Religions

The earliest Set myth

He remembers her. It reaches back to a far point, when language was very young but there were people. They were people. Homo habilis, if memory serves, probably the first time there were men.

I’ll call him Set because he was later called Set. But this was before Egypt or anything like Egypt, a story people would sometimes remember and think about in ancient Egypt in various ways and from various angles. It has virtue and vice.

They’re at the beginning of the story. Her teeth are flashing white, as she eats bright green leaves. Her eyes show white too, in the the shadows of the trees and brush. He loves to watch her eat. She is lovely to see.

They’re in love. What he wanted to do then was make her a home, a house. He’d seen people doing this lately. They’d choose a cave and they’d make things, or maybe trade for them. The things would stay there and you could come back to them. You could stay dry all day, and it was safer during the night. They’d have that. He set to work to make sure. It was a wonderful cave, set apart quite a distance from where other people were living. He fashioned a door for the place, a curtain, and made a big cooking space on one side.

You would later see this one he remembers, though you might say in a different incarnation, with a house with a door on her head, in profile, as beautiful as Isis. They had one of the first homes. They were happy.

It’s prosperous they are. There’s food everywhere, though he doesn’t love best to hunt. There are zebras, gazelles, giraffes, kine, all beautiful. He hunts anyway. He loves her. She’s like a gazelle and a zebra. She’s smooth without fur. Her smile is sweet.

A baby comes, a boy. He’s a good child, and happy enough. He invented something, to put food in. It was made of big leaves and a natural twine. They use them in and out of the cave. One day he was gone and a different person was there, seemingly, a teenager. Really it was their son, but they couldn’t tell what happened once he grew tall with a beard coming in, and they didn’t have enough language to double check and be sure about it. They hadn’t been expecting that. They were never sure it was the same person, but Set suspected it was the boy. The three of them still live together peacefully, quite pleasantly.

The boy’s beard is thick now, and he decides to go. There are no close neighbors, and he might be hankering for new friends, a mate of his own. They say goodbye with fondness and he travels over land towards a riverbank, where there’s no ford but he finds a man with a raft. The man with the raft asks him where he might find a woman, and the boy shows him the direction he came from, where his mother lives. The man doesn’t let him live. He kills the boy for no reason. They’re a different species, and the man is not good. Homo erectus. Many murderers come from this kind, and they’re roaming about at the time of the story.

There’s another new person there at their cave. Set thinks it might be their son returned, looking different yet again. He doesn’t seem the same, though. The strange man tries to spend a lot of time with Set’s wife, the mistress of the house. Set he does not seem to care for.

They’re having a conversation about food. Set confesses he feels bad about eating the animals. The man says it’s good not to eat. Set still hunts, but he gives them the food. He wants to be good.

He’s been fasting for a long time now. The strange man has convinced the woman to eat while Set can’t see them to encourage him to fast for longer. The man tells him it’s fine not to eat anything at all, meat or vegetation, in fact it’s good. Set isn’t sure.

There’s a next life after the one where he lives in the cave. He didn’t realize it would be like that. He’s not reborn as another person yet. He’s reborn as a rare black giraffe, the nicest kind. This was in recognition of his spiritual attainment.

Was he the first good man? It is quite likely true, and the value of this lifetime includes that he went to great lengths in his determination to be good, though the story ends unhappily. His invention was that he identified the pursuit of goodness as worthy, a quintessentially human trait and necessity.

Set was ready to be a person again within four more lifetimes or so, and eventually in one lifetime travelled to ancient Egypt and taught them much. That’s where he eventually found Nephthys again. Perhaps before much longer we’ll cover the Ennead, and how Set connects with Shiva.

──── by Lync Dalton ────

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Possible correction: Update on the Satya/Krita

You and I may have often read (even here) that the term Satya Yuga is interchangeable with the term Krita Yuga, but I’ve recently received a report that seems to define them a little more exactly. The term Satya Yuga may throughout time refer to whatever time is better than the current time (especially in the future) or the best of times, which in a more absolute sense would be the Krita Yuga. That is, during any point in time, Satya Yuga could mean a better period of time, but Krita Yuga always refers to the best yuga. Each Yuga is subdivided into smaller sections that are named after the longer yugas as well, so for example there’s a Kali yuga of the Kali Yuga (characterized as being very nice to avoid) and a Kali yuga of the Krita Yuga (characterized as a very fortunate time, but not the best the Krita Yuga has to offer).

