Rising gods arsenal

rising gods arsenal

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Because he nods his head and offers a small smile to the babe in his arms before passing her over to the wet nurse.

Soon she will be moved, helped from the birthing chamber to the chambers she and Steffon share. So Steffon sits and smiles down at at her before offering her a cup of water that Kollion has left for them.

The creature that smells of carrion flowers. The creature that gazes upon Ostara as if seeing an old friend. Because that could have been her.

She and Lady Baratheon are not so different. They did everything right, the Maesters kept their eyes on the growth of the children, they did what they were told to do and ate what was expected of them.

If he becomes angry with the birth of the Baratheon girl His treatment of Rhaella will not be merciful. Especially when the Baratheons and Targaryens share blood.

Even now there are patches of wet ground littering the gardens. But a quick glance up a the sky has Rhaella frowning. In the far distance she can just see the rolling black clouds that make up the skies of the Storm Lands as of late.

Which Rhaella finds oddly amusing for a number of reasons. With a sigh the Queen stands, barely noting that Sir Gerold Hightower has moved to rest a hand on his blade, and gathers her sewing.

Just In All Stories: Story Story Writer Forum Community. It storms the day Ostara Baratheon is born. No one save Death, who sits and waits and smiles.

Her sweet little dragon babe that would have brought such joy had she lived. Let me see my baby! She wants to scream, let me name her at least.

Elaehra would have been such a lovely name. It will not be pretty, this she knows. And he will not be pleased to learn that another babe has died.

A girl at that. The CNR had a serious analysis which surprised the researchers: It seems we made the same natural choice. There was an epicenter about 50 meters from wide where everything was crystallized or melted, he writes.

Sixty meters from the center, the bricks are melted and presage traces of a violent breath. The horrible and mysterious event that destroyed Mohenjo Daro 4, years ago was recorded in an ancient manuscript called the Mahabharata:.

White smoke and a thousand times brighter than the sun rose with infinite brilliance and reduced the city secretly, in the story.

Boiled water … thousands of horses and chariots were burned. The description ends as follows: It was a terrible sight to behold … never before had we seen such a horrible weapon.

The 30, inhabitants of the city have seven days to go out — this warning is clear that the destruction was scheduled. Obviously, some people have not yet been told, because 44 human skeletons were discovered in , just a few years after the discovery of the city.

And it also reminds Noah , in the multiple international versions of the flood, which is warned before the disaster.

All these catastrophes seem to have been caused by the former gods , the terraformers of this planet , our dear creators themselves. In Mohenjo Daro, many people could not escape.

All the victims were surprised. For example, on a found father, a father and a girl in the street, face down and always in tenant.

It is interesting to note that ancient texts refer repeatedly to Vimanas, or flying machines. They knew how to free themselves from gravity, it seems.

Indian temples have cupolas that suggest the shape of these ancient UFOs. At that time, the statue of Marduk was carried off into Assyrian captivity.

From one point of view, the text has a simple, propagandistic message: Compared to the gods of Ashur, Marduk is a weak deity.

More subtly, for those Assyrians who held Marduk in some reverence, the notion of his crimes would provide religious justification for his capture.

The notion that the king undergoes an annual ritual of mimetic dying and rising is predicated on the fact that the deity, whose chief representative is the king, is believed to undergo a similar fate.

If it is doubtful that Marduk was understood as a dying and rising deity, it is also doubtful that such a ritual was required of the king.

Some scholars have held that the so-called ritual humiliation of the king on the fifth day of the New Year festival, with its startling portrayal of the king being dethroned, slapped, pulled by the ears, and reenthroned, is symbolic of his death and resurrection.

But such an interpretation ignores both the manifest content of the ritual text and its date. During the humiliation ceremony, the king is required to recite a negative confession: From one point of view, such a negative confession is ludicrous.

What native Babylonian king ever contemplated, much less carried out, such actions? These were the actions of foreign kings Assyrian, Persian, Seleucid who gained the throne of Babylon by conquest and desecrated the native cult.

However, as with Cyrus among the Israelites, so too for the Babylonians, foreign kings could be named who restored Babylon and its temple.

Read in this light, the ritual humiliation of the king appears to be a piece of Babylonian nationalistic ritual rectification: Good fortune and continued kingship comes to the foreign king if he acts as a pious native king would act.

If not, he will be stripped of his kingship. This understanding is made more plausible by the date of the only surviving texts of the ritual.

