The Sound of Silence

 

Wid-Ar is called 'The Silent God' but this has never really been explained, though I have read many ideas about it, all of which has to be guesswork I am afraid, since Norse Myths say nothing of this as far as I can tell. The term 'silence' invokes the idea of 'stillness' and a 'lack of vibration'; thinking is done by 'brain-waves' which is 'vibration'. Thus being silent is to still the thoughts which in most people are turbulent and hard to control. The Hindus tell us that the 'Sound of Silence' is to still the mind to hear the Sound of the Primordial Ocean. The term Primordial Ocean is used to mean the Primal Sound-Vibration or Sound-Wave - AUM/OM/YM. In Hinduism this is symbolised by the Conch Shell, and it is a fact that a shell, when held to the ear, seems to give the sense of the waves of the seas. It is perhaps significant here that a shell has a spiral form. Presumably, the Primordial Ocean is the Apsu (Sumer) or Absu (Babylon), seen in the term Aep in Norse Lore, the basis of the term Aep-andi Nam - the 'Cry of Need'. (*)

(*) This term must then mean 'Aep' (Primordial Waters) and 'Anda' (Vital Breath).  

When Woden is swallowed by the Fenris Wolf this is not just symbolic of his being 'swallowed' by Chaos, since though this is so the meaning goes far deeper than this. It is true, Old Chaos returns at the end of a Cosmic Cycle, and this is how things are today; this is where the Cosmic Joker comes into play, since all this infers a return to the Source of Creation - the Void or Ginnungagap. Ginn is the Cosmic Joker and Ginnar is a name of Woden who is a form of 'emanation' of this Ur-Force. When Woden is swallowed by the Fenris Wolf ('Wolf of the Fens') he is thus returned to the Source - The Void. This is why it is important to understand the concept of the Egyptian Rite called The Opening of the Mouth. 

The Opening of the Mouth was done originally by Horus on his father Osiris who was slain by his brother Set. Straightway we see in this the Myth of Hamlet where the Father is slain by the Brother, and the Son avenges his father by slaying his uncle. The ritual was done originally by using an apse which was a piece of (meteoric) iron shaped like the Great Bear Constellation. The aim of this rite was to allow the Soul-Spirit of the Father to 'escape' the body and then 'enter' the Son, who thus became the resurrection of the Father. 'The Father and The Son are one!' This is exactly what we see with Wid-Ar who rips open the Wolf's Jaws to allow the Spirit of Woden to escape; Woden is thus resurrected as Wid-Ar the Silent. Here Wid-Ar is linked to the Sound of Silence whence is heard the Sound of the Primordial Ocean. In order that a resurrection and renewal can take place it is necessary to return to the Source of Creation. 

YR = YM = YMIR = The Primordial Sound

The Yr-Rune has the symbolism of the YR-MIN-SUL which is placed inside the UR-RUNE - the UR - YR-MIN-SUL. An alternative name of Ymir is Aur-gal-mr where 'aur' is akin to 'our' and to 'Ur'. The Root *gal- means 'sound'. 'In the Be-Ginn-Ing was The Word' - Sound Vibration. The symbol most associated with the First Earth - the Primal Earth - is the Swan, symbolic of the Land of Thule and of Hyperborea. This can be found in Greek Mythology where Apollo rides to the Land of the Hyperboreans on a chariot pulled by Swans. The following is  break-down of the ideas around the word 'Swan' -

IE Root *swen- means 'sound'.

English swan and German schwas mean 'sound'.

Sanskrit Root vanish means 'sound' or 'tone'.

Latin snare means 'to sound'.

Latin sonus means 'sound'. 

Brahma is seen riding upon a Swan as is the Goddess Saraswati who gives her name to the River Saraswati in India. The Saraswati River is seen as being linked to the Milky Way, and the Saxon Irminsul seems to symbolise the same thing, and the Roman Roads of Watling Street - Ermine Street are set out as a reflection of the Milky Way over the Land of Britain. The Goddess Saraswati, it has to be pointed out, is linked to the Swan or the Goose, or the 'Swan-Goose'. There are other important ideas linked to the Swan -

• Thule-Hyperborea.
• The 'Swan-Knight', which is Lohengrin, though to have been originally from the Legend of Sceaf, and thus linked to Ingwe. 
• In this link to Ingwe, Tolkien writes into the Legend of Hengest and Horse the Myth of Hamlet, and the sister of Hengest and Horse is Swana ('Swan') found in Frisian Lore. 
• The Swan-Maidens or Valkyries associated both with a Swan and also the Raven or Crow. 
• The Legend of Wayland the Smith where he and his brothers are wed to Swan-Maidens. It has been said that Wayland's Smithy is aligned with Deneb, the central star of Cygnus the Swan. 
• The Elder God Hoenir is linked to the Stork and the bringing of the babies to the mother, but an alternative to the Stork is the Swan. 
• The highest chakra in the Chakra System has the tone HAMSA which means 'Swan'.
• This is why the Swan is the symbol we use for the Odroerir-Centre in the ALU-ULA Exercise. 

