Serpents of Creation
She who turns out coils of creation is the Snake Goddess of above and below.
Talbott has done extensive research on serpent mythologies, and I feel he and others have formed a unique bridge connecting them to EU cosmology and plasMA physics, providing a new understanding of these mythologies, given that snake, serpent, and dragon archimages are found globally in numerous iterations in both prehistory and history. Notably, femaleness is usually associated with the snake/serpent/dragon imagery throughout time. I feel these archimages represent a fundamental essence of creation as mentioned throughout this book. Basically, they all represent forms of electric plasMA displays—whether from aurorae or planetary interactions in the skies or telluric currents emanating from the Earth witnessed by our ancient ancestors as has been said and then written in universal global stories by our more recent ones. As a result of his and Thornhill’s research who each independently studied this material for thirty years, they have unequivocally concluded, “Everything known about the serpent-archetype finds a corollary in the . . . documented behavior of electric plasma.”1
The serpent archimage is deeply embedded in the collective unconscious from the earliest of times. It seems that our prehistoric ancestors had more understanding of the serpentine powers of creation than later patriarchal peoples whose cultures were plagued by violence, war, domination, andoppression reflected in their serpent/monster/dragon tales. Talbott states, “To simply observe the cosmic serpent’s effect on cultures the world over is to realize that the cause was far more catastrophic and fundamentally disturbing than anything surmised in traditional treatments of the theme.”2 In my view, “traditional treatments of the theme” refers to mainstream androcentric analyses of patriarchal mythologies, which do not take into account anything about electric plasMA. I am once again reminded of Talbott’s premise that mythology to be understood must be seen in the context of plasMA cosmology. For example, references to the plasMA column between heaven and earth previously discussed are seen as ropes, magically elevating trees (i.e., Jack and the Beanstalk), ladders to heaven, cords, coils, and cliffs and can all be found in varying serpent mythologies.
EU proponent, natural philosopher, and engineer Andrew Hall has done in-depth research on the physics of geological formations on our planet. His video Scars of the Plasma Dragon is an excellent resource for understanding the “dragon footprints” on the Earth and gives another backstory showing the foundations of our mythologies of plasMA creative dragons and serpents. He explains,
Stars and planets are circuits—three dimensional current waves of current and magnetism living in the winds of their parent stars and galaxies. They are the products of conductance and capacitance, potentials and currents and the magnetic fields current generates. The matter trapped in these 3D whirlwinds, gas, liquid and dust…is 100% organized by the circuitry. The circuit flows inside the planet as well as in the atmosphere, plasmasphere and magnetosphere but it is all one circuit and that is why things are so interconnected…a dragon may repeat its route over and over again in pulses that may be separated by moments or millennia.3
While most of written mythology focuses on the male hero slaying the often-female dragon/serpent, prepatriarchal stories saw the serpent as the creator of life, which Talbott does acknowledge. Shamanistic cosmologies understand the language of energy and the connectedness of all things and predicate their spirituality on what I call an eco-cosmic reality that has remained intact through unspeakably destructive cataclysmic events. Many indigenous cultures still maintain an understanding of the cosmos in ways not understood by Euro-Western patriarchal thought. (Though many have been infiltrated with some oppressive patriarchal beliefs, the fundamental spirituality of the connectedness of all things remains.)
