Thank-you Aquaries1111. As you probably know, I am toying with the hypothesis of an Ancient Conflict of the Ages Involving Archangelic Queens of Heaven in a Great Controversy Between Christ and Satan. I am tentatively attempting to place the 1788 Federalist Papers, the 1898 Desire of Ages, the 1928 Book of Common Prayer, the 1962 Missal, Sacred Classical Music, Advanced Technology, and Genetic Engineering -- in the Context of Ancient Babylon, Egypt, Israel, Greece, and Rome -- from the Perspective of an Environment Such as St. Ouen in France. Imagine St. Ouen as the location where a King and Queen of the United States of the Solar System might reign!! It takes all kinds. Right? Please say 'Yes'.
https://www.youtube.com/watch?v=dQdyTsD1QaQ&feature=relatedPage 9
Ancient Egypt: The Light of the World by Gerald Massey
Thunder and Lightning, Darkness and Dawn, Eclipse and Earthquake, Sand-storm or the drowning
waters of the Dark. But these masks were Zoomorphic, not human. They imaged the most potent of
devouring beasts, most cunning of reptiles, most powerful birds of prey. In these monstrous masks we
see the Primal Powers of Nature all at play, as in the Pantomime, which still preserves a likeness to the
primordial representation of external nature that is now chiefly known under the names of Mythology and
Totemism. The Elemental powers operant in external nature were superhuman in the past as they are in
the present. The Voice of Thunder, the death-stroke of lightning, the Coup de Soleil, the force of fire, or of
water in flood and the wind in a hurricane were superhuman. So of the Animals and Birds: the powers of
the hippopotamus, crocodile, serpent, hawk, lion, jackal, and Ape were superhuman, and therefore they
were adopted as zootypes and as primary representatives of the superhuman Powers of the Elements.
They were adopted as primitive Ideographs. They were adopted for use and consciously stamped for
their representative value, not ignorantly worshipped; and thus they became the coins as it were in the
current medium of exchange for the expression of primitive thought or feeling.
Sign-language includes the gesture-signs by which the mysteries were danced or otherwise dramatised
in Africa by the Pygmies and Bushmen; in Totemism, in Fetishism, and in hieroglyphic symbols; very little
of which language has been read by those who are continually treading water in the shallows of the
subject without ever touching bottom or attaining foothold in the depths. It is by means of sign-language
that the Egyptian wisdom keeps the records of the pre-historic past. The Egyptian hieroglyphics show us
the connection betwixt words and things, also betwixt sounds and words, in a very primitive range of
human thought. There is no other such a record known in all the world. They consist largely of human
[Page 7] gesture-signs and the sounds first made by animals, such as "ba" for the goat, "meaou" for the
cat, "su" for the goose, and "fu" for the Cerastes snake. But the Kamite representation by means of signlanguage
had begun in inner Africa before the talking animals, birds, and reptiles had been translated
into the forms of gods and goddesses by the dwellers in the valley of the Nile. The living ideographs or
zootypes were primary, and can be traced to their original habitat and home, and to nowhere else upon
the surface of our earth. The cow of the waters there represented the earth-Mother as the great bringerforth
of life before she was divinised as Apt the goddess in human guise, with the head of a
hippopotamus. The overseeing Giraffe (or was it the Okapi ?) of Sut, the hawk of Horus, the Kaf-Ape of
Taht-Aan, the white Vulture of Neith, the Jackal of Anup, and fifty others were pre-extant as the talking
animals before they were delineated in semi-human guise as gods and goddesses or elemental powers
thus figured forth in the form of birds and beasts or fish and reptiles. The zootypes were extant in nature
as figures ready-modelled, pictures ready-made, hieroglyphics and ideographs that moved about alive:
pictures that were earlier than painting, statues that preceded sculpture, living nature-types that were
employed when there were no others known to art. Certain primordial types originated in the old dark
land of Africa. These were perfected in Egypt and thence dispersed about the world. Amongst them is the
Earth as solid ground amidst the water of surrounding space, or as the bringer-forth of life, depicted as a
Water-Cow; possibly the Cow of Kintu in Uganda; the Dragon of Darkness or other wide-jawed Swallower
of the Light that rose up from the Abyss and coiled about the Mount of Earth at night as the Devourer; the
evergreen Tree of Dawn - pre-eminently African - that rises on the horizon, or upon the Mount of Earth,
from out the waters of Space; the opposing Elemental Powers beginning with the Twins of Light and
Darkness who fought in Earth and Heaven and the Nether World; the Great Earth-Mother of the Naturepowers;
the Seven Children of her womb, and various other types that are one in origin and worldwide in
their range.
