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Slavic Elements in Homer1 More evidence that gives credence to the existence of an ancient prehistoric Macedonian civilization comes to us from ancient literature. One such source that greatly influenced our impression of the ancients and inspired Alexander the Great to seek adventure was Homer’s epic poems. About five hundred years after the Trojan Wars, Homer2 wrote the Iliad and the Odyssey. Homer’s work captivated his audience with events that, according to Tashko Belchev, began and ended in Macedonia. Homer was born in the 8th century B.C. and created true literary masterpieces that are enjoyed as much today, as they were in the days of Alexander the Great. Originally, Homer’s stories were folktales told and retold for millenniums until they were immortalized in print in the 6th century B.C. So over the ages, as Homer's epics3 were retold by many a poets, the language of the original 1

This text is an extract from The House of Macedon – A Living Bible of Light, by Perica Sardzoski

2

From Wikipedia: Homer (ancient Greek: Ὅµηρος, Homēros) is an ancient Greek epic poet, traditionally said to be the author of the epic poems the Iliad and the Odyssey. The ancient Greeks generally believed that Homer was a historical individual, but some modern scholars are skeptical: no reliable biographical information has been handed down from classical antiquity. According to Martin West, "Homer" is "not the name of a historical poet, but a fictitious or constructed name." The poems are now widely regarded as the culmination of a long tradition of orally composed poetry, but the way in which they reached their final written form, and the role of an individual poet, or poets, in this process is disputed. The Homeric Question is the doubts and consequent debates over the identity of Homer, the authorship of the Iliad and the Odyssey and their historicity. These debates have roots in classical antiquity and the scholarship of the Hellenistic period, but reached a floruit among Homeric scholars of the 19th and 20th centuries. The main subtopics of the Homeric Question are: * "Who is Homer?" * "multiple or single authorship?" * "By whom, when, where, and under what circumstances were the poems composed?" To these questions the possibility of archaeological answers have added a few more: * "How reliable is the tradition embodied in the Homeric poems?" * "How old are the oldest elements in Homeric poetry which can be dated with certainty?" 3

Most Classicists would agree that, whether there was ever such a composer as "Homer" or not, the Homeric poems are the product of an oral tradition, a generations-old technique that was the collective inheritance of many singerpoets (aoidoi). An analysis of the structure and vocabulary of the Iliad and Odyssey shows that the poems consist of regular, repeating phrases; even entire verses repeat. Could the Iliad and Odyssey have been products of OralFormulaic Composition, composed on the spot by the poet using a collection of memorized traditional verses and phases? Milman Parry and Albert Lord pointed out that such elaborate oral tradition, foreign to today's literate cultures, is typical of epic poetry in an exclusively oral culture. The crucial words are "oral" and "traditional." Parry started with "traditional." The repetitive chunks of language, he said, were inherited by the singer-poet from his predecessors, and they were useful to the poet in composition. He called these chunks of repetitive language "formulas." Scholars generally agree that the Iliad and Odyssey underwent a process of standardization and refinement out of older material beginning in the 8th century BC. This process, often referred to as the "million little pieces" design,