Talbott’s research has shown that serpent mythology arose from a common human experience and that every culture honored the “serpent of creation.” He explains, “Regardless of the explanations of countless variations, the creation serpent is really one single mystery found cross- culturally, varying in textures and subplots.”4 The creation serpent was seen in the living skies of our ancestors as well as in the shapes of landscapes. The skies that were alive with electrical activity are not seen today. The serpent is sleeping. Talbott writes,
The serpent was a metaphor filled with meaning, and it must be counted among the most “logical” and appropriate metaphors in the ancient world. Moreover, this metaphor points directly to electrical phenomena that can no longer be ignored. The serpent’s every nuance is a feature of PLASMA DISCHARGE. Without the plasma formations, the mythic serpent is an effect without a cause. But if such structures once enchanted ancient observers the world over, the serpent metaphor is redeemed: it will explain what has been left unexplained through all of human history.5
Our ancestors witnessed swirling, twisting, filamentary, and undulating discharge phenomena above them in the skies as a kind of living serpentine being flowing between the planets and moons. Our present skies do not reveal such visible activity. Certainly, the aurora borealis and australis give us some idea. And because the activity was so widespread in the sky, people in different parts of the world saw the same electrical, celestial serpentine forms. Talbott notes that the plasMA appeared alive like an animated, living entity possessing self-organizing, regenerative, and procreative abilities, belying a profound intelligence complete with voice and sound—some celestial (angels and archangels, music of the spheres, celestial harmonics) and some frightening, like roars, bellows, and shrieks, giving rise to countless stories, art, myths, legends, and rituals. Though we don’t have written evidence from prehistoric cultures, both the Australian Rainbow Serpent and the prehistoric Snake Goddess—a well-known subject of Gimbutas’s research—are evidence of what I feel is an understanding the ancients had of electric plasMA without naming it as such. Talbott says,
Plasma science suggests that the creature signified both the RAW MATERIAL of celestial construction and its evolving FORM. The serpent was constituted by the medium—a dusty, electric plasma—and its metamorphosing form could only be the evolving, visible STRUCTURE resulting from the electrical interaction of charged bodies across a plasma. As to this identity, ancient sources offer a huge reservoir of support . . . the cosmic serpent is entirely bound up with this stuff of creation. It is at once the carrier and the form of the “soul-substance.” In its root identity the serpent is elemental. It is water. It is wind. It is fire.6
The stories of the Rainbow Serpent vary from tribe to tribe, but it is one of if not the oldest story of the creation serpent on the planet, with many renditions centering cosmic female creation. Serpent archimages are often described as dualistic, embodying both creative and destructuring powers, giving rise to the “good and evil” concepts codified in later patriarchal religions. However, the cycle of life, death, and regeneration is her domain, which is not about good and evil. The Rainbow Serpent has maintained her holistic presence in Aborigine culture for thousands of years. She isn’t a “monster” serpent or dragon that needs to be killed, tamed, beheaded, destroyed, or chased away by a male hero or blamed for all the sin and evil in the world, all of which plague many of the patriarchal plasMA mythologies and male religions. It is not a surprise to me at all why snakes and serpents were given female attributes in iconography and in writing since the life force of creation embodied by women and the creating serpent energy of the cosmos are one and the same. Any woman who has given natural birth or who has witnessed a woman give birth can attest to this. Grahn writes,
In Australian mythology, the connection of woman to snake is found in myths about menstrual and birthing blood and is synchronous with other kinds of “flows” (knight 1988); in Hawaiian mythology, the red water snake is a goddess sometimes knowns as “traveling vagina” (Beckwith 1982:229); in Gnostic texts the snake is the “female instructing principle” (Robinsson 1977:155). The implication is that women in various parts of the world have used snakes to teach certain important ideas—ideas that connect early science and the sacred to female blood rites.7
First Nations wisdom keeper Patricia Ann Davis says, “Beauty exists within us and around us as the light reflects through a rainbow. The symbol of the rainbow is our sovereign communication with creator,”8 which I see as a reflection of Ho’s research and discoveries. She witnessed a version of the Rainbow Serpent in her laboratory at a microcosmic level and brought this awareness to all of us in her phenomenal research explained in her books The Rainbow and the Worm and Living Rainbow H2O. Her mind was blown in 1992 when she looked at a fruit fly larva through a polarized light microscope used by geologists in observing rock crystals and witnessed a living moving rainbow in the tiny creature that had just hatched from an egg. She realized she was viewing a living body composed of liquid crystals, seeing life in its true colors. The little creature was alive, not dead, as is often the case in lab specimens. And she was able to view such wonder without employing any invasive techniques—an important aspect of feminism in science, learning about life from life without causing harm. She saw that the molecules of its body, including the water molecules in which they were embedded, were aligned as liquid crystals and were moving coherently, and she excitedly concluded that she was witnessing the “hallmark of life and living organization.” As above, so below. As below, so above.
