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THE MYTH OF AURVANDILL AND AMLETH

An analysis of the Aurvandill (Amleth) Myth.

Introduction from Wikipedia http://en.wikipedia.org/wiki/Hamlet_(legend

The names Aurvandil or Earendel (Old Norse: Aurvandil; Old English: Ēarendel; Lombardic: Auriwandalo; Old High German: Orentil, Erentil; Medieval Latin: Horuuendillus) are cognate Germanic personal names, continuing a Proto-Germanic reconstructed compound "Auziwandilaz "luminous wanderer", in origin probably the name of a star or planet, potentially the morning star (Eosphoros).

As a Germanic name, Auriwandalo is attested as a historical Lombardic prince. A Latinized version, Horvandillus appears as the name of the father of Amleth (Shakespeare's Hamlet) in Saxo Grammaticus' Gesta Danorum. German Orentil is the hero of a medieval poem of the same name. He is son of a certain Eigel of Trier and has numerous adventures in the Holy Land. The Old Norse variant appears in purely mythological context, linking the name to a star. The Old English word refers to a star exclusively.

Horwendill was a legendary Jutish chieftain, who is the prototype for William Shakespeare's King Hamlet, Prince Hamlet's father. He appears in Chronicon Lethrense and in Saxo Grammaticus' Gesta Danorum (book 3).

The Chronicon Lethrense (and the included Annales Lundenses) tell that the Danish king Rorik Slengeborre put Horwendill (who he calls Orwendel) and Feng as his rulers in Jutland, and gave his daughter to Horwendill as a reward for his good services. Horwendill and the daughter had the son Amblothe (Hamlet). The jealous Feng killed Horwendill and took his wife.

Saxo Grammaticus has a slightly different version of events. Saxo states that Horvendill and Feng were the sons of Jutland's ruler Gervendill, and succeeded him as the rulers of Jutland. On his return from a Viking expedition in which he had slain Koll, king of Norway, Horvendill married Gerutha, the Danish king Rřrik Slyngebond's daughter, who bore him a son Amleth. But Feng, out of jealousy, murdered Horvendill, and persuaded Gerutha to become his wife, on the plea that he had committed the crime for no other reason than to avenge her of a husband by whom she had been hated.

Etymology.

The *auzi- a compound form of *auzaz, the word found in the Anglo-Saxon goddess name Eastre, the holiday name Easter, and the term East, ultimately cognate with Hausos (Ushas), the Proto-Indo-European dawn goddess (Pokorny (1959)). The second element is from the root wand-, whence also English to wend.

Eastre; Ēostre derives from Proto-Germanic *austrō, ultimately from a PIE root *au̯es-, "to shine" and closely related to the name of the dawn goddess,


Prose Edda.

Aurvandil is mentioned once in Norse Mythology, in Skáldskaparmál, a book of Snorri Sturluson's 13th century Prose Edda:

Thor went home to Thrúdvangar, and the hone remained sticking in his head. Then came the wise woman who was called Gróa, wife of Aurvandil the Valiant: Gróa sang her spells over Thor until the hone was loosened. But when Thor knew that, and thought that there was hope that the hone might be removed, he desired to reward Gróa for her leech-craft and make her glad, and told her these things: That he had waded from the north over Icy Stream (Élivágar) and had borne Aurvandill in a basket on his back from the north out of Jötunheim. And he added for a token, that one of Aurvandill's toes had stuck out of the basket, and became frozen; wherefore Thor broke it off and cast it up into the heavens, and made thereof the star called Aurvandill's Toe. Thor said that it would not be long before Aurvandill came home: but Gróa was so rejoiced that she forgot her incantations, and the hone was not loosened, and stands yet in Thor's head. Therefore it is forbidden to cast a hone across the floor, for then the hone is stirred in Thor's head.
Thrúdvangar
 
In Norse mythology, Ţrúđvangar (anglicized Thrúdvangar or Thrudvangar) or Ţrúđvangr (anglicized Thrúdvang or Thrudvang)[1] , which means "Plain(s) / Field(s) of strength" in Old Norse, is the home of Thor according to Snorri Sturluson,
Gróa
 
In Norse mythology, Gróa (Old Norse "growing"[1]) is a völva and practitioner of seiđr, the wife of Aurvandil the Bold.

