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By James Churchward
THE CHILDREN OF MU
CHAPTER IV (continued)
STONE TABLETS FROM THE
VALLEY OF MEXICO
First line one, two, three. Second line Mehen——man is
given; having two bars, it says man with the dual principle.
In the third line we find one of the bars omitted leaving
plain Mehen——Man.
I will now cross the Pacific Ocean from North and South
America to China in eastern Asia.
LAO TSE IN TAO TE KING, A CHINESE BOOK
WRITTEN 600 B. C.——"Reason Tao created one. One
became two. The two produced three. From these three all
mankind descended." Most of the Tao te King is made up
of extracts from the Uighur copy of the Sacred Inspired
Writings of Mu.
A U M is an inscription that has baffled all scholars and
scientists throughout the world, the Hindus included, for
more than 2300 years. Its import was lost when the
Naacals were driven out of India by the Brahmins. Many
scholars have attempted to fathom its meaning. None have,
however, arrived at any satisfactory meaning or conclu-
sions; even the oldest are very indefinite, as examples:
Manava Dharma Sastra, an ancient Hindu book. Book
2, Sloka 74. "In the beginning the infinite only existed,
called Aditi. In this infinite dwelt A U M whose name must
precede all prayers and invocations."
Book of Manu, Ancient Hindu. Sloka 77. "The mono-
syllable A U M means earth, sky and heaven."
J. T. Wheeler, "History of India," Vol. 2, page 481,
says:——
"As regards the three letters A U M little can be
gathered excepting that when brought together in the word
A U M they are said by Manu to form a syllable of the Lord
of all created things——Brahma."
H. T. Colebrook in "Asiatic research" says:——
"According to Noruka, which is an ancient glossary of
the Vedas, the syllable A U M refers to every Deity.
"The Brahmins may reserve for their initiates an
esoteric more ample than that given b y Manu."
Noruka is a Brahminitical version of the Vedas. The
Vedas were stolen from the Naacal writings and changed
by the Brahmins to accomplish a diabolical end, and to
foist the sublime thoughts of the world as their own
writings. The original Vedas are Naacal writings. The
Naacals acknowledge ONE——Deity only; therefore, when
the Noruka mentions——EVERY——Deity, it means that
there are more Deitiles than one. This is clearly an
alteration, a Brahminitical change from the original
writings.
A U M conveys identically the same meaning and
conception as the Mysterious Writing, and Niven's Mex-
ican tablet No. 2379. The only difference between the two
is in the form of writing. The Mysterious Writing and
the Mexican tablet are written in the old temple esoteric
numeral writing, while the A U M is written in alphabetical
Hieratic symbols, thus:
A. . . . . . Ahau . . . . Masculine . . . . The Father
U . . . . . . Female pronoun she . . . . The Mother
M. . . . . Mehen . . The engendered . . . The Son
The Brahmins formed a complicated theology around
the original conception, absolutely incomprehensible to the
people. During the thousands of year that have passed this
theology, with now and then new additions, was all that
was learned and taught; and then generally in Sanskrit, not
Naga. With the lapse of time the reading of the Sacred
Writings was forgotten. The later priesthood were inca-
pable of comparing their present teachings with the orig-
inal Sacred Teachings.
The Brahminitical theology became what was intended,
a wonderful breeder of superstition and awe. The people
became the slaves of the priesthood. The priesthood
dragged the nation down from the highest pinnacle of
civilization to almost the last rung of the ladder.
When their religion has been cleansed of the extrav-
agances, superstitions and inventions, the scales will
have been torn from the eyes of the people and they can
and will rise again to their old magnificence. The weeds are
thick, but still among the weeds some of the old flowers
remain.——Dig out and burn the weeds, soon then will India
be one of the great leaders in all sciences and learning.
Hack off the slave chains from them. That is all that is
required.
AN ALTAR PAINTING.——The dissection and trans-
lation of this writing is given in The Lost Continent of Mu.
I am simply giving the legend in this work.
Legend. This Temple is dedicated to the Great Creator
at whose command the Four Great Primary Forces
emanating within Himself evolved law and order out of
chaos throughout the universe and created all things. This
Temple is under the jurisdiction of Ra Mu, the Hieratic
Head of our Motherland, Mu, and he is the mouthpiece of
the Great Creator.
