The Backstory of the Fallen Goddess Scenario (FGS)

Nothing in nature is born without a birthplace and a matrix, its mothering entity. This law applies to microbes, animals, even the oceans and clouds. Likewise, no myth, metaphysical teaching, spiritual system, religion, ideology, work of art, or scientific theory comes into the world out of nowhere. Every event that confers self-understanding on the human species comes, not from “humanity” in an abstract sense, but from a particular locale in the world inhabited by a distinct racial strain. The Japanese creation myth, for instance, comes from the land of Japan and its native peoples. Aztec mythology arose from the landscape and mindset of the Meso-American peoples, the local tribes. The dominant belief-system in the world today, the trio of Abrahamic religions (Judaism, Christianity, Islam), came originally out of Canaan (modern Palestine) and spread across the planet from there.


The Home Story also has a specific geographic and racial origin. As you learn the narrative, it will be instructive to consider the backstory of the FGS — a term from filmmaking that describes the preceding conditions of a movie plot. This consideration is not required but it may be desired if you are an individual inclined to wonder about origins. The Home Story has a backstory like any other mythic narrative or religious system, any spiritual program you can name, such as Buddhism, Wicca, or Mormonism.


But there is a difference with this narrative, and it is huge. Due to its encompassing scope, the FGS is a story to guide all the races of the world and even to describe the diverse roles they hold in what Gnostics today call “the divine experiment.” The Home Story differs from all other “creation myths” in the way it addresses the totality of the human situation, planet-wide, even though it arises from a specific geographic and racial origin.


So, before delving into the narrative, it may be worth while to give your attention to the following brief orientation.


The sacred narrative of the Mysteries explains the cosmic origins of life and human purpose on earth, in a way not to be found elsewhere. No other body of myth or legend from any culture or epoch presents a “creation myth” as vivid, comprehensive, and coherent as this one. Likewise, no other narrative explains the ultimate truth about evil and how it works against all that is good and beautiful on our precious planet. The Home Story is the cosmic biography of the living earth.


Due to the exceptional message it carries, this narrative has been attacked, distorted, maligned, and suppressed more violently, and more continuously over centuries, than any concept in all of history. Now as ever, what it reveals is a supreme heresy. Consequently, textual evidence of the FGS only survives in sparse and fragmentary form, like shards of a vast shattered mosaic. But it does survive.


The rare materials that preserve the myth of the Wisdom Goddess were discovered in the Middle East and Egypt. How then, can it be the guiding narrative of the Native European races? Also, since the myth comes from an ancient movement that originated in northwestern Iran (see below), how can it be designated as European at all? Against these objections, two points of clarification will be helpful:


First, those who developed this narrative came from the racial stock of peoples whose native land was in the Caucasus mountains. They were cousins to the Aryan-Celtic-Nordic-Teutonic races who lived all over Europe. (Proof of this kinship can be seen in the astonishing physical similarities between the Ossetian people of the Caucasus and the Celts of Ireland.) The authors of the FGS were ancestors of those white peoples that survive today as the racial minority in the world population: about 8%.


Second, the Iranian racial stock that produced the Home Story stood entirely distinct from the Arab-Asiatic peoples who inhabit that region today. And, of course, they lived long before those inhabitants were converted to Islam, or Christianity, or Judaism. Elsewhere around the Mediterranean basin and across Europe, from Greece to the British Isles, diverse peoples sprang from the same racial stock. The Home Story is the unique product of the religious imagination of Aryans, a spectrum of races that originally and exclusively occupied the vast reaches of Europe and eastward as well, extending to Iran and into India, whose population contains a significant Aryan mixture.


The Sanskrit word Aryan comes from the Indo-European root, arya, “noble, excellent.” Not to say that only Aryans possess and express those qualities; rather, they exemplify the attributes of nobility and excellence to be attained by all races. That attainment, however, must be proven, demonstrated in values, attitude, and action.