When the solar force was yet uncomprehended, the sinking Sun could be imaged naturally enough by
the Beetle boring its way down through the earth, or by the Tortoise that buried itself in the soil: also by
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Ancient Egypt: The Light of the World by Gerald Massey
the Crocodile making its passage through the waters, or the Golden Hawk that soared up through the air.
This was representing phenomena in external nature on the ground of likeness when it could not be
imaged directly by means of words. When it is held, as in Australia, that the Lizard first divided the sexes
and that it was also the author of marriage, we have to ascertain what the Lizard signified in signlanguage,
and when we find that, like the serpent or the Frog, it denoted the female period, we see how it
distinguished or divided the sexes and in what sense it authorized or was the author of Totemic Marriage,
because of its being a sign or symbol of feminine pubescence. It is said by the Amazulu, that when old
Women pass away they take the form of a kind of Lizard. This can only be interpreted by knowing the
ideographic value in the primitive system of Sign-Language in which the Lizard was a zootype. The
Lizard [Page 8]appeared at puberty, but it disappeared at the turn of life, and with the Old Women went
the disappearing Lizard.
The Frog which transformed from the tadpole condition was another Ideograph of female pubescence.
This may be illustrated by a story that was told some time since by Miss Werner in the Contemporary
Review which contains a specimen of primitive thought and its mode of expression in perfect survival. It
happened that a native girl at Blantyre Mission was called by her mistress, a missionary's wife, to come
and take charge of the baby. Her reply was, "Nchafuleni is not there; she is turned into a frog". (Werner,
Contemporary Review, Sept., page 378.) She could not come for a reason of Tapu, but said so typically
in the language of animals. She had made that transformation which first occurs when the young girl
changes into a woman. She might have said she was a serpent or a lizard or that she was in flower. But
the frog that changed from a tadpole was also a type of her transformation, and she had figuratively
become a frog for a few days of seclusion. Similarly the member of a Totem also became a frog, a beetle,
a bull or bear as a mode of representation, but not because the human being changed into the animal.
The same things which are said at a later stage by the ideographic Determinatives in the Egyptian
hieroglyphics had been expressed previously by the Inner African zoo types or living Beasts, Birds and
Reptiles, as may be seen in the stories told of the talking Animals by the Bushmen. The original records
still suffice to show that the physical agencies or forces first perceived, were not conceived or mentally
embodied in the human likeness, and that external nature offered no looking-glass for the human face.
To take the very illustration adduced by Hume. The original Man in the Moon did not depend upon any
fancied resemblance to the human face. The Egyptian Man in the Moon, Taht or Tehuti (Greek Thoth),
had the head of an Ibis or of the Cynocephalus; both Ibis and Cynocephalus were lunar types which
preceded any human likeness, and these were continued as heads to the human figure after this had
been adopted. The Man in the Moon, who is Taht (or Khunsu) in Egypt, had a series of predecessors in
the Dog or Cynocephalus, the Ibis, the Beetle, the Bull, the Frog, and other ideographic figures of lunar
phenomena. As natural fact, the Ibis was a famous Fisher of the Nile, and its familiar figure was adopted
as a zootype of Taht, the lunar God. Where the modern saw the New Moon with the "auld Moon in her
arm", the Egyptian saw the Ibis fishing up the old dark orb from out the waters with the crescent of its
curving beak, as the recoverer and Saviour of the Drowning Light. The Moon was not looked upon as
having any human likeness when it was imaged as (or by) the Cat who saw in the dark: the Hare that
rose up by night and went round the horizon by leaps and bounds: the Ibis as, the returning bird of
passage and messenger of the Inundation: the Frog that transformed from the tadpole: the old Beetle
that renewed itself in the earth to come forth as the young one, or the Cow that gave re-birth to the child
of light as her calf. The sun was not conceived as "human in its nature" when the solar force at dawn was
imaged by the Lion-faced Atum; the [Page 9] flame of its furnace by the fiery serpent Uati; the soul of its
life by the Hawk, the Ram, or the Crocodile, which are five Egyptian Zootypes and a fivefold disproof of
the sun being conceived as or considered human in its nature or similitude.
