REFLECTING ABSENCE

"Reflecting Absence" Arial View Showing 33' Pyramid "Museum"

“Reflecting Absence”.  That’s the “official name” given by Israeli citizen and “architect” Michael Arad to the 9-11 memorial in New York.   Is this monument to death harmless and meaningless, or is it a very real and conscious effort by “EDOMITE” satanists and anti-Christians to create a literal demonic “portal” to hell – i.e. the proverbial  “bottomless pit” itself?

This “monument” has received well over 1 million visitors world wide since it’s opening Sept. 11, 2011.  Without a doubt, it has stirred deep emotions in the majority of visitors.  Many have declared it to be a “temple” – a place of “deep spiritual power” after their “unforgettable” visit.   Most, if not all, visitors have experienced some clearly paranormal manifestation of “energy” at this sight.  The question is, what is the SOURCE of this energy?  Is it from Jesus Christ, or is it from the “god of the Edomites” – Baal aka Satan?  Does the symbolism of this monument bring this “energy” – or is it the memory of the victims that stirs the blood?

First of all, there is no Christian symbolism at work here whatsoever.   Instead of the iconic cross, we see something called tridents enshrined as the governing symbolism of the monument and museum.

Unwrapping the 66-foot tall TRIDENTS

Trident

Symbol of enforcement among occult groups. there are many variations.

(Quote source: Witchcraft Symbols http://www.spelwerx.com/witchcraft_symbols.html)

The trident has many meanings, including “the devil’s pitchfork” ——— Pertaining to Wiccan rituals the trident is regarded as the symbol of sexual union between a male “god” or “deity” and the “Triple Goddess”:

A trident was the symbol of any god mated with the Triple Goddess.

Quote source: Celtic Magic by D. J. Conway (Google Books online)

The trident is a sacred triple-phallus symbol which is displayed by any male deity whose function is to sexually unite with the Triple Goddess. It is used primarily in Great Rites, sex-magick, and fertility rituals.

Quote source: Wicca Craft by Gerina Dunwich (Google Books online)

Setting the "Devil's Pitchforks" into Place

FROM THE 911 MEMORIAL OFFICIAL WEBSITE

The towering twin steel beams [of the ‘Tridents”] were once part of the facade of the World Trade Center’s south tower, sheathed in smooth aluminum. Salvaged from ground zero after the 9/11 attacks, the tridents are being resurrected and will greet visitors as they enter the pavilion of the 9/11 Memorial Museum. The remnant steel became known as tridents because the beams are crowned with three prongs.

The tridents will be moved to the World Trade Center site from storage at a Queens airport hangar, where tons and tons of remnant steel has remained since the Sept. 11 destruction at WTC.  The tridents are planned to be returned to the WTC site this fall and will be installed while work on the pavilion continues. Each is about 70-feet tall and weighs 51 tons.  (nope – 66 feet actually – Ott)

 

 

Tridents Unwrapped and In Final Position

 

Here are more symbolic numbers concerning the Edomite “Temple” at Ground Zero:

13 selection “jurors” (Caballa and WICCA “Covens” have 13 members) reviewed exactly 5,201 (gematria of 8 as in 5+2+1) “entries” to eventually choose 8 “finalists” before finally choosing Israeli citizen Michael Arad’s “Reflecting ABSENCE”.  (Eight is a very sacred number in Caballa – it symbolizes the 8 points of the Babylonian “wheel of the year” – and the 8 “black sabbath” holy days of WICCA/Satanism.)

8-Pointed Wicca Star

 

 

 

 

 

 

Two “reflecting pools” 30 feet “deep” with a 3-foot “lip” above ground for a total depth of 33 feet.

33 X 2 “pools” = 66 once again.     The highest “degree” of the Edomite B’Nai B’Rith rites of satanic cabala (cube magic) of  “FreeMasonry” is 33.   It is reported that the “33rd Degree” is awarded only AFTER performing a HUMAN SACRIFICE!   Is it just coincidence that the 9-11 “victims” memorialized in this “temple” were sacrificed for the Edomite agenda of WORLD CONTROL – symbolized by a 33 foot free-fall into hades!!

View of the 3-foot lip, and the 30-foot "fall" into a "bottomless" cubic "void".

The Caballa Temple at Night. Thirty-three feet of Illuminated WATER flowing into a Void.