author of the epics of Iliad and Odyssey must have been influenced by all those who have participated in the process of poetry singing! At that time it was customary for those who retold myths and legends in a form of poetry to prove their expertise by adding up to the contents of the original poem they learned from their predecessors. That is how we get folklore today - a conglomerate of authorships. If we take all of this into consideration and observe Homer from the point of view of the oral tradition, which was handed down from antiquity to classical times when it was first recorded, we may say that the final product was a work of many authors who have retold the epic poem over and over again, over the centuries, adding to it words from various languages. Moreover, Homeric tradition of poetry reciting has survived in the South Slavic cultures4 of today such as the Montenegrin and Bosnian “guslari” or Macedonian “weepers”, who at funerals retell an old poem presenting the life of the deceased using the same old outline, but indenting the name and events from the deceased life. It is known as “željanje” (жељање) to the modern Macedonians. In his paper5 titled as South Slavic Oral Epic and the Homeric Question, John M. Foley states that the South Slavic oral epic has long played a significant and controversial role in Homeric studies. Milman Parry’s epochal studies of the traditional nature of Homeric verse in the 1920’s led him to consider the analogy of living oral epic from the former Yugoslavia to explain what he contended was also, and necessarily, an oral tradition in ancient Greece. To ground the analogy in firsthand observation, Parry and Lord then traveled to what is present-day Bosnia to seems to acknowledge the spirit of the oral tradition. As Albert B. Lord notes in his magnum opus, The Singer of Tales, poets within an oral tradition, like Homer, create and modify their tales whilst they perform them. Thus, Homer may have “borrowed” from other bards, but he certainly made the piece his own when he performed. 4

From The Performance of Homeric Epic: Homer and South Slavic Epic by John Miles Foley (University of Missouri): South Slavic epic offers classicists an opportunity to do what we cannot do with archaic Greek epic: attend an actual performance by an oral epic singer. In a few minutes, thanks to the generosity of the Milman Parry Collection at Harvard University and its curator, Stephen Mitchell, we will be doing just that - listening to the beginning of an epic song performed by the South Slavic guslar Salih Ugljanin, and then both watching and listening to the 'greatest of singers' from that same tradition, Avdo Medjedovic. Perhaps only appropriately, then, I will leave the last word to the guslari. Then if we take all of this into consideration and suggest that the oral tradition of "guslari", as well as the style of epic poetry has remained in the South Slavic languages until modern times, just as Homer did it in antiquity, and if we add the poem written by Grigor Prlichev, the Macedonian writer who was born in 1830 and died in 1893 in Ohrid; (In Athens in 1860, he won the highest prize for literature - The Laurel Wreath, for his epic poem "The Sirdar", and was praised as the Second Homer. The story is based on old Macedonian folk tales which honored Kuzman - the Sirdar, as the leader of patriotic combat group and brave guardian of Christian people against the Albanian gangs); then, we might conclude that the modern day Macedonians are direct descendants of Homer and the culture he represented, or better say the culture that existed before the Dorian tribes invaded the region and took it over. 5

Internet link to this paper: http://132.248.101.214/html-docs/acta-poetica/26-1-2/p51.pdf


collect and record performances by twentieth-century Balkan bards, seeking to discover evidence of what they had theorized by conducting a series of experiments in the living laboratory of the South Slavic “guslari”. There are others6 who would also confirm that the original Homeric was a form of proto-Slavic language that has been fused with the Semitic Greek along the long process of oral transmission and has been recorded in Classical Greek times as we have it today. Now, if we assume that the Pelasgians were the aborigines in the region where later the EgyptoSemitic Hellenes settled, and if we take into consideration the presence of the Paeonians in the Trojan War, who must have been akin to the Trojans since they claimed their origins from them, and if we take into consideration the Great Mother Goddess cult from Neolithic Macedonia that was venerated in Troy, which served as a bridge to pass it on to Rome as the Magna Mater cult, adding to this the fact that the oral tradition has never stopped in the South Slavic culture, with the evidence that there are many words in Homer’s epics that have remained in the same use in modern Macedonian7, and can be easily understood by the other Slavic languages, what conclusions can we make all together? I will let the readers decide upon their own reasoning. 6

From Tomáš Spevák’s A New Theory about the Trojan Era:

