PART-14 about the daughters of ZEUS, i.e., "MUSES"

PART-14 about the daughters of ZEUS, i.e., "MUSES"


(Continued from Part-13)

In Part-13 we discussed the identity of the name ZEUS in detail. It
is important that we also discuss the identity of the "daughters" of
ZEUS, that is, the so-called MUSES. We will see that these names not
only verify what we have identified about ZEUS in Part-13, but that
they are also all made up from Turkish expressions. The mythologial
name MUSES is described as follows: [112]

"MUSES: the nine daughters of ZEUS and MNEMOSYNE who inspired and
guided creative and intellectual activity. They were CALLIOPE, muse
of epic poetry (represented with a parchment roll or tablet); CLIO,
history (a partially opened scroll); ERATO , love poetry (small lyre);
EUTERPE music and lyric poetry (double flute); MELPOMENE, trajedy
(tragic mask); POLYHYMNIA, hyms and sacred music (veiled figure);
TERPSICHORE, dance ( lyre); THALIA, comedy (comic mask); URANIA,
astronomy (a rod in one hand and a globe in the other)."

MNEMOSYNE is described as: "a TITANESS, the daughter of URANUS and
GAEA. She was the personification of memory and was the mother of
MUSES by ZEUS." [113]

The mythological name "Uranus" is said to personify the "sky" while
"GAEA" is the goddess of earth personifying the "earth". This
so-called Greek mythological name "GAEA" is the "Greek" form of the
earlier Turkish word "GAYA" (KAYA) meaning "large rock" and
personifying the Earth - which itself is a large rock in the space
around the sun. The name GAEA also appears in Sumerian writings in the
form of "EN-KI" (Turkish Han-KaIa / Han-Kaya meaning "Lord Earth or
"Home Earth"). MNEMOSYNE is said to personify memory. Although sky
and earth have their own memory retaining their own past, "memory" as
associated with human beings is a concept that resides in the human

The name TITAN is described as: [114] "1. Greek mythology, one of the
primeval deities, children of Uranus and Gaea. The great event in
Titan history was the TITANOMACHY or war with the Olympian gods in
Thessaly, which resulted in the overthrow of the TITAN dynasty. 2. Sun
personified ; -from Helios, the sun-god, being called TITAN by Latin
poets. 3. One gigantic in size or power."

The explanation here that "TITAN" was the personification of the
"Sun-God" and that the TITAN dynasty was overthrown by the Olympian
gods in Thessaly, Greece, is an indirect admission that the ancient
Greeks, together with other similar groups, collaborated to dethrone
the Sun from the lordship of a religion that regarded Sun as the
Sky-God. Sun was the essence of the ancient Turanian trinity Sky-God
OGUZ religion that antedated all the Greek mythology.

As I explained in my previous Zeus paper, one hidden meaning of ZEUS
is a personification of "WORD" (Turkish "SÖZ"). Another hidden
meaning of ZEUS is a personification of "VOICE" (Turkish "SES"). A
third hidden meaning of ZEUS is the personification of "MOUTH"
(Thurkish "AUZ" (aguz)). In other words, the name ZEUS is like a
fusion of these concepts described by the Turkish words "SÖZ", "SES"
and "AUZ". Since ZEUS is intimately related to the mouth, word and
voice, then the Muses, that is, supposedly the daughters of Zeus would
also be personifications of different concepts which use "Word" (SÖZ)
and "VOICE" (SES).

In fact the name "MUSES" is very much an anagram of the Turkish
expression "SESUM" meaning "my voice" or "I am voice" which is what
gives life to human thoughts, and sings the most beautiful songs
composed by man, and creates the languages and many more. So "voice",
as part of "SÖZ", is extremely important. Without "voice" (ses), a
person would be "LULL" from Turkish "LAL" meaning "speechless" or
quiet as an animal. Thus, the nine daughters of "SÖZ" (ZEUS), that is,
the so-called "Muses", are female personifications of different
aspects of "speech".

At this point we should once again recall the statement that is given
in JOHN 1:1. It states: "In the beginning the Word was, and the Word
was with God and the Word was a god." This is the "mold" on which the
concept of "ZEUS" the god has been formulated using Turkish "SÖZ",
"SES" and "AGUZ" (OGUZ) as bases and source.