A further question: Can counterparts of the Iranian version of the Home Story be found in European mythologies from Britain, Scandinavia, Greece, Germany, France, Spain, Italy and elsewhere? What about national epics such as the Kalevala of Finland, the rich trove of Greco-Roman mythology, Germanic folk-lore, or Irish, Welsh, and Basque legends? Do these sources also offer a story uniquely centered on the figure of an earth goddess? Yes, they do, but those regional versions are chaotic, incomplete, and inconsistent. They do not present the entire plot of the narrative. They are at best mangled variations. Only some random elements, names, incidents, and partial features of the FGS can be found in the comparative myth, folk-lore and legend of Europe.


Why? Quite simply due to the fact noted above: the Home Story has been so relentlessly attacked that only scattered clues survive from it. Across Europe almost all evidence of it has been deliberately suppressed, placed under taboo, if not actively demolished. For example, Nordic myth does not offer a coherent rendering of the Sophianic narrative, or even isolated episodes. Only a version of her name survives: Ostara. And that name is borrowed from the Germanic peoples whose mythological heritage likewise was demolished when Christianity overtook Europe. All that remains is the name, Ostara, without a single clear story-line about her.


The FGS is not the work of a single human author. It was developed over many generations by the Magian Order, a community of visionary teachers. The Magians were the pagan, pre-Christian forerunners of the Gnostics. They called themselves telestai, “those who are aimed.” What aimed them was their intimate access to the intelligence of the earth, and their united dedication to the sacred narrative of Sophia, which they revised and preserved over many generations. Their name for the Wisdom Goddess in ancient Persian was Spandarmat: expansive, vibrating mother, the measure of life. This was the Iranian mother goddess known to the Magians, one of the earliest names for Sophia.


The “mother goddess” or “earth mother” is of course a universal archetype. Some version or another of that figure occurs in all indigenous, animistic societies in all lands. The Magian Gnostics detected this divine maternal figure in a living presence to be encountered and engaged. Animistic peoples who directly sense the presence of the living earth rarely go beyond that sensation into deeper dimensions of knowing. They remain emotionally captivated by that power, and superstitious about it. The telestai were different. They blazed the trail into deep and intimate engagement with the intelligence of nature, the mind of the planet. They were intellectual shamans highly accomplished in visionary practices, paranormal faculties, literacy, mathematics, astronomy, the natural sciences and art-forms such as music and dance. Accessing the mind of the living earth by a special method, telestic shamanism, they were able to construct the FGS based on encountering the main character in the story, Sophia. Knowing the earth mother in such an intimate way, they were able to construct a story about her unlike any other in its scope and detail.


The origins of the Magian Order date to 6000 BCE. Much later on, their beneficiaries, the Gnostics, inherited and preserved their narrative. Over centuries, they accomplished the complete narrative, the Home Story. The discovery in 1945 of books hidden in a cave at Nag Hammadi in Upper Egypt made it possible, after centuries of repression and destruction, to restore the full-scale coherent narrative of the Wisdom Goddess. Collated with other materials from European antiquity and Near Eastern myth, the Nag Hammadi Codices are the primary basis for recovery of the Sophianic myth.


Volumes have been written about the Mysteries, Mystery-religions, or Mystery Schools of pagan antiquity. Unfortunately, attempts to explain this topic fail from the outset, due to lack of evidence of what actually occurred in those long-forgotten cultures. Honest scholars concur that the practices and procedures of the Mysteries are unknown, having been protected by a vow of silence. Not secrecy, silence. Unfortunately, those today who claim to know about the Mysteries often accuse their adepts of Satanic rites, mind control programming, and other sinister conduct. The Schools were “Illuminati think tanks,” as a popular meme asserts. This claim is totally untrue, and there is not a shred of evidence to support it.


