Egyptian Obelisks
Unplugged: The Lost Chord
By Donald B. Carroll
Ancient Egypt: that cradle of civilization still drawing the attention of millions of people with its megalithic monuments and the mysteries they still symbolize twenty-five hundred years after its demise as an ancient world civilization. Egyptologists today consider that approximately seventy percent of the remains of this ancient culture are still buried under the sands of time and the Sahara Desert. [i]If the general public today was asked to give an example that represents ancient Egypt their answer would probably be first, the Great Pyramid, second the guardian of the Giza Plateau; the Sphinx and third the Obelisks. All three monuments continue to hold their mysteries and fascination over the millennium and the world.
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Of these three iconic examples of the accomplishments of ancient Egypt in architecture and engineering the vast attention has been given to the Great Pyramid and the Sphinx. Even with hundreds of years of exploration and research many questions remain on the dating, the construction, their purpose and possible undiscovered chambers along with unexamined known chambers and voids both in the great Pyramid and the Sphinx. Obelisks, on the other hand, have been comparatively neglected. This disregard is quite remarkable in the aspect that the engineering and architecture in the design of these obelisks is a feat that, in many ways, is as extraordinary as the Great Pyramid.
First, not to denigrate any of the incredible monuments and before the protests of such a comparison begin a brief look of the data should be reviewed. The Sphinx is considered to be a monolithic monument carved from the Giza Plateau bedrock in situ and repaired through the millenniums with limestone blocks. The Sphinx, the Greek name of this monument is not its original name, nor is Hor-em-akhet (Horus in the horizon), a name given to it by Thutmose IV during the New Kingdom dynasty when it was honored as a solar deity. According to the Old Kingdom “Pyramid Texts” its name was “Hu” (PT 251, PT 697). Hu (transliteration) (ḥw) was the deification, the personification, of the first word, the word of creation, possibly representing the creator itself. [ii]
The Great Pyramid, transliterated as “Mer” in the hieroglyphs, both in engineering and architectural design is considered the most advanced of all the pyramids. Originally it was four hundred and eighty-one feet in height and seven hundred and fifty-six feet to each of its four sides and cover with polished white Tura limestone. There is less than two-inch, difference to the length of each of its sides, it is aligned to the four cardinal points and to this day, even with its thirteen acres footprint, is less than an inch of being perfectly level. It is estimated that it consists of approximately 2,300,000 blocks with an average weight of two and one-half tons, with the largest blocks weighing up to eighty tons[iii]. There is nothing else like it in the world and modern engineers' debate whether it could even be recreated to its level of sophistication today, thousands of years later, with all of our modern technology. The Great Pyramid, the last remaining wonder of the ancient world remains a wonder and a mystery still today.
Perhaps because the Great Pyramid is such a massive
engineering and architectural feat with internal shafts and chambers that still
can be explored and studied it eclipses the accomplishment of the creation of
obelisks. The Great Pyramid seems almost
designed to send minds on flights on imagination, besides possibly being a
tomb; other theories abound as anything from a place of initiation or an
electrical power plant to being created by extraterrestrials. On the other hand,
obelisks give an individual, in comparison, nothing to explore, nothing seems
to be hidden. What will be presented in
this article is the evidence, hidden in plain sight, that Egyptian obelisks
played a very significant role in their spirituality not only in symbolism but in
functional purpose, commensurate to the purpose of the Great Pyramid.
Egyptian obelisks deserve similar awe and consideration in
their construction and architectural design that the Great Pyramid
elicits. Egyptologists date obelisks
back to the Old Kingdom to around the same period of the Great pyramid though
some researchers theorize they go back to pre-dynastic times. It has been considered that the first center
for obelisks was Heliopolis also known in ancient times as On or Iunu; Iunu is
translated as “Pillar City” [iv].
Ancient records document dozens of standing obelisks in Heliopolis though today
only one obelisk remains standing as the rest were either destroyed by
earthquakes, invaders or taken as trophies by foreign conquerors.