We cannot draw conclusions from studying the Achaeans and Trojan cultures alone, we need archeological evidence to corroborate our theories. Based on cultural evidence alone, we can equally assume the Trojans were a Slavic people. According to historian Alexander Donski, if one reads the description of the customs practiced by Trojans as per Homer’s Iliad, without knowing who the Trojans were, one would get the impression that they were the modern Balkan Slavic peoples. On a side note, many contemporary scholars today believe that the ancient Pelasgians, the inhabitants of the Greek Peninsula, before the classical Greeks, were proto-Slavic. Other ancient Balkan peoples such as the Thracians, Paeonians, Dardanians, Veneti, Bryges, Illyrians, Minoans and people from Asia Minor such as the Lydians, Phrygians, Mysians and even Scythians and Sarmatians (Amazons) are also believed to be proto-Slavic speaking people. Several factors have led scholars this conclusion, art, customs, ancient relics with inscriptions of written languages, etc. Scholars Vasil Ilyov, Sergei V. Rjabchikov, Prof. V. A. Chudinov, Matej Bor, Anthony Ambrozic and others have deciphered many ancient scripts from Phrygian, Venetic, Etruscan, Linear A, ancient Macedonian, Vincha, ancient Russian and other sources with the use of contemporary Slavic languages. In fact a number of socalled undecipherable scripts have now been deciphered and translated by using the Slavic languages, something never seriously done before. Why didn’t anyone think of using Slavic, the vast family of languages of one of the largest nations on Earth? I believe because of political reasons: communism and all the propaganda surrounding it, not to mention the isolation the Slavic states suffered. 7

From History of the Macedonian People from Ancient times to the Present by Risto Stefov:

What is also interesting is that contemporary scholar Odisej Belchevski and others are now studying the language in which Homer wrote the Iliad & Odyssey and are finding that it was written in a proto-Slavic language, closely related to modern Macedonian dialects. According to Belchevski: “In the Iliad and Odyssey, attributed to Homer, the great multitude of non-Greek people living around Olympus and further north in Europe were described as being as, ‘Numerous as the leaves in the forests… with chariots and weapons decorated with gleaming gold and silver…like gods.’ Unless destroyed by natural disaster, large nations and their languages do not simply disappear but rather change


Being a linguist myself, I got curious about all these claims, regarding the Slavic words in Homer’s epics, to that extent that I decided to conduct a research on my own that I will present here in short, in order to attain the final conclusion on the matter. To do this we need to go into etymological analysis of the Greek language both ancient and modern. The modern Greek being a fusion of Dimotiki and Katharevousa8 (from the 19th century onward) has also preserved Homer’s Slavic words in its popular use today, however with a significantly altered meaning, which is a proof for the discontinuity of the Greek language, or better say the approximation of the modern Greek to that of Homer, in compliance with the Aryan model promoted in the 19th century when the modern Greek state was created. Let me demonstrate it: Curiously, I will start with the etymology of the title of Homer’s epic Odyssey, taking my trail from the English language. The preterit, (or ‘simple past tense’) of the English verb TO GO in no way etymologically relates to the verb itself, for WENT comes from WENDAN in Old English, which is also the source of WEND. Origin of ēode: (Odyssey)

and evolve over time. This evolution is influenced by the conditions of life and interaction with other nations, called ‘symbiosis’ by Lidija Slaveska in The Ethnological Genesis of the Macedonian People. A tremendous number of words from everyday life as well as the names of a number of places, rivers, mountains, kings, gods, common people, and numerous tribes can be found in the Homeric poems. The majority of these words have survived until today. This is not a strange phenomenon. What attracts our attention is that these words have retained their basic meaning and can be easily recognized especially by the speakers of the contemporary Slavic languages. This linguistic material clearly shows the existence and strong influence of a language, which surely was neither Greek nor Latin.” 8

From Wikipedia:

“Katharevousa (Kathareuousa, Greek: Καθαρεύουσα, lit. "the purified one"), is a form of the Greek language conceived in the early 19th century by Greek intellectual and revolutionary leader Adamantios Korais (1748–1833). Katharevousa was set at a midpoint between Ancient Greek and the Modern Greek of the time. It stressed both a more ancient vocabulary and a simplified form of the archaic grammar. Part of its purpose was to mediate the struggle between the "archaists" favoring full reversion to archaic forms, and the "modernists". Katharevousa can also be translated as "the clean one", implying a form of Greek without extraneous influences, as it may hypothetically have independently evolved from ancient Greek, but in its Modern Greek connotation it merely means "formal language". In later years, Katharevousa was used for official and formal purposes (such as politics, letters, official documents, and news casting), while Dimotiki (δηµοτική), 'demotic' or popular Greek, was the daily language. This created a diglossia situation whereby most of the Greek population was excluded from the public sphere and advancement in education unless they conformed to Katharevousa. In 1976, Dimotiki was made the official language and by the end of the 20th century full Katharevousa in its earlier form had become obsolete. However, many grammatical and syntactical rules that Katharevousa had adopted, and much vocabulary from the Katharevousa strand, have come into contact with Dimotiki during the two centuries of its existence, so that the project's emphasis has made an observable contribution to the language as it is used today.”


Old English didn't have the preterit WENT in any form, instead using the word ēode, a word which has not left any trace in modern English in any form. The term for GO in modern Macedonian is surprisingly ODI, which is certainly of the same origin as the Old English ēode. In order to see an analogy between the two we have to point at the fact that the root itself, ēo, came from the unattested Proto-Germanic ijjôm. The Gothic form of this root is iddja, but this form hasn't produced any other attested root words in the other Germanic languages. Could it be that the Old English got this form from an intermediary language, say the Celtic for example? It seems that IDDJA or IDAM is also another form of ODAM (in modern Macedonian meaning I go, 1st person sing.) which can be found in most of the Slavic languages! Surprisingly, the phrasal verb for GO AWAY in modern Macedonian is ODI SI (reflexive verb, imperative mode). Now I wonder what ODYSSEY9 meant to Homer, knowing that it is a story of a long journey that took Odysseus ten years to reach Ithaca after the ten-year Trojan War. So my question is the following: if ODI SI means GO AWAY even today in Macedonian, and the form of GONE comes from an older proto-German word "ēode" which is not in use in English as such today, however has transformed into GONE, then if we have "Odyssey" in Homer that means a "journey" or "GOING AWAY", isn't it logical to say that the word is of Slavic or proto-Slavic origin that has entered the Greek, German and other languages, since the Slavic linguistic element is one of the primary in the Indo-European linguistic substratum, and has been best preserved into modern day Macedonian language? This curiously makes Macedonian language one of the oldest languages in Europe, a language that supposedly the first authors of the epic Odyssey were using! In other words, Homer's Odyssey which means a JOURNEY means the same in modern day Macedonian. While, say JOURNEY in modern Greek is: ταξίδι (taxidi), and TO GO is πηγαίνω (pigaino), while to WALK is: περπατώ, περίπατος (perpato, peripatos). No trace of ODISI or ODYSSEY or EODE or any Indo-European form of the word in the modern Greek with that meaning. However, it seems that the Macedonian language has preserved the original form in its true meaning. We need to mention here that the word οδός (odos) is the only one that can be found in modern Greek, which obviously derives from the Homeric, however with a significantly altered meaning, due to the intervention with the Katharevousa. It turns out that οδός (odos) is synonymous to δρόµος (dromos), meaning ROAD, and it is used for denoting the streets in the town. 9

From Merriam Webster Dictionary

Etymology: the Odyssey, epic poem attributed to Homer recounting the long wanderings of Odysseus. 1 : a long wandering or voyage usually marked by many changes of fortune 2 : an intellectual or spiritual wandering or quest