The Rad-Rune is linked to the idea of sound-vibration (waves), to rhythm, to rhyme (meter) and thus to 'Right Order' - harmony. The Lago-Rune is the glyph of a 'wave of the sea' at one level, at another it is a 'spring' welling up from the ground. The 'spring' is a source of a waterway, thus the Source and Origin of Water. 

The constellation of Cygnus the Swan is shaped like the Ear-Rune (Hanged God) and the Cweorth-Rune (Resurrected God). This is also known as the 'Northern Cross' and an astronomical map of the Northern Hemisphere by William Schickhard (1592 - 1635) shows 'Krist Crucified' upon the Northern Cross. This constellation lies over the Galactic Centre, the 'Dark Rift' which seems to be the 'Womb of Creation'. This area lies around a vast Black Hole at the Centre of the Galaxy - marked by Deneb. When the figure of the Egyptian Goddess Nut is imposed upon the Milky Way her sexual organs lie right at this point. Nut would surely be alike to the Norse Goddess Not - Goddess of Night. Nut clearly stands over the Night-Sky and the Night Stars. The term 'Not' may well be seen as 'not' in the sense of darkness and a lack of light. The word 'not' comes from the IE Root *ne- and gives rise to 'nothing', 'naught' and 'none'. It is from the Goddess Not that everything arose out of - Light from the Darkness. The Saxons called the Milky Way by the name Iring's Way, a name that could be associated with Irmin (Ir-Min). 

This alternative version of the Cweorth-Rune shows a glyph whose shape has the same parts as the Peorth-Rune, as well as the same '-eorth' sound. The Perth-Rune is the 'Opening of the Womb' in childbirth, as well as the 'Opening of the Mouth' as a 'Gateway' or 'Doorway'. Peorth is also linked to the ideas of the Taefl-Board Game and thus to the Conflict of Opposites which underlies the Cosmos and its workings. 

Two other runes can be seen as linked to the flight of the Swan, as well as to the feet of a bird - the 'Life-Rune' (Eohls) and the 'Death-Rune' (Calc). The 'Swan-Song' is said to be the sound made by the Swan as it dies - the 'Sound of Death'. This is a clear association with Death, but the Swan is also associated with the 'Sound of Life' and the 'Sound of Creation'. A binary-star system called Cygnus X3 gives off very strong X-Rays, and this was known even before these were detected by scientists, since it was mentioned by Peryt Shou. The Eohls-Rune can also be seen as the Female Sex-Organs if we take the top part of it as a symbol. Indeed it could also double as symbolic of the Male Sex-Organs. 

The work of Peryt Shou was based around making contact with the 'Brotherhood of Hermes' and Wotan-Hermes formed part of this. In these times occultists used the term 'extraterrestrials' but it is perhaps better to say 'extra-dimensional beings' to keep clear of the 'alien' bullshit. Shou mentioned that strong radio-waves were emitted from the region of Cygnus the Swan. An important part of his work concerned the use of the human body as an 'antennae' to contact other intelligences. The 'Life-Rune' (Eohls) has long been used as a symbol of an antennae. This is indeed why this rune-posture is used in ritual - as an antennae. to make contact with the Gods and Ancestors. 

The Ing-Rune is a glyph of the DNA Spiral and it is also linked to various symbols used within shamanism, especially to those connected with the journey to the Cosmic Centre -

• Twin Serpents intertwining.
• A ladder.
• A rope.
• A tree that is used to climb upwards.
• The 'chimney' down which 'Santa Claus' descends to bring presents to the good children. The chimney is the 'centre' or 'hearth' of the house. The fireplace or 'Inglenook' is likely named after the Fire-God, Ingwe. 

There is a Quantum Theory which states that some sub-atomic particles, when separated, will continue to communicate with each other even if placed far apart. This new 'find' merely confirms what magical practice already knew, in that something connected to a person can be used to effect a curse or to heal that person. This also applies to objects that have been used by the dead, which can be used to contact the dead, hence the idea of 'sitting out' on the Burial Mound, or in the churchyards in later times. Today we keep a loved-one's ashes in order to keep contact with them. Imagine how much more powerful these ideas would be when used within a small tribal community where each individual was buried close to each other. 

But this theory also suggests something that is just as important, and that is the ability to contact the Spirit-World in regards to plants, trees and animals. We have no doubt all read of the 'shamanic' experiences (mainly using mind-alternants) in which the individual seems to be able to contact the 'spirit' (consciousness) of a plant. Great stress is given upon such experiences and yet there is one very good example of this from Edward Bach and the 'Bach Flower Remedies' when he seems to have contacted the 'spirits' of the plants in order to find out their use, which is just the same thing, though I don't think he used mind-altering drugs to do so. 