Obelisks, primarily, were created out a single piece of red
granite, predominately from a quarry located near Aswan Egypt. They were not
created in sections, or blocks but as a single monolithic piece of
granite. In general, they range from a
height of approximately ten feet to over one hundred and thirty feet. In weight, this gives a range of
approximately 30 tons to almost 1200 tons (the unfinished obelisk still in the
quarry near Aswan). To reiterate, for
comparison, the Great Pyramid’s largest single blocks are estimated at just
eighty tons versus an obelisk being a single piece of carved granite that is
almost fifteen times that weight (1,200 tons).
That should give one pause for consideration in the creation,
transportation and erection of these monolithic monuments. To this day how this
was accomplished is debated with no firm answer of such great feats.
unfinished obelisk By Diego Delso, CC BY-SA 4.0 wiki commons
Some examples of these engineering miracles still standing
or re-erected include:
The only standing obelisk left at Heliopolis erected by
Sensuret I which is considered the oldest temple obelisk still upright at its
original site. It is 68 feet tall and weighs 130 tons.
The obelisk of Thutmose I located at Karnak which stands at
a height of 71 feet having a weight of over 140 tons.
Queen Hatshepsut’s Obelisk located at Karnak having a height
of 97 feet and a weight of 320 tons.
The obelisk of Ramses II located at Luxor temple which
stands at a height of 75 feet and weighs an estimated of 250 tons.
The Egyptian obelisk now in Rome, Italy, in St. Peter’s
square in front of the Vatican with a height of 82 feet and a weight of 365
tons.
Finally, the tallest and largest of standing Egyptian
obelisks is the “Lateran Obelisk” located at the Lateran Basilica in Rome with
a height of over 105 feet with a weight of over 500 tons. [v]
Vatican Obelisk By jeffwarder, CC BY-SA 3.0
This is a partial list of obelisks originally created in
ancient Egypt that are standing today which gives testimony of the highly
advanced skills of their engineers and architects. Though these noted as standing, the
unfinished obelisks still in the Aswan quarry should be distinguished with it height
of more than 135 feet and a weight estimated of almost 1,200 tons. It was not
completed apparently due to fissures that occurred in it, ruining its ability
to be a pure monolith. What has to be considered is that, if the fissures had
not occurred, the builders had every intent to move and erect this massive
obelisk along with the means to do it. Other obelisks from this quarry had
already been created, transported anywhere from 100 miles to over 400 miles,
then erected at sacred sites and often erected in pairs in front of the
entrances to their temples.
In researching the original purpose of obelisks and why the
builders went to such great efforts in all the aspects of these massive
monoliths, the information is scant.
There are probably less than a dozen books on obelisks and these books are
mainly filled about the transportation of these monoliths by the Roman Empire,
the resurrection of them by the Popes in Rome and the 19th century
transportation to and re-erecting in foreign cities such as New York, London
and Paris. All these books go into great detail about the engineering
challenges and costs to accomplish all this, ad infinitum, but little is
written or known about obelisks original purpose. They have been basically
considered symbols of the “Sun Cult” of the Egyptian Deity Ra, monuments to
Pharaohs, or possibly gnomons marking seasons or time of day and funerary
memorials. Even with what is known there are ongoing discussions of their age,
possibly being pre-dynastic, to the hieroglyphs carved on their sides being
added later, not an aspect of their original creation.