I believe that the akasha or aether as womb is source for the morphic fields that create life. To the Aborigine peoples, all living things are borne in the womb of the great Rainbow Serpent in which each creation has its own Dreaming9—its own morphic field and morphic resonance. Biologist Rupert Sheldrake defines morphic resonance as “a process whereby self- organising systems inherit a memory from previous similar systems. In its most general formulation, morphic resonance means that the so-called laws of nature are more like habits.”10
This great womb of creation, much like how the galaxy provides our sun with her energy through an umbilical snake-like electric current, supplies a continuous flow of energy to the womb of the female and her ova, which have the capacity to make new life on their own. The female maintains life as she passes along mitochondrial DNA to her children through her eggs. Mitochondrial DNA is nonrecombinant, which means that it does not combine with any other DNA and has remained nearly the same, passed on from mother to child for unknown amounts of time. The mother lineages of daughters stretch back into timeless antiquity. We all have inherited our mitochondrial DNA from the first mother. To me, this is the female lineage of creation that Coates has termed “our immensely long female inheritance of life.” It does not mean that women must have children to experience this connection. It is all there within woman regardless, and her creativity is boundless. Women can access this creative potential in many ways because women are in direct connection with the morphic fields, the aether, and the heart-womb of creation in ways that men are not. Robert Lawlor writes that in Aborigine cosmology, the Dreamtime Ancestors who shaped the Earth, all her children, forms, and life processes are collectively and symbolically referred to as the Rainbow Serpent,
which, like electromagnetism and all energy fields, exists as a spectrum of various colors, frequencies, or powers . . . the serpent is always associated with vibration and flowing energy fields . . . The Rainbow Serpent is the first cosmological model for the spectral order of universal energy.11
It is said that the female Rainbow Serpent is attracted to menstrual blood through electrical and magnetic resonances and mingles with it to create life in the womb—another way of seeing Coates’s female inheritance of life and an affirmation of the electrical properties of life. How did the Aborigines know of electrical fields and vast fields of consciousness and electromagnetism when the great Einstein couldn’t accept an aether?
To the Gunwinggu in western Arnham Land, both the Rainbow Serpent and “Mother” have the same “inside” name—meaning the inside of the Serpent, the place of emergence. The “All-Mother,” in her Rainbow form, is also called the “mother’s mother.” In this view, the Serpent is the womb, and “every woman knows . . . that the womb of her own mother is a part of that ‘Snake’ who is the real creatrice of all human life.”12 They say that Snake-woman emerged from under the ground at the beginning of time—what I would call the telluric electromagnetic forces of the Earth in ground-to-ground lightning discharge—and is seen by the Aborigines as the invisible force that stirs the flourishing of animals and plants.
Though the Rainbow Serpent stories vary across Australia, it is clear that the female powers of creation are seen as mystical forces that slither across the landscape sculpting valleys, rivers, and waterways, raising mountains, springing forth plants and animals, and giving birth from her body to tribes and nations of people. From the Northern Territory, a myth tells of a great mother being who emerged from the sea, traveled across Australia, and gave birth to the various Aborigine tribes. In some versions, she is accompanied by the Rainbow Serpent, also called Lightning Snake who brings the seasonal rains and floods. The Rainbow Serpent—the Lightning Snake—is the electric plasMA of creation in both the Earth and sky in massive connected circuitry.
The menstrual aspects of the Rainbow Serpent are intertwined with electromagnetic connections and Birkeland currents; and because women create and give life, menstruation is important to many Aborigine cultures that equate women with the Rainbow Serpent.13 In some of the Aborigine rock art of the obvious Squatter Woman figure, the head of the serpent is the same shape as the vulva with the protruding tongue mirroring the flow of menstrual blood. To me, the triangular, conical shape of the head and vulva reflect the electrobiology of the previously mentioned Doughtery Set—the geometry of Birkeland currents—in which the snake represents the serpentine electrical flow, the pronounced vulva represents the “vaginal vortices,” and, in my opinion, the blood represents the umbilical connection. It is also said that potencies of the ubiquitous dragon are based on its ability to produce blood, which might be a reference to not only menstrual blood but also the blood-red skies when Venus passed close to Earth. Unfortunately, there are numerous stories of men stealing the menstrual rites and rituals of women trying to adopt a form of male menstruation, the rituals of which have been normalized within Aborigine culture.
Like Magoism, some Aborigine cultures are connected with whales, as previously said. The serpent/dragon/whale bond is clearly acknowledged by the coastal cultures who see the whale as a beloved ancestor and immortal being in the Dreamtime. The wild, unrestrained whale is equated with the inland Rainbow Serpent/Snake, both embodying instructive, creative Dreaming powers and abilities to shape and transform the land. “The whale is, as is the serpent elsewhere in the world, associated with fire, earth energy, wind, water, the sun, moon and the symbol that links all of these elements—the rainbow.”14 Similar to Magoism, there is also a reference to music created by the whale trekking across the landscape, leaving Dreaming tracks of story and song, learned by Aborigines who sing their songs to navigate the landscape. It is said that the song lines of the geology and natural phenomena can be visualized as a serpent writhing across the land: “In one sense the whole of Australia could be read as a musical score of songlines.”15 Hwang writes that Mago is also known as the Giantess who shaped the natural and cultural landscape.16 I find it extraordinary that Aborigine peoples have developed an unbroken connection with electrical creation, water, earth, and music and have lived in this cosmic relationship for thousands of years, even through the horrific destruction of colonization.
