Mythology - Greek

The Birth of proto-Venus in Greek Myth
Greek Gods and Goddesses Associated with proto-Venus
The Conflict of the Gods
Greek Deities associated with priori-Mars
The Greek Universe

Greek mythology, like that of most other cultures, was composed to tell the extraordinary story of cosmic encounters in ancient times. The sacred myths were formulated between 4000 (actual corrected radiocarbon date) and 687 BC, the period of cosmic chaos, and passed on by word of mouth, but were probably not written down until after the period of cosmic chaos had ended. As a result, the writers never saw the physical events that the myths were meant to describe. "The Dialogue of Critius" by Plato (427-347) tells how Solon the Greek (640––560 BC) went to the Egyptian priests to try and recapture this knowledge. The Egyptian priests considered the Greeks ‘like children’ because they did not have a recollection of the ancient encounters of the Earth with other planets. They told Solon that occasionally great destructions of the Earth occurred due to the close approach of other heavenly bodies and that these usually cause a reorienting of the Earth relative to the stars. Some encounters even completely overturned the Earth, causing the Sun to rise in the west instead of the east. They pointed out that the Greek myth of Phäethon ("the shining one"), in Ovid’s Metamorphosis, was in actuality a recording of the physical chaos accompanying such an event.

Solon was born only 47 years after the last cosmic encounter. Undoubtedly, there were still many people alive during his lifetime who had seen the cosmic encounters. Their descriptions probably were the impetus behind his strong interest in Egyptian knowledge.

Greek myths lack the time ordering of the Rig Veda, and like the later Indian works, some have been embellished to the extent that the driving events are difficult to discern. Nonetheless I have uncovered some new clues which corroborate a number of elements of the catastrophic scenario developed so far. The most important revelation is the straightforward confirmation that the Olympian gods reigned for 3000 years. This is directly stated in almost every work on Greek mythology. Their reign corresponded to what I call the Vedic period, which I previously estimated at about the same length based on the very cryptic description of the life of Brahma. Other important confirmations in Greek myth include the burning of the Earth by proto-Venus, the Mitra-Varuna duality, the transfer of the primary deity to the temporal seat of power based on fire, the influence of proto-Venus on the capture and release of priori-Mars, and the process by which the dance encounters were terminated. We also explain a number of the Greek myths associated with priori-Mars, such as Zeus, Prometheus and Atlas. The latter leads to an explanation of Atlantis and, finally, we find corroboration of the sequence of cosmic events, derived from Egyptian myth, which led to the break off of the dance encounters.

The Birth of proto-Venus in Greek Myth

In Greek myth, the Titans, led by King Cronus, had ruled the Earth until Zeus led a rebellion that put the Olympian gods in power. This implies that Saturn (Cronus)was originally the brightest planet in the night sky. I maintain that it was brighter than now due to the same impact that created its vast ring system and is still producing its ‘temperature excess’ to this day. The rebellion of the Olympian gods was initiated 6,000 years ago, by a much more energetic impact on Jupiter, which ‘lit up’ the giant planet and resulted in the birth of proto-Venus. In Greek myth this event is described as the birth of the goddess Pallas-Athene out of the head of Zeus (originally associated with Jupiter). In one version of her birth, it is said that no one knew the names of her parents, but Zeus gave her legitimacy by claiming that one day he swallowed his wife, Metis, when pregnant. In another form, Zeus was warned by Gaea and Uranus that if he allowed the child in the womb of Metis to be born it would turn out to be more powerful than he, so he swallowed Metis to prevent this from happening. This caused him such a headache that his howling ('like a thousand wolves') prompted another god, Hephaestus, to help him by splitting open his head with an axe. Out of the gaping wound sprang Athene ‘fully armed and brandishing a sharp javelin.’

          Great Olympus was profoundly shaken by the dash and impetuosity of the brigh-eyed

          goddess. The Earth echoed with a terrible sound, the sea trembled and its dark waves rose.

