Song of the Hoe: the proudly excited layer

| Friday October 14, 2016 07:02

Indeed, by the translator’s own admission, whenever the term al appears in the text, he interprets this to mean ‘hoe’. He was, it seems, greatly influenced by scholarly translations of the Atra-Hasis, as well as Samuel N Kramer’s Myth of the Pickaxe: both epics translate al as ‘hoe’ or ‘pickaxe’. But once again, correctly interpreted, the epic is actually harping on the same theme we saw in Enki’s Journey to N’ibiru, whose several layers of meaning we peeled off. But let us first see how conventional scholars have translated it.

Lines 1-8: “(1)Not only did the lord make the world appear in its correct form, (2) the lord who never changes the destinies which he determines: (3) Enlil, who will make the human seed of the Land come forth, (4) and not only did he hasten to separate heaven from earth, (5) and hasten to separate earth from heaven, (6) [a cosmic location] he first suspended, (raised) the axis of the world at Dur-an-ki. (7) He did this with the help of the hoe (al), (8) and so daylight broke forth (aled).” This, of course, describes Enlil as a Creator-god who enacts a Genesis-type creation process…but this interpretation, we will see, is completely wrong and merely helps to bolster the supposition that ‘gods’ were mere figments of ancient, primitive imaginations that sought to explain the universe around them.

Properly transliterated using Sotho-Tswana, the Song of the Hoe is the lament of a dark-skinned giant later shunned by both the ‘gods’ that took him up to Mu (Mars), and his very own people: the dark-skinned women. Gods, I have explained time and again, were ancient beings of super-advanced technology who for millennia dominated the affairs of mankind. But, in typical Sumerian double-speak, using the very same diction, the giant on one level appears to describe in detail the exciting, fateful journey to Mu that forever altered his life – that made him a giant – whilst on another level he is actually complaining bitterly about how, upon returning, everyone has abandoned him to “eat” no more. “Eat”, I explained in previous articles, is a vulgar word – still in use in modern Setswana – meaning “have sex with”.

How did travelling to Mu make the scribe a giant? Last week in Enki’s Journey to N’ibiru – the bitter layer (the title was misprinted), I explained a now well-known side-effect of spending long periods in the weightlessness of space: an astronaut grows by an average of about two inches (5 cm) for very four weeks spent there.

I also noted that, ironically for ‘orthodoxy-minded’ naysayers, this explains why the Igigi (bo-dimo in Setswana, ‘Watchers’ in Hebrew lore) were associated not only with the heavens (dimo means ‘high up’ in Setswana), but with a giant stature. It’s just that despite many super-sophisticated artefacts – some millions of years old – being routinely unearthed by ‘Forbidden Archaeology’, certain powerful interests do not want – for reasons outside the scope of this short article – these discoveries to be known by the vast majority of ordinary people as it shifts certain ‘untouchable’ paradigms. But let us not belabour this point: let the Sumerians themselves speak from a time so distant it is called ‘’myth’… but which in reality is about a mere 5000 years ago.

Line 1: en-e nij-du-e pa na-an-ga-mi-in-ed (“Ene e e nejatu, e panane ga me-en, e eta: This switched-on one here, he has boarded that-of-the-gods, just to visit”). Here, the scribe is confirming that he has boarded a space-ship, a contraption normally strictly reserved for the gods – and this will come out more clearly as we go along. Line 2: en nam tar-ra-na cu nu-bal-e-de (Ene nama-tara, ‘n’aa go noo balea, a te: This dark-skinned one, he has in the past disappeared, and then returned”, or, “He (the scribe) did indeed escape you Dark-skinned Ones, only to later return.”) The term nama-tara literally means ‘blue-skinned’ (tala is ‘blue’ in Setswana) but this is only one of several coded meanings we will unpack in other layers.  Balea is a Sotho word meaning ‘run away from’ or ‘escape’ and here it is used as a figure of speech to mean that he disappeared from them for a while.

Line 3: en-lil numun kalam-ma ki-ta ed-de (“Enlil o ne a ho mo nkalama (nkalamisa), ka ta he je-je: Enlil made me board it; I came to taste it.”) The scribe is, of course, talking of the gods’ spaceship. Line 4: an ki-ta ba-re-de saj na-an-ga-ma-an-cum (“Hano Ki, ta ba reetse sa yena ya ana-ga-ma-ana; ko Mu: Here on Earth, let them come and listen to he who is from of the ends of heavens; from Mu itself.”) The scribe, here, is addressing his fellow ‘Dark Ones’. Line 5: ki an-ta ba-re-de saj na-an-ga-ma-an-cum (“Ki a nte ba reetse sa yo a na a nna ga ma-Anakim: Earth should listen to he who has resided there with the Anakim.”) The ‘Anakim’ (see Numbers 13:33) are the ‘gods/giants’, and the scribe brilliantly repeats – but not verbatim – Line 4. Line 6: uzu-ed-a saj mu2-mu-de (U-Tsho, eja sa-jo; mumu e je: Black person, partake of wisdom; partake in silence”).

The scribe, here, is simply calling for complete attention. Line 7: dur-an-ki-ka bulug nam-il-la (“Dur-An-Ki ka buluga, nna moya-la: From the Fortified Place of Heaven- and-Earth I blasted off, I the voyager”). The ‘Dur-An-Ki’ is the fortified underground silo from which the spaceships of the gods blasted off, designed to hide them from ordinary curious eyes. Line 8: cal-e mu-un-jar ud al-ed (e kgale, e-Mu; u noo jage ho utwala o eta: It is far, Mu; you have to travel at great speed on the journey”.) Next week, we unpack a rather more hostile layer of meaning.

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