In other words, Pushan and Indra correspond to the two Ashvins, who are the personifications of the two races, Dravidas and Aryans. The myth of Pushan and Suryâ also evokes that of Yama and Yami. These two are another pair of Solar Twins closely connected and often identified to the two aspects of the Sun: rising and falling. Sury , the coveted bride, in turn, represents the Earth, whose possession the twin races of Atlantis endlessly dispute.
Those who know the rich imagery of the Vedic hymns will have no trouble in realizing that the Twins are the source of the exquisite allegories that pervade the ancient myths. The omnipresent Twins take all sorts of shapes and avatars. They are also the changelings, in the ancient acception of shape-changing.
In more ways than one, the Twins also correspond to the two lovers of the Song of Songs who assume all shapes both animal and human. As Harold Bayley demonstrated, this beautiful biblical composition has been cribbed, almost verbatim, from an Egyptian poem entitled The Burden of Isis. This piece, in turn was copied from a Hindu hymn entitled The Heifer of Dawn. The Heifer is the Cow-Mother, in her renewed avatar, she of a myriad names (Myrionyma).
Indeed, it is far more than a coincidence that the two lovers of the Song of Songs have been identified to Solomon and to the Shulamite (or “Veiled One”) and to Osiris and Isis. Solomon and Osiris are representations of the Fallen Sun. Solomon is Sol Amon = “Sun Lord”. And Osiris has a name related to that of Surya (the Sun), as well as to the Greek word seirius = “shiny one” = the Sun.
As A. Bayley and others have shown, the Shulamite is Dawn, and Solomon is the Rising (or Setting) Sun. In another connection, she is also Cinderella, and he is the Prince. Cinderella changes shape just as do the lovers of the Song of Songs and the Vedic Twins Pushan and Suryâ or Yama and Yami. The omnipresence of the shape-changing Twins attests both their archaic character; as well as the importance of their myth.
The myth of the twin lovers forms the fundament of the Mystery Religions of all times, as well as of Christianism, Hinduism and Buddhism, not to mention other religions. The fact that they figure in the mythologies of both the Jews and the Aryans, as well as of the Egyptians, the Hindus, the Sumerians, the Greeks and even the Amerinds, testifies that the myth was composed before the diaspora of humanity from its primordial birthplace , in Atlantis-Eden. To believe the Bible, this crucial event took place shortly after the Flood and the destruction of the Tower of Babel, itself an allegory of Atlantis’ fortified capital city
The conclusion is that the myth indeed relates the eschatological events connected with the Flood, allegorized by the sacrifices of the horse and the goat in the ashvamedha or by the Cosmogonic Hierogamy of the King and the Whore. This marriage is also featured in most ancient Cosmogonies. In India it is the one even today commemorated in the Tantric rituals. The fact that the rite still survives in India that Museum of Humanity attests its Hindu origin, for the Hindus are not only most conservative in religious matters, but are also known exporters of religions such as Buddhism and Mystery Cults from which most others derive.
Alexandra David-Néel the famous French researcher who lived for several years in India and Tibet in the last century describes a Tantric ritual she witnessed in India, in her book The India Where I Lived. The ritual was secret, and she watched it hidden and disguised. The worshippers belonged to the local nobility and performed what the tantrikas call chakra-puja (“ring ritual”), that is, a communal sharing of food and love wherethe worshippers form a circle (chakra).
In the ritual she watched, as a prolegomenon, a goat was sacrificed and eaten communially in a way reminiscent of the ancient Vedic ritual of the ashvamedha. During the Tantric rituals the Five Makaras representing the Five Elements are consumed. The Makaras (“M sounds”) are matsya (fish), madhya (wine), mamsa (flesh), mudra (grain), maithuna (love).
Wine represents fire; fish, water; grain, earth; flesh, air; and love, ether. The flesh is that of the mountain goat or a bird, aerial animals by nature. Love is the ethereal principle, a sort of metaphysical fire (aither) that incends all nature. Indeed, it represents the incending of the world that takes place at the world s end. An important feature of the horse and the goat sacrifice we already mentioned is the fact that the animals are tied to the skambha or stauros that represents the Cross. Miss David-Néel saw the sacrificial pole of the goat and affirms that it was forked like an Y.
The Y is actually the earliest form of the Cross. Indeed, this shape corresponds to that of the Semitic vaw which the Essenes of Qumnran equated with the mystic Christ. Dupont-Sommer, the famous expert on such matters published a fundamental book (La Doctrine Secrète de la Lettre Vaw), in which he studies the problem in depth. His conclusion is that the vaw represents an archetypical Christ, and is connected with the Flood and the destruction of the world by Fire and Water.