PART-14 about the daughters
of ZEUS, i.e., "MUSES"
PART-14 about the daughters of ZEUS, i.e.,
"MUSES"
By POLAT KAYA
(Continued from
Part-13)
In Part-13 we
discussed the identity of the name ZEUS in detail. It
is important that
we also discuss the identity of the "daughters" of
ZEUS, that is, the
so-called MUSES. We will see that these names not
only verify what we
have identified about ZEUS in Part-13, but that
they are also all
made up from Turkish expressions. The mythologial
name MUSES is
described as follows: [112]
"MUSES: the
nine daughters of ZEUS and MNEMOSYNE who inspired and
guided creative and
intellectual activity. They were CALLIOPE, muse
of epic poetry
(represented with a parchment roll or tablet); CLIO,
history (a
partially opened scroll); ERATO , love poetry (small lyre);
EUTERPE music and
lyric poetry (double flute); MELPOMENE, trajedy
(tragic mask);
POLYHYMNIA, hyms and sacred music (veiled figure);
TERPSICHORE, dance
( lyre); THALIA, comedy (comic mask); URANIA,
astronomy (a rod in
one hand and a globe in the other)."
MNEMOSYNE is
described as: "a TITANESS, the daughter of URANUS and
GAEA. She was the
personification of memory and was the mother of
MUSES by
ZEUS." [113]
The mythological
name "Uranus" is said to personify the "sky" while
"GAEA" is
the goddess of earth personifying the "earth". This
so-called Greek
mythological name "GAEA" is the "Greek" form of the
earlier Turkish
word "GAYA" (KAYA) meaning "large rock" and
personifying the
Earth - which itself is a large rock in the space
around the sun. The
name GAEA also appears in Sumerian writings in the
form of
"EN-KI" (Turkish Han-KaIa / Han-Kaya meaning "Lord Earth or
"Home
Earth"). MNEMOSYNE is said to personify memory. Although sky
and earth have
their own memory retaining their own past, "memory" as
associated with
human beings is a concept that resides in the human
head.
The name TITAN is
described as: [114] "1. Greek mythology, one of the
primeval deities,
children of Uranus and Gaea. The great event in
Titan history was
the TITANOMACHY or war with the Olympian gods in
Thessaly, which
resulted in the overthrow of the TITAN dynasty. 2. Sun
personified ; -from
Helios, the sun-god, being called TITAN by Latin
poets. 3. One
gigantic in size or power."
The explanation
here that "TITAN" was the personification of the
"Sun-God"
and that the TITAN dynasty was overthrown by the Olympian
gods in Thessaly,
Greece, is an indirect admission that the ancient
Greeks, together
with other similar groups, collaborated to dethrone
the Sun from the
lordship of a religion that regarded Sun as the
Sky-God. Sun was
the essence of the ancient Turanian trinity Sky-God
OGUZ religion that
antedated all the Greek mythology.
As I explained in
my previous Zeus paper, one hidden meaning of ZEUS
is a
personification of "WORD" (Turkish "SÖZ"). Another hidden
meaning of ZEUS is
a personification of "VOICE" (Turkish "SES"). A
third hidden
meaning of ZEUS is the personification of "MOUTH"
(Thurkish
"AUZ" (aguz)). In other words, the name ZEUS is like a
fusion of these
concepts described by the Turkish words "SÖZ", "SES"
and
"AUZ". Since ZEUS is intimately related to the mouth, word and
voice, then the
Muses, that is, supposedly the daughters of Zeus would
also be
personifications of different concepts which use "Word" (SÖZ)
and
"VOICE" (SES).
In fact the name
"MUSES" is very much an anagram of the Turkish
expression
"SESUM" meaning "my voice" or "I am voice" which
is what
gives life to human
thoughts, and sings the most beautiful songs
composed by man,
and creates the languages and many more. So "voice",
as part of
"SÖZ", is extremely important. Without "voice" (ses), a
person would be
"LULL" from Turkish "LAL" meaning "speechless" or
quiet as an animal.
Thus, the nine daughters of "SÖZ" (ZEUS), that is,
the so-called
"Muses", are female personifications of different
aspects of
"speech".
At this point we
should once again recall the statement that is given
in JOHN 1:1. It
states: "In the beginning the Word was, and the Word
was with God and
the Word was a god." This is the "mold" on which the
concept of
"ZEUS" the god has been formulated using Turkish "SÖZ",
"SES" and
"AGUZ" (OGUZ) as bases and source.