This is a very graphic description of the impact on Jupiter and the rebound of a glowing cloud of plasma, out of which proto-Venus contracted. The body being swallowed was the impacting asteroid. Pallas (young)- Athene was the Greek name for proto-Venus which rebounded from the impact, paralleling the birth of Aditya at the beginning of the Rig Veda.
In another version of her birth from Crete it is said that the goddess Pallas-Athene had been hidden in a cloud and it was by striking this cloud with his head that Zeus had caused her to emerge. This describes the enormous glowing plasma cloud many times the size of Jupiter that 'rebounded' from the site of the impact, followed by a description of the contraction of the incandescent proto-Venus from the cloud. This parallels the Vedic description in which the incandescent Vivasvat contracted, while Mrttanda was the part of the cloud that was discarded.

The impact on Jupiter caused the ‘howling’, ‘the terrible sound’ from the interior of the Earth. The Earth obviously experienced an enormous tidal stress due either to the rapid passing of the massive traveler or its impact on Jupiter. (Physicists searching for the elusive 'gravity waves' would have had an exciting day.)

The mention of Pallas Athene being born with a sharp javelin is particularly important, because it implies that Jupiter is a solid planet. The javelin, visible from Earth, was a super high velocity jet of hot gases which shot hundreds of thousands of kilometers into space from the impact site on Jupiter. In Firmament and Chaos, I cite considerable physical evidence that the jet continued to shoot out of the impact crater into space for six millennia. Its decline has been so gradual that it still produces the Great Red Spot, the most prominent feature on Jupiter.

The parallel between the births of Pallas-Athene and Aditi, in Vedic myth, are striking. Both cultures struggled with the identity of the ‘second’ parent. This stemmed from the fact that the asteroid was not visible or was seen only briefly. Both deities emerged from a glowing cloud as a bright white-hot, star-like, body, which shone with a bright light millions of times brighter than Jupiter itself. The extremely high temperature of proto-Venus at that time is implied by the term 'bright-eyed.’

Greek Gods and Goddesses Associated with proto-Venus

As Pallas-Athene approached the Earth a few years later, King Cronus is said to have released his monstrous half brothers, normally sequestered in the mountains of Earth, to battle her. These were the Hekatonkheires, described as 'huge twisted dark creatures taller than trees.’ They were the dark comet tails of proto-Venus. Just as in the Rig Veda, they were pictured, not as smoke emanating from proto-Venus, but as denizens of darkness attacking the glowing goddess. At that time there was a great rushing and tumult of the skies. The people on Earth heard mighty thunder and saw mountains explode. The Earth quaked and tidal waves rolled as proto-Venus approached the Earth.

At its closest approach, proto-Venus caused almost complete destruction of animal life on Earth. The myth which best describes the devastation caused by two close passes of proto-Venus to the Earth is the story of Phaëthon, the son of Helios. The following is Ovid's version of the legend of Phaëthon:

The Greek legend says that the young Phaëthon, who claimed parentage of the Sun, on that fatal day tried to drive the chariot of the sun. Phaëthon was unable to make his way "against the whirling poles" and "their swift axis" swept him away. Phaëthon in Greek means "the blazing one". The chariot of the sun, driven by Phaëthon, moved "no longer in the same course ... rush aimlessly, knocking against the stars ... borne along just as a ship driven before the headlong blast, whose pilot has let the useless rudder go and abandoned the ship to the gods and prayers.
The earth bursts into flame, the highest parts first, and splits into deep cracks, and its moisture is all dried up. The meadows are burned to white ashes; the trees are consumed, green leaves and all, and the ripe grain furnishes fuel for its own destruction ... Great cities perish with their walls, and the vast conflagration reduces whole nations to ashes.
The woods are ablaze with the mountains ... Aetna is blazing boundlessly ... and twin peaked Parnassus ... Nor does its chilling clime save Scythia; Caucasus burns ... and the heaven-piercing Alps and cloud-capped Apennines.
Then also Libya became a desert, for the heat dried up her moisture ... The Don's waters steam: Babylonian Euphrates burns; the Ganges, Phasis, Danube, Alpheus boil; Spercheos' banks are aflame. The golden sands of Tagus melt in the intense heat ... The Nile fled in terror to the ends of the earth ... the seven mouths lie empty, filled with dust; seven broad channels, all without a stream ... Great cracks yawn everywhere ... Even the sea shrinks up, and what was but now a great watery expanse is a dry plain of sand. The mountains, which the deep sea had covered before, spring forth ... If we are to believe reports, one whole day went without the sun. But the burning world gave light.
This is a graphic description of the devastation by fire that was caused by the close approach of the young proto-Venus to the Earth.