Now in this light, let us examine first the name of the "mother" to
these gifted "girls". Mother's name is given in "Greek" as MNEMOSYNE.
In order to be a mate to Zeus in this context, she must also be the
personification of a similar concept that is associated with the
"WORD" and also live in the human head. MNEMOSYNE is said to be the
personification of "memory" [115] which of course lives in the head,
that is, the so-called Greek Mount "OLUMPUS" (which is actually from
Turkish "ULU BAShUM" meaning "my great head" or "I am great head").

The word MNEMOSYNE, when deconstructed letter-by-letter as
"MEN-ONYMSE" and read phonetically as in Turkish, is the restructured
and disguised form of the Turkish expression "MEN ANIMSA" meaning "I
am memory". This name is worked out from the Turkish source verb
"animsamak" meaning "to remember" and "men" the personal pronoun for
1st person singular, meaning "I am". This verifies the given
explanation that MNEMOSYNE is the personification of memory. However,
the given explanation never tells us that it was constructed from the
Turkish expression "MEN ANIMSA". That I am doing now. Evidently the
Turkish-usurping linguists knew what they were doing. This we can also
see from the synonyms of the word "memory", such as the English
language words "anamnesis, remembrance, reminiscence" which all
contain hidden Turkish expressions related to memory.

The word ANAMNESIS, when deconstructed letter-by-letter as
"ANIMSASEN", and read phonetically as in Turkish, is the anagram of
Turkish expression "ANIMSASIN" (from Tr. "animsamak") meaning "you are
remembering" or "you are memory". The English word ANAMNESIS and the
Turkish word ANIMSASIN both meaning "rememberence" are not due to coincidence.

The word REMEMBRANCE, when deconstructed letter-by-letter as
"ANEREM-BER-CM", where S/C shift has taken place, is an anagram of the
Turkish expression "ANEREM BIR ISMI" (anarim bir ismi, hatirlarim bir
ismi) meaning "I remember a name". This expression is in pure
Azerbaycan and Eastern Anatolian dialect of Turkish. On any
"REMEMBRANCE DAY", this is what we do, that is, we remember the names
of the past "loved ones".

Similarly the word REMINISCENCE, when rearranged letter-by-letter as
"ENEREM-SINI-CC", is a restructured and disguised form of the Turkish
expression "ANARIM SENI" meaning "I remember you".

Also related to memory is the English term MNEMONIC claimed to be
"from Greek "MNEMONIKOS, from "MNEMON" meaning "mindful", from
"MNASTHAI" meaning "to remember".] Assisting or intended to assist,
memory; of or pertaining to mnemonics or memory." [116]

Now let us examine at these words. The Greek word MNASTHAI, when
deconstructed letter-by-letter as "ANIMSATH", where H=I, is the
anagram of Turkish word "ANIMSATI" (animsa idi, hatira idi) meaning
"it is memory" and/or "remembered". Thus this Greek word is also
another usurped and restructured word from Turkish.

Similarly MNEMONIKOS, when decrypted as "ONIMSOMEK-N", is an anagram
of Turkish verb "ANIMSAMAK" meaning "to remember". Again we see that
the origin of this word also is Turkish.

Thus the English word MNEMONIC, when deconstructed letter-by-letter as
"MN-ONMECI", and read phonetically as in Turkish, is an anagram of the
Turkish word "MEN-ANMACI" meaning "I am one who remembers" or "I
remember". Thus the English word MNEMONIC is also another usurped and
restructured word from Turkish.

Evidently, the European linguists knew the Turkish language inside
out, and that knowledge of Turkish made their usurping, restructuring
and disguising of Turkish words and phrases an easy job.

In view of all this background insight, it is seen that both ZEUS and
his metaphorical "sweetheart" MNEMOSYNE are personifications of
concepts that were not Greek in origin, but rather they were Turkish
in origin. They have been plagiarized, restructured and repainted as "Greek".

With this new understanding, we can now analyze the names of the
"daughters" of Zeus in Turkish.

1. CALLIOPE was also the mother of ORPHEUS who was a poet and skilful
musician, was thought by Apollo to play the lyre, with the result that
all the gods, men, and nature were moved by his music." [117]

When the name CALLIOPE is deconstructed letter-by-letter as
"ACILLO-PE", where C is K, it is an anagram of the Turkish expression
"AKILLI EPE" (AKILLI EBE, AKILLI KIZ) meaning "Girl with wisdom" or
"wise girl". This Turkish source indicates that this personification
is a female, where Turkish "EBE" ("KIZ") means "girl".