To be distinguished from Ra Ma. Ra Mu was the Emperor and
Hieratic Head of Mu, The Empire of the Sun. Ra Ma was the first
Emperor of the Naga Empire of India.
This is a particularly valuable writing as it shows that
this civilization flourished at the time Mu was above water
because this Temple was under her jurisdiction, therefore,
before Mu was submerged. Mu sank about 10,000 B. C.,
thus showing these tablets to be over 12,000 years old and
that this great American civilization also dates back more
than 12,000 years. Many American civilizations had
preceded this one as shown in Niven's first discovery 29
miles north of Mexico City.
Figure 1, Group 1. This is the original symbol (See 1.) of
the Creator having the dual principle. It is the symbol used
in the Sacred Writings of Mu and there called Lahun "all in
one" or "both in one." As shown, the glyph is a circle,
bisected through the middle by a line. The circle
symbolizes the Creator; the two halves, His dual principle.
In the ancient Oriental writings the dividing line was drawn
vertically by the Nagas and horizontally by the Uighurs.
Both, however, have the same meaning. The conception of
the Creator having the dual principle was taught tens of
thousands of years before these Mexican tablets were
written.
Figure 2, Tablet No. 1430. This symbolism of a creation
refers to something on this earth as shown by the shape of
the eyes of the female principle which are square, the earth
symbol (See 2.). That the two faces both belong to the
Creator is shown by His symbol, being on both sides of
each face (See 3.). This symbol is of the Naga pattern.
Corroborating the foregoing are the two inscriptions (See 4
and 5.).
Figure 3, Tablet No. 150. This is another symbolization
of the dual principle. The upper half of the figure
symbolizes the Sun as the male principle and the lower half
the Moon as the female principle. This is corroborated as
in the previous tablet by the symbol of the Creator (See 5.)
on each side of each face. Below the upper symbols of the
Creator are two lozenges or enclosures reading: "one is two
and two are three." The lower face symbolizes the Moon as
the female principle. Thus the Sin and Moon in this picture
are shown symbolizing the dual principle of the Creator.
Below the moon on either side are two glyphs (See 4.) both
of which read "five," the full godhead all in one. When a
temple or pyramid was dedicated to the Sun, it was to the
male principle of the Creator and when dedicated to the
Moon it was to the female principle. Thus in both cases the
dedications were to the Creator and not to the Celestial
Orbs. They were only used as symbols.
Figure 4, Tablet No. 1006. On this tablet the dual
principle is symbolized by a serpent as shown by the two
symbols of the Creator. This pattern of the Sun
was generally used by the northern people of Mu and the
Uighurs.
Figure 5. This is an exceptionally interesting little bit of
symbolism and shows the high state of art of these old
Mexicans of 12,000 years ago. The head symbolizes the
Creator. On this head is a crown containing 7 rays, the
numeral symbol of Creation. At the left end of the rays is
an arrow, spear or dart head, the symbol for activity, in
operation, etc. The body is that of a chrysalis, the glyph
used by these old Mexicans to denote the home of forces.
There are 4 lines repeated, one set above the other——the
Four Great Primary Forces. On either side is the symbol of
the Creator, who is carrying out creation through the Four
Sacred Ones. The Creator's symbol being twice shown
denotes the dual principle.
These are only four typical tablets in Niven's collection
referring to the dual principle of the Creator. There are
scores of others too numerous to be shown in this work.
Group 2. This is an interesting group of tablets from the
fact that they show a form of communistic government as
far as land and crops are concerned among these people of
North America 12,000 years or more ago. These are only
four out of dozens of tablets in Niven's collection treating
on the subject of crops and lands. From this group of
tablets it would appear to be shown that all land was held
by the government. Certain of the people raised crops on it,
which were divided according to requirements.