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Ancient Egypt: The Light of the World by Gerald Massey
In beginning ab ovo our first lesson is to learn something of the Symbolical Language of Animals, and to
understand what it is they once said as Zootypes. We have then to use that knowledge in simplifying the
mysteries of mythology.
This primitive language is still employed in divers forms. It is extant in the so-called "dead language" of
the Hieroglyphics; the Ideographs and Pictographs; in the Totemic types, and figures of Tattoo; in the
portraiture of the Nature-Powers which came to be divinised at length in the human likeness as the Gods
and Goddesses of Mythology; and in that language of the folk-fables still made use of by the Bushmen,
Hottentots, and other Africans, in which the Jackal, the Dog, the Lion, the Crane, the White Vulture and
other beasts and birds keep on talking as they did in the beginning, and continue more or less to say in
human speech what they once said in the primitive symbolism; that is, they fulfil the same characters in
the Märchen that were first founded in the Mythos. It has now to be shown how the Mythical mode of
representing natural phenomena was based upon this primitive system of thought and expression, and
how the things that were thought and expressed of old in this language constitute the primary stratum of
what is called "Mythology" to-day.
In the most primitive phase Mythology is a mode of representing certain elemental powers by means of
living types that were superhuman like the natural phenomena. The foundations of Mythology and other
forms of the ancient wisdom were laid in this pre-anthropomorphic mode of primitive representation.
Thus, to summarise a few of the illustrations. The typical Giant Apap was an enormous water-Reptile.
The typical Genetrix and Mother of life was a Water-Cow that represented the Earth. The typical Twin-
Brothers were two Birds or two Beasts. The typical twin brother and sister were a Lion and a Lioness.
The typical Virgin was a heifer, or a vulture. The typical Messiah was a calf, a lamb or Unbu the Branch.
The typical Provider was a goose. The typical Chief or Leader is a lion. The typical Artisan is a beetle.
The typical Physician is an Ibis (which administered the enema to itself). The typical Judge is a Jackal or
a cynocephalus, whose wig and collar are amusingly suggestive of the English Law-courts. Each and all
of these and hundreds more preceded personification in the human image. The mighty Infant who slew
the Dragon or strangled serpents while in his cradle was a later substitute for such a Zootype as the little
Ichneumon, a figure of Horus. The Ichneumon was seen to attack the cobra di capella and make the
mortal enemy hide its head and shield its most vital parts within the protecting coils of its own body. For
this reason the lively, daring little animal was adopted as a zootype of Horus the young Solar God, who in
his attack upon the Apap-Serpent made the huge and deadly reptile hide its head in its own enveloping
darkness. But, when the figure is made anthropomorphic and the tiny [Page 10]Conqueror is introduced as
the little Hero in human form, the beginning of the Mythos and its meaning are obscured. The
Ichneumon, the Hawk, the Ibis might attack the Cobra, but it was well enough known that a Child would
not, consequently the original hero was not a Child, although spoken of as a child in the literalised
marvels, miracles, and fables of "the Infancy".
It is the present writer's contention that the Wisdom of the Ancients was the Wisdom of Egypt, and that
her explanation of the Zootypes employed in Sign-Language, Totemism, and Mythology holds good
wherever the zootypes survive. For example, the Cawichan Tribes say the Moon has a frog in it, and with
the Selish Indians of North-West America the Frog (or Toad) in the Moon is equivalent to our Man in the
Moon. They have a tradition that the devouring Wolf being in love with the Frog (or Toad), pursued her
with great ardour and had nearly caught her when she made a desperate leap and landed safely in the
Moon, where she has remained to this day. (Wilson, Trans, of Ethnol. Society, 1866, New Series, v. 4,
page 304.) Which means that the frog, as a type of transformation, was applied to the changing Moon as
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Ancient Egypt: The Light of the World by Gerald Massey
well as to the Zulu girl, Nchafuleni.