While in modern day Macedonian there are almost all the forms preserved in their original meaning: ODI (to go), ODENJE (going), ODAM (I go), ODI SI (go away), OD (a walk)... To show how the transformation of the term οδός (odos) happened in the Greek language we need to quote the Bible here (Old Testament: Judges 18): ”Και ειπαν προς αυτον, Ερωτησον, παρακαλουµεν, τον Θεον, δια να γνωρισωµεν εαν εχη να ευοδωθη η οδος ηµων την οποιαν υπαγοµεν.” In English: ”And they said unto him, Ask counsel, we pray thee, of God, that we may know whether our way which we go shall be prosperous.” In the Bible it is obvious that the term οδος was used with its original meaning, which is “long journey”. How did this transformation take place, knowing that the modern Greek derives from that of the Bible, which on the other hand derives from that of Classical Greek and Homer’s? Not really, if we take into consideration the intervention of Katharevousa, which fused all these together in the 19th century to provide a context for the development of the Aryan model, which relied on the ancient origins of the modern Greek nation, at least on linguistic grounds. However, this artificial intervention must have appeared too complex for the population that spoke the form of Greek known as Dimotiki at the time, so the ancient term οδος eventually entered the modern Greek language, with an altered meaning and a very different connotation than what the term had in Biblical times, or in Homer’s epics for that matter. You wouldn't say that the Bible implied a rich or prosperous district in town with this passage, would you? THE ETYMOLOGY OF HOMER’S “δόµονδε” (DOMONDE): Odyssey, Book 3, lines 404-446 “πὰρ δ᾽ ἄρ᾽ ἔην καὶ ἀοιδὸς ἀνήρ, ᾧ πόλλ᾽ ἐπέτελλεν Ἀτρεΐδης Τροίηνδε κιὼν ἔρυσασθαι ἄκοιτιν. ἀλλ᾽ ὅτε δή µιν µοῖρα θεῶν ἐπέδησε δαµῆναι, 270δὴ τότε τὸν µὲν ἀοιδὸν ἄγων ἐς νῆσον ἐρήµην


κάλλιπεν οἰωνοῖσιν ἕλωρ καὶ κύρµα γενέσθαι, τὴν δ᾽ ἐθέλων ἐθέλουσαν ἀνήγαγεν ὅνδε δόµονδε.” In English: “…and with her was furthermore a minstrel whom the son of Atreus straitly charged, when he set forth for the land of Troy, to guard his wife. But when at length the doom of the gods bound her that she should be overcome, then verily Aegisthus took the minstrel to a desert isle and left him to be the prey and spoil of birds; and her, willing as he was willing, he led to his own house.” δόµονδε – pronounced [domonde] – meaning “homeward”, shows a striking similarity to the Macedonian word DOM (home), or DOM-ON (that home over there). ONDE in Macedonian means OVER THERE. It is an adverb of place which can be inflicted to nouns in its short form ON, NA, NO, NE, NA. So if we have DOM+ONDE (home + over there), in modern Macedonian, and then δόµονδε, meaning HOMEWARD, when in Greek we have: προς το σπίτι (pros to spiti). In Greek it is σπίτι (SPITI), which means HOME. There is another word in this extract that I would like to point at here. The word used for SET FORTH, in the Homeric text is κιὼν [kion]. In modern Greek the word for set on a journey is: πηγαίνω (pigaino). In Macedonian there is a word pronounced as: KINISA, meaning to set forth (on a journey). - Another example of the use of DOM in Homer’s Odyssey, Book 3 line 404-446: “καὶ σύ, φίλος, µὴ δηθὰ δόµων ἄπο τῆλ᾽ ἀλάλησο, κτήµατά τε προλιπὼν ἄνδρας τ᾽ ἐν σοῖσι δόµοισιν”… In English: “So do not thou, my friend, wander long far from home, leaving thy wealth behind thee and men in thy house… so insolent, lest they divide and devour all thy wealth, and thou shalt have gone on a fruitless journey”.