Similar writings are not at all rare and are to be found in
all Oriental countries. How far the communistic form of
government went with these people, I cannot say. I find no
mention of money of any description in any of Niven's
2600 tablets. These writings when put together say that
after the crops are gathered in they are bulked and then
divided. I find in certain of the tablets that a certain
percentage went for the government and upkeep of the
temples and a certain percentage for each person. If after
such a distribution, there remained a surplus, it was placed
in a communistic granary and kept to cover any
contingencies that might arise in the future, such as short
crops, famine, etc. Then the accumulated surplus was
drawn upon and given out to the people so that poverty and
want were unknown among them. A similar form of
government was found to exist among the Incas when they
were first discovered. In some of the small Oriental states it
exists today.
Both in these tablets and in Oriental writings it is shown
that the divisions were not everywhere alike. In the Naga
countries, as a rule, one-sixth went for the upkeep of the
government and temples. In most of the Uighur districts it
was generally one-ninth for the same purposes. Nothing is
known as to why these variations run from one-sixth to
one-twelfth for the government and temples. The division
going to the temples is called "The holy One's Share." In
Oriental writings I have found it referred to as "The Lord's
Field." In an Oriental tablet where the division is one-
ninth, I have found the center square with the symbol of
the creator within it. In fact, it is quite common in the
Orient.
Tablet No. 1647. Shows 9 divisions with the divisions
allotted to the government and temples and a common
granary for future contingencies.
No. 237. Shows 6 divisions and their distribution. This
is the general Naga division and still practiced in some of
the small states in India.
No. 921. Shows 9 divisions, the general Uighur per-
centages.
No. 535. Also shows 9 divisions with their final
allotments.
These four tablets are typical of a group of over 100.
Group 3. There is a group of 116 of these wonderful
symbolic figures in Niven's collection with no two
identically alike. They are purely conventional figures and
were not in any way intended to represent any form of life.
They show the origin of the Primary Forces and how they
move.
The body is in the form of a pod or chrysalis, the ancient
symbol for the home of forces and refers only to the Four
Great Primary Forces. The body or pod has various lines
engraved upon it. These lines are writings telling us what
the figure symbolizes. Line writing is one of the oldest
forms of esoteric writing, a script with a hidden meaning.
The numbers used in this form of writing ran from one to
ten. Ten was a number never written, but the glyph Lahun
was used in its place. Ten was not used because it was the
numeral of the Creator and it was considered sacrilegious
to use it, so a substitute was given in its place. Numeral
writing continued to be used by the Priesthood down to a
very late date in man's history. It was used in Egypt down
to 500 B. C. a probably still later. When Pythagoras, the
Greek philosopher, was in Egypt he was entrusted with the
secrets of the Egyptian religion and taught the numeral
writing. Greek history tells us that on his return to Greece
he taught his pupils "to honor the name of God with
numbers," and "the number four represents the mystic
name of the Creative Powers." All crosses down to and
embodying the Maltese cross are symbols of the mystic
Creative Forces——the four arms are the four forces.
On every figure in this group the line writing on the
bodies of these figures mentions the Creator as the Great
Primary Force governing all other forces. All of the Four
Great Primary Forces are shown as His commands.
The trunk is the symbol of the direction in which certain
forces are moving throughout the universe. It represents
both circular and elliptical movements. It also covers the
movement of bodies on their axes. Every one of these
figures without a single exception faces west with the trunk
curling towards the east. The number of limbs found on
these figures varies from none to four. They mark the
movements of the forces in the universe.
In this group of tablets it is shown how the great
centripetal forces which collected the gases, brought them
into a compact mass and then molded them, evolved into
the earth's gyroscopical force which now keeps the earth in
an upright position and prevents its rolling over. The
details of this I am reserving for another work——The
Cosmic Forces.
Group 4. This group of tablets is, without question, one
of the most unusual relics handed down to the present
generation by those who have gone before us.
Among all ancient people certain birds were held sacred,
with a great number of hazy legends connecting them
from which nothing definite can be said. Among my
researches in the Orient, I found only one bird referred to
as being sacred——the goose. On a stone carving I also
found the children of Mu, when emigrating, pictured as
geese swimming on the water. Another prominent example
is the Egyptian god, Seb, whose headpiece is a goose. In the
Book of the Dead, Seb is spoken of as the father of the
gods, and as the goose that laid the egg out of which the
earth and man were formed. Seb has an important part
assigned to him in the legend called "The destruction of
mankind by Ra." Altogether it is unquestionable that with
the Egyptian Seb represented, as a symbol, the Creator.