 

 

WATER CONSTANTLY FLOWING FROM THE LIGHTED (Illuminated) NAMES OF ALL 2,983VICTIMS (29 83 = 11 11) INTO A DEEP, BLACK, BOTTOMLESS CUBIC “VOID”.  (Caballa means cube.)

 

 

 

 

 

From New York Post:

PM’s visit to 9/11 memorial

By DAVID SEIFMAN City Hall Bureau Chief

Last Updated: 3:06 AM, September 24, 2011

Posted: 1:04 AM, September 24, 2011

Israeli Prime Minister Benjamin Netanyahu made an unannounced visit to the 9/11 memorial with Mayor Bloomberg on Thursday night to pay his respects and to touch the names carved in metal of the four Israeli citizens who died in the terrorist attack.

“He just said, ‘This is unbelievable. This is so moving,’ ” the mayor reported yesterday on his weekly radio show.

One of the Israeli victims had been on her first vacation to the United States when her plane struck the south tower that fateful day.

Netanyahu and his wife, Sara, spent about 40 minutes taking in the site and laid a wreath.

 

Netanyahu and Bloomberg "PAYING TRIBUTE" Indeed!!

PAYING TRIBUTE: Israeli Prime Minister Benjamin Netanyahu looks out over the memorial’s reflecting pools with wife Sara and Mayor Bloomberg.

Security was described as extremely tight.

The prime minister’s office posted a video of the visit on YouTube. The Israeli leader is heard on the video expressing amazement at “the strength of that hit” that took down each of the Twin Towers.

Acting as a guide, Bloomberg discussed the construction schedule of the new towers.

The mayor told his radio audience yesterday that the memorial is even more affecting after sundown.

“It’s particularly moving at night, the way the names are done,” he said. “They’re carved right through the steel or whatever the metal. The light shines up through the names.”

As Bloomberg explained to Netanyahu, the panel of names is heated in the winter and cooled in the summer to prevent weather-related injuries when touched.

Michael Arad, the memorial architect, grew up in Israel and is friends with one of Netanyahu’s sons.

Bloomberg is headed to Jerusalem next month to dedicate a new ambulance facility he helped finance in honor of his father.
Read more: http://www.nypost.com/p/news/local/manhattan/pm_visit_to_memorial_sbKTcLiQwvwwmmiPle7kiM#ixzz1ic9Xj7q9

Arad’s design, “Reflecting Absence,” features waterfalls cascading into reflecting pools where the towers stood. The names of all those killed on Sept. 11, 2001 and in the earlier World Trade Center attack on Feb. 26, 1993, are inscribed on bronze parapets surrounding the waterfalls.

In a change from the bare design Arad submitted, the waterfalls are nestled within a grove of swamp white oak trees that will grow as tall as 60 feet.

A museum showcasing remnants of the original trade center will open next year.

Interviewed at the memorial site, Arad referred to the pools as “voids” and said they will evoke the lives lost in the terror attacks.

“These voids that you see behind me – as you approach them as a pedestrian they’re not readily visible,” he said. “And it’s really only when you’re a few feet away from them that all of a sudden the ground opens up in front of you and you see this enormous expanse, these voids which are ringed with these waterfalls and the reflecting pool below them.”

And then the visitors come to the edge and start circling the pools, “following this river of names” around the perimeter.

Members of the jury of 13 – Lin was said to be one of Arad’s strongest supporters – said the nearly completed memorial has vindicated their choice.

http://www.huffingtonpost.com/2011/09/05/911-memorial-architect-michael-arad_n_949198.html

 

 

 

 

From http://www.thejewishweek.com/news/new_york/filling_void

Filling The Void

 

Pinning down the influences of 9/11 memorial architect Michael Arad isn’t easy. But some sense echoes of the Holocaust in ‘Reflecting Absence.’

Tuesday, September 6, 2011

Eric Herschthal

Staff Writer

Few profiles of Michael Arad, the architect of the Sept. 11 memorial that opens this week, have failed to mention that he is Israeli — the son of a former ambassador, no less. But most stop there, shying away from details, in no small part because Arad wants it that way.

“For me, it’s not about my nationality, and I made a point for it never to become about that,” Arad, 42, recently told The Jewish Week. “If people want to see something that’s not there, they can, but it’s pointless.”

Arad’s argument is that the memorial is for everyone, no matter his or her background. “One of the things that was most important to me was to make this for everyone,” he said. “I think that what happened that day happened to all New Yorkers, and I responded to it foremost as a New Yorker.”