What does seem strange in the accounts that I have read of such shamanic experiences is the widely-seen forms of Serpents that are seen during them. The Twin-Serpents intertwined as found in the Ing-Rune seem to hint that here we are dealing with the consciousness of the DNA itself, perhaps that great proportion called 'Junk-DNA' which scientists know nothing of. We could dismiss this, but there are many Serpents found on the Horns of Gallehus, created in a dotted form as if to show they exist in another world -

We see in the above the intertwined serpents in various different places, and this pattern is also found on various Germanic Artifacts around Europe, the intertwined or interlaced 'Serpent-Pattern'. I am going to make a suggestion here, and that is all it is, and that is that the intertwined serpents are linked to Ingwe and the Ing-Rune because Ingwe is a Fire-God like Agni, and has the same type of role as the Messenger-God. Through a Quantum-Consciousness of the DNA (not only of humans, but animals, trees, and plants) we find that 'messages' can be sent from one to another. The Consciousness of DNA could be the reason that some people can communicate with animals, trees, plants; it could also be why contact can be made with other 'spirits' - Gods, Elves etc. 

Here I am going to go back to an idea that came to me some years ago, and this relates to the 'Swan-Knight' and to Sheaf-Ingwe. The Swan is used as the symbol of the Highest Initiation. It is also possibly the original 'wings' on the Saxon Irminsul. Whether this be the Eagle and the World-Tree, the Eagle and the Sacred Mountain, or the Swan and the World-Pillar, the symbolism is just the same, the ascent to the Highest Consciousness. My idea on this was that the Legend of Sheaf can also be seen as an allegory based upon this individual ascent to a Higher State of Consciousness, symbolised by the Swan, Thule, Hyperborea or Scandi. That this is the Shining Island is significant since this itself infers a higher consciousness and the Divine Light. 

According to Sri Aurobindo this state was called SWAR/SVAR which would be HWAR/HVAR in Aryan Persia (Hvar-ena). This itself is of interest since this may stem from the IE Root *swer- which has the following meanings -

To speak, to talk.

To buzz, to hum, to whisper.

To cut, giving us the word 'Sword'. 

The inference here is to sound, but the symbolism of the Sword also suggests 'Light' in that it is used as a Solar Symbol. In regard to 'to speak' or 'to talk' the English word 'swear' stems from this same root. The Germanic *swar- is linked to these ideas too. It is also interesting to note that the Waelcyrge are linked to the sound of the buzzing of bees, and this sound (from my own experience) is linked to mystical happenings. (The root-sound YM/AUM/OM has the 'mmmmm' sound which is a humming-sound. When the sound is extended to AUMN ('Amen') this humming-sound is done through the mouth and then into the nose.) 

The symbolism around the figure of Sheaf-Ingwe also suggests this could be a valid idea -

The Sheaf of Corn - Gold is symbolic of the Solar-Consciousness.

The Lighted Taper - Fire is symbolic of Light. 

The Swan-Ship - The ship is symbolic of the journey between one world and another world. 

 

This Mayan Stela shows a 'Hanged God' upon the World Tree, clearly an idea not restricted to Judaeo-Christianity. The important thing here is that this is clearly a Tree, but it is also clearly a Cross. It has much the same symbolism as Yggdrasil, since at the top is a Cock rather than an Eagle, and this Cock is being spoken to by a small animal to the left, the equivalent to Ratatosk the Squirrel. The figure of a Cock on the top of a Tree or Staff can be found in very old shamanic drawings, representing the ascent to the Spiritual Centre. Some cultures see Cygnus as a Cock rather than a Swan. 

The importance of Wid-Ar does not seem to have been taken up much beyond the work of Woden's Folk. Yet, it was prophesied in Voluspa that few would be able to see beyond Woden being swallowed by the Fenris Wolf, so this would go some way to explaining this. We are still in the throes of hanging on to the old 'archetype', bar those who accept the Wid-Ar Archetype for the New Age. The Armanem of pre-war Germany, and other well-known individuals, seem to have recognised this when some declared 'Odin is Dead!'. Rather than a God being 'dead' in the normal sense this more likely referred to Odin as the 'Hanged God', just as Christ, as the 'Hanged God' was declared dead by Nietzsche. This was the theme of Peryt Shou's ideas too, since he saw the ordeal undergone by Woden on the World Tree as a form of death and resurrection, when Woden climbs down from the Tree of Woe as the 'Awakened One'. The 'New Age' was recognised long before the coming of the 'New Age Movement'. 

We have this 'dual-symbolism' in the Constellation of Cygnus the Swan, represented by both the Ear-Rune (Hanged God) and the Cweorth-Rune (Resurrected God). Like everything else in the multiverse, the Gods do not 'die', they are transmuted into another form, and this other form has to be suited to the era in which they reappear. The 'defeat' of the Forces of Light here in Middle-Earth did not mean the 'death' of the Gods, they retreated into the shadows, to awaken once more into the Light of Day when the time is right. The 'Twilight of the Gods' has to be balanced by the 'Dawn of the Gods'! 

