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Index
 

 

 

 

 

 

 

 

 

 

 

 

 

....

 

 

THE

MAGICALALPHABET

 

..................

 

 

-
-
-
-
-
THE RAINBOW LIGHT
-
-
-
T
=
2
-
3
THE
33
15
6
R
=
9
-
7
RAINBOW
82
37
1
L
=
3
-
5
LIGHT
56
29
2
-
-
14
-
15
THE RAINBOW LIGHT
171
81
9
-
-
1+4
-
1+5
-
1+7+1
8+1
-
Q
-
5
-
6
THE RAINBOW LIGHT
9
9
9

 

A

MAZE

IN

ZAZAZA ENTERS AZAZAZ

AZAZAZAZAZAZAZZAZAZAZAZAZAZA

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

12345678910111213141516171819202122232425262625242322212019181716151413121110987654321

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
=
7
=
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
=
7
=
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
=
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
=
2
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
+
=
351
3+5+1
=
9
=
9
=
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
+
=
126
1+2+6
=
9
=
9
=
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
=
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
=
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
=
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
-
-
-
-
-
-
-
-
-
-
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9

 

 

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS

 

....

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

STRIKE A LIGHT

LUCIFER MEETS ITS MATCH

 

 

OSIRIS SO IRIS IS

 

 

ENTERS THE NETERS

 

 

THE ELEMENTS OF EGYPTIAN WISDOM

Naomi Ozaniec 1994

THE SACRED SCRIPT - THE MEDU NETERS

Page 80 / The logical mind begins to reel / Page 81 / Language as evocation is immensely powerful. Word play is not finished; Neith can also be written by spelling the 't' with the sign for land, ta, in combination with the sign for water, 'n'. This particular hieroglyph represents ruffled water. By spelling the same name in a different way, we are presented with a different set of ideas. Here is Neith as 'the primeval water which gave birth to the land,' a theologically familiar concept. Once again a brief word encapsulates both divine name and divine function.

Hieroglyphic omitted

Schwaller de Lubicz reminds us repeatedly that we do need to look for a convoluted symbolism. The Medu Neters were chosen in such a way as to really signify all the qualities and functions implicit in the image. We are of course removed from the direct observation of vulture and ibis, crocodile and falcon, It is hard for us to understand the subtleties of movement, habit or life cycle which prompted a recognition deep in the Egyptian mind. It is well known that the humble dung beetle was raised to a sacred status from its simple egg-laying habit. The young emerged from the ball of dung as new life unbegotten. It is less well known that the scarab resembles the human skull, its two wing cases being reminiscent of the two halves of the human skull.

The ability to find the cosmic In the mundane through a correspondence is the hallmark of a mind sensitized through symbolic training. Any contemporary Qabalist recognizes this function for what it is, the inner workings of an esoteric system. These brief examples serve to illustrate the workings of both the Egyptian mind and the Egyptian tradition. Each letter had its own secret; all sacred alphabets are constructed in this way. Moreover a sacred language always serves a double purpose, a written double entendre. To the uninitiated there is no secret to hide. The language functions perfectly well at a purely practical level. To the initiated there exists another level of inner meaning as opposed to the apparent meaning. The inner meaning requires no elaborate subterfuge. It is there all the time, open and blatant. 'It / Page 82 / is hidden from view only because it represents a higher non-cerebral consciousness which simply evades the logical mind.

The Egyptians preserved this double function with astonishing brilliance and clarity over an immensely long period of time. Hebrew still functions as a sacred alphabet.. Each of its letters signifies ideas, numbers and cosmic principles.. A word becomes a code for an abstraction, a metaphysical concept, an esoteric teaching. An outsider cannot penetrate into the labyrinthine maze of meanings without becoming lost in ideas and distracted by elusive possibilities. A guide is always required in such matters - scribal training took place through an apprenticeship system. It is a mistake to think that we might uncover how the scribes viewed individual hieroglyphs by simply applying any meaning that springs to our mind. It is Clear that individual signs and arrangements carried a precise range of corresponding symbols.

Schwaller de Lubicz acts as our guide into the intricacies of an individual hieroglyph in the book Her-Bak.

The letter r is written in the lenticular shape of a half open mouth. Now look. for the ideas, qualities and functions this sign represents. First, its nature. The mouth, ra, is the upper opening of the body, an entrance that communicates by two channels with the lungs and stomach; that is why this hieroglyph is also the generic word for an entrance, ra. The mouth opens and shuts to eat, breathe and speak, as the eye, ar.t, opens and shuts to receive or refuse light. The mouth's function is dual, passive and active, it receives air and food, emits breath and voice. The eye's function is dual, likewise 'the reception of light and expression of organic and emotional response. The mouth's shape changes by the separation of the lips for the performance of its function. Opening, it widens or narrows like the shadow thrown on a disc by another disc which gradually eclipses it. In the partially occulted disc, the lentil or dark mouth is the complement of the crescent still visible. This gradual change of shape produces portions of different size that represents parts of the occulted disc. The characteristic has given the name ra to parts of a whole such as numerical fractions, chapters and so forth.

Page 83

These profound thoughts revolve around a single letter majestic insights might we discover if only someone would serve as our guide through all the hieroglyphic combinations! Here is a way of thinking quite unlike our own, a mind set removed from our utilitarian use of language. This totally symbolic thinking produced completely practical applications, as we see through Egypt's many lasting achievements there is no grounds whatsoever for thinking that this symbolic system produced woolly mindedness. On the contrary it gave rise to a mind that was both extensive and focused, deep and creative, traditonal yet original.

 

A

HISTORY OF GOD

Karen Armstrong 1993

The God of the Mystics

Page 250

"Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

 

2
IS
28
10
1
9
UNIVERSAL
121
40
4
4
MIND
40
22
4
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

9
UNIVERSAL
121
40
4
4
MIND
40
22
4
2
IS
28
10
1
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

E
=
5
-
2
EX
11
2
2
U
=
3
-
6
UMBRIS
82
28
1
E
=
5
-
2
ET
25
7
7
I
=
9
-
10
IMAGINIBUS
104
50
5
I
=
9
-
2
IN
23
14
5
V
=
4
-
9
VERITATEM
113
41
5
-
-
35
-
31
First Total
358
142
25
-
-
3+5
-
3+1
Add to Reduce
3+5+8
1+4+2
2+5
-
-
8
-
4
Second Total
16
7
7
-
-
-
-
-
Reduce to Deduce
1+6
-
-
-
-
8
-
4
Essence of Number
7
7
7

 

 

O
=
6
-
3
OUT
56
11
2
O
=
6
-
2
OF
21
12
3
S
=
1
-
7
SHADOWS
89
26
8
A
=
1
-
3
AND
82
28
1
P
=
7
-
9
PHANTASMS
111
30
3
I
=
9
-
4
INTO
58
22
4
T
=
2
-
5
TRUTH
87
24
6
-
-
32
-
33
Add to Reduce
441
135
27
-
-
3+2
-
3+3
Reduce to Deduce
4+4+1
1+3+5
2+7
-
-
5
-
6
Essence of Number
9
9
9

 

 

THIS IS THE SCENE OF THE SCENE UNSEEN

THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE

 

 

3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
18
First Total
189
90
18
1+8
Add to Reduce
1+8+9
9+0
1+8
9
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
9
Essence of Number
9
9
9

 

 

THE

FAR YONDER SCRIBE

AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN FINE AMAZE

THE

ZED ALIZ ZED

IN

SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Cycles and Patterns

Page 165

Patterns

"The essence of mathematics is to look for patterns.

Our minds seem to be organised to search for relationships and sequences. We look for hidden orders.

These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac!

Searching out patterns is a pure delight.

Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden.

And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."

 

 

FINGERPRINTS OF THE GODS

A QUEST FOR THE BEGINNING AND THE END

Graham Hancock 1995

Chapter 32

Speaking to the Unborn

Page 285

"It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers.
Much harder to explain is the peculiar but distinctive way the myths of cataclysm seem to bear the intelligent imprint of a guiding hand.l Indeed the degree of convergence between such ancient stories is frequently remarkable enough to raise the suspicion that they must all have been 'written' by the same 'author'.
Could that author have had anything to do with the wondrous deity, or superhuman, spoken of in so many of the myths we have reviewed, who appears immediately after the world has been shattered by a horrifying geological catastrophe and brings comfort and the gifts of civilization to the shocked and demoralized survivors?
White and bearded, Osiris is the Egyptian manifestation of this / Page 286 / universal figure, and it may not be an accident that one of the first acts he is remembered for in myth is the abolition of cannibalism among the primitive inhabitants of the Nile Valley.2 Viracocha, in South America, was said to have begun his civilizing mission immediately after a great flood; Quetzalcoatl, the discoverer of maize, brought the benefits of crops, mathematics, astronomy and a refined culture to Mexico after the Fourth Sun had been overwhelmed by a destroying deluge.
Could these strange myths contain a record of encounters between scattered palaeolithic tribes which survived the last Ice Age and an as yet unidentified high civilization which passed through the same epoch?
And could the myths be attempts to communicate?

A message in the bottle of time"

'Of all the other stupendous inventions,' Galileo once remarked,

what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3

If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps.
Nevertheless, suppose that whatever the message was written on got destroyed or worn away after many thousands of years? Or suppose that the language in which it was inscribed was later forgotten utterly (like the enigmatic Indus Valley script, which has been studied closely for more than half a century but has so far resisted all attempts at decoding)? It must be obvious that in such circumstances a written / Page 287 / legacy to the future would be of no value at all, because nobody would be able to make sense of it.
What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them - and the city of Teotihuacan may be the calling-card of a lost civilization written in the eternal language of mathematics.
Geodetic data, related to the exact positioning of fixed geographical points and to the shape and size of the earth, would also remain valid and recognizable for tens of thousands of years, and might be most conveniently expressed by means of cartography (or in the construction of giant geodetic monuments like the Great Pyramid of Egypt, as we shall see).
Another 'constant' in our solar system is the language of time: the great but regular intervals of time calibrated by the inch-worm creep of precessional motion. Now, or ten thousand years in the future, a message that prints out numbers like 72 or 2160 or 4320 or 25,920 should be instantly intelligible to any civilization that has evolved a modest talent for mathematics and the ability to detect and measure the almost imperceptible reverse wobble that the sun appears to make along the ecliptic against the background of the fixed stars..."

"What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them"

"WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"

 

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

W
=
5
-
4
WHAT
52
16
7
O
=
6
-
3
ONE
34
16
7
W
=
5
-
5
WOULD
75
21
3
L
=
3
-
4
LOOK
53
17
8
F
=
6
-
3
FOR
30
21
3
T
=
2
-
9
THEREFORE
100
46
1
W
=
5
-
5
WOULD
75
21
3
B
=
2
-
2
BE
7
7
7
A
=
1
-
1
A
1
1
1
U
=
3
-
9
UNIVERSAL
121
40
4
L
=
3
-
8
LANGUAGE
68
32
5
-
-
41
4
53
First Total
616
238
49
-
-
4+1
-
5+3
Add to Reduce
6+1+6
2+3+8
4+9
-
-
5
-
8
Second Total
13
13
13
-
-
-
-
-
Reduce to Deduce
1+3
1+3
1+3
-
-
5
-
8
Essence of Number
4
4
4

 

 

T
=
2
-
3
THE
33
15
6
K
=
2
-
4
KIND
38
20
2
O
=
6
-
2
OF
21
12
3
L
=
3
-
8
LANGUAGE
68
32
5
T
=
2
-
4
THAT
49
13
4
W
=
5
-
5
WOULD
75
21
3
B
=
2
-
2
BE
7
7
7
C
=
3
-
14
COMPREHENSIBLE
144
72
9
T
=
2
-
2
TO
35
8
8
A
=
1
-
3
ANY
40
13
4
T
=
2
-
15
TECHNOLOGICALLY
161
71
8
A
=
1
-
2
ADVANCED
54
27
9
S
=
1
-
7
SOCIETY
96
33
6
I
=
9
-
2
IN
23
14
5
A
=
1
-
3
ANY
40
13
4
E
=
5
-
5
EPOCH
47
29
2
-
-
47
4
81
First Total
931
400
85
-
-
4+7
-
8+1
Add to Reduce
9+3+1
4+0+0
8+5
-
-
11
-
9
Second Total
13
4
13
-
-
1+5
-
-
Reduce to Deduce
1+3
-
1+3
-
-
2
-
9
Essence of Number
4
4
4

 

 

S
=
1
-
4
SUCH
51
15
6
L
=
3
-
9
LANGUAGES
87
33
6
A
=
1
-
3
ARE
24
15
6
F
=
6
-
3
FEW
34
16
7
A
=
1
-
3
AND
19
10
1
F
=
6
-
3
FAR
25
16
7
B
=
2
-
7
BETWEEN
74
29
2
B
=
2
-
3
BUT
43
7
7
M
=
4
-
11
MATHEMATICS
112
40
4
I
=
9
-
2
IS
28
10
1
O
=
6
-
3
ONE
34
16
7
O
=
6
-
2
OF
21
12
3
T
=
2
-
4
THEM
46
19
1
-
-
49
4
57
First Total
598
238
58
-
-
4+9
-
5+7
Add to Reduce
5+9+8
2+3+8
5+8
-
-
13
-
12
Second Total
22
13
13
-
-
1+3
-
1+2
Reduce to Deduce
2+2
1+3
1+3
-
-
3
-
3
Essence of Number
4
4
4

 

 

A
=
1
-
1
A
1
1
1
L
=
3
-
8
LANGUAGE
68
32
5
O
=
6
-
2
OF
21
12
3
L
=
3
-
7
LETTERS
99
27
9
A
=
1
-
3
AND
19
10
1
N
=
5
-
7
NUMBERS
73
28
1
-
-
19
4
28
First Total
299
110
20
-
-
1+9
-
2+8
Add to Reduce
2+9+9
1+1+0
2+0
-
-
10
-
10
Second Total
20
2
2
-
-
1+0
-
1+0
Reduce to Deduce
2+0
-
-
-
-
1
-
1
Essence of Number
2
2
2

 

MATHEMATICS A LANGUAGE OF LETTERS AND NUMBERS

 

W
=
5
-
4
WHAT
52
16
7
O
=
6
-
3
ONE
34
16
7
W
=
5
-
5
WOULD
75
21
3
L
=
3
-
4
LOOK
53
17
8
F
=
6
-
3
FOR
30
21
3
T
=
2
-
9
THEREFORE
100
46
1
W
=
5
-
5
WOULD
75
21
3
B
=
2
-
2
BE
7
7
7
A
=
1
-
1
A
1
1
1
U
=
3
-
9
UNIVERSAL
121
40
4
L
=
3
-
8
LANGUAGE
68
32
5
-
-
41
4
53
-
616
238
49
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
K
=
2
-
4
KIND
38
20
2
O
=
6
-
2
OF
21
12
3
L
=
3
-
8
LANGUAGE
68
32
5
C
=
3
-
4
THAT
144
72
9
T
=
2
-
5
WOULD
35
8
8
A
=
1
-
2
BE
40
13
4
T
=
2
-
14
COMPREHENSIBLE
161
71
8
A
=
1
-
2
TO
54
27
9
S
=
1
-
3
ANY
96
33
6
I
=
9
-
15
TECHNOLOGICALLY
23
14
5
A
=
1
-
2
ADVANCED
40
13
4
E
=
5
-
7
SOCIETY
48
29
2
T
=
2
-
2
IN
49
13
4
W
=
5
-
3
ANY
75
21
3
B
=
2
-
5
EPOCH
7
7
7
-
-
47
4
81
-
931
400
85
-
-
-
-
-
-
-
-
-
S
=
1
-
4
SUCH
51
15
6
L
=
3
-
9
LANGUAGES
87
33
6
A
=
1
-
3
ARE
24
15
6
F
=
6
-
3
FEW
34
16
7
A
=
1
-
3
AND
19
10
1
F
=
6
-
3
FAR
25
16
7
B
=
2
-
7
BETWEEN
74
29
2
B
=
2
-
3
BUT
43
7
7
M
=
4
-
11
MATHEMATICS
112
40
4
I
=
9
-
2
IS
28
10
1
O
=
6
-
3
ONE
34
16
7
O
=
6
-
2
OF
21
12
3
T
=
2
-
4
THEM
46
19
1
-
-
49
4
57
-
598
238
58
-
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
L
=
3
-
8
LANGUAGE
68
32
5
O
=
6
-
2
OF
21
12
3
L
=
3
-
7
LETTERS
99
27
9
A
=
1
-
3
AND
19
10
1
N
=
5
-
7
NUMBERS
73
28
1
-
-
19
4
28
-
299
110
20
-
-
-
-
-
-
-
-
-
-
-
156
-
219
First Total
2444
986
212
-
-
1+5+6
-
2+1+9
Add to Reduce
2+4+4+4
9+8+6
2+1+2
-
-
12
-
12
Second Total
14
23
5
-
-
1+2
-
1+2
Reduce to Deduce
1+4
2+3
-
-
-
3
-
3
Essence of Number
5
5
5

 

MATHEMATICS A LANGUAGE OF LETTER AND NUMBER

 

A
=
1
-
1
A
1
1
1
L
=
3
-
8
LANGUAGE
68
32
5
O
=
6
-
2
OF
21
12
3
L
=
3
-
6
LETTER
80
26
8
A
=
1
-
3
AND
19
10
1
N
=
5
-
6
NUMBER
73
28
1
S
-
19
4
26
First Total
261
108
18
-
-
1+9
-
2+6
Add to Reduce
2+6+1
1+0+8
1+8
-
-
10
-
8
Second Total
9
9
9
-
-
1+0
-
-
Reduce to Deduce
-
-
-
-
-
1
-
8
Essence of Number
9
9
9

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS

 

....

0
-
Z
=
8
-
4
ZERO
64
28
1
1
-
O
=
6
-
3
ONE
34
16
7
2
-
T
=
2
-
3
TWO
58
13
4
3
-
T
=
2
-
5
THREE
56
29
2
4
-
F
=
6
-
4
FOUR
60
24
6
5
-
F
=
6
-
4
FIVE
42
24
6
6
-
S
=
1
-
3
SIX
52
16
7
7
-
S
=
1
-
5
SEVEN
65
20
2
8
-
E
=
5
-
5
EIGHT
49
31
4
9
-
N
=
5
-
4
NINE
42
24
6
45
-
-
-
42
-
40
Add
522
225
45
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
9
-
-
-
6
-
4
Deduce
9
9
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
-
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

TRANSPOSED LETTERS REARRANGED IN NUMERICAL ORDER

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
34
-
36
Add
458
197
44
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
7
4
9
Deduce
17
17
8
-
1
4
3
8
5
18
14
8
9
-
-
-
-
-
-
-
Produce
1+7
1+7
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
7
-
9
Essence
8
8
8
-
1
4
3
8
5
9
5
8
9

 

TRANSPOSED LETTERS REARRANGED IN NUMERICAL ORDER

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
45
-
-
-
34
-
36
Add
458
197
44
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
7
4
9
Deduce
17
17
8
-
1
4
3
8
5
18
14
8
9
-
-
-
-
-
-
-
Produce
1+7
1+7
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
7
-
9
Essence
8
8
8
-
1
4
3
8
5
9
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
2
4
6
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
2
-
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
2
-
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
4
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
4
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
6
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
6
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
6
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
7
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
7
45
-
-
-
34
-
36
Add
458
197
44
-
4
8
18
14
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
-
-
-
1+8
1+4
9
-
-
-
7
4
9
Deduce
17
17
8
-
4
8
18
14
-
-
-
-
-
-
-
Produce
1+7
1+7
-
-
-
-
-
-
9
-
-
-
7
-
9
Essence
8
8
8
-
4
8
9
5

 

 

0
-
4
ZERO
8
5
9
6
-
=
28
2+8
=
10
1+0
1
1
-
3
ONE
6
5
5
-
-
=
16
1+6
=
7
-
7
2
-
3
TWO
2
5
6
-
-
=
13
1+3
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
29
2+9
=
11
1+1
2
4
-
4
FOUR
6
6
3
9
-
=
24
2+4
=
6
-
6
5
-
4
FIVE
6
9
4
5
-
=
24
2+4
=
6
-
6
6
-
3
SIX
1
9
6
-
-
=
16
1+6
=
7
-
7
7
-
5
SEVEN
1
5
4
5
5
=
20
2+0
=
2
-
2
8
-
5
EIGHT
5
9
7
8
2
=
31
3+1
=
4
-
4
9
-
4
NINE
5
9
5
5
-
=
24
2+4
=
6
-
6
45
-
40
Add
42
70
58
43
12
-
225
-
-
63
-
45
4+5
-
4+0
-
4+2
7+0
5+8
4+3
1+2
-
2+2+5
-
-
6+3
-
4+5
9
-
4
Reduce
6
7
13
7
3
-
9
-
-
9
-
9
-
-
-
-
-
-
1+3
-
-
-
-
-
-
-
-
-
9
-
4
Deduce
6
7
4
7
3
-
9
-
-
9
-
9

 

 

0
-
4
ZERO
8
5
9
6
-
=
28
2+8
=
10
1+0
1
1
-
3
ONE
6
5
5
-
-
=
16
1+6
=
7
-
7
2
-
3
TWO
2
5
6
-
-
=
13
1+3
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
29
2+9
=
11
1+1
2
4
-
4
FOUR
6
6
3
9
-
=
24
2+4
=
6
-
6
5
-
4
FIVE
6
9
4
5
-
=
24
2+4
=
6
-
6
6
-
3
SIX
1
9
6
-
-
=
16
1+6
=
7
-
7
7
-
5
SEVEN
1
5
4
5
5
=
20
2+0
=
2
-
2
8
-
5
EIGHT
5
9
7
8
2
=
31
3+1
=
4
-
4
9
-
4
NINE
5
9
5
5
-
=
24
2+4
=
6
-
6
45
-
40
Add
42
70
58
43
12
-
225
-
-
63
-
45
4+5
-
4+0
-
4+2
7+0
5+8
4+3
1+2
-
2+2+5
-
-
6+3
-
4+5
9
-
4
Reduce
6
7
13
7
3
-
9
-
-
9
-
-
-
-
-
-
-
-
1+3
-
-
-
-
-
-
-
-
-
9
-
4
Deduce
6
7
4
7
3
-
9
-
-
9
-
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
F
=
6
2
5
FIRST
72
27
9
-
-
-
-
-
-
-
-
-
9
2
-
S
=
1
3
6
SECOND
60
24
6
-
-
-
-
-
-
6
-
-
-
3
-
T
=
2
4
5
THIRD
59
32
5
-
-
-
-
-
5
-
-
-
-
4
-
F
=
6
5
6
FOURTH
88
34
7
-
-
-
-
-
-
-
7
-
-
5
-
F
=
6
6
5
FIFTH
49
31
4
-
-
-
-
4
-
-
-
-
-
6
-
S
=
1
7
5
SIXTH
80
26
8
-
-
-
-
-
-
-
-
8
-
7
-
S
=
1
8
7
SEVENTH
93
30
3
-
-
-
3
-
-
-
-
-
-
8
-
E
=
5
9
6
EIGHTH
57
39
3
-
-
-
3
-
-
-
-
-
-
9
-
N
=
5
10
5
NINTH
65
29
2
-
-
2
-
-
-
-
-
-
-
45
-
-
-
41
-
54
Add
687
300
48
-
1
2
6
4
5
6
7
8
9
4+5
-
-
-
4+1
-
5+4
Reduce
6+8+7
3+0+0
4+8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Deduce
21
3
12
-
1
2
6
4
5
6
7
8
9
-
-
-
-
-
-
-
Reduce
2+1
-
1+2
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Essence
3
3
3
-
1
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
9
-
N
=
5
10
5
NINTH
65
29
2
-
-
2
-
-
-
-
-
-
-
7
-
S
=
1
8
7
SEVENTH
93
30
3
-
-
-
3
-
-
-
-
-
-
8
-
E
=
5
9
6
EIGHTH
57
39
3
-
-
-
3
-
-
-
-
-
-
5
-
F
=
6
6
5
FIFTH
49
31
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
4
5
THIRD
59
32
5
-
-
-
-
-
5
-
-
-
-
2
-
S
=
1
3
6
SECOND
60
24
6
-
-
-
-
-
-
6
-
-
-
4
-
F
=
6
5
6
FOURTH
88
34
7
-
-
-
-
-
-
-
7
-
-
6
-
S
=
1
7
5
SIXTH
80
26
8
-
-
-
-
-
-
-
-
8
-
1
-
F
=
6
2
5
FIRST
72
27
9
-
-
-
-
-
-
-
-
-
9
45
-
-
-
41
-
54
Add
687
300
48
-
1
2
6
4
5
6
7
8
9
4+5
-
-
-
4+1
-
5+4
Reduce
6+8+7
3+0+0
4+8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Deduce
21
3
12
-
1
2
6
4
5
6
7
8
9
-
-
-
-
-
-
-
Reduce
2+1
-
1+2
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Essence
3
3
3
-
1
2
6
4
5
6
7
8
9

 

 

 

The Upside Down of the Downside Up

 

 

THE DEATH OF GODS IN ANCIENT EGYPT

Jane B. Sellars 1992

Page 204

"The overwhelming awe that accompanies the realization, of the measurable orderliness of the universe strikes modern man as well. Admiral Weiland E. Byrd, alone In the Antarctic for five months of polar darkness, wrote these phrases of intense feeling:

Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! I could feel no doubt of oneness with the universe. The conviction came that the rhythm was too orderly. too harmonious, too perfect to be a product of blind chance - that, therefore there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was as rightfully a part of that cosmos as were the day and night.10

Returning to the account of the story of Osiris, son of Cronos god of' Measurable Time, Plutarch takes, pains to remind the reader of the original Egyptian year consisting of 360 days.

Phrases are used that prompt simple mental. calculations and an attention to numbers, for example, the 360-day year is described as being '12 months of 30 days each'. Then we are told that, Osiris leaves on a long journey, during which Seth, his evil brother, plots with 72 companions to slay Osiris: He also secretly obtained the measure of Osiris and made ready a chest in which to entrap him.

The, interesting thing about this part of the-account is that nowhere in the original texts of the Egyptians are we told that Seth, has 72 companions. We have already been encouraged to equate Osiris with the concept of measured time; his father being Cronos. It is also an observable fact that Cronos-Saturn has the longest sidereal period of the known planets at that time, an orbit. of 30 years. Saturn is absent from a specific constellation for that length of time.

A simple mathematical fact has been revealed to any that are even remotely sensitive to numbers: if you multiply 72 by 30, the years of Saturn's absence (and the mention of Osiris's absence prompts one to recall this other), the resulting product is 2,160: the number of years required, for one 30° shift, or a shift: through one complete sign of the zodiac. This number multplied by the /Page205 / 12 signs also gives 25,920. (And Plutarch has reminded us of 12)

If you multiply the unusual number 72 by 360, a number that Plutarch mentions several times, the product will be 25,920, again the number of years symbolizing the ultimate rebirth.

This 'Eternal Return' is the return of, say, Taurus to the position of marking the vernal equinox by 'riding in the solar bark with. Re' after having relinquished this honoured position to Aries, and subsequently to the to other zodiacal constellations.

Such a return after 25,920 years is indeed a revisit to a Golden Age, golden not only because of a remarkable symmetry In the heavens, but golden because it existed before the Egyptians experienced heaven's changeability.

But now to inform the reader of a fact he or she may already know. Hipparaus did: not really have the exact figures: he was a trifle off in his observations and calculations. In his published work, On the Displacement of the Solstitial and Equinoctial Signs, he gave figures of 45" to 46" a year, while the truer precessional lag along the ecliptic is about 50 seconds. The exact measurement for the lag, based on the correct annual lag of 50'274" is 1° in 71.6 years, or 36in 25,776 years, only 144 years less than the figure of 25,920.

With Hipparchus's incorrect figures a 'Great Year' takes from 28,173.9 to 28,800 years, Incorrect by a difference of from 2,397.9 years to 3,024.

Since Nicholas Copernicus (AD 1473-1543) has always been credited with giving the correct numbers (although Arabic astronomer Nasir al-Din Tusi,11 born AD 1201, is known to have fixed the Precession at 50°), we may correctly ask, and with justifiable astonishment 'Just whose information was Plutarch transmitting'

AN IMPORTANT POSTSCRIPT

Of course, using our own notational system, all the important numbers have digits that reduce to that amazing number 9 a number that has always delighted budding mathematician.

Page 206

Somewhere along the way, according to Robert Graves, 9 became the number of lunar wisdom.12

This number is found often in the mythologies of the world. the Viking god Odin hung for nine days and nights on the World Tree in order to acquire the secret of the runes, those magic symbols out of which writing and numbers grew. Only a terrible sacrifice would give away this secret, which conveyed upon its owner power and dominion over all, so Odin hung from his neck those long 9 days and nights over the 'bottomless abyss'. In the tree were 9 worlds, and another god was said to have been born of 9 mothers.

Robert Graves, in his White Goddess, Is intrigued by the seemingly recurring quality of the number 72 in early myth and ritual. Graves tells his reader that 72 is always connected with the number 5, which reflects, among other things, the five Celtic dialects that he was investigating. Of course, 5 x 72= 360, 360 x 72= 25,920. Five is also the number of the planets known to the ancient world, that is, Saturn, Jupiter, Mars, Venus Mercury.

Graves suggests a religious mystery bound up with two ancient Celtic 'Tree Alphabets' or cipher alphabets, which as genuine articles of Druidism were orally preserved and transmitted for centuries. He argues convincingly that the ancient poetry of Europe was ultimately based on what its composers believed to be magical principles, the rudiments of which formed a close religious secret for centuries. In time these were-garbled, discredited and forgotten.