He added: “I can talk about memory and loss of life — it’s something I grew up with a sensitivity to. But I’m always hesitant to hold these out as a foil against some other kind of remembering. They’re universal.”

But several people affiliated with the memorial were less hesitant to note Jewish influences.

Most said that while Israeli influences are hard to find, Holocaust ones are not. This might be due to Arad’s Jewish background, they added, but it almost certainly has to due with the fact that so many memorials in recent years have been influenced by Holocaust designs.

“A lot of the submissions, you could see, were very much influenced by contemporary Holocaust memorials,” said James E. Young, a leading scholar of Holocaust memorials who was on the 13-person memorial selection committee.

“‘Reflecting Absence’” is surely not a Holocaust memorial,” Young continued, referring to the memorial by its name. “But all memorial architecture since World War II is in some way influenced by Holocaust memorials.”

The Jewish influence can be felt elsewhere too: not only was Young chosen for the panel because of his expertise in Holocaust memorials, but the entire site was designed by Daniel Libeskind, a Polish-born Jewish architect and son of Holocaust survivors, whose most famous building is the Jewish Museum in Berlin. The Sept. 11 museum, which opens at the site next year, also chose a veteran director of the United States Holocaust Memorial Museum in Washington, D.C., Alice Greenwald, as its executive director.

Arad’s story is well known. Ten years ago, on Sept. 11, he was in his East Village apartment when he heard the first plane strike. He immediately went to his rooftop, and then saw the second plane hit the South Tower 17 minutes later.

At that point he jumped on his 10-speed bike and raced downtown to find his wife, a lawyer, who worked near the towers. He found her unharmed, but like millions of others, their lives were irrevocably changed. In the immediate aftermath, he did what he could to help: volunteered, gave blood and went to a makeshift vigil that very night.

But his most lasting contribution will be his memorial. The central idea came to him within days of the attack: two pools of water falling into voids left by the towers.

It wasn’t until 2003, however, that the city announced it was even holding a design competition. At the time he sketched his idea in more detail than his original drawing, then submitted it, as did 5,200 other hopeful entrants. Until then, Arad had never designed a memorial. He was only 34, and his portfolio consisted mainly of office buildings and public projects designed for the large architecture firm where he worked.

His original memorial design has since been amended in important ways — often after contentious fights played out in the media. Some victims’ families felt Arad’s design was too bleak and insisted trees be added. Arad accepted.

But other changes — the removal of entryways to make room for a museum; aesthetic downgrades meant to shave off $300 million to get the design down to the current cost of $700 million — Arad strongly resisted.

“With the wounds so fresh, it was inevitable that tensions would emerge,” said Alice Greenwald, director of the National September 11 Museum, which is part of the memorial site. But like others interviewed, including Arad, Greenwald said that past conflicts have been smoothed over.

“Certainly there were a lot of obstacles along the way,” Arad said. “But I tried to stay true to the original idea throughout.”

Indeed, Arad’s central idea is still intact: two massive black granite pools carved into the towers’ footprints, with cascading waterfalls pouring down each wall.

Visitors can get as far as each pool’s edge and watch as the water flows into square holes cut out at the center. The names of all 2,983 victims killed on Sept. 11 and in the 1993 World Trade Center bombing are engraved on the rails surrounding each pool.

In addition, hundreds of white oak trees have been planted around the eight-acre plaza, officially called the National September 11 Memorial and Museum, and are meant to balance the memorial’s central metaphor of loss with one of rebirth.

“By putting these two pools in the middle of this plaza,” Arad said, “I tried to balance both the need to remember and the need to feel like you were still part of daily life. I think public spaces are ones that should unite us.”

When pressed, Arad concedes that his Jewish background has influenced his work — but no more than any other part of his life. “Any work of art reflects all the experiences of the artist, and I certainly think all parts of my background are a part of this,” he said.

He mentioned the collective memory of Britons, a generation of whom was shaped by the Nazi bombings of London, the city where he was born; the dense urban architecture of Mexico City, where he went to high school while his father was an ambassador there; then he mentioned being Jewish.

“This notion that death is tragic, and that you don’t lose your humanity in the face of inhumanity — that’s what I found in New York after the attacks, and also what you find in the Holocaust, as well as the bombings of London,” he said.