In an Easter Egg page on this site, I describe time as a type of yuga “machine” that must be hoisted into its proper position in a certain sense after it has recently bottomed out to its lowest level, and it seems that the machine is designed to be raised or repositioned in this way with dharma, a type of right behavior. We, some of the people on Earth, have been trying to do this, and it seems we’re on the way up, but have yet to leave the Kali Yuga in terms of position, although we were scheduled somehow to be in the Krita by 2018, and technically Satya Yuga and Krita Yuga should already be usable as interchangeable terms, so we are late. We will forseeably be able to experience some taste of the other yugas on our way up.

──── by Lync Dalton ────

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The Devil

In the Age of Aquarius, the proper image for the Devil (Satan) is one of Satan tied to the stake, unable to escape, burning. Yes, he is gagged. This in contrast to the Age of Pisces imagery of Satan with a top hat, Satan waiting at crossroads, Satan owning things, the Devil on a pedestal or having leashes with people at the other ends of them.

The Devil/Satan was originally like a reminder in an equation or calculation about the way dharma declined as the Kali Yuga decayed into lower and lower states. “Satan” means God’s opposition, which is not a dharmic concept. “Devil” is an early English portmanteau (they’re in fashion sometimes) of “deva” and “evil”, referring specifically to Agni and that deva’s tendency to take everything (consuming it in fire). These are not power concepts for the Age of Aquarius and the Satya Yuga.

Reject evil, embrace dharma. It’s time.

──── by Lync Dalton ────

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The Monomyth

The hero’s journey, or monomyth, is an idea extensively detailed and explored in author Joseph Campbell’s work, and notably his book The Hero with a Thousand Faces. The hero’s journey is a narrative pattern informed by a syncretic analysis of numerous myths and folk tales from all over the world. It is a foundational layer of story that generically explores how a person could become a hero.

“Hero” is an archetype. Pioneering psychiatrist Carl Jung talked a lot about archetypes, which are somewhat mysterious in nature, but they are essentially, like the hero’s journey, something like mythic templates. Unlike the hero’s journey, which is a template for a story, archetypes are usually templates for characters. But not all characters are archetypes, which have a particular kind of power that’s hard to come by. Real and fictional heroes actually both have something of this in their nature, being larger than life because of rare and particular achievements, as well being of very good character.

Deconstructing a hero within fiction too much leaves you with something less inspiring, and you usually lose the archetypal nature of the character. You’ll just have a protagonist, then, or possibly even less. They still might be referred to as the hero of the story, but they are usually not an archetypal hero.

I like archetypes a lot as a subject, in part because the more alchemy I’ve practiced, the more a doorway into their arcane mysteries has opened up to me. When I was in eleventh grade, I remember asking my English teacher if there was a list of all the archetypes I could find somewhere. He said there wasn’t one that he knew of, which was the right answer. An exhaustive list is actually probably not available, but nor are archetypes up to the discretion of the writer or audience. They are more objective than that. There’s something about them that’s like those mineral compounds that can be polished into gems. Some may still be unknown, but there are quite a few we know of, and their luster is predictable if they are pure enough.

So what happens to a hero? Campbell’s proposed monomyth contains seventeen steps, which I’ll add concise original descriptions of, according to how I’ve come to understand them after exactly the amount of alchemical work I’ve done plus the sheer amount of suffering I’ve gone through by the time I’m writing this.