The Mysteries of Heil

 

The Abbot of Cerne  was named Aelfric, one of the three foremost scholars of the tenth and eleventh centuries. We have this quote from Aelfric -

"There, near at hand to the Holy Man, there was a pleasant hill adorned with plants, with all fairness and full smooth."

This 'Holy Man' seems to mean the Heil-Giant, and the words do convey the meaning 'Holy-Giant', the term 'Heil' can mean 'Holy'. In one of his works, Lives of the Saints, he dwelt a great deal upon the figure of Saint Edmund and the Severed Head guarded by a Wolf. Also, in the martyrdom of St Alban we find that he escaped death by causing a stream to dry up, and then reactivating its spring by pure 'spiritual power', and was afterwards beheaded, as was St. Edmund. It has been said that at some time a 'Severed Head' could have been linked to the Giant. 

The figure was also called Helia recorded by a French monk named Gotselin who migrated to England in 1053. The name appears to be female, but it has variations - Helia, Helis or Helith. The French monk no doubt got this information from earlier Saxon accounts. Interestingly, in view of this religious abbey being built next to the Giant, this is also the case with the Long Man in Wilmington. It is also interesting to note that St. Edwold, the brother of King Edmund of Anglia, fled to Dorset around 870 CE and lived as a hermit in the Cerne Valley. The legendary founder of the earlier religious house was St. Augustine in the sixth century. He travelled to Dorset from Kent to 'suppress idol-worshippers at Cerne'. 

An account written by Walter de Hemingford in 1297 begins - 'In the district of Dorset...where the god Helith was once worshipped..." In  the Golden Legend written earlier in the thirteenth century the same story is told, set '...in a certain town inhabited by wicked people...' who worshipped an idol called Heil or Hele. Since we find the names associated with a 'Holy Man' they could be related to the Old English helig meaning 'holy'. 

Long ago William Stukely saw the hill-figure as 'Hercules', and Professor Stuart Piggot took up this idea in later times. But Piggott links the name Helith with Harlequin which Kris Kershaw relates to Herla's Kin and in doing so links this to King Herla and to Herian, a name of Woden as the Wild Huntsman. This in fact gives weight to my own ideas on Waendal, since the figure also links to the Harlequin (Jester-Fool) and to the Wild Huntsman. As 'Winter-Woden' this is the Wild Hunter-God named Helethkin from the Old English heoloth-cynn. Hercules is a Greek form of this figure, which gave rise to the idea that the hill-figure was Roman. The problem is that many scholars started with the idea this was 'Roman' (from the Greek) and then tried to prove it so by finding the 'Lion's Skin' held by Hercules. The figure today is thought to date from the Anglo-Saxon times!

Even though the name of the area in which the abbey is found is Cerne or Cernel, relating the Giant to Herne is not so far from being right, since Herne the Hunter is the Wild Huntsman as shown in his legend from Windsor. 'Cerne' is in fact a Celtic word for 'horn', as 'Herne' is the Saxon equivalent. The 'nipples' of the Giant are offset in the same pattern as the top two stars of Orion the Hunter. Since the 'Phallus of Orion' - Three Stars of Orion - can represent 'Frigg's Distaff' and the 'Three Sisters of Wyrd, then the three Pyramids of Egypt are also based upon the Three Stars of Orion as Robert Bauval has discovered. Also, of interest here, is that another 'speculative writer' (don't forget most of our history is 'guesswork'), Andrew Collins, has equated the same three pyramids of Egypt with Cygnus the Swan - thus we have Orion (Heil Giant) and Cygnus (Long Man) again linked in some mysterious way. 

There is yet another synchronicity involved here. There is a 'Severed Head' linked to the Heil Giant, recorded in some old drawings of the figure. The Long Man was once called The Green Man and the 'Severed Head' is directly linked to the Legend of the Green Giant, where Gawain beheads the Green Giant. We have the 'beheading' of the White Hart connected to the Long Man! Thus both figures may be linked to the image of the 'Severed Head'. 

The Skull and Crossbones is thought to be symbolic of the Wild Huntsman, and is certainly linked to Death and Destruction (to resurrection and renewal). Both Gawain and Parsifal are linked to the Graal-Quest, and the name Ga-Wain (Gavin) could be rendered Ga-Wyn, thus the Gyfu-Rune and Wyn-Rune making up the Chi-Rho which Mdme. Blavatsky says is the Skull and Crossbones - just pure guesswork, of course. 

