Esoteric Apollo: The Unmentionable, Untarnished Apollo & The Demon Abaddon

That the JEM remains infatuated with Apollo, as a primary symbol of Aryanness alongside Mars, is one small bit of evidence that he still lives, that he is immortal and greatly feared. Apollo remains their central reference point, their esprit, their fuel, the soul, the Tiferet, the fire of their Art and Religion, as much as his blood remains the fuel of their Promethean race. Through it all, though, the greatest evidence of Apollo’s immortality is that his reputation remains perfect in our eyes.

After all, everyone knows instinctively that The God of Truth is the cleanest, most honest and most virtuous of the Gods, even after he’s been tarred as Lycegenes or the “ravenous wolf,” even after his sister Diana has been depicted loyal to the Semitic Orion and the Semitic moon, even after he has been depicted as jilted by Daphne, even after he’s been depicted as Hyacinth’s lover. (Hyacinth is a male mortal for those wondering.) Indeed, the later myths, as a Semitic power grows, where Apollo is the subject of “relationships,” are especially slanderous.

Yet even the Christian —with the exception of the wild-eyed zealot— is pressed to develop actual hatred for Apollo. Thus Christianity dared never to refer to him, slander him by name or attack him directly lest he immediately, in a moment, regain all his supporters. Rather they would prefer Aryans, themselves Apollonian by instinct, believe Christ even a similar figure to themselves, to Apollo. To be Christ-like is merely to be honest and good, right? Indeed here we find a Jewish “dynamic silence.”

Perhaps the closest they come to slandering Apollo directly is in Revelation. There we find an “Angel of the Abyss,” a “king,” leading an army of “locusts,” clearly indicated as men. There it is said: “His name in Hebrew is Abaddon. In Greek it is Apollyon.” The Conspiracy theorist will greatly enjoy that this one direct mention of Apollo, the central and most important God in the Greco-Roman pantheon and the clearest symbol of Aryanness through all of myth and Religion, appears in Revelation 9:11.

The name Apollyon, Ἀπολλύων, the eventual translation of the Greek, is far too close to Apollo, Απόλλων, the most famous God in Ancient Greek culture, to be coincidence. In fact the meaning given to both the Hebrew name Abaddon and the Greek name Apollyon is “destroyer.” This was commonly guessed by the Greeks to be the meaning of Apollo’s name as well.

Yet all this is rarely remarked upon and when remarked upon, absurdly judged as a coincidence. It’s as if Christianity appeared on another planet or in a vacuum, referencing nothing of the world in which it appeared. This study reveals the opposite was the case. The truth is that the Apollyon or Abaddon in this passage is an obvious reference to Apollo. It is one of the most obvious esoteric references made in scripture. The corroborating evidence lies below.

Abaddon is stirred from the earth by a “star that had fallen from heaven to earth”[1] that opens the abyss that he ostensibly inhabits, causing smoke to pour forth. Here perhaps it is a reference the sun falling into the ocean. The abyss here is a reference to the ocean, as we will discuss. Indeed the idea that the sun was also a star had been around. Anaxagoras first suggested this in 450 BC. Hence a sun falling into the ocean to create smoke might make sense.

Here we are reminded of an Egyptian solar myth where the sun emerges, in the morning, from the watery abyss, Nun, in the form of the youthful, ram-headed Aryan God Khepri while descending into it in the evening in the form of the Semitic serpentine Atum. And here, in Revelation, we see perhaps both sides of the cycle. The sun falling into the abyss and the sun emerging in the form of Abaddon, an Aryan solar God or Demon.

A reference to the watery Nun would be consistent with references made to this deity in the Hebrew Bible where we find an Egyptian “Nun” as father of Joshua. Here Joshua is suggested as Nun’s son, the Semitic Atum, who appears both as a serpent and stone, two primary Jewish symbols as this study reveals.

Indeed, as this study argues, Jesus and the twelve Apostles themselves are simply a reference to Joshua, the twelve spies and the twelve tribes that would conquer an at least partially Aryan Canaan. This is meaningful because Joshua son of Nun is perhaps the most merciless and bloodthirsty of Jewish figures to appear in the Hebrew Bible, bar none. No mean task, I assure you. As multiple passages indicate, he was certain to kill everyone. Quite a wink and nod as it concerns this fellow Jesus whom certainly takes his name from Joshua.

Though perhaps as likely this falling star in Revelation is a reference to Venus or Inanna as the evening star. Perhaps specifically it is a reference to Venus Pandemos, to wit the falling or degenerated Aryan woman, the castrated phallus of the Aryan Caelus falling into the ocean to remerge as Venus in that famous scene known to the ancients as Venus Anadyomene.