To address this dearth of knowledge of Egyptian obelisks it
is important to begin with their original name, rather than the Greek term of
obelisk as they are known today. The Greek term, obelisk, means roasting spit;
the ancient Egyptians called them Tekhen or Tekhenu which is translated as “To
Pierce the sky” or heavens; to rise up in brilliance. The Tekhen (Obelisk), shaft represented a frozen ray of light from
the sun and its pyramidion capstone (Benben stone) represented the Bennu bird,
the Egyptian symbol of spiritual rebirth and resurrection, where the Greeks
found the genesis of their Phoenix; a much different meaning then the Greek
“roasting spit”. [vi]
This Egyptian symbolism of their Tekhen is similar to the
symbolic representation of their pyramids. The pyramids also symbolized frozen
light with the same Benben capstone at the top. Pyramids were considered
stairways or ramps of light a place where heaven and earth came together; a
site of glorification (the horizon) where the Ka and Ba, aspects of the soul,
could be united creating an Akh or Akhuu; a radiant being of light. The
Egyptian Ka represented their eternal connection to their god that had to be
reawakened for spiritual rebirth and resurrection for the unity with their
god. The Ba was the individuals own
unique persona of the soul manifested in physical existence. The Akh (Akhuu) can be considered as the
reuniting of god consciousness with the individual’s consciousness. While the
uniting of these aspects, the Akhuu radiant being of light, represents such a
unitive spiritual enlightenment. This was the goal of all Egyptians, not just
the pharaohs. [vii]
Pyramids (Mer), the Sphinx (Hu), and Obelisks (Tekhenu) also
represent the significance the Egyptians had of light and sound in their
spiritual philosophy and cosmology. The Sphinx, as noted earlier was the
material manifestation of the sound of creation and later, in the New Kingdom,
was considered a solar (light) deity guarding the Giza Plateau. The pyramid, as described by an Egyptologist;
…the original appearance of the pyramid when most of its surface was newly
covered with smoothed white limestone.
The reflected light must have been so brilliant as to be almost
blinding. …In one sense the pyramid may have been a giant reflector, a stone
simulacrum of sunlight and a window to the sky…” [viii].
The symbolic representation continues; (Pyramids)…many indications they were
symbols of the sun.”[ix] Obelisks
had a similar symbolic representation, though rather than a figurative image of
a star or sun to facilitate one becoming a radiant being of light, they
depicted one single ray of light and still sharing the same Benben capstone of
spiritual rebirth and enlightenment; to pierce the heavens and rise up in
brilliance whereas the pyramid was light that was a window to the sky.
Sound appears to be incorporated into the design of the
Great Pyramid itself. Though there have
been no definitive scientific acoustic studies done on the interior architectural
chambers sound projection and resonance, many including this researcher, who
have been inside the Great pyramid note its ability to project and amplify
sound. This author can also personally speak how sound travels and resonates
inside the Great Pyramid and of very significant resonance while in the Great
Pyramid coffer and sounding a note with three witnesses present. Dr. Robert
Schoch in his book: Pyramid Quest writes that he and researcher John Anthony
West did their own sound experiment with Mr. West chanting in the King’s
Chamber while Dr. Schoch was in the subterranean chamber. Dr. Schoch writes that even with poor hearing
he could hear Mr. West Chanting. [x]
In these examples of Ancient Egyptians incorporation of
light and sound in their philosophy and monuments, this leaves the obelisks.
Their physical representation of a frozen ray of light with the Bennu bird of
spiritual rebirth and resurrection at its apex is accepted; but what of sound?
That is their aspect that has been hidden in plain sight. At the Karnak site there is the top portion of
an obelisk; this section is approximately 36 feet in length, estimated to weigh
almost 100 tons and is attributed to the female pharaoh Hatshepsut. This
section was mounted horizontally on stands. Though not a well-known this
obelisk section could create a sound when struck. This researcher personally
experienced this phenomenon several times during several visits to Karnak. By putting one’s ear at the pyramidion point
while another would go to the other end a simply slapped the far end of the
obelisk with their hand a tone could be heard.
A tone that travelled 36 feet through 100 tons of granite! Fortunately,
besides this researcher’s personal experience a television documentary; The
Mystery of the Sphinx, narrated by Charlton Heston, released in November 1993
records this exact tone creation by this obelisk. (For those interested it can
be still found on YouTube: Mystery of the Sphinx - YouTube and this is recorded
in it at 48:42-49:05). Unfortunately,
though well-meaningly, in April 2022 this obelisk portion was re-erected by
engineers and architects at Karnak, so this phenomenon can no longer be
experienced.
This documented occurrence of a tone being created through
an obelisk by striking it provides the evidence of sound creation and its
concurrent symbolism in the construction and design of obelisks. It also
provides the evidentiary clues to the original purpose of obelisks and why they
were erected in front of the entrances to temples.