The influence of growing up in Israel, however, is less clear. He lived there for nine years, three of them as a soldier, and told Haaretz a few years ago that the country’s memorial culture left a mark on him.

“When I was a child, in Jerusalem’s Beit Hakerem neighborhood,” he told the newspaper, “I often stopped beside the [Mt. Herzl] military cemetery, and I loved just looking. There is much beauty there, and much silence. I loved the pine trees. Did that affect me? I don’t know, but there is no doubt that it is part of my memory.”

But his memorial design is rooted, foremost, in his experience as a New Yorker. It was not until Sept. 11, he said, that he even truly felt like one. “Even if I lived here for three years, I still felt like an outsider,” he told The Jewish Week. “But on that day I gained a sense of identity as a New Yorker; I felt targeted just like my neighbors did.”

The attacks also destroyed the illusion that, in America, he would always be safe.

“As an Israeli, I was familiar with having to live with the threat of terror,” he said. “Until [Sept. 11], I had felt secure from that. But then” — the day of the attacks — “I realized it was something I would have to confront.”

Even if Arad was hesitant to note the influence of Holocaust memorials on his design, the jurors involved were not.

“Of course we were aware of it,” said Paula Grant Berry, a juror and wife of a man killed in the attacks. “I remember being shown many of these Holocaust memorials from around the world,” she said, noting how Young, the Holocaust scholar, had often spoken about them.

Young, author of the National Jewish Book Award-winning study “The Texture of Memory: Holocaust Memorials and Meaning” (1993), had previously been a judge on the panel that selected Peter Eisenman’s Holocaust memorial in Berlin. He had told the jury how Holocaust influences could be seen in Arad’s work, too.

Contemporary Holocaust memorials tend to feature voids, descend into the ground, and have a minimal amount of ornamentation. They are largely abstract, and unlike most war monuments, which evoke a sense of triumph or redemption, Holocaust memorials usually evoke a strong sense of loss. Young calls these memorials “counter-monuments,” and pegs their origins to the 1963 Holocaust memorial in Paris.

In an interview, Young explained how these counter-monument designs have since been incorporated into other memorials — most notably the Vietnam Memorial in Washington, D.C. That memorial’s architect, Maya Lin, was also on the jury, and many have since noted her work’s influence on Arad’s design.

“If there was one monument that influenced American memorials, it is Maya Lin’s Vietnam Memorial,” Young said. “It’s not just Holocaust memorials that feature these [counter-monument] elements,” he added, “but even Maya Lin has acknowledged a debt to the Holocaust memorial in Paris.”

Greenwald, the Sept. 11 museum director, was not a jury member. But as the former director of the U.S. Holocaust Memorial Museum she is well aware of the importance of Holocaust memorials to the Sept. 11 one.

“I think one of the reasons I was hired was because I had 19 years of experience with the Holocaust memorial” in Washington, she said.

While noting the parallels between Arad’s design and Holocaust memorials, she also highlighted important differences. Most Holocaust memorials are not built on the exact site where the tragedy took place, she said. And unlike visitors to most Holocaust memorials today, she said, many visitors to the Sept. 11 memorial will have clear memories of the event.

“The circumstances historically are so different,” she said, “and each tragedy deserves its own unique response.”

Given how polarized American society has become since Sept. 11, Arad hoped that his memorial would, at least for a moment, unite people. He made note of a recent tour of the memorial he gave to an interfaith group, and how a Muslim woman wearing a hijab worried that her headscarf might offend people at the site.

“I said it was nothing she had to feel worried about,” Arad recounted. “Many of the people killed that day were Muslims.” He went on, “Once she was at the site, she felt she was welcomed there, and that meant an enormous amount to me. Religious differences should not be a part of this.”

 

 

 

Over five thousand entries (5,201 – Ott) from sixty-three countries were submitted in hopes of getting the coveted winning spot. After the eight finalists had been selected, the esteemed jury deliberated before finally selecting the ultimate winning entry – Michael Arad’s “Reflecting Absence”.

“Reflecting Absence” was chosen for many reasons, with not only the winning design being a poignant testament to the victims of the terror attacks but with it also combining a lot of symbolism in a seamless and quiet way.

http://www.washingtonpost.com/lifestyle/style/review-911-memorial-in-new-york/2011/08/04/gIQARXETgJ_story.html

By Phillip Kennecott

After the attacks of Sept. 11, 2001, and the destruction of the World Trade Center, the young architect Michael Arad started thinking about how to memorialize the tragedy. A single, powerful image came to mind: two square voids in the Hudson River, with water pouring into them. He made some drawings and even a model, which he photographed on the roof of his East Village apartment building with the Manhattan skyline as a backdrop.

