The fairytale of Snow White was written by the Brothers Grimm during the mid-19 th century, and like all of their fables it was written as a parable and therefore infused with layers of hidden meaning.
The Brothers Grimm were not simply storytellers, they were academics, lexicographers and linguists who were deeply immersed in historical and cultural research. They not only knew of the literary usage of the Gospel parable and the Talmudic pesher, they wanted to emulate these tried and tested techniques. And the deliberately cryptic nature of Gospel parables is made perfectly clear by Jesus himself, when he says:
The disciples came to Jesus and said: Why do you speak in parables? He answered: Because it is given unto you to know the mysteries of the kingdom of heaven, but to them it is not given … Therefore I speak to them in parables, because they seeing see not and hearing they hear not, nor do they understand. (Math 13:10-13)
Parables to Keep Secrets
So biblical parables were used to keep secrets from the common people, just like a Mason passing codes and cyphers in plain sight to fellow Masons. That was the true nature of the Church of Jesus and James, before it was turned into Simple Judaism (Christianity) by Saul. Some of the Gospel parables were deliberately overt, like the merchant who bought a precious pearl (Math 13:45) or the mustard seed that grew very large (Math 13:31), to give the common people the erroneous belief that they were a part of the initiated few. But other parables were purposely designed to resonate only with an inner circle of disciples and trusted followers, like the parable of the wicked tenant (Math 21:33).
The Wicked Tenants
In fact, the parable of the wicked tenant was so astutely obscured and so contrary to normal expectation that it has very rarely been correctly translated even within modern academia. It is actually an explicit description of the Syrio-Judaean struggle against Roman taxation during the first century, with the Romans being cast as the wicked tenant. The Romans were living on Judaean land (tenants) and yet they would not pay any rent to the princes and kings of the region, and demanded rent (tribute) from them instead. From the Syrio-Judaean perspective the Romans were indeed ‘wicked tenants’ in refusing to pay their dues to the landowning monarchs of the region, and this was a divisive grievance that eventually precipitated the Jewish Revolt – but one that also highlights the royal status of the biblical Jesus.
During their research into German language and culture the Brothers Grimm came across many folk tales that appeared to contain similar hidden meanings, and they were determined to preserve them for future generations.
The mid-19 th century was a peak of social change, as the Industrial Revolution swept away old rustic traditions that had endured for centuries and replaced them with a newly urbanized void. And if these ancient customs and fables were to survive in this new world, they would have to conform to the edicts of an increasingly centralized and powerful academic and religious elite.
The Green Man and Maypole may have been de rigueur out in the rural provinces, but were less acceptable in the emerging industrialized metropolises of Europe, where conformity was a virtue and the finger of heresy could easily end a career. And these conformist threats were very real, as the Brothers were to find out in 1837 when they were suspected of being allied to the Young Germans – a group of radical academics and writers who fought for a separation of Church and State and for transparency in religious teaching – and lost their university teaching positions as a result.
So the Brothers were now in possession of many unorthodox Christian traditions, which included some decidedly heretical stories about New Testament events – the kind of heretical elements that have been explored in Ralph Ellis’ The King Jesus Trilogy . And surprisingly, Snow White was one of the most heretical of all the fables the Brothers had come across.
Snow White: A Celestial Egyptian Drama
The story not only contained obvious cosmic and astrological elements but, just like Rapunzel, Cinderella and Sleeping Beauty, it also contained distinct Gospel overtones. So the foundations of the Snow White fairytale are essentially celestial, because the gods were celestial beings and the drama of their lives could be interpreted in human terms. And so the lives of the gods were paralleled by the lives of the sacred royal families, who often sought to emulate their spiritual mentors and draw upon their majesty and power. Hence the old adage: ‘As above, so below’.
The fable of Snow White begins with an evil queen who is jealous of the radiant beauty of her young stepdaughter, and arranges for a huntsman to take her into a deep forest and have her killed. Significantly, in the first edition of the story the jealous queen was actually the biological mother of Snow White, and while this alternative rendition fits the cosmic version of the story much better, it was not so suitable for bedtime reading. This was not a story that mothers wanted to read to their young daughters, and so in later editions the evil mother became an evil stepmother.
In cosmic terms there were three queens in the heavens who might correspond with this evil queen, and these are Venus, the Moon, and the Milky Way. And in this case, the most likely candidate for the jealous goddess-queen is the Milky Way.