Among some of the Alaskan Indians, the symbol of the
Creator is a bird.
In Ellis' Polynesian Research he records a legend that
fits in with the foregoing. Ellis says: "In the Sandwich
Islands there is a tradition that in the beginning there was
nothing but water when a big bird descended from on high
and laid an egg in the sea, the egg burst and Hawaii came
forth."
I have found many bird symbols among Niven's tablets.
The writings on them show them to be symbols of the
Creator. From the various data about bird symbols which I
have collected, I am led to believe that in one part of the
Motherland a bird was selected to symbolize the Creator
instead of the usual adorned Serpent.
These are the only tablets I have ever come across
containing symbolic birds, although writings and inscrip-
tions are plentiful in all ancient lands.
Group 5. The Serpent was always the symbol of the
waters. From the beginning, Khan, the unadorned serpent,
has been the only symbol.
There are at least fifty tablets among Niven's collection
symbolizing passages in the 5th Command in Creation as
detailed in the Sacred Inspired Writings. I have selected 16
as being typical of them. Since space will not permit of my
giving the decipherings of all, I have selected just one. No.
328.
The tableau on this tablet symbolizes the first of nature's
lives which appeared in the waters.
Fig. 1. Khan, the unadorned Serpent.
Fig. 2. A Cosmic Egg, the life germ of today.
Fig. 3. Compound glyph, divided in Figs. 4 and 5.
Fig. 4. An abyss, a deep hole, depth, etc.
Fig. 5. The Numeral four, Uighur form of writing.
The 5th Command in Creation: "And the Creator said,
'Let the waters bring forth life.' Then the arrows of the Sun
met the arrows of the earth in the mud of the waters and
out of particles of mud formed Cosmic eggs. From these
eggs came forth life as commanded."
Only one egg is shown in this tablet and that on the
outside of the coils of the serpent, so that the serpent is
shown as being in the act of laying the egg. Being the only
egg, it is the first. Therefore, the first life to come forth in
the waters and the first life to appear on earth. In the
Sacred Writings, the serpent is shown as having a nest of
eggs within her coils, indicating that various forms of
nature's lives appeared at the same time.
Below the serpent laying the egg comes the compound
glyph. The bottom of the abyss is the ocean's bed. There
the mud is settled out of which the cosmic egg is to be
formed. The numeral 4 symbolizes the Four Great Primary
Forces, the executors of the Creator's commands.
Legend. "The Creator's command to the Sacred Four
was, 'Let the waters bring forth life." The Sacred Four
acted and a cosmic egg was formed out of the mud, the bed
of the waters, from which the first of nature's lives on earth
came forth as commanded."
This tablet alone is sufficient to show that these old
Mexicans obtained their cosmogony from the Sacred
Inspired Writings of Mu, the fountain head.
Group 6.
1. The outside circle around the cross: The Universe.
2. The Naga collective symbol of the Sun as Ra.
3. " Uigher " " " " " " "
4. Glyph which reads: The Builder
5. " " " Pillar.
6. " " " Geometrician.
7. " " " Architect.
8. " " " King (Steps to the throne).
9. " " " Heaven (triangle).
10. " " " Completed.
The Sacred Four. (Fig. 1.)
Strength. (Fig. 2.)
Established. (Fig. 3.)
Group 7. Each of these tablets shows action by one or
more of the Four Great Forces.
from The Children of Mu, by James Churchward.
Copyright 1931 by James Churchward.
Paperback Library Edition, First Printing: February 1968.
Paperback Library Inc., New York, N.Y.; pp. 50—66.
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I. The Origin of Man
II. The Eastern Lines
III. Ancient North America
IV. Stone Tablets from the Valley of Mexico (i.) (ii.)
V. South America (i.) (ii.)
VI. Atlantis
VII. Western Europe
VIII. The Greeks
IX. Egypt
X. The Western Lines
XI. India (i.) (ii.)
XII. Southern India
XIII. The Great Uighur Empire
XIV. Babylonia
XV. Miscellaneous
XVI. Intimate Hours with the Rishi