© 2014 B. L. Freeborn
The Berlin Tablet is unique in its shape but not its message. We begin by comparing it to artwork found at Knowth, Ireland. Kerbstone 86 depicts a strong image and a familiar shape. This stone was studied in a prior post but here the symbolism repeats in a totally different place. If one were to draw a bold outline around each lobe of the Berlin Tablet the same strong U shape appears. The line through the middle of the kerbstone has a dot on each side. The line through the middle of the tablet has a dot on each side. The kerbstone is considered to be 5000 years old and sits half a world a way. Like the Odd Little Purse in Olmec and Assyrian Art there is an obvious connection here.
Just as in the Knowth art this symbol in Luwian (La Angle) Hieroglyphs is #363 Magnus meaning ‘great’ with sound value ‘ur’. Exactly as in Kerbstone 86 it is doubled and so we have ‘great-great.’ Another way to look at the doubled symbol is to consider the one opening down as Magnus or great, and the opposite opening up as a crater. Then the statement is ‘great-crater.’ This is wholly consistent with the idea of comets.
Studying the image on the stone gives us once again something for the uninitiated. It looks like a bird with a very distorted eye next to a little tree. Here then is exactly what we saw in the remaining half of the Wright Tablet. The double tailed comet appears as the head. The odd eye is then a doubled eye within a comet which is flying towards a tree. This tree could be called the tree of life or the polar axis through Earth which is directed towards the Pole Star. So then we have a great-comet headed towards the great-tree.
Within the tree is a similar shape as we saw in the nest portion of the Wright Tablet. Here it has seven strong lobes on the exterior and two on the interior plus the handle. Closer inspection reveals a lobe in the middle which is inwards so the inner image is the series 1,1,2 or twice 56. The total number of lobes is 9 so divided to make 2 and 7 or the number 792 which we recognize as the diameter of the planet. The number 72 is significant in relation to the polestar since precession causes the direction to which the axis points to change over time at the rate of 1 degree per 72 years.
Just below this inner shape is a circle. It is none other than the ‘sa’ symbol that has been consistently found in the other tablets. Below it and acting as a mirror to it is another ‘sa’ circle across the central line or pole. It has been suggested that two ‘sa’ refers to the word ‘sess’ meaning ‘seat.’ Perhaps seeing them as ‘es’ makes it easier to hear. But if one listens carefully to ‘es-es’ not only can the Anglo word ‘sess’ be heard but it sounds remarkably like Isis. Taking this one step further, the first syllable of Isis sounds exactly like the Anglo word ‘ice.’ And then if the subject has not been taken too far we might hear ‘sess’ in the name of the King of Egypt ‘Ramses’. This word is spelled in Ancient Egyptian as ‘r-m-s-s’ making it entirely possible the last two s’s are pronounced ‘sess.’ Although, it appears we have strayed off topic it is pertinent to the discussion to note that the Anglo word for number is ‘rim.’ This then implies that in Old English the name Ramses pronounced as rim-sess means ‘number-seat’ and Isis is ‘ice-seat.’
The two circles that inspired the above and the bar create another hieroglyph (#439) with sound ‘wa’ which was also central to Kerbstone 86. This ‘wa’ is reminiscent of ‘why’ that was discussed in the Kiefer Tablet. Pushed further to the left is another ‘sa’ circle so that once again we find 1 circle, 1 line, 2 circles for 112 or twice 56. The artist was thorough in expressing 112 for along the lower side of the bar are two jut outs that create 1,1 and then 2 circled circles.
What then is the rest of the distorted image? Spending time counting it seems futile for it is truly a mess and that is probably the full intention of the artist. But careful study reveals 2’s and 3’s and these numbers have been seen in the other tablets as 23 32 and 23.5. They imply the limit of the Arctic Circle. So then, the great comet strikes the polar tree, the sess, seat of all measurement. A great-crater forms. They exclaim ‘Why!’ and all is destroyed. The world is literally a mess. This is the same message as found in the New Hampshire Mystery Stone, the Newark Earthworks, and Aberlemno Stone of Scotland. They relate that this is “The Deep Mystery: The Day the Pole Moved.” They even allude to the correct shape of the Earth in the overall shape of the stone with the new pole north-south as we know it today.
Comments have been made in relation to these posts that this sort of an impact would have killed nearly all life on the planet and therefore it is impossible for these artists to be relating something so fantastic. But this is what the artist shows – devastation of unimaginable proportions. It does not require this artist to have lived through it. Indeed, mythological history reports few life forms lived through the deluge as confirmed by the massive skeletal debris piles found on various continents. These events were witnessed and survived by a few people those out of harm’s way on the far side of the world. They recorded it as strange images such as “The Venus of Willendorf.” Their children spurned on by legends of their grandparents later came to view the destruction and pay homage to vanished civilizations and life. Some remained behind to restart civilization on the American continents and others returned to their homelands having viewed the devastation firsthand.
Perhaps the Gaitskill Stone Tablet will prove this all wrong!! It’s cartoonish features are of a fearsome spider.
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Metcalf Stone, and pdf article on
Hudson Bay as a comet crater of recent origin.