Now in this light,
let us examine first the name of the "mother" to
these gifted
"girls". Mother's name is given in "Greek" as MNEMOSYNE.
In order to be a
mate to Zeus in this context, she must also be the
personification of
a similar concept that is associated with the
"WORD"
and also live in the human head. MNEMOSYNE is said to be the
personification of
"memory" [115] which of course lives in the head,
that is, the
so-called Greek Mount "OLUMPUS" (which is actually from
Turkish "ULU
BAShUM" meaning "my great head" or "I am great head").
The word MNEMOSYNE,
when deconstructed letter-by-letter as
"MEN-ONYMSE"
and read phonetically as in Turkish, is the restructured
and disguised form
of the Turkish expression "MEN ANIMSA" meaning "I
am memory".
This name is worked out from the Turkish source verb
"animsamak"
meaning "to remember" and "men" the personal pronoun for
1st person
singular, meaning "I am". This verifies the given
explanation that
MNEMOSYNE is the personification of memory. However,
the given
explanation never tells us that it was constructed from the
Turkish expression
"MEN ANIMSA". That I am doing now. Evidently the
Turkish-usurping
linguists knew what they were doing. This we can also
see from the
synonyms of the word "memory", such as the English
language words
"anamnesis, remembrance, reminiscence" which all
contain hidden
Turkish expressions related to memory.
The word ANAMNESIS,
when deconstructed letter-by-letter as
"ANIMSASEN",
and read phonetically as in Turkish, is the anagram of
Turkish expression
"ANIMSASIN" (from Tr. "animsamak") meaning "you are
remembering"
or "you are memory". The English word ANAMNESIS and the
Turkish word
ANIMSASIN both meaning "rememberence" are not due to coincidence.
The word
REMEMBRANCE, when deconstructed letter-by-letter as
"ANEREM-BER-CM",
where S/C shift has taken place, is an anagram of the
Turkish expression
"ANEREM BIR ISMI" (anarim bir ismi, hatirlarim bir
ismi) meaning
"I remember a name". This expression is in pure
Azerbaycan and
Eastern Anatolian dialect of Turkish. On any
"REMEMBRANCE
DAY", this is what we do, that is, we remember the names
of the past
"loved ones".
Similarly the word
REMINISCENCE, when rearranged letter-by-letter as
"ENEREM-SINI-CC",
is a restructured and disguised form of the Turkish
expression
"ANARIM SENI" meaning "I remember you".
Also related to
memory is the English term MNEMONIC claimed to be
"from Greek
"MNEMONIKOS, from "MNEMON" meaning "mindful", from
"MNASTHAI"
meaning "to remember".] Assisting or intended to assist,
memory; of or
pertaining to mnemonics or memory." [116]
Now let us examine
at these words. The Greek word MNASTHAI, when
deconstructed
letter-by-letter as "ANIMSATH", where H=I, is the
anagram of Turkish
word "ANIMSATI" (animsa idi, hatira idi) meaning
"it is
memory" and/or "remembered". Thus this Greek word is also
another usurped and
restructured word from Turkish.
Similarly
MNEMONIKOS, when decrypted as "ONIMSOMEK-N", is an anagram
of Turkish verb
"ANIMSAMAK" meaning "to remember". Again we see that
the origin of this
word also is Turkish.
Thus the English
word MNEMONIC, when deconstructed letter-by-letter as
"MN-ONMECI",
and read phonetically as in Turkish, is an anagram of the
Turkish word
"MEN-ANMACI" meaning "I am one who remembers" or "I
remember".
Thus the English word MNEMONIC is also another usurped and
restructured word
from Turkish.
Evidently, the
European linguists knew the Turkish language inside
out, and that
knowledge of Turkish made their usurping, restructuring
and disguising of
Turkish words and phrases an easy job.
In view of all this
background insight, it is seen that both ZEUS and
his metaphorical
"sweetheart" MNEMOSYNE are personifications of
concepts that were
not Greek in origin, but rather they were Turkish
in origin. They
have been plagiarized, restructured and repainted as "Greek".
With this new
understanding, we can now analyze the names of the
"daughters"
of Zeus in Turkish.
1. CALLIOPE was
also the mother of ORPHEUS who was a poet and skilful
musician, was
thought by Apollo to play the lyre, with the result that
all the gods, men,
and nature were moved by his music." [117]
When the name
CALLIOPE is deconstructed letter-by-letter as
"ACILLO-PE",
where C is K, it is an anagram of the Turkish expression
"AKILLI
EPE" (AKILLI EBE, AKILLI KIZ) meaning "Girl with wisdom" or
"wise
girl". This Turkish source indicates that this personification
is a female, where
Turkish "EBE" ("KIZ") means "girl".