Sign-language was from the beginning a substitution of similars for the purpose of expression by
primitive or pre-verbal Man, who followed the animals in making audible sounds accompanied and
emphasised by human gestures. The same system of thought and mode of utterance were continued in
mythography and totemism. Renouf says the Scarabeus was "an object of worship in Egypt", as a
symbol of divinity. But this is the modern error. If there was a God, and the Beetle was his symbol,
obviously it was the divinity that was the object of worship, not the symbol: not the zootype. Ptah, we
know, was that divinity, with the Beetle as a type; and those who read the types were worshippers of the
God and not of his symbolic dung-beetle which was honoured as a sign of transformation. When told that
the Egyptians were worshippers of the "Bee", the "Mantis", and the "Grasshopper", we recall the words of
Hor-Apollo, who says that when the Egyptians would symbolise a mystic and one of the Initiated they
delineate a Grasshopper because the insect does not utter sounds with its mouth, but makes a chirping
by means of its spine. (B. 2, 55.) The grasshopper, then, which uttered a voice that did not come from its
mouth, was a living type of superhuman power. And being an image of mystery and superhuman power,
it was also considered a fitting symbol of Kagn, the Bushman Creator, or Great Spirit of creative mystery.
Moreover, the grasshopper made his music and revealed his mystery in dancing; and the religious
mysteries of Kagn were performed with dancing or in the grasshopper's dance. Thus the Initiates in the
mysteries of the Mantis are identical with the Egyptian Mystae symbolised by the grasshopper; and the
dancing probably goes back to the time when pre-verbal man was an imitator of the grasshopper, which
was a primitive type of mystery, like the transforming frog and the self-interring tortoise. There is a
religious sect still extant in England who are known as the "Jumpers", and their saltatory exercises still
identify them with the leaping "Grasshoppers" and the "praying Mantis" in the [Page 11] mysteries of old.
They still “dance that dance”. The “Moon belongs to the Mantis”, say the Bushmen, which goes to show
that the Mantis was not only a Lunar type as the leaper round the horizon, but on account of its power of
transformation; and this again suggests the reason why the Mantis should be the zootype of the Mystae
who transformed in trance, as well as leaped and danced in the mysteries. The Frog and Grasshopper
were earlier leapers than the Hare. These also were figures of the Moon that leaped up in a fresh place
every night. It was this leaping up of the light that was imitated in the dances of the Africans who jumped
for joy at the appearance of the New Moon which they celebrated in the monthly dance, as did the Congo
Negroes and other denizens of the dark Continent who danced the primitive mysteries and dramatized
them in their dances.The Leapers were the Dancers, and the leaping Mantis, the Grasshopper, the Frog,
the Hare, were amongst the pre-human prototypes.
The frog is still known in popular weather-wisdom as the prophesier of Rain. As such, it must have been
of vastly more importance in the burning lands of Inner Africa, and there is reason to suppose that Hekat,
the Consort of Khnum, the King of Frogs, was frog-headed, as the prophetess, or foreteller, on this
ground of natural fact. Erman says the “great men of the South,” the “Privy Councillors of the royal orders
were almost always invested – I know not why – with the office of Prophet of the frog-headed Goddess
Hekat”. (Life in ancient Egypt, page 82. English Translation). The Frog was a prophet of rain in some
countries, and of spring-time in others.In Egypt it was the prophet of the Inundation, hence Hekat was a
Consort of Khnum, the Lord of Inundation, and King of the Frogs. Hekat was also the Seer by Night in the
Moon, as well as the crier for the waters and foreteller of their coming. From her, as Seer in the dark, we
may derive the names of the Witch as the Hexe, the Hag, the Hagedisse; and also that of the dark
Goddess Hecate, the sender of dreams. As prophesier of rain, or of the Inundation, it was the herald of
new life to the land of Egypt, and this would be one reason for its relationship to the Resurrection. But, in
making its transformation from the tadpole state to that of the frog, it was the figure of a still more
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Ancient Egypt: The Light of the World by Gerald Massey
important natural fact. This, in the Mythology, was applied to the transformation and renewal of the Moon,
and to the transformation of the Mortal into an Immortal in the Eschatology, a type of Ptah, who in one
form is portrayed as the frog-headed God.Lamps have been found in Egypt with the frog upon the upper
part, and one is known which has the legend , “I am the Resurrection.”