In this case the term used for ‘home’ in Homer’s is δόµων (DOMON), where in modern Greek it is, κατοικία (katoikia), while house is σπίτι (spiti). In modern Macedonian there is the term DOM, which means ‘home’, and ONDE, which is an adverb of place meaning ‘over there’, which together form DOMONDE, exactly the way it was used in Homer’s works. There is a short form used for this derivation today, and it sounds DOMON. This corresponds to δόµων (DOMON), meaning ‘that home’ in modern Macedonian. ‘House’ on the other hand in Macedonian is ‘kukja’, however, the term δόµοισιν (DOMOISIN), contains both root forms DOM (home) and SIN (son), to a pre-Homeric language this would be a compound known for the Home-and-sons, meaning he left it to his sons or as in the English translation “men in the house”, in original (DOMOISIN). The term SON is an Indo-European word that exists in many Indo-European languages with the same root: SIN (Macedonian and other Slavic languages), SON (English), SOHN (in German). In Italian it is FIGLIO, and in Greek γιος (GIOS), which might point at the Semitic influences both languages had, the Latin from Greek, and the latter from the Phoenician. - The following is an extract from Odyssey: Book 3 (lines 184-228) "ἔνθ᾽ ἄρα Νέστωρ ἧστο σὺν υἱάσιν, ἀµφὶ δ᾽ ἑταῖροι δαῖτ᾽ ἐντυνόµενοι κρέα τ᾽ ὤπτων ἄλλα τ᾽ ἔπειρον." In English: “There Nestor sat with his sons, and round about his people, making ready the feast, were roasting some of the meat and putting other pieces on spits.” υἱάσιν – means SONS in Homer’s text: pronounced as [y]ἱά[SIN] In modern Macedonian it is: SINOVI. There are great many examples to show the connection between the Homeric and modern Macedonian language. It all points at the fact that the original epics that had been orally transmitted for ages before they were recorded in Classical Greece, were actually composed in a proto-Slavic language that has survived in modern Macedonian. Let us take a look at some of them:

Homeric - modern Macedonian (English)


paimiti(s) - pamti; (to remember) veido, veiden - vide; (to see) ischare - izgore, skara; (to burn, scorch) idri - itar; (cunning, clever) kotule - kotle; (cauldron) okkos - oko; (eye) steno - stenka; (yell) pliscios - seli, preseli; (move out) oditis - odi od odenje (go, walk) There are a great many examples like this in the 1800 dictionary compiled by the German linguist Ludwig Franz Passoff on the basis of the most ancient extant manuscripts of Homer’s Iliad. The English edition was prepared by Henry George (New York, 1850). Not knowing the Macedonian language, Passoff concentrated on the most contrasting preserved words, unknown in Greek and Latin with the Czech and Slovak languages of that time. So these words were identified, in fact, as Slavic words. Hence, the golden rule for analyzing a language is the aforementioned Functional Etymology. Since the functional relations of words are the fundamental building blocks of word forms, this rule is therefore called the ‘GOLDEN RULE OF FUNCTIONAL ETYMOLOGY.’ Let me give you another set of words in comparison to modern Greek too: Homeric - modern Macedonian - Greek - English ______________________________________ esthio - jade/jestivo - mintros - to eat bia,bie - bie,ubie - sfodros,ormitikos - to beat by force dolicho - dolgo - makros - long foinos - vino - krasi - wine mortos - mrtov - nekros - dead pricis - pretci - kovo - ancestors ______________________________________ There are other words like daver, dever (brother in law) in Homeric, that have preserved the same meaning today in modern Macedonian.