Jötunheimr

(often anglicized Jotunheim) is the world (heim 'home, homeland') of the jötnar (two types: rock (or hill giants) and frost (or rime giants)) in Norse Mythology. From there they menace the humans in Midgard and the gods in Asgard (from whom they are separated by the river Ifing). http://en.wikipedia.org/wiki/J%C3%B6tunn

Élivágar

In Norse mythology, Élivágar (Ice Waves) are rivers which existed in Ginnungagap at the beginning of the world. The Prose Edda relates:

The streams called Ice-waves, those which were so long come from the fountain-heads that the yeasty venom upon them had hardened like the slag that runs out of the fire,-these then became ice; and when the ice halted and ceased to run, then it froze over above. But the drizzling rain that rose from the venom congealed to rime, and the rime increased, frost over frost, each over the other, even into Ginnungagap, the Yawning Void. Gylfaginning 5, Brodeur's translation


The analysis of the Aurvandill (Amleth) Myth.

- Of course the story is often told as a historical event. Life has more dimensions and everything is interpreted accordingly to the individual actual world of perception.

This mythical story really deals with a spiritual learning: Amleth and Feng is the two characters of an individual in a spiritual/mythical initiation process with the goal to learn of the knowledge of the male (Aurvandill) and the female (Groa) galactic/Universal qualities i. e. The Story of Creation.

Feng are the physical character that threaten to take over the spiritual Amleth in a male person. It is Amleths task to become a spiritual grown up person in order to incorporate the knowledge of his spiritual Giant Father, Aurvandill and of the knowledge of his spiritual Giant Mother. If succeeded in this task, Amleth become a King on Earth representing the wisdom of the Heavenly Kingdom.

According to the inherent (somewhat secularized) story telling, the male deity of Thor is just inserted in the text as a telling technique or by a mix up story with 2 deities from 2 cultural periods and therefore he also equals our hero Aurvandill. But then again: The male deity quality of Thor also can be a guiding spirit in this spiritual learning process of Amleth.

- Everything but the bold text above can immediately be excluded as mere speculations. The bold text is pasted here below as the key text and keywords in the Myth.

The bold text is inserted from above and down:

  1. "Auziwandilaz "luminous wanderer"

  2. (Thor) went home from Thrúdvangar

  3. "Plain(s) / Field(s) of strength"

  4. (Thor´s hone remained sticking in his head.)

  5. Then came the wise woman who was called Gróa

  6. Gróa, wife of Aurvandil

  7. Gróa sang her spells over

  8. Thor had waded

  9. from the north over the Icy Stream, (Élivágar)

  10. (Thor) had borne Aurvandill in a basket on his back from the north out of Jötunheim.

  11. one of Aurvandill's toes had stuck out of the basket

  12. Thor broke it off and cast it up into the heavens

  13. and made thereof the star called Aurvandill's Toe

  14. Thor said that it would not be long before Aurvandill came home

  15. Gróa was so rejoiced that she forgot her incantations

  16. and the hone was not loosened, and stands yet in Thor's head.

  17. Gróa, völva and practitioner of seiđr.

  18. Jötnar (two types: rock (or hill giants) and frost (or rime giants)

  19. Élivágar (Ice Waves) are rivers which existed in Ginnungagap at the beginning of the world.

- In the Norse Mythology The World is divided in 3 dimensions: Midgaard for Humans; Asgaard for the nearer celestial objects of Sun, Moon, 5 Planets, Stars and Star constellations; and the third dimension is Udgaard for the Gigantic Milky Way figures.

Besides Thor, Feng and Amleth, we have the 2 key figures: Aurvandill and Groa (Growth) as wife and husband. Therefore they are both Giants and the main quality of Aurvandill (Auziwandilaz) is "luminous wanderer". The luminosity maybe is a kind exaggerated or misunderstood, because we are talking of the predominant white color of the Milky Way, all though the atmosphere makes the stars sprinkle in many colors. But the "luminous wanderer" is a very precise description of a giant male figure seemingly wandering in the Night Sky because of the Earth rotation.