(Lanzone, Dizionario, page 853; Budge, The Mummy, page 266) – In this figure the lamp is equivalent for
the rising Sun, and the frog upon it is the type of Ptah, who in his solar character was the Resurrection
and the life in the Mythology before the image passed into the Eschatology, and the God who rose again
as Solar became the Light of the World in a Spiritual sense. The frog was a type of transformation, and
the Frog-headed Ptah made his transformation in Amenta to rise again as the opener of the Nether
Earth. And as he represented the Sun in Amenta, the frog, like the cynocephalus of Memphis (Rit., Ch.
42) was imaged as Golden. Thus we find the Sun in the lower Earth of two depicted in the Golden Frog,
and, as stated by John Bell, the [Page 12] Lamas had an idea that the earth rested on a Golden Frog, and
that when the Frog stretched out its foot there was an Earthquake. (“A Journey from St. Petersburgh to
Pekin in the year 1719.” Pinkerton’s Voyages,v.7, page, 369) Here the frog beneath the earth, like the
Tortoise, is Egyptian, and as such we can learn what fact in nature was represented by it as a zootype of
Ptah in the Nether World called the Earth of Eternity, where the typical tadpole that swam the waters
made its transformation into the frog that stretched itself out and set foot on land.
It is related in a Chinese legend that the lady, Mrs. Chang-ngo, obtained the drug of Immortality by
stealing it from Si Wang Nu, the Royal Mother of the West. With this she fled to the Moon, and was
changed into a Frog that is still to be seen on the surface of the orb. (Denny’s, Folk-Lore of China. P.
117). As Egyptian, the Mother of the West was the Goddess who received the setting Sun and
reproduced its light. The immortal liquor is the Solar Light. This was stolen for the Moon. Chang-ngo is
equivalent to the frog-headed Hekat who represented the resurrection. The frog in Egypt, was a sign of
“myriads” as well as of transformation. In the Moon it would denote myriads of renewals when periodic
repetition was a mode of immortality. Hekat the frog-headed is the original Cinderella. She makes her
transformation into Sati, the Lady of Light, whose name is written with an Arrow. Thus to mention only a
few of the lunar types, the Goddess Hekat represented the moon and its transformation as the Frog. Taht
and his Cynocephalus represented the man and his dog in the Moon. Osiris represented Lunar Light in
his character of the Hare-headed Un-Nefer, the up-springing Hare in the Moon. These are Egyptian
Zootypes to be read wherever found by means of the Egyptian Wisdom. Amongst other Hieroglyphic
Signs in the Language of Animals, the Head of a Vulture signifies victory (doubtless because of the bird’s
keen scent for blood). The sheathen claw is a determinative of peaceful actions. The hinder part of the
Lioness denotes the great magical power. The Tail of the Crocodile is a sign for black and for darkness.
An Ape is the ideograph of rage and a fiery spirit, or spirit of fire. The sparrow is a type of physical evil
because of its destructive nature in thieving corn – its name of “Tu-tu” signifies a kind of plague or
affliction of the fields. (Birch) The Water-wagtail is a type of moral evil. This bird, as Wilkinson pointed
out, is still called in Egypt the father of corruption (aboo fussad) It was regarded as the type of an impure
or wicked person, on account of its insidious suggestiveness of immoral motion. The extent to which
morals and philosophy were taught be means of these living object-pictures cannot now be measured,
but the moralizing fables spoken as well as acted by the typical animals still offer testimony, and
language is full of phrases which continue the zootypes into the world of letters, as when the greedy,
filthy man is called a hog, the grumpy man a bear, the cunning one a fox, the subtle and treacherous one
a snake.
In the folk lore of various races the human Soul takes the form of a Snake, a Mouse, a Swallow, a Hawk,
a Pigeon, a Bee, a Jackal, or other animal, each of which was an Egyptian zootype of some [Page 13]
' 
Indipendance day 2012-signal, all go at once - enlightment & divine solutions
DivineChildren, please never forget our Loove we brought into this quarantained realm 
strawberry fieldsforver???
in discernment