As the tenth anniversary of Sept. 11 fast approaches, the opening of the memorial has sparked interest.

“As a New Yorker, I had a need to respond,” he says. No one had asked him to design a memorial, but he started thinking about one anyway. It was a kind of catharsis.

When a competition to design the New York 9/11 Memorial was announced, Arad entered his ideas, and in 2004, the then-34-year-old won the commission to create what is now one of the biggest, most expensive and most impressive memorials in the world.

It was a remarkable accomplishment for such a junior architect and even more remarkable that his basic vision has been realized with remarkably little compromise to its essential form. Although they aren’t in the middle of the Hudson River, and are surrounded by the din and chaos of construction on all sides, Arad’s voids are flowing with water, a steady cascade of rivulets plunging into pits that are each almost an acre in size. It is an extraordinary thing.

The basic vision works, in part, because it recalls ancient and deeply embedded connections among water, memory and death. Without reference to any single myth, the flowing waters suggest the River Styx, the boundary between life and death in Greek my­thol­ogy. They also suggest portals, or whirlpools, through which one might pass to some unknown beyond, or the waters of death crossed by Gilgamesh in the old Sumerian epic.

The endless passing of water over the carefully designed weirs, which separate the flow into hundreds of smaller streams suggesting individual identity near the top of the fall and a collective confusion of intermingled droplets near the bottom, also recalls the primitive but infinite power of a mighty waterfall. One corner of New York has Niagara; the city now has its own, domesticated version of watery abyss.

But perhaps the most important connection for the success of Arad’s memorial is the suggestion of Lethe, another Greek river from the underworld, the one that brings forgetting and oblivion. For all that we like to think that memorials are about remembering, they are ultimately about forgetting. New York, over the course of its history, has absorbed an astonishing amount of tragedy and loss — 19th-century epidemics that killed dozens of people a day; the General Slocum steamship explosion, which cost 1,000 lives; and disasters with names such as the Triangle Shirtwaist factory fire and the Happy Land arson. They haven’t all sunk into oblivion, but they have become safely part of the past, dumped from that part of the memory that needs periodic purging if a city (or a person) is to move on, heal and stay vibrant.

 

 

LETHE THE RIVER OF FORGETFULNESS

The River Lethe flowed through the plain of Lethe in Hades. Also known as the Ameles potamos (river of unmindfulness), the river flowed around the cave of Hypnos where its murmuring induces drowsiness.  (The etymology of the word “Hypnosis” as well —- Ott)    The shades of the dead were required to drink from its water in order to forget their earthly life. Poets frequently use Lethe as a metaphor for the underworld in general.     (In other words, this monument is conjuring up “hell” or the portal to it! —– Ott)

Simonides, Fragment 67 (trans. Campbell, Vol. Greek Lyric III) (Greek lyric C6th to C5th B.C.) :
“One thing alone distresses him in Akheron: not that he left the sun behind and found there the halls of Lethe.”

Apollonius Rhodius, Argonautica 1. 642 ff (trans. Rieu) (Greek epic C3rd B.C.) :
“He [Aithalides, son of Hermes, gifted with unfailing memory] has long since been lost in the inexorable waters of the Akheron, yet even so, Lethe (Forgetfulness) has not overwhelmed his soul [ie unlike the other dead he remembers his past lives and retains his memory in the underworld].”    (Why is it so very important to Edom/Esau SATANISTS for them to have Christian ISRAEL forget their TRUE history? —– Ott)

Ovid, Metamorphoses 11. 602 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) :
“Near the Cimmerii a cavern lies deep in the hollow of a mountainside, the home and sanctuary of lazy Somnus [Hypnos], where Phoebus’ [the Sun’s] beams can never reach at morn or noon or eve, but cloudy vapours rise in doubtful twilight . . . there silence dwells: only the lazy stream of Lethe [Forgetfulness] ‘neath the rock with whisper low o’er pebbly shallows trickling lulls to sleep. Before the cavern’s mouth lush poppies grow and countless herbs, from whose bland essences a drowsy infusion dewy Nox [Nyx] distils and sprinkles sleep across the darkening world.”  (Remember the symbolisms of the “Wizard of Oz” — the EDOMITE WITCH of the WEST cast a SPELL of POPPIES — “Poppies will put them to sleep” is her incantation!   Afghanistan is the Poppy Capital of the World, and the EDOMITES turn the Poppies into modern DRUGS like morphine and oxycodone and heroin.   SLEEP, SLEEP, SLEEP!  Forget the PAIN — Forget the TRUTH! —– Ott)