The use of sound in the design of ancient sacred sites is
neither unknown nor unexpected; designs of ancient sites around the world have
incorporated sound in their projects.
There is even a field of study called archaeoacoustics to examine them.
This presented research provides evidence of the high level the Egyptian
civilization brought such acoustics to their sacred sites.
Pairs of obelisks erected in front of Egyptian temples and
often not quite the same height or dimensions.
In such a case it would be expected that then the pair of obelisks would
not have the same tone when struck and it is through this aspect that the
incredible advancement in design and engineering of these ancient Egyptian
comes to light, in this case of sound. Having the paired temple entrance
obelisks emitting two close but distinct tones when struck is the key to their
purpose. Imagine a pharaoh, priest or initiate coming to the entrance of a
sacred temple and standing in contemplation between the paired obelisks before
entering. Then the two obelisks being struck with an instrument such as a
leather bag filled with sand causing each obelisk to emit a tone. The
individual between the two obelisks would hear one tone in the right ear and a
slightly different tone in the left ear. Today, modern science shows that such
an experience creates what is call a binaural beat. A binaural beat is created by the brain
processing the two slightly different and separate tones, one in each ear, and
interpreting the difference between the frequencies of the two tones as a third
tone. This occurs in the area of brain called the super olivary complex. In the internal creation by the brain of a
third tone, a chord is formed; in musical theory three notes comprise a chord.
Why this occurs, according to neural science is: “Located in the brain stem, the superior
olivary complex is the first part of the brain that processes sound input from
both ears. The superior olivary complex synchronizes various activities of the
many neurons in the brain. This complex responds when it hears two close
frequencies and creates a binaural beat, which changes the brain waves. The
synchronization of the neural activities across the brain is called
entrainment.”[xi] As an example, if the human brain is receiving
a tone (frequency) of 440hz, the musical note A over middle C in one ear and a
tone (frequency) of 432hz in the other ear the brain processing creates an
internal third tone of the difference of the two external tones; in this case a
tone of 8hz that effects the brain neural activities and is evidenced of the
EEG.
What has brought binaural beats to the attention of modern-day scientists and medical researchers is the potential effect of binaural
beats has on the brain in particular the synchronization of brain neural
activities as evidenced in changes of brain EEG recordings; specifically in
keeping the frequencies of the two external tones to a difference of 40 hertz
(Hz) or less. The interest being because
what has been discovered about brain activities entrained to this narrow span
of frequencies. Generally, five different brain waves have been identified:
Delta wave – 0.5 – 4Hz
• Theta
wave – 4 – 8Hz
• Alpha
wave – 8 – 13Hz
• Beta wave
– 13 – 30 Hz
• Gamma
wave – 30 – 100 Hz
Delta wave patterns are considered to represent dreamless
(non-rapid eye movement (REM) sleep).
Theta wave patterns are considered to represent REM sleep,
creative states and deep meditation.
Alpha wave patterns are considered to represent a state of
relaxation, a sense of flow, a light meditative state.
Beta waves are considered to represent a normal, standard
waking state.
Gamma waves are considered to represent improved cognitive
processing, memory recall, learning and attention to detail. [xii]
In the example given above of the two external tones
creating an internal tone in the brain of 8Hz, this tone borders on putting the
individual between a Theta and Alpha state of meditation, what some would
allude to as higher consciousness.
This science background provides what would possibly transpire
when paired obelisks that are actually being struck. Egyptian hieroglyphs also
provide further evidence that the obelisk purpose were to be struck to create
such tones. It was noted earlier that an obelisk was named a Tekhen. The identical word, Tekhen, was also used to
mean; to strike or beat as a drum. The only differences in the hieroglyphs was
instead of a depiction of an obelisk a depiction of an arm was used. The hieroglyphs essentially seem to be providing
instructions on the use and purpose of an obelisk; to beat or strike them to
create a tone.