Among the many signs of the transmission of special numbers he points out that the aggregate number of letter strokes for the complete 22-letter Ogham alphabet that he is studying is 72 and that this number is the multiple of 9, 'the number of lunar wisdom'. . . . he then mentions something about 'the seventy day season during which Venus moves successively from. maximum eastern elongation 'to inferior conjunction and maximum western elongation'.13

Page 207

"...Feniusa Farsa, Graves equates this hero with Dionysus Farsa has 72 assistants who helped him master the 72 languages created at the confusion of Babel, the tower of which is said to be built of 9 different materials

We are also reminded of the miraculous translation into Greek of the Five Books of Moses that was done by 72 scholars working for 72 days, Although the symbol for the Septuagint is LXX, legend, according to the fictional letter of Aristeas, records 72. The translation was done for Ptolemy Philadelphus (c.250 BC), by Hellenistic Jews, possibly from Alexandra.14

Graves did not know why this number was necessary, but he points out that he understands Frazer's Golden Bough to be a a book hinting that 'the secret involves the truth that the Christian dogma, and rituals, are the refinement of a great body of primitive beliefs, and that the only original element in Christianity- is the personality of Christ.15

Frances A. Yates, historian of Renaissance hermetisma tells, us the cabala had 72 angels through which the sephiroth (the powers of God) are believed to be approached, and further, she supplies the information that although the Cabala supplied a set of 48 conclusions purporting to confirm the Christian religion from the foundation of ancient wisdom, Pico Della Mirandola, a Renaissance magus, introduced instead 72, which were his 'own opinion' of the correct number. Yates writes, 'It is no accident there are seventy-two of Pico's Cabalist conclusions, for the conclusion shows that he knew something of the mystery of the Name of God with seventy-two letters.'16

In Hamlet's Mill de Santillarta adds the facts that 432,000 is the number of syllables in the Rig-Veda, which when multiplied by the soss (60) gives 25,920" (The reader is forgiven for a bit of laughter at this point)

Thee Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted
mounted in Genesis for the lifetimes of patriarchs from the Flood also contained the needed secret numbers. (He showed that in the 1,656.years recounted in the Bible there are 86,400 7 day weeks, and dividing this number yields / Page 208 / 43,200.) In Indian yogic schools it is held that all living beings exhale and inhale 21,600 times a day, .multiply this by 2 and again we have.the necessary 432 digits.

Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as.- the interest-
ing number of AD.432.18

Whatever one may think-of some of these number coincidences, it becomes. difficult to escape the suspicion that many signs (number and otherwise) -indicate that early man observed the results.. of the movement of Precession . and that the-.transmission of this information was .considered of prime importance.

'With the awareness of the phenomenon, observers would certainly have tried for its measure, and such an endeavour would
have constituted the construction-of a 'Unified Field Theory' for nothing .less than Creation itself. Once determined, it would have been information worthy of secrecy and worthy of the passing on to future adepts.

But one last word about mankind's romance with number coincidences.The antagonist in John Updike's novel, Roger's Version, is a computer hacker, who, convinced.,that scientific evidence of God's existence is accumulating, endeavours to prove it by feeding -all the available scientific information. into a comuter. In his search for God 'breaking, through', he has become fascinated by certain numbers that have continually been cropping up. He explains them excitedly as 'the terms of Creation':

"...after a while I noticed that all over the sheet there seemed to hit these twenty-fours Jumping out at me. Two four; two,four.Planck time, for instance, divided by the radiation constant yields a figure near eight times ten again to the negative twenty-fourth, and the permittivity of free space, or electric constant, into the Bohr radiusekla almost exactly six times ten to the negative twenty-fourth. On positive side, the electromagnetic line-structure constant times Hubble radius - that is, the size of the universe as we now perceive it gives us something quite close to ten to the twenty-fourth, and the strong-force constant times the charge on the proton produces two point four times ten to the negative eighteenth, for another I began to circle twenty-four wherever it appeared on the Printout here' - he held it up. his piece of striped and striped wallpaper, decorated / Page 209 / with a number of scarlet circles - 'you can see it's more than random.'19
This inhabitant of the twentieth century is convinced that the striking occurrences of 2 and 4 reveal the sacred numbers by which God is speaking to us.

So much for any scorn directed to ancient man's fascination with number coincidences. That fascination is alive and well, Just a bit more incomprehensible"

 

All about the planets in our Solar System. The nine planets that orbit the sun are (in order from the sun): Mercury,Venus, Earth, Mars, Jupiter, Saturn, ... www.enchantedlearning.com/subjects/astronomy/planets

Our solar system consists of the sun, eight planets, moons, dwarf planets, an asteroid belt, comets, meteors, and others. The sun is the center of our solar system; the planets, their moons, the asteroids, comets, and other rocks and gas all orbit the sun.

The nine planets that orbit the sun are (in order from the sun): Mercury,Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune, and Pluto (a dwarf planet). A belt of asteroids (minor planets made of rock and metal) lies between Mars and Jupiter. These objects all orbit the sun in roughly circular orbits that lie in the same plane, the ecliptic (Pluto is an exception; it has an elliptical orbit tilted over 17° from the ecliptic).

 

 

-
THE RAINBOW LIGHT
-
-
-
3
THE
33
15
6
7
RAINBOW
82
37
1
5
LIGHT
56
29
2
15
THE RAINBOW LIGHT
171
81
9
1+5
-
1+7+1
8+1
-
6
THE RAINBOW LIGHT
9
9
9

 

 

15
THE RAINBOW LIGHT
-
-
-
-
THE
33
15
6
-
R
18
9
9
-
A
1
1
1
-
I
9
9
9
-
N+B+O+W
54
18
9
-
L
12
3
3
-
I
9
9
9
-
G+H+T
35
17
8
15
THE RAINBOW LIGHT
171
81
54
1+5
-
1+7+1
8+1
5+4
6
THE RAINBOW LIGHT
9
9
9

 

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
=
7
=
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
=
7
=
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
=
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
=
2
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
+
=
351
3+5+1
=
9
=
9
=
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
+
=
126
1+2+6
=
9
=
9
=
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
=
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
=
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
=
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
-
-
-
-
-
-
-
-
-
-
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9

 

 

A
-
J
-
S
-
-
-
-
-
--
1
-
1
-
1
+
=
3
-
=
3
A
-
J
-
S
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
B
-
K
-
T
-
-
-
-
-
--
2
-
2
-
2
+
=
6
-
=
6
B
-
K
-
T
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
C
-
L
-
U
-
-
-
-
-
--
3
-
3
-
3
+
=
9
-
=
9
C
-
L
-
U
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
D
-
M
-
V
-
-
-
-
-
--
4
-
4
-
4
+
=
12
1+2
=
3
D
-
M
-
V
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
E
-
N
-
W
-
-
-
-
-
--
5
-
5
-
5
+
=
15
1+5
=
6
E
-
N
-
W
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
F
-
O
-
X
-
-
-
-
-
--
6
-
6
-
6
+
=
18
1+8
=
9
F
-
O
-
X
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
G
-
P
-
Y
-
-
-
-
-
--
7
-
7
-
7
+
=
21
2+1
=
3
G
-
P
-
Y
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
H
-
Q
-
Z
-
-
-
-
-
--
8
-
8
-
8
+
=
24
2+4
=
6
H
-
Q
-
Z
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
I
-
R
-
-
-
-
-
-
-
--
9
-
9
-
-
+
=
18
1+8
=
9
I
-
R
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
126
-
-
54
-
-
-
-
-
-
-
1+2+6
-
-
5+4
-
-
-
-
-
-
-
9
-
-
9

 

 

3
3
-
-
A+B+C
6
6
6
2
-
-
2
D+E
9
9
9
3
3
-
-
F+G+H
21
21
3
1
-
-
1
I
9
9
9
3
3
-
-
J+K+L
33
6
6
2
-
-
2
M+N
27
9
9
2
2
-
-
O+P
31
13
4
3
-
-
3
Q+R+S
54
18
9
3
-
-
3
T+U+V
63
9
9
3
-
-
3
W+X+Y
72
18
9
1
1
-
-
Z
26
8
8
26
12
4
14
Add to Reduce
351
126
81
2+6
1+2
-
1+4
Reduce to Deduce
3+5+1
1+2+6
8+1
8
3
-
5
Essence of Number
9
9
9

 

 

3
A+B+C
6
6
6
-
D+E
-
-
-
3
F+G+H
21
21
3
-
I
-
-
-
3
J+K+L
33
6
6
-
M+N
-
-
-
2
O+P
31
13
4
-
Q+R+S
-
-
-
-
T+U+V
-
-
-
-
W+X+Y
-
-
-
1
Z
26
8
8
12
Add to Reduce
117
54
27
2+6
Reduce to Deduce
1+1+7
5+4
2+7
8
Essence of Number
9
9
9

 

 

-
A+B+C
-
-
-
2
D+E
9
9
9
-
F+G+H
-
-
-
1
I
9
9
9
-
J+K+L
-
-
-
2
M+N
27
9
9
-
O+P
-
-
-
3
Q+R+S
54
18
9
3
T+U+V
63
9
9
3
W+X+Y
72
18
9
-
Z
-
-
-
14
Add to Reduce
234
72
54
1+4
Reduce to Deduce
2+3+4
7+2
5+4
5
Essence of Number
9
9
9

 

 

-
CONVERGENCE
-
-
-
-
-
2
C+O
18
9
9
-
9
2
N+V
36
9
9
-
9
1
E
5
5
5
-
-
1
R
9
9
9
-
9
1
G
7
7
7
-
-
1
E+N+C+E
27
18
9
-
9
11
CONVERGENCE
111
57
48
-
36
1+1
-
1+1+1
1+2
4+8
-
3+6
1
CONVERGENCE
3
3
12
-
9
-
-
-
-
1+2
-
-
1
CONVERGENCE
3
3
3
-
9

 

 

-
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
--
-
-
6
5
-
-
-
-
-
5
-
-
+
=
16
1+6
=
7
=
7
=
7
-
-
-
15
14
-
-
-
-
-
14
-
-
+
=
43
4+3
=
7
=
7
=
7
-
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
=
-
-
=
-
-
-
-
-
3
-
-
4
5
9
7
5
-
3
5
+
=
41
4+1
=
5
=
5
=
5
-
-
3
-
-
22
5
18
7
5
-
3
5
+
=
68
6+8
=
14
1+4
5
=
5
-
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
-
-
3
15
14
22
5
18
7
5
14
3
5
+
=
111
1+1+1
=
3
=
3
=
3
-
-
3
6
5
4
5
9
7
5
5
3
5
+
=
57
5+7
=
12
1+2
3
=
3
-
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
2
=
6
=
6
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
5
-
5
-
-
5
5
-
5
-
-
5
occurs
x
5
=
25
2+5
7
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
11
11
C
O
N
V
E
R
G
E
N
C
E
-
-
34
-
-
11
-
57
-
39
1+2
1+1
-
-
5
-
5
-
-
5
5
-
5
-
-
3+4
-
-
1+1
-
5+7
-
3+9
2
2
C
O
N
V
E
R
G
E
N
C
E
-
-
7
-
-
2
-
12
-
12
-
-
3
6
5
4
5
9
7
5
5
3
5
-
-
-
-
-
-
-
1+2
-
1+2
2
2
C
O
N
V
E
R
G
E
N
C
E
-
-
7
-
-
2
-
3
-
3

 

 

11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
-
-
6
5
-
-
-
-
-
5
-
-
+
=
16
1+6
=
7
=
7
=
7
-
-
15
14
-
-
-
-
-
14
-
-
+
=
43
4+3
=
7
=
7
=
7
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
=
-
-
=
-
-
-
-
3
-
-
4
5
9
7
5
-
3
5
+
=
41
4+1
=
5
=
5
=
5
-
3
-
-
22
5
18
7
5
-
3
5
+
=
68
6+8
=
14
1+4
5
=
5
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
-
3
15
14
22
5
18
7
5
14
3
5
+
=
111
1+1+1
=
3
=
3
=
3
-
3
6
5
4
5
9
7
5
5
3
5
+
=
57
5+7
=
12
1+2
3
=
3
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
2
=
6
=
6
-
-
-
-
4
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
5
-
5
-
-
5
5
-
5
-
-
5
occurs
x
5
=
25
2+5
7
-
-
6
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
9
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
11
C
O
N
V
E
R
G
E
N
C
E
-
-
34
-
-
11
-
57
-
39
1+1
-
-
5
-
5
-
-
5
5
-
5
-
-
3+4
-
-
1+1
-
5+7
-
3+9
2
C
O
N
V
E
R
G
E
N
C
E
-
-
7
-
-
2
-
12
-
12
-
3
6
5
4
5
9
7
5
5
3
5
-
-
-
-
-
-
-
1+2
-
1+2
2
C
O
N
V
E
R
G
E
N
C
E
-
-
7
-
-
2
-
3
-
3

 

 

-
CONVERSATION
-
-
-
-
-
2
C+O
18
9
9
-
9
2
N+V
36
9
9
-
9
1
E
5
5
5
-
-
1
R
18
9
9
-
9
1
S
19
1
1
-
-
4
A+T+I+O
45
18
9
-
9
1
N
14
5
5
-
-
12
CONVERSATION
155
56
47
-
36
1+2
-
1+5+5
5+6
4+7
-
3+6
3
CONVERSATION
11
11
11
-
9
-
-
1+1
1+1
1+1
-
-
3
CONVERSATION
2
2
2
-
9

 

 

-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
6
5
-
-
-
1
-
-
9
6
5
+
=
32
3+2
=
5
=
5
=
5
-
-
-
15
14
-
-
-
19
-
-
9
15
14
+
=
86
8+6
=
14
1+4
5
=
5
-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
=
-
-
=
-
-
-
-
-
3
-
-
4
5
9
-
1
2
-
-
-
+
=
24
2+4
=
6
=
6
=
6
-
-
3
-
-
22
5
18
-
1
20
-
-
-
+
=
69
6+9
=
15
1+5
6
=
6
-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
3
15
14
22
5
18
19
1
20
9
15
14
+
=
155
1+5+5
=
11
=
2
=
2
-
-
3
6
5
4
5
9
1
1
2
9
6
5
+
=
56
5+6
=
11
=
2
=
2
-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
-
-
-
-
1
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
3
=
3
-
-
-
-
5
-
5
-
-
-
-
-
-
5
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
6
occurs
x
2
=
12
1+2
3
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
2
=
18
1+8
9
15
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
30
-
-
12
-
56
-
29
1+5
1+1
-
-
-
-
-
9
-
-
-
9
-
5
-
-
3+0
-
-
1+2
-
5+6
-
2+9
6
2
C
O
N
V
E
R
S
A
T
I
O
N
-
-
3
-
-
3
-
11
-
11
-
-
3
6
5
4
5
9
1
1
2
9
6
5
-
-
-
-
-
-
-
1+1
-
1+1
6
2
C
O
N
V
E
R
S
A
T
I
O
N
-
-
3
-
-
3
-
2
-
2

 

 

-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
6
5
-
-
-
1
-
-
9
6
5
+
=
32
3+2
=
5
=
5
=
5
-
-
-
15
14
-
-
-
19
-
-
9
15
14
+
=
86
8+6
=
14
1+4
5
=
5
-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
=
-
-
=
-
-
-
-
-
3
-
-
4
5
9
-
1
2
-
-
-
+
=
24
2+4
=
6
=
6
=
6
-
-
3
-
-
22
5
18
-
1
20
-
-
-
+
=
69
6+9
=
15
1+5
6
=
6
-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
3
15
14
22
5
18
19
1
20
9
15
14
+
=
155
1+5+5
=
11
=
2
=
2
-
-
3
6
5
4
5
9
1
1
2
9
6
5
+
=
56
5+6
=
11
=
2
=
2
-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
-
-
-
-
1
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
3
=
3
-
-
-
-
5
-
5
-
-
-
-
-
-
5
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
6
occurs
x
2
=
12
1+2
3
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
2
=
18
1+8
9
15
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
30
-
-
12
-
56
-
29
1+5
1+1
-
-
-
-
-
9
-
-
-
9
-
5
-
-
3+0
-
-
1+2
-
5+6
-
2+9
6
2
C
O
N
V
E
R
S
A
T
I
O
N
-
-
3
-
-
3
-
11
-
11
-
-
3
6
5
4
5
9
1
1
2
9
6
5
-
-
-
-
-
-
-
1+1
-
1+1
6
2
C
O
N
V
E
R
S
A
T
I
O
N
-
-
3
-
-
3
-
2
-
2

 

 

-
SPEECH
-
-
-
4
S+P+E+E
45
18
9
2
C+H
11
2
2
6
SPEECH
56
20
11
-
-
5+6
2+0
1+1
6
SPEECH
11
11
2
-
-
1+1
1+1
-
6
SPEECH
2
2
2

 

 

I

ME

LIVING

MAGNETISM

POSITIVE + NEGATIVE

ISISIS MAAT IS IS MAAT ISISIS

I AM THAT EYE THAT EYE THAT AM I

I AM DROWNING ALWAYS DROWNING AM I

HAIL THE JEWEL AT THE CENTRE OF THE LOTUS

1818 ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ 8181

ONE EIGHT THREE SIX 1836 ISISIS 6381 SIX THREE EIGHT ONE

X X X 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 X X X 9 + 8 + 7 + 6 + 5 + 4 + 3 + 2 + 1 X X X

ABCDEFGHIJKLMNOPQRSTUVWXYZ 9 9 9 ZYXWVUTSRQPONMLKJIHGFEDCBA

ISISIS LOVE LOVE ISISIS ISISIS LIGHT 999 LOVE 999 LIGHT SISISI SISISI LOVE LOVE ISISIS

 

 

THE

TIME IS COMING AND NOW IS

 

 

-
THE SOLAR SYSTEM
-
-
-
3
THE
33
15
6
5
SOLAR
65
29
2
6
SYSTEM
101
38
2
14
THE SOLAR SYSTEM
199
82
10
1+4
-
1+9+9
8+2
1+0
5
THE SOLAR SYSTEM
19
10
1
-
-
1+9
1+0
-
5
THE SOLAR SYSTEM
10
1
1
-
-
1+0
-
-
5
THE SOLAR SYSTEM
1
1
1

 

 

S
=
1
-
3
SUN
54
9
9
M
=
4
-
7
MERCURY
103
40
4
V
=
4
-
5
VENUS
81
18
9
E
=
5
-
5
EARTH
52
25
7
M
=
4
-
4
MOON
57
21
3
M
=
4
-
4
MARS
51
15
6
J
=
1
-
7
JUPITER
99
36
9
S
=
1
-
6
SATURN
93
21
3
U
=
3
-
6
URANUS
94
22
4
N
=
5
-
7
NEPTUNE
95
32
5
P
=
7
-
5
PLUTO
84
21
3
-
-
39
4
59
First Total
863
260
62
-
-
3+9
-
5+9
Add to Reduce
8+6+3
2+6+0
6+2
-
-
12
-
16
Second Total
17
8
8
-
-
1+2
-
1+6
Reduce to Deduce
1+7
-
-
-
-
3
-
7
Essence of Number
8
8
8

 

 

Z
=
8
-
4
ZERO
64
28
1
+
-
+
-
+
+
+
+
+
S
=
1
-
3
SUN
54
9
9
M
=
4
-
7
MERCURY
103
40
4
V
=
4
-
5
VENUS
81
18
9
E
=
5
-
5
EARTH
52
25
7
M
=
4
-
4
MOON
57
21
3
M
=
4
-
4
MARS
51
15
6
J
=
1
-
7
JUPITER
99
36
9
S
=
1
-
6
SATURN
93
21
3
U
=
3
-
6
URANUS
94
22
4
N
=
5
-
7
NEPTUNE
95
32
5
P
=
7
-
5
PLUTO
84
21
3
-
-
47
4
63
First Total
927
288
63
-
-
4+7
-
6+3
Add to Reduce
9+2+7
2+8+8
6+3
-
-
11
-
9
Second Total
18
18
9
-
-
1+1
-
-
Reduce to Deduce
1+8
1+8
-
-
-
2
-
9
Essence of Number
9
9
9

 

 

S
=
1
-
3
SUN
54
9
9
E
=
5
-
5
EARTH
52
25
7
M
=
4
-
4
MOON
57
21
3
-
-
10
-
12
First Total
163
55
19
-
-
1+0
-
1+2
Add to Reduce
1+6+3
5+5
1+9
-
-
1
-
3
Second Total
10
10
10
-
-
-
-
-
Reduce to Deduce
1+0
1+0
1+0
-
-
1
-
3
Essence of Number
1
1
1

 

 

A
=
1
-
1
A
1
1
1
M
=
4
-
10
MANIFESTLY
124
43
7
A
=
1
-
10
ARTIFICIAL
88
52
7
S
=
1
-
6
SIGNAL
62
26
8
E
=
5
-
4
EVEN
46
19
1
I
=
9
-
2
IF
15
15
6
I
=
9
-
2
IT
29
11
2
W
=
5
-
4
WERE
51
24
6
A
=
1
-
2
AS
20
2
2
B
=
2
-
6
BORING
65
38
2
A
=
1
-
2
AS
20
2
2
L
=
3
-
5
LISTS
79
16
7
O
=
6
-
2
OF
21
12
3
P
=
7
-
5
PRIME
61
34
7
N
=
5
-
7
NUMBERS
92
29
2
-
-
60
Q
68
First Total
774
324
63
-
-
6+0
-
6+8
Add to Reduce
7+7+4
3+2+4
6+3
-
-
6
-
14
Second Total
18
18
18
-
-
-
-
1+4
Reduce to Deduce
1+8
1+8
1+8
-
-
6
-
5
Essence of Number
9
9
9

 

 

O
=
6
-
2
OR
33
15
6
T
=
2
-
3
THE
33
15
6
D
=
4
-
6
DIGITS
68
32
5
O
=
6
-
2
OF
21
12
3
P
=
7
-
2
PI
25
16
7
S
-
25
4
15
Add to Reduce
180
90
27
-
-
2+5
-``
1+5
Reduce to Deduce
1+8+0
9+0
2+7
S
-
7
4
6
Essence of Number
9
9
9

 

 

W
=
5
-
5
WOULD
75
21
3
I
=
9
-
5
IMPLY
75
30
3
T
=
2
-
4
THAT
49
13
4
I
=
9
-
12
INTELLIGENCE
115
61
7
W
=
5
-
5
WASNT
77
14
5
U
=
3
-
6
UNIQUE
87
33
6
T
=
2
-
2
TO
35
8
8
T
=
2
-
3
THE
33
15
6
E
=
5
-
5
EARTH
52
25
7
-
-
42
Q
47
First Total
598
220
49
-
-
4+2
-
4+7
Add to Reduce
5+9+8
2+2+0
4+9
-
-
6
-
11
Second Total
22
4
13
-
-
-
-
1+1
Reduce to Deduce
2+2
-
1+3
-
-
6
-
2
Essence of Number
4
4
2

 

 

A
=
1
-
4
ABLE
20
11
2
A
=
1
-
3
AND
19
10
1
M
=
4
-
9
MOTIVATED
109
37
1
T
=
2
-
2
TO
35
8
8
T
=
2
-
8
TRANSMIT
114
33
6
-
-
-
-
-
RADIO
-
-
-
S
=
1
-
7
SIGNALS
81
27
9
-
-
11
Q
33
First Total
378
126
27
-
-
1+1
-
3+3
Add to Reduce
3+7+8
1+2+6
2+7
-
-
2
-
6
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
2
-
6
Essence of Number
9
9
9

 

 

T
=
2
-
3
THE
33
15
6
U
=
3
-
8
UNIVERSE
113
41
5
O
=
6
-
2
OF
21
12
3
G
=
7
-
4
GODS
45
18
9
M
=
4
-
4
MIND
40
22
4
-
-
22
Q
21
Add to Reduce
252
108
27
-
-
2+2
-
2+1
Reduce to Deduce
2+5+2
7+0
1+6
-
-
4
-
3
Essence of Number
9
9
9

 

 

-
I HAVE COME
-
-
-
1
I
9
9
9
2
H+A
9
9
9
2
V+E
27
9
9
2
C+O
18
9
9
2
M+E
18
9
9
9
I HAVE COME
81
45
45
-
-
8+1
4+5
4+5
9
I HAVE COME
9
9
9

 

 

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

 

 

0
-
4
ZERO
8
5
9
6
-
=
28
2+8
=
10
1+0
1
1
-
3
ONE
6
5
5
-
-
=
16
1+6
=
7
-
7
2
-
3
TWO
2
5
6
-
-
=
13
1+3
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
29
2+9
=
11
1+1
2
4
-
4
FOUR
6
6
3
9
-
=
24
2+4
=
6
-
6
5
-
4
FIVE
6
9
4
5
-
=
24
2+4
=
6
-
6
6
-
3
SIX
1
9
6
-
-
=
16
1+6
=
7
-
7
7
-
5
SEVEN
1
5
4
5
5
=
20
2+0
=
2
-
2
8
-
5
EIGHT
5
9
7
8
2
=
31
3+1
=
4
-
4
9
-
4
NINE
5
9
5
5
-
=
24
2+4
=
6
-
6
45
-
40
Add
42
70
58
43
12
-
225
-
-
63
-
45
4+5
-
4+0
-
4+2
7+0
5+8
4+3
1+2
-
2+2+5
-
-
6+3
-
4+5
9
-
4
Reduce
6
7
13
7
3
-
9
-
-
9
-
-
-
-
-
-
-
-
1+3
-
-
-
-
-
-
-
-
-
9
-
4
Deduce
6
7
4
7
3
-
9
-
-
9
-
9

 

 

Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
8
-
-
6
-
6
5
-
-
-
-
6
-
-
8
-
-
-
-
-
6
-
-
-
-
9
-
-
-
1
9
6
-
1
-
-
-
5
-
-
9
-
8
-
-
5
9
5
-
112
26
-
-
15
-
15
14
-
-
-
-
15
-
-
8
-
-
-
-
-
15
-
-
-
-
9
-
-
-
19
9
24
-
19
-
-
-
14
-
-
9
-
8
-
-
14
9
14
-
256
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
5
9
-
-
-
-
5
-
2
5
-
-
2
-
9
5
5
-
6
-
3
9
-
6
-
4
5
-
-
-
-
-
-
5
4
5
-
-
5
-
7
-
2
-
-
-
-
5
113
-
5
18
-
-
-
-
5
-
20
23
-
-
20
-
18
5
5
-
6
-
21
18
-
6
-
22
5
-
-
-
-
-
-
5
22
5
-
-
5
-
7
-
20
-
-
-
-
5
266
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
26
5
18
15
-
15
14
5
-
20
23
15
-
20
8
18
5
5
-
6
15
21
18
-
6
9
22
5
-
19
9
24
-
19
5
22
5
14
-
5
9
7
8
20
-
14
9
14
5
522
8
5
9
6
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
-
6
9
4
5
-
1
9
6
-
1
5
4
5
5
-
5
9
7
8
2
-
5
9
5
5
225
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
5
-
-
-
--
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
-
5
5
-
5
-
-
5
5
-
-
-
-
5
5
-
-
-
6
-
6
-
-
-
-
--
6
-
-
-
-
-
-
-
6
6
-
-
-
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
9
-
-
9
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
45
-
5
-
-
-
--
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
-
5
5
-
5
-
-
5
5
-
-
-
-
5
4+5
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
9
8
5
9
6
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
-
6
9
4
5
-
1
9
6
-
1
5
4
5
5
-
5
9
7
8
2
-
5
9
5
5
-
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
9

 

 

1
occurs
x
2
=
2
=
2
2
occurs
x
3
=
6
=
6
3
occurs
x
1
=
3
=
3
4
occurs
x
2
=
8
=
8
5
occurs
x
14
=
70
7+0
7
6
occurs
x
7
=
42
4+2
6
7
occurs
x
1
=
7
=
7
8
occurs
x
3
=
24
2+4
6
9
occurs
x
7
=
63
6+3
9
45
-
-
40
-
225
-
54
4+5
-
-
4+0
-
2+2+5
-
5+4
9
-
-
4
-
9
-
9

 

LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Page 32

5


To Sorcerers and Magicians number FIVEis the most powerful - five is the mark of the pentacle, a five pointed star drawn by extending the sides of a Pentagon. Five surely is in the possession of the occult. And the Pentagon is the geometric figure in which the golden ratio of classical art and architecture is found most.

