The Secret Teachings Of All Ages - Manly P. Hall

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strife, and perversion. The Atlanteans instigated the first war; and it has been said that all subsequent wars were fought in a fruitless effort to justify the first one and right the wrong which it caused. Before Atlantis sank, its spiritually illumined Initiates, who realized that their land was doomed because it had departed from the Path of Light, withdrew from the ill-fated continent. Carrying with them the sacred and secret doctrine, these Atlanteans established themselves in Egypt, where they became its first "divine" rulers. Nearly all the great cosmologic myths forming the foundation of the various sacred books of the world are based upon the Atlantean Mystery rituals.

      The Myth Of The Dying God

      The myth of Tammuz and Ishtar is one of the earliest examples of the dying-god allegory, probably antedating 4000 B. C. (See Babylonia and Assyria by Lewis Spence.) The imperfect condition of the tablets upon which the legends are inscribed makes it impossible to secure more than a fragmentary account of the Tammuz rites. Being the esoteric god of the sun, Tammuz did not occupy a position among the first deities venerated by the Babylonians, who for lack of deeper knowledge looked upon him as a god of agriculture or a vegetation spirit. Originally he was described as being one of the guardians of the gates of the underworld. Like many other Savior-Gods, he is referred to as a "shepherd" or "the lord of the shepherd seat." Tammuz occupies the remarkable position of son and husband of Ishtar, the Babylonian and Assyrian Mother-goddess. Ishtar -- to whom the planer Venus was sacred -- was the most widely venerated deity of the Babylonian and Assyrian pantheon. She was probably identical with Ashterorh, Astarte, and Aphrodite. The story of her descent into the underworld in search presumably for the sacred elixir which alone could restore Tammuz to life is the key to the ritual of her Mysteries. Tammuz, whose annual festival took place just before the summer solstice, died in midsummer in the ancient month which bore his name, and was mourned with elaborate ceremonies.

      The manner of his death is unknown, but some of the accusations made against Ishtar by Izdubar (Nimrod) would indicate that she, indirectly at least, had contributed to his demise. The resurrection of Tammuz was the occasion of great rejoicing, at which time he was hailed as a "redeemer" of his people.

      With outspread wings, Ishtar, the daughter of Sin (the Moon), sweeps downward to the gates of death.

      The house of darkness -- the dwelling of the god Irkalla -- is described as "the place of no return." It is without light; the nourishment of those who dwell therein is dust and their food is mud. Over the bolts on the door of the house of Irkalla is scattered dust, and the keepers of the house are covered with feathers like birds. Ishtar demands that the keepers open the gates, declaring that if they do not she will shatter the doorposts and strike the hinges and raise up dead devourers of the living. The guardians of the gates beg her to be patient while they go to the queen of Hades from whom they secure permission to admit Ishtar, but only in the same manner as all others came to this dreary house. Ishtar thereupon descends through the seven gates which lead downward into the depths of the underworld. At the first gate the great crown is removed from her head, at the second gate the earrings from her ears, at the third gate the necklace from her neck, at the fourth gate the ornaments from her breast, at the fifth gate the girdle from her waist, at the sixth gate the bracelets from her hands and feet, and at the seventh gate the covering cloak of her body. Ishtar remonstrates as each successive article of apparel is taken from her, bur the guardian tells her that this is the experience of all who enter the somber domain of death.

      Enraged upon beholding Ishtar, the Mistress of Hades inflicts upon her all manner of disease and imprisons her in the underworld.

      As Ishtar represents the spirit of fertility, her loss prevents the ripening of the crops and the maturing of all life upon the earth.

      In this respect the story parallels the legend of Persephone. The gods, realizing that the loss of Ishtar is disorganizing all Nature, send a messenger to the underworld and demand her release. The Mistress of Hades is forced to comply, and the water of life is poured over Ishtar. Thus cured of the infirmities inflicted on her, she retraces her way upward through the seven gates, at each of which she is reinvested with the article of apparel which the guardians had removed. (See The Chaldean Account of Genesis.) No record exists that Ishtar secured the water of life which would have wrought the resurrection of Tammuz.

      The myth of Ishtar symbolizes the descent of the human spirit through the seven worlds, or spheres of the sacred planets, until finally, deprived of its spiritual adornments, it incarnates in the physical body -- Hades -- where the mistress of that body heaps every form of sorrow and misery upon the imprisoned consciousness. The waters of life -- the secret doctrine -- cure the diseases of ignorance; and the spirit, ascending again to its divine source, regains its God-given adornments as it passes upward through the rings of the planets.

      Another Mystery ritual among the Babylonians and Assyrians was that of Merodach and the Dragon.

      Merodach, the creator of the inferior universe, slays a horrible monster and out of her body forms the universe. Here is the probable source of the so-called Christian allegory of St. George and the Dragon.

      The Mysteries of Adonis, or Adoni, were celebrated annually in many parts of Egypt, Phœnicia, and Biblos. The name Adonis, or Adoni, means "Lord" and was a designation applied to the sun and later borrowed by the Jews as the exoteric name of their God. Smyrna, mother of Adonis, was turned into a tree by the gods and after a time the bark burst open and the infant Savior issued forth. According to one account, he was liberated by a wild boar which split the wood of the maternal tree with its tusks. Adonis was born at midnight of the 24th of December, and through his unhappy death a Mystery rite was established that wrought the salvation of his people. In the Jewish month of Tammuz (another name for this deity) he was gored to death by a wild boar sent by the god Ars (Mars). The Adoniasmos was the ceremony of lamenting the premature death of the murdered god.

      In Ezekiel viii. 14, it is written that women were weeping for Tammuz (Adonis) at the north gate of the Lord's House in Jerusalem. Sir James George Frazer cites Jerome thus: "He tells us that Bethlehem, the traditionary birthplace of the Lord, was shaded by a grove of that still older Syrian Lord, Adonis, and that where the infant Jesus had wept, the lover of Venus was bewailed." (See The Golden Bough.) The effigy of a wild boar is said to have been set over one of the gates of Jerusalem in honor of Adonis, and his rites celebrated in the grotto of the Nativity at Bethlehem. Adonis as the "gored" (or "god") man is one of the keys to Sir Francis Bacon's use of the "wild boar" in his cryptic symbolism.

      Adonis was originally an androgynous deity who represented the solar power which in the winter was destroyed by the evil principle of cold -- the boar. After three days (months) in the tomb, Adonis rose triumphant on the 25th day of March, amidst the acclamation of his priests and followers, "He is risen!" Adonis was born out of a myrrh tree. Myrrh, the symbol of death because of its connection with the process of embalming, was one of the gifts brought by the three Magi to the manger of Jesus.

      In the Mysteries of Adonis the neophyte passed through the symbolic death of the god and, "raised" by the priests, entered into the blessed state of redemption made possible by the sufferings of Adonis.

      Nearly all authors believe Adonis to have been originally a vegetation god directly connected with the growth and maturing of flowers and fruits. In support of this viewpoint they describe the "gardens of Adonis, " which were small baskets of earth in which seeds were planted and nurtured for a period of eight days. When those plants prematurely died for lack of sufficient earth, they were considered emblematic of the murdered Adonis and were usually cast into the sea with images of the god.

      THE GREAT GOD PAN.

      From Kircher's Œdipus AEgyptiacus.

      The great Pan was celebrated as the author and director of the sacred dances which he is supposed to have instituted to symbolize the circumambulations of the heavenly bodies. Pan was a composite creature, the upper part -- with the exception of his

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