They are all from the Hellenistic Seleucid period, that is to say, from a period after the ending of native kingship and the installing of foreign kings on the throne.

The pattern may be earlier, dating back, perhaps, to the time of Sargon II r. In the present text of the New Year ritual, a set of actions designed to deal with the more proximate Assyrian conquerors has been reapplied to the relatively more foreign Seleucid rulers.

There is no evidence that the Babylonian Marduk was ever understood to be a dying and rising deity, that such a myth was reenacted during the New Year festival, or that the king was believed to undergo a similar fate.

In contrast to the other deities considered above, Osiris has a thick textual dossier stretching over millennia. While the names of the actors and details of the incidents vary, this record is remarkably consistent over twenty-five hundred years.

Osiris was murdered and his body dismembered and scattered. The pieces of his body were recovered and rejoined, and the god was rejuvenated.

However, he did not return to his former mode of existence but rather journeyed to the underworld, where he became the powerful lord of the dead.

In no sense can Osiris be said to have "risen" in the sense required by the dying and rising pattern; most certainly it was never conceived as an annual event.

The repeated formula "Rise up, you have not died," whether applied to Osiris or a citizen of Egypt, signaled a new, permanent life in the realm of the dead.

Osiris was considered to be the mythical prototype for the distinctive Egyptian process of mummification.

Iconographically, Osiris is always depicted in mummified form. The descriptions of the recovery and rejoining of the pieces of his body are all elaborate parallels to funerary rituals: Through these parallels, the individual Egyptian dead became identified with, and addressed as, Osiris perhaps earliest in Pyramid Texts a — a.

The myth and ritual of Osiris emphasizes the message that there is life for the dead, although it is of a different character than that of the living.

What is to be feared is "dying a second time in the realm of the dead" Book of Going Forth by Day — Osiris is a powerful god of the potent dead.

In no sense can the dramatic myth of his death and reanimation be harmonized to the pattern of dying and rising gods.

The assessment of the figure of Tammuz Sumerian, Dumuzi as a dying and rising deity in the scholarly literature has varied more than any other deity placed in this class.

For example, within a thirty-year period, one of the most significant scholars in the field, the Sumeriologist Samuel Noah Kramer, has revised his judgment regarding this question several times.

Before , Kramer thought it possible that Dumuzi was freed from death; between and , he considered Dumuzi to be solely a dying god; since , he has been willing to speak again of the "death and resurrection" of Dumuzi.

The ritual evidence is unambiguously negative. During the summer month of Tammuz, there was a period of wailing and lamentation for the dead deity.

A substantial number of cultic hymns of mourning, going back to the second millennium bce, have been recovered; by the sixth century bce, the ritual was practiced in Jerusalem Ez.

If third-century Christian authors are to be trusted, the figure of Tammuz interacted with that of Adonis in Asia Minor.

In all of these varied reports, the character of the ritual is the same. It is a relentlessly funereal cult.

The young Tammuz is dead, and he is mourned. His life was like that of the shoot of a tender plant. It grows quickly and then withers away.

It was a life that is "no more" — a persistent refrain in the lamentations. There is no evidence for any cultic celebration of a rebirth of Tammuz apart from late Christian texts where he is identified with Adonis.

Given the predilection of scholars concerned with Christian origins for a pre-Christian pattern of dying and rising deities, it comes as no surprise that, despite the lack of cultic evidence, it was widely supposed that the period of mourning for Tammuz must have been followed by a festival of rejoicing.

This speculative conclusion seemed to gain support with the publication of the Akkadian Descent of Ishtar from the library of Ashurbanipal in Nineveh.

The text narrates the descent of the goddess into the underworld and her return. If so, this would place Tammuz securely within the dying and rising pattern.

Even on the basis of the Akkadian text alone, such an interpretation is unlikely. Indeed, some scholars have suggested that the last lines referring to Tammuz were originally independent and added to the Descent as a scribal gloss.

Even more detrimental to the dying and rising hypothesis, the actions performed on Tammuz in these three strophes are elements from the funeral ritual.

Ishtar is treating Tammuz as a corpse. Finally, the line rendered in the earlier translations as "on the day when Tammuz comes up" has been shown to be a mistranslation.

It either refers to Tammuz greeting Ishtar i. In the Akkadian version, Tammuz is dead and remains so. Such an understanding is witnessed to in other Akkadian texts.

For example, in the Epic of Gilgamesh 6. These early texts made clear that the goddess did not descend to the realm of the dead to rescue her consort.

Rather it was her descent that was responsible for his death.



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