In 1764 it was reported that 'three numbers' were found within the Giant's legs, and in 1774 an illustration in a book by Hutchin showed three letters as well. Research has been done on this through various scans of the areas, but nothing conclusive has been found, nor do we know if or when such letters and numbers were on the Giant. Hutchins version of the symbols seem to show the letters - I : n: g, though later research seems to look like I : n ; D, and the numbers 1 : 7. Since we find no evidence of letters and numbers on other hill-figures in England these would no doubt be later editions (if they ever existed). Hutchin's version of the numbers is 7 : 9 : 8. It is hardly likely that the date 1798 is shown here, since this was decades before Hutchins wrote in 1764. The earlier version of the letters - ing - would also seem to be more likely than i-n-D, since why use a capital letter for the 'D'. The 'i' can be a capital 'I' or a 'J' from the version we have from Hutchins. 

It has also been found that the phallus has later been lengthened, originally being the navel and phallus. The Trendle next to the Giant could have been a Temple of Heil maybe having an idol of the God within its boundaries. When we count the circles for the navel and phallus we have a link to the Three Stars of Orion, and above these the two top stars, offset as are the nipples.The two offset stars have the same form as the constellation of Orion - that is when we view this as the Seven Stars of Orion. As Hamasson once pointed out, these create the Wolf-Hook Rune. 

What has tended to cloud the issue here is the academic dogma that everything here in Britain in pre-Roman times was 'Celtic'. This area was in fact where the Belgae dwelt and Caesar stated these were mainly Germanic Tribes. There is really no difference, bar language, between the 'Celts' and 'Germanics', but the term 'Germanic' is today mainly taboo amongst academia due to the association with National Socialist Germany. Decades of propaganda have made anything 'Germanic' as being a 'no-no', and thus acts to destroy a great part of our own English History. 

The weapon of the Irish God, The Dagda, is a Club; this has the properties of being able to deal Death at one end, and resurrection and new life at the other end. This is indeed interesting in that the Club is symbolic of the Tree in one sense, and the Wilmington Yew-Tree ('Tree of the Helmed Waendal') can be, like all Yew-Trees, symbolic of Death (in the churchyards) and of resurrection and new life (it is evergreen). Being 1,600 years old this dates back to early Anglo-Saxon times. The club shown on the hill-figure is clearly tree-like in that it shows where branches have been cut off to make the weapon. 

Like the Long Man, desecrated by the idiots known as 'Trinny and Susannah', and later by a phallus being drawn upon it, the Heil Giant was desecrated in the summer of 1989 by a Durex balloon bearing the slogan 'You're safer with Durex' landing upon the left fist, followed by an advertising poster campaign. As usual the ignorant corporations got it wrong in stating the figure was 'Bronze Age'. Then a 'Covid Mask' appeared as a publicity stunt. What with the Global Corporations and their stunts, and the 'New Age' approach to such ancient figures, things started to become distorted, and these hill figures became a mockery - nothing out of the ordinary here! 

The figure of Waendal wields a Club, and is that of 'The Joker' or 'The Jester' as shown in  the card-packs. It also resembles the Harlequin, which is one of the forms of the Wild Huntsman, the other being 'The Joker'. It is very likely that in the Long Man and the Heil Giant we have both forms of the Wild Hunter-God (Woden) - the April Fool (Joker) and the Herla-Kin (winter version as Orion the Hunter). From this we can work out that the name Heil was used for the Wild Hunter-God, and relates, no doubt, to the meaning of 'Hail' found in the Haegl-Rune - Hail = Destruction, Heil = Recreation i.e. to make 'whole again'. 

The Mysteries of The Long Man

 

The Long Man of Wilmington

I have covered this is my books before, but I do feel that it is important to understand who the Long Man represents. This, I have to add, is not an 'academic' study of the hill-figure which would be very difficult since no real knowledge has come down to us. This is where Esoteric Knowledge comes into play, since this is a revealed form of knowledge that would be dismissed by scholars and academics as being 'non-traditional' or as not 'authentic' (whatever that means). 

When I went through a very profound mystical experience (an Initiation) in 1993 a two-week time-span when the Mysteries of HelgiH were revealed, this ended at 12.00 Noon on April 1st 1997, at the same time as I looked upwards to see in front of me the Long Man. Although this would be dismissed by scholars and academics this type of synchronicity will not be dismissed by esoteric workers, since it is just as important (if not more so here) as historical records. The time and date here point to the Long Man being the 'April Fool' - the 'Pure Fool' whom we relate to The Hooded Man. Although in such an experience it is never 'stated' that this is the figure of Woden in his aspect of The Great Initiator became clear to me. Since previous to this I had an experience of contact with what I can only see as the Cosmic Joker the two things are interconnected. 

Later experience came to explaining these mysteries, since they are linked to the Ginn-Unga-Gap and to the Ginn or Ginnar as being 'The Fool', and a by-name of Woden too. As I have shown before the origin of everything would be what is called Ginn from which comes Ginn-Unga-Gap (Gap, Offspring of Ginn), and then the Ginn-Regin ('Elder Gods' or 'Elder Powers'). Important to this is that the Joten (Low-Born and High-Born) come out of the Ginnungagap, as does the Cosmic Mother (Cosmic Cow) named Audhumla. When Audhumla licks the Ice-Rime there appears the 'head' of a 'Man' - the God Buri. From Buri and the Joten, Bestla, spring Woden, Will and Weoh (Woden, Hoenir and Lodhur). These are the Elder Gods - the Gods of Creation. 

