsi, että hän ei ollut
tyytyväinen; mutta näytti urhoollisesti kaikki — ja vielä tämä…
Paan!… kaikkein rumin! Hän yhä hymyili pilkallisesti, yhtä paljon
itselleen kuin Pierrelle, mutta ei ollut vähääkään pahoillaan. Pierre
puristi huuliansa ollakseen mitään sanomatta. Mutta lopulta tuli
sentään liian paksua. Luce näytti hänelle jäljennöstä eräästä
Raphaelin taulusta.
— Mutta tässähän ei ole samoja värejäkään! sanoi Pierre.
— Oo, se olisikin kumma! vastasi Luce. Minä en ole sitä

nähnytkään.
Minä olen tehnyt sen valokuvasta!
— Eikö teille sanota mitään?
— Kuka? Ostajatko? Ei nekään ole sitä nähneet… Ja jos olisivatkin,

eivät he katso niin tarkkaan! Punainen, vihreä, sininen, niissä
näkevät he vain tulta. Joskus minulla on värillinen malli, mutta minä
muutan värit… Katsokaa, esimerkiksi tämä… (Eräs Murillon enkeli.)
— Katsotteko te tätä paremmaksi?
— En, mutta se huvitti minua… Ja sitten, se oli mukavampi… Ja,

minullehan se on sama. Pääasia, että se menee kaupaksi…
Tämän viimeisen ylimielisyyden jälkeen hän lopetti, otti kuvat pois

ja purskahti nauruun.
— Hoh! Se on vielä rumempi kuin uskoittekaan?
Pierre sanoi huolestuneena:
— Mutta miksikä, miksikä teette te semmoista?
Luce katseli hänen kauhistuneita kasvojansa, äidillisen pilan

herttaisella hymyllä: tuo rakas pikku porvarispoika, jolle kaikki oli
ollut niin huoletonta ja joka ei käsittänyt että täytyy tinkiä…

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—Marcel Griaule and Germaine Dieterlen, The Pale Fox

The Master (Mistress) of Speech

“Mitochondrial Eve” is the name given by researchers to the woman who is

Joseph Campbell describes the Biblical account of Jonah being swallowed,

Figure 1-1. Catacomb of San Callisto, Second Century21

Figure 1-2. Close-up of Catacomb of San Callisto22

The association of the fish-like Nummo with salvation is evident in many

a kindred, priesthood had when they used to put on fish-skins.”25 …Jewish

Figure 1-3. Early Christian Lamp27

Figure 1-4. Speared Dolphins in the Catacombs of Praetexta, Rome28

Figures 1-6. Seven Disciples instead of Twelve. Seven Baskets.45

Figure 1-7. Catacomb of San Callisto (2nd century)46

Figure 1-9. Calliope Roman Coin 56 BCE59

Calliope is depicted on a Roman coin dated 56 BCE holding a lyre, Figure 1-

Italian painter Parmigianino in 1535, is known as “The Madonna of the Long

Figure 1-10. Orpheus from Domitilla Catacomb61

The mosaic from Baalbeck, Figure 1-8, is important because a depiction of

Figure 1-11. Big Breasted Lutenist65

Figure 1-12. Orpheus as a Cat with a Lute66

Figure 1-12 is a Roman mosaic, excavated at Soussa in 1882, on the site of

Figure 1-13. Orpheus from the Roman Catacombs72

Figure 1-14. Orpheus or Bacchus (Dionysus) Crucified78

Figure 1-15 Mosaic Photo by Ad Meskens91 Figure 1-16 Yin-Yang Symbol92

This understanding of balance also appears in the Chinese “Yin-Yang or

Figure 2-1. Wayland’s Smithy ©Robert Hill109

The androgynous but primarily female Nummo were known as “Heaven’s

Figure 2-2. Cybele 50 AD, Photo by Marshall Astor116

In discussing the Smith, Campbell reports on the findings of Mircea Eliade

At Pessinos in Phrygia, the mother goddess — identified by the Greeks as

According to explicit accounts given to Griaule and Dieterlen in the 1930s

Astarte or Ashtoreth, which is the Hellenized form of the Middle Eastern

Figure 2-3. Omphalos Stone, Tullie House ©Shannon Dorey

Figure 2-4. Abernethy Pictish Stone ©Robert Hill

Earlier, Lébé’s regeneration occurred underground in the spaceship, which

“According to Orphic religion, the god Dionysus was killed and

get back home, as told to Telemachus in Book 4 of the Odyssey.143

Figure 2-5. Proteus (1531)144 Figure 2-6. Proteus and Menelaus145

Figure 2-7. Chi You Tomb Relief152

Chiyou (蚩尤) was a Supreme Emperor of Cooree (九黎) in ancient

Circumcision symbolized the removal of some of the Nummo’s DNA from

According to Ogotemmêli, while the boy’s prepuce was excised during

The Arthurian Mythos

Figure 3-1. Green Man, Rosslyn Chapel ©Shannon Dorey

Figure 3-2. Hand, Bust and Body of the Spirit196

meant “power.” A horseman, symbol of Amma, was sometimes placed next to or

Taliesen’s name in Welsh means ‘radiant brow’, a characteristic of Apollo’s,

According to The American Heritage Dictionary of Indo-European Roots, the

goddess. … Pairs of Sirens were still carved on tombs in the time of

Figure 3-5. Mosaic at Lydney Park236

Title: Kaksi rakastavaista