As proto-Venus swept past the Earth and their relative positions changed, the resulting tidal and magnetic-field torques changed, producing 'all manner of twistings.’ The destruction caused by proto-Venus took two forms. The most immediate was a scorching of a wide band of latitudes that extended across northern Africa and central Asia continent. But world-wide destruction was caused by tidal waves as the oceans left their beds and flowed across entire continents, due to the overturning of the lithosphere.
Typhon was the Greek version of the Egyptian Set , given to the serpentine tail of proto-Venus when it approached the Earth and encountered the geomagnetic field. It was imagined to be a serpent-like monster with wings and multiple tails attacking Pallas-Athene, since the blazing proto-Venus appeared to be in its mouth. When this tail dissipated it was thought that the serpent had fallen to Earth and become imprisoned underground.

Later Athene was characterized as a battle goddess that exercised great restraint - never going to war unless forced. Her silver throne had golden basket work and a crown of violets made from blue lapis lazuli set above it. This more benevolent form of proto-Venus, resulted from several close encounters with priori-Mars, which occurred in the vicinity of the Earth. These interactions reduced the eccentricity of proto-Venus' orbit, bringing its aphelion inside the orbit of the Earth. Once this happened it began to form a thin crust which reduced its flaming to a red glow. At the same time the gases issuing from its interior produced an atmosphere which could be seen from the Earth in the night sky. The golden basket-work was the body of proto-Venus with light showing through the many cracks in the tenuous crust, while the crown of violets was its newly acquired atmosphere.

The warrior goddess Athene paralleled the Vedic deity Agni, while her beautiful ‘sister’ Aphrodite was the counterpart of Varuna. She represented a more peaceful, beautiful aspect of proto-Venus. The dual aspect of proto-Venus is alluded to in the myths as follows:

Next to Athene sat Aphrodite, Goddess of Love and Beauty. Nobody knew who her parents were either ... Aphrodite had a magic girdle, which she would wear whenever she wanted to make anyone love her madly.

Again, the magic girdle was the beautiful atmospheric robe.

The Conflict of the Gods

The two aspects of proto-Venus were intermixed, because the peaceful aspect of proto-Venus was upset when Ares (priori-Mars) 'rushed off' and engaged in combat with her, or made love to her because of that irresistible girdle. At these times the warrior-goddess Athene re-emerged when the tenuous crust of proto-Venus was cracked by the tidal force of priori-Mars and flaming magma interior was exposed. The Greek account of the conflict between priori-Mars and proto-Venus, given by Homer in the Iliad, is paraphrased by Velikovsky. He states that a battle between the Trojans and the Achaeans took place on Earth while the gods Ares and Pallas-Athene fought in the cosmos above. Each army chose one of the celestial combatants as their champion. The details of this battle give a number of clues to the identity of the Greek gods, but not without considerable ambiguity. Pallas-Athene and Ares were obviously the primary combatants. Aphrodite attempted to enter the battle but is warned by Zeus not to become involved. Zeus 'presides' over the entire conflict.