Scholars agree that participants in the Mysteries accessed in some manner the deepest truth about human existence, going to the tap-root of life and consciousness. There is precious little evidence of how they did so, but there is enough to assert that Gnostics, the heirs of the Magian Order, were men and women of high intellectual achievement and spiritual vision. Skilled in shamanic arts, they were the guides and educators of the ancient world in the Near East and Europe — an assertion supported by ample and various evidence. They comprised a spiritual aristocracy, you could say. But it was a working aristocracy, dedicated to guiding humanity on its proper path of development.


Their paramount tool of guidance was the Home Story.


The central figure of the Mystery Schools was the Wisdom Goddess, Sophia, known by names differing by people and region. Her name in Greek means “wisdom.” Philo-sophia was originally “love of wisdom,” and by extension, love of the goddess herself. Due to their intimacy with her, the telestai had a lot of terms of affection for Sophia, such as Prunikos, “outrageous, audacious,” and the Aramaic word hayyta, “who gives birth to life,” a play on heywa, “wise serpent,” and many others. (It is striking how the Aramaic heywa closely echoes the mother tree goddess of Avatar, Eywa.) Mystics who looked into nature with paranormal skill knew that the planet, which is too large to be seen entirely when you are on it, revealed herself in epiphanies, principally as snake and tree, but also as particular animals such as the bull, lion, panther, or birds such as the eagle, swan, and owl.


Gnostics also had a reverential name for the earth mother: the Aeon Sophia, or the Aeonic Mother. Aeon is Greek for “generating power, god-force, divinity, supernatural creative energy.” Direct contact with the living intelligence of the earth afforded the teachers of the Mystery Schools with sublime discoveries. They learned secrets of the cosmic setting of life, terrestrial physics and human design, including the issue of extra-biospheric intrusion on the earth. The more they learned, the more thoroughly and meticulously they developed the Home Story.


One momentous discovery they made was that the divine presence of Sophia did not merely arise when the earth took form: rather, she pre-existed the earth on the galactic level, as a star goddess. What’s more, they realized the astonishing fact that Sophia did not create the earth, she turned into it. The origin of Sophia is in the galactic core. The Home Story is an astronomical myth.


Gnostics also taught about a supreme being, the Originator, who appears in the first Episode of the FGS. They did not use the routine religious syntax of “creation.” Instead, they explained by exhaustive writing and teaching about the cosmic process of emanation, or emergence, which resembles dreaming. In essence, they taught that the star goddess Sophia dreams the planetary body as someone dreaming can produce a dream body and act in that altered state; yet her “dream planet” is wholly material, sensorially and physically real. It is not “maya,” a mere illusion. The initiates of the Mysteries verified these discoveries in their shamanic practices, over and over. Reliant on this astounding intel, they strove to guide humanity from being passive inhabitants of the planet to active engagement with the dreaming power that produced and sustains it. Such is the aim of Gnosis today.


The legacy of the Mysteries today remains squarely based on the sacred narrative, the Home Story. The opportunity for all who learn the Sophianic vision story and choose to live in the narrative is an incomparable privilege: Participate in the dreaming activity of the Aeon Sophia so that you play an active role in the outcome of what she dreams.


But that opportunity comes with responsibilities.


deologues of the three Abrahamic religions hate the Sophianic myth. And well they should, for it challenges their fundamental beliefs and answers many questions that otherwise must be left to faith. What’s more, it presents a narrative with the power to entirely overthrow their creation stories and render them useless. The heresy coming out of the Mysteries presented in its time, and still presents today, a frontal threat to religious faith and its accessories, orthodoxy, authority, moral rules said to proceed from the creator-god, and hierarchy. Gnosis has always been the opposition movement to all belief-systems. It does not present an alternative religion, but an alternative to all religions.
Engagement with the Sophianic myth may be compared to film-making. Actors who play roles and deliver lines depend on knowing the plot of the film. Others who appear in the film have no significant roles, and often no speaking lines. Their participation does not require knowing anything about the plot of the movie, far less about the intention of the director, screenwriter, and principle cast. These are the “extras,” comparable to NPCs, non-player characters in a video game.