The Call to Adventure
The hero is more or less a normal person at this stage, but there’s something about them, or there’s something about the world they’re in, that has the potential to explode into an incandescent adventure. Human condition, I guess you could say.
Refusal of the Call
But the hero would prefer to live some version of the life they can see all around them, thank you very much.
Supernatural Aid
Not so fast, says something genuinely abnormal. To the hero, it is possible that this stage feels very far from what they would recognize as “aid”. Maybe it feels worthwhile, and maybe it doesn’t. It can be a mentor with a certain spiritual connection, or a mysterious happening, or a mystical experience.
The Crossing of the First Threshold
The hero can’t stay where they are, doing what they probably thought they wanted to do when they were refusing the call. They have to get moving.
Belly of the Whale
The bad news is, that this endeavor isn’t going to be quite as easy as the hero probably deserves. A problem arises, and the hero faces it, more or less alone. This moment probably proves something about the hero: maybe that they’re a good person (which heroes have to be), or that they have the right idea (which is helpful for a hero), or that they have skills or potential or fortitude (which heroes have to have).
The Road of Trials
The hero has to keep moving, and alas, the way is arduous. Difficulties arise along the way, defining the adventure as a quest, as opposed to a mere travel log.
The Meeting with the Goddess
This one is rather confusing when you’re doing literary analysis, as most stories do not feature a meeting with any actual goddesses. This is a reference to finding something special. Perhaps it’s adapted from the theological theory that the manifest universe is the domain of the Goddess in a particular way. At this point, the manifest universe somehow seems to have a pinnacle to show the hero. It can be an item, a goddess, a splendid city, or something else, but it is worth seeing.
Temptation
Here is where the question “Why continue?” or “Why go anywhere else?” comes up in one way or another, but it is not wholesome in contrast to the hero’s actual destiny. Once the hero comes to realize this, the hero rejects the temptation to halt the quest, and continues on.
Atonement/Abyss
Something happens that brings up a new idea: someone or something might have a quarrel with the hero based on the hero’s history, nature, or conduct, or based on the nature of reality itself. Suddenly there is a problem that cannot be solved so directly as the prior challenges. The hero must confront something about themselves here, and understand who they the hero are, what they’ve done, and how they feel about the world, all well enough to navigate this stage.
Apotheosis
Oh good, the hero did a good job navigating the last stage! Now they’re the bigger person, compared with before. They are something larger than life, and their instincts will from now on be to do the very right thing.
The Ultimate Boon
Now the hero reaches a key objective, getting something they needed or at least wanted very much and are not entirely undeserving of.
Refusal of the Return
There is likely something on the journey or at the end of the journey that the hero doesn’t want to leave. But one thing the hero has learned is that not everything can stay exactly the same all the time. What we see here is actually usually much more like reluctance than refusal, though stories may vary. A hero at this stage can move forward if they know they’re supposed to. They just can.
The Magic Flight
The hero starts on the journey home, usually with the ultimate boon or something gained from it.
Rescue
The hero deserves help, and sometimes they really need it by now. It’s usually help from someone or something powerful, and this is where it comes in.
The Crossing of the Return Threshold
At this point the hero often returns in some way to what one could call the real world, which is at least semi-distinct from the more single-minded existence of the quest. This is where that shift occurs. The hero may be reunited with previous companions, locales, or pursuits.
Master of the Two Worlds
This is where the hero integrates back into that real world, but this time as a person who has developed new abilities, new understanding, and the right instincts. The world is lucky to have a person such as this. They have the education and life experience that faithfully following the quest offered them, and they are better for it.
Freedom to Live
Life can be good, and the hero is ready– and well-equipped– to live it. Sometimes the status quo even changes because what came before was so pivotal in the world, and part of the hero’s great reward is this: it’s a better status quo.

For real life heroes, hewing to the best in themselves can take them into and through some of these steps rather naturally, sometimes in this order, sometimes in a different order.

──── by Lync Dalton ────

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The Mahabharata and numbers

I’m about 1,500 pages into the illustrious Mahabharata. It is an historical epic known in the history-loving Hindu tradition, daunting in size and sweeping in scale.

The story is very old, some of it clearly much older than the text itself. Some believe that parts of it date from an extremely early hominid migration into the Indian subcontinent. Much of the Mahabharata takes place so long ago that it seems (in some translations) perhaps to refer to women going into oestrus instead of having the ovulation and menstrual cycle that modern humans are currently understood to have.