 

 

THE

BALANCING

ONE TWO THREE FOUR

FIVE

NINE EIGHT SEVEN SIX

 

 

O
=
15
ONE
3
-
34
16
7
-
1
T
=
20
TWO
3
-
58
13
4
-
2
T
=
20
THREE
5
-
56
29
2
-
3
F
=
6
FOUR
4
-
60
24
6
-
4
-
-
61
Add
15
-
208
82
19
-
10
-
-
6+1
Reduce
-
-
2+0+8
8+2
1+9
-
1+0
-
-
7
Reduce
6
-
10
10
10
-
1
-
-
-
Deduce
-
-
1+0
1+0
1+0
-
-
-
-
7
Essence
6
-
1
1
1
-
1

 

 

N
=
14
NINE
4
-
42
24
6
-
9
E
=
5
EIGHT
5
-
49
31
4
-
8
S
=
19
SEVEN
5
-
65
20
2
-
7
S
=
19
SIX
3
-
52
16
7
-
6
-
-
57
Add
17
-
208
91
19
-
30
-
-
5+7
Reduce
1+7
-
2+0+8
9+1
1+9
-
3+0
-
-
12
Reduce
8
-
10
10
10
-
3
-
-
1+2
Deduce
-
-
1+0
1+0
1+0
-
-
-
-
3
Essence
8
-
1
1
1
-
3

 

 

4
FIVE
42
24
6

 

1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

15
ONE TWO THREE FOUR
208
82
1
4
FIVE
42
24
6
17
NINE EIGHT SEVEN SIX
208
91
1

 

 

3
ONE
34
16
7
-
3
SIX
52
16
7
3
TWO
58
13
4
-
5
SEVEN
65
20
2
5
THREE
56
29
2
-
5
EIGHT
49
31
4
4
FOUR
60
24
6
-
4
NINE
42
24
6
15
Add
208
82
19
-
17
Add
208
91
19
1+5
Reduce
2+0+8
8+2
1+9
-
1+7
Reduce
2+0+8
9+1
1+9
6
Reduce
10
10
10
-
8
Reduce
10
10
10
-
Deduce
1+0
1+0
1+0
-
-
Deduce
1+0
1+0
1+0
6
Essence
1
1
1
-
8
Essence
1
1
1

 

 

1
3
ONE
34
16
7
2
3
TWO
58
13
4
3
5
THREE
56
29
2
4
4
FOUR
60
24
6
5
4
FIVE
42
24
6
6
3
SIX
52
16
7
7
5
SEVEN
65
20
2
8
5
EIGHT
49
31
4
9
4
NINE
42
24
6
45
36
Add
458
197
44
4+5
3+6
Reduce
4+5+8
1+9+7
4+4
9
9
Reduce
17
17
8
-
-
Deduce
1+7
1+7
-
9
9
Essence
8
8
8

 

 

0
-
ZERO
64
28
1
1
6
ONE
34
16
7
2
2
TWO
58
13
4
3
2
THREE
56
29
2
4
6
FOUR
60
24
6
5
6
FIVE
42
24
6
6
1
SIX
52
16
7
7
1
SEVEN
65
20
2
8
5
EIGHT
49
31
4
9
5
NINE
42
24
6
45
34
Add
522
225
45
4+5
3+4
Reduce
5+2+2
2+2+5
4+5
9
7
Deduce
9
9
9

 

 

T
=
2
-
3
THE
33
15
6
E
=
5
-
1
E
5
5
5
A
=
1
-
2
AT
21
3
3
D
=
4
-
6
DELPHI
54
36
9
-
-
12
-
12
First Total
113
59
23
-
-
1+2
-
1+2
Add to Reduce
1+1+3
5+9
2+3
Q
-
3
-
3
Second Total
5
14
5
-
-
-
-
-
Reduce to Deduce
-
1+4
=
-
-
3
-
3
Essence of Number
5
5
5

 

THE E AT DELPHI

THE 5 AT DELPHI

THE E AT DELPHI

 

T
=
2
-
3
THE
33
15
6
E
=
5
-
1
E
5
5
5
A
=
1
-
2
AT
21
3
3
D
=
4
-
6
DELPHI
54
36
9
-
-
12
-
12
First Total
113
59
23
-
-
1+2
-
1+2
Add to Reduce
1+1+3
5+9
2+3
Q
-
3
-
3
Second Total
5
14
5
-
-
-
-
-
Reduce to Deduce
-
1+4
=
-
-
3
-
3
Essence of Number
5
5
5

 

 

PLUTARCH

MORALIA

VOLUME

LCL 306 V

With an English Traslation by Frank Cole Babbitt 1999

Page 194

INTRODUCTION

"PLUTARCH, in this essay on the E at Delphi, tells us that beside the well-known inscriptions at Delphi there was also a representation of the letter E, the fifth letter of the Greek alphabet. The Greek name for this letter was El, and this diphthong, in addition to being used in Plutarch's time as the name of E (which denotes the number five), is the Greek word for" if," and also the word for the second person singular of the verb" to be " (thou art).
In searching for an explanation of the unexplain­able it is only natural that the three meanings of El (" five," "if," "thou art") should be examined to see if any hypothesis based on anyone of them might possibly yield a rational explanatiqn; and these hypotheses constitute the skeleton about which is built the body of Plutarch's essay. From it we gain
some interesting delineations of character and an engaging portrayal of the way in which a philosopher acts, or reacts, when forced unwillingly to face the unknowable.
Plutarch puts forward seven possible explanations
of the letter: .
(1) It was dedicated by the Wise Men, as a protest against interlopers, to show that their number was actually five and not seven (El = E, five). ' / Page 195

(2) El is the second vowel, the Sun is the second planet, and Apollo is identified with the sun (El = R, the vowel).
(3) El means" if": people ask the oracle IF they shall succeed, or IF they shall do this or that (El = " if ").
(4) El is used in wishes or prayers to the god, often in the combination €tO€ or d yap (El =" if" or " if only").
(5) El, " if," is an indispensable word in logic for
the construction of a syllogism (El = " if ").
(6) Five is a most important number in mathematics, physiology, philosophy, and music (El = E, " five ").
(7) El means" thou art" and is the address of the consultant to Apollo, to indicate that the god has eternal being (El =" thou art "). a
Attempts to explain the letter have been also made in modern times by Gottling, Berichte der Sachs. Gesell. der Wiss. I. (1846-47) pp. 311 ff., and by Schultz in Philologus (1866), pp. 214 ff. Roscher, in Philologus (1900), pp. 21 ff.; (1901), pp. 81 ff.; (1902), pp. 513 ff. ; Hermes (1901), pp. 470 ff. (<;omment also by C. Robert in the same volume, p. 490), and the Philo­logische Wochenschrift (1922), col. 1211, maintains that El is an imperative from €lfLL, " go," addressed to the person who came to consult the oracle, and that it means" go on," " continue" into the temple. The value of this explanation is somewhat doubtful, since El in this word (€llu) is a true diphthong, and so is not generally spelled with simple E except in the Corinthian alphabet. Although a This explanation is accepted by Poulsen (Delphi, p. 149), but is open to very serious objections

 

 

ADVENT 1066 ADVENT

 

 

F
=
6
-
3
FOR
39
21
3
E
=
5
-
5
EVERY
75
30
3
A
=
1
-
6
ACTION
62
26
8
T
=
2
-
5
THERE
56
29
2
I
=
9
-
2
IS
28
19
1
A
=
1
-
2
AN
15
6
6
E
=
5
-
5
EQUAL
56
20
2
A
=
1
-
3
AND
19
10
1
O
=
6
-
8
OPPOSITE
115
43
7
R
=
9
-
8
REACTION
85
40
4
-
-
45
4
46
First Total
550
244
37
-
-
4+5
-
4+6
Add to Reduce
5+5+0
2+4+4
3+7
Q
-
9
-
10
Second Total
10
10
10
-
-
-
4
1+0
Reduce to Deduce
1+0
1+0
1+0
-
-
9
5
1
Essence of Number
1
1
1

 

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
5
ADDED
18
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
5
MINUS
76
22
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
4
NONE
48
21
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
6
SHARED
55
28
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
2
BY
27
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
10
EVERYTHING
133
61
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
10
MULTIPLIED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
58
First Total
626
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+8
Add to Reduce
6+2+6
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
13
Second Total
14
14
14
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+3
Reduce to Deduce
1+4
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
8
-
4
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

F
=
6
-
5
FIRST
72
27
9
S
=
1
-
6
SECOND
60
24
6
T
=
2
-
5
THIRD
59
32
5
F
=
6
-
6
FOURTH
88
25
7
F
=
6
-
5
FIFTH
49
31
4
S
=
1
-
5
SIXTH
80
26
8
S
=
1
-
7
SEVENTH
93
30
3
E
=
5
-
6
EIGHTH
57
39
3
N
=
5
-
5
NINTH
65
29
2
-
-
33
-
50
First Total
623
263
47
-
-
3+3
-
5+0
Add to Reduce
6+2+3
2+6+3
4+7
-
-
6
-
5
Second Total
11
11
11
-
-
-
-
-
Reduce to Deduce
1+1
1+1
1+1
-
-
6
-
5
Essence of Number
2
2
2

 

 

--
--
--
--
--
ENNEAD
--
-
-
-
-
-
-
1
E
5
5
5
-
-
-
-
1
N
14
5
5
-
-
-
-
1
N
14
5
5
-
-
-
-
1
E
5
5
5
-
-
-
-
2
A+D
5
5
5
E
=
5
-
6
ENNEAD
43
25
25
-
-
-
-
-
-
4+3
2+5
2+5
E
=
5
-
6
ENNEAD
7
7
7

 

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

 

--
--
--
--
--
THE ENNEAD
--
-
-
-
-
-
-
2
T+H
28
10
1
-
-
-
-
1
E
5
5
5
T
=
2
-
-
THE
--
-
-
E
=
5
-
-
ENNEAD
--
-
-
-
-
-
-
1
E
5
5
5
-
-
-
-
1
N
14
5
5
-
-
-
-
1
N
14
5
5
-
-
-
-
1
E
5
5
5
-
-
-
-
2
A+D
5
5
5
-
-
7
-
9
THE ENNEAD
76
40
31
-
-
-
-
-
-
7+6
4+0
3+1
-
-
7
-
9
THE ENNEAD
13
4
4
-
-
-
-
-
-
1+3
-
-
-
-
7
-
9
THE ENNEAD
4
4
4

 

I

THAT AM THAT

SEEN INNER SINNER INNER SEEN

AM

I

 

 

SEE INNER NEEDS INNER SEE

 

-
-
-
-
-
SEE INNER NEEDS
-
-
-
-
-
-
-
--
SEE
--
-
-
-
-
-
-
1
S
19
10
1
-
-
-
-
1
E
5
5
5
-
-
-
-
1
E
5
5
5
S
=
1
-
--
SEE
--
-
-
--
--
--
--
--
INNER
--
-
-
-
-
-
-
1
I
9
9
9
-
-
-
-
1
N
14
5
5
-
-
-
-
1
N
14
5
5
-
-
-
-
1
E
5
5
5
-
-
-
-
1
R
18
9
9
I
=
9
--
--
INNER
--
-
-
--
--
--
--
--
NEEDS
--
-
-
-
-
-
-
1
N
14
5
5
-
-
-
-
1
E
5
5
5
-
-
-
-
1
E
5
5
5
-
-
-
-
2
D+S
23
14
5
N
=
5
--
--
NEEDS
--
-
-
-
-
15
-
13
SEE INNER NEEDS
136
82
64
-
-
1+5
-
1+3
-
1+3+6
8+2
6+4
-
-
6
-
4
SEE INNER NEEDS
10
10
10
-
-
-
-
-
-
1+0
1+0
1+0
-
-
6
-
4
SEE INNER NEEDS
1
1
1

 

LOOK AT THE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES

 

INNER AWARENESS

1
I
9
9
9
-
-
1
N
14
5
5
-
5
1
N
14
5
5
-
5
1
E
5
5
5
-
5
1
R
18
9
9
-
-
1
A
1
1
1
-
-
1
W
23
5
5
-
5
1
A
14
5
5
-
5
1
R
18
9
9
-
-
1
E
5
5
5
-
5
1
N
14
5
5
-
5
1
E
5
5
5
-
5
1
S
19
10
1
-
-
1
S
19
10
1
-
-
14
-
165
84
66
-
40
1+4
-
1+6+5
8+4
6+6
-
4+0
5
-
12
12
12
-
4
-
-
1+2
1+2
1+2
-
-
5
-
3
3
3
-
4

INNER AWARENESS

 

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

 

AWAKENING INNER AWARENESS

 

1
A
1
1
1
-
-
1
W
23
5
5
-
5
1
A
1
1
1
-
-
1
K
11
2
2
-
-
1
E
5
5
5
-
5
1
N
14
5
5
-
5
1
I
9
9
9
-
=
1
N
14
5
5
-
5
1
G
7
7
7
-
-
-
-
-
-
-
-
-
1
I
9
9
9
-
-
1
N
14
5
5
-
5
1
N
14
5
5
-
5
1
E
5
5
5
-
5
1
R
18
9
9
-
-
-
-
-
-
-
-
-
1
A
1
1
1
-
-
1
W
23
5
5
-
5
1
A
14
5
5
-
5
1
R
18
9
9
-
-
1
E
5
5
5
-
5
1
N
14
5
5
-
5
1
E
5
5
5
-
5
1
S
19
10
1
-
-
1
S
19
10
1
-
-
23
-
250
124
106
-
60
2+3
-
2+5+0
1+2+4
1+0+6
-
6+0
5
-
7
7
7
-
6

 

AWAKENING INNER AWARENESS

 

 

LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S

 

 

3
THE
33
15
6
-
-
-
INTERDEPENDENCE
-
-
-
-
-
1
I
9
9
9
-
-
1
N
14
5
5
-
5
1
T
20
2
2
-
-
1
E
5
5
5
-
5
1
R
18
9
9
-
-
1
D
4
4
4
-
-
1
E
5
5
5
-
5
1
P
16
7
7
-
-
1
E
5
5
5
-
5
1
N
14
5
5
-
5
1
D
4
4
4
-
-
1
E
5
5
5
-
5
1
N
14
5
5
-
5
1
C
3
3
3
-
-
1
E
5
5
5
-
5
15
INTERDEPENDENCE
174
93
84
-
40
1+5
-
1+7+4
9+3
8+4
-
4+0
6
INTERDEPENDENCE
12
12
12
-
4
-
-
1+2
1+2
1+2
-
-
6
INTERDEPENDENCE
3
3
3
-
4

 

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

 

-
INTERDEPENDENCE
-
-
-
-
-
1
I
9
9
9
-
-
1
N
14
5
5
-
5
1
T
20
2
2
-
-
1
E
5
5
5
-
5
1
R
18
9
9
-
-
1
D
4
4
4
-
-
1
E
5
5
5
-
5
1
P
16
7
7
-
-
1
E
5
5
5
-
5
1
N
14
5
5
-
5
1
D
4
4
4
-
-
1
E
5
5
5
-
5
1
N
14
5
5
-
5
1
C
3
3
3
-
-
1
E
5
5
5
-
5
15
INTERDEPENDENCE
141
78
78
-
40
1+5
-
1+4+1
7+8
7+8
-
4+0
6
INTERDEPENDENCE
6
15
15
-
4
-
-
-
1+5
1+5
-
-
6
INTERDEPENDENCE
6
6
6
-
4

 

99 = TWILIGHT = 99

TWILIGHT TWO IN ON E LIGHT TWILIGHT

99 = TWILIGHT = 99

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

99 = TWILIGHT = 99

TWILIGHT TWO IN ON E LIGHT TWILIGHT

99 = TWILIGHT = 99

 

3
THE
33
15
6
3
SON
48
12
3
2
OF
21
12
3
3
THE
33
15
6
3
SUN
54
9
9
14
First Total
189
63
27
1+4
Add to Reduce
1+8+9
6+3
2+7
5
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
5
Essence of Number
9
9
9

 

 

3
THE
33
15
6
3
SUN
54
18
9
3
GOD
26
17
8
9
Add to Reduce
113
50
23
-
Reduce to Deduce
1+1+3
5+0
2+3
9
Essence of Number
5
5
5

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
15
-
-
-
-
33
15
15
6
-
-
-
-
-
-
-
-
-
S
=
1
-
4
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
5
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
6
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
9
-
-
-
-
54
18
9
9
-
-
-
-
-
-
-
-
-
G
=
7
-
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
-
8
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
D
=
4
-
9
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
17
-
-
-
-
26
17
17
8
-
-
-
-
-
-
-
-
-
-
-
41
-
4
9
THE SUN GOD
113
50
41
-
1
2
3
4
10
6
7
8
9
-
-
4+1
-
-
-
-
1+1+3
5+0
4+1
-
-
-
-
-
1+0
-
-
-
-
Q
-
5
-
-
9
THE SUN GOD
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
9
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
E
=
5
-
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
S
=
1
-
4
1
S
19
10
1
-
1
-
-
-
-
-
-
-
9
U
=
3
-
5
1
U
21
3
3
-
-
-
3
-
-
-
-
-
9
N
=
5
-
6
1
N
14
5
5
-
-
-
-
-
5
-
-
-
9
G
=
7
-
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
9
O
=
6
-
8
1
O
15
6
6
-
-
-
-
-
-
6
-
-
9
D
=
4
-
9
1
D
4
4
4
-
-
-
-
4
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
41
-
4
9
THE SUN GOD
113
50
41
-
1
2
3
4
10
6
7
8
9
-
-
4+1
-
-
-
-
1+1+3
5+0
4+1
-
-
-
-
-
1+0
-
-
-
-
Q
-
5
-
-
9
THE SUN GOD
5
5
5
-
1
2
3
4
1
6
7
8
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
4
1
S
19
10
1
-
1
-
-
-
-
-
-
-
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
9
U
=
3
-
5
1
U
21
3
3
-
-
-
3
-
-
-
-
-
9
D
=
4
-
9
1
D
4
4
4
-
-
-
-
4
-
-
-
-
9
E
=
5
-
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
N
=
5
-
6
1
N
14
5
5
-
-
-
-
-
5
-
-
-
9
O
=
6
-
8
1
O
15
6
6
-
-
-
-
-
-
6
-
-
9
G
=
7
-
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
9
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
41
-
4
9
THE SUN GOD
113
50
41
-
1
2
3
4
10
6
7
8
9
-
-
4+1
-
-
-
-
1+1+3
5+0
4+1
-
-
-
-
-
1+0
-
-
-
-
Q
-
5
-
-
9
THE SUN GOD
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

 

 

2
RE
23
14
5
3
THE
33
15
6
3
SUN
54
18
9
3
GOD
26
17
8
11
First Total
136
64
28
1+1
Add to Reduce
1+3+6
6+4
2+8
2
Second Total
10
10
10
-
Reduce to Deduce
1+0
1+0
1+0
2
Essence of Number
1
1
1

 

 

-
-
-
-
2
RE
23
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
R
=
9
-
1
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
2
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
14
-
-
-
-
23
14
14
6
-
-
-
-
-
-
-
-
-
T
=
2
-
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
15
-
-
-
-
33
15
15
6
-
-
-
-
-
-
-
-
-
S
=
1
-
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
7
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
9
-
-
-
-
54
18
9
9
-
-
-
-
-
-
-
-
-
G
=
7
-
9
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
-
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
D
=
4
-
11
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
17
-
-
-
-
26
17
17
8
-
-
-
-
-
-
-
-
-
-
-
55
-
4
9
RE THE SUN GOD
136
64
55
-
1
2
3
4
15
6
7
8
9
-
-
5+5
-
-
-
-
1+3+6
6+4
5+5
-
-
-
-
-
1+5
-
-
-
-
Q
-
10
-
-
9
RE THE SUN GOD
10
10
10
-
1
2
3
4
6
6
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
RE THE SUN GOD
1
1
1
-
1
2
3
4
6
6
7
8
9

 

 

-
-
-
-
2
RE
23
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
R
=
9
-
1
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
2
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
S
=
1
-
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
7
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
G
=
7
-
9
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
-
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
D
=
4
-
11
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
55
-
4
9
RE THE SUN GOD
136
64
55
-
1
2
3
4
15
6
7
8
9
-
-
5+5
-
-
-
-
1+3+6
6+4
5+5
-
-
-
-
-
1+5
-
-
-
-
Q
-
10
-
-
9
RE THE SUN GOD
10
10
10
-
1
2
3
4
6
6
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
RE THE SUN GOD
1
1
1
-
1
2
3
4
6
6
7
8
9

 

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE 95

 

-
-
-
-
2
RE
23
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
-
7
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
D
=
4
-
11
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
2
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
G
=
7
-
9
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
-
1
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
55
-
4
9
RE THE SUN GOD
136
64
55
-
1
2
3
4
15
6
7
8
9
-
-
5+5
-
-
-
-
1+3+6
6+4
5+5
-
-
-
-
-
1+5
-
-
-
-
Q
-
10
-
-
9
RE THE SUN GOD
10
10
10
-
1
2
3
4
6
6
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
RE THE SUN GOD
1
1
1
-
1
2
3
4
6
6
7
8
9

 

 

 

 

1
I
9
9
9
4
THAT
49
13
4
2
AM
14
14
5
3
THE
33
15
6
5
LIGHT
56
29
2
7
BRINGER
73
46
1
22
Add to Reduce
234
126
27
2+2
Reduce to Deduce
2+3+4
1+2+6
2+7
4
Essence of Number
9
9
9

 

THE

BALANCING

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

S
=
1
-
6
STRIKE
79
34
7
A
=
1
-
1
A
21
12
3
L
=
3
-
5
LIGHT
98
35
8
P
=
7
-
10
PROMETHEUS
19
10
1
-
-
12
-
22
First Total
279
126
19
-
-
1+2
-
2+2
Add to Reduce
2+7+9
1+2+6
1+9
-
-
3
-
4
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
1+0
1+0
-
-
3
-
4
Essence of Number
9
9
9

 

 

W
=
5
-
6
WONDER
79
34
7
O
=
6
-
2
OF
21
12
3
W
=
5
-
7
WONDERS
98
35
8
A
=
1
-
3
AND
19
10
1
T
=
2
-
4
THEY
58
22
3
W
=
5
-
5
WOULD
75
21
3
N
=
5
-
3
NOT
49
13
4
W
=
5
-
6
WONDER
79
34
7
-
-
34
-
36
First Total
478
181
37
-
-
3+4
-
3+6
Add to Reduce
4+7+8
1+8+1
3+7
-
-
7
-
9
Second Total
19
10
10
-
-
-
-
-
Reduce to Deduce
1+9
1+0
1+0
-
-
7
-
7
Third Total
10
1
1
-
-
-
-
-
Reduce to Deduce
1+0
-
-
-
-
7
-
7
Essence of Number
1
1
1

 

THE

BALANCING

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
50

-

10
PROMETHEUS
140
59
50
-
1
2
3
4
10
6
7
8
9
-
-
5+0
-
1+0
-
1+4+0
5+9
5+0
-
-
-
-
-
1+0
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
14
5
-
1
2
3
4
1
6
7
8
9
-
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
5
5
-
1
2
3
4
1
6
7
8
9

 

LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
50

-

10
PROMETHEUS
140
59
50
-
1
2
3
4
10
6
7
8
9
-
-
5+0
-
1+0
-
1+4+0
5+9
5+0
-
-
-
-
-
1+0
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
14
5
-
1
2
3
4
1
6
7
8
9
-
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
5
5
-
1
2
3
4
1
6
7
8
9

 

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

 

PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
3
MET
38
11
2
7
ORPHEUS
102
48
3
10
PROMETHEUS
140
59
5
1+0
-
1+4+0
5+9
-
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

Prometheus - Wikipedia, the free encyclopedia
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In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ...
‎Prometheus (2012 film) - ‎Prometheus (disambiguation) - ‎Theft of fire - ‎Culture hero

Prometheus

From Wikipedia, the free encyclopedia

This article is about the Greek mythological figure. For other uses, see Prometheus (disambiguation).

In Greek mythology, Prometheus (/prəˈmiːθiːəs/; Greek: Προμηθεύς, pronounced [promɛːtʰeús], meaning "forethought")[1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and gives fire to humanity, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind.[2]

The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back to be eaten again the next day. (In ancient Greece, the liver was thought to be the seat of human emotions.)[3] In some stories, Prometheus is freed at last by the hero Heracles (Hercules).

In another of his myths, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, other Greek deities of creative skills and technology.[4]

In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein (1818).

Contents [hide]
1 Myths and legends 1.1 The oldest legends of Prometheus among the Ancients 1.1.1 Hesiod and the Theogony
1.1.2 Homer, the Iliad, and the Homeric Hymns
1.1.3 Pindar and the Nemean Odes
1.1.4 Pythagoras and the Pythagorean Doctrine

1.2 The Athenian Tradition of Prometheus: Aeschylus and Plato 1.2.1 Aeschylus and the Ancient Literary Aesthetics of Prometheus
1.2.2 Plato and the Philosophical Interpretation of Prometheus
1.2.3 The Athenian tradition of religious dedication and observance
1.2.4 The Aesthetic tradition of Prometheus in Athenian art

1.3 Other authors

2 Religious symbolism in late Roman antiquity
3 The allegorical tradition of the Middle Ages
4 Prometheus in the Renaissance
5 The Post-Renaissance tradition 5.1 The literary Post-Renaissance tradition 5.1.1 Goethe and the Prometheus-Ganymede poems
5.1.2 Percy Bysshe Shelley and Prometheus Unbound
5.1.3 Mary Shelley and Frankenstein: The Modern Prometheus
5.1.4 Prometheus in the Twentieth Century

5.2 The aesthetic Post-Renaissance tradition 5.2.1 Classical music, opera, and ballet
5.2.2 In film

6 Notes
7 References
8 Further reading
9 External links

Myths and legends[edit]

Greek deities
series

Titans
Olympians
Aquatic deities
Chthonic deities
Personified concepts
Other deities

Titans

The Twelve Titans:
Oceanus and Tethys,
Hyperion and Theia,
Coeus and Phoebe,
Cronus and Rhea,
Mnemosyne, Themis,
Crius, Iapetus
Children of Oceanus:
Oceanids, Potamoi, Calypso
Children of Hyperion:
Helios, Selene, Eos
Daughters of Coeus:
Leto and Asteria
Sons of Iapetus:
Atlas, Prometheus,
Epimetheus, Menoetius
Sons of Crius:
Astraeus, Pallas, Perses

The oldest legends of Prometheus among the Ancients[edit]

The four most ancient sources for understanding the origin of the Prometheus myths and legends all rely on the images represented in the Titanomachia, or the cosmological climactic struggle between the Greek gods and their parents, the Titans.[5] Prometheus himself was a titan who managed to avoid being in the direct confrontational cosmic battle between Zeus and his followers against Cronus, Uranus and their followers.[6] Prometheus therefore survived the struggle in which the offending titans were eternally banished by Zeus to the chthonic depths of Tartarus, only to survive to confront Zeus on his own terms in subsequent climactic struggles. The greater Titanomachia depicts an overarching metaphor of the struggle between generations, between parents and their children, symbolic of the generation of parents needing to eventually give ground to the growing needs, vitality, and responsibilities of the new generation for the perpetuation of society and survival interests of the human race as a whole. Prometheus and his struggle would be of vast merit to human society as well in this mythology as he was to be credited with the creation of humans and therefore all of humanity as well. The four most ancient historical sources for the Prometheus myth are Hesiod, Homer, Pindar, and Pythagoras.

Hesiod and the Theogony[edit]

The Prometheus myth first appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony (lines 507–616). He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus. In the Theogony, Hesiod introduces Prometheus as a lowly challenger to Zeus's omniscience and omnipotence.[7] In the trick at Mekone, a sacrificial meal marking the "settling of accounts" between mortals and immortals, Prometheus played a trick against Zeus (545–557). He placed two sacrificial offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in "glistening fat" (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices.[7]

Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus.[8] Prometheus, however, stole back fire in a giant fennel-stalk and restored it to humanity. This further enraged Zeus, who sent Pandora, the first woman, to live with humanity.[7] Pandora was fashioned by Hephaestus out of clay and brought to life by the four winds, with all the goddesses of Olympus assembled to adorn her. "From her is the race of women and female kind," Hesiod writes; "of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth."[7]

Prometheus Brings Fire by Heinrich Friedrich Füger. Prometheus brings fire to mankind as told by Hesiod, with its having been hidden as revenge for the trick at Mecone.
Prometheus, in eternal punishment, is chained to a rock in the Caucasus, Kazbek Mountain, where his liver is eaten daily by an eagle,[9] only to be regenerated by night, due to his immortality. The eagle is a symbol of Zeus Himself. Years later, the Greek hero Heracles (Hercules) slays the eagle and frees Prometheus from his chains.[10]

Hesiod revisits the story of Prometheus in the Works and Days (lines 42–105). Here, the poet expands upon Zeus's reaction to the theft of fire. Not only does Zeus withhold fire from humanity, but "the means of life," as well (42). Had Prometheus not provoked Zeus's wrath (44–47), "you would easily do work enough in a day to supply you for a full year even without working; soon would you put away your rudder over the smoke, and the fields worked by ox and sturdy mule would run to waste." Hesiod also expands upon the Theogony's story of the first woman, now explicitly called Pandora ("all gifts"). After Prometheus' theft of fire, Zeus sent Pandora in retaliation. Despite Prometheus' warning, Epimetheus accepted this "gift" from the gods. Pandora carried a jar with her, from which were released (91–92) "evils, harsh pain and troublesome diseases which give men death".[11] Pandora shut the lid of the jar too late to contain all the evil plights that escaped, but foresight remained in the jar, giving humanity hope.

Angelo Casanova,[12] Professor of Greek Literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic trickster-figure, who served to account for the mixture of good and bad in human life, and whose fashioning of humanity from clay was an Eastern motif familiar in Enuma Elish; as an opponent of Zeus he was an analogue of the Titans, and like them was punished. As an advocate for humanity he gains semi-divine status at Athens, where the episode in Theogony in which he is liberated[13] is interpreted by Casanova as a post-Hesiodic interpolation.[14]

Homer, the Iliad, and the Homeric Hymns[edit]

The banishment of the warring titans by the Olympians to the chthonic depths of Tartoros was documented as early as Homer's Iliad and the Odyssey where they are also identified as the hypotartarioi, or, the "subterranean." The passages appear in the Iliad (XIV 279)[15] and also in the Homeric hymn to Apollo (335).[16] The particular forms of violence associated especially with the Titans are those of hybristes and atasthalie as further found in the Iliad (XIII 633-34). They are used by Homer to designate an unlimited, violent insolence among the warring Titans which only Zeus was able to ultimately overcome. This text finds direct parallel in Hesiod's reading in the Theogony (209) and in Homer's own Odyssey (XIX 406). In the words of Kerenyi, "Autolykos, the grandfather, is introduced in order that he may give his grandson the name of Odysseus."[17] In a similar fashion, the origin of the naming of the "titans" as a group has been disputed with some voicing a preference for reading it as a combination of titainein (to exert), and, titis (retribution) usually rendered as "retribution meted out to the exertion of the Titans."[18] It should be noted in studying material concerning Prometheus that Prometheus was not directly among the warring Titans with Zeus though Prometheus's association with them by lineage is a recurrent theme in each of his subsequent confrontations with Zeus and with the Olympian gods.

Pindar and the Nemean Odes[edit]

The duality of the gods and of humans standing as polar opposites is also clearly identified in the earliest traditions of Greek mythology and its legends by Pindar. In the sixth Nemean Ode, Pindar states: "There is one/race of men, one race of gods; both have breath/of life from a single mother. But sundered aurora collett us divided, so that one side is nothing, while on the other the brazen sky is established/a sure citadel forever."[19] Although this duality in strikingly apparent in Pindar, it also has paradoxical elements where Pindar actually comes quite close to Hesiod who before him had said in his Works and Days (108) "how the gods and mortal men sprang from one source."[20] The understanding of Prometheus and his role in the creation of humans and the theft of fire for their benefit is therefore distinctly adapted within this distinguishable source for understanding the role of Prometheus within the mythology of the interaction of the Gods with humans.

Pythagoras and the Pythagorean Doctrine[edit]

In order to understand the Prometheus myth in its most general context, the Late Roman author Censorinus states in his book titled De die natali that, "Pythagoras of Samos, Okellos of Lukania, Archytas of Tarentum, and in general all Pythagoreans were the authors and proponents of the opinion that the human race was eternal."[21] By this they held that Prometheus's creation of humans was the creation of humanity for eternity. This Pythagorean view is further confirmed in the book On the Cosmos written by the Pythagorean Okellos of Lukania. Okellos, in his cosmology, further delineates the three realms of the cosmos as all contained within an overarching order called the diakosmesis which is also the world order kosmos, and which also must be eternal. The three realms were delineated by Okellos as having "two poles, man on earth, the gods in heaven. Merely for the sake of symmetry, as it were, the daemons --not evil spirits but beings intermediate between God and man -- occupy a middle position in the air, the realm between heaven and earth. They were not a product of Greek mythology, but of the belief in daemons that had sprung up in various parts of the Mediterranean world and the Near East."[22]

The Athenian Tradition of Prometheus: Aeschylus and Plato[edit]

The two major authors to have a distinctive influence on the development of the myths and legends surrounding the titan Prometheus during the Socratic era of greater Athens were Aeschylus and Plato. The two men wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Greek tragedy, while for Plato this centered on the philosophical expression of his thought in the form of the various dialogues he had written and recorded during his lifetime.

Aeschylus and the Ancient Literary Aesthetics of Prometheus[edit]

Prometheus Bound, perhaps the most famous treatment of the myth to be found among the Greek tragedies, is traditionally attributed to the 5th-century BC Greek tragedian Aeschylus.[23] At the center of the drama are the results of Prometheus' theft of fire and his current punishment by Zeus; the playwright's dependence on the Hesiodic source material is clear, though Prometheus Bound also includes a number of changes to the received tradition.[24]

Before his theft of fire, Prometheus played a decisive role in the Titanomachy, securing victory for Zeus and the other Olympians. Zeus's torture of Prometheus thus becomes a particularly harsh betrayal. The scope and character of Prometheus' transgressions against Zeus are also widened. In addition to giving humankind fire, Prometheus claims to have taught them the arts of civilization, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for humankind seems to have been saving them from complete destruction. In an apparent twist on the myth of the so-called Five Ages of Man found in Hesiod's Works and Days (wherein Cronus and, later, Zeus created and destroyed five successive races of humanity), Prometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him.