The foundations of this fairytale were explored in Mary Magdalene, Princess of Orange and King Jesus , and in these two books the Egyptian goddess Nut was identified as being the Milky Way – the faintly glistening outline of our own galaxy. Take a look at how the goddess Nut arches her body across the night sky, and compare that with how the Milky Way is arched across the night sky. And if you look at the ends of the Milky Way, they do indeed appear to split into arms and legs.
Quite clearly, the Egyptian goddess Nut was a graphic representation of the Milky Way. Which is why the Sun was said to have been swallowed and then reborn by Nut, a story that traces the course of the Sun during the year, against the background of the Milky Way. And in a similar fashion, in Greek mythology Aphrodite (Venus) was said to have been born in the ‘foam of the sea’, which is another reference to the foaming silvery filaments of the Milky Way.
Fig 2. The goddess Nut arches her body across the night sky, with her partner Geb (the Earth) prostrate below her. Note the solar barque of Ra-Horus sailing across the body of Nut, because the cosmos was seen to be a celestial sea. ( Public Domain )
But the great goddess-queen Nut, the Milky Way, only appears as a faint gossamer of lace arching across the night sky, and she was greatly afraid of being outshone by the other goddesses. So the jealous Nut looked into her mirror and asked who was the fairest queen in the heavens. And since Nut arches her body across the heavens and looks down upon the Earth, the great mirror of Nut is the Mediterranean Sea, an enclosed lake that reflects the entire vista of the heavens above. As above, so below.
But the answer from the Mediterranean mirror was not encouraging, for the serene waters below observed that there was a much brighter and more radiant Snow White goddess in the heavens above – Selene, the full Moon. The horror Nut felt was palpable, for she was being eclipsed and outshone by her own goddess-princess daughter who was far more radiant. Just look at that beautiful white orb, gleaming in the Mediterranean mirror, how could the translucent specter of Nut compete with such a bright young goddess as Selene-Moon? While the Snow White Selene may have been the daughter of Nut, jealousy got the better of the old queen and so she asked the huntsman of the heavens to take Selene into the great forest, and dispose of her.
In Egyptian terms the cosmos was a great sea, upon which the solar barque or Ark of Ra-Helios sailed each day. So the great seas of the terrestrial oceans were mirrored by the great seas in the heavens above. And the celestial bodies sailed across this great sea in barques or ships, as can be seen in fig 2. As above, so below. However, in the Babylonian epic of Gilgamesh, the cosmos was said to be a great forest, and no doubt each pinprick of starlight was seen as a tree in that great celestial forest.
And the great huntsman of this heavenly forest was Gilgamesh, who was an image of Orion, armed with his great axe, his bow, plus a sword hanging from his belt. The Greeks devised a very a similar iconography, but they depicted Orion as the mighty Hercules, armed with his great club and the shield of the Nemean lion, plus a sword hanging from his belt.
And it was Orion-Gilgamesh-Hercules who maintained order in the cosmos. So in the Gilgamesh epic it was Gilgamesh (Orion) who oversaw the transition from the Great Year of Taurus to the Great Year of Aries, by killing the Bull of Heaven (Taurus). In Greek mythology it was Hercules who performed the twelve labours pertaining to the twelve zodiac constellations. And in Roman mythology Orion was called Mithras, and he again killed the Bull of Heaven (Taurus) so that Aries the Ram could become the dominant constellation.
The Zodiacal Seven Companions
But Orion-Hercules, the great huntsman, took pity upon the young and radiant Snow White Selene, and rather than killing her he allowed her to go to a small house in the forest, which was home to seven dwarfs. And so the cosmic foundations of the continuing story are quite plain to see. The seven small companions of Selene, the Snow White Moon, are the seven planets that trail in a long line behind Selene-Moon as they appear to orbit the Earth. So the seven dwarfs are the seven known planets of that era.
And if the great forest was the cosmos, then this house in the forest must be one of the twelve houses of the zodiac constellations. And if the seven dwarf-planets were all in one zodiacal house, then this represents a rare conjunction of Selene-Moon and all the planets within a small quadrant of the heavens. And since Venus-Aphrodite was one of the seven dwarf-planets, then this rare conjunction with the Moon must have taken place in the morning or evening, because Venus is the morning or evening star. And if Selene-Moon had joined the planets in a dawn or dusk conjunction then the Snow White goddess must have been waning, as she always does when she approaches Helios the Sun.