The evidence that an obelisk produces a tone when struck,
that they were erected in pairs in front of temples, that the hieroglyphs use
the same word, Tekhen, with a small change in its determinative to translate as
to strike or beat like a drum and that slightly different tones being received
through each ear create a binaural beat and can put an individual into a
meditative state, provides compelling indications that this was all designed
purposefully to create a “higher consciousness” state prior to entering a
sacred temple.
It is not difficult to picture a pharaoh proceeding down the
avenue of sphinxes from Karnak to the temple at Luxor and standing between its
two original obelisks at its entrance as they were struck to prepare the
pharaoh, through brain entrainment, to enter the temple in a meditative state
for a prepared ritual that’s culmination would be advancing to its “holy of
holies”. This preparation would be particularly apt for Luxor Temple, a temple
that was not dedicated to a specific deity or pharaoh. A temple that Egyptologist R. A. Schwaller de
Lubicz studied, in great detail for 12 years and publishing an exhaustive work;
The Temple of Man and an abridge work; The Temple in Man, on the esoteric
meanings and purpose of Luxor Temple, considering it a temple for the birth of
the divine human.[xiv] This purpose is ideally fitting in that the spiritual
goal of ancient Egyptians was to unite their Ka and Ba and in so doing become
an Akh (Akhuu) a radiant being of light and what an enhanced way to begin such
a ritual journey than having the brain entrained into a meditative state at its
beginning then by binaural beats created by standing between the entrance
obelisks while they are being struck. What is being described here is a process
designed by the Egyptians for creating a meditative state to reach a spiritual
higher consciousness, an enlightenment, that has been the purpose and similarly
described by religious philosophies around the world all sharing a goal to
become spiritual radiant beings of light.
This postulation of the purpose of Obelisk is not
unprecedented at ancient sacred sites; recent studies of the Megalithic stone
circle site of Stonehenge have reached similar conclusions for one of its
purposes. One research study on the acoustical properties of Stonehenge; The
Sounds of Stonehenge, by Dr. Rupert Till a professor at the University of
Huddersfield along with Dr. Bruno Fazenda an associate professor in Acoustics
at the University of Salford came to the conclusion that the acoustic design at
Stonehenge, in its configuration at approximately 2200 BCE, (In the same era of
the construction of the Great Pyramid) would put participants within the stone
circles in meditative states. Their study found that chanting or drum beating,
as examples, could create a resonance inside the stone circles, depending on
the participants’ position, could induce a Theta or Alpha increased brainwave
state. Specifically, they write:
“These low frequencies are very similar to the brainwave
frequencies of alpha and beta types of activity. It is possible that those
around the edge of the stone circle would have chanted at the speed of the
percussive sounds or sung long notes with a vibrato wobbling at 5.2Hz, in time
with the music, in order to entrain their brainwaves to the music, to make the
dominant frequency of their brain activity slow to a theta pattern, typical of
deep meditation, hypnosis or trance. This is a similar state to the hypnogogic
or twilight state between waking and sleeping, and the eyes would be shut for
this practice. In the centre a different frequency could have been produced by
modal vibration and echoes, one of 10.4Hz, still associated with closed eyes
and meditation, and to some with healing. 10.4Hz is associated with alpha wave
brain activity, a more active state. It may be that at the centre, a leader was
able to stay alert because of this alpha state, continuing to drive a rhythm
along and communicate with those at the edge of the stone circle, as they
gradually became lost in a deep reverie” [xv]
Though Doctors Till and Fazenda could not state whether this
effect at Stonehenge was purposely designed or coincidental, the experience at
the site occurred in any case. Fortunately, another research study soon after
Doctors Till and Fazenda’s work provided evidence that Stonehenge was
constructed and designed to create such brain entrainment result. A Royal
College of Art research team led by Paul Devereux and Jon Wozencroft
investigating the possibility of stones at different Neolithic sites were
chosen and dressed with acoustical qualities in mind, with a musical (tonal) function
producing sounds, when struck, similar to drums, bells, and gongs, possibly
with a hammer. In 2013, their team was able to test the theory at Stonehenge
with the actual stones—these tests confirmed the stones’ acoustical qualities!