The Muse CALLIOPE, who is said to represent epic poetry, represents
the "wisdom, knowledge" aspect of human thought in the head. Thus
conceptually, any work of "words" (söz) are the daughters of "SÖZ"
(ZEUS). Epics, like all other thoughts, become alive only after it is
put into words (SÖZ) and "voice" (SES), i.e., "ZEUS" and recited.

2. CLIO represents history (a partially opened scroll): "History"
writing and/or telling requires a lot of "words" (söz) and "voice"
(ses). Thus CLIO is also a personification of a concept related to
"SÖZ" and hence to "ZEUS".

CLIO (KLIO), when deconstructed as "OKIL" is an anagram of Turkish
"AKIL" meaning "mind". In the old days, historical events were stored
in the mind (memory) and then repeated verbally to next generations.
The "Mind" is where thought processes take place and "thoughts' are
generated, put into words which write "history" as well all other
things. The "Mind" lives in the human "head", that is, "OLUMPUS" from
Turkish "ULU BASHUM" meaning "my great head". Thus CLIO is the
personification of Turkish "AKIL" (mind).

3. ERATO represents love poetry (small lyre): The name ERATO, when
rearranged letter-by-letter as "OERAT", is an anagram of the Turkish
word "AVRAT" (avret, kari, kadin, sevgili) meaning "wife, woman,
sweetheart" and poetry written for such a person. Additionally Turkish
"HOYRAT" is a form of poetry written to express feelings to loved
ones. Turkish culture is full of this kind of literature. Hence,
"ERATO" is a personification of the poetry written for woman. Of
course woman is the source of love, is the love and is the reason for
writing "love poetry".

4. EUTERPE represents music and lyric poetry (double flute): The name
EUTERPE, when rearranged as "UTER-EPE" or "EPE-UTER", is the anagram
of Turkish expression "ÖTER EBE" (EBE ÖTER, ÖTER KIZ) meaning "singing
girl". Thus she is the personification of "singing, music, reciting
poetry in singing form". Of course, singing involving words and
voice, is also a metaphorical daughter of "word" (Söz), that is,
"ZEUS". She being represented as playing a "double flute" is also an
indication that she personifies "singing" and music.

Double-flute is an ancient Turanian Turkic cultural instrument which
was used by the ancient Anatolians (such as the Phyrigians, Lydians,
Trojans), Thracian Turs/Turks, Etruscans and others. "Double flute"
(Turkish "çifte kaval" or "argun/argin") is still made and played in
Turkey. (In a recent "TRT INT "BENGI" musical program", aired about
the date of 11/01/2005, a certain musician by the name Selim Usta
(Selim Aslanyürek) was portrayed as making and playing the double flute
in southern Anatolia. He even used his nose to play the double flute).

5. MELPOMENE represents tragedy (tragic mask) in mythological
representation. The name MELPOMENE, when deconstructed
letter-by-letter as "MN-OLME-EPE", is an anagram of the Turkish
expression "MEN ÖLME EPE" (men ölme ebe) meaning "I am the dying
girl", or "MN-ELEM-OPE" is the anagram of Turkish expression "MEN ELEM
EPE" (men elem kiz) meaning "I am the suffering girl, I am the girl in
pain, I am the sad girl". Hence the Turkish source explains that the
name MELPOMENE represents the "tragic" situations and the suffering of

In Turkish the poetry written for death and sufferings is called
"EZGI, AGIT, KASIDE". The so-called English word "EULOGIZE", when
deconstructed letter-by-letter as "OLUE-EZGI" where the bogus letter U
is U, Y, and V simultaneously, is the usurped and anagrammatized
Turkish expression "ÖLÜYE EZGI" (ölüye agit) meaning "praising the
dead one". Thus again the source of these so-called Greek and English
words is Turkish and is from ancient Turkish culture. Even if one
reads the word "EULOGIZE" backwards, one gets the Turkish expression
"EZGI ÖLÜYE" meaning 'sad but praising poetry and singing after the
dead one".

