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AMA-NITA Mon Amour - How The Magic Mushroom Got Its Name - Graham Hancock Official Website
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AMA-NITA Mon Amour: How The Magic Mushroom Got
Its Name
by Madeleine Daines
Author links: madeleinedaines.com
AMAZO N
Amazon.com Amazon.co.uk CA JP DE ES FR IT
OTHER
B&N
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2021-06-23 AMA-NITA Mon Amour: How The Magic Mushroom Got Its Name - Graham Hancock Official Website
BEFORE BABEL
The Crystal Tongue
AMAZO N
Amazon.com Amazon.co.uk CA JP DE ES FR IT
OTHER
B&N
Syllables A-MA-NI-TA, trip quite pleasingly off the tongue. Most people are
aware of the name, that of the mushroom with extraordinary psychedelic
properties. With its distinctive red and white cap, the amanita mushroom
has long epitomised the winter solstice season. Plastic versions hang on
Christmas trees, and its colourful image appears in Christmas card scenes.
But it was more than a brightly coloured image that brought about the
association of amanita and Christmas. The marriage of the mushroom and
the winter solstice celebration is said to go way back to pre-Christian pagan
times.
Out of pure curiosity, we might look up the origin of the name and discover,
without being much the wiser, that amanita was first coined by the Ancient
Greeks: amanitai, a plural with the meaning ‘a kind of fungus’. The Greeks
coined many of their words, almost all of them, in fact. Either that or they
inherited them from somewhere yet unknown; not given as ‘unknown’ in
etymological dictionaries but often as sourced from PIE, proto-Indo-
European. In other words, no precise origin is known. And PIE is no more
helpful in explaining how the name came into being and what it originally
signified. A few rare exceptions to the obscure PIE designation are deemed
to come from recognised sources; Osiris and the ibis, bird of Thoth, for
example, said to be directly from the Egyptians, but these are unusual, and
the Greek names struggle to correspond to the Egyptian sounds.
Leaving Osiris and Thoth to one side for another day, I propose a hitherto
undocumented source not only for Greek amanita but also for that other
well-known gift of nature: cannabis. At the same time, a glimpse into the
original reasoning behind those names. And yes, they are Sumerian, and
they are found on clay tablets discovered in the region of modern-day Iraq.
Each discovery pulls in a new direction and leads to ever more intriguing
paths. One of them – buried for too many years in the quasi-nonsensical
translation of the earliest known literary text titled The Instructions of
Shuruppak (1) – concerns the use of mind-altering substances. Given the
age of that text, the matter should be of interest to quite a few. The lines in
question, 55 to 59, re-translated in The Story of Sukurru, include repetitive
phrases conferring an air of litany, an incantation not found elsewhere in
the 280 lines of text:
fire
people.
eyes,
grow,
Its mouth near milk spreads smoke on high for the Lord.
59. Cream of the ocean, cream of the ocean,
ocean,
eyes,
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For example, BI, shown above on a tablet (2) from ca.3350-3200 BC, is the
accepted symbol for ‘beer’ (and the source of our word for it) but the
original name implies more than a straightforward alcoholic brew. My
Brewer might equally have been written ‘alchemist’ and the shamanic
nature of the scene made more explicit. BI/BE, more than just ‘beer’, is
concerned with life and regeneration through the process of fermentation.
It is symbolic of the first-fruit grain festivals (3) and source of Greek bios,
‘life’.
The Sumerian writings give a new perspective on the stories and figures of
both Old and New Testaments. A good example of that is GI/GE, the reed
reaching upwards and becoming a tree in line 58, evoking a Bible verse
which is surely describing a more intense experience than a mere dream:
The tree grew large and strong and its top touched the sky; it was
visible to the ends of the earth. Its foliage was beautiful and its
fruit abundant, And in it was food for all. The beasts of the field
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found shade under it, And the birds of the sky dwelt in its
branches, And all living creatures fed themselves from it. I was
looking in the visions in my mind as I lay on my bed, and behold,
an angelic watcher, a holy one, descended from heaven.… Daniel
4:11.
GE, the reed, becomes GEŠ, the tree, and the tree is everywhere in
Sumerian, arguably the most important symbol of them all. It has a limited
array of phonetic possibilities with closely similar sounds: Gish, Gesh, Giz,
Jis, Jez, etc. It appears in the opening lines of The Story of Sukurru as the
‘Tree of Consciousness and Knowledge’ and provides a pivotal clue to the
Solstice Riddle (4) which, by the way, has not yet ceded all of its secrets.
NA, the stone, also appears in the humorous version of the weighing of the
heart for truth, an Egyptian ritual attributed to Osiris. It appears in that
context on line 40, played off against the Feather of Truth, with an unfair
advantage. With that in mind, it is possible to interpret the phrase as ‘the
weight of the Father’s words’, and the use of cannabis as a method of
becoming aware of them. NA-AB implies the presence of a stone shrine,
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while KA-NA might give ‘words on stone’. It also offers up the ultimate
etymological source of Greek Kanna, the reed.