And this is exactly what the fairytale of Snow White says. The evil queen, Nut the Milky Way, looked into her Mediterranean mirror and saw that Snow White Selene was still alive – the great huntsman Orion-Hercules had deceived her. So Nut dressed as a peddler and sold Selene a beautiful lace corset, which she did up so tightly that Snow White Selene grew pale and fainted. And this is exactly what happens in the heavens above. When Selene the Moon approaches a conjunction with Venus (and the other six planets in this particular case), by the very nature of the planetary orbits she is waning and her waist is getting thinner and thinner as each day passes. It is almost as if someone is tightening a corset around her waist, until Snow White Selene becomes just a thin sliver of her former self.
When the seven dwarf planets returned from their labors and saw Snow White Selene so thin and faint, they thought she was dead. And within a few more days she did indeed die, turning from her usual brilliant Snow White radiance into a black and lifeless husk. The Snow White princess-goddess was dead and a great sorrow fell upon the seven dwarf planets, who adored her and followed her in long line in the night sky. But the evil Nut Milky Way was jubilant, because with Selene-Moon now black and lifeless, she was once again the most radiant goddess in the heavens above. And her Mediterranean mirror confirmed this, because everywhere she looked in her great watery mirror the only reflection she could see was of herself.
Death of The Moon
Despite the gloom that now pervaded the heavens help was at hand, because a planetary conjunction involving Venus and Selene-Moon has to be at dawn or dusk. And so Selene-Moon was a New Moon at this time, she was dark and lifeless as if entombed in a crystal casket and lost from this world. But a dawn or dusk conjunction must be adjacent to Helios the Sun, the prince or king of the heavens, and when the handsome Prince Helios looked down upon the dark and lifeless Selene-Moon, he thought she was the most beautiful princess in the heavens. And so as Helios-Sun approached Selene-Moon he kissed her lifeless body. And then, being conveniently the exact same apparent size, they formed a cosmic diamond marriage ring in the heavens above as they consummated their love for one another. Two celestial bodies merging in flagrante delicto. A marriage made in heaven. As above, so below.
Following this celestial marriage, Snow White Selene Moon gradually came back to life. Her corset was slackened, her image began to swell again, and the newly pregnant Snow White Selene once more became the most radiant princess-goddess in the night sky. And so when Nut Milky Way looked down upon her Mediterranean mirror once again, she was aghast to see Snow White Selene alive and radiant once more. Snow White shone in all her radiant glory, while Nut could only manage a ghostly glimmer in comparison. All the scheming and plotting had been for nothing because the celestial royal couple, Helios and Selene, reigned supreme once more.
Mary Magdalene, Moon Goddess
This was the celestial story that the Brothers Grimm wished to convey. The fairytale of Snow White was actually a story of a cosmic wedding between the Sun and the Moon. And the reason why this story was deemed to be heretical, was that it also told the story of the biblical royal family. This is why the son and daughter of Queen Cleopatra of Egypt were named Helios and Selene, the Sun and Moon. As above, so below. And since the biblical royal family were descended from Queen Cleopatra, as is explained in Cleopatra to Christ , later Renaissance artists closely identified both Mary the Virgin and Mary Magdalene with Selene, standing upon the Moon and wearing a halo of stars.
Both of the biblical Marys were icons of Snow White, sacred royals who were venerated as incarnations of Isis-Selene, the Snow White celestial goddess. While Jesus was seen as an incarnation of Helios, the Sun of God (sic). And this assertion is confirmed by the imagery on the Lady Mary zodiac at Beit Shean, a sixth century monastery just south of the Sea of Galilee. Here we see what can only be Jesus and Mary surrounded by the twelve disciple-constellations of the zodiac, who are depicted here as calendrical months of the year. But the layout of the Beit Shean mosaic is clearly astrological, as it is almost exactly the same as the Hamat Teverya zodiac which lies a few kilometers to the north at Tiberias.
And yet Jesus and Mary are portrayed here as Helios-Sun and Selene-Moon in a cosmic conjunction – an impending eclipse. Snow White Mary and her Prince Charming Jesus consummating their love for each other – as above, so below.