The Tarot Card named 'The Fool' is numbered '0' and thus linked to The Void - Ginn-Unga-Gap. It seems to be symbolic of Orion the Hunter, since at the heel of the figure is a dog, which would be symbolic of Sirius, the Dog-Star. I have linked the Herne Abbas Giant (Herne Giant) with Orion, but when we consider that just east of the Long Man is a comet-shaped long barrow called Hunter's Burgh this hill-figure could also be linked to Orion the Hunter. This does not negate the fact that it could also represent Cygnus the Swan since the shape is very much like this constellation - as is the Herne Giant too! The two hill-figures seem to be not only linked, but also interchangeable in symbolism. 

"I am the Beginning and the End - the First and the Last" - this I have applied to the Morning Star and the Evening Star, and it can be just as well applied to the Long Man and the Herne Giant (Heil Giant). The Long Man is in the East - Dawn, and the Herne Giant in the West - Dusk. Even though different names have been given to the Morning Star and the Evening Star they are really one planet - Venus. This can also apply to the Long Man and the Herne Giant, and these may also be linked to Bootes (Son of Man) and Hercules (The Hero). This seems clear when we consider the Old English Rune-Poem where the Ing-Rune tells that Ing follows his waen which can be the 'Sun-Waen' or 'Woden's Waen' (the Great Bear), i.e. Bootes following the Great Bear. Venus is a 'Double-Star' and is connected to both Freya and Ingwe. 

There is another link between the Long Man and the Herne Giant, both of these being Solar-Phallic; the Herne Giant is clearly so, but the Long Man has a long-barrow on the top of the hill-figure with a rounded end, thus creating a phallic-shape - pointed towards the hill-figure. The club was certainly liked to Hercules, but it is also the weapon of the God of the Mannerbund in Teutonic Lore - Woden. This is the oldest form of 'Magical Weapon' of the Gods. In Egyptian Lore the Constellation of Orion the Hunter is seen to represent Osiris, and the Phallus or Orion is the 'Phallus of Osiris'. Since the Saxons called this Frigg's Distaff this is a word-play used for the 'Phallus of Woden'. Also, once more emphasising the links to The Fool of the Tarot, the Three Stars of Orion (Phallus of Orion) are symbolic of the Three Norns or Wyrd Sisters - distaff, spinning, Wyrd Sisters. The Three Stars of Orion align with the Dog-Star, Sirius on an important date. 

There is also a link with the Avatar and the Rightful King since the Three Stars of Orion also represent the Three Magi of Persia, and the 'gifts' of Gold (Kingship), Frankincense (Priest-Magician) and Myrrh (Doom-Justice). The Three Magi give these gifts to the Krist-Avatar but they are originally related to Zarathustra who was a similar archetype, and from which the 'Krist Archetype' no doubt came from. Added to this is a White Horse which is found just west of the Long Man, near to yet another Saxon Barrow. This is a late Nineteeth Century addition, but this does not negate the symbolism since time and space dissolve in regard to Archetypal Myth. 

In a book called The Wilmington Giant by Rodney Castelden he states that S.F. Annett suggested that the area around the Long Man is the setting for and episode in the Petit Saint Graal, a story about Peredur, the son of Evrawc. This is indeed of interest since Peredur is a Welsh version of Parsifal - 'The Pure Fool'. And it links the Long Man with the Graal-Mythos. I shall paraphrase what is said on this to save space - 

• Peredur - The Hero - is on a quest when he comes upon a castle with no inhabitants. Less than a mile to the north-west is a low mound called Burlough Castle which has not trace of stonework, nor is there mention of  castle having been there.
• In the hall he finds a chessboard on which the pieces are playing by themselves. The chessboard is, in the Graal-Mythos, linked to Morgana - Goddess of Fate. This is in the Bespelled Castle or Castle of Wonders, and Burlough Castle is said to be the 'Home of the Fairies' (Fates). 
• Peredur takes sides and loses; he is rebuked by an 'ill-favoured maiden' after he throws the chessboard out of the window. The maiden tells him he can make good if he goes to a nearly wood and beheads the White Hart that frequents the wood. Peredur does so, but a mysterious knight seizes the head a carries it off. There is a small wood nearly in which stands a small church, Lullington Church, and near to the Long Man is Hunter's Burgh. There is also an area named Hindover Hill where stands the White Horse. 
• For losing the Hart's Head he is sent to a mound beneath which is carved the figure of a Man (the Long Man), where he recites a spell and a huge black man springs out of the mound ready to do battle. Peredur defeats him and the black man disappears into the mound. The mound is clearly the Windover Hill Long Barrow. We are not told so but this figure of a 'Dark God' may have been the wielder of a Club, since this is how the figure appears in similar legends. 