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(PD0
PD0))
GA (of GAN from GA-AN) has the given meanings ‘milk’ and ‘cream’. It
appears with the reed and the tree on line 58 of The Story of Sukurru. GA
refers both to the cosmic Mother’s nurturing milk and, in context, to a more
literal cloud of white smoke, becoming a metaphorical meeting of above
and below. My interpretation is that, in this case, it also refers to the canopy
of the tree mentioned by biblical Daniel and that Sumerian GA, the milk and
the cream, is the original symbol of Gaia, one epithet of Mother Earth. At
the same time, appearing twice in line 59, it is the white foam of the ocean
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waves, creating the ‘cream of the ocean’, as the waters are churned. The
existence of a connection to the Hindu ‘churning of the ocean of milk’ is too
obvious to be ignored.
I looked long and hard for an early example of the Sumerian ‘eye’. It turns
up numerous times in the transliteration of The Story of Sukurru, but I
could not find an original version dated to before 2900 BC, i.e. a truly
pictographic form. Was there really no use for an ‘eye’ alongside the many
pictograms that appear on 4th millennium tablets? Or did the Sumerian eye
have such great significance that its earliest appearances were hunted
down and successfully forced out of public view? I turned to the drawing in
L’Ecriture Cunéiforme (8). It is an unusual representation of an eye, perhaps
the result of a choice made by the original scribe, seeking to infuse the
written word with a spiritual aspect, the ocular globe looking upward to the
sky, but still… easy to see that this symbol is more reminiscent of a
mushroom than a human eye. The vertical ‘stalk’ might give the clue to that
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enigma. Also interesting to note is that the Egyptian eye sports a similar
vertical line. This one on a plaque in the Louvre Museum:
More trawling through the tablets displayed on the CDLI site led to a
discovery which, in my view, goes a long way to confirming the existence of
a Sumerian mushroom pictogram and, from there, potentially to an ancient
synonymity between ‘eye’ and ‘mushroom’. Given as a version of SAG, the
‘head’ (see NISAG in note 3), it appears next to symbol EDEN on two tablets
th
(9), both from the 4 millennium. Here is one of them:
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ŠI-ME-ŠI?
Cannabis and the third eye are both quite clearly referenced in the
Sumerian text, but I have to admit that the mushroom is not found there in
such an obvious guise. On the understanding that the Greek language is at
least partially sourced here, a straightforward division of ‘amanita’ throws
up the two symbols AMA, ‘mother’, and NITA, ‘male’:
Both of them appear on more than one occasion in The Story of Sukurru,
but not together and not in such an easily definable context. That does not
mean that they never did.
AMA
AMA is a combination of MAL, the basket which is also a cosmic sailing
vessel, enclosing AN, eight-pointed symbol of the sky. AMA appears in all its
pictographic splendour on a number of tablets during the 4th millennium
BC. Seen here next to another rendering of GAN, the crucible (10):
AMA has the given meanings ‘Mother’ and ‘wide’ as attested in orthodox
Sumerian lexicons. This is the source of Latin amare with the meaning
‘love’. AMA is the Great Cosmic Mother who is the container of the sky. How
could she be anything other than pure love? The magnificent Egyptian
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Hathor at Dendera whose wide body also contains all the elements of the
sky flowing along on their boats, was surely a manifestation of the same
theme.
NITA
NITA, seen here on a tablet (11) from the 4th millennium is simply another
phonetic form of symbol UŠ which, as some will have noticed, I have
already proposed as a source symbol of Greek Osiris. UŠ has given
meanings which include ‘penis’, ‘male’, ‘side’, ‘path’ and ‘to lean’. It is the
source of the Greek suffix ‘us’ used for male names. Symbol UŠ₂ with the
meaning ‘die’, appears in line 40 of The Story of Sukurru which refers to the
weighing of the heart at the time of death, a ritual associated with Egypt
and Osiris.
The entry appears on a tablet from the Old Babylonian period, ca.1900-1600
BC, found at Nippur. How probable is it that those four syllables A-MA-NI-TA
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Thanks to the Sumerian meanings and explanations given above, the scene
on this Mesopotamian seal (13) might be decrypted using referenced
linguistic sources. AMA, the cosmic Mother, seated on her tree-trunk throne,
holds NITA, a childlike figure who appears to have a cord sticking up from
his head or perhaps a ponytail. He is not seated on her lap but appears to
float or is being held out to the figures on the left. Whichever it is, this is
not mundane mother and child interaction, not a scene of ordinary
comforting and nurturing. His head is turned towards her, and he looks into
her eyes, an indication of confidence and/or questioning. Meanwhile, his
body faces the other ‘brewer’ figures and, most importantly, his hand is
held out to receive their potion. This is one possible interpretation of the
scene, and my imaginary caption would read, “Go ahead. Take it. Have no
fear.” But of course, I could be wrong.
