WhatFinger


Obama's Idolatrous Greek Temple Backdrop Revisited

Obama’s Blatant Idolatry



As a pathological narcissist, most of Obama's public remarks must be understood as self-referential. When he said, "We are no longer a Christian nation," he was not referring to the overwhelming number of God-fearing Americans whose faith and morality he is incapable of grasping. What Obama meant was: "The anti-Christian, anti-God Democratic Party led by me now rules America."
I don't know of a single Democrat in the White House or in the Congress who believes that what Paul called the "sacred scriptures" are the revealed word of God. How could they remain a Democrat if they did believe that? The democratic leadership has become a conglomeration of Marxists, materialists, atheists, egotists, abortionists, evolutionists, unashamed Sodomites, apostate religionists, elitists, calumniators, usurpers, vain praters, liars and totalitarians. The idea of a Christian Democrat has become as oxymoronic as the terms Christian Marxist and Marxist Christian. The Greek temple background, or backdrop, of Obama's Democratic Convention acceptance speech broadcast this truth with great clarity. What do Greek temples signify? In a word: idolatry. Inside the Parthenon in Athens, the Greeks exalted a 40-foot-tall gold and ivory image of a woman they called Athena. At Olympia, they exalted an enormous enthroned gold and ivory image of a man they called Zeus.