The Northern and the Southern Earth hemispheres showing the Udgaard Giant Milky Way contours. Here are the Giant Father God Thor/Aurvandill to the left and his giant wife, Groa to the right. The "hone stone in Thor´s head" is the triangle shaped figure highest up on the figure, that also is symbolized in many other ways: A sword; an axe; a hammer; a drinking horn; a blowing horn and also as the honed shaped headdress. When thinking of the myth of Thor and the hone stone, it is a perfectly logical symbol for the sharpening of the arms of the great deity.

 

The division of the Earth Hemispheres also tells of the 3 Earth Worlds of (The north Earth) Upperworld with the male character; the Middle World (Equatorial Area) and the third world female character of the Underworld. Hamlets Mill or Quern is not really Hamlet's but Aurvandill's. His mill/wheel origin from the Earth north celestial Polar Center, above symbolized by the inserted Earth in the middle.

The most significant quality of Groa, the Giant Mother Goddess is that she is the matrix of all life in our Galaxy, here symbolized with the Galaxy Swirl on the right figure, which gives origin to the whirlpool/quern in the myth.

The Earth hemispheres Milky Way contours picturing the Great Male and Female deity, Hamleth above and Groa below with the inserted churning Milky Way Whirlpool Centre. 

That is: We have 2 Mills: Aurvandill Mill tells of the Earth night knowledge of the Stars and the celestial pole and Groa Mill tells of the Story of Creation in our Galaxy, hence her incantations of seiđr of the female Galactic Wisdom of all Life that once was - and still is - born out of this center of Eden.

 

The story of our Whirlpool/Malstrom galaxy  deals with the story of life and not as a "horrenda caribdis" somewhere in the North Sea outside the coast of Norway.

- If you got the general idea of a myth, it is fairly easy to explain. With some spiritual help the difficulties was/is eased for me. After my "cultural chocks" in the beginning of some visions and dreams, I got very much spiritual help. The Giant Mother Goddess

When comparing the Mythological story of our Milky Way Galaxy this tells of the modern cosmological misunderstanding, that everything is sucked inwards in a black hole in our Milky Way galaxy. The quite opposite is in fact the case: The movement in our galaxy is going outwards form the center, hence the expulsion from the Garden of Eden and away from the central Tree of Life.

Several Mills/Wheels are needed in order to tell of the interaction between the Earth, the Solar System and the Galaxy.

Aurvandills Foot.

One of Aurvandill's foots "is in the crescent basket of the Milky Way contour", but the other one is hanging out from the basket and out in the Élivágar, the river that is connected to the Ginnungagap Creation Story, which again is connected to the swirling and churning Milky Way Center.

 

That is: Aurvandill's Foot, and not just his toe of one foot, is "hanging" out of the Milky Way Crescent/Basket/Boat in the direction of the Milky Way River and the Groa Womb Galactic Center. "Thor broke it off and cast it up into the heavens, and made thereof the star called Aurvandill's Toe". That is again: Not a toe, but the whole one foot and not as a Star, but as a part of the "Milky Way contours" called the "Footprint of the God" in many cultures.


No wonder there are so much cultural confusion over the myths: Many cultures have several layers of deities that deals with the very same myth - and when the idea of the myth is completely forgotten, nothing can be taken for granted.

NB: By the way: The hone stone still sits on the Milky Way head of Thor/Aurvandill Milky Way figure . . . But the story it self is very true.

Se also: The Divine Hero


THE BOOK OF HAMLETS MILL

Hamlet's Mill (first published by Gambit, Boston, 1969) by Giorgio de Santillana (a professor of the history of science at MIT) and Hertha von Dechend (a scientist at Johann Wolfgang Goethe-Universität) is a nonfiction work of history and comparative mythology, particularly the subfield of archaeoastronomy. It resembles Joseph Campbell's The Masks of God.