6. POLYHYMNIA represents hyms and sacred music (veiled figure, i.e.,
the secret figure): The word HYMN is said to be "from Greek word
HYMNOS meaning an ode or song of praise or adoration; especially a
religious ode or song." [118]

In the name POLYHYMNIA, the bogus letters H and Y camouflages the
name. In this anagram, letter H is I, and one of the Ys in the name is
a U and and the other is V. These flexible letters as used in Greek
and also in other European languages have multiple identities which
are convenient in disguising usurped Turkish texts into Indo-European
languages. Thus the word POLYHYMNIA, when deconstructed
letter-by-letter as "POL-YYMHN-AI", is the anagram of the Turkish
expression "POL UVMEN AYI" (BOL ÖVMEN AYI) meaning "plenty praising of
the moon". The reason for praising the moon is due to the fact that
the moon was one of the Sky deities of the ancient Turanian trinity
sky-god religion, that is, the ancient Turanian "Moon-God ("AY-HAN" or
"Ay-Tengri" in Turkish). Thus the name POLYHYMNIA is a personification
of praise songs in sacred rituals. The source Turkish expression "BOL
UVMEN AYI" is arranged as POLYHYMNIA which refers to a feminine name
with the IA (i.e., YA) ending.

7. TERPSICHORE represents dance and holds a "lyre" in her hand. The
name TERPSICHORE is said to be: "[from Latin and Greek TERPSICHORE,
from "terpsis" enjoyment + "choros" dance, dancing.] In Greek
mythology, the Muse of dancing and choral song." [119]

Despite this misleading etymology, the name is from a Turkish source.
The name TERPSICHORE, when deconstructed letter-by-letter as
"TEPISER-CORH", is the restructured and disguised form of the Turkish
expression "TEPISHER KARI" (tepishir kari) meaning "the kicking woman"
or "the dancing woman". It is a fact that the dancing girls do a lot
of fancy-foot-work (kicking) on the floor. Even the name TERPSICHOREAN
meaning "of dancing" [120] verifies this Turkish source. When this
name is deciphered letter-by-letter as "TEPISHEN-CARO-R" it is found
to be an anagram of the Turkish expression "TEPISHEN KARI ER"
(oynayan kari ve er) meaning "the kicking man and woman", that is,
"the dancing man and woman". Evidently, TERPSICHORE is a
personification of "dancing" but its source is in Turkish rather than
in Greek or Latin. The dancers are also usually singing and accompany
music. Dancing requires a lot of learning and remembering of the
moves. Thus the concept belongs to ZEUS (SÖZ and SES) family and
memory (ANIMSAMA) and also lives in the head.

8. THALIA represents comedy which wears "comic mask". The name
"THALIA" where H is an I, when rearranged letter-by-letter as
"ALAITH", is a restructured and disguised form of the Turkish
expression "ALAYTI" meaning "it is making fun of, ridiculing, teasing,
mockery" which causes "laughter" and an air of "comedy". Hence the
source of this so-called Greek name is the Turkish word "ALAYTI".
Again, making fun or ridiculing with words is a concept that belongs
to the ZEUS ("SÖZ", "SES" and "AGUZ") family and of course lives in
the head.

9. URANIA is said to represent astronomy. Since a variety of important
concepts are related to the name URANIA, I will discuss it in a
separate article.


All of these personified concepts attributed to the Muses are born,
occur, and live in the human head rather than on the top of a
geographical mountain as we are told. Disguising the identity of the
human head behind the name of a "Mount Olympus" may technically be
regarded as a metaphor, but it is really a deliberate effort to
deceive people about the real identity of Zeus and the Muses.
Presenting the whole story with this imaginary scenario of Gods living
on a mountain top introduces secrecy and mystery - key ingredients for
cults to camouflage a deception. The deception is that of disguising
the usurped ancient Turanian concepts that were originally formulated
in Turkish. The riddled Greek mythological stories with names
anagrammatized from ancient Turkish constitute a way of stealing
ancient Tur/Turk cultures. Certain groups have reached the zenith of
deception in defrauding ancient Turanian civilization. Restructuring
the words and phrases of one language, such as Turkish, into another
format instantly transfers the culture of the original language to
another people. This must be the most effective way of culture transfer.