The chessboard is a board of 8 x 8 squares, half black and half white, thus 64 squares in total. In another Graal-Legend this is linked to the Grail-Hero Gawain and his 'Loathly Damsel'. It is also important that there are 16 chess-pieces on each side of this game. In another version it is Parsifal again who plays the game, loses three times and, in a rage, is about to throw the pieces 'into the water below' (Cuckmere River). He is restrained by a young woman wearing a red dress strewn with shining, twinkling stars, who claims the chessmen to be 'hers'. The same figures appears in Egil's Saga as a Red Queen, her name being Gunnhildr. Emma Jung tells how the Star Woman inherited the 'Fairy Morgana's Chessboard', the chess-game being the Conflict of Opposites (RAHwHAN). In one instance the Star-Woman is with a 'Hound' - the 'Hound' Sirius. 

Clearly, the huge 'Black Man' that comes out of the mound is the 'Dark Side' or 'Shadow-Side' of the Hero that has to be overcome in order to fulfil the quest. The Hero thus represents the 'Light-Side' of the Eternal Conflict between Light and Dark - thus the chess-game. Also of interest here is that during the same Mystical Experience of 1997 I was told in a dream that the Hale-Bopp Comet was 'Sent by Morgana', which again links this to the Graal-Mythos. Morgana is the Goddess of Fate - Wyrd. Here, it seems, Woden is the Great Initiator but it is Wyrd (Morgana) who oversees the result of the Initiation - or 'quest' in terms in terms of the Graal Mythos. The figures of Morgana seems to originate in The Morrigan of Irish Lore, who are associated with the Raven and to Fate, as the Waelcyrge are in English Lore. 

This association of the Long Man with the Graal-Mythos seems to add weight to the idea that I gave back in 1997 on the Long Man - Hunter's Burgh - Hale-Bopp Comet association, that this whole area was laid out as a 'Time-Clock' that was to be awakened at the 'End-Time'. This is the area in which I placed 8 'Millennium Ale' bottles in the shape of a Swastika back on August 10th 1999, and the next day did a rite at the Long Man aimed at the Resurrection of Ingwe as predicted by Nostradamus - at the Solar Eclipse of August 11th 1999. The next day was the Perseid Meteor Shower - Perseus being 'The Hero'. 

Although I have covered this before, many times in fact, this time I have placed more emphasis upon the link to the Graal-Mythos which takes this one step further. I shall now move on to some other important points in these ideas.

In the above, from the Horns of Gallehus, we find the figures of a Club-God (Woden) and an Axe-God (Thurnor). These are on the same horn as the 'Game-Board' shown on the bottom row and third from bottom row. On the same horn is a female figure holding a horn (second row) which is most likely a Waelcyrge. 

The hundred next to that of the Long Man is named Wandelmestreow (Wand-Helmes- Treow) - 'Tree of the Helmed Waendal'. In the above 'Ancient Arms of Wandel' we find the figure of 'The Joker' or 'Jester' holding a Club. Once again we can see links between the Long Man and the Herne Giant. It is interesting to note the ideas around Waendal - 

Orwandel = 'Arrow-Wandel'.

Garwandel = 'Spear-Wandel'. 

Orwandel is the Anglo-Saxon Earendel associated with the Morning and Evening Star. 'Arrow-Wandel' itself suggests a bowman - a Hunter-God. Here we link to Herne the Hunter in the Long Man (Hunter's Burgh) and the Herne Giant (Herne the Hunter, Orion the Hunter). Garwandel - Spear Wandel - may be a later image of what was originally the 'Club-Wandel', since the Club would have developed into the Spear. This whole theme is thus linked to The Hooded Man through the Myth of Hamlet - Amlodhi being the son of Orwandil. We are back to the 'April Fool', 'The Pure Fool', to Parsifal ('Pure Fool') and to the Graal-Quest. To add to this the Resurrection of Ingwe has been shown to link to the Long Man area and to the 'Black Sun' of 1999. Ingwe is linked to the Sacral king, to the 'Wounded King' (wounded in the thigh-groin) and thus to the Quest for the Graal - to heal the wounded king. Is the name Heil given to the Herne Giant thus a coincidence? Heil means 'heal' in one of its senses. 

The Horned God with the right-eye socket damaged seems to be Woden as the Great Initiator leading one of his Wolf-Warriors in a War-Dance. The 'Sole' (Sol) and 'Heel' (Heil) symbolism of the twin spears I have been into before. The figure is akin to both the Long Man (in particular because of the Twin-Spears) and the Herne Giant (stance is the same). The 'Jester-Like' figure (Ginn) wears the Solar-Horns and the Lunar-Horns (Balance of Light and Darkness). The upward-pointing and downward-pointing spears suggests the Fire-Serpent (Kundalini) that moves up and down the Spinal Column. 

