Graham Hancock Quote

It is a curious mystery [...] that the exact same notions of the Seven Sages as the bringers of civilization in the remotest antiquity, and of the preservation and repromulgation of writings on stones from before the flood, turn up in the supposedly completely distinct and unrelated culture of Ancient Egypt.Of the greatest interest, at any rate, is the [Temple of Horus]’s idea of itself expressed in the acres of enigmatic inscriptions that cover its walls. These inscriptions, the so-called Edfu Building Texts, take us back to a very remote period called the Early Primeval Age of the Gods--and these gods, it transpired, were not originally Egyptian, but lived on a sacred island, the Homeland of the Primeval Ones, in the midst of a great ocean. Then, at some unspecified time in the past, a terrible disaster--a true cataclysm of flood and fire [...]-- overtook this island, where the earliest mansions of the gods had been founded, destroying it utterly, inundating all its holy places and killing most of its divine inhabitants. Some survived, however, and we are told that this remnant set sail in their ships (for the texts leave us in no doubt that these gods of the early primeval age were navigators) to wander the world.[...] Of particular interest is a passage at Edfu in which we read of a circular, water-filled channel surrounding the original sacred domain that lay at the heart of the island of the Primeval Ones--a ring of water that was intended to fortify and protect that domain. In this there is, of course, a direct parallel to Atlantis, where the sacred domain on which stood the temple and palace of the god, whom Plato names as Poseidon, was likewise surrounded by a ring of water, itself placed in the midst of further such concentric rings separated by rings of land, again with the purpose of fortification and protection.Intriguingly, Plato also hints at the immediate cause of the earthquakes and floods that destroyed Atlantis. In the , as a prelude to his account of the lost civilization and its demise, he reports that the Egyptian priests from whom Solon received the story began by speaking of a celestial cataclysm: There have been and will be many different calamities to destroy mankind, the greatest of them being by fire and water, lesser ones by countless other means. Your own [i.e. the Greeks’] story of how Phaeton, child of the sun, harnessed his father’s chariot, but was unable to guide it along his father’s course and so burned up things on earth and was himself destroyed by a thunderbolt, is a mythical version of the truth that there is at long intervals a variation in the course of the heavenly bodies and a consequent widespread destruction by fire of things on earth.

Graham Hancock

It is a curious mystery [...] that the exact same notions of the Seven Sages as the bringers of civilization in the remotest antiquity, and of the preservation and repromulgation of writings on stones from before the flood, turn up in the supposedly completely distinct and unrelated culture of Ancient Egypt.Of the greatest interest, at any rate, is the [Temple of Horus]’s idea of itself expressed in the acres of enigmatic inscriptions that cover its walls. These inscriptions, the so-called Edfu Building Texts, take us back to a very remote period called the Early Primeval Age of the Gods--and these gods, it transpired, were not originally Egyptian, but lived on a sacred island, the Homeland of the Primeval Ones, in the midst of a great ocean. Then, at some unspecified time in the past, a terrible disaster--a true cataclysm of flood and fire [...]-- overtook this island, where the earliest mansions of the gods had been founded, destroying it utterly, inundating all its holy places and killing most of its divine inhabitants. Some survived, however, and we are told that this remnant set sail in their ships (for the texts leave us in no doubt that these gods of the early primeval age were navigators) to wander the world.[...] Of particular interest is a passage at Edfu in which we read of a circular, water-filled channel surrounding the original sacred domain that lay at the heart of the island of the Primeval Ones--a ring of water that was intended to fortify and protect that domain. In this there is, of course, a direct parallel to Atlantis, where the sacred domain on which stood the temple and palace of the god, whom Plato names as Poseidon, was likewise surrounded by a ring of water, itself placed in the midst of further such concentric rings separated by rings of land, again with the purpose of fortification and protection.Intriguingly, Plato also hints at the immediate cause of the earthquakes and floods that destroyed Atlantis. In the , as a prelude to his account of the lost civilization and its demise, he reports that the Egyptian priests from whom Solon received the story began by speaking of a celestial cataclysm: There have been and will be many different calamities to destroy mankind, the greatest of them being by fire and water, lesser ones by countless other means. Your own [i.e. the Greeks’] story of how Phaeton, child of the sun, harnessed his father’s chariot, but was unable to guide it along his father’s course and so burned up things on earth and was himself destroyed by a thunderbolt, is a mythical version of the truth that there is at long intervals a variation in the course of the heavenly bodies and a consequent widespread destruction by fire of things on earth.

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About Graham Hancock

Graham Bruce Hancock (born 2 August 1950) is a British writer who promotes pseudoscientific ideas about ancient civilizations and hypothetical lost lands. Hancock proposes that an advanced civilization with spiritual technology existed during the last Ice Age until it was destroyed following comet impacts around 12,900 years ago, at the onset of the Younger Dryas. He speculates that survivors of this cataclysm passed on their knowledge to primitive hunter-gatherers around the world, giving rise to all the earliest known civilizations (such as ancient Egypt, Sumeria, and Mesoamerica).
Born in Edinburgh, Hancock studied sociology at Durham University before working as a journalist, writing for a number of British newspapers and magazines. His first three books dealt with international development, including Lords of Poverty (1989), a well-received critique of corruption in the aid system. Beginning with The Sign and the Seal in 1992, he shifted focus to speculative accounts of human prehistory and ancient civilizations, on which he has written a dozen books, most notably Fingerprints of the Gods and Magicians of the Gods.
Experts have described Hancock's investigations of archaeological evidence, myths and historical documents as superficially resembling investigative journalism, but lacking in accuracy, consistency and impartiality. They define his work as pseudoarchaeology and pseudohistory because they consider it to be biased towards preconceived conclusions by ignoring context, misrepresenting sources, cherry picking, and withholding critical counter-evidence. Anthropologist Jeb Card has described Hancock's writings as being paranormal in nature, and his idea of an Ice age civilization as a modern mythological narrative that due to its emphasis on alleged secret and spiritual knowledge (including psychic abilities and communing with souls and "powerful nonphysical beings" via the use of psychedelics), is incompatible with the archaeological scientific method. Hancock portrays himself as a culture hero who fights the "dogmatism" of academics, presenting his work as more valid than professional archaeology and as "a path to truly understanding reality and the spiritual elements denied by materialist science", though he often cites science in support of his ideas. He has not submitted his writings for scholarly peer review and they have not been published in academic journals.
He has also written two fantasy novels and in 2013 delivered a controversial TEDx talk promoting the use of the psychoactive drink ayahuasca. His ideas have been the subject of several films, as well as the Netflix series Ancient Apocalypse (2022), Hancock makes regular appearances on the podcast The Joe Rogan Experience to discuss his work.