Heracles freeing Prometheus from his torment by the eagle (Attic black-figure cup, c. 500 BC)
Moreover, Aeschylus anachronistically and artificially injects Io, another victim of Zeus's violence and ancestor of Heracles, into Prometheus' story. Finally, just as Aeschylus gave Prometheus a key role in bringing Zeus to power, he also attributed to him secret knowledge that could lead to Zeus's downfall: Prometheus had been told by his mother Gaia of a potential marriage that would produce a son who would overthrow Zeus. Fragmentary evidence indicates that Heracles, as in Hesiod, frees the Titan in the trilogy's second play, Prometheus Unbound. It is apparently not until Prometheus reveals this secret of Zeus's potential downfall that the two reconcile in the final play, Prometheus the Fire-Bringer or Prometheus Pyrphoros, a lost tragedy by Aeschylus.

Prometheus Bound also includes two mythic innovations of omission. The first is the absence of Pandora's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope (252): "[Prometheus] caused blind hopes to live in the hearts of men." Second, Aeschylus makes no mention of the sacrifice-trick played against Zeus in the Theogony.[23] The four tragedies of Prometheus attributed to Aeschylus, most of which are sadly lost to the passages of time into antiquity, are Prometheus Bound (Desmotes), Prometheus Delivered (Lyomens), Prometheus the Fire Bringer (Pyrphoros), and Prometheus the Fire Kindler (Pyrkaeus).

The larger scope of Aeschylus as a dramatist revisiting the myth of Prometheus in the age of Athenian prominence has been discussed by William Lynch.[25] Lynch's general thesis concerns the rise of humanist and secular tendencies in Athenian culture and society which required the growth and expansion of the mythological and religious tradition as acquired from the most ancient sources of the myth stemming from Hesiod. For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been lost to antiquity. Significantly, Lynch further comments that although the Prometheus trilogy is not available, that the Orestia trilogy by Aeschylus remains available and may be assumed to provide significant insight into the overall structural intentions which may be ascribed to the Prometheus trilogy by Aeschylus as an author of significant consistency and exemplary dramatic erudition.[26]

Harold Bloom, in his research guide for Aeschylus, has summarized some of the critical attention that has been applied to Aeschylus concerning his general philosophical import in Athens.[27] As Bloom states, "Much critical attention has been paid to the question of theodicy in Aeschylus. For generations, scholars warred incessantly over 'the justice of Zeus,' unintentionally blurring it with a monotheism imported from Judeo-Christian thought. The playwright undoubtedly had religious concerns; for instance, Jacqueline de Romilly[28] suggests that his treatment of time flows directly out of his belief in divine justice. But it would be an error to think of Aeschylus as sermonizing. His Zeus does not arrive at decisions which he then enacts in the mortal world; rather, human events are themselves an enactment of divine will."[29]

According to Thomas Rosenmeyer regarding the religious import of Aeschylus, "In Aeschylus, as in Homer, the two levels of causation, the supernatural and the human, are co-existent and simultaneous, two way of describing the same event." Rosenmeyer insists that ascribing portrayed characters in Aeschylus should not conclude them to be either victims or agents of theological or religious activity too quickly. As Rosenmeyer states: "[T]he text defines their being. For a critic to construct an Aeschylean theology would be as quixotic as designing a typology of Aeschylean man. The needs of the drama prevail."[30]

In a rare comparison of Prometheus in Aeschylus with Oedipus in Sophocles, Harold Bloom with more than simple irony has quoted Freud as stating that, "Freud called Oedipus an 'immoral play,' since the gods ordained incest and paracide. Oedipus therefore participates in our universal unconscious sense of guilt, but on this reading so do the gods. I (states Bloom) sometimes wish that Freud had turned to Aeschylus instead, and given us the Prometheus complex rather than the Oedipus complex."[31]

Plato and the Philosophical Interpretation of Prometheus[edit]

Olga Raggio in her study "The Myth of Prometheus" for the Courtauld Institute attributes Plato in the Protagoras as an important contributor to the early development of the Prometheus myth.[32] Raggio indicates that many of the more challenging and dramatic assertions which Aeschylean tragedy explores are absent from Plato's writings about Prometheus.[33] As summarized by Raggio, "After the gods have moulded men and other living creatures with a mixture of clay and fire, the two brothers Epimetheus and Prometheus are called to complete the task and distribute among the newly born creatures all sorts of natural qualities. Epimetheus sets to work, but, being unwise, distributes all the gifts of nature among the animals, leaving men naked and unprotected, unable to defend themselves and to survive in a hostile world. Prometheus then steals the fire of creative power from the workshop of Athena and Hephaistos and gives it to mankind." Raggio then goes on to point out Plato's distinction of creative power (techne) which is presented as superior to merely natural instincts (physis). For Plato, only the virtues of "reverence and justice can provide for the maintenance of a civilized society -- and these virtues are the highest gift finally bestowed on men in equal measure."[34] The ancients by way of Plato believed that the name Prometheus derived from the Greek pro (before) + manthano (intelligence) and the agent suffix -eus, thus meaning "Forethinker". In his dialogue titled Protagoras, Plato contrasts Prometheus with his dull-witted brother Epimetheus, "Afterthinker".[35] In Plato's dialogue Protagoras, Protagoras asserts that the gods created humans and all the other animals, but it was left to Prometheus and his brother Epimetheus to give defining attributes to each. As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilizing arts.[36]

The Athenian tradition of religious dedication and observance[edit]

It is understandable that since Prometheus was considered a Titan and not one of the Olympian gods that there would be an absence of evidence, with the exception of Athens, for the direct religious devotion to his worship. Despite his importance to the myths and imaginative literature of ancient Greece, the religious cult of Prometheus during the Archaic and Classical periods seems to have been limited.[37] Writing in the 2nd century AD, the satirist Lucian points out that while temples to the major Olympians were everywhere, none to Prometheus is to be seen.[38]

Heracles freeing Prometheus, relief from the Temple of Aphrodite at Aphrodisias
Athens was the exception. The altar of Prometheus in the grove of the Academy was the point of origin for several significant processions and other events regularly observed on the Athenian calendar. For the Panathenaic festival, arguably the most important civic festival at Athens, a torch race began at the altar, which was located outside the sacred boundary of the city, and passed through the Kerameikos, the district inhabited by potters and other artisans who regarded Prometheus and Hephaestus as patrons.[39] The race then traveled to the heart of the city, where it kindled the sacrificial fire on the altar of Athena on the Acropolis to conclude the festival.[40] These footraces took the form of relays in which teams of runners passed off a flaming torch. According to Pausanias (2nd century AD), the torch relay, called lampadedromia or lampadephoria, was first instituted at Athens in honor of Prometheus.[41] By the Classical period, the races were run by ephebes also in honor of Hephaestus and Athena.[42] Prometheus' association with fire is the key to his religious significance[37] and to the alignment with Athena and Hephaestus that was specific to Athens and its "unique degree of cultic emphasis" on honoring technology.[43] The festival of Prometheus was the Prometheia. The wreaths worn symbolized the chains of Prometheus.[44]

Pausanias recorded a few other religious sites in Greece devoted to Prometheus. Both Argos and Opous claimed to be Prometheus' final resting place, each erecting a tomb in his honor. The Greek city of Panopeus had a cult statue that was supposed to honor Prometheus for having created the human race there.[36]

The Aesthetic tradition of Prometheus in Athenian art[edit]

Prometheus' torment by the eagle and his rescue by Heracles were popular subjects in vase paintings of the 6th to 4th centuries BC. He also sometimes appears in depictions of Athena's birth from Zeus' forehead. There was a relief sculpture of Prometheus with Pandora on the base of Athena's cult statue in the Athenian Parthenon of the 5th century BC. A similar rendering is also found at the great altar of Zeus at Pergamon from the second century BC.

The event of the release of Prometheus from captivity was frequently revisited on Attic and Etruscan vases between the sixth and fifth centuries BC. In the depiction on display at the Museum of Karlsruhe and in Berlin, the depiction is that of Prometheus confronted by a menacing large bird (assumed to be the eagle) with Hercules approaching from behind shooting his arrows at it.[45] In the fourth century this imagery was modified to depicting Prometheus bound in a cruciform manner, possibly reflecting an Aeschylus inspired manner of influence, again with an eagle and with Hercules approaching from the side.[46]

Other authors[edit]

Creation of humanity by Prometheus as Athena looks on (Roman-era relief, 3rd century AD)

Prometheus watches Athena endow his creation with reason (painting by Christian Griepenkerl, 1877)

Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BC (Diodorus, Herodorus) into the 4th century AD. The most significant detail added to the myth found in, e.g., Sappho, Aesop and Ovid[47] — was the central role of Prometheus in the creation of the human race. According to these sources, Prometheus fashioned humans out of clay.

Although perhaps made explicit in the Prometheia, later authors such as Hyginus, the Bibliotheca, and Quintus of Smyrna would confirm that Prometheus warned Zeus not to marry the sea nymph Thetis. She is consequently married off to the mortal Peleus, and bears him a son greater than the father — Achilles, Greek hero of the Trojan War. Pseudo-Apollodorus moreover clarifies a cryptic statement (1026–29) made by Hermes in Prometheus Bound, identifying the centaur Chiron as the one who would take on Prometheus' suffering and die in his place.[36] Reflecting a myth attested in Greek vase paintings from the Classical period, Pseudo-Apollodorus places the Titan (armed with an axe) at the birth of Athena, thus explaining how the goddess sprang forth from the forehead of Zeus.[36]

Other minor details attached to the myth include: the duration of Prometheus' torment;[48][49] the origin of the eagle that ate the Titan's liver (found in Pseudo-Apollodorus and Hyginus); Pandora's marriage to Epimetheus (found in Pseudo-Apollodorus); myths surrounding the life of Prometheus' son, Deucalion (found in Ovid and Apollonius of Rhodes); and Prometheus' marginal role in the myth of Jason and the Argonauts (found in Apollonius of Rhodes and Valerius Flaccus).[36]

Modern scientific linguistics suggests that the name derived from the Proto-Indo-European root that also produces the Vedic pra math, "to steal," hence pramathyu-s, "thief", cognate with "Prometheus", the thief of fire. The Vedic myth of fire's theft by Mātariśvan is an analog to the Greek account. Pramantha was the tool used to create fire.[50]

Religious symbolism in late Roman antiquity[edit]

The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world; see creation of man from clay, theft of fire, and references for eternal punishment. It is the first of these three which has drawn attention to parallels with the biblical creation account related in the religious symbolism expressed in the book of Genesis.

As stated by Olga Raggio,[51] "The Prometheus myth of creation as a visual symbol of the Neoplatonic concept of human nature, illustrated in (many) sarcophagi, was evidently a contradiction of the Christian teaching of the unique and simultaneous act of creation by the Trinity." This Neoplatonism of late Roman antiquity was especially stressed by Tertullian[52] who recognized both difference and similarity of the biblical deity with the mythological figure of Prometheus.

The imagery of Prometheus and the creation of man used for the purposes of the representation of the creation of Adam in biblical symbolism is also a recurrent theme in the artistic expression of late Roman antiquity. Of the relatively rare expressions found of the creation of Adam in those centuries of late Roman antiquity, one can single out the so-called "Dogma sarcophagus" of the Lateran Museum where three figures are seen (in representation of the theological trinity) in making a benediction to the new man. Another example is found where the prototype of Prometheus is also recognizable in the early Christian era of late Roman antiquity. This can be found upon a sarcophagus of the Church at Mas d'Aire[53] as well, and in an even more direct comparison to what Raggio refers to as "a coursely carved relief from Campli (Teramo)[54] (where) the Lord sits on a throne and models the body of Adam, exactly like Prometheus." Still another such similarity is found in the example found on a Hellenistic relief presently in the Louvre in which the Lord gives life to Eve through the imposition of his two fingers on her eyes recalling the same gesture found in earlier representations of Prometheus.[55]

In Georgian mythology, Amirani is a culture hero who challenged the chief god, and like Prometheus was chained on the Caucasian mountains where birds would eat his organs. This aspect of the myth had a significant influence on the Greek imagination. It is recognizable from a Greek gem roughly dated to the time of the Hesiod poems, which show Prometheus with hands bound behind his body and crouching before a bird with long wings.[56] This same image would also be used later in the Rome of the Augustan age as documented by Furtwangler.[57]

In the often cited and highly publicized interview between Joseph Campbell and Bill Moyers on Public Television, the author of The Hero with a Thousand Faces presented his view on the comparison of Prometheus and Jesus.[58] Moyers asked Campbell the question in the following words, "In this sense, unlike heroes such as Prometheus or Jesus, we're not going on our journey to save the world but to save ourselves." To which Campbell's well-known response was that, "But in doing that, you save the world. The influence of a vital person vitalizes, there's no doubt about it. The world without spirit is a wasteland. People have the notion of saving the world by shifting things around, changing the rules [...] No, no! Any world is a valid world if it's alive. The thing to do is to bring life to it, and the only way to do that is to find in your own case where the life is and become alive yourself." For Campbell, Jesus mortally suffered on the Cross while Prometheus eternally suffered while chained to a rock, and each of them received punishment for the gift which they bestowed to humankind, for Jesus this was the gift of propitiation from Heaven, and, for Prometheus this was the gift of fire from Olympus.[58]

Significantly, Campbell is also clear to indicate the limits of applying the metaphors of his methodology in his book The Hero with a Thousand Faces too closely in assessing the comparison of Prometheus and Jesus. Of the four symbols of suffering associated with Jesus after his trial in Jerusalem (i) the crown of thorns, (ii) the scourge of whips, (iii) the nailing to the Cross, and (iv) the spearing of his side, it is only this last one which bears some resemblance to the eternal suffering of Prometheus' daily torment of an eagle devouring a replenishing organ, his liver, from his side.[59] For Campbell, the striking contrast between the New Testament narratives and the Greek mythological narratives remains at the limiting level of the cataclysmic eternal struggle of the eschatological New Testament narratives occurring only at the very end of the biblical narratives in the Apocalypse of John (12:7) where, "Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven." This eschatological and apocalyptic setting of a Last Judgement is in precise contrast to the Titanomachia of Hesiod which serves its distinct service to Greek mythology as its Prolegomenon, bracketing all subsequent mythology, including the creation of humanity, as coming after the cosmological struggle between the Titans and the Olympian gods.[58]

It remains a continuing debate among scholars of comparative religion and the literary reception[60] of mythological and religious subject matter as to whether the typology of suffering and torment represented in the Prometheus myth finds its more representative comparisons with the narratives of the Hebrew scriptures or with the New Testament narratives. In the Book of Job, significant comparisons can be drawn between the sustained suffering of Job in comparison to that of eternal suffering and torment represented in the Prometheus myth. With Job, the suffering is at the acquiescence of heaven and at the will of the demonic, while in Prometheus the suffering is directly linked to Zeus as the ruler of Olympus. The comparison of the suffering of Jesus after his sentencing in Jerusalem is limited to the three days, from Thursday to Saturday, and leading to the culminating narratives corresponding to Easter Sunday. The symbolic import for comparative religion would maintain that suffering related to justified conduct is redeemed in both the Hebrew scriptures and the New Testament narratives, while in Prometheus there remains the image of a non-forgiving deity, Zeus, who nonetheless requires reverence.[58]

Writing in late antiquity of the fourth and fifth century, the Latin commentator Marcus Servius Honoratus explained that Prometheus was so named because he was a man of great foresight (vir prudentissimus), possessing the abstract quality of providentia, the Latin equivalent of Greek promētheia (ἀπὸ τής πρόμηθείας).[61] Anecdotally, the Roman fabulist Phaedrus (c.15BC - c.50AD) attributes to Aesop a simple etiology for homosexuality, in Prometheus' getting drunk while creating the first humans and misapplying the genitalia.[62]

The allegorical tradition of the Middle Ages[edit]

Perhaps the most influential book of the Middle Ages upon the reception of the Prometheus myth was the mythological handbook of Fulgentius Placiades. As stated by Raggio,[63] "The text of Fulgentius, as well as that of (Marcus) Servius [...] are the main sources of the mythological handbooks written in the ninth century by the anonymous Mythographus Primus and Mythographus Secundus. Both were used for the more lengthy and elaborate compendium by the English scholar Alexander Neckman (1157-1217), the Scintillarium Poetarum, or Poetarius."[63] The purpose of his books was to distinguish allegorical interpretation from the historical interpretation of the Prometheus myth. Continuing in this same tradition of the allegorical interpretation of the Prometheus myth, along with the historical interpretation of the Middle Ages, is the Genealogiae of Giovanni Boccaccio. Boccaccio follows these two levels of interpretation and distinguishes between two separate versions of the Prometheus myth. For Boccaccio, Prometheus is placed "In the heavens where all is clarity and truth, [Prometheus] steals, so to speak, a ray of the divine wisdom from God himself, source of all Science, supreme Light of every man."[64] With this, Boccaccio shows himself moving from the mediaeval sources with a shift of accent towards the attitude of the Renaissance humanists.

Using a similar interpretation to that of Boccaccio, Marsilio Ficino in the fifteenth century updated the philosophical and more somber reception of the Prometheus myth not seen since the time of Plotinus. In his book written in 1476-77 titled Quaestiones Quinque de Mente, Ficino indicates his preference for reading the Prometheus myth as an image of the human soul seeking to obtain supreme truth. As Olga Raggio summarizes Ficino's text, "The torture of Prometheus is the torment brought by reason itself to man, who is made by it many times more unhappy than the brutes. It is after having stolen one beam of the celestial light [...] that the soul feels as if fastened by chains and [...] only death can release her bonds and carry her to the source of all knowledge."[64] This somberness of attitude in Ficino's text would be further developed later by Charles de Bouelles' Liber de Sapiente of 1509 which presented a mix of both scholastic and Neoplatonic ideas.

Prometheus in the Renaissance[edit]

After the writings of both Boccaccio and Ficino in the late Middle Ages about Prometheus, interest in the titan shifted considerably in the direction of becoming subject matter for painters and sculptors alike. Among the most famous examples is that of Piero di Cosimo from about 1510 presently on display at the museums of Munich and Strasburg (see Inset). Raggio summarizes the Munich version[65] as follows; "The Munich panel represents the dispute between Epimetheus and Prometheus, the handsome triumphant statue of the new man, modeled by Prometheus, his ascension to the sky under the guidance of Minerva; the Strasburg panel shows in the distance Prometheus lighting his torch at the wheels of the Sun, and in the foreground on one side, Prometheus applying his torch to the heart of the statue and , on the other, Mercury fastening him to a tree." All the details are evidently borrowed from Boccaccio's Genealogiae.

The same reference to the Genealogiae can be cited as the source for the drawing by Parmigianino presently located in the Pierpont Morgan Library in New York City.[66] In this drawing, a very noble rendering of Prometheus is presented which evokes the memory of Michelangelo's works portraying Jehovah. This drawing in the Morgan Library is perhaps one of the most intense examples of the visualization of the myth of Prometheus from the Renaissance period.

Writing in the late British Renaissance, William Shakespeare uses the Promethean allusion in the famous death scene of Desdemona in his tragedy of Othello. Othello in contemplating the death of Desdemona asserts plainly that he cannot restore the "Promethean heat" to her body once it has been extinguished. For Shakespeare, the allusion is clearly to the interpretation of the fire from the heat as the bestowing of life to the creation of man from clay by Prometheus after it was stolen from Olympus. The analogy bears direct resemblance to the biblical narrative of the creation of life in Adam through the bestowed breathing of the creator in Genesis. Shakespeare's symbolic reference to the "heat" associated with Prometheus's fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans.

The Post-Renaissance tradition[edit]

Mythological narrative of Prometheus by Piero di Cosimo (1515)
See also: Prometheus in popular culture

The myth of Prometheus has been a favorite theme of Western art and literature in the post-renaissance and post-Enlightenment tradition, and occasionally in works produced outside the West.

The literary Post-Renaissance tradition[edit]

For the Romantic era, Prometheus was the rebel who resisted all forms of institutional tyranny epitomized by Zeus — church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton's Paradise Lost, and the divinely inspired poet or artist. Prometheus is the lyrical "I" who speaks in Goethe's Sturm und Drang poem "Prometheus" (written c. 1772–74, published 1789), addressing God (as Zeus) in misotheist accusation and defiance. In Prometheus Unbound (1820), a four-act lyrical drama, Percy Bysshe Shelley rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus (under the Latin name Jupiter), but instead supplants him in a triumph of the human heart and intellect over tyrannical religion. Lord Byron's poem "Prometheus" also portrays the Titan as unrepentant. As documented by Olga Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well.[67] Mary Shelley's 1818 novel Frankenstein is subtitled "The Modern Prometheus", in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge.

Goethe and the Prometheus-Ganymede poems[edit]

"Prometheus" is a poem by Johann Wolfgang von Goethe, in which a character based on the mythic Prometheus addresses God (as Zeus) in a romantic and misotheist tone of accusation and defiance. The poem was written between 1772 and 1774. It was first published fifteen years later in 1789. It is an important work as it represents one of the first encounters of the Prometheus myth with the literary Romantic movement identified with Goethe and with the Sturm und Drang movement.

The poem has appeared in Volume II of Goethe's poems (in his Collected Works) in a section of Vermischte Gedichte (assorted poems), shortly following the Harzreise im Winter. It is immediately followed by "Ganymed", and the two poems are written as informing each other according to Goethe's plan in their actual writing. Prometheus (1774) was originally planned as a drama but never completed by Goethe, though the poem is inspired by it. Prometheus is the creative and rebellious spirit rejected by God, and who angrily defies him and asserts himself; Ganymede, by direct contrast, is the boyish self who is both adored and seduced by God. As a high Romantic poet and a humanist poet, Goethe presents both identities as contrasting aspects of the Romantic human condition.

"Prometheus"

The poem offers direct biblical connotations for the Prometheus myth which was unseen in any of the ancient Greek poets dealing with the Prometheus myth in either drama, tragedy, or philosophy. The intentional use of the German phrase "Da ich ein Kind war..." ("When I was a child"): the use of Da is distinctive, and with it Goethe directly applies the Lutheran translation of Saint Paul's First Epistle to the Corinthians, 13:11: "Da ich ein Kind war, da redete ich wie ein Kind..." ("When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things"). Goethe's Prometheus is significant for the contrast it evokes with the biblical text of the Corinthians rather than for its similarities.

In his book titled Prometheus: Archetypal Image of Human Existence, C. Kerenyi states the key contrast between Goethe's version of Prometheus with the ancient Greek version.[68] As Kerenyi states, "Goethe's Prometheus had Zeus for father and a goddess for mother. With this change from the traditional lineage the poet distinguished his hero from the race of the Titans." For Goethe, the metaphorical comparison of Prometheus to the image of the Son from the New Testament narratives was of central importance, with the figure of Zeus in Goethe's reading being metaphorically matched directly to the image of the Father from the New Testament narratives.

Percy Bysshe Shelley and Prometheus Unbound[edit]

Percy Shelley published his four-act lyrical drama titled Prometheus Unbound in 1820. His version was written in response to the version of myth as presented by Aeschylus (described in the Section above) and is oriented to the high British Idealism and high British Romanticism prevailing in Shelley's own time. Shelley, as the author himself discusses, admits the debt of his version of the myth to Aeschylus and the Greek poetic tradition which he assumes is familiar to readers of his own lyrical drama. For example, it is necessary to understand and have knowledge of the reason for Prometheus's punishment if the reader is to form an understanding of whether the exoneration portrayed by Shelley in his version of the Prometheus myth is justified or unjustified. The quote of Shelley's own words describing the extent of his indebtedness to Aeschylus has been published in numerous sources publicly available.

The literary critic Harold Bloom in his book Shelley's Mythmaking expresses his high expectation of Shelley in the tradition of mythopoeic poetry. For Bloom, Percy Shelley's relationship to the tradition of mythology in poetry "culminates in 'Prometheus'; the poem provides a complete statement of Shelley's vision."[69] Bloom devotes two full chapters in this book to Shelley's lyrical drama Prometheus Unbound which was among the first books Bloom had ever written, originally published in 1959.[70] Following his 1959 book, Bloom edited an anthology of critical opinions on Shelley for Chelsea House Publishers where he concisely stated his opinion as, "Shelley is the unacknowledged ancestor of Wallace Stevens' conception of poetry as the Supreme Fiction, and Prometheus Unbound is the most capable imagining, outside of Blake and Wordsworth, that the Romantic quest for a Supreme Fiction has achieved."[71]

Within the pages of his Introduction to the Chelsea House edition on Percy Shelley, Harold Bloom also identifies the six major schools of criticism opposing Shelley's idealized mythologizing version of the Prometheus myth. In sequence, the opposing schools to Shelley are given as: (i) The school of "common sense", (ii) The Christian orthodox, (iii) The school of "wit", (iv) Moralists, of most varieties, (v) The school of "classic" form, and (vi) The Precisionists, or concretists.[72] Although Bloom is least interested in the first two schools, the second one on the Christian orthodox has special bearing on the reception of the Prometheus myth during late Roman antiquity and the synthesis of the New Testament canon. The Greek origins of the Prometheus myth have already discussed the Titanomachia as placing the cosmic struggle of Olympus at some point in time preceding the creation of humanity, while in the New Testament synthesis there was a strong assimilation of the prophetic tradition of the Hebrew prophets and their strongly eschatological orientation. This contrast placed a strong emphasis within the ancient Greek consciousness as to the moral and ontological acceptance of the mythology of the Titanomachia as an accomplished mythological history, whereas for the synthesis of the New Testament narratives this placed religious consciousness within the community at the level of an anticipated eschaton not yet accomplished. Neither of these would guide Percy Shelley in his poetic retelling and reintegration of the Prometheus myth.[73]

To the Socratic Greeks, one important aspect of the discussion of religion would correspond to the philosophical discussion of 'becoming' with respect to the New Testament syncretism rather than the ontological discussion of 'being' which was more prominent in the ancient Greek experience of mythologically oriented cult and religion.[74] For Percy Shelley, both of these reading were to be substantially discounted in preference to his own concerns for promoting his own version of an idealized consciousness of a society guided by the precepts of High British Romanticism and High British Idealism.[75]

Mary Shelley and Frankenstein: The Modern Prometheus[edit]

The author of Frankenstein: The Modern Prometheus, Mary Shelley, wrote the famous version of her short novel in the 19th century. It has endured as one of the most frequently revisited literary themes in twentieth century film and popular reception with few rivals for its sheer popularity among even established literary works of art. The primary theme is a parallel to the aspect of the Prometheus myth which concentrates on the creation of man by the titans, transferred and made contemporary by Shelley for British audiences of her time. The subject is that of the creation of life by a scientist, thus bestowing life through the application and technology of medical science rather than by the natural acts of reproduction. The short novel has been adapted into many films and productions ranging from the early versions with Boris Karloff to much later versions featuring Kenneth Branagh among others.

Prometheus in the Twentieth Century[edit]

Prometheus (1909) by Otto Greiner
Franz Kafka (d. 1924) wrote a short piece on Prometheus, outlining what he saw as his perspective on four aspects of his myth:

According to the first, he was clamped to a rock in the Caucasus for betraying the secrets of the gods to men, and the gods sent eagles to feed on his liver, which was perpetually renewed.
According to the second, Prometheus, goaded by the pain of the tearing beaks, pressed himself deeper and deeper into the rock until he became one with it.
According to the third, his treachery was forgotten in the course of thousands of years, forgotten by the gods, the eagles, forgotten by himself.
According to the fourth, everyone grew weary of the meaningless affair. The gods grew weary, the eagles grew weary, the wound closed wearily.
There remains the inexplicable mass of rock. The legend tried to explain the inexplicable. As it came out of a substratum of truth it had in turn to end in the inexplicable.[76]

This short piece by Kafka concerning his interest in Prometheus was supplemented by two other mythological pieces written by him. As stated by Reiner Stach, "Kafka's world was mythical in nature, with Old Testament and Jewish legends providing the templates, and it was only logical (even if Kafka did not state it openly) that he would try his hand at the canon of antiquity, reinterpreting it and incorporating it into his own imagination in the form of allusions, as in 'The Silence of the Sirens,' 'Prometheus,' and 'Poseidon.'"[77] Among contemporary poets, the British poet Ted Hughes wrote the a 1973 collection of poems titled Prometheus On His Crag. The Nepali poet Laxmi Prasad Devkota (d. 1949) also wrote an epic titled Prometheus (प्रमीथस).

In his 1952 book, Lucifer and Prometheus, Zvi Werblowsky presented the speculatively derived Jungian construction of the character of Satan in Milton's celebrated poem Paradise Lost. Werblowsky applied his own Jungian style of interpretation to appropriate parts of the Prometheus myth for the purpose of interpreting Milton. A reprint of his book in the 1990s by Routledge Press included an introduction to the book by Carl Jung. Some Gnostics have been associated with identifying the theft of fire from heaven as embodied by the fall of Lucifer "the Light Bearer".[78]

The artificial element Promethium was named with the myth in mind.

The aesthetic Post-Renaissance tradition[edit]

Classical music, opera, and ballet[edit]

Works of classical music, opera, and ballet directly or indirectly inspired by the myth of Prometheus have included renderings by some of the major composers of both the nineteenth and twentieth centuries. In this tradition, the orchestral representation of the myth has received the most sustained attention of composers. These have included the symphonic poem by Franz Liszt titled Prometheus from 1850, among his other Symphonic Poems (No. 5, S.99).[79] Alexander Scriabin composed Prometheus: Poem of Fire, Opus 60 (1910),[80] also for orchestra.[81] In the same year Gabriel Fauré composed his three-act opera Prométhée (1910).[82] Charles-Valentin Alkan composed his Grande sonate 'Les quatre âges' (1847), with the 4th movement entitled "Prométhée enchaîné" (Prometheus Bound).[83] Beethoven composed the score to a ballet version of the myth titled The Creatures of Prometheus (1801).[84]

An adaptation of Goethe's poetic version of the myth was composed by Hugo Wolf, Prometheus (Bedecke deinen Himmel, Zeus, 1889), as part of his Goethe-lieder for voice and piano,[85] later transcribed for orchestra and voice.[86] An opera of the myth was composed by Carl Orff titled Prometheus (1968),[87][88] using Aeschylus' Greek language Prometheia.[89]

In film[edit]

The recent 2012 science fiction fantasy film titled Prometheus by Ridley Scott has a resemblance to the myth largely through a coincidence of name.[90] Of the three principal mythological themes associated with the myth of the titan Prometheus, that is, the eternal punishment, the theft of fire, and the creation of man, it is with this latter theme that the film seems to be at least partially concerned. In the science fiction film, one of the wealthy lead characters in the future spends vast sums of money in order to locate the extraterrestrials who he believes were responsible for the creation of man. His hope is that if he finds his 'creators,' they will be able somehow to extend his life. In this belief he is straightforwardly disappointed.