The scene also calls to mind the drawing of a mushroom found on one of
the two tablets from the Uruk III period, ca.3200-3000 BC and mentioned
here above (9). This one is collocated on one side with EDEN, source
symbol of the biblical garden of Eden, and on the other with an unidentified
symbol pretty much identical to the three vessels on display in the above
seal. Unfortunately, there is no photo of the original tablet on CDLI:
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Abundance of Oils
According to the ancient lexical lists, phonetic NITA stems from a
combination of two symbols: NI, seen here on a 4th millennium tablet (14),
with TA:
NI has the given meaning ‘oil’, and I have also identified it as ‘abundance’ in
the context of fertility and harvesting. It is a central element of the Solstice
Riddle (4) which begins on line 223 of The Story of Sukurru. NI appears
there three times in sixth position over three consecutive lines. There was
nothing haphazard about the positioning.
While the duo AMA-NITA appear as such only once, the three signs that give
AMA-NI-TA appear together on at least three tablets from the Old
Babylonian period. There are also two known examples of the four-symbol
phrase AMA-A-NI-TA, so more than one case where ‘amanita’ would have
been an acceptable pronunciation. Add into the mix that AMA-NI appear
together numerous times over various archaeological periods, some with
symbol A between them:
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In this case, the central A between ‘mother’ and ‘oil’ indicates flow. Perhaps
an abundant flow of love would be an apt interpretation where no other
defining context is available. But it could signify a flow of oil, perhaps the
type of mind-altering oil allowing a voyage in the basket of the sky. Of
course, AMA might also be read as a cosmic vessel in the manner of
Zechariah Sitchin’s understanding of the early Sumerian culture. As an
aside, it is my contention that symbols A-NI were the source of Latin
animus and anima, leading to ‘animate’, ‘give life to’ amongst others. It
would be a mistake to rule anything out without a full investigation.
Unfortunately, Sitchin did not give precise references to back up his
assertions.
Symbol TA of NI-TA is both ‘death’ and ‘question’: the question that is posed
at the moment of death, the question of life and death, the questioning of
the oil when found with NI and in the context of divination, of prophecy…
TA as the ‘questioning at death’ is, I would say, relevant to the role of
Egyptian Osiris, to the shamanic use of psychedelics, and to the sun’s
apparent hesitation at the winter solstice.
ama nita (OB Nippur Lu: 325a) Mother and Male (Son)
ama munus (OB Nippur Lu: 325b) Mother and Female (Daughter)
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Footnote
When Terence McKenna discussed John Marco Allegro’s 1970s book The
Sacred Mushroom and the Cross, he pointed out that Allegro was a scholar
of Aramaic and that he had studied the Dead Sea scrolls. To my knowledge,
McKenna did not say that Allegro was a scholar of Sumerian – not the same
thing at all. He knew Greek and Hebrew. The philological claims made in
that book, supposedly based in Sumerian, were said to be the primary
reason for his paradigm-changing theory about the origins of Christianity
being so roundly rejected by his academic peers.
Unfortunately for all, Allegro misunderstood the old clay tablets and their
message; shoehorning elements of the one language that he obviously did
not master into a pre-existing theory – seeing Sumerian mushrooms all
over the place so to speak. Did the distinguished linguist realise that, in the
process, he was potentially re-burying (discrediting) a fundamentally
important gift from our ancient past? I can’t imagine that he did. He had
sussed the importance of the Sumerian language as the foundation of later
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texts but did not have in hand the necessary tools of analysis to prove it. In
a pre-computerised world, how could he have known? His basic premise
was not wrong. John Marco Allegro was the first to point out that Sumerian
was the source for Greek – but in at least one of the examples in his book,
he made the mistake of placing Hebrew, a language that he did know, in
between them. He also correctly identified the original scribes as ‘word-
spinners’ but, based on his perception of them after studying biblical
writings, considered that to be only through their extensive use of the
‘trivial literary device’ of punning, as he put it. In truth, the ancient Sumerian
riddles go way deeper than that. Sadly, Allegro took the right subject matter
down the wrong garden path.
References
1. The Instructions of Shuruppak on ETCSL under ref.5.6.01.
http://etcsl.orinst.ox.ac.uk/cgi-bin/etcsl.cgi?text=all#
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2. The Cuneiform Digital Library Initiative (CDLI) detail from ref. P000744.
6. Mircea Eliade’s The Forge and the Crucible (Flammarion) gives an in-
depth explanation of the importance of the ancient crucible.
9. CDLI ref. P000523 and P471688. On both tablets, the mushroom form
referenced as SAG@n appears next to EDEN, source of biblical Eden. The
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http://oracc.museum.upenn.edu/
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