Virgil, Aeneid 6. 705 ff (trans. Day-Lewis) (Roman epic C1st B.C.) :
“Now did Aeneas descry deep in a valley retiring, a wood, a secluded copse whose branches soughed in the wind, and the Lethe River drifting past the tranquil places. Hereabouts were flitting a multitude [of phantoms] without number . . . Aeneas moved by the sudden sight, asked in his ignorance what it might mean, what was that river over there and all that crowd of people swarming along its banks. Then [the ghost of] his father, Ankhises said:–`They are the souls who are destined for Reincarnation; and now at Lethe’s stream they are drinking the waters that quench man’s troubles, the deep draught of oblivion . . . They come in crowds to the river Lethe, so that you see, with memory washed out they may revisit the earth above.'”     This is the ancient PAGAN RELIGION of Babylon and Esau, described here in the Greek (tribe of Esau) text folks – there is no place in this for the TRUTH of Christianity!!! —- Ott

Virgil, Georgics 1. 78 (trans. Fairclough) (Roman bucolic C1st B.C.) :
“Poppies, steeped in Lethe’s slumber.”

Virgil, Georgics 4. 545 :
“You must offer funeral dues of Lethe’s poppies.”

Propertius, Elegies 4. 7 ff (trans. Goold) (Roman elegy C1st B.C.) :
“Lethe’s water had withered her [the dead maiden’s] lips . . . At dawn the law compels us [the ghosts who wander the earth at night] to return to Lethe’s waters: we board, the ferryman counts the cargo boarded.”

Seneca, Hercules Furens 679 ff (trans. Miller) (Roman tragedy C1st A.D.) :
“Within the abyss [of the underworld], Lethe, measureless in sweep, glides smoothly on with placid stream, and takes away our cares; and, that there may be no power to retrace the path, with windings manifold it takes its sluggish way, even as the vagrant Maeander with its inconstant waters plays along, now retreats upon itself, now presses on, in doubt whether to seek the seashore or its source.”

Seneca, Hercules Furens 762 ff :
“This stream [the Akheron] an old man [Kharon] tends, clad in foul garb and to the sight abhorrent, and ferries over the quaking shades . . . as he [Herakles] takes his seat the o’erweighted boat with rocking sides drinks in Lethe on either hand.”    (“Shades” are the spirits and souls of man – men who died before the mission of Christ, that is. —— Ott)

Seneca, Oedipus 559 ff :
“Then he [the seer Teiresias performing necromancy] summons the spirits of the dead, and thee who rulest the spirits [Haides], and him [Kerberos] who blocks the entrance to the Lethaean stream.”     (This is VERY significant as it describes the power of invoking Kerberos – the GOD of the Kaballa – by means of the “Lethaean stream” of water! ——- Ott)

Seneca, Phaedra 147 ff :
“Suppose that Theseus is indeed held fast [in the underworld], hidden away in Lethean depths, and must suffer Stygia [i.e. the underworld] eternally.”    (Suppose that this black magic ‘monument’ causes the victims whose names are enshrined to suffer “Stygia eternally”.  What does this portend to ALL CHRISTIAN AMERICANS?????????? — Ott)

Seneca, Phaedra 1201 ff :
“Ye jaws of wan Avernus [the underworld], ye Taenarean caves, ye waves of Lethe, welcome to the wretched, ye sluggish pools, hide ye in my impious self, plunge deep and bury me in unending woes.”