Support Canada Free Press


I refer to Athena and Zeus, not as gods, but rather as a woman and a man because that is who they were. In Plato's Euthydemus (302d), Socrates referred to Athena and Zeus as his "lords and ancestors." Ancient Greek temple worship is a sophisticated form of ancestor adoration exalting humanity over all. Greek temple art celebrates the triumph of the way of Cain over Noah and his Yahweh-believing sons after the Flood. If you'll recall, Obama's Greek temple backdrop included two huge television screens on opposite sides beaming colossal images of himself as he enchanted the crowd. The ruling secular academic idea that the Greeks, who created the living basis of our culture, spent fifteen years building the Parthenon in Athens and twelve years building the temple of Zeus at Olympia to exalt mythical gods and imaginary events is absurd on its face. The Greek word for gods is theoi. Its literal meaning is "placers." The humans the Greeks exalted are the ones who put their idolatrous religious system in place. We do something similar when we build monuments to Washington, Jefferson, and Lincoln--those who put our system of republican government in place. In The Parthenon Code: Mankind's History in Marble, now translated into Greek and French, I show that Greek sculpture and vase-art portray not myth, but rather the history of the human race, a history that corresponds to the Genesis account. The difference is that the Greeks believed the serpent did not delude the first couple in paradise, but instead, enlightened them. You can read a summary of the true meaning of ancient Greek art HERE. One of the supreme ironies of our time is that the academic world fails to recognize its own man-centered, idolatrous mindset as it is portrayed and celebrated in ancient Greek art. Understanding this, let's return to Obama's Greek temple background. The columns raised up empty square panels the Greeks called metopes, a word signifying the forehead. (I have heard metope pronounced by museum curators both as me-tope and met-o-pee). Most often, the Greeks filled these panels with thematic sculptures. Undoubtedly, Obama saw himself as filling in the spaces with sculptures of his grand accomplishments. The most significant sculpted metopes in the ancient world were those on the temple of Zeus at Olympia depicting the twelve labors of Herakles, the Greek character who corresponds to the Genesis post-Flood rebel, Nimrod. The two metopes over the east entrance summarize the Greek boast. They appear below in their surviving form and as reconstructed by computer as they originally appeared, painted. These two interrelated metopes explained simply and graphically how Herakles enabled his man-centered idolatry to dominate the Greek world, and they relate directly to what is happening today in America.
In the one to the left, Herakles kills the triple-bodied warrior, Geryon. There were no triple-bodied warriors in ancient days, any more than there are triple-bodied warriors today. And yet here we see Herakles, having beaten two of Geryon's bodies to death, about to mercilessly club the third. What could a triple-bodied man signify? Noah had three sons: Shem, Ham, and Japheth. Nimrod's rebellion reached its heights during the time of their rule, after the death of Noah. By killing the triple-bodied Geryon, the hero, Herakles/Nimrod, is figuratively overcoming the spiritual authority of Noah's three sons. After their deaths, Herakles/Nimrod and his club reigned unchallenged. The Greeks called Noah Nereus, the "Wet One," and Halios Geron, the "Salt Sea Old Man," depicting him often in their art as a foil against whom they boasted of the triumph of their man-centered religious outlook. The word Geryon is used only of this figure depicting three men in one, clearly signifying that they are the offspring (more precisely, out-spring) of the Salt Sea Old Man, Geron or Noah. Based on multiple vase-depictions of this sculpture, we know that Geryon's shield featured a tripod from Apollo's temple at Delphi upon which the female seers sat as they made their predictions. Thus the scene has to do with who is going to control the future. As we can see, it will be the strong man Herakles, and most definitely not the three Yahweh-believing sons of Noah. But where does Herakles/Nimrod look for his authority? The adjacent metope answers that question. Athena’s power, combined with great efforts of his own, has enabled Herakles to push away the heavens and with them the God of the heavens. Herakles has gained access to the golden apples from the ancient serpent’s tree in the Garden of the Hesperides, the Greek version of Eden. Atlas, a ruling ancestor from the line of Cain from before the Flood, offers Herakles the forbidden fruit once offered to Eve by the ancient serpent. Thus, these two sculptures over the sacred east entrance of the temple of Zeus at Olympia chronicle the successful rebellion of Herakles/Nimrod, celebrate an end to the interference of Noah’s “oppressive” God with Greek humanity, and acknowledge mankind’s return to the “wisdom” of the ancient serpent. The exaltation of mankind’s depraved reasonings, disconnected from the oracles of God, becomes the measure of all things. How did Herakles destroy the moral foundation of the ancient world so quickly and thoroughly? Again, Greek artists give us the answer. On the vase-scene, Hypnos, the god of sleep, runs over a Yahweh-believing son of Noah, as Herakles attacks. The message: the ancient idolator caught most of God-fearing humanity asleep to his threat, just as the idolatrous Obama and his Democrats caught most of God-fearing America asleep to their idolatrous agenda.
Herakles ruled with his club, outside the framework of law. Obama and his more than twenty czars operate outside the Constitutional Senate confirmation process. The lesser czars are loyal only to the chief czar himself, Obama. The word czar derives from the Roman Caesars, autocratic masters whose first principle was "might makes right." The Caesars saw themselves as descended from, and ruling in the stead of Herakles. In the illustration, we see the emperor, Commodus, wearing Herakles' lion head, wielding his club, and holding the serpent's apples in his hand.
On July 21, 2008, after returning from visits to Berlin, Iraq, and Afghanistan, Obama held a press conference at the ruins of the temple of Herakles (the Roman Hercules) in Amman, Jordan. Obama sees himself as an idol worthy of adoration and as a Caesar ruling with the club of the rebel Herakles. The Democrats rejoice. Having pushed the Creator and His word out of government, they welcome an idol to exalt. How does all this affect us most seriously? Greek temple worship demanded sacrifice: the slaughter and consumption of domestic animals for a god. We are the "domestic animals" the Democrats intend to sacrifice and devour at Obama's altar. We are supposed to dutifully submit, just as the ancient animals, most often sheep, were presumed by onlookers to consent to the sacrifice. The presiding priests knew, however, that the animal's consent was a farce, and so they sprinkled the victim's head with water, causing it to nod in supposed agreement with its demise. The Democrats presume we assent to our role as sacrificial sheep. They see us as nodding in agreement, or at least as dumb creatures who must be made to submit in our own best interest. What they have forgotten is that, in relation to idolatrous temple sacrifice, reluctant victims were considered a very bad omen for the elitist priests. We are far more than reluctant: We refuse to be sacrificed on Obama's altar. This is a God-fearing nation, and the ruling idolators have revealed themselves to be the enemies of our Creator, and enemies of our natural rights to life, liberty, and the pursuit of happiness that derive solely from Him. In my view, a growing majority of Americans now sees that Obama's Greek temple backdrop is not made of marble or limestone, but of cardboard as flimsy as his idol-image is shallow. In a recent interview with Charlie Rose, Obama said that the mistake of his first term was not telling "a story to the American people." The above is the true story that his idolatrous words and actions have already told us. Robert Bowie Johnson, Jr. is the author of several books on the true meaning of ancient Greek art, and he is the inventor of the board game "Obozo's America: Why Bother Working for a Living?" featuring Obozo the Marxist clown. His Web sites are solvinglight.com and obozosamerica.com His current project "Outing the Moronocracy: Ending the Rule of the Blind, the Stupid, and the Disgraceful in American Society" will be published as an ebook in August.


View Comments

Guest Column Robert Bowie Johnson, Jr. -- Bio and Archives

Items of notes and interest from the web.


Sponsored