The Finklesham Buckle shows a similar figure holding Twin-Spears, but this time both pointing upwards. The figure, as Hamasson once pointed out, is held within a Triangle (Northern Triangle within which is Cygnus the Swan). 

The same buckle from the rear, showing the Triangles and the Ing-Rune (Diamond) pattern. It is doubtful that the English Craftsmen failed to use symbolism throughout their work. This figure has the Solar-Horns but not the Lunar-Horns. The belt-buckle stands over the Hara-Centre as one of the Centres of Vril. We should also note that the belt is round with two ends that join together, suggesting a 'circuit' of some sort, just like an electrical circuit. Thus the 'Belt of Thunor' representing some form of electro-magnetic circuit and force. 

Another important point here, and that is the use of the name Ginnar as a by-name of Woden; this is related to Ginn and thus to the 'Divine Powers' and 'The Fool'. In the above ideas the Red Queen in Egil's Saga is named 'Gunnhildr', where 'hildr' is a 'Warrior-Maiden'. There are also similar-sounding names - Gunnar and Gunnlod - the latter being the Joten-Maiden, daughter of Sutting, whom Woden lay with for Three Nights in a Tantric Rite. I will suggest here that Ginn and Gunn are merely variations of the same thing, as we find in 'Ing' and 'Ung'. The Old Norse gin can mean the 'mouth of an animal', so the images that arise from the Jaws of the Fenris Wolf swallowing Woden have a far deeper symbolism than is usually thought. The Jaws of the Wolf must therefore represent The Void - Old Chaos - which 'swallows' the God Woden, who thus returns to the Source, arising anew as the 'Resurrected Woden' in the form of the Warrior-Hero - Wid-Ar the Avenger. 

The Saxon names for the Herne Giant - Heilith, Heil, Hele, and Helge - all relate to both 'Hel' and to 'Helgi' and also to the Haegl-Rune. 

The Secrets of Ingwe.

 

The Holy White Stone of Ingwe

Certain secrets linked to the God of the English - Ingwe - can be found in a curious non-Christian poem about a 'Christian' saint - Saint Cuthman. The White Stone of Ing stands in the porch of the Church of Saint Andrew and Saint Cuthman in the village of Steyning in West Sussex. The poem is taken from a small booklet found inside the church. The Legend of Saint Cuthman is the Legend of Ingwe, I have shown this many times before. 'With this Mysterious Earth...'

"Will that be true of the wisdom

of the people who knew the Earth,

and sensing the power of the ley-line

close to where it starts

sets on it the altar of this church

on its journey to distant Chartres..."

This is a modern poem, but from one who upholds the idea of the 'Ley-Lines' or 'Dragon-Lines' that criss-cross the lands. Perhaps the writer of the poem was a dowser, since the altar is said to have been built on the starting-point of a Ley-Line that runs to Chartres Cathedral in France. We have to remember here that the church was originally Anglo-Saxon, but much was added on by the Normans, who erased the name of Saint Cuthman from the records. So who built the altar there I cannot tell. 

"And it is not every journey

that follows the straight-line track:

the labyrinth turns us about to see

what once was at our back.

Stretch across the thin division

that appears as Time and Space..."

The turning labyrinth has different properties than the straight track, since it allows the past to be seen. "For perhaps we're closer than we knew, in mind as well as space". The labyrinth overcomes the limitation of Time and Space. Another symbol that appears in the poem is the Tree which is "shaped and sculpted by evolutionary law - and more?" The poem quotes Hopkins who recognises the 'essence' or 'inscape', the core of every living thing, and Wordsworth who sensed the 'presence' of living things. The poem ends thus -

"Straight Line, Tree and Labyrinth,

new dimensions beyond, within,

granted blessings from good Saint Cuthman

let our pilgrim's journey begin."

In a sense this poem seems to try to awaken the Legend of Cuthman in a very subtle way. The Tree seems to awaken us to the 'inscape' or 'essence' of the Legend of Cuthman, in that it holds the secret of a Heathen God hidden within the guise of a Christian Saint. The Labyrinth image tells us to look back to the past, not just to any time in the past, but to the origins of our Folk through the God known as Ingwe. The Straight Line suggests the Straight Way mentioned by Tolkien, the means to see the Invisible World - the First Earth. This would take us back to the Land of Scandi - the Land of Thule-Hyperborea. 

In the story of Saint Cuthman he struggles to get the 'main roof beam' into position, and this represents the Central Pillar or 'Central Tree' of the church. This is hinted at through the image of the Tree in the poem. The Tree is 'shaped and sculpted by evolutionary law - and more?' The idea of evolution is introduced in regard to 'Saint Cuthman' - Ingwe. The Sacred Tree represents the Sacred Centre, in which case Ingwe is here linked to the Sacred Centre or Spiritual Centre.