Valerius Flaccus, Argonautica 8. 84 ff (trans. Mozley) (Roman epic C1st A.D.) :
“The Colchian [witch Medea summoning Hypnos, the god of sleep] ceases not to foam with hellish poisons and to sprinkle all the silences of Lethe’s (Forgetfulness’) bough: exerting her spells she constrains his [the Drakon that guarded the golden fleece’s] reluctant eyes, exhausting all her Stygian power of hand and tongue, until sleep gains the mastery over his blazing ire.”   (Don’t forget the reason for the two Tridents – according to the Greek texts – the tridents represent the “authority” of the demon Hypnos over mankind. — Ott)

Statius, Thebaid 1. 295 ff (trans. Mozley) (Roman epic C1st A.D.) :
“[The ghost] whom by the law of Erebus [Haides] profound the further bank of Lethe [Elysium] hath not yet received.”

Statius, Silvae 3. 3. 21 (trans. Mozley) (Roman poetry C1st A.D.) :
“Exult, ye placid Ghosts (Manes) by the streams of Lethe, rejoice, Elysian abodes!”

Statius, Silvae 3. 4. 37 :
“I was near snatched away to the Stygian shades, and already heard close at hand the stream of Lethe.”

Statius, Silvae 5. 3. 24 :
“In the secluded grassy meads of Lethe, [In Elysium] among gatherings of heroes and spirits of the blest.”

Oppian, Cynegetica 2. 410 ff (trans. Mair) (Greek poet C3rd A.D.) :
“The lamentable tribes of the dead, who, though they have drained with their lips the oblivious water of Lethe, still tremor before thee [Eros, Love].”

Nonnus, Dionysiaca 4. 152 ff (trans. Rouse) (Greek epic C5th A.D.) :
“I will pass even to Akheron the River of Pain of my own free will, and with rapture even amid the many lamentations of all-forgetting Lethe, I will tell the dead of my fate, to awaken pity and envy alike in merciless Persephoneia.”

Nonnus, Dionysiaca 12. 213 ff :
“You [Ampelos died but transformed into a plant] are still alive, my boy, even if you died. The water of Lethe did not cover you.”

Nonnus, Dionysiaca 17. 300 ff :
“You will have river-water enough when you drink the fatal water of Akheron. Your belly swells already with the bitter water of a murdering stream, and teems quick with Fate; but taste of Kokytos, and drink Lethe if you like, that you may forget Ares and the bloody steel.”

Nonnus, Dionysiaca 36. 200 :
“Lethe was choked with that great multitude of corpses brought low and scattered on every side [in the war of Dionysos and the Indians].”


LETHE & THE CULT OF TROPHONIOS

Pausanias, Description of Greece 9. 39. 3 (trans. Jones) (Greek travelogue C2nd A.D.) :
“Here [at the chthonian oracle of Trophonios in Boiotia] he [the supplicant] must drink water called the water of Lethe (Forgetfulness), that he may forget all that he has been thinking of hitherto, and afterwards he drinks of another water, the water of Mnemosyne (Memory), which causes him to remember what he sees after his descent.”       THAT PRETTY MUCH SUMS IT ALL UP, FOLKS!!!!  Remember, the Greeks and the Romans were all EDOMITES – descendents of Esau!   This is their ancient religions and customs honoring the “horned god”.   IT IS NOT CHRISTIAN, and IT IS NOT HARMLESS ARCHITECTURAL ART!!!

Christian America should be OUTRAGED!!   This “monument” to Hades must be picketed and protested ASAP!!

A. True Ott   Jan. 2012


Sources:

  • Greek Lyric III Simonides, Fragments – Greek Lyric C6th-5th B.C.
  • Apollonius Rhodius, The Argonautica – Greek Epic C3rd B.C.
  • The Orphic Hymns – Greek Hymns B.C.
  • Pausanias, Description of Greece – Greek Geography C2nd A.D.
  • Ovid, Metamorphoses – Latin Epic C1st B.C. – C1st A.D.
  • Virgil, Aeneid – Latin Epic C1st B.C.
  • Virgil, Georgics – Latin Idyllic C1st B.C.
  • Propertius, Elegies – Latin Elegy C1st B.C.
  • Seneca, Hercules Furens – Latin Tragedy C1st A.D.
  • Seneca, Oedipus – Latin Tragedy C1st A.D.
  • Seneca, Phaedra – Latin Tragedy C1st A.D.
  • Valerius Flaccus, The Argonautica – Latin Epic C1st A.D.
  • Statius, Thebaid – Latin Epic C1st A.D.
  • Statius, Silvae – Latin Epic C1st A.D.
  • Oppian, Cynegetica – Greek Poetry C3rd A.D.
  • Nonnos, Dionysiaca – Greek Epic C5th A.D.