Its essential premise is that much mythology and ancient literature has been badly misinterpreted and that they generally relate to a sort of monomyth conveying significant scientific and specifically astronomical ideas and knowledge.

Link to online Book here:

http://www.bibliotecapleyades.net/hamlets_mill/hamletmill.htm#top


Sir Francis Bacon

Quote from this site of Sir Francis Organization: http://www.sirbacon.org/mham.htm :

Santillana and Dechand in concentrating on the fact that the ancients knew about the precession of the equinoxes missed the relation of the macrocosm/microcosm doctrine to the plight of Hamlet.

They came close. They realized the story was associated with the legends of the "Golden Age", and with those great motifs of myth having to do with the "World Tree": The Ash Yggdrasil in the Edda; the world-darkening oak of the Kalevala; Pherecydes' world-oak draped with the starry mantle.

They even realized the story was associated with The Garden of Eden, and with the Tree of Life in The Garden of Eden. They neglected to emphasize the tree on which the golden apples grew in the Garden of Hesperides.

This tree included two additional features of the Garden of Eden story. It not only grew in a Garden, there was also a serpent connected with it. The "Eden" of the most ancient Egyptian mythology was a "circumpolar paradise." The Garden of Hesperides was also in the extreme north. Numerous writers on star lore identified the dragon which guarded the golden apples in the Garden of Hesperides as the constellation of Draconis.

Draconis was the pole constellation about the time the Garden of Eden story was supposed to have taken place, and would have been located in the topmost area of the branches of the world-tree. In ancient astronomical mythology Draconis was the old serpent, the evil one. Draconis is related to the stories of the Fallen Angels in the books of Genesis and Enoch. A number of authorities on astronomical mythology have claimed Draconis represented the tempter of Eve in the Garden of Eden. William Olcott said:

"The constellation Draco and Hercules are closely associated in ancient mythology, and Hercules is always represented as trampling the Dragon underfoot. These two constellations are in turn connected with Ophiuchus and Serpens, the figure of another giant overcoming a serpent, while he crushes the Scorpion under his feet. On the old maps the figures of these two famous giants appear head to head.

The Draco constellation as a center point for the Ecliptic Pole around which the Earth Axis pole wanderer 1 degree for every 71.6 year = 25.776 years cycle.

(My comment: If talking about the Earth axis and the serpent symbol, we must talk of 2-3 serpents: 1 in the north and one in the southern hemisphere, and maybe 1 representing the Earth equator. The northern relates to the Draco constellation as seen above here, but the southern relates to a much larger serpent, namely the curled up Serpent that symbolizes the Milky Way spiraling shape.)

These similar and striking groups, placed so close together in the sky, show clearly that there was a deliberate intention on the part of the inventors of the constellations to emphasize the great fact of a struggle between mankind and serpentkind. There seems here an evident reference to God's interview with the serpent in the Garden of Eden. 'I will put enmity between thee and the woman, and between thy seed and her seed. It shall bruise thy head and thou shalt bruise his heel."


Although in ancient times Draconis had a place at the top of the World-tree he was cast down. With the precession of the equinoxes Polaris moved up to take his place. More striking still, as Santillana and Dechend point out, according to the ancient mythologies, at the time Draconis was at the top of the pole-tree the plane of the ecliptic lay in the same plane with that of the equator. This meant days and nights were equal year round. There was an "eternal" spring. Then, due to some great misfortune, the plane of the ecliptic was dissevered from the plane of the equator. The axis of the earth was tilted. The serpent was cast down. That ancient pair, Orion and Virgo, passed down from their place on the plane of the ecliptic below the equator to winter and death.

The important point Santillana and Dechend failed to note was the fact that the story also had to do with the ancient doctrine of the macrocosm and the microcosm which maintains that changes in the macrocosm are reflected in the microcosm. If they had taken a closer look at the Garden of Eden story they might have stumbled upon this fact that they overlooked.

Before looking at the story of the Garden of Eden it is well to take a closer look at Moses himself, since it was his story, and the context points back to the Egyptian priesthood.