By the Gnostic standard, to be ignorant of the plot of the Home Story is to be an extra in the dreamed scenario of the World Mother. What transpires in life as we know it is her movie, an event happening in her greater life as an Aeon. You can win a role in that movie by learning the narrative, the plot of the film in progress. You win the role by owning your power to merge with her power. Thus, you engage in Sophia’s “field of dreams.” She builds it, and humans come to it. But once you win the role, you have to act the part, You have to live your life with a clear sense of transpersonal direction, guided by the sacred narrative, aligned to the designs and purposes of the Wisdom Goddess. Living in that way gives you the optimal chance to express your innate talents and gifts, and enjoy your role as a unique member of the spectrum of human races. The transpersonal fulfills the personal. The personal cannot fulfill itself.


The most beautiful story on earth is the story about the earth, the sentient and intelligent mother planet. It can be called a vision story, not to be taken for a fantasy trip or grandiose game of pretending. It totally outstrips the narcissistic claim that we are gods. Sophianic myth is light-years away from New Age make-believe and is, in fact, the perfect antidote to it. The Home Story is a “meta-narrative” that you test and verify at every point of engagement with it.


There is some talk today about the need for a meta-narrative to unite good and honest folks in all lands who want to see the world turn for the better, and wish to be instrumental in that shift. The meta-narrative does exist, and must not be taken on authority. You can only believe the life-story of the World Mother to the extent that you live it for real. Those today who see the need for a meta-narrative face a dilemma. Would they be able to recognize it when presented to them? Perhaps they think they can invent a meta-narrative, a new myth. Good luck to them on that.


Comparative mythology is the comprehensive study of topics, themes, and characters found in the myths of all cultures over time. Without extensive skill in this genre, it is impossible to compare the FGS to other myths and determine its unique and outstanding properties. In short, it’s a professional call. Not to be taken on faith, however. Only through comparative mythology can the exceptional features of the FGS be detected. But verification of the myth depends entirely on first-person participation, living in the narrative. Certainly, the myth is complex and requires patience and intellectual determination to master. For practice, the Sophianic myth relies on basic intelligence, but it also sharpens, enhances, and amplifies the attention brought to it. The dubious presumption of IQ is not an issue here. Participation relies merely on the will to learn.


What, finally, would attract anyone to become involved with this mythic narrative? Those who seek purpose in life will find the foundation for it in this visionary tale. That already is a huge factor of attraction, and there is more as well.


Gnostics taught that Sophia was compelled by passionate desire, or divine enthusiasm (enthymesis), to involve herself in the experiment conducted with the species-singularity she herself had designed, acting in the galactic core, the Pleroma. If you sense that this detail of the story is true, you will naturally feel empathy for the Aeon, your divine mother. In that empathy, you realize how a superhuman divinity can be sentient like yourself, subject to emotions of joy, daring, terror, pleasure, confusion, grief — as the narrative fully describes. That being so, you can no longer think of the earth as a gigantic rock floating in a cosmic void. No, Sophia is alive, intelligent, emotively responsive and co-active with all that lives, and especially with human animals. She is PAM, the Planetary Animal Mother.


The summation of Sophia’s myth converges and dwells on a point of esthetics: as nature is beautiful, so is the supernatural source of the natural world. But infinitely, inconceivably more so. If the natural world is beautiful and bountiful in countless ways, how cannot the World Mother, the dreaming goddess at its source, not also be so, and infinitely more so? Both Sophia’s immediate presence, and the spectacular star myth about her, prove that this particular cosmic divinity is all about esthetics.


The most beautiful story on earth is the story of the earth. At the end of the day, this one paramount factor brings you home to the Home Story, and compels you to get involved and do your part to determine its outcome: beauty.


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