Ares is said to "darken the battlefield." Pallas-Athene retreats then turns and hurls a spear against his "nether-belly." Both gods are said to produce loud bellows or roars, then "over against her spouted Ares" and "together they clashed with a mighty din." At this point Hera "spreads a thick mist about herself." Ares strikes Pallas-Athene with his long "spear" and, although giving ground, she then heaves a gigantic "stone" at him "loosening his limbs.”

At one point, priori-Mars probably eclipsed the Sun, darkening the earthly battlefield. The 'bellows' were due to the rapidly changing tidal force exerted by the two nearby planets on the interior of the Earth. Apparently enormous electrical discharges occurred between the two when they approached one another. This is understandable, since in the V/A theory I propose that proto-Venus had been literally incandescent for years before these encounters and as a result was likely to have accumulated a net positive electrical charge while priori-Mars, which still had its original magnetic field, probably was surrounded by radiation ‘belts’, comprising charged particles.

I suggest that Hera was another goddess associated with the body of proto-Venus, comparable to Mitra in the Vedas. Thus the common interpretation that she was a goddess of our 'world' is really that she was goddess of another 'world,’ which was clearly seen as such by the Greeks when it was close to the Earth. The fact that some scholars claim the name is derived from the Sanskrit word for the sky may also be true, since the myth describes her capturing a 'sky' or atmospheric robe. Some say that she was the wife of Zeus, with whom she continually squabbled. But she sometimes borrowed the girdle of Aphrodite in order to arouse his passion and thereby get her way. This relationship is consistent with the transference of the deity Zeus to the flaming, erect ‘column of smoke and fire’ on priori-Mars.

Ares, (priori-Mars), was imagined rushing off to engage in combat with Athene. The physical meaning is clear, that is, when priori-Mars was in geosynchronous orbit and proto-Venus reached its closest point to the Earth its tidal force caused priori-Mars to break off the encounter and 'go after' her. The important implication of this 'rushing off to do battle' theme is that the gravitational force of proto-Venus at 'favorable' inferior conjunctions was a significant factor in the release of priori-Mars from orbit. The effect of proto-Venus in facilitating the capture and release of priori-Mars from the 'dance encounters' continued throughout the Vedic period. This implies a resonance between the orbits of proto-Venus, priori-Mars and the Earth, which lasted some 3,000 years.

The myth in which the 'local hero' rushes off occasionally to do battle with an 'intruder' is found in almost every culture. The notion of a ‘home’ deity 'rushing off' is consistent with our claim that (a) priori-Mars orbited the Earth at a stationary position in the sky (geosynchronous orbit) for extended periods of time, (b) broke off the encounters when proto-Venus, the ‘intruder’, approached the Earth and (c) returned to be recaptured one hundred times, also under the influence of proto-Venus.

Greek Deities Associated with priori-Mars

Although it is obvious that Zeus was embodied in Jupiter at the time of the birth of Athene, it is difficult to understand the stature of distant Jupiter still being considered significant during the period when priori-Mars and proto-Venus were close to, and were having devastating effects on the Earth. Since he is described as the deity that led the battle against the Titans, we suggest that the primary power of Zeus was transferred from Jupiter to proto-Venus at the beginning of the Vedic period. Later he is described as living on Mount Olympus, implying that his mythical power base was transferred again - this time to the column of smoke and fire on priori-Mars. Reinforcing this is the notion that Zeus rained down thunderbolts and storms on the Earth and was without contest the most powerful of all the Olympians. The transference of his power to the column on priori-Mars parallels the transference of power from Agni and Varuna to Indra (Vedic) and the seat of Osiris (Egyptian) from proto-Venus to priori-Mars early in the Vedic period. In all three cases this was a transfer of the deity to the ‘seat of power’ on priori-Mars, which was the great flaming column of smoke and fire, identified as Brahma in Hindu mythology Purusha or Prajapati in Vedic myth and Osiris in Egyptian lore.