The Mahabharata presents many excellent examples of how numbers in ancient texts and oral histories may not necessarily always translate directly into modern numbers. An extremely long time ago, a word like a hundred would’ve often been closer to the idea of “too many to keep track of easily” than ten groups of ten, and a word like a thousand would’ve been closer to the idea of “effectively uncountable, especially considering the fact that a comprehensive number system has not been invented yet” than ten groups of ten times ten. It was hard to conceive of numbers when we didn’t really have them.

What is still very important to understand is that a looser numerical system would not diminish the text’s portrayal of placing high value on extravagant generosity and prosperity, and the scale of riches it sometimes suggests does become staggering almost beyond imagination.

Our current standard system of numbers used throughout the world today was probably invented about 4,000 years ago or so in North Africa, according to Earth Logos. The Mahabharata in its current form was compiled and transcribed within the span of this time, but the following passage, which occurs near the beginning of the text, before Vaisampayana begins narrating, gives some idea of how numbers were a subject of specialization and how they seemed to fit into oral history.

“Sauti said, ‘One chariot, one elephant, five foot-soldiers, and three horses form one Patti; three pattis make one Sena-mukha; three sena-mukhas are called a Gulma; three gulmas, a Gana; three ganas, a Vahini; three vahinis together are called a Pritana; three pritanas form a Chamu; three chamus, one Anikini; and an anikini taken ten times forms, as it is styled by those who know, an Akshauhini. O ye best of Brahmanas, arithmeticians have calculated that the number of chariots in an Akshauhini is twenty-one thousand eight hundred and seventy. The measure of elephants must be fixed at the same number. O ye pure, you must know that the number of foot-soldiers is one hundred and nine thousand, three hundred and fifty, the number of horse is sixty-five thousand, six hundred and ten. These, O Brahmanas, as fully explained by me, are the numbers of an Akshauhini as said by those acquainted with the principles of numbers.’” – Mahabharata, section II (Vyasa, translation by Kisari Mohan Ganguli)

Keep in mind that at the time the text was codified thus, these sums probably represented the narrator’s mastery of arithmetic in front of his audience, which it’s easy to assume may have been very much in vogue at the time in terms of demonstrating intellectual prowess, almost like a magic trick.

In the Mahabharata, which depicts the lives and lineages of the Pandavas and the Kauravas as well as a war that ensued once between them, the text describes eighteen Akshauhinis meeting on a battlefield, while the fact remains, the kingdoms described were actually most likely city states. It is extremely unlikely that ancient kings fielded, for example, 393,660 elephants all in one place to do battle, and a fortunate unlikelihood it is at that. And indeed, earliest versions of the story may not have defined these things numerically at all. But the numbers thus being stylized seems rather to be an arcane reference to the scope of how epic these matters must’ve been and felt at the time.

Numbers are admirably objective, but their objectivity is actually subtly finite. Chaos theory is a theory that involves the fact that modern numbers and mathematics ultimately break down and get confusing because we made them up. It essentially deals with what happens when they do.

──── by Lync Dalton ────

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Welcome to the straightaway

Technically speaking, we’ve run out of Kali Yuga. As such, we’re now experiencing the earliest part of the Satya Yuga (also called Krita Yuga; Satya means “truth”, and Krita means “perfect”). This is in terms of galactic positioning, as we’ve just navigated a very sharp corner (or type of corner) that’s been associated with the Kali Yuga and the transition into the Satya Yuga at least once before. It is still essential for people to bring humanity and civilization into this highly favorable time by promoting dharma, but the corner appears to be turned, which means that we are officially clean out of the Kali Yuga (and in a Satya hyperimperative), in terms of spacetime and its odd characteristics.

There was a point earlier this year when both the Sun and Moon joined Jupiter in Taurus, which might have signaled the official turning point esoterically. The magnetic signal may have been triggered more recently, probably within the last month.

──── by Lync Dalton ────

PLEASE DONATE TO WEIRDO CAMP. Do you enjoy and/or enrich yourself with Weirdo Camp and its unique, original content? Please send a donation via Paypal (see site sidebar) or to $alchemylynx on Cash App.
Want the coolest tax deduction in the world? Donate to Terra Thesis Institute.