Benji Taylor writing in an extensive three-part essay on the science fiction film titled Prometheus, published between 22 June 2012 and 17 July 2012, identified the eight key themes in understanding the film as including: "Aliens Seeded Life On Earth," "Insignificance and Futility," "Interwoven Notions of Creation and Destruction," "Parental Issues," "The Nature of the Soul," "Existential Loss," and "Science and Religion."[91][92][93] Of these themes covered in the film, Taylor identifies that only the theme of "Parental Issues" appears to have a general reference point to the myth of Prometheus stating that in the "mythology between the titan Prometheus and the chief Olympian Zeus but on a more global level it's an echo of the tribulation embodied in the Titanomachy -- the archetypal war between parent and child which was the great 'War of the Titans and Olympians' that shook the Greek mythological world to its core."[94]

 

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
50

-

10
PROMETHEUS
140
59
50
-
1
2
3
4
10
6
7
8
9
-
-
5+0
-
1+0
-
1+4+0
5+9
5+0
-
-
-
-
-
1+0
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
14
5
-
1
2
3
4
1
6
7
8
9
-
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
5
5
-
1
2
3
4
1
6
7
8
9

 

LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
50

-

10
PROMETHEUS
140
59
50
-
1
2
3
4
10
6
7
8
9
-
-
5+0
-
1+0
-
1+4+0
5+9
5+0
-
-
-
-
-
1+0
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
14
5
-
1
2
3
4
1
6
7
8
9
-
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

 

 

1
I
9
9
9
4
THAT
49
13
4
2
AM
14
14
5
3
THE
33
15
6
5
LIGHT
56
29
2
7
BRINGER
73
46
1
22
Add to Reduce
234
126
27
2+2
Reduce to Deduce
2+3+4
1+2+6
2+7
4
Essence of Number
9
9
9

 

THE

BALANCING

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
3
MET
38
11
2
7
ORPHEUS
102
48
3
10
PROMETHEUS
140
59
5
1+0
-
1+4+0
5+9
-
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
8
-
-
1
+
=
15
1+5
=
6
=
6
=
6
-
-
-
-
15
-
-
-
8
-
-
19
+
=
42
4+2
=
6
=
6
=
6
-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
-
-
7
9
-
4
5
2
-
5
3
-
+
=
35
3+5
=
8
=
8
=
8
-
-
16
18
-
13
5
20
-
5
21
-
+
=
98
9+8
=
17
1+7
8
=
8
-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
-
-
16
18
15
13
5
20
8
5
21
19
+
=
140
1+4+0
=
5
=
5
=
5
-
-
7
9
6
4
5
2
8
5
3
1
+
=
50
5+0
=
5
=
5
=
5
-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
4
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
5
-
-
-
-
-
5
-
-
5
-
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
6
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
-
7
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
8
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
-
9
-
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
45
10
P
R
O
M
E
T
H
E
U
S
-
-
45
-
-
10
-
50
-
41
4+5
1+0
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
1+0
-
5+0
-
4+1
9
1
P
R
O
M
E
T
H
E
U
S
-
-
9
-
-
1
-
5
-
5
-
-
7
9
6
4
5
2
8
5
3
1
-
-
-
-
-
-
-
-
-
-
9
1
P
R
O
M
E
T
H
E
U
S
-
-
9
-
-
1
-
5
-
5

 

 

3
THE
33
15
6
5
LIGHT
56
29
2
7
BRINGER
73
46
1
15
Add to Reduce
162
90
9
1+5
Reduce to Deduce
1+6+2
9+0
-
6
Essence of Number
9
9
9

 

 

-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
8
-
-
-
-
9
5
-
-
-
+
=
39
3+9
=
12
1+2
3
=
3
-
-
-
8
-
-
-
9
-
8
-
-
-
-
9
14
-
-
-
+
=
48
4+8
=
12
1+2
3
=
3
-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
3
-
7
-
2
-
2
9
-
-
7
5
9
+
=
51
5+1
=
6
=
6
=
6
-
-
20
-
5
-
12
-
7
-
20
-
2
18
-
-
7
5
18
+
=
114
1+1+4
=
6
=
6
=
6
-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
12
9
7
8
20
-
2
18
9
14
7
5
18
+
+
162
1+6+2
=
9
=
9
=
9
-
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
+
+
90
9+0
=
9
=
9
=
9
-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
2
-
2
-
-
-
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
5
-
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
8
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
9
occurs
x
4
=
36
-
9
11
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
34
-
-
15
-
90
-
36
1+1
1+5
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
3+4
-
-
1+5
-
5+4
-
3+6
2
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9
-
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
-
-
-
-
-
-
-
-
-
-
2
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9

 

 

5
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
8
-
-
-
-
9
5
-
-
-
+
=
39
3+9
=
12
1+2
3
=
3
-
-
8
-
-
-
9
-
8
-
-
-
-
9
14
-
-
-
+
=
48
4+8
=
12
1+2
3
=
3
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
3
-
7
-
2
-
2
9
-
-
7
5
9
+
=
51
5+1
=
6
=
6
=
6
-
20
-
5
-
12
-
7
-
20
-
2
18
-
-
7
5
18
+
=
114
1+1+4
=
6
=
6
=
6
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
12
9
7
8
20
-
2
18
9
14
7
5
18
+
+
162
1+6+2
=
9
=
9
=
9
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
+
+
90
9+0
=
9
=
9
=
9
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
2
-
2
-
-
-
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
5
-
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
8
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
9
occurs
x
4
=
36
=
9
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
34
-
-
15
-
90
-
36
1+5
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
3+4
-
-
1+5
-
5+4
-
3+6
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
-
-
-
-
-
-
-
-
-
-
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9

 

PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
3
MET
38
11
2
7
ORPHEUS
102
48
3
10
PROMETHEUS
140
59
5
1+0
-
1+4+0
5+9
-
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE 95

 

-
-
-
-
2
RE
23
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
-
7
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
D
=
4
-
11
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
2
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
G
=
7
-
9
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
-
1
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
55
-
4
9
RE THE SUN GOD
136
64
55
-
1
2
3
4
15
6
7
8
9
-
-
5+5
-
-
-
-
1+3+6
6+4
5+5
-
-
-
-
-
1+5
-
-
-
-
Q
-
10
-
-
9
RE THE SUN GOD
10
10
10
-
1
2
3
4
6
6
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
RE THE SUN GOD
1
1
1
-
1
2
3
4
6
6
7
8
9

 

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Page 32

5


To Sorcerers and Magicians number FIVEis the most powerful - five is the mark of the pentacle, a five pointed star drawn by extending the sides of a Pentagon. Five surely is in the possession of the occult. And the Pentagon is the geometric figure in which the golden ratio of classical art and architecture is found most.

 

 

THE

BALANCING

ONE TWO THREE FOUR

FIVE

NINE EIGHT SEVEN SIX

 

 

O
=
15
ONE
3
-
34
16
7
-
1
T
=
20
TWO
3
-
58
13
4
-
2
T
=
20
THREE
5
-
56
29
2
-
3
F
=
6
FOUR
4
-
60
24
6
-
4
-
-
61
Add
15
-
208
82
19
-
10
-
-
6+1
Reduce
-
-
2+0+8
8+2
1+9
-
1+0
-
-
7
Reduce
6
-
10
10
10
-
1
-
-
-
Deduce
-
-
1+0
1+0
1+0
-
-
-
-
7
Essence
6
-
1
1
1
-
1

 

 

N
=
14
NINE
4
-
42
24
6
-
9
E
=
5
EIGHT
5
-
49
31
4
-
8
S
=
19
SEVEN
5
-
65
20
2
-
7
S
=
19
SIX
3
-
52
16
7
-
6
-
-
57
Add
17
-
208
91
19
-
30
-
-
5+7
Reduce
1+7
-
2+0+8
9+1
1+9
-
3+0
-
-
12
Reduce
8
-
10
10
10
-
3
-
-
1+2
Deduce
-
-
1+0
1+0
1+0
-
-
-
-
3
Essence
8
-
1
1
1
-
3

 

 

4
FIVE
42
24
6

 

1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

15
ONE TWO THREE FOUR
208
82
1
4
FIVE
42
24
6
17
NINE EIGHT SEVEN SIX
208
91
1

 

 

3
ONE
34
16
7
-
3
SIX
52
16
7
3
TWO
58
13
4
5
SEVEN
65
20
2
5
THREE
56
29
2
-
5
EIGHT
49
31
4
4
FOUR
60
24
6
-
4
NINE
42
24
6
15
Add
208
82
19
-
17
Add
208
91
19
1+5
Reduce
2+0+8
8+2
1+9
-
1+7
Reduce
2+0+8
9+1
1+9
6
Reduce
10
10
10
-
8
Reduce
10
10
10
-
Deduce
1+0
1+0
1+0
-
-
Deduce
1+0
1+0
1+0
6
Essence
1
1
1
-
8
Essence
1
1
1

 

 

3
ONE
34
16
7
1234-5-6789
3
SIX
52
16
7
3
TWO
58
13
4
1234-5-6789
5
SEVEN
65
20
2
5
THREE
56
29
2
1234-5-6789
5
EIGHT
49
31
4
4
FOUR
60
24
6
1234-5-6789
4
NINE
42
24
6
15
Add
208
82
19
1234-5-6789
17
Add
208
91
19
1+5
Reduce
2+0+8
8+2
1+9
1234-5-6789
1+7
Reduce
2+0+8
9+1
1+9
6
Reduce
10
10
10
1234-5-6789
8
Reduce
10
10
10
-
Deduce
1+0
1+0
1+0
1234-5-6789
-
Deduce
1+0
1+0
1+0
6
Essence
1
1
1
1234-5-6789
8
Essence
1
1
1

 

 

3
ONE
34
16
7
1 - 6 = 5
3
SIX
52
16
7
3
TWO
58
13
4
2 - 7 = 5
5
SEVEN
65
20
2
5
THREE
56
29
2
3 - 8 = 5
5
EIGHT
49
31
4
4
FOUR
60
24
6
4 - 9 = 5
4
NINE
42
24
6
15
Add
208
82
19
-5-
17
Add
208
91
19
1+5
Reduce
2+0+8
8+2
1+9
6 - 1 = 5
1+7
Reduce
2+0+8
9+1
1+9
6
Reduce
10
10
10
7 - 2 = 5
8
Reduce
10
10
10
-
Deduce
1+0
1+0
1+0
8 - 3 = 5
-
Deduce
1+0
1+0
1+0
6
Essence
1
1
1
9 - 4 = 5
8
Essence
1
1
1

 

 

V

5 FIVE 5

1 2 3 4 5V5 6 7 8 9

5

IVE IS THE FULCRUM IN THE BALANCING OF THE NINE NUMBERS

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
F
=
6
2
5
FIRST
72
27
9
-
-
-
-
-
-
-
-
-
9
2
-
S
=
1
3
6
SECOND
60
24
6
-
-
-
-
-
-
6
-
-
-
3
-
T
=
2
4
5
THIRD
59
32
5
-
-
-
-
-
5
-
-
-
-
4
-
F
=
6
5
6
FOURTH
88
34
7
-
-
-
-
-
-
-
7
-
-
5
-
F
=
6
6
5
FIFTH
49
31
4
-
-
-
-
4
-
-
-
-
-
6
-
S
=
1
7
5
SIXTH
80
26
8
-
-
-
-
-
-
-
-
8
-
7
-
S
=
1
8
7
SEVENTH
93
30
3
-
-
-
3
-
-
-
-
-
-
8
-
E
=
5
9
6
EIGHTH
57
39
3
-
-
-
3
-
-
-
-
-
-
9
-
N
=
5
10
5
NINTH
65
29
2
-
-
2
-
-
-
-
-
-
-
45
-
-
-
41
-
54
Add
687
300
48
-
1
2
6
4
5
6
7
8
9
4+5
-
-
-
4+1
-
5+4
Reduce
6+8+7
3+0+0
4+8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Deduce
21
3
12
-
1
2
6
4
5
6
7
8
9
-
-
-
-
-
-
-
Reduce
2+1
-
1+2
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Essence
3
3
3
-
1
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
9
-
N
=
5
10
5
NINTH
65
29
2
-
-
2
-
-
-
-
-
-
-
7
-
S
=
1
8
7
SEVENTH
93
30
3
-
-
-
3
-
-
-
-
-
-
8
-
E
=
5
9
6
EIGHTH
57
39
3
-
-
-
3
-
-
-
-
-
-
5
-
F
=
6
6
5
FIFTH
49
31
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
4
5
THIRD
59
32
5
-
-
-
-
-
5
-
-
-
-
2
-
S
=
1
3
6
SECOND
60
24
6
-
-
-
-
-
-
6
-
-
-
4
-
F
=
6
5
6
FOURTH
88
34
7
-
-
-
-
-
-
-
7
-
-
6
-
S
=
1
7
5
SIXTH
80
26
8
-
-
-
-
-
-
-
-
8
-
1
-
F
=
6
2
5
FIRST
72
27
9
-
-
-
-
-
-
-
-
-
9
45
-
-
-
41
-
54
Add
687
300
48
-
1
2
6
4
5
6
7
8
9
4+5
-
-
-
4+1
-
5+4
Reduce
6+8+7
3+0+0
4+8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Deduce
21
3
12
-
1
2
6
4
5
6
7
8
9
-
-
-
-
-
-
-
Reduce
2+1
-
1+2
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Essence
3
3
3
-
1
2
6
4
5
6
7
8
9

 

NUMBERS RE-ARRANGED IN NUMERICAL ORDER

 

ZERO THE OUGHT AS IN THOUGHT

 

LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S

 

 

 

METAMORPHOSIS GODS METAMORPHOSIS

4+5+2+1+4+6+9+7+8+6+1+9+1= 4+5+2+1+4+6+9+7+8+6+1+9+1

METAMORPHOSIS GODS METAMORPHOSIS

 

 

-
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-`
6
-
-
8
6
1
9
1
+
=
31
3+1
=
4
=
4
=
4
-
-
-
-
-
-
-
15
-
-
8
15
19
9
19
+
=
85
8+5
=
13
1+3
4
=
4
-
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
4
5
2
1
4
-
9
7
-
-
-
-
-
+
=
32
3+2
=
5
=
5
=
5
-
-
13
5
20
1
13
-
18
16
-
-
-
-
-
+
=
86
8+6
=
14
1+4
5
=
5
-
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
13
5
20
1
13
15
18
16
8
15
19
9
19
+
=
171
1+7+1
=
9
=
9
=
9
-
-
4
5
2
1
4
6
9
7
8
6
1
9
1
+
=
63
6+3
=
9
=
9
=
9
-
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
1
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
4
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
5
occurs
x
1
=
5
=
5
-
-
-
-
-
-
-
6
-
-
-
6
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
--
-
-
-
-
-
9
-
-
-
-
9
-
-
-
9
occurs
x
2
=
18
1+8
9
3
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
42
-
-
13
-
63
-
45
--
1+3
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
4+2
-
-
1+3
-
6+3
-
4+5
3
4
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
6
-
-
4
-
9
-
9
--
--
4
5
2
1
4
6
9
7
8
6
1
9
1
-
-
--
-
-
--
-
-
-
-
3
4
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
6
-
-
4
-
9
-
9

 

 

13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-`
6
-
-
8
6
1
9
1
+
=
31
3+1
=
4
=
4
=
4
-
-
-
-
-
-
15
-
-
8
15
19
9
19
+
=
85
8+5
=
13
1+3
4
=
4
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
4
5
2
1
4
-
9
7
-
-
-
-
-
+
=
32
3+2
=
5
=
5
=
5
-
13
5
20
1
13
-
18
16
-
-
-
-
-
+
=
86
8+6
=
14
1+4
5
=
5
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
13
5
20
1
13
15
18
16
8
15
19
9
19
+
=
171
1+7+1
=
9
=
9
=
9
-
4
5
2
1
4
6
9
7
8
6
1
9
1
+
=
63
6+3
=
9
=
9
=
9
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
1
-
-
1
occurs
x
3
=
3
=
3
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
4
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
5
occurs
x
1
=
5
=
5
-
-
-
-
-
-
6
-
-
-
6
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
--
-
-
-
-
-
9
-
-
-
-
9
-
-
-
9
occurs
x
2
=
18
1+8
9
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
42
-
-
13
-
63
-
45
1+3
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
4+2
-
-
1+3
-
6+3
-
4+5
4
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
6
-
-
4
-
9
-
9
--
4
5
2
1
4
6
9
7
8
6
1
9
1
-
-
--
-
-
--
-
-
-
-
4
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
6
-
-
4
-
9
-
9

 

 

14
METEMPSYCHOSIS
-
-
-
-
M+E
18
9
9
-
T
20
2
2
-
E+M
18
9
9
-
P+S+Y+C
63
27
9
-
H+O+S
42
24
6
-
I
9
9
9
-
S
19
10
1
14
METEMPSYCHOSIS
189
90
45
1+4
-
1+8+9
9+0
4+5
-
-
18
9
9
-
-
1+8
-
-
5
METEMPSYCHOSIS
9
9
9

 

 

14
METEMPSYCHOSIS
-
-
-
-
M+E+T+E+M+P
72
27
9
-
S+Y+C+H+O+S
89
44
8
-
I
9
9
9
-
S
19
10
1
1+4
METEMPSYCHOSIS
189
90
27
-
-
1+8+9
9+0
2+7
-
-
18
9
9
-
-
1+8
-
-
5
METEMPSYCHOSIS
9
9
9

 

 

-
METEMPSYCHOSIS
-
-
-
-
-
-
-
-
-
I
9
9
9
-
M+E
18
9
9
-
-
-
-
-
-
-
-
METEMPSYCHOSIS
-
-
-
-
M+E
18
9
9
-
T+E+M
38
11
2
-
P+S+Y+C+H+O+S+I+S
133
70
7
14
METEMPSYCHOSIS
189
90
18
1+4
-
1+8+9
9+0
1+8
-
-
18
9
9
-
-
1+8
-
-
5
METEMPSYCHOSIS
9
9
9

 

 

-
14
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
26
-
-
-
-
-
-
-
1
-
-
8
6
1
9
1
+
=
26
2+6
=
8
=
8
=
8
89
-
-
-
-
-
-
-
19
-
-
8
15
19
9
19
+
=
89
8+9
=
17
1+7
8
=
8
-
14
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
37
-
4
5
2
5
4
7
-
7
3
-
-
-
-
-
+
=
37
3+7
=
10
1+0
1
=
1
100
-
13
5
20
5
13
16
-
25
3
-
-
-
-
-
+
=
100
1+0+0
=
1
-
1
=
1
-
14
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
189
-
13
5
20
5
13
16
19
25
3
8
15
19
9
19
+
=
189
1+8+9
=
18
1+8
9
=
9
63
-
4
5
2
5
4
7
1
7
3
8
6
1
9
1
+
=
63
6+3
=
9
-
9
=
9
-
14
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
-
-
-
-
1
-
1
-
-
1
occurs
x
3
=
3
=
3
2
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
4
-
4
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
5
-
-
5
-
5
-
-
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
=
1
6
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
-
-
-
-
-
-
7
-
7
-
-
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
8
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
--
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
=
9
45
14
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
45
-
-
14
-
63
-
45
4+5
1+4
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
4+5
-
-
1+4
-
6+3
-
4+5
9
5
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
9
-
-
5
-
9
-
9
-
-
4
5
2
5
4
7
1
7
3
8
6
1
9
1
-
-
-
-
-
-
-
-
-
-
9
5
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
9
-
-
5
-
9
-
9

 

 

-
METAPHOR
-
-
-
1
M+E
18
9
9
4
T+A+P+H
45
18
9
1
O
15
6
6
1
R
18
9
9
8
METAPHOR
96
42
33
-
-
9+6
4+2
3+3
8
METAPHOR
15
6
6
-
-
1+5
-
-
8
METAPHOR
6
6
6

 

 

-
8
M
E
T
A
P
H
O
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
6
-
+
=
14
1+4
=
5
=
5
-
-
-
-
-
-
-
8
15
-
+
=
23
2+3
=
5
=
5
-
8
M
E
T
A
P
H
O
R
-
-
-
-
-
-
-
-
-
-
4
5
2
1
7
-
-
9
+
=
28
2+8
=
10
=
1
-
-
13
5
20
1
16
-
-
18
+
=
73
7+3
=
10
=
1
-
8
M
E
T
A
P
H
O
R
-
-
-
-
-
-
-
-
-
-
13
5
20
1
16
8
15
18
+
=
96
9+6
=
15
1+5
6
-
-
4
5
2
1
7
8
6
9
+
=
42
4+2
=
6
=
6
-
8
M
E
T
A
P
H
O
R
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
3
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
5
-
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
-
-
-
6
-
-
-
6
occurs
x
1
=
6
-
-
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
--
-
-
-
-
-
-
9
-
-
9
occurs
x
1
=
9
3
8
M
E
T
A
P
H
O
R
-
-
42
-
-
8
-
42
--
--
-
-
-
-
-
-
-
9
-
-
4+2
-
-
--
-
4+2
3
8
M
E
T
A
P
H
O
R
-
-
6
-
-
8
-
6
--
--
4
5
2
1
7
8
6
9
-
-
--
-
-
--
-
-
3
8
M
E
T
A
P
H
O
R
-
-
6
-
-
8
-
6

 

 

8
M
E
T
A
P
H
O
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
6
-
+
=
14
1+4
=
5
=
5
-
-
-
-
-
-
8
15
-
+
=
23
2+3
=
5
=
5
8
M
E
T
A
P
H
O
R
-
-
-
-
-
-
-
-
-
4
5
2
1
7
-
-
9
+
=
28
2+8
=
10
=
1
-
13
5
20
1
16
-
-
18
+
=
73
7+3
=
10
=
1
8
M
E
T
A
P
H
O
R
-
-
-
-
-
-
-
-
-
13
5
20
1
16
8
15
18
+
=
96
9+6
=
15
1+5
6
-
4
5
2
1
7
8
6
9
+
=
42
4+2
=
6
=
6
8
M
E
T
A
P
H
O
R
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
-
4
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
-
-
5
-
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
-
-
6
-
-
-
6
occurs
x
1
=
6
-
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
--
-
-
-
-
-
-
9
-
-
9
occurs
x
1
=
9
8
M
E
T
A
P
H
O
R
-
-
42
-
-
8
-
42
--
-
-
-
-
-
-
-
9
-
-
4+2
-
-
--
-
4+2
8
M
E
T
A
P
H
O
R
-
-
6
-
-
8
-
6
--
4
5
2
1
7
8
6
9
-
-
--
-
-
--
-
-
8
M
E
T
A
P
H
O
R
-
-
6
-
-
8
-
6

 

 

grammar.about.com › ... › Main Clause - Oxymoron - Cached - SimilarMetaphor - Wikipedia, the free encyclopedia
A common definition of a metaphor can be described as a comparison that shows how two things that are not alike in most ways are similar in another ...
en.wikipedia.org/wiki/Metaphor
 
 
 
Metaphor is the concept of understanding one thing in terms of another. A metaphor is a figure of speech that constructs an analogy between two things or ideas; the analogy is conveyed by the use of a metaphorical word in place of some other word. For example: "Her eyes were glistening jewels".
 
Metaphor also denotes rhetorical figures of speech that achieve their effects via association, comparison or resemblance (e.g., antithesis, hyperbole, metonymy and simile, which are all types of metaphor).[1]
 
The English metaphor derives from the 16th century Old French métaphore, from the Latin metaphora "carrying over", Greek (μεταφορά) metaphorá “transfer”,[2] from (μεταφέρω) metaphero “to carry over”, “to transfer”[3] and from (μετά) meta “between”[4] + (φέρω) phero, “to bear”, “to carry”.[5]

 

 

9
LANGUAGES
87
33
6
3
AND
19
10
1
7
NUMBERS
92
29
2
19
-
198
72
9
1+9
-
1+9+8
7+2
-
10
-
18
9
9
1+0
-
1+8
-
-
1
-
9
9
9

 

 

-
19
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
-
-
-
--
-
-
-
-
-
-
-
-
5
-
-
-
-
-
1
-
-
5
-
-
5
-
-
-
-
-
1
+
=
17
1+7
=
8
=
8
=
8
-
-
-
-
14
-
-
-
-
-
19
-
-
14
-
-
14
-
-
-
-
-
19
+
=
80
8+0
=
8
=
8
=
8
-
19
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
-
-
-
--
-
-
-
-
-
-
3
1
-
7
3
1
7
5
-
-
1
-
4
-
-
3
4
2
5
9
-
+
=
55
5+5
=
10
1+0
1
=
1
-
-
12
1
-
7
21
1
7
5
-
-
1
-
4
-
-
21
13
2
5
18
-
+
=
118
1+1+8
=
10
1+0
1
=
1
-
19
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
-
-
-
--
-
-
-
-
-
-
12
1
14
7
21
1
7
5
19
-
1
14
4
-
14
21
13
2
5
18
19
+
=
198
1+9+8
=
18
1+8
9
=
9
-
-
3
1
5
7
3
1
7
5
1
-
1
5
4
-
5
3
4
2
5
9
1
+
=
72
7+2
=
9
=
9
=
9
-
19
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
1
-
1
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
5
=
5
=
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
-
-
-
3
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
3
occurs
x
3
=
9
=
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
4
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
5
-
-
-
-
5
-
-
-
5
-
-
5
-
-
-
5
-
-
-
-
5
occurs
x
5
=
25
2+5
7
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
-
7
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
7
occurs
x
2
=
14
1+4
5
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
=
9
14
19
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
31
-
-
19
-
72
-
45
1+4
1+9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
3+1
-
-
1+9
-
7+2
-
4+5
5
10
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
4
-
-
10
-
9
-
9
-
1+0
3
1
5
7
3
1
7
5
1
-
1
5
4
-
5
3
4
2
5
9
1
-
-
-
-
-
1+0
-
-
-
-
5
1
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
4
-
-
1
-
9
-
9

 

 

19
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
-
-
-
--
-
-
-
-
-
-
-
5
-
-
-
-
-
1
-
-
5
-
-
5
-
-
-
-
-
1
+
=
17
1+7
=
8
=
8
=
8
-
-
-
14
-
-
-
-
-
19
-
-
14
-
-
14
-
-
-
-
-
19
+
=
80
8+0
=
8
=
8
=
8
19
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
-
-
-
--
-
-
-
-
-
3
1
-
7
3
1
7
5
-
-
1
-
4
-
-
3
4
2
5
9
-
+
=
55
5+5
=
10
1+0
1
=
1
-
12
1
-
7
21
1
7
5
-
-
1
-
4
-
-
21
13
2
5
18
-
+
=
118
1+1+8
=
10
1+0
1
=
1
19
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
-
-
-
--
-
-
-
-
-
12
1
14
7
21
1
7
5
19
-
1
14
4
-
14
21
13
2
5
18
19
+
=
198
1+9+8
=
18
1+8
9
=
9
-
3
1
5
7
3
1
7
5
1
-
1
5
4
-
5
3
4
2
5
9
1
+
=
72
7+2
=
9
=
9
=
9
19
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
1
-
1
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
5
=
5
=
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
3
-
-
-
3
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
3
occurs
x
3
=
9
=
9
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
4
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
5
-
-
-
-
5
-
-
-
5
-
-
5
-
-
-
5
-
-
-
-
5
occurs
x
5
=
25
2+5
7
-
-
-
-
7
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
=
9
19
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
31
-
-
19
-
72
-
45
1+9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
3+1
-
-
1+9
-
7+2
-
4+5
10
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
4
-
-
10
-
9
-
9
1+0
3
1
5
7
3
1
7
5
1
-
1
5
4
-
5
3
4
2
5
9
1
-
-
-
-
-
1+0
-
-
-
-
1
L
A
N
G
U
A
G
E
S
-
A
N
D
-
N
U
M
B
E
R
S
-
-
4
-
-
1
-
9
-
9

 

 

-
CONVERGENCE
-
-
-
-
-
2
C+O
18
9
9
-
9
2
N+V
36
9
9
-
9
1
E
5
5
5
-
-
1
R
9
9
9
-
9
1
G
7
7
7
-
-
1
E+N+C+E
27
18
9
-
9
11
CONVERGENCE
111
57
48
-
36
1+1
-
1+1+1
1+2
4+8
-
3+6
1
CONVERGENCE
3
3
12
-
9
-
-
-
-
1+2
-
-
1
CONVERGENCE
3
3
3
-
9

 

 

-
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
--
-
-
6
5
-
-
-
-
-
5
-
-
+
=
16
1+6
=
7
=
7
=
7
-
-
-
15
14
-
-
-
-
-
14
-
-
+
=
43
4+3
=
7
=
7
=
7
-
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
=
-
-
=
-
-
-
-
-
3
-
-
4
5
9
7
5
-
3
5
+
=
41
4+1
=
5
=
5
=
5
-
-
3
-
-
22
5
18
7
5
-
3
5
+
=
68
6+8
=
14
1+4
5
=
5
-
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
-
-
3
15
14
22
5
18
7
5
14
3
5
+
=
111
1+1+1
=
3
=
3
=
3
-
-
3
6
5
4
5
9
7
5
5
3
5
+
=
57
5+7
=
12
1+2
3
=
3
-
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
2
=
6
=
6
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
5
-
5
-
-
5
5
-
5
-
-
5
occurs
x
5
=
25
2+5
7
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
11
11
C
O
N
V
E
R
G
E
N
C
E
-
-
34
-
-
11
-
57
-
39
1+2
1+1
-
-
5
-
5
-
-
5
5
-
5
-
-
3+4
-
-
1+1
-
5+7
-
3+9
2
2
C
O
N
V
E
R
G
E
N
C
E
-
-
7
-
-
2
-
12
-
12
-
-
3
6
5
4
5
9
7
5
5
3
5
-
-
-
-
-
-
-
1+2
-
1+2
2
2
C
O
N
V
E
R
G
E
N
C
E
-
-
7
-
-
2
-
3
-
3

 

 