Just as the triad of Hindu deities was imagined conversing and even disagreeing, so does Zeus curse Ares (Mars) as the "Most hateful of all gods that hold Olympus." It is necessary to see through these ambiguities, and not get 'hung up' on them.


Greek mythology contains another deity that is associated with the column of smoke and fire on priori-Mars. In fact, no deity description fits our scenario more perfectly than Atlas. He was supposedly the commander-in-chief of the armies of the Titans, who lost to the Olympian gods led by Zeus. When the Olympian Gods took over, Atlas was condemned to carry the 'heavens' on his shoulders until the end of the world.

The explanation is simple. When priori-Mars approached the Earth it grew larger and larger. Upon attaining its geosynchronous orbit above the Himalayas it appeared to stop falling. It was enormous - over twenty times the apparent diameter, and four hundred times the area of the Moon. The people did not understand what kept it from continuing to fall to Earth. This question was specifically expressed in the Vedas. When the great lava fountain formed on the side of priori-Mars facing the Earth, extending some thousand kilometers toward the Earth, the Greeks got the idea that it was a deity which, situated as it was between the two bodies, supported priori-Mars (the heavens). This was Atlas, and the 'world' he supported was not ours, but nearby priori-Mars. The relief of Akhenaten worshiping Aten in the section on Egyptian myth gives a graphic rendition of the size and orientation of this ‘column of smoke and fire.’


It is said that more books have been published on the subject of Atlantis than any other except possibly the Bible and chess. In a recent one, Zangger points out that Atlantis means 'the daughter of Atlas.’ Thus the key to locating Atlantis lies in identifying Atlas, which we have just done. The concentric circular continents and bodies of water which comprised the ‘mythical’ place called Atlantis are also described in Hindu myth. Mt. Meru, on which Brahma lived was Mt. Olympus on which Zeus dwelt in Greek myth. In that instance, the commentator expressed the view that the ancient Hindus had a very poor knowledge of the geography surrounding the Punjab, since he assumed it was a description of the earth’s surface. By the same token, all of the authors, from Plato to Zangger, have sought Atlantis on Earth. Today the it seems the only possible location, given Plato's detailed description of the dimensions and layout of a great city. However, no modern scholar has 'discovered' the true Atlantis - because it was not on the Earth. It was nearby however, in a position which provided a birds-eye view. It was because it could be seen from Greece to India, that these descriptions are so similar. Atlantis was on the planet priori-Mars, the nearest point of which was only some 33,000 kilometers above the surface of the Earth during the many 'dance encounters.’ Its location is now buried under the northern ice cap on Mars.he Greek


Hermes, the Greek god associated with the planet Mercury, was the solid iron core of priori-Mars, which exited the planet at times of the break off of the dance encounters. He was considered a messenger because he would leave priori-Mars and descend into a lower orbit closer to the Earth, moving rapidly, and subsequently return. This gave the impression that he was carrying messages from Zeus to the Earth. Hermes was said to have invented the lyre, which he made out of tortoise shell. This was a metaphor describing the appearance of the solid iron core of priori-Mars as it exited the planet. The strings of the lyre were linear grooves scratched on its pristine surface by the rocks lining the Valles Marineris, through which it exited the rigid outer shell of the planet. These grooves form the Mercurian grid, which is still visible on the surface of Mercury. A photograph is available in the section on Mercury on this website.


Another deity in Greek myth that is obviously related to priori-Mars during the 'dance encounters' is Prometheus. He was the most rebellious of gods, tricking Zeus into giving men the best part of the slain ox. Zeus punished mankind by sending Pandora to Earth, who unleashed all forms of misery on mankind. He then punished Prometheus for thwarting the initial effort of Zeus to introduce Pandora into the world and for his role in instructing mortals in the use of fire, thereby aiding in the development of civilization, which the gods generally discouraged. Prometheus was bound to a rock in the Caucasus Mountains with unbreakable chains, where a vulture tore at his flesh all day, with no rest, no sleep and no respite. Each night his flesh grew back, only to be eaten again the next day. This unusually cruel punishment was actually intended to force Prometheus to reveal a very important secret. Zeus knew that Fate, who brings all things to pass, had decreed that a son would be born to him who would dethrone him, and drive the Olympian gods from their home in heaven. But only Prometheus knew who the mother would be, and refused to tell. Zeus dispatched Hermes, who implored Prometheus to reveal the secret and thus be released:

Look for no ending of this agony
Until a god will freely suffer for you,
Will take on your pain, and in your stead
Descend to where the sun is turned to darkness,
The black depths of death.