The Snake Goddess is another prehistoric manifestation of electric plasMA—in my opinion as are all snake/serpent images found in mythological stories—whose thousands of iterations are found cross- culturally spanning millennia. As mentioned before, this view of the goddess is one that has not been previously explored in goddess research. I feel that without understanding the EU, these mythologies are great stories from which many women in the goddess movement have derived meaning; but the primal, foundational meaning is obscured when we don’t understand the electrical origins of life and how they are embodied by the female, the clues of which our ancestors have left worldwide. There are many interpretations of what the Snake Goddess represents, which have been accepted as valid in goddess research circles with such associations as the cycle of life, regeneration, health, healing and immortality, and cosmic and spiritual continuity that have come down to us through time. But none of them actually relates her to the creative forces of plasMA and electrical discharge phenomena, the very stuff of life and creation. I have previously explored plasMA and the Paleolithic and Neolithic goddesses but will take a closer look at the ubiquitous Snake Goddess/Snake Woman as creative serpent.
Some early goddess images show a female figure flanked by two serpents—twining up alongside her and/or held in her hands, like the Cretan Snake Goddess and the Norse Snake Witch (sometimes referred to as the Celtic Snake Witch). Sometimes she is shown riding a dragon like the Japanese goddess kannon or standing on snakes like Mother Mary (though, by this time, the snake was demonized), and the Chinese Serpent Goddess Nu-Wa, known as the creator of humans, or has snakes for hair like Medusa. She is portrayed as half woman, half snake like the Egyptian Snake Goddess Wadjet and the African goddess Mami Wata. In Sweden, there is a carving of a goddess breastfeeding two serpents. The African Black Witch had a snake in her belly. Manasa, the snake goddess in India, represents both destruction and regeneration akin to a snake shedding its skin and rebirth.17 The Indian serpent goddess is said to have given birth to the cobra people (Nagas) and gave them immortality by nourishing them with her lunar blood. In Surinam, the goddess Amaná
is said to ride a serpentine wave, which was the Milky Way, and exists eternally. She has never been born. She gives birth to all beings and can take any form. She is summoned by shamans in their visions and healing work. She lives in the watery Pleiades in the form of a woman-serpent, renewing herself continually by sloughing off her skin. She is also called the sun serpent.18
The power of the snake to slough her skin—an amazing feat of Nature— became representative of the female regeneration and resurrection of life. It was a ubiquitous symbol of transformation. The powerful Venezuelan goddess Aishnawerhta or Ashnuwerta, who regenerates herself, again like the snake who sheds her skin, reveals the law to the people and brings culture. She is beyond time, is all-knowing, and is present everywhere. It is said that when she saw herself in the lake, she turned into a snake and began to expand until her body burst, releasing a flood. She is “Ashnuwerta of the Red Splendor, of the Black Brilliance, Mistress of Water and Fire, Mother of the Birds of the Benign Rain, Mistress of the Dark Blue Storm.”19 Significantly, her name can be translated as “Lightning, Brilliance,” also as “Flower, Intensely Red.”20 The reference to lightning is clearly a clue about her electrical properties; and the reference to “red flower,” no doubt, refers to menstruation and I would say to the red plasMA skies caused by planetary electrical interaction.
The connection between electricity and the life-creating properties of menstrual blood are obvious since life is electric. Gimbutas writes that the Egyptian Hathor was described as the primeval serpent who ruled the world and was a descendent of the prehistoric Snake Goddess.21 Walker writes that the Egyptian uraeus-snake was a hieroglyph for “Goddess” that later became a popular “secret” name for God. She described Isis and Nephthys as the dual serpent mother of life and afterlife who were said to have woven the web of night and days with black-and-white thread, binding them with the red thread of life.22 Sarasvati, the Snake Goddess in Japan, was worshipped as a white snake.
The iterations are nearly endless. In the images of the double snakes mentioned above, it is my view that they represent the twining, rope-like Birkeland currents coursing through space, connecting
everything through electricity; and the female figure
in the center represents the plasMA instability or torus field, usually seen as female in a plethora of imagery, iconography, carvings, paintings, cave art, archeological structures, and endless works of creative imagination. EU proponent and translator of Egyptian hieroglyphs Timothy Williams writes, “Females represent the circuitry and electric nourishment of the Universe as the supply of negative charge.”23 Many images are also thought by EU cosmology proponents to be renditions of Venus in her various plasMA modes.