11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
-
-
6
5
-
-
-
-
-
5
-
-
+
=
16
1+6
=
7
=
7
=
7
-
-
15
14
-
-
-
-
-
14
-
-
+
=
43
4+3
=
7
=
7
=
7
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
=
-
-
=
-
-
-
-
3
-
-
4
5
9
7
5
-
3
5
+
=
41
4+1
=
5
=
5
=
5
-
3
-
-
22
5
18
7
5
-
3
5
+
=
68
6+8
=
14
1+4
5
=
5
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
-
3
15
14
22
5
18
7
5
14
3
5
+
=
111
1+1+1
=
3
=
3
=
3
-
3
6
5
4
5
9
7
5
5
3
5
+
=
57
5+7
=
12
1+2
3
=
3
11
C
O
N
V
E
R
G
E
N
C
E
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
2
=
6
=
6
-
-
-
-
4
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
5
-
5
-
-
5
5
-
5
-
-
5
occurs
x
5
=
25
2+5
7
-
-
6
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
9
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
11
C
O
N
V
E
R
G
E
N
C
E
-
-
34
-
-
11
-
57
-
39
1+1
-
-
5
-
5
-
-
5
5
-
5
-
-
3+4
-
-
1+1
-
5+7
-
3+9
2
C
O
N
V
E
R
G
E
N
C
E
-
-
7
-
-
2
-
12
-
12
-
3
6
5
4
5
9
7
5
5
3
5
-
-
-
-
-
-
-
1+2
-
1+2
2
C
O
N
V
E
R
G
E
N
C
E
-
-
7
-
-
2
-
3
-
3

 

 

-
CONVERSATION
-
-
-
-
-
2
C+O
18
9
9
-
9
2
N+V
36
9
9
-
9
1
E
5
5
5
-
-
1
R
18
9
9
-
9
1
S
19
1
1
-
-
4
A+T+I+O
45
18
9
-
9
1
N
14
5
5
-
-
12
CONVERSATION
155
56
47
-
36
1+2
-
1+5+5
5+6
4+7
-
3+6
3
CONVERSATION
11
11
11
-
9
-
-
1+1
1+1
1+1
-
-
3
CONVERSATION
2
2
2
-
9

 

 

-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
6
5
-
-
-
1
-
-
9
6
5
+
=
32
3+2
=
5
=
5
=
5
-
-
-
15
14
-
-
-
19
-
-
9
15
14
+
=
86
8+6
=
14
1+4
5
=
5
-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
=
-
-
=
-
-
-
-
-
3
-
-
4
5
9
-
1
2
-
-
-
+
=
24
2+4
=
6
=
6
=
6
-
-
3
-
-
22
5
18
-
1
20
-
-
-
+
=
69
6+9
=
15
1+5
6
=
6
-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
3
15
14
22
5
18
19
1
20
9
15
14
+
=
155
1+5+5
=
11
=
2
=
2
-
-
3
6
5
4
5
9
1
1
2
9
6
5
+
=
56
5+6
=
11
=
2
=
2
-
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
5
-
5
-
-
-
-
-
-
5
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
6
occurs
x
2
=
12
1+2
3
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
2
=
18
1+8
9
15
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
30
-
-
12
-
56
-
29
1+5
1+1
-
-
-
-
-
9
-
-
-
9
-
5
-
-
3+0
-
-
1+2
-
5+6
-
2+9
6
2
C
O
N
V
E
R
S
A
T
I
O
N
-
-
3
-
-
3
-
11
-
11
-
-
3
6
5
4
5
9
1
1
2
9
6
5
-
-
-
-
-
-
-
1+1
-
1+1
6
2
C
O
N
V
E
R
S
A
T
I
O
N
-
-
3
-
-
3
-
2
-
2

 

 

12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
6
5
-
-
-
1
-
-
9
6
5
+
=
32
3+2
=
5
=
5
=
5
-
-
15
14
-
-
-
19
-
-
9
15
14
+
=
86
8+6
=
14
1+4
5
=
5
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
=
-
-
=
-
-
-
-
3
-
-
4
5
9
-
1
2
-
-
-
+
=
24
2+4
=
6
=
6
=
6
-
3
-
-
22
5
18
-
1
20
-
-
-
+
=
69
6+9
=
15
1+5
6
=
6
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
3
15
14
22
5
18
19
1
20
9
15
14
+
=
155
1+5+5
=
11
=
2
=
2
-
3
6
5
4
5
9
1
1
2
9
6
5
+
=
56
5+6
=
11
=
2
=
2
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
5
-
5
-
-
-
-
-
-
5
-
-
5
occurs
x
3
=
15
1+5
6
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
2
=
18
1+8
9
12
C
O
N
V
E
R
S
A
T
I
O
N
-
-
30
-
-
12
-
56
-
29
1+1
-
-
-
-
-
9
-
-
-
9
-
5
-
-
3+0
-
-
1+2
-
5+6
-
2+9
2
C
O
N
V
E
R
S
A
T
I
O
N
-
-
3
-
-
3
-
11
-
11
-
3
6
5
4
5
9
1
1
2
9
6
5
-
-
-
-
-
-
-
1+1
-
1+1
2
C
O
N
V
E
R
S
A
T
I
O
N
-
-
3
-
-
3
-
2
-
2

 

 

-
SPEECH
-
-
-
4
S+P+E+E
45
18
9
2
C+H
11
2
2
6
SPEECH
56
20
11
-
-
5+6
2+0
1+1
6
SPEECH
11
11
2
-
-
1+1
1+1
-
6
SPEECH
2
2
2

 

 

-
6
S
P
E
E
C
H
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
8
+
=
27
2+7
=
9
1+4
9
=
9
-
-
19
-
-
-
-
8
+
=
27
2+7
=
9
1+4
9
=
9
-
6
S
P
E
E
C
H
-
-
-
-
-
-
-
-
-
-
-
-
-
7
5
5
3
-
+
=
20
2+0
=
2
=
2
=
2
-
-
-
16
5
5
3
-
+
=
29
2+9
=
11
1+1
2
=
2
-
6
S
P
E
E
C
H
-
-
-
-
-
-
-
-
-
-
-
-
19
16
5
5
3
8
+
=
56
5+6
=
11
=
2
=
2
-
-
1
7
5
5
3
8
+
=
29
2+9
=
11
=
2
=
2
-
6
S
P
E
E
C
H
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
occurs
x
1
=
3
=
3
2
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
-
5
5
-
-
-
-
5
occurs
x
5
=
10
1+0
1
6
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
=
8
9
-
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
21
6
S
P
E
E
C
H
-
-
24
-
-
6
-
56
-
29
2+1
-
-
-
5
5
-
-
-
-
2+4
-
-
-
-
5+6
-
2+9
3
6
S
P
E
E
C
H
-
-
6
-
-
6
-
11
-
11
-
-
1
7
5
5
3
8
-
-
-
-
-
-
-
1+1
-
1+1
3
6
S
P
E
E
C
H
-
-
6
-
-
6
-
2
-
2

 

 

6
S
P
E
E
C
H
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
8
+
=
27
2+7
=
9
1+4
9
=
9
-
19
-
-
-
-
8
+
=
27
2+7
=
9
1+4
9
=
9
6
S
P
E
E
C
H
-
-
-
-
-
-
-
-
-
-
-
-
7
5
5
3
-
+
=
20
2+0
=
2
=
2
=
2
-
-
16
5
5
3
-
+
=
29
2+9
=
11
1+1
2
=
2
6
S
P
E
E
C
H
-
-
-
-
-
-
-
-
-
-
-
19
16
5
5
3
8
+
=
56
5+6
=
11
=
2
=
2
-
1
7
5
5
3
8
+
=
29
2+9
=
11
=
2
=
2
6
S
P
E
E
C
H
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
occurs
x
1
=
3
=
3
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
5
5
-
-
-
-
5
occurs
x
5
=
10
1+0
1
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
=
8
6
S
P
E
E
C
H
-
-
24
-
-
6
-
56
-
29
-
-
-
5
5
-
-
-
-
2+4
-
-
-
-
5+6
-
2+9
6
S
P
E
E
C
H
-
-
6
-
-
6
-
11
-
11
-
1
7
5
5
3
8
-
-
-
-
-
-
-
1+1
-
1+1
6
S
P
E
E
C
H
-
-
6
-
-
6
-
2
-
2

 

THE SAY OF THE WAY

 

-
SAY
-
-
-
1
S
19
10
1
1
A
1
1
1
1
Y
25
7
7
3
SAY
45
18
9
-
-
4+5
1+8
1+1
3
SAY
9
9
9

 

 

-
3
S
A
Y
-
-
-
-
-
-
-
-
-
-
1
-
-
+
=
1
-
=
1
=
1
-
-
19
-
-
+
=
19
1+9
=
10
1+0
1
-
3
S
A
Y
-
-
-
-
-
-
-
-
-
-
-
1
7
+
=
8
-
=
8
=
8
-
-
-
1
25
+
=
26
2+6
=
8
=
8
-
3
S
A
Y
-
-
-
-
-
-
-
-
-
-
19
1
25
+
=
45
4+5
=
9
=
9
-
-
1
1
7
+
=
9
-
=
9
=
9
-
3
S
A
Y
-
-
-
-
-
-
-
-
-
-
1
1
-
-
-
1
occurs
x
2
=
2
2
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
-
3
THREE
3
-
-
-
4
-
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
7
-
-
7
occurs
x
1
=
7
8
-
-
-
-
-
-
8
EIGHT
8
-
-
-
9
-
-
-
-
-
-
9
NINE
9
-
-
-
37
3
S
A
Y
-
-
8
-
-
6
-
9
3+7
-
-
-
-
-
-
-
-
-
-
-
-
10
3
S
A
Y
-
-
8
-
-
6
-
9
1+0
-
1
1
7
-
-
-
-
-
-
-
-
1
3
S
A
Y
-
-
8
-
-
6
-
9

 

 

3
S
A
Y
-
-
-
-
-
-
-
-
-
1
-
-
+
=
1
-
=
1
=
1
-
19
-
-
+
=
19
1+9
=
10
1+0
1
3
S
A
Y
-
-
-
-
-
-
-
-
-
-
1
7
+
=
8
-
=
8
=
8
-
-
1
25
+
=
26
2+6
=
8
=
8
3
S
A
Y
-
-
-
-
-
-
-
-
-
19
1
25
+
=
45
4+5
=
9
=
9
-
1
1
7
+
=
9
-
=
9
=
9
3
S
A
Y
-
-
-
-
-
-
-
-
-
1
1
-
-
-
1
occurs
x
2
=
2
-
-
-
7
-
-
7
occurs
x
1
=
7
3
S
A
Y
-
-
8
-
-
6
-
9
-
-
-
-
-
-
-
-
-
-
-
-
3
S
A
Y
-
-
8
-
-
6
-
9
-
1
1
7
-
-
-
-
-
-
-
-
3
S
A
Y
-
-
8
-
-
6
-
9

 

 

-
VOWEL
-
-
-
1
V
22
4
4
1
O
15
6
6
1
W
23
5
5
1
E
5
5
5
1
L
12
3
3
5
VOWEL
77
23
23
-
-
1+4
2+3
2+3
5
VOWEL
5
5
5

 

 

-
VOWELS
-
-
-
1
V
22
4
4
1
O
15
6
6
1
W
23
5
5
1
E
5
5
5
1
L
12
3
3
1
S
19
10
1
6
VOWELS
96
33
24
-
-
9+6
3+3
2+4
6
VOWELS
15
6
6
-
-
1+5
-
-
6
VOWELS
6
6
6

 

 

-
A E I O U
-
-
-
1
A
1
1
1
1
E
5
5
5
1
I
9
9
9
1
O
15
6
6
1
U
21
3
3
5
A E I O U
51
24
24
-
-
5+1
2+4
2+4
5
A E I O U
6
6
6

 

 

-
5
A
-
E
-
I
-
O
-
U
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
6
-
-
+
=
15
1+5
=
6
=
6
-
-
-
-
-
-
9
-
15
-
-
+
=
24
2+4
=
6
=
6
-
5
A
-
E
-
I
-
O
-
U
-
-
-
-
-
-
-
-
-
-
1
-
5
-
-
-
-
-
3
+
=
9
-
=
9
=
9
-
-
1
-
5
-
-
-
-
-
21
+
=
27
2+7
=
9
=
9
-
5
A
-
E
-
I
-
O
-
U
-
-
-
-
-
-
-
-
-
-
1
-
5
-
9
-
15
-
21
+
=
51
5+1
=
6
=
6
-
-
1
-
5
-
9
-
6
-
3
+
=
24
2+4
=
6
=
6
-
5
A
-
E
-
I
-
O
-
U
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
2
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
3
occurs
x
1
=
3
4
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
-
-
-
6
-
-
-
-
6
occurs
x
1
=
6
7
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
occurs
x
1
=
9
21
5
A
-
E
-
I
-
O
-
U
-
-
24
-
-
5
-
24
2+1
-
-
-
-
-
9
-
-
-
-
-
-
2+4
-
-
-
-
2+4
3
5
A
-
E
-
I
-
O
-
U
-
-
6
-
-
5
-
6
-
-
1
-
5
-
9
-
6
-
3
-
-
-
-
-
-
-
-
3
5
A
-
E
-
I
-
O
-
U
-
-
6
-
-
5
-
6

 

 

5
A
-
E
-
I
-
O
-
U
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
6
-
-
+
=
15
1+5
=
6
=
6
-
-
-
-
-
9
-
15
-
-
+
=
24
2+4
=
6
=
6
5
A
-
E
-
I
-
O
-
U
-
-
-
-
-
-
-
-
-
1
-
5
-
-
-
-
-
3
+
=
9
-
=
9
=
9
-
1
-
5
-
-
-
-
-
21
+
=
27
2+7
=
9
=
9
5
A
-
E
-
I
-
O
-
U
-
-
-
-
-
-
-
-
-
1
-
5
-
9
-
15
-
21
+
=
51
5+1
=
6
=
6
-
1
-
5
-
9
-
6
-
3
+
=
24
2+4
=
6
=
6
5
A
-
E
-
I
-
O
-
U
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
-
-
-
-
-
3
-
-
3
occurs
x
1
=
3
-
-
-
5
-
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
-
-
6
-
-
-
-
6
occurs
x
1
=
6
-
-
-
-
-
9
-
-
-
-
-
-
9
occurs
x
1
=
9
5
A
-
E
-
I
-
O
-
U
-
-
24
-
-
5
-
24
-
-
-
-
-
9
-
-
-
-
-
-
2+4
-
-
-
-
2+4
5
A
-
E
-
I
-
O
-
U
-
-
6
-
-
5
-
6
-
1
-
5
-
9
-
6
-
3
-
-
-
-
-
-
-
-
5
A
-
E
-
I
-
O
-
U
-
-
6
-
-
5
-
6

 

 

5
A
E
I
O
U
-
-
-
-
-
-
-
-
-
-
-
9
6
-
+
=
15
1+5
=
6
=
6
-
-
-
9
15
-
+
=
24
2+4
=
6
=
6
5
A
E
I
O
U
-
-
-
-
-
-
-
-
-
1
5
-
-
3
+
=
9
-
=
9
=
9
-
1
5
-
-
21
+
=
27
2+7
=
9
=
9
5
A
E
I
O
U
-
-
-
-
-
-
-
-
-
1
5
9
15
21
+
=
51
5+1
=
6
=
6
-
1
5
9
6
3
+
=
24
2+4
=
6
=
6
5
A
E
I
O
U
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
-
3
-
-
3
occurs
x
1
=
3
-
-
5
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
6
-
-
-
6
occurs
x
1
=
6
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
5
A
E
I
O
U
-
-
24
-
-
5
-
24
-
-
-
9
-
-
-
-
2+4
-
-
-
-
2+4
5
A
E
I
O
U
-
-
6
-
-
5
-
6
-
1
5
9
6
3
-
-
-
-
-
-
-
-
5
A
E
I
O
U
-
-
6
-
-
5
-
6

 

 

-
CONSONANT
-
-
-
1
C
3
3
3
1
O
15
6
6
1
N
14
5
5
1
S
19
10
1
1
O
15
6
6
1
N
14
5
5
1
A
1
1
1
1
N
14
5
5
1
T
20
2
2
9
CONSONANT
115
43
34
-
-
1+1+5
4+3
3+4
9
CONSONANT
7
7
7

 

 

-
CONSONANTS
-
-
-
1
C
3
3
3
1
O
15
6
6
1
N
14
5
5
1
S
19
10
1
1
O
15
6
6
1
N
14
5
5
1
A
1
1
1
1
N
14
5
5
1
T
20
2
2
1
S
19
10
1
10
CONSONANTS
134
53
35
3+4
-
1+3+4
5+3
3+5
7
CONSONANTS
8
8
8

 

 

5
VOWEL
77
23
5
6
VOWELS
96
33
6
-
-
-
--
--
-
-
-
--
--
9
CONSONANT
115
43
34
10
CONSONANTS
134
53
35

 

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

 

 

I

ME

EGO

OGRE

CONSCIENCE

THE

SENSES SELF SENSES

THAT THAT THAT

ISISIS

BECOMETH

WHOLE OF SOURCE

LIFE DEATH LIFE GODS LIFE DEATH LIFE

THAT

CYCLE OF THE CIRCLE OF THE CIRCLE OF THE CYCLE

 

 

THE GROUND GOES ROUND GODS ROUND GOES THE GROUND

 

 

PROMETHEUS PROMISE THOU US PROMETHEUS

THAT E THAT

PROMETHEUS PROMISE THEE US PROMETHEUS

 

 

PROMETHEUS MOTHERS PROMETHEUS

HOMER HOME ROME MORE MORSE MORPHEUS SUPREME TERM SURE USER USE SUE SOME

POUR PORE PRONE PROM SPUR TREE TOP HOUSE THE PROM ROMP

OPUS ME MET MUSE MOTH MEET EROS SORE ROSE

SPERM SPURT PUSH PORT POEM PROSE HOSE HORSE THEM MESH SHEM

 

 

PROMETHEUS ORPHEUS MET ORPHEUS PROMETHEUS

THE

LIGHT

BRINGER

PROMETHEUS MORPHEUS ET MORPHEUS PROMETHEUS

 

 

ELECTRIC ET CIRCLE

ET

CIRCLE ET ELECTRIC

 

 

ATUM 1234 4321 MUTA

MUTA 4321 1234 ATUM

 

 

Shakespeare Quotes - Such Stuff as Dreams Are Made on.
www.enotes.com/shakespeare-quotes/we-such-stuff-dreams-made

The Tempest Act 4, scene 1, William Shakespeare

Prospero:
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and
our little life
Is rounded with a sleep.

 

 

2
WE
28
10
1
3
ARE
24
15
6
4
SUCH
51
15
6
5
STUFF
72
18
9
2
AS
20
2
2
6
DREAMS
60
24
6
3
ARE
24
15
6
4
MADE
23
14
5
2
ON
29
11
2
3
AND
19
10
1
3
OUR
54
18
9
4
LITTLE
78
24
6
4
LIFE
32
23
5
2
IS
28
10
1
7
ROUNDED
81
36
9
4
WITH
60
24
6
1
A
1
1
1
5
SLEEP
57
21
3
66
First Total
741
291
84
6+6
Add to Reduce
7+4+1
2+9+1
8+4
12
Second Total
12
12
12
1+2
Reduce to Deduce
1+2
1+2
1+2
3
Essence of Number
3
3
3

 

 

THE JESUS MYSTERIES

 
WAS THE ORIGINAL JESUS A PAGAN GOD
 
Timothy Freke & Peter Gandy 1999
 
"This book is dedicated to the Christ in you"

Page 177

"THE GOSPELS ARE ACTUALLY ANONYMOUS WORKS, IN WHICH EVERYTHING,WITHOUT EXCEPTION, IS WRITTEN IN CAPITAL LETTERS, WITH NO HEADINGS, CHAPTER OR VERSE DIVISIONS, AND PRACTICALLY NO PUNCTUATION OR SPACES BETWEEN WORDS. THEY WERE NOT WRITTEN IN THE ARAMAIC OF THE JEWS BUT IN GREEK"

 

 

THE

CHRISTOS

SO

C H R IS T

THE CHRISTOS SEE HERE IS THE CHRISTOS

 

 

GODS

KARMAS OUR KARMAS

PRISONERS IMMORTAL IMMORTAL PRISONERS

OF

THE

INDIVIDUAL

MINDS

I

YOU THAT YOU

THAT

U

R

WILL ALWAYS AWAKEN THE CREATORS HOLY OBLIGATION

PERFECT BEING BEING PERFECT

BALANCING THE BALANCING

THAT UNIVERSAL LAW OF LAWS THAT

MAAT IS THAT THAT IS MAAT

ALWAYS

U R THAT THAT R U

REALREALITYREVEALEDREVEALEDREALREALITY

I AM PATIENCE PERSONIFIED I PERSONIFIED PATIENCE AM I

 

 

3
THE
33
15
6
4
TREE
48
21
3
2
OF
21
12
3
9
KNOWLEDGE
96
42
6
18
First Total
198
90
18
1+8
Add to Reduce
1+9+8
9+0
1+8
9
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
9
Essence of Number
9
9
9

 

 

I

AM

THE

OPPOSITE OF THE OPPOSITE

I

AM

THE

OPPOSITE OF OPPOSITE

IS

THE

AM

I

ALWAYS

AM

 

 

3
SHE
32
14
5
2
HE
13
13
4
5
Add to Reduce
45
27
9
-
Reduce to Deduce
4+5
2+7
-
5
Essence of Number
9
9
9

 

 

S
=
1
-
7
SENDING
72
36
9
O
=
6
-
3
OUT
56
11
2
A
=
1
-
2
AN
15
6
6
S
=
1
-
3
SOS
53
8
8
-
-
9
Q
15
First Total
196
61
25
-
-
-
-
1+5
Add to Reduce
1+9+6
6+1
2+5
-
-
9
-
6
Second Total
16
7
7
-
-
-
-
-
Reduce to Deduce
1+6
-
-
-
-
9
-
6
Essence of Number
7
7
7

 

 

I
=
9
-
1
I
9
9
9
T
=
2
-
4
THAT
49
13
4
A
=
1
-
2
AM
14
5
5
S
-
12
4
7
Add to Reduce
72
27
18
-
-
1+2
-``
-
Reduce to Deduce
7+2
2+7
1+8
S
-
3
4
7
Essence of Number
9
9
9

 

 

T
=
2
-
3
THE
33
15
6
A
=
1
-
6
ANUBIS
66
21
3
-
-
3
Q
9
First Total
99
36
9
-
-
-
-
-
Add to Reduce
9+9
3+6
-
-
-
3
-
9
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
3
-
9
Essence of Number
9
9
9

 

ANUBIS A DOG FOX IS

ANUBIS A NUMBER IS

 

F
=
6
-
3
FOX
45
18
9
O
=
6
-
2
OF
21
12
3
F
=
6
-
5
FOXES
69
24
6
-
-
18
-
10
Add to Reduce
135
54
18
-
-
1+8
--
1+0
Reduce to Deduce
1+3+5
5+4
1+8
-
-
9
-
1
Essence of Number
9
9
9

 

 

-
FOX
-
-
-
1
F
6
6
6
1
O
15
6
6
1
X
24
6
6
-
OF
-
-
-
1
O
15
6
6
1
F
6
6
6
-
FOXES
-
-
-
1
F
6
6
6
1
O
15
6
6
1
X
24
6
6
2
E+S
24
6
6

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
2
-
Q
=
8
-
5
QUICK
61
25
7
-
-
-
-
-
-
-
7
-
-
3
-
B
=
2
-
5
BROWN
72
27
9
-
-
-
-
-
-
-
-
-
9
4
-
F
=
6
-
3
FOX
45
18
9
-
-
-
-
-
-
-
-
-
9
5
-
J
=
1
-
5
JUMPS
79
16
7
-
-
-
-
-
-
-
7
-
-
6
-
O
=
6
-
4
OVER
60
24
6
-
-
-
-
-
-
6
-
-
-
7
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
8
-
L
=
3
-
4
LAZY
64
19
1
-
1
-
-
-
-
-
-
-
-
9
-
D
=
4
-
3
DOG
26
17
8
-
-
-
-
-
-
-
-
8
-
45
-
-
-
34
-
35
Add
473
176
59
-
1
2
3
4
5
18
14
8
18
4+5
-
-
-
3+4
-
3+5
Reduce
4+7+3
1+7+6
5+9
-
-
-
-
-
-
1+8
1+4
-
1+8
9
-
-
-
7
4
8
Deduce
14
14
14
-
1
2
3
4
5
9
5
8
9
-
-
-
-
-
-
-
Produce
1+4
1+4
1+4
-
-
-
-
-
-
-
-
-
-
9
-
-
-
7
-
8
Essence
5
5
14
-
1
2
3
4
5
9
5
8
9

 

 

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

 

HURRAH FOR RAH FOR RAH HURRAH

 

 

1
I
9
9
9
2
AM
14
5
5
3
THE
33
15
6
6
BOWMAN
68
23
5
1
I
9
9
9
4
DRAW
46
19
1
3
THE
33
15
6
5
GREAT
51
24
6
3
BOW
40
13
4
28
First Total
303
132
51
2+8
Add to Reduce
3+0+3
1+3+2
5+1
10
Second Total
6
6
6
1+0
Reduce to Deduce
-
-
-
1
Essence of Number
6
6
6

 

 

O
=
6
-
5
ORION
71
35
8
N
=
5
-
6
NEBULA
55
19
1
S
-
11
-
11
Add to Reduce
126
54
9
-
-
1+1
-
1+1
Reduce to Deduce
1+2+6
5+4
-
S
-
2
-
2
Essence of Number
9
9
9

 

 

HOLY BIBLE

Scofield References

JOB

C 9 V 9

Page 575

"Which maketh Arcturus, Orion, and Pleiades, and the chambers of the south."

 

 

HOLY BIBLE

Scofield References

JOB

C 9 V 9

Page 575

WHICH MAKETH ARCTURUS ORION AND PLEIADES AND THE CHAMBERS OF THE SOUTH

 

 

W
=
5
-
5
WHICH
51
33
6
M
=
4
-
6
MAKETH
58
22
4
A
=
1
-
8
ARCTURUS
121
31
4
O
=
6
-
5
ORION
71
35
8
A
=
1
-
3
AND
19
10
1
P
=
7
-
8
PLEIADES
71
35
8
A
=
1
-
3
AND
19
10
1
T
=
2
-
3
THE
33
15
6
C
=
3
-
8
CHAMBERS
69
33
6
O
=
6
-
2
OF
21
12
3
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
SOUTH
83
20
2
-
-
39
-
59
First Total
649
271
55
-
-
3+9
-
5+9
Add to Reduce
6+4+9
2+7+1
5+5
-
-
12
-
14
Second Total
19
10
10
-
-
1+2
-
1+4
Reduce to Deduce
1+9
1+0
1+0
-
-
3
-
5
Third Totalr
10
1
1
-
-
-
-
-
Reduce to Produce
1+0
1+0
1+0
-
-
3
-
5
Essence of Number
1
1
1

 

 

THE SIRIUS MYSTERY

Robert K.G.Temple 1976

Page 82

The Sacred Fifty

"We must return to the treatise 'The Virgin of the World'. This treatise is quite explicit in saying that Isis and Osiris were sent to help the Earth by giving primitive mankind the arts of civilization:
And Horus thereon said:

'How was it, mother, then, that Earth received God's Efflux?' And Isis said:

'I may not tell the story of (this) birth; for it is not permitted to describe the origin of thy descent, O Horus (son) of mighty power, lest afterwards the way-of-birth of the immortal gods should be known unto men - except so far that God the Monarch, the universal Orderer and Architect, sent for a little while thy mighty sire Osiris, and the mightiest goddess Isis, that they might help the world, for all things needed them.
'Tis they who filled life full of life. 'Tis they who caused the savagery of mutual slaughtering of men to cease. 'Tis they who hallowed precincts to the Gods their ancestors and spots for holy rites. 'Tis they who gave to men laws, food and shelter.'

"Page 73

A Fairy Tale

'I INVOKE THEE, LADY ISIS, WITH WHOM THE GOOD DAIMON DOTH UNITE,

HE WHO IS LORD IN THE PERFECT BLACK.'

 

 

THE SIRIUS MYSTERY

Robert K.G.Temple 1976

Page 74

"Mead quotes an Egyptian magic papyrus, this being an uncontested Egyptian document which he compares to a passage in the Trismegistic literature: 'I invoke thee, Lady Isis, with whom the Good Daimon doth unite, He who is Lord in the perfect black. '37
We know that Isis is identified with Sirius A, and here we may have a / Page 74 / description of her star-companion 'who is Lord in the perfect black', namely the invisible companion with whom she is united, Sirius B.
Mead, of course, had no inkling of the Sirius question. But he cited this magic papyrus in order to shed comparative light on some extraordinary passages in a Trismegistic treatise he translated which has the title 'The Virgin of the World'. In his comments on the magic papyrus Mead says: 'It is natural to make the Agathodaimon ("the Good Daimon") of the Papyrus refer to Osiris; for indeed it is one of his most frequent designations. Moreover, it is precisely Osiris who is pre-eminently connected with the so-called "under­world", the unseen world, the "mysterious dark". He is lord there. . . and indeed one of the ancient mystery-sayings was precisely, "Osiris is a dark God." ,
'The Virgin of the World' is an extraordinary Trismegistic treatise in the form of a dialogue between the hierophant (high priest) as spokesman for Isis and the neophyte who represents Horus. Thus the priest instructing the initiate is portrayed as Isis instructing her son Horus.
The treatise begins by claiming it is 'her holiest discourse' which 'so speaking Isis doth pour forth'. There is, throughout, a strong emphasis on the hierarchical principle of lower and higher beings in the universe - that earthly mortals are presided over at intervals by other, higher, beings who interfere in Earth's affairs when things here become hopeless, etc. Isis says in the treatise: 'It needs must, therefore, be the less should give place to the greater mysteries.' What she is to disclose to Horus is a great mystery. Mead describes it as the mystery practised by the arch-hierophant. It was the degree (here 'degree' is in the sense of 'degree' in the Masonic 'mysteries', which are hopelessly garbled and watered-down versions of genuine mysteries of earlier times) 'called the "Dark Mystery" or "Black Rite". It was a rite performed only for those who were judged worthy of it after long probation in lower degrees, something of a far more sacred character, apparently, than the instruction in the mysteries enacted in the light.'
Mead adds: 'I would suggest, therefore, that we have here a reference to the most esoteric institution of the Isiac tradition. . .', Isiac meaning of course 'Isis-tradition', and not to be confused with the Book of Isaiah in the Bible (so that perhaps it is best for us not to use the word-form 'Isiac').
It is in attempting to explain the mysterious 'Black Rite' of Isis at the highest degree of the Egyptian mysteries that Mead cited the magic papyrus which I have already quoted. He explains the 'Black Rite' as being connected with Osiris being a 'dark god' who is 'Lord of the perfect black' which is 'the unseen world, the mysterious black'.
This treatise 'The Virgin of the World' describes a personage called Hermes who seems to represent a race of beings who taught earthly mankind the arts of civilization after which: 'And thus, with charge unto his kinsmen of the Gods to keep sure watch, he mounted to the Stars'.
According to this treatise mankind have been a troublesome lot requiring scrutiny and, at rare intervals of crisis, intervention.
After Hermes left Earth to return to the stars there was or were in Egypt someone or some people designated as 'Tat' (Thoth) who were initiates into the celestial mysteries."