“When a young woman marries, the brother of her husband (usually the youngest) becomes a ‘dever’. This is an ancient tradition done to ensure that the young male is entrusted with the care of the family in case the husband dies or is killed. In such circumstances the youngest brother becomes the new husband and takes over the family. This was necessary to protect the children and keep accrued wealth and property within the same family. The meaning of the word in Macedonian, according to functional etymology could be extracted as follows: vera-verba-doverba-doveri-dever ‘to be entrusted’. This word belongs to a large cluster of Macedonian words containing the root (-verba-). In ancient Macedonian (1000 BC), according to Homer (p.305 L.L.) there is - DAVER; dao(s), where the digama stands for/v/ and the word means ‘brother in law’. In the word daver-daer we note the missing consonant /v/ in inter vocalic position. This indicates that the rule of the speech economy has been in force for a long time in the language. Dropping consonants has been a rule quite often occurring in Macedonian as in the examples: sto private > sto praoite; covekot ojde > coekon ojde, etc.” ( Odisej K. Belchevski, Pages 29, 30, 31 and 32, Number 503, III 1995, Makedonija magazine). The most intriguing of all the proto Slavic words found in Homer's works are the words related to family names. These have survived in its purest form in the modern Macedonian, probably because family ties stay most intact from civilizational influences from outside! In other words, even though Macedonia was conquered and influenced by many cultures, which might have caused changes in the language used by the indigenous population, it couldn't reach the innermost circles of family ties, where the most sacred rituals were preserved, and the most sacred titles remained: Homer: DAVER - Macedonian: DEVER - English: brother-in-law Homer: SVEKURO - Macedonian: SVEKOR - English: father-in-law Homer: SVEKURA - Macedonian: SVEKRVA - English: mother-in-law Homer: GOIOVA - Macedonian: ZOLVA - English: sister-in-law Homer: EITERI,EITERVI - Macedonian: JETRVA - English: husband's sister Homer: INIS,SINU- Macedonian: SIN - English: son Homer: SNUKO,SNUSO - Macedonian: SNAJKA - English: daughter-in-law Homer: TETA,TETE - Macedonian: TETA,TETKA - English: aunt Homer: TATE - Macedonian: TATE,TATKO - English: father Homer: MALA - Macedonian: MAJKA - English: mother Homer: VESTIA,EVESTI - Macedonian: NEVESTA - English: bride Homer: DORA,DARA - Macedonian: DAR, DARUVA - English: dowry All of this should make even the most skeptical among us reconsider all history as such. Within the most sacred union – that of the family – the truth seems to have prevailed.

(Dreamtime…)


There are things we have forgotten, which are now waking up to their full potential striking a high note in our souls making us shiver to the revelation at hand. This mystery that is unraveling in front of us is the one we have cherished as part of our deepest experiences, dreams we have passed on through time, legends that have shaped our world, and despite all attempts to cloud the light there was still a bit of ember that remained under the ashes, kept safe in our Motherly home, in our Motherly fireplace, which has now resurrected into a blazing flame to dissolve all the debris that has accumulated in our hearts and show us the Truth for the first time after many years. Our eyes may have stiffened from the age-long dream, but our hearts have cherished the memory of the ancient lore, well preserved in our folk tales, those same stories that have shaped our fancy since the earliest days on this world, images of fairies and forgotten queens and kings, the glorious days of renown. Once there was a Heaven on Earth and there was a union between our Heavenly Father – the Cosmos, and our Great Mother – the Earth and the Son of Man – the humanity that venerated all in harmony with Life, knowing only of the beauties that this existence can offer, living lives of sacred devotion to the wisdom of existence that lies within each and every one of us. We observed the Skies, and paid reverence to the Earth that allowed us that privilege to be the spectators of such a splendid skywalk as the celestial stage could offer. We observed the eclipses10, since they were just perfect to see the crown of the Heavenly father, we could see the light within, since it was silence that told us of it, we slept peacefully in the bosom of our Earthly Mother, sheltered in her womb we drank the air and bathed in the rays, watched the Time unveil its mysteries to us, we filled our lungs with all the beauty of it, taking deep breaths to feel the unity of ourselves with both Heaven and Earth. We taught our children to see the light within and cherish the wisdom above all. We kept this knowledge as a living memory written in the secret books of our hearts, we dreamt of the things to come, letting it out only when its fulfillment arrived. It was all perfect, the matrimony between our Heavenly Father, our Earthly Mother and Our Selves. But there came a time when a shadow arose from behind the mountains and it poured out in torrents across the land, it flooded the Earth and it dimmed the Sky. The children of the Great Mother were caught by surprise, and their dreams turned into nightmares. “Hide away now, bad people as dogs are coming disguised again.” And bad people truly came forth, guided by the power of the Shadow. They sprouted from the deserts, gathered in hoards, and opened their minds to the darkness. The Darkness breathed ill spirit unto them, as foul as Hell itself. The force from bellow rose into the hearts of those vile men and they became the Desert Princes11. The 10