Here, astronomically, the evening star, while appearing to ascend in the morning sky, is understood to “descend” in the sky at night. Hence perhaps “Abaddon” is irritated or awoken by the degeneracy of the Aryan woman or degeneracy in general. In fact the description of his “locust” army may allude to this sexual jealousy. Consider, “They had tails with stingers like scorpions, which had the power to injure people for five months.”[2]

The scorpion appears most saliently in myth in three places.  Here we find a surprising consistent them of theme and role.  First we find the scorpion men in the Enuma Elish and the Babylonian version of Gilgamesh, known also as aqrabuamelu or girtablilu. In the latter tale they are the attendants of the Sun God Shamash, the Chariot riding sun God from whom Helios and Apollo are clearly derived. It seems like this is the reference in Revelation, after all, men with “tails with stingers like scorpions” are by definition “scorpion men.” Like the winged scorpion men depicted in the Assyrian relief, the men described here in Revelations are also winged.

In Egypt we also find the scorpion Goddess who was closely associated with Nun. She may have been the wife of Nun or the Semitic Atum.  She also though is associated with the Sun Ra, serving as a guardian and attendant on his celestial barge.  There, meaningfully, she guards against the nocturnal serpent God Apophis.  She is understood as well as a protector against venous stings.  Later she will take on a more Chthonic role where she will become associated with the souls of the dead.

Yet the Scorpion, as a symbol, also appears in the Greek mythology specifically as a symbol of Aryan sexual jealousy. Here a jealous Apollo sends the scorpion to kill Orion, the Semitic lover of his sister, Diana. Indeed, the Scorpio constellation is a reference to this very scorpion.

The description of Abaddon’s army goes on and it appears filled with Aryan Identifiers. Here, to assist cognition, I will bold all the relevant references, then address them in turn: “And the locusts looked like horses prepared for battle, with something like crowns of gold on their heads, and faces like the faces of men. They had hair like that of women, and teeth like those of lions.” [3]

The Locust is the most obscure reference here, yet here we have, nevertheless, a very good guess. Locusts also appear in reference to John the Baptist or, should we say, John the Player who is understood as living in the wild off “locust and honey.” Here, like honey, they become almost certainly a reference to women and possibly specifically Aryans as sexual resource, as this study explicates.

Locusts, in this context, in fact, is much less likely a reference to the insect as it is to the sweet carob fruit often known as “St John’s bread.” Thus locust becomes in the Biblical context, at least in some instances, a play on words. Like bread, honey, olive oil and so forth it becomes a reference to Aryan as consumable resource. Hence perhaps a plague of Locust might be understood as a synonym of the Biblical flood, a reference to conditions growing promiscuous and degenerate.

Horses too may be a symbol of the Aryan, at least in certain contexts. The ancestry of the Centaurs in Greek myth suggest this as the broader study discusses. Likewise, Genesis suggests this, where we find, for example, the Semitic figure of Dan, described in Jacob’s blessing, as a viper attacking the heels of horses. This is perhaps a reference to the serpent in the garden of Eden who is likewise posited as an eternal attacker of the Aryan Adam’s heels.

The leading white horse appearing among the four horsemen in Revelation likewise suggests the Aryan, with the following red and black horses indicating his racial corruption. Then the appearance of a final pale or green horse suggests a Jewish triumph. Two lines prior to the passage above, in Revelation 9:9, appears a reference to Apollo or Shamash’s Chariot: “the sound of their wings was like the roar of many horses and chariots rushing into battle.”  This too seems to suggest the horse as a symbol representing the Aryan.

With “something like crowns of gold on their heads” we may find a reference to blond hair or, alternatively, golden crowns or laurels which are sexual, vaginal symbols as explicated in this study. Apollo was typically depicted with long hair, bearing the common epithet Akersekómēs or “He of the uncut Hair.” His Kouroi were likewise depicted. This study discusses how the long haired Samson, whose name means “man of the sun,” was almost certainly a reference to the Apollonian cult. There the cutting of his hair, by a Jewess named Delilah, becomes a metaphor also for circumcision or emasculation as this study covers.  Hence “hair like that of women” also fits there.

The lions referenced here, a totem of the Sun God Shamash, are a reference to Aryans as the broader study discusses, with Judah the lion being an important exception. Indeed, Ari is a Hebrew word meaning both Aryan and Lion.

That Apollyon is an “Angel” of the abyss is likewise meaningful as we understand Angels to typically represent Aryans.  Abyss or abyssos here is accepted as a translation of the Hebrew tehom, which is a reference to the chaotic, primordial watery abyss. Here we find the Aryan as a water God, like Ab, Enki and Nun, the incoherent and unfocused resource, from which the cohered, Jewish stone Atum emerges.

This study discusses Lucifer, however poorly named, a likely reference to a diurnal Aryan God akin to Shamash or Apollo based on an analysis of his Hebrew name Helel. Yet with Apollyon the reference is crystal clear. We remember that Apollo is The Aryan. We remember as well that he is understood here as the enemy of a Christian God. What more needs to be said?

 

[1] Revelation 9:1

[2] Revelation 9:10

[3] Revelation 9:7