The Muse CALLIOPE,
who is said to represent epic poetry, represents
the "wisdom,
knowledge" aspect of human thought in the head. Thus
conceptually, any
work of "words" (söz) are the daughters of "SÖZ"
(ZEUS). Epics, like
all other thoughts, become alive only after it is
put into words
(SÖZ) and "voice" (SES), i.e., "ZEUS" and recited.
2. CLIO represents
history (a partially opened scroll): "History"
writing and/or
telling requires a lot of "words" (söz) and "voice"
(ses). Thus CLIO is
also a personification of a concept related to
"SÖZ" and
hence to "ZEUS".
CLIO (KLIO), when
deconstructed as "OKIL" is an anagram of Turkish
"AKIL"
meaning "mind". In the old days, historical events were stored
in the mind
(memory) and then repeated verbally to next generations.
The
"Mind" is where thought processes take place and "thoughts' are
generated, put into
words which write "history" as well all other
things. The
"Mind" lives in the human "head", that is,
"OLUMPUS" from
Turkish "ULU
BASHUM" meaning "my great head". Thus CLIO is the
personification of
Turkish "AKIL" (mind).
3. ERATO represents
love poetry (small lyre): The name ERATO, when
rearranged
letter-by-letter as "OERAT", is an anagram of the Turkish
word
"AVRAT" (avret, kari, kadin, sevgili) meaning "wife, woman,
sweetheart"
and poetry written for such a person. Additionally Turkish
"HOYRAT"
is a form of poetry written to express feelings to loved
ones. Turkish
culture is full of this kind of literature. Hence,
"ERATO"
is a personification of the poetry written for woman. Of
course woman is the
source of love, is the love and is the reason for
writing "love
poetry".
4. EUTERPE
represents music and lyric poetry (double flute): The name
EUTERPE, when
rearranged as "UTER-EPE" or "EPE-UTER", is the anagram
of Turkish
expression "ÖTER EBE" (EBE ÖTER, ÖTER KIZ) meaning "singing
girl". Thus
she is the personification of "singing, music, reciting
poetry in singing
form". Of course, singing involving words and
voice, is also a
metaphorical daughter of "word" (Söz), that is,
"ZEUS".
She being represented as playing a "double flute" is also an
indication that she
personifies "singing" and music.
Double-flute is an
ancient Turanian Turkic cultural instrument which
was used by the
ancient Anatolians (such as the Phyrigians, Lydians,
Trojans), Thracian
Turs/Turks, Etruscans and others. "Double flute"
(Turkish
"çifte kaval" or "argun/argin") is still made and played in
Turkey. (In a
recent "TRT INT "BENGI" musical program", aired about
the date of
11/01/2005, a certain musician by the name Selim Usta
(Selim Aslanyürek)
was portrayed as making and playing the double flute
in southern
Anatolia. He even used his nose to play the double flute).
5. MELPOMENE
represents tragedy (tragic mask) in mythological
representation. The
name MELPOMENE, when deconstructed
letter-by-letter as
"MN-OLME-EPE", is an anagram of the Turkish
expression
"MEN ÖLME EPE" (men ölme ebe) meaning "I am the dying
girl", or
"MN-ELEM-OPE" is the anagram of Turkish expression "MEN ELEM
EPE" (men elem
kiz) meaning "I am the suffering girl, I am the girl in
pain, I am the sad girl".
Hence the Turkish source explains that the
name MELPOMENE
represents the "tragic" situations and the suffering of
peoples.
In Turkish the
poetry written for death and sufferings is called
"EZGI, AGIT,
KASIDE". The so-called English word "EULOGIZE", when
deconstructed
letter-by-letter as "OLUE-EZGI" where the bogus letter U
is U, Y, and V
simultaneously, is the usurped and anagrammatized
Turkish expression
"ÖLÜYE EZGI" (ölüye agit) meaning "praising the
dead one".
Thus again the source of these so-called Greek and English
words is Turkish
and is from ancient Turkish culture. Even if one
reads the word
"EULOGIZE" backwards, one gets the Turkish expression
"EZGI
ÖLÜYE" meaning 'sad but praising poetry and singing after the
dead one".