Total Eclipse: The fully shaded umbra of the Moon’s shadow reaches Earth. This is called a total eclipse for those located on Earth where the umbra touches, because the Moon totally covers the Sun. What causes a perfect solar eclipse? The relative Earth-Moon and Earth-Sun distances just about exactly compensate for the real size difference between Moon and Sun, making both appear the same angular size as viewed from Earth. 11

Manetho states: "during the reign of Tutimaos a blast of God smote us, and unexpectedly from the regions of the East, invaders of obscure race marched in confidence of victory against our land. By main force they easily seized it without striking a blow; and having overpowered the rulers of the land they then burned our cities ruthlessly, razed to the ground the temples of the gods, and treated all the natives with a cruel hostility, massacring some and leading into slavery the wives and children of others... He named these invaders the "Hyksos" which he translated as "shepherd kings" although now the term is often translated as "foreign rulers" or "desert princes". From Archeology Dictionary: Hyksos - the name given by the Egyptians to warrior groups who infiltrated Egypt at the end of the Middle Kingdom to dominate the Nile Valley in the second intermediate period between 1640 and 1570 BC and to form the 15th Dynasty. Their capital was at Avaris in the Nile Delta. Their expulsion in c.1567 BC


Darkness gave them knowledge of how to attain land for themselves and they started their raids. It was the day when the Sun hid behind the clouds and the black birds proclaimed the beginning of a long night. (Awakening…)

under Amosis, the founder of the 18th Dynasty, heralded the start of the New Kingdom in Egypt. The Hyksos are not easily recognized in the archaeological record, although in Palestine they seem to have built defensive ramparts faced with smooth hard plaster. They seem to have been ruled by a military aristocracy and were responsible for the introduction of the horse and chariot to Egypt, and perhaps also the upright loom, the olive and the pomegranate. The Hyksos had Canaanite names, as seen in those which contain the names of Semitic deities such as Ba'al (literal meaning: ‘lord’): principal god of the Canaanites, usually depicted as a young warrior, armed, and with bull's horns springing from his helmet - identified by the Hyksos with the Egyptian deity Seth. From World Mythology Dictionary: Having defeated the sea god Yam, built a house on Mount Saphon, and seized possession of numerous cities, Baal announced that he would no longer acknowledge the authority of Mot, ‘death’. Excluded from Baal's hospitality and friendship, Mot was told to visit on earth only the deserts. In response to this challenge, Mot invited Baal to his abode in order to taste his own fare, mud. Terrified and unable to avoid the dreadful summons to the land of the dead, Baal coupled with a calf in order to strengthen himself for the impending ordeal, and then set out. El and the other gods donned funeral garments, poured ashes on their heads, and mutilated their limbs, while Anat, aided by the sun goddess Shapash, brought back the corpse for burial. El placed on the vacant throne of Baal the irrigation god Athtar, but Anat sorely missed her dead husband and brother. Without avail she beseeched Mot to restore Baal to life, and her attempts to interest the other deities in the question were met with cautious indifference. Thus, Anat had to assault Mot, ripping him to pieces ‘with a sharp knife’, scattering his members ‘with a winnowing fan’, burning him ‘in a fire’, grinding him ‘in a mill’, and ‘over the fields strewing his remains’…

Slavic Elements in Homer  

An extract from the book The House of Macedon - A Living Bible of Light

Slavic Elements in Homer  

An extract from the book The House of Macedon - A Living Bible of Light

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