Cakravartin

The alphabets of ancient Norse monuments found in both Europe and Central Asia have stemmed from a common origin in a very remote past. Then, it was only a natural development for the Turkish, and the Germanic tribes that, although in locations so far away from each other, they could seperately carry on with this heritage of writing. I hold the belief that I have been able to prove the claim summarized above by reading the monuments written in Futhark alphabet, or the Oldest Runic, in Turkish through the help of the Göktürk alphabet. (…) The European scholars have come to recognize from the very beginning the obvious similarity between the character forms of the Primitive Norse stones and those of the Central Asian Göktürk monuments, but for certain various reasons have refrained from tackling this point by denying all kinds of plausible relations. All throughout the period of 160 years that elapsed between the years of 1730 and 1893, that is between the discovery of Orhun monuments and their definitely final decipherment, fanciful theories were fabricated about the Vikings’ (or Indo-Germans’, or Celts’, or Goths’) prehistoric emigrations into Central Asia, and the erection of Orhun stones as landmarks of their presence and civilization dating back to several thousands of years BC in that region. Only when in 1893, it was understood that these inscriptions were not written in any other tongue but pure Turkish, then those fanciful theories were discarded, and the proposed pre-historic datings were revised to be not earlier than AD 700.

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The following article was translated from the source by Kartavirya. All footnotes are mine apart from where indicated.

Continuation of the summary of the research of Juan Moricz¹⁾

The first news

On September 12th 1965, the biggest newspaper in Ecuador, the Quito daily “El Comercio”, published on its front page an extraordinary report about the research conducted on the territory of Ecuador by Juan Moricz. From this expansive article we learn first that among all the tribes living there in the period before the Spanish conquest the language of the Puruha-Canari tribe and the Peruvian Puruha-Mochica tribe was an ancient Magyar language. This first extraordinary conclusion is the result of Moricz’ study of Jacinto Jijon y Caamaño’s²⁾ work of comparative linguistics entitled “El Equador Interadino y Occidental.”

On October 25th, the “Frankfurt Allgemeine Zeitung” publish an interview with Moricz conducted by their Buenos Aires correspondent, in which he notes, that this discovery will revolutionise all hitherto accepted theories of ancient history. Continue reading »

1. Correct spelling in Hungarian is Móricz János. For reasons of convenience I will use the simplified spelling of Juan Moricz throughout the article. (↑)
2. The Jacinto Jijon y Caamano Museum, Quito is one of the most frequented tourist attractions in Quito. The Jacinto Jijon y Caamano Museum, Quito houses valuable archaeological specimens which were collected by Jacinto Jijon y Caamano. The archaeological exhibits housed inside the Jacinto Jijon y Caamano Museum, Quito have been collected from the different cities and provinces of the South American country of Ecuador. (↑)

For the western mind, the language of YOGA and other spiritual paths is many times difficult to descipher: the symbols and metaphors are a jungle where both initiates and (mostly) uninitiates are lost.
The hidden key that opens all these secrets and lost meanings is Resonance. Resonance is very easy to understand for the western mind, so much centered on the scientific approach of reality. In the light of Resonance, all metaphors and symbols immediately start to make sense, becoming in the same time a genuine door toward invisible realities.
The Law of Resonance has a relational character, i.e. expresses the way in which two or more apparently different things or phenomena selectively communicate (are linked), being integrated into an unitary Whole. The links which unite all things in the Universe (physical objects, mental processes, psychic phenomena, spiritual levels, in other words everything manifested) have as basis the process of Resonance.

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When Heribert Illig developed his theory known as the Phantom Time theory he drew his arguments mainly from the history of the Western part of Europe. He drew attention to the immense amounts of forged documents that remains from the Carolingian empire, the Palatine Chapel of Aachen with its architectural features preceding its own time by several centuries, the extraordinary calendar correction of pope Gregory XIII and the conspicuous and inexplicable lack of any archaeological findings, being typical for the era.
Of course he also addressed the oddities of the Byzantine empire: he mentioned the end of construction, the decline of the knowledge of writing, the transformation of events of the era in question into (quasi) fairy-tale and the inexplicable and unmotivated rewriting of chronicles. His arguments are in themselves heavy enough and worthy of consideration. However, Illig never addressed one issue, never referred to it with a single word – in fact, it seems he was not even particularly aware of the problem: the issue of the legacy of the Hungarian chronicle tradition. Specifically, this Hungarian chronicle tradition, which supports its hypotheses with such elementary strength, should have enjoyed an elevated position in his book or even a separately devoted chapter. It is not coincidence that lately our medieval chronicles have become surrounded by a conspicuous great silence. While in single issues of our renowned historical journals efforts are being made to “refute” the facts of falsification of our chronology, they do not even dare mention the issue of our [Hungarian] chronicles.

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Having attended the new production of G. Verdi’s opera Macbeth at The Gothenburg Opera, I was quite surprised by the unexpected chosen interpretation of this great adaptation of Shakespeare’s masterpiece. (…) The main question I must raise is this: Why is it morally wrong of Macbeth to kill Duncan, if they are the same and why then is it morally right of Malcolm (through Macduff) to kill Macbeth? If they are the same, as they are displayed in Mr. Radok’s concept, then where is the conflict? What is the purpose of writing such a play?
Macbeth’s guilt, agony, pain and nightmare-like visions would be entirely unmotivated if Duncan and Malcolm where displaying the same inferior moral or psychological nature as himself.
The esoteric core of both the play and the opera is manipulated and altered in order to provide room for the director’s outlook of the world and this outlook is a false one. (…) It must be noted at this point that it is not the actual killing that is the supreme conflict, since Macbeth is a general in Duncan’s service and we must expect that in holding such an office death is an everyday occurrence; ordering soldiers to kill other soldiers is something a general must be capable of handling. (…) The very heart of the entire play, however, is the killing of the righteous king; not only because of Duncan’s legitimacy to the throne based on blood heredity but rather from the aspect of what kind of material a righteous king should be made of in order to have a rightful claim to the throne according to universal law.

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