6. POLYHYMNIA represents
hyms and sacred music (veiled figure, i.e.,
the secret figure):
The word HYMN is said to be "from Greek word
HYMNOS meaning an
ode or song of praise or adoration; especially a
religious ode or
song." [118]
In the name
POLYHYMNIA, the bogus letters H and Y camouflages the
name. In this
anagram, letter H is I, and one of the Ys in the name is
a U and and the
other is V. These flexible letters as used in Greek
and also in other
European languages have multiple identities which
are convenient in
disguising usurped Turkish texts into Indo-European
languages. Thus the
word POLYHYMNIA, when deconstructed
letter-by-letter as
"POL-YYMHN-AI", is the anagram of the Turkish
expression
"POL UVMEN AYI" (BOL ÖVMEN AYI) meaning "plenty praising of
the moon". The
reason for praising the moon is due to the fact that
the moon was one of
the Sky deities of the ancient Turanian trinity
sky-god religion,
that is, the ancient Turanian "Moon-God ("AY-HAN" or
"Ay-Tengri"
in Turkish). Thus the name POLYHYMNIA is a personification
of praise songs in
sacred rituals. The source Turkish expression "BOL
UVMEN AYI" is
arranged as POLYHYMNIA which refers to a feminine name
with the IA (i.e.,
YA) ending.
7. TERPSICHORE
represents dance and holds a "lyre" in her hand. The
name TERPSICHORE is
said to be: "[from Latin and Greek TERPSICHORE,
from
"terpsis" enjoyment + "choros" dance, dancing.] In Greek
mythology, the Muse
of dancing and choral song." [119]
Despite this
misleading etymology, the name is from a Turkish source.
The name
TERPSICHORE, when deconstructed letter-by-letter as
"TEPISER-CORH",
is the restructured and disguised form of the Turkish
expression
"TEPISHER KARI" (tepishir kari) meaning "the kicking woman"
or "the
dancing woman". It is a fact that the dancing girls do a lot
of fancy-foot-work
(kicking) on the floor. Even the name TERPSICHOREAN
meaning "of
dancing" [120] verifies this Turkish source. When this
name is deciphered
letter-by-letter as "TEPISHEN-CARO-R" it is found
to be an anagram of
the Turkish expression "TEPISHEN KARI ER"
(oynayan kari ve
er) meaning "the kicking man and woman", that is,
"the dancing
man and woman". Evidently, TERPSICHORE is a
personification of
"dancing" but its source is in Turkish rather than
in Greek or Latin.
The dancers are also usually singing and accompany
music. Dancing
requires a lot of learning and remembering of the
moves. Thus the
concept belongs to ZEUS (SÖZ and SES) family and
memory (ANIMSAMA)
and also lives in the head.
8. THALIA
represents comedy which wears "comic mask". The name
"THALIA"
where H is an I, when rearranged letter-by-letter as
"ALAITH",
is a restructured and disguised form of the Turkish
expression
"ALAYTI" meaning "it is making fun of, ridiculing, teasing,
mockery" which
causes "laughter" and an air of "comedy". Hence the
source of this
so-called Greek name is the Turkish word "ALAYTI".
Again, making fun
or ridiculing with words is a concept that belongs
to the ZEUS
("SÖZ", "SES" and "AGUZ") family and of course
lives in
the head.
9. URANIA is said
to represent astronomy. Since a variety of important
concepts are
related to the name URANIA, I will discuss it in a
separate article.
SUMMARY AND
CONCLUSIONS:
All of these
personified concepts attributed to the Muses are born,
occur, and live in
the human head rather than on the top of a
geographical
mountain as we are told. Disguising the identity of the
human head behind
the name of a "Mount Olympus" may technically be
regarded as a
metaphor, but it is really a deliberate effort to
deceive people
about the real identity of Zeus and the Muses.
Presenting the
whole story with this imaginary scenario of Gods living
on a mountain top
introduces secrecy and mystery - key ingredients for
cults to camouflage
a deception. The deception is that of disguising
the usurped ancient
Turanian concepts that were originally formulated
in Turkish. The
riddled Greek mythological stories with names
anagrammatized from
ancient Turkish constitute a way of stealing
ancient Tur/Turk
cultures. Certain groups have reached the zenith of
deception in
defrauding ancient Turanian civilization. Restructuring
the words and
phrases of one language, such as Turkish, into another
format instantly
transfers the culture of the original language to
another people.
This must be the most effective way of culture transfer.
2. The name ZEUS
and his nine daughters, named as Muses, were the
personification of
a variety of concepts all generated in the human
mind and borne out
as words of "speech" (words), that is, Turkish
"SÖZ".