Gimbutas’s extensive field work provided the archeological record with amazing finds of exquisite artifacts from pre Indo-European Neolithic Old Europe, which she defined as matrifocal, sedentary, egalitarian, and peaceful. She wrote that an analysis of the Old European mystical imagery unearthed a link that connected the “religion” from the Upper Paleolithic with the Old European cultures showing goddess worship lasting for twenty thousand years. From my perspective, this worship was based on the celestial plasMA formations previously discussed that gave a sense of female divinity to our early ancestors. The fact that they remained in different forms for millennia is something beyond our comprehension and current imagination. Appreciating this requires an openness and a willingness to question beliefs and ideas we are accustomed to accepting as the only realities we allow ourselves to have. Gimbutas saw that the goddess was Nature herself. In my view, that would include the immense life-creating forces in the cosmos—both terrestrial and celestial.
Exploring the goddess through the lens of plasMA physics, the cosmology of which is actually reflected in many artifacts and rock art, helps to explain mythology as history as well as both Paleolithic and Neolithic imagery that has been subject to much interpretation. For instance, the many faces of the ubiquitous “owl” imagery and the vast numbers of often- mouthless statues, paintings, and menhirs with the schematic brow and eye and elongated “nose” faces, sometimes called faces of the ancestors, need no interpretation when it can be understood that these are representations of plasMA discharge. And yes, ancestors they are, in the Aborigine sense
of the creating, sculpting forces of the cosmos. I encourage an exploration of plasMA cosmology and plasMA physics to deepen and widen our understanding of who we are and from where we have come and why early people so revered the female form. This reverence has been all but erased— save for the constant reference in mainstream scholarship to “fertility” in one form or another—from our human experience, and the suffering we endure in her absence, women and girls especially, cannot continue.
Gimbutas saw the snake as a representation of the primordial and mysterious life force that emerged from the depths of water—similar to the Rainbow Serpent. She said that a vertically winding snake symbolized ascending life force and was interchangeable with the tree of life and spinal cord. In my view, these descriptions illustrate a plasMA column, the stack of toroids seen in the ancient sky, and Birkeland currents. The Paleolithic and Neolithic Snake Goddess was a form of electric plasMA discharge, and she was worshipped around the world for millennia. There must have been a deeply embedded experience for our ancestors to have continued to worship this snake/serpent/dragon energy cross-culturally as female. There are certainly some references to snake iterations as male, but most are female. It is my view that early people were very well aware of the power of female creative energies and equated that power with the vast presence of the phenomenal creative plasMA discharge seen in the skies—the one source of creation. It seems to me that the great snake energy of the yoniverse—electric plasMA—was showing herself; and the people listened, no doubt falling to their knees in absolute astonishment, wonder, awe, fear, and profound reverence, first trying to survive and then learning to thrive once the Golden Age had seemingly come to an end. The conscious plasMA gave people a universal message that the creation deity was female—a message reflected globally for millennia.
Our ancestors could see reflected around them the constancy of female fractal creation in birth, life, death, and regeneration, all of which were held in celestial female consciousness and in the Earth herself, including in her waters, the cradle of life.24 There are many mythological goddess serpentine spirits of oceans, wells, springs, rivers, waterfalls, and lakes like the nixies, nereids, undines, and lamia, some of whom were demonized and eventually inanely called she-devils. Undines, according to mythologist Joseph Campbell, were “the first offspring of the primal Mother as water which Thales of Melitus called the first of all substances, like the amniotic fluid of the universe.” 25 Undine means “wave.” Waves of electrical plasMA in the amniotic aether. Lamia was also the Serpent Goddess of Libya, known as Medusa in Greece and Neith in Egypt. They were also sometimes called mermaids with their fish-like, serpentine bodies and female upper torsos whose plasMA discharge images were most likely also seen in the skies in the whirling dusty plasMAs that resembled water. Significantly, mermaids were sometimes associated with perilous events, and men at sea feared them—a clue about the memory of catastrophe from the serpentine comet Venus and another iteration of men’s fear of “scary” female powers.
The Snake Goddess wound her way through millennia of human cultures, from one end of the globe to the other and everywhere in between. Her stories would require volumes to recount. The point is that all iterations of the Snake Goddess are a recognition of a plasMA deity as well as telluric magnetic currents our ancient ancestors originally revered until patriarchy drove her out of our psychic landscapes, particularly in the Euro-Western world after demonizing her along with Nature herself.