2. The name ZEUS and his nine daughters, named as Muses, were the
personification of a variety of concepts all generated in the human
mind and borne out as words of "speech" (words), that is, Turkish

3. MUSES, that is, the daughters of ZEUS (SÖZ) were personifications
of different versions of speech, singing, poetry, crying, laughing,
reciting, sadness, etc., and presented as if they were real people.
Yet these concepts, embellished into mythological stories with
anagrammatized and restructured forms of Turkish sources, were an
instrument of stealing the ancient Turanian civilization, disguised
under the name "Pagan" civilization. The so-called "inflection"
feature built into "inflected" languages because of the fact that they
were made up from Turkish, a language that follows agglutinatively
vowel harmony rule, enabled the usurpation of Turanian civilization as
an ongoing affair for certain groups.

4. Mother to these gifted and imaginary girls was the personified
human "memory" whose name MNEMOSYNE was manufactured from Turkish
"MEN ANIMSA" meaning "I am memory", and uttered out by "SÖZ" (word)
and "SES" (voice), that is, (ZEUS), thus they became the daughters of

5. From the analysis of the name ZEUS and the names of his nine
daughters, i.e., Muses, we see that all of these mythological concepts
have their cultural and linguistic origin in Turkish and hence in
ancient Turanian civilization. They are words and expressions usurped
from Turkish, anagrammatized and restructured in order to manufacture
Greek mythological names - just like the Greek language itself.

6. All of these indicate that an unimaginable misappropriation of
ancient Turanian civilization as expressed in Turkish language has
taken place in the past and most likely is still going on at present.
These altered words and phrases of Turkish language used in developing
words and names for European languages are unquestionable testimony
that the ancient Turanian (Turkish) civilization was the dominant
civilization and language for a long time in the world before they
were deceptively destroyed and usurped by wanderer groups.

7. The Greek language is totally manufactured from Turkish by way of
"anagrammatizing" Turkish words and phrases. So too are all the other
so-called Indo-European and Semitic languages. They all have used the
same technique in developing a variety of languages for themselves.
Clearly, Turkish has been used as the so-called "proto" language (from
Turkish "Birata) for these languages. There was no Aryan (Arayan)
languages until they were manufactured from Turkish. In this regard
the world population has been conned with "sophisticated" verbosity
and deceptions. In view of all these deceptions, ancient history and
linguistics have rapidly lost their credibility. In order to cover up
fundamental deceptions of cultic games, new lies have been generated

8. There is no question that the world we live in is an "upside down"
world in which the ancient Turanian civilization, disguised under the
so-called "pagan world", has been stolen unendingly while it has been
destroyed in the process. Many aspects of the ancient world history,
as narrated by historians and linguists, do not add up to a truthful
picture. What did not belong to the ancient Greeks has been totally
and falsely attributed to Greeks and other wanderers who deceptively
took on the civilization coat of ancient Turanian peoples while all
the time organizing and aiding the collapse of that civilization from
within and out. Contrary to false claims, the present world
civilization has benefited endlessly from the ancient Turanian
civilization with the accompanying Oguz language. False claims of the
past are now being detected. In many respects, the world population
has been fed mountains of disinformation and conned like children.


[112] Rhoda A. Hendricks, "Mythologies Of The World", McGraw-Hill
Book Company, New York, 1981, p. 128.
[113] Rhoda A. Hendricks, "Mythologies Of The World", McGraw-Hill
Book Company, New York, 1981, p. 127.
[114] Webster's Collegiate Dictionary, Fifth Edition, 1947, p. 1047.
[115] Rhoda A. Hendricks, "Mythologies Of The World", McGraw-Hill
Book Company, New York, 1981, p. 127.
[116] Webster's Collegiate Dictionary, Fifth Edition, 1947, p. 641.
[117] Rhoda A. Hendricks, "Mythologies Of The World", McGraw-Hill
Book Company, New York, 1981, p. 145.
[118] Webster's Collegiate Dictionary, Fifth Edition, 1947, p. 489.
[119] Webster's Collegiate Dictionary, Fifth Edition, 1947, p. 1030.
[120] Webster's Collegiate Dictionary, Fifth Edition, 1947, p. 1030.

Best wishes to all,

Polat Kaya


====== End of Part-14, will continue in Part-15 ======
(Copyright © 2005 Polat Kaya)