3. MUSES, that is,
the daughters of ZEUS (SÖZ) were personifications
of different
versions of speech, singing, poetry, crying, laughing,
reciting, sadness,
etc., and presented as if they were real people.
Yet these concepts,
embellished into mythological stories with
anagrammatized and
restructured forms of Turkish sources, were an
instrument of
stealing the ancient Turanian civilization, disguised
under the name
"Pagan" civilization. The so-called "inflection"
feature built into
"inflected" languages because of the fact that they
were made up from
Turkish, a language that follows agglutinatively
vowel harmony rule,
enabled the usurpation of Turanian civilization as
an ongoing affair
for certain groups.
4. Mother to these
gifted and imaginary girls was the personified
human
"memory" whose name MNEMOSYNE was manufactured from Turkish
"MEN
ANIMSA" meaning "I am memory", and uttered out by
"SÖZ" (word)
and "SES"
(voice), that is, (ZEUS), thus they became the daughters of
Zeus.
5. From the
analysis of the name ZEUS and the names of his nine
daughters, i.e.,
Muses, we see that all of these mythological concepts
have their cultural
and linguistic origin in Turkish and hence in
ancient Turanian
civilization. They are words and expressions usurped
from Turkish, anagrammatized
and restructured in order to manufacture
Greek mythological
names - just like the Greek language itself.
6. All of these
indicate that an unimaginable misappropriation of
ancient Turanian
civilization as expressed in Turkish language has
taken place in the
past and most likely is still going on at present.
These altered words
and phrases of Turkish language used in developing
words and names for
European languages are unquestionable testimony
that the ancient
Turanian (Turkish) civilization was the dominant
civilization and
language for a long time in the world before they
were deceptively
destroyed and usurped by wanderer groups.
7. The Greek
language is totally manufactured from Turkish by way of
"anagrammatizing"
Turkish words and phrases. So too are all the other
so-called
Indo-European and Semitic languages. They all have used the
same technique in
developing a variety of languages for themselves.
Clearly, Turkish
has been used as the so-called "proto" language (from
Turkish
"Birata) for these languages. There was no Aryan (Arayan)
languages until
they were manufactured from Turkish. In this regard
the world
population has been conned with "sophisticated" verbosity
and deceptions. In
view of all these deceptions, ancient history and
linguistics have
rapidly lost their credibility. In order to cover up
fundamental
deceptions of cultic games, new lies have been generated
continuously.
8. There is no
question that the world we live in is an "upside down"
world in which the
ancient Turanian civilization, disguised under the
so-called
"pagan world", has been stolen unendingly while it has been
destroyed in the
process. Many aspects of the ancient world history,
as narrated by
historians and linguists, do not add up to a truthful
picture. What did
not belong to the ancient Greeks has been totally
and falsely
attributed to Greeks and other wanderers who deceptively
took on the
civilization coat of ancient Turanian peoples while all
the time organizing
and aiding the collapse of that civilization from
within and out.
Contrary to false claims, the present world
civilization has
benefited endlessly from the ancient Turanian
civilization with
the accompanying Oguz language. False claims of the
past are now being
detected. In many respects, the world population
has been fed
mountains of disinformation and conned like children.
REFERENCES:
[112] Rhoda A.
Hendricks, "Mythologies Of The World", McGraw-Hill
Book Company, New
York, 1981, p. 128.
[113] Rhoda A.
Hendricks, "Mythologies Of The World", McGraw-Hill
Book Company, New
York, 1981, p. 127.
[114] Webster's
Collegiate Dictionary, Fifth Edition, 1947, p. 1047.
[115] Rhoda A.
Hendricks, "Mythologies Of The World", McGraw-Hill
Book Company, New
York, 1981, p. 127.
[116] Webster's
Collegiate Dictionary, Fifth Edition, 1947, p. 641.
[117] Rhoda A.
Hendricks, "Mythologies Of The World", McGraw-Hill
Book Company, New
York, 1981, p. 145.
[118] Webster's
Collegiate Dictionary, Fifth Edition, 1947, p. 489.
[119] Webster's
Collegiate Dictionary, Fifth Edition, 1947, p. 1030.
[120] Webster's
Collegiate Dictionary, Fifth Edition, 1947, p. 1030.
Best wishes to all,
Polat Kaya
05/05/2005
====== End of
Part-14, will continue in Part-15 ======
(Copyright © 2005
Polat Kaya)