We are assured by St. Paul that,"Moses was learned in all the wisdom of the Egyptians." Actually this goes without saying. As a member of the royal family of the pharoah (the adopted son of the daughter of the pharoah) Moses would have been required to be initiated into the Egyptian Mysteries. The wisdom of the Egyptians was maintained in the temples and withheld from all except the initiates.

The great center of Initiation in Egypt at the time of Moses, and indeed, up to the time of Christ, was reputed to be the Great Pyramid. It was a custom of Initiates in their written works to leave for other initiates, who might see their works, some sign denoting their school. A examination of Exodus reveals that Moses did, as a matter of fact, leave such a sign, and in a most clever manner also.

Moses built a tabernacle in the wilderness as a temple for his priesthood just as the Great Pyramid was the temple for the priesthood of the Egyptian Initiates. Moses gave curiously exact instructions for the curtains of the outside of this tabernacle:

"And thou shalt make curtains of goats' hair to be a tent covering the tabernacle: eleven curtains shalt thou make. The length of one curtain shall be thirty cubits, and the width four cubits: and the eleven curtains shall all be of one measure. And thou shalt couple five curtains by themselves, and six by themselves, and shalt lay the sixth curtain double over the front side of the tent."

All of this detail indicates secret intent. A close examination reveals the diagonal of the twice mentioned second curtain (30 cubits by 24 cubits) yields a very significant angle. This angle is the pitch of the side of the Great Pyramid! The side of the Great Pyramid has a pitch of 51 degrees, and 51 minutes, and the diagonal of any rectangle constructed in the proportion of 30 x 24 has the same pitch. (For more detail see, "The Secrets of Ancient Geometry" by Tons Brunes).

As an Initiate of the Great Pyramid School, the writings of Moses offer a great opportunity for learning more about their doctrine. He did not take the trouble to leave the trademark, without also leaving the doctrine. A portion of this doctrine is in The Garden of Eden story.

A major aspect of the Garden of Eden story had to do with the serpent. This was (My comment: Was NOT, see below) Draconis. The Great Pyramid was oriented to Draconis. We know that, due to the precession of the equinoxes, various stars or constellation take their place during the vast 25,800 year cycle as the pole star. Draconis is one of these, but Draconis has a special place because it is actually at the pole of the polar ecliptic. In order words when Draconis was the Pole Star, the ecliptic would have coincided with the equator.

Days and nights would have been equal year round, and there would have been spring year round, a golden age. Everyone knows the story of The Garden of Eden. God created a garden. In the midst of the garden He put the tree of life, and the tree of the knowledge of good and evil.

My comment: The concept of "good and evil" is confused for the concept of "opposite". We have 1 serpent on the northern Earth hemisphere in the star constellation of Draco and we have 1 serpent on the OPPOSITE southern Earth hemisphere, which together tells of the cosmological knowledge of everything in our Galaxy, our Earth; the Sun; the Moon and Planets; the location of our Solar System in the galaxy - and which 4 elements that created it all from the very beginning - and even before) http://www.native-science.net/Forefather.Worship.htm

In the Garden He also put Adam and Eve, the first man, and the first woman. They were not supposed to eat of the fruit of these two trees, but the serpent enticed Eve into eating of them, and Eve enticed Adam. As a result God cast the serpent down. He will go on his belly and eat dust all the days of his life. And God cast Adam and Eve out of the Garden of Eden.

(My comment: When talking of The Garden of Eden and a serpent, we are dealing with the Story of Creation in the center of our Galaxy. "And God cast Adam and Eve out of the Garden of Eden" means that everything in our Milky Way Galaxy once was born DIRECTLY OUT FROM THE GALACTIC CENTER IN THE STAR CONSTELLATION OF SAGITTARIUS - quite the opposite of what modern cosmologists and astrophysicist tell us). Link:  http://www.steady-state-universe.net/ Galaxy Creation)

Hamlet (legend)

http://en.wikipedia.org/wiki/Hamlet_(legend

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