Pandora may have been another Greek name for the solid core of priori-Mars because it scourged the Earth according to Egyptian myth. It is more likely a reference to a series of plagues or diseases which descended from priori-Mars along with its dust, water and atmospheric gases during the dance encounters. The 'fastening' of Prometheus to the Earth suggests a connection with priori-Mars, since it alone, of all heavenly bodies, remained stationary over the Himalayas during the 'dance encounters.’ As each day progressed, priori-Mars waxed and waned, exhibiting phases like the Moon, as it orbited the Earth. As more and more of the planet passed into darkness each day, the body of Prometheus was seen to gradually disappear each half day, only to be renewed in the next half day. The fact that the largest form visible on Mars (Valles Marineris), resembles a large bird with wings extended, is consistent with the notion that it was a vulture which ate away his flesh every day. This same feature was also referred to as Zeus' eagle.

Prometheus never revealed the secret that Zeus sought, but the reign of Zeus and the Olympian gods did indeed come to an end when Hermes, the solid core of priori-Mars, which was Hermes was born, that is, left the planet and moved into the inner solar system. In a way, the mother was Athene (proto-Venus), because it was the primary influence on the separation and capture of priori-Mars in orbit around the Earth. The prophecy delivered by Hermes - that another god would have to sacrifice himself in order that Prometheus be freed, was indeed true. As prophecied, Zeus, the column of smoke and fire and Ares, his ‘vehicle,’ were banished to the outer reaches of the solar system, where the Sun barely shines, while Hermes was sent into the interior of the solar system, where it is scorching hot.


These were monsters that appeared in several Greek myths - giants with a single huge eye in the middle of their heads. The Cyclops were notorious for their nasty dispositions, but were praised for their unique ability to work with iron. Their association with iron implies that the Greeks, like the Egyptians, knew that liquid iron was extruded from the outer core of priori-Mars near the end of each dance encounter. The evidence was the subsequent falling of pure iron meteorites. Thus the one eyed Cyclops was inspired by the same events as the Egyptian hieroglyph 'the eye of Horus.’ Their bad dispositions stemmed from the great stress and bombardment of the Earth that accompanied the break-off of each encounter.


griffin, Greek myth, priori-Mars, Mars The liquid iron flowed out into space and formed bizarre shapes, resulting in the form that the Greeks called a Griffin. A drawing of this creature is shown in Figure 1. The name comes from the Greek word gryps, meaning 'hooked' (as in a beak,) and is also related to the Persian word griften, 'to grip or seize.’ The notion of a beak implies its correspondence with Horus, the Egyptian deity whose primary hieroglyph was a bird, inspired by the same beak.

The griffins eyes were said to be 'fiery,’ it had the form of a lion and the wings of a bird. It was said to guard 'gold deposits' from a one-eyed race called the Arimaspeans, inspired by the ‘eye.’ The griffins eyes were two continuously erupting volcanos on priori-Mars, now called Arsia and Ascreaus Mons. The form of a lion refers to the overall shape of the red planet, which resembled the head of a lion, where the northern lowlands were the face and the southern highlands were the mane.

Most representations of the griffin have the erect column protruding upward from the head in the same direction as its long ears, as shown in the figure. It is interesting to note the similarity of these features to those worn by the pharaohs and ceremonial statues. It is only necessary to turn the griffin head upside-down in order to recognize the Egyptian interpretation. The column on the head of the griffin becomes the pharaoh's 'beard,’ and the long ears become the hood (nene) that extends downward on both sides of the pharaoh's head.