As a side note that aids in supporting there results faint hammer symbols have
been found carved in some of the stones.
The results of the research teams studying the acoustic of
Stonehenge, showing that the sounds created within the stone circles had the
ability to put the participants in an altered/meditative state of consciousness,
and the further evidence that stones at Stonehenge were purposely chosen and
dressed for their acoustic qualities lends credence that the Egyptians in
creating obelisks and placing them in pairs at the entrance to their sacred
temples in the same period, like the builders of Stonehenge, understood the
acoustic of stones and the effect on mental states, thus purposely designing
them and placing them to have similar consciousness altering effects.
This researcher’s hope is that further studies pursue this
evidence of acoustical brain entrainment through binaural beats created by
tones of paired obelisks. At this time with no originally paired obelisks
together such a study would have to be done through computer recreation or
dimensional modeling, both which are in the realm of possibility.
As a postscript there is a curious poem by a well know 19th
century British Victorian poet; Adelaide Anne Procter, titled The Lost
Chord. It is about an organist idly
practicing who inadvertently who struck a chord that brought the Organist into
a spiritual state of higher consciousness and connection with the Divine. It makes one pause, whether through science,
ancient sacred sites or poetry that such a spiritual experience can be induced
through sound and brings an elegant synthesis to human consciousness.
A lost Chord by; Adelaide Anne Procter (Public Domain)
SEATED one day at the organ, I was weary and ill at ease, and my fingers wandered idly Over the noisy keys.
It flooded the crimson twilight, Like the close of an angel’s psalm, and it lay on my fevered spirit, With a touch of infinite calm.
It quieted pain and sorrow, like love overcoming strife; It seemed the harmonious echo from our discordant life.
It linked all perplexed meanings into one perfect peace, and trembled away into silence as if it were loath to cease.
I have sought, but I seek it vainly, that one lost chord divine, that came from the soul of the organ, and entered into mine.
It may be that Death’s bright angel Will speak in that chord again; It may be that only in heaven I shall hear that grand Amen. [xvi]
[i] Zahi
Hawass: Egypt discovered only 30% of its antiquities: Zahi
Hawass: Egypt discovered only 30% of its antiquities - EgyptToday
[ii] Egypt:
The Egyptian God, Hu (touregypt.net)
[iii] The
Complete Pyramids 2008 pp.108-109 by Mark Lehner
[iv]
The Meaning of Obelisks 1977 p.5 by
Labib Habachi
[v]
Moving the Obelisks 1991p.59 by Bern
Dibner
[vi]
Obelisks: A History 2009 p. 13-15 by Brian A. Curran (Author), Anthony Grafton
(Author), Pamela O. Long (Author),
Benjamin Weiss (Author)
[vii] The
Complete Pyramids 2008 pp.23-24 by Mark Lehner
[viii]
The Complete Pyramids 2008 p. 35by Mark Lehner
[ix] .
The Complete Pyramids2008 p.34by Mark Lehner
[x] Pyramid
Quest 2005pp.323-324 Dr. Robert Schoch and Robert Aquinas McNally
[xi] Written
by WebMD Editorial Contributors; Medically Reviewed by Dan Brennan, MD on April
12, 2021 https://www.webmd.com/balance/what-are-binaural-beats
[xii] Binaural
Beats for Behavior Modulation and Brainwave Entrainment | Knowing Neurons
[xiii]
An Egyptian Hieroglyphic Dictionary Vol.II 1978 p. 887 by E.A. Wallis Budge
[xiv]
The Temple in Man 1977 pp. 11-12, 33 by R.A. Schwaller de Lubicz
[xv] .” Conclusions | Sounds of Stonehenge (wordpress.com) Till and Fazenda
[xvi] https://en.wikipedia.org/wiki/The_Lost_Chord
D. Carroll personal photos cannot be used without permission of owner and credit citation.
Could the heads at Easter Islands also function in this manner?
ReplyDeleteInteresting question, I don't know.
ReplyDelete