Page 77

"Bearing these books in mind (and I am sure they are there waiting under­ground like a time bomb for us), it is interesting to read this passage in 'The Virgin of the World' following shortly upon that previously quoted:
The sacred symbols of the cosmic elements were hid away hard by the secrets of Osiris. Hermes, ere he returned to Heaven, invoked a spell on them, and spake these words: . . . 'O holy books, who have been made by my immortal hands, by incorruption's magic spells. . . (at this point there is a lacuna as the text is hopeless) . . . free from decay throughout eternity remain and incorrupt from time! Become unseeable, unfindable, for every one whose foot shall tread the plains of this land, until old Heaven doth bring forth meet instruments for you, whom the Creator shall call souls.'
Thus spake he; and, laying spells on them by means of his own works, he shut them safe away in their own zones. And long enough the time has been since they were hid away.
In the treatise the highest objective of ignorant men searching for the truth
is described as: '(Men) will seek out. . . the inner nature of the holy spaces which no foot may tread, and will chase after them into the height, desiring to observe the nature of the motion of the Heaven.
'These are as yet moderate things. For nothing more remains than Earth's remotest realms; nay, in their daring they will track out Night, the farthest Night of all.'..."

Page 82

"We must note Stecchini's remarks about Delphi as follows :38
The god of Delphi, Apollo, whose name means 'the stone', was identified with an object, the omphalos, 'navel', which has been found. It consisted of an ovoidal stone. . . . The omphalos of Delphi was similar to the object which represented the god Amon in Thebes, the 'navel' of Egypt. In 1966 I presented to the annual meeting of the Archaeological Institute of America a paper in which I maintained that historical accounts, myths, and legends, and some monuments of Delphi, indicate that the oracle was established there by the Pharaohs of the Ethiopian Dynasty.

 

 

EUS USE USE EUS

ODYSSEUS

PERSEUS

ZEUS

THESEUS

ORPHEUS

PROMETHEUS

EUS USE USE EUS

5+3+1 3+5+1 3+5+1 5+3+1

 

 

-
ODYSSEUS
-
-
-
-
O+D+Y+S+S
82
19
1
-
E
5
5
5
-
U
21
3
3
-
S
19
1
1
8
ODYSSEUS
127
28
19
-
-
1+2+7
2+8
1+9
8
ODYSSEUS
10
10
10
-
-
1+0
1+0
1+0
8
ODYSSEUS
1
1
1

 

PERSEUS PURSUES

 

-
PERSEUS
-
-
-
-
P+E+R+S
58
22
4
-
E
5
5
5
-
U
21
3
3
-
S
19
1
1
7
PERSEUS
103
31
22
-
-
1+0+3
3+1
2+2
7
PERSEUS
13
4
4
-
-
1+3
-
-
7
PERSEUS
4
4
4

 

 

-
PERSEUS
-
-
-
2
PE
21
12
3
1
R
18
9
9
2
SE
24
6
6
1
U
21
3
3
1
S
19
1
1
7
PERSEUS
103
31
22
-
-
1+0+3
3+1
2+2
7
PERSEUS
13
4
4
-
-
1+3
-
-
7
PERSEUS
4
4
4

 

 

-
THESEUS
-
-
-
-
THES
52
16
7
-
E
5
5
5
-
U
21
3
3
-
S
19
1
1
7
THESEUS
97
25
16
-
-
9+7
2+5
1+6
7
THESEUS
16
7
7
-
-
1+6
-
-
7
THESEUS
7
7
7

 

 

-
ORPHEUS
-
-
-
-
ORPH
57
30
3
-
E
5
5
5
-
U
21
3
3
-
S
19
1
1
7
ORPHEUS
102
39
17
-
-
1+0+2
3+9
1+7
7
ORPHEUS
3
12
3
-
-
-
1+2
-
7
ORPHEUS
3
3
3

 

 

-
PROMETHEUS
-
-
-
-
PROMETH
95
41
5
-
E
5
5
5
-
U
21
3
3
-
S
19
1
1
10
PROMETHEUS
71
17
17
1+0
-
7+1
1+7
1+7
1
PROMETHEUS
8
8
8

 

 

-
HERCULES
-
-
-
-
HERCU
55
28
1
-
L
12
3
3
-
E
5
5
5
-
S
19
1
1
8
HERCULES
97
25
16
-
-
9+7
2+5
1+6
8
HERCULES
16
7
7
-
-
1+6
-
-
8
HERCULES
7
7
7

 

 

-
ACHILLES
-
-
-
-
ACHIL
33
24
6
-
L
12
3
3
-
E
5
5
5
-
S
19
1
1
8
ACHILLES
97
25
16
-
-
9+7
2+5
1+6
8
ACHILLES
16
7
7
-
-
1+6
-
-
8
ACHILLES
7
7
7

 

 

-
ZEUS
-
-
-
-
Z
26
8
8
-
EUS
45
9
9
5
ZEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ODYSSEUS
-
-
-
-
ODYSS
82
19
1
-
EUS
45
9
9
8
ODYSSEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
PERSEUS
-
-
-
-
PERS
58
22
4
-
EUS
45
9
9
7
PERSEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
THESEUS
-
-
-
-
THES
52
16
7
-
EUS
45
9
9
7
THESEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ORPHEUS
-
-
-
-
ORPH
57
30
3
-
EUS
45
9
9
7
ORPHEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
PROMETHEUS
-
-
-
-
PROMETH
95
41
5
-
EUS
45
9
9
10
PROMETHEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
HERCULES
-
-
-
-
HERCU
55
28
1
-
LES
36
9
9
8
HERCULES
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ACHILLES
-
-
-
-
ACHIL
55
28
1
-
LES
36
9
9
8
ACHILLES
-
-
-

 

 

-
ZEUS
-
-
-
-
Z
-
-
-
-
EUS
45
9
9
5
ZEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ODYSSEUS
-
-
-
-
ODYSS
-
-
-
-
EUS
45
9
9
8
ODYSSEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
PERSEUS
-
-
-
-
PERS
-
-
-
-
EUS
45
9
9
7
PERSEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
THESEUS
-
-
-
-
THES
-
-
-
-
EUS
45
9
9
7
THESEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ORPHEUS
-
-
-
-
ORPH
-
-
-
-
EUS
45
9
9
7
ORPHEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
PROMETHEUS
-
-
-
-
PROMETH
-
-
-
-
EUS
45
9
9
10
PROMETHEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
HERCULES
-
-
-
-
HERCU
-
-
-
-
LES
36
9
9
8
HERCULES
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ACHILLES
-
-
-
-
ACHIL
-
-
-
-
LES
36
9
9
8
ACHILLES
-
-
-

 

 

-
ZEUS
E
U
S
-
Z
-
-
-
-
EUS
5
3
1
5
ZEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ODYSSEUS
-
-
-
-
ODYSS
-
-
-
-
EUS
5
3
1
8
ODYSSEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
PERSEUS
-
-
-
-
PERS
-
-
-
-
EUS
5
3
1
7
PERSEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
THESEUS
-
-
-
-
THES
-
-
-
-
EUS
5
3
1
7
THESEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ORPHEUS
-
-
-
-
ORPH
-
-
-
-
EUS
5
3
1
7
ORPHEUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
PROMETHEUS
-
-
-
-
PROMETH
-
-
-
-
EUS
5
3
1
10
PROMETHEUS
-
-
-

 

 

ANU 153 ANU

 

-
3
A
N
U
-
-
-
-
-
-
-
-
-
-
-
5
-
+
=
5
-
=
5
-
5
-
-
-
14
-
+
=
14
1+4
=
5
-
5
-
3
A
N
U
-
-
-
-
-
-
-
-
-
-
1
-
3
+
=
4
-
=
4
-
4
-
-
1
-
21
+
=
22
2+2
=
4
-
4
-
3
A
N
U
-
-
-
-
-
-
-
-
-
-
1
14
21
+
=
36
3+6
=
9
=
9
-
-
1
5
3
+
=
9
-
=
9
-
9
-
3
A
N
U
--
-
-
-
-
-
-
-
--
-
1
-
-
-
-
1
occurs
x
1
=
1
2
-
-
-
3
-
-
2
TWO
-
-
-
-
-
-
-
-
3
-
-
3
occurs
x
1
=
3
4
-
-
-
3
-
-
4
FOUR
-
-
-
-
-
-
-
5
-
-
-
5
occurs
x
1
=
5
6
-
-
-
3
-
-
6
SIX
-
-
-
-
7
-
-
-
3
-
-
7
SEVEN
-
-
-
-
8
-
-
-
3
-
-
8
EIGHT
-
-
-
-
9
-
-
-
3
-
-
9
NINE
-
-
-
-
36
3
A
N
U
-
-
9
-
1
3
-
9
3+6
-
-
-
-
-
-
-
-
-
-
-
-
9
3
A
N
U
-
-
9
-
-
3
-
9
-
-
1
5
3
--
-
-
-
-
-
-
-
9
3
A
N
U
-
-
9
-
-
3
-
9

 

 

3
A
N
U
-
-
-
-
-
-
-
-
-
-
5
-
+
=
5
-
=
5
-
5
-
-
14
-
+
=
14
1+4
=
5
-
5
3
A
N
U
-
-
-
-
-
-
-
-
-
1
-
3
+
=
4
-
=
4
-
4
-
1
-
21
+
=
22
2+2
=
4
-
4
3
A
N
U
-
-
-
-
-
-
-
-
-
1
14
21
+
=
36
3+6
=
9
=
9
-
1
5
3
+
=
9
-
=
9
-
9
3
A
N
U
--
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
-
-
-
3
-
-
3
occurs
x
1
=
3
-
-
5
-
-
-
5
occurs
x
1
=
5
3
A
N
U
-
-
9
-
1
3
-
9
-
-
-
-
-
-
-
-
-
-
-
-
3
A
N
U
-
-
9
-
-
3
-
9
-
1
5
3
--
-
-
-
-
-
-
-
3
A
N
U
-
-
9
-
-
3
-
9

 

 

THE

SUN RED SUN

 

 

-
RED
-
-
-
1
R
18
9
9
2
E+D
9
9
9
3
RED
27
18
18
-
-
2+7
1+8
1+8
3
RED
9
9
9

 

 

1
REDEEMER
-
-
-
2
R
18
9
9
2
E+D
9
9
9
-
E
5
5
5
-
E
5
5
5
2
M+E
18
9
9
1
R
18
9
9
8
REDEEMER
73
46
41
-
--
7+3
4+6
4+1
8
REDEEMER
10
10
5
-
--
1+0
-
-
8
REDEEMER
1
1
1

 

 

1
REDEEMER
-
-
-
-
-
2
R
18
9
9
-
-
2
E
5
5
5
-
5
-
D
4
4
4
-
-
-
E
5
5
5
-
5
-
E
5
5
5
-
5
2
M
13
4
4
-
-
-
E
5
5
5
-
5
1
R
18
9
9
-
-
8
REDEEMER
73
46
41
-
20
-
--
7+3
4+6
4+1
-
4+0
8
REDEEMER
10
10
5
-
4
-
--
1+0
-
-
-
-
8
REDEEMER
1
1
1
-
4

 

 

1
REDEMPTIVE
9
9
9
1
R
18
9
9
2
E+D
9
9
9
2
E+M
18
9
9
2
P+T
36
9
9
1
I
9
9
9
2
V+E
27
9
9
10
REDEMPTIVE
117
54
54
1+0
-
1+1+7
5+4
5+4
1
REDEMPTIVE
9
9
9

 

 

-
FLOURISHED
-
-
-
2
F+L
18
9
9
2
O+U
36
9
9
1
R
18
9
9
1
I
9
9
9
2
S+H
27
9
9
2
E+D
9
9
9
10
FLOURISHED
117
54
54
1+0
-
1+1+7
5+4
5+4
1
FLOURISHED
9
9
9

 

 

-
NOURISHER
-
-
-
1
N
14
5
5
2
O+U
36
9
9
1
R
18
9
9
1
I
9
9
9
2
S+H
27
9
9
1
E
5
5
5
1
R
18
9
9
9
NOURISHER
127
55
55
-
-
1+2+7
5+5
5+5
9
NOURISHER
10
10
10
-
-
1+0
1+0
1+0
9
NOURISHER
1
1
1

 

 

-
NOURISHED
-
-
-
1
N
14
5
5
2
O+U
36
9
9
1
R
18
9
9
1
I
9
9
9
2
S+H
27
9
9
2
E+D
9
9
9
9
NOURISHED
113
59
59
1+0
-
1+1+3
5+9
5+9
9
NOURISHED
5
14
14
-
-
-
1+4
1+4
9
NOURISHED
5
5
5

 

 

-
MALNOURISHED
-
-
-
1
M
13
4
4
3
A+L+N
27
9
9
2
O+U
36
9
9
1
R
18
9
9
1
I
9
9
9
2
S+H
27
9
9
2
E+D
9
9
9
12
MALNOURISHED
139
58
58
1+2
-
1+3+9
5+8
5+8
3
MALNOURISHED
13
13
13
-
-
1+3
1+3
1+3
3
MALNOURISHED
4
4
4

 

 

-
IMPOVERISHED
-
-
-
1
I
9
9
9
3
M+P+O
44
17
8
2
V+E
27
9
9
1
R
18
9
9
1
I
9
9
9
2
S+H
27
9
9
2
E+D
9
9
9
12
IMPOVERISHED
143
71
62
1+2
-
1+4+3
7+1
6+3
3
IMPOVERISHED
8
8
8

 

 

-
LOVE
--
-
-
2
L+O
27
9
9
2
V+E
27
9
9
4
LOVE
54
18
18
-
-
5+4
1+8
1+8
4
LOVE
9
9
9

 

 

4
LOVE
54
18
9
6
EVOLVE
81
27
9
10
Add to Reduce
135
45
18
1+0
Reduce to Deduce
1+3+5
4+5
1+8
1
Essence of Number
9
9
9

 

 

-
LOVE
-
-
-
2
L+O
27
9
9
2
V+E
27
9
9
4
LOVE
54
18
18
-
-
5+4
1+8
1+8
4
LOVE
9
9
9
-
-
-
-
-
-
-
-
-
-
-
EVOLVE
-
-
-
2
E+V
27
9
9
2
O+L
27
9
9
2
V+E
27
9
9
6
EVOLVE
81
27
27
-
-
8+1
2+7
2+7
6
EVOLVE
9
9
9

 

 

-
LOVE EVOLVE LOVE
-
-
-
4
LOVE
54
18
9
6
EVOLVE
81
27
9
4
LOVE
54
18
9
10
LOVE EVOLVE LOVE
189
45
18
1+0
-
1+8+9
4+5
1+8
1
LOVE EVOLVE LOVE
18
9
9
-
-
1+8
-
-
1
LOVE EVOLVE LOVE
9
9
9

 

 

-
LOVE EVOLVE LOVE
-
-
-
2
L+O
27
9
9
2
V+E
27
9
9
2
E+V
27
9
9
2
O+L
27
9
9
2
V+E
27
9
9
2
L+O
27
9
9
2
V+E
27
9
9
14
LOVE EVOLVE LOVE
189
63
63
1+4
-
1+8+9
6+3
6+3
5
LOVE EVOLVE LOVE
18
9
9
-
-
1+8
-
-
5
LOVE EVOLVE LOVE
9
9
9

 

 

-
LOVE EVOLVE LOVE
-
-
-
-
LOVE
-
-
-
2
L+O
27
9
9
2
V+E
27
9
9
-
LOVE
-
-
-
-
EVOLVE
-
-
-
2
E+V
27
9
9
2
O+L
27
9
9
2
V+E
27
9
9
-
EVOLVE
-
-
-
-
LOVE
-
-
-
2
L+O
27
9
9
2
V+E
27
9
9
-
LOVE
-
-
-
14
LOVE EVOLVE LOVE
189
45
45
1+4
-
1+8+9
4+5
4+5
5
LOVE EVOLVE LOVE
18
9
9
-
-
1+8
-
-
5
LOVE EVOLVE LOVE
9
9
9

 

 

-
INTERDEPENDENCE
-
-
-
-
-
1
I
9
9
9
-
-
1
N
14
5
5
-
5
1
T
20
2
2
-
-
1
E
5
5
5
-
5
1
R
18
9
9
-
-
1
D
4
4
4
-
-
1
E
5
5
5
-
5
1
P
16
7
7
-
-
1
E
5
5
5
-
5
1
N
14
5
5
-
5
1
D
4
4
4
-
-
1
E
5
5
5
-
5
1
N
14
5
5
-
5
1
C
3
3
3
-
-
1
E
5
5
5
-
5
15
INTERDEPENDENCE
141
78
78
-
40
1+5
-
1+4+1
7+8
7+8
-
4+0
6
INTERDEPENDENCE
6
15
15
-
4
-
-
-
1+5
1+5
-
-
6
INTERDEPENDENCE
6
6
6
-
4

 

LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S

 

 

THE

BALANCING

OF

BETWEEN IN BETWEEN

 

 

-
BETWEEN
-
-
-
1
B
2
2
2
1
E
5
5
5
1
T
20
2
2
1
W
23
5
5
1
E
5
5
5
1
E
5
5
5
1
N
14
5
5
7
BETWEEN
74
29
29
-
-
7+4
2+9
2+9
7
BETWEEN
11
11
11
-
-
1+1
1+1
1+1
7
BETWEEN
2
2
2

 

 

BETWEEN IN BETWEEN

2+5+2+5+5+5+5 +9+5 +2 5 2 5 5 5 5

9

2222

5 5 5 5 5 5 5 5 5 5 5

2+5+2+5+5+5+5 +9+5 +2 5 2 5 5 5 5

BETWEEN IN BETWEEN

 

 

-
BETWEEN
-
-
-
1
B
2
2
2
1
E
5
5
5
1
T
2
2
2
4
WEEN
5
5
5
7
BETWEEN
74
29
29
-
-
7+4
2+9
2+9
7
BETWEEN
11
11
11
-
-
1+1
1+1
1+1
7
BETWEEN
2
2
2

 

 

-
BETWEEN
-
-
-
1
B
2
2
2
1
E
5
5
5
1
T
20
2
2
1
W
23
5
5
1
E
5
5
5
1
E
5
5
5
1
N
14
5
5
-
BETWEEN
-
-
-
2
IN
23
14
5
-
BETWEEN
-
-
-
1
B
2
2
2
1
E
5
5
5
1
T
20
2
2
1
W
23
5
5
1
E
5
5
5
1
E
5
5
5
1
N
14
5
5
-
BETWEEN
-
-
-
16
Add to Reduce
171
72
63
1+6
Reduce to Deduce
1+7+1
7+2
6+3
7
Essence of Number
9
9
9

 

 

I

SAY

O

DIVINE

WEPWAWET OPENER OF THE WAYS HOW MANY FIVES IN THE WORD WEPWAWET

 

 

W
=
5
-
8
WEPWAWET
116
35
8
O
=
6
-
6
OPENER
73
37
1
O
=
6
-
2
OF
21
12
3
T
=
2
-
3
THE
33
15
6
W
=
5
-
4
WAYS
68
14
5
-
-
24
4
23
Add to Reduce
311
113
23
-
-
2+4
-
2+3
Reduce to Deduce
3+1+1
1+1+3
2+3
-
-
6
-
5
Essence of Number
5
5
5

 

 

YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO

 

 

1
REDEEMER
-
-
-
2
R
18
9
9
2
E+D
9
9
9
-
E
5
5
5
-
E
5
5
5
2
M+E
18
9
9
1
R
18
9
9
8
REDEEMER
73
46
41
-
--
7+3
4+6
4+1
8
REDEEMER
10
10
5
-
--
1+0
-
-
8
REDEEMER
1
1
1

 

 

-
8
R
E
D
E
E
M
E
R
-
-
-
-
-
--
-
-
-
-
-
-
18
5
4
5
5
13
5
18
+
=
73
7+3
=
10
1+0
1
=
1
-
-
9
5
4
5
5
4
5
9
+
=
46
4+6
=
10
1+0
1
=
1
-
8
R
E
D
E
E
M
E
R
-
-
-
-
-
--
-
-
-
-
-
-
18
5
4
5
5
13
5
18
+
=
73
7+3
=
10
1+0
1
=
1
-
-
9
5
4
5
5
4
5
9
+
=
46
4+6
=
10
1+0
1
=
1
-
8
R
E
D
E
E
M
E
R
-
-
-
-
-
--
-
-
-
-
-
-
18
5
4
5
5
13
5
18
+
=
73
7+3
=
10
1+0
1
=
1
-
-
9
5
4
5
5
4
5
9
+
=
46
4+6
=
10
1+0
1
=
1
-
8
R
E
D
E
E
M
E
R
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
-
-
4
-
-
4
-
-
-
-
4
occurs
x
2
=
8
=
8
-
=
-
5
-
5
5
-
5
-
-
-
5
occurs
x
4
=
20
2+0
2
6
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
27
8
R
E
D
E
E
M
E
R
-
-
18
-
-
8
-
46
-
19
2+7
-
-
5
-
5
5
-
5
-
-
-
1+8
-
-
-
-
4+6
-
1+9
9
8
R
E
D
E
E
M
E
R
-
-
9
-
-
8
-
10
-
10
-
-
9
5
4
5
5
4
5
9
-
-
-
-
-
-
-
1+0
-
1+0
9
8
R
E
D
E
E
M
E
R
-
-
9
-
-
8
-
1
-
1

 

 

-
8
R
E
D
E
E
M
E
R
-
-
-
-
-
--
-
-
-
-
-
-
18
5
4
5
5
13
5
18
+
=
73
7+3
=
10
1+0
1
=
1
-
-
9
5
4
5
5
4
5
9
+
=
46
4+6
=
10
1+0
1
=
1
-
8
R
E
D
E
E
M
E
R
-
-
-
-
-
--
-
-
-
-
-
-
18
5
4
5
5
13
5
18
+
=
73
7+3
=
10
1+0
1
=
1
-
-
9
5
4
5
5
4
5
9
+
=
46
4+6
=
10
1+0
1
=
1
-
8
R
E
D
E
E
M
E
R
-
-
-
-
-
--
-
-
-
-
-
-
18
5
4
5
5
13
5
18
+
=
73
7+3
=
10
1+0
1
=
1
-
-
9
5
4
5
5
4
5
9
+
=
46
4+6
=
10
1+0
1
=
1
-
8
R
E
D
E
E
M
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
4
-
-
-
-
4
occurs
x
2
=
8
=
8
-
=
-
5
-
5
5
-
5
-
-
-
5
occurs
x
4
=
20
2+0
2
-
-
9
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
27
8
R
E
D
E
E
M
E
R
-
-
18
-
-
8
-
46
-
19
2+7
-
-
5
-
5
5
-
5
-
-
-
1+8
-
-
-
-
4+6
-
1+9
9
8
R
E
D
E
E
M
E
R
-
-
9
-
-
8
-
10
-
10
-
-
9
5
4
5
5
4
5
9
-
-
-
-
-
-
-
1+0
-
1+0
9
8
R
E
D
E
E
M
E
R
-
-
9
-
-
8
-
1
-
1

 

 

4
WISE
-
-
-
-
W
23
5
5
-
IS
28
10
1
-
E
5
5
5
4
WISE
56
20
11
-
-
5+6
2+0
1+1
4
WISE
11
2
2
-
-
1+1
-
-
4
WISE
2
2
2

 

 

-
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
-
9
1
-
+
=
10
1+0
=
1
=
1
=
1
-
-
-
9
19
-
+
=
28
2+8
=
10
1+0
1
=
1
-
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
5
+
=
10
1+0
=
1
=
1
=
1
-``
-
23
-
-
5
+
=
28
2+8
=
10
1+0
1
=
1
-
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
23
9
19
5
+
=
56
5+6
=
11
1+1
2
=
2
-
-
5
9
1
5
+
=
20
2+0
=
2
=
2
=
2
-
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
-
-
5
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
=
9
20
4
W
I
S
E
-
-
15
-
-
6
-
20
-
20
2+0
-
-
9
-
-
-
-
1+5
-
-
-
-
2+0
-
1+1
2
4
W
I
S
E
-
-
6
-
-
6
-
2
-
2
-
-
5
9
1
5
-
-
-
-
-
-
-
-
-
-
2
4
W
I
S
E
-
-
6
-
-
6
-
2
-
2

 

 

4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
9
1
-
+
=
10
1+0
=
1
=
1
=
1
-
-
9
19
-
+
=
28
2+8
=
10
1+0
1
=
1
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
5
-
-
5
+
=
10
1+0
=
1
=
1
=
1
-
23
-
-
5
+
=
28
2+8
=
10
1+0
1
=
1
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
23
9
19
5
+
=
56
5+6
=
11
1+1
2
=
2
-
5
9
1
5
+
=
20
2+0
=
2
=
2
=
2
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
1
occurs
x
1
=
1
=
1
-
5
-
-
5
-
-
5
occurs
x
2
=
10
1+0
1
-
-
9
-
-
-
-
9
occurs
x
1
=
9
=
9
4
W
I
S
E
-
-
15
-
-
6
-
20
-
20
-
-
9
-
-
-
-
1+5
-
-
-
-
2+0
-
1+1
4
W
I
S
E
-
-
6
-
-
6
-
2
-
2
-
5
9
1
5
-
-
-
-
-
-
-
-
-
-
4
W
I
S
E
-
-
6
-
-
6
-
2
-
2

 

 

4
WISE
-
-
-
-
W
23
5
5
-
IS
28
10
1
-
E
5
5
5
4
WISE
56
20
11
-
-
5+6
2+0
1+1
4
WISE
11
2
2
-
-
1+1
-
-
4
WISE
2
2
2

 

 

-
4
W
-
I
S
-
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
1
-
-
+
=
10
1+0
=
1
=
1
=
1
-
-
-
-
9
19
-
-
+
=
28
2+8
=
10
1+0
1
=
1
-
4
W
-
I
S
-
E
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
+
=
10
1+0
=
1
=
1
=
1
-``
-
23
-
-
-
-
5
+
=
28
2+8
=
10
1+0
1
=
1
-
4
W
-
I
S
-
E
-
-
-
-
-
-
-
-
-
-
-
-
23
-
9
19
-
5
+
=
56
5+6
=
11
1+1
2
=
2
-
-
5
-
9
1
-
5
+
=
20
2+0
=
2
=
2
=
2
-
4
W
-
I
S
-
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
-
-
-
-
5
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
=
9
20
4
W
-
I
S
-
E
-
-
15
-
-
6
-
20
-
20
2+0
-
-
-
9
-
-
-
-
-
1+5
-
-
-
-
2+0
-
1+1
2
4
W
-
I
S
-
E
-
-
6
-
-
6
-
2
-
2
-
-
5
-
9
1
-
5
-
-
-
-
-
-
-
-
-
-
2
4
W
-
I
S
-
E
-
-
6
-
-
6
-
2
-
2

 

 

4
W
-
I
S
-
E
-
-
-
-
-
-
-
-
-
-
-
-
-
9
1
-
-
+
=
10
1+0
=
1
=
1
=
1
-
-
-
9
19
-
-
+
=
28
2+8
=
10
1+0
1
=
1
4
W
-
I
S
-
E
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
+
=
10
1+0
=
1
=
1
=
1
-
23
-
-
-
-
5
+
=
28
2+8
=
10
1+0
1
=
1
4
W
-
I
S
-
E
-
-
-
-
-
-
-
-
-
-
-
23
-
9
19
-
5
+
=
56
5+6
=
11
1+1
2
=
2
-
5
-
9
1
-
5
+
=
20
2+0
=
2
=
2
=
2
4
W
-
I
S
-
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
1
occurs
x
1
=
1
=
1
-
5
-
-
-
-
5
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
=
9
4
W
-
I
S
-
E
-
-
15
-
-
6
-
20
-
20
-
-
-
9
-
-
-
-
-
1+5
-
-
-
-
2+0
-
1+1
4
W
-
I
S
-
E
-
-
6
-
-
6
-
2
-
2
-
5
-
9
1
-
5
-
-
-
-
-
-
-
-
-
-
4
W
-
I
S
-
E
-
-
6
-
-
6
-
2
-
2

 

 

4
WISE
-
-
-
-
W
23
5
5
-
IS
28
10
1
-
E
5
5
5
4
WISE
56
20
11
-
-
5+6
2+0
1+1
4
WISE
11
2
2
-
-
1+1
-
-
4
WISE
2
2
2

 

WISE W IS E WISE

WISE W IS E WISE

5IS5 5 IS 5 5IS5

WISE W IS E WISE

WISE W IS E WISE

 

-
WISE
-
-
-
1
W
23
5
5
-
IS
-
-
-
1
E
5
5
5
2
WISE
28
10
10
-
-
2+8
2+0
1+0
2
WISE
10
1
1
-
-
1+0
-
-
2
WISE
1
1
1

 

 

-
WISDOM
-
-
-
1
W
23
5
5
-
IS
-
-
-
3
D+O+M
32
14
5
4
WISDOM
55
19
10
-
-
5+5
1+9
1+0
4
WISDOM
10
10
1
-
-
1+0
1+1
1+1
4
WISDOM
1
1
1

 

WISDOM W IS DOM WISDOM

WISDOM W IS DOM WISDOM

5IS5 5 IS 5 5IS5

WISDOM W IS DOM WISDOM

WISDOM W IS DOM WISDOM

 

6
WISDOM
-
-
-
-
W
23
5
5
-
IS
28
10
1
-
D+O+M
32
14
5
6
WISDOM
83
29
10
-
-
8+3
2+9
2+0
6
WISDOM
11
11
2
-
-
1+1
1+1
1+1
6
WISDOM
2
2
2

 

 

6
WISDOM
-
-
-
-
W
23
5
5
-
I
9
9
9
-
S+D+O+M
51
15
6
6
WISDOM
83
29
20
-
-
8+3
2+9
2+0
6
WISDOM
11
11
2
-
-
1+1
1+1
1+1
6
WISDOM
2
2
2

 

 

-
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
9
1
-
6
-
+
=
16
1+6
=
7
=
7
-
-
-
9
19
-
15
-
+
=
43
4+3
=
7
=
7
-
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
5
-
-
4
-
4
+
=
13
1+3
=
4
=
4
-``
-
23
-
-
4
-
13
+
=
40
4+0
=
4
=
4
-
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
23
9
19
4
15
13
+
=
83
8+3
=
11
1+1
2
-
-
5
9
1
4
6
4
+
=
29
2+9
=
11
1+1
2
-
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
1
occurs
x
1
=
1
2
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
-
4
-
4
-
-
4
occurs
x
2
=
8
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
-
6
-
-
-
6
occurs
x
1
=
6
7
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
9
-
-
-
-
-
-
9
occurs
x
1
=
9
20
6
W
I
S
D
O
M
-
-
25
-
-
6
-
29
2+0
-
-
9
-
-
-
-
-
-
2+5
-
-
-
-
2+9
2
6
W
I
S
D
O
M
-
-
7
-
-
6
-
11
-
-
5
9
1
4
6
4
-
-
-
-
-
-
-
1+1
2
6
W
I
S
D
O
M
-
-
7
-
-
6
-
2

 

 

6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
9
1
-
6
-
+
=
16
1+6
=
7
=
7
-
-
9
19
-
15
-
+
=
43
4+3
=
7
=
7
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
5
-
-
4
-
4
+
=
13
1+3
=
4
=
4
-
23
-
-
4
-
13
+
=
40
4+0
=
4
=
4
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
23
9
19
4
15
13
+
=
83
8+3
=
11
1+1
2
-
5
9
1
4
6
4
+
=
29
2+9
=
11
1+1
2
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
4
-
4
-
-
4
occurs
x
2
=
8
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
6
-
-
-
6
occurs
x
1
=
6
-
-
9
-
-
-
-
-
-
9
occurs
x
1
=
9
6
W
I
S
D
O
M
-
-
25
-
-
6
-
29
-
-
9
-
-
-
-
-
-
2+5
-
-
-
-
2+9
6
W
I
S
D
O
M
-
-
7
-
-
6
-
11
-
5
9
1
4
6
4
-
-
-
-
-
-
-
1+1
6
W
I
S
D
O
M
-
-
7
-
-
6
-
2

 

 

IN

THE

BEGINNING

WAS THE WORD AND THE WORD WAS

WITH

GOD AND THE WORD WAS GOD

THE

SAME WAS IN THE BEGINNING WITH

GOD ALL THINGS WERE MADE BY GOD AND WITHOUT GOD

WAS

NOT

ANYTHING

MADE THAT WAS MADE

IN

GOD

WAS LIFE AND THE LIFE WAS

THE

LIGHT

OF

HUMANKIND

AND THE

LIGHT

SHINETH IN THE DARKNESS AND THE DARKNESS COMPREHENDED IT NOT

 

 

I

AM

ALPHA AND OMEGA

THE BEGINNING AND THE END THE FIRST AND THE LAST

I

AM

THE ROOT AND THE OFFSPRING

OF

DAVID

AND

THE BRIGHT AND MORNING STAR

AND

THE SPIRIT AND THE BRIDE SAY COME

AND

LET THEM THAT HEARETH SAY COME

AND

LET THEM THAT IS ATHIRST COME

AND

WHOSOEVER WILL LET THEM TAKE THE WATER OF LIFE FREELY

 

 

THE CHRISTOS THE

CHRIST

 

CHRISTOS SEE HERE IS THE CHRISTOS

 

 

-
-
-
-
-
OSIRIS
-
-
-
O
=
6
-
1
O
15
6
6
S
=
1
-
1
S
19
10
1
I
=
9
-
1
I
9
9
9
R
=
9
-
1
R
18
9
9
I
=
9
-
1
I
9
9
9
S
=
1
-
1
S
19
10
1
-
-
35
-
6
OSIRIS
89
53
35
-
-
3+5
-
-
-
8+9
5+3
3+5
-
-
8
-
6
OSIRIS
17
8
8
-
-
-
-
-
-
1+7
-
-
-
-
8
-
6
OSIRIS
8
8
8

 

 

THE HERMETICA

THE LOST WISDOM OF THE PHARAOHS

Timothy Freke & Peter Gandy

To the Memory of Giordano Bruno 1548 - 1600

Mundus Nihil Pulcherrimum

The World is a Beautiful Nothing

Page 23

"Although we have used the familiar term 'God' in the explanatory notes which accompany each chapter, we have avoided this term in the text itself. Instead we have used 'Atum - one of the ancient Egyptian names for the Supreme One God."