The Greek Universe

In Timaeus and Critias, most famous for its description of Atlantis, Plato gives a detailed description of the 'universe’ based on much more ancient material, which he, himself, did not understand. Readers from his day up to the present assume that references to 'the world' or 'the earth' describe the Earth. But these translations were made after the thread of knowledge of the dance encounters was lost, when no one realized that other worlds had come close to the earth for millennia. As stated previously, priori-Mars was also referred to as ‘heavens,’ the same as the biblical ‘firmament.’ The following is an example of such a statement.

He decided that it should have as many forms of life as intelligence discerns in the perfect Living Creature. There are four of these: the gods in heaven, birds in the air, animals that live in water and animals that go on the dry land. The divine form he made mostly of fire so that it should be as bright and beautiful to look at as possible; and he made it spherical like the universe and set it to follow the movement of the highest intelligence, distributing it round the circle of heaven to be a kind of universal cosmic embroidery. And he gave each divine being two motions, one uniform in the same place, as each always thinks the same thoughts about the same things, the other forward, as each is subject to the movement of the Same and uniform; but he kept them unaffected by the other five kinds of motion, that each might be as perfect as possible. This is the origin of the fixed stars, which are living beings divine and eternal and remain always rotating in the same place and the same sense; the origin of the planets and their variations, of course we have already described. And the earth our foster-mother, [winding] as she does about the axis of the universe1, he devised to be the guardian and maker of night and day, and first and oldest of the gods born within the heaven. It would be useless without a visible model to talk about the figures of the dance of these gods, their juxtapositions and the relative counter-revolutions and advances of their orbits, or to describe their conjunctions or oppositions, and, how they periodically hide each other from us, disappear and then reappear, causing fear and anxious conjecture about the future to those not able to calculate their movement:

Footnote:1. The meaning of these words, and in particular the word here translated 'winding,’ have been much disputed: ... Plato has so far accounted for the apparent movements of the heavenly bodies on the assumption that the earth is at rest at the centre of the universe. And any interpretation of these words must allow for this. Cornford suggests that in order to resist the motion of the Same [the constant rotation of the fixed stars], which it would otherwise share, ... the earth must have a counter-motion of its own, which will exactly cancel it out, and keep the earth at rest without rotation at the centre; and this is what Plato means to convey by the rather odd word 'winding.’

The fires associated with the divine, spherical form were the volcanos and the great flaming lava fountain on priori-Mars. Each divine being had two motions - one that kept it in the same place, ‘resisting the motion of the Same (the constant rotation of the fixed stars) and ‘always rotating in the same place and the same sense.’ The divine beings were the volcanos on priori-Mars seen rotating about its axis, which remained pointing toward the Earth. In light of the V/A scenario this passage makes it very clear that the ‘foster-mother’ was not the Earth (our true mother), but the nearby 'world' we call priori-Mars. In a physical sense it was seen rotating about ‘the axis of the universe’ or axis mundi, the axis of the two worlds. This refers to the great column of smoke and fire, about which priori-Mars rotated with a slowly precessing motion. Therefore the motion that the author of the footnote is struggling with should be translated 'wobbling' or 'precessing,’ as opposed to 'winding.’ The physics of this motion is explained in Chaos.

Greek mythology fits the V/A scenario. All the crucial aspects are present and there is a surprising parallel between the Greek, Egyptian, Vedic and Hindu deities.


1. Worlds in Collision , Velikovsky, Immanuel, Dell, New York, N. Y., 1950 Ibid., pp. 247-250.

2. The Flood from Heaven, Zangger, E., William Morrow and Company, Inc., New York, p. 114.

3. Timeaus and Critias, by Plato, Penguin Classics, 1977, p..56.

Contact: email to

  © John Ackerman