 

Page 45

The Being of Atum

"Atum is Primal Mind."

Page 45

The Being of Atum

Give me your whole awareness, and concentrate your thoughts, for Knowledge of Atum's Being requires deep insight, which comes only as a gift of grace.

It is like a plunging torrent of water whose swiftness outstrips any man who strives to follow it, leaving behind not only the hearer, but even the teacher himself.

To conceive of Atum is difficult.

To define him is impossible.

The imperfect and impermanent cannot easily apprehend the eternally perfected.

Atum is whole and conconstant.

In himself he is motionless, yet he is self-moving.

He is immaculate, incorruptible and ever-lasting.

He is the Supreme Absolute Reality. He is filled with ideas which are imperceptible to the senses, and with all-embracing Knowledge.

Atum is Primal Mind.

Page 46

He is too great to be called by the name 'Atum'. He is hidden, yet obvious everywhere.

His Being is known through thought alone, yet we see his form before our eyes.

He is bodiless, yet embodied in everything. There is nothing which he is not. He has no name, because all names are his name. He is the unity in all things, so we must know him by all names and call everything 'Atum'.

He is the root and source of all. Everything has a source, except this source itself, which springs from nothing.

Atum is complete like the number one, which remains itself whether multiplied or divided, and yet generates all numbers.

Atum is the Whole which contains everything. He is One, not two.

He is All, not many.

The All is not many separate things, but the Oneness that subsumes the parts.

The All and the One are identical.

You think that things are many when you view them as separate, but when you see they all hang on the One, /Page 47/ and flow from the One, you will realise they are united­linked together, and connected by a chain of Being from the highest to the lowest, all subject to the will of Atum.

The Cosmos is one as the sun is one, the moon is one and the Earth is one.

Do you think there are many Gods? That's absurd - God is one.

Atum alone is the Creator of all that is immortal, and all that is mutable.

If that seems incredible, just consider yourself. You see, speak, hear, touch, taste, walk, think and breathe.

It is not a different you who does these various things, but one being who does them all.

To understand how Atum makes all things, consider a farmer sowing seeds; here wheat - there barley,
now planting a vine - then an apple tree.

Just as the same man plants all these seeds, so Atum sows immortality in heaven and change on Earth.

Throughout the Cosmos he disseminates Life and movement­the two great elements that comprise Atum and his creation, and so everything that is.

Page 48

Atum is called 'Father' because he begets all things, and, from his example, the wise hold begetting children the most sacred pursuit of human life. Atum works with Nature, within the laws of Necessity, causing extinction and renewal, constantly creating creation to display his wisdom.

Yet, the things that the eye can see are mere phantoms and illusions.

Only those things invisible to the eye are real. Above all are the ideas of Beauty and Goodness.

Just as the eye cannot see the Being of Atum, so it cannot see these great ideas.

They are attributes of Atum alone, and are inseparable from him.

They are so perfectly without blemish that Atum himself is in love with them.

There is nothing which Atum lacks, so nothing that he desires.

There is nothing that Atum can lose, so nothing can cause him grief. Atum is everything.

Atum makes everything, and everything is a part of Atum.

Atum, therefore, makes himself.

This is Atum's glory - he is all-creative, and this creating is his very Being.

It is impossible for him ever to stop creating­for Atum can never cease to be.

Page 49

Atum is everywhere.

Mind cannot be enclosed, because everything exists within Mind.

Nothing is so quick and powerful.

Just look at your own experience. Imagine yourself in any foreign land, and quick as your intention you will be there!

Think of the ocean - and there you are.

You have not moved as things move, but you have travelled, nevertheless.

Fly up into the heavens - you won't need wings!

Nothing can obstruct you - not the burning heat of the sun, or the swirling planets.

Pass on to the limits of creation. Do you want to break out beyond the boundaries of the Cosmos?

For your mind, even that is possible.

Can you sense what power you possess? If you can do all this, then what about your Creator?

Try and understand that Atum is Mind.

This is how he contains the Cosmos. All things are thoughts which the Creator thinks."

 

 

FINGERPRINTS OF THE GODS

A QUEST FOR THE BEGINNING AND THE END

Graham Hancock 1995

Chapter 32

Speaking to the Unborn

Page 285

"It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers.
Much harder to explain is the peculiar but distinctive way the myths of cataclysm seem to bear the intelligent imprint of a guiding hand.l Indeed the degree of convergence between such ancient stories is frequently remarkable enough to raise the suspicion that they must all have been 'written' by the same 'author'.
Could that author have had anything to do with the wondrous deity, or superhuman, spoken of in so many of the myths we have reviewed, who appears immediately after the world has been shattered by a horrifying geological catastrophe and brings comfort and the gifts of civilization to the shocked and demoralized survivors?
White and bearded, Osiris is the Egyptian manifestation of this / Page 286 / universal figure, and it may not be an accident that one of the first acts he is remembered for in myth is the abolition of cannibalism among the primitive inhabitants of the Nile Valley.2 Viracocha, in South America, was said to have begun his civilizing mission immediately after a great flood; Quetzalcoatl, the discoverer of maize, brought the benefits of crops, mathematics, astronomy and a refined culture to Mexico after the Fourth Sun had been overwhelmed by a destroying deluge.
Could these strange myths contain a record of encounters between scattered palaeolithic tribes which survived the last Ice Age and an as yet unidentified high civilization which passed through the same epoch?
And could the myths be attempts to communicate?

A message in the bottle of time"

'Of all the other stupendous inventions,' Galileo once remarked,

what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3

If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps.
Nevertheless, suppose that whatever the message was written on got destroyed or worn away after many thousands of years? Or suppose that the language in which it was inscribed was later forgotten utterly (like the enigmatic Indus Valley script, which has been studied closely for more than half a century but has so far resisted all attempts at decoding)? It must be obvious that in such circumstances a written / Page 287 / legacy to the future would be of no value at all, because nobody would be able to make sense of it.
What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them - and the city of Teotihuacan may be the calling-card of a lost civilization written in the eternal language of mathematics.
Geodetic data, related to the exact positioning of fixed geographical points and to the shape and size of the earth, would also remain valid and recognizable for tens of thousands of years, and might be most conveniently expressed by means of cartography (or in the construction of giant geodetic monuments like the Great Pyramid of Egypt, as we shall see).
Another 'constant' in our solar system is the language of time: the great but regular intervals of time calibrated by the inch-worm creep of precessional motion. Now, or ten thousand years in the future, a message that prints out numbers like 72 or 2160 or 4320 or 25,920 should be instantly intelligible to any civilization that has evolved a modest talent for mathematics and the ability to detect and measure the almost imperceptible reverse wobble that the sun appears to make along the ecliptic against the background of the fixed stars..."

"What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them"

 

"WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"

 

 

 

The

FULCANELLI

Phenomenon

Kenneth Rayner Johnson 1980

The Praxis

Page 190

Theoretical physics has become more and more occult, cheerfully breaking every previously sacrosanct law of nature and leaning towards such supernatural concepts as holes in space, negative mass and time flowing backwards ...

The greatest physicists ... have been groping towards a synthesis of physics and parapsychology. - Arthur Koestler: The Roots of Coincidence, (Hutchinson, 1972.)

 

 

Middle Eastern Mythology

S. H. Hooke 1963

Middle Eastern Mythology

Recent Sumerian studies 5 have shown that the conception or a divine garden and of a state when sickness and death did not exist and wild animals did not prey on one another is to be found in Sumerian mythology. The description of this earthly Paradise is contained in the Sumerian poem which Dr Kramer has called the Epic of Emmerkar:

The land Dilmun is a pure place, the land Dilmun is a clean place

The land Dilmun is a clean place, the land Dilmun is a bright place

In Dilmun the raven uttered no cry,

The kite uttered not the cry of the kite,

The lion killed not,

The wolf snatched not the lamb,

Unknown was the kid-killing dog,

Unknown was the grain-devouring boar ...

The sick·eyed says not '1 am sick-eyed',

The sick-headed says not '1 am sick-headed',

Its (Dilmun's) old woman says not 'I am an old woman',

Its old man says not 'I am an old man',

Unbathed is the maid, no sparkling water is poured in the city,

Who crosses the river (of death?) utters no ...

The 'wailing priests walk not about him,

The singer utters no wail,

By the side of the city he utters no lament.

Later, in the Semitic editing of the Sumerian myths, Dilmun became the dwelling of the immortals, where Utnapishtim and his wife were allowed to live after the Flood (p. 49). It was apparently located at the mouth of the Persian Gulf.

According to the Sumerian myth the only thing which Dilmun lacked was fresh water; the god Enki (or Ea) ordered Utu, the sun-god, to 'bring up fresh water from the earth to water the garden. Here we may have the source of the / Page 115 / mysterious 'ed of which the Yahwist speaks as coming up from the ground to water the garden.

In the myth of Enki and Ninhursag it is related that the mother-goddess Ninhursag caused eight plants to grow in the garden of the gods. Enki desired to eat these plants and sent his messenger Isimud to fetch them. Enki ate them one by one, and Ninhursag in her rage pronounced the curse of death upon Enki. As the result of the curse eight of Enki's bodily organs were attacked by disease and he was at the point of death. The great gods were in dismay and Enlil was powerless to help. Ninhursag was induced to return and deal with the situation. She created eight goddesses of healing who proceeded to heal each of the diseased parts of Enki's body. One of these parts was the god's rib, and the goddess who was created to deal with the rib was named Ninti, which means 'the lady of the rib'. But the Sumerian word ti has the double meaning of 'life' as well as ' rib', so that Ninti could also mean 'the lady of life'. We have seen that in the Hebrew myth the woman who was fashioned from Adam's rib was named by him Hawwah, meaning 'Life'. Hence one of the most curious features of the Hebrew myth of Paradise clearly has its origin in this somewhat crude Sumerian myth.

Other elements in the Yahwist's form of the Paradise myth have striking parallels in various Akkadian myths. The importance of the possession of knowledge, which is always magical knowledge, is a recurring theme. We have seen that the myth of Adapa and the Gilgamesh Epic are both concerned with the search for immortality and the problem of death and the existence of disease. These and other examples which we have cited will serve to illustrate the point that the Akkadian myths were concerned with the themes which appear in the Yahwist's Paradise story.

 

 

QUO VADIS

 

Quo vadis - Wikipedia, the free encyclopedia Quo vadis? is a Latin phrase meaning "Where are you going?" or "Whither goest thou?". The modern usage of the phrase refers to a legend in Christian ... en.wikipedia.org/wiki/Quo_vadis

Quo vadis? is a Latin phrase meaning "Where are you going?" or "Whither goest thou?". The modern usage of the phrase refers to a legend in Christian tradition, related in the apocryphal Acts of Peter (Vercelli Acts XXXV), in which Saint Peter meets Jesus as Peter is fleeing from likely crucifixion in Rome. Peter asks Jesus the question; Jesus' answer, "I am going to Rome to be crucified again" (Eo Romam iterum crucifigi), prompts Peter to gain the courage to continue his ministry and eventually become a martyr.

The phrase also occurs a few times in the Vulgate translation of the Bible, notably including the occurrence in John 13:36 in which Peter also asks the question of Jesus, after the latter announces he is going to where his followers cannot come.

 

 

W
=
5
-
7
WHITHER
91
46
1
G
=
7
-
5
GOEST
66
21
3
T
=
2
-
4
THOU
64
19
1
B
-
14
Q
16
First Total
221
86
5
-
-
1+4
-
1+6
Add to Reduce
2+2+1
8+6
-
-
-
5
-
7
Second Total
5
14
5
-
-
-
-
-
Reduce to Deduce
-
1+4
-
-
-
5
-
7
Essence of Number
5
5
5

 

 

Quo Vadis. I fled by night and in the grey of dawn met on the lonely way a man I knew but could not name. He said “Good morning”, I the same .. rtnl.org.uk/now_and_then/html/242.html

 

Quo Vadis
I fled by night and in the grey
of dawn met on the lonely way
a man I knew but could not name.
He said “Good morning”, I the same
and asked if he was going far.
He said “As far as Golgotha.”
And then I knew and the cock crew.

 

Quo vadis is a Latin phrase meaning "Where are you going?" It is used as a proverbial phrase from the Bible (John 13:36, 16:5). ... en.wikipedia.org/wiki/Quo_Vadis -

 

 

HOLY BIBLE

Scofield References

C 1 V 16

THE ACTS OF THE APOSTLES

Page 1148 (Part quoted)

"MEN AND BRETHREN THIS SCRIPTURE MUST NEEDS HAVE BEEN FULFILLED

WHICH THE HOLY GHOST BY THE MOUTH OF DAVID SPAKE"

 

 

T
=
2
-
3
THE
33
15
6
S
=
1
-
4
STAR
58
13
4
O
=
6
-
2
OF
21
12
3
D
=
4
-
5
DAVID
40
22
4
B
-
13
Q
14
Add to Reduce
152
62
17
-
-
1+3
-
1+4
Reduce to Deduce
1+5+2
6+2
1+7
-
-
4
-
5
Essence of Number
8
8
8

 

 

T
=
2
-
3
THE
33
15
6
S
=
1
-
4
SONG
55
10
1
O
=
6
-
2
OF
21
12
3
D
=
4
-
5
DAVID
40
22
4
B
-
13
Q
14
First Total
149
59
14
-
-
1+3
-
1+4
Add to Reduce
1+4+9
5+9
1+4
-
-
4
-
5
Second Total
14
14
5
-
-
-
-
-
Reduce to Deduce
1+4
1+4
-
-
-
4
-
5
Essence of Number
5
5
5

 

 

I
=
9
-
1
I
9
9
9
A
=
1
-
2
AM
14
5
5
T
=
2
-
3
THE
33
15
6
R
=
9
-
4
ROOT
68
23
5
A
=
1
-
3
AND
19
10
1
O
=
6
-
9
OFFSPRING
110
56
2
O
=
6
-
2
OF
21
12
3
D
=
4
-
5
DAVID
40
22
4
A
=
1
-
3
AND
19
10
1
T
=
2
-
3
THE
33
15
6
B
=
2
-
6
BRIGHT
64
37
1
A
=
1
-
3
AND
19
10
1
T
=
2
-
3
THE
33
15
6
M
=
4
-
7
MORNING
90
45
9
S
=
1
-
4
STAR
58
13
4
-
-
51
-
58
First Total
630
297
63
-
-
5+1
-
5+8
Add to Reduce
6+3+0
2+9+7
6+3
Q
-
6
-
13
Second Total
9
18
9
-
-
-
-
1+3
Reduce to Deduce
-
1+8
-
-
-
6
-
4
Essence of Number
9
9
9

 

 

I

ME

THAT

AM

JERUSALEM MELASUREJ

1 5 9 3 1 1 3 5 4 4 5 3 1 1 3 9 5 1

GODS HOLY CITY

ONE

PEOPLES

ONE

WORLD

GODS WORLD GODS PEOPLES GODS CITY

 

 

 

 

CHEIRO'S BOOK OF NUMBERS

Circa 1926

Page106
"Shakespeare, that Prince of Philosophers, whose thoughts will adorn English literature for all time, laid down the well-known axiom: There is a tide in the affairs of men which if taken at the flood, leads on to fortune." The question has been asked again and again, Is there some means of knowing when the moment has come to take the tide at the flood?
My answer to this question is that the Great Architect of the Universe in His Infinite Wisdom so created all things in such harmony of design that He endowed the human mind with some part of that omnipotent knowledge which is the attribute of the Divine Mind as the Creator of all.

The question has been asked again and again, Is there some means of knowing when the moment has come to take the tide at the flood?

 

 

 THE

QUESTION

HAS BEEN ASKED AGAIN AND AGAIN

IS THERE SOME MEANS OF KNOWING WHEN THE MOMENT HAS COME TO TAKE

THE TIDE AT THE

FLOOD

 

 

T
=
2
-
3
THE
33
15
6
Q
=
8
-
8
QUESTION
120
39
3
H
=
8
-
3
HAS
28
10
1
B
=
2
-
4
BEEN
26
17
8
A
=
1
-
5
ASKED
40
13
4
A
=
1
-
5
AGAIN
32
23
5
A
=
1
-
3
AND
19
10
1
A
=
1
-
5
AGAIN
32
23
5
I
=
9
-
2
IS
28
10
1
T
=
2
-
5
THERE
56
29
2
S
=
1
-
4
SOME
52
16
7
M
=
4
-
5
MEANS
52
16
7
O
=
6
-
2
OF
21
12
3
K
=
2
-
7
KNOWING
93
39
3
W
=
5
-
4
WHEN
50
23
5
T
=
2
-
3
THE
33
15
6
M
=
4
-
6
MOMENT
80
26
8
H
=
8
-
3
HAS
28
10
1
C
=
3
-
4
COME
36
18
9
T
=
2
-
2
TO
35
8
8
T
=
2
-
4
TAKE
37
10
1
T
=
2
-
3
THE
33
15
6
T
=
2
-
4
TIDE
38
20
2
A
=
1
-
2
AT
21
3
3
T
=
2
-
3
THE
33
15
6
F
=
6
-
5
FLOOD
52
25
7
B
-
87
Q
104
First Total
1108
460
118
-
-
8+7
-
1+0+4
Add to Reduce
1+1+0+8
4+6+0
1+1+8
-
-
15
-
5
Second Total
10
10
10
-
-
1+5
-
-
Reduce to Deduce
1+0
1+0
1+0
-
-
6
-
5
Essence of Number
1
1
1

 

 

YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO

 

 

8
QUO VADIS
108
36
9
6
VOX POP
108
36
9
11
SORROW
108
36
9
8
INSTINCT
108
36
9
11
DESCENDANTS
108
36
9
8
STARTING
108
36
9
9
NARRATIVE
108
36
9
9
SEQUENCES
108
36
9
9
COMPLETES
108
36
9
9
AMBIGUOUS
108
36
9
7
JOURNEY
108
36
9

 

 

 

 

KEEPER OF GENESIS

A QUEST FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock 1996

Page 254

"...Is there in any sense an interstellar Rosetta Stone?

We believe there is a common language that all technical civilizations, no matter how different, must have.

That common language is science and mathematics.

The laws of Nature are the same everywhere:..."

 

 

THE LURE AND ROMANCE OF ALCHEMY.

A history of the secret link between magic and science

1990
C. J. S.Thompson

Page# 31 / 32

note 1 Julius Ruska ,Tabula Smaragdini 1926

"THE EMERALD TABLE OF HERMES: "

"True it is, without falsehood certain most true.That which is
above is like to that which is below, and that which is below is like
to that which is above, to accomplish the miracles of one thing.
And as in all things whereby contemplation of one, so in all things
arose from this one thing by a single act of adoption.
The father thereof is the Sun the mother the Moon.
The wind carried it in its womb,the earth is the source thereof.
It is the father of all works throughout the world.
The power thereof is perfect.
If it be cast on to earth, it will separate the element of earth
from that of fire, the subtle from the gross.
With great sagacity it doth ascend gently from earth to heaven.
Again it doth descend to earth and uniteth in itself from
things superior and things inferior.
Thus thou wilt possess the brightness of the world, and all
obscurity will fly far from thee.
This thing is the strong fortitude of all strength, for it over-
cometh every subtle thing and doth penetrate every solid substance.
Thus was this world created.
Hence will there be marvellous adaptations achieved of which
the manner is this.
For this reason I am called Hermes Trismegistus because I hold
three parts of the wisdom of the whole world.
That which I had to say about the operation of Sol is completed."

 

 

Freiheit - Keeping The Dream Alive lyrics. From the Original Motion Picture ... In my fantasy I remember their faces The hopes we had were much too high ... www.lyricsmode.com/lyrics/f/freiheit/keeping_the_dream_alive.html


Tonight the rain is falling
Full of memories of people and places
And while the past is calling
In my fantasy I remember their faces

The hopes we had were much too high
Way out of reach but we have to try
The game will never be over
Because we're keeping the dream alive

I hear myself recalling
Things you said to me
The night it all started
And still the rain is falling
Makes me feel the way
I felt when we parted

The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one
The game will never be over
Because we're keeping the dream alive

I need you
I love you

The game will never be over
Because we're keeping the dream alive

The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one

The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one

The game will never be over
Because we're keeping the dream alive

The game will never be over
Because we're keeping the dream alive

The game will never be over

Mmm mmm mmm mmm mmm mmm mmm mmm mmm.

 

 

I

SAY

IS THIS THE OTHER SIDE OF THE GREAT DIVIDE

?

NO ITS OVER THERE

I

HAVE JUST BEEN OVER THERE AND THEY SAID ITS OVER HERE

 

 

THE GARDEN OF THE GOLDEN FLOWER

Longfield Beatty 1996

Page 207 / 208

"And the next quotation is "relayed" from Budge (op. Cit., p. 521), having come from Papyrus No. 10188 (Brit. Mus.) There have been some omissions in order to reinforce as much as possible the particular aspect of it which is our immediate concern."
"...from Papyrus No. 10188"

" THE LAMENT OF THE SISTERS "
( Isis and Nepthys over the dead Osiris)


"Beautiful Youth, come to thy exalted house at once: we see thee not.

"Hail, beautiful boy, come to thy house, draw nigh after
thy separation from us

"Hail Beautiful Youth, Pilot of Time, who groweth
except at this hour.
"Holy image of his Father, mysterious essence proceeding from Tem.

"The Lord! How much more wonderful is he than his
Father, the first-born son of the womb of his mother.

"Come back to us in thy actual form; we will embrace
thee. Depart not from us, thou Beautiful Face, dearly beloved
one, the image of Tem, Master of Love.

"Come thou in peace, our Lord, we would see thee.

"Great Mighty One among the Gods, the road that thou
travellest cannot be described.

"The Babe, the Child at morn and at eve, except when
thou encirclest the heavens and the earth with thy bodily form.

"Come, thou Babe, growing young when setting, our
Lord, we would see thee.

"Come in peace, Great Babe of His Father, thou art
established in thy house.

"Whilst thou travellest thou art hymned by us, and
life springeth up for us out of thy nothingness. O our Lord,
come in peace, let us see thee.

"Hail Beautiful Boy, come to thy exalted house.; let thy
back be to thy house. The Gods are upon their thrones.
Hail ! come in peace, King.

"Babe! How lovely it is to see thee! Come, come to us,
O Great One, glorify our love.

"O ye gods who are in Heaven.
O ye gods who are in Earth.
O ye gods who are in the Tuat.
O ye gods who are in the Abyss.
O ye gods who are in the service of the Deep.
We follow the Lord, the Lord, of Love!"

 


BRAHMA

"If the red slayer think he slays,
Or if the slain think he is slain
They know not well the subtle ways
I keep and pass and turn again."
R.W. Emerson

 

 

WHY SMASH ATOMS

A. K. Solomon 1940

Page 77

"ONCE THE FAIRY TALE HERO HAS PENETRATED THE RING OF FIRE ROUND

THE MAGIC MOUNTAIN

HE IS FREE TO WOO THE HEROINE IN HER CASTLE ON THE MOUNTAIN TOP"

 

 

THE TRUE AND INVISIBLE ROSICRUCIAN ORDER

Paul Foster Case 1981

Page 108

" Concerning the Invisible, Magical Mountain and the Treasure therein Contained."

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1875-1955

Page 466

"Had not the normal, since time was, lived on the achievements of the abnormal? Men consciously and voluntarily descended into disease and madness, in search of knowledge which, acquired by fanaticism, would lead back to health; after the possession and use of it had ceased to be conditioned by that heroic and abnormal act of sacrifice. That was the true death on the cross, the true Atonement."

 

 

-
SON OF WOMAN
-
-
-
3
SON
48
21
3
2
OF
21
12
3
5
WOMAN
66
21
3
10
SON OF WOMAN
135
54
9
1+0
-
1+3+5
5+4
-
1
SON OF WOMAN
9
9
9

 

 

FOUR QUARTETS

BURNT NORTON

T.S. Eliot 1943

Page 15/16

"AT THE STILL POINT OF THE TURNING WORLD. NEITHER FLESH NOR FLESHLESS;

NEITHER FROM NOR TOWARDS; AT THE STILL POINT, WHERE THE DANCE IS,

BUT NEITHER ARREST NOR MOVEMENT. AND DO NOT CALL IT FIXITY,

WHERE PAST AND FUTURE ARE GATHERED.

NEITHER MOVEMENT FROM NOR TOWARDS,

NEITHER ASCENT NOR DECLINE. EXCEPT FOR THE POINT, THE STILL POINT,

THERE WOULD BE NO DANCE AND THERE IS ONLY THE DANCE"

 

 

LORD OF THE DANCE

I danced in the morning when the world was begun.
And I danced in the moon and the stars and the sun,
I came down from heaven and I danced on the earth;
At Bethlehem I had my birth.

Dance then wherever you may be;
I am the Lord of the Dance said he,
And I'll lead you all wherever you may be,
And I'll lead you all in the dance, said he.

I danced for the scribe and the Pharisee,
but they wouldn't dance and they wouldn't follow me.
I danced for the fishermen, for James and John-
They came with me and the dance went on.

Dance then wherever you may be;
I am the Lord of the Dance said he,
And I'll lead you all wherever you may be,
And I'll lead you all in the dance, said he.

I danced on the Sabbath and I cured the lame;
The holy people said it was a shame
They whipped and they stripped and they hung me on high
They left me there on a cross to die

Dance then wherever you may be;
I am the Lord of the Dance said he,
And I'll lead you all wherever you may be,
And I'll lead you all in the dance, said he.

I danced on a Friday when the sky turned black-
It's hard to dance with the devil on your back.
They buried my body and they thought I'd gone;
But I'm the dance and I still go on

Dance then wherever you may be;
I am the Lord of the Dance said he,
And I'll lead you all wherever you may be,
And I'll lead you all in the dance, said he.

They cut me down and I leapt up high
I am the life that will never, never die
I'll live in you if you'll live in me-
I am Lord of the dance said he.

 

8
DANCE
27
18
9

 

I

AM

THE DANCE AND THE DANCE GOES ON

 

 

4
KNOW
18
9
9
5
DEITY
63
18
9

 

 

6
AVATAR
-
-
-
-
A+V+A+T+A
45
9
9
-
R
18
9
9

6

AVATAR
63
18
18
-
-
6+3
1+8
1+8

6

AVATAR
9
9
9

 

 

-
6
A
V
A
T
A
R
-
-
-
-
-
-
-
-
-
-
1
4
1
2
1
9
+
=
18
1+8
=
9
-
9
-
-
1
22
1
20
1
18
+
=
63
6+3
=
9
-
9
-
6
A
V
A
T
A
R
-
-
-
-
-
-
-
-
-
-
1
4
1
2
1
9
+
=
18
1+8
=
9
-
9
-
-
1
22
1
20
1
18
+
=
63
6+3
=
9
-
9
-
6
A
V
A
T
A
R
-
-
-
-
-
-
-
-
-
-
1
22
1
20
1
18
+
=
63
6+3
=
9
-
9
-
-
1
4
1
2
1
9
+
=
18
1+8
=
9
-
9
-
6
A
V
A
T
A
R
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
-
1
occurs
x
3
=
3
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
3
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
4
-
-
-
-
-
-
4
occurs
x
1
=
4
5
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
9
-
-
9
occurs
x
1
=
9
29
6
A
V
A
T
A
R
-
-
16
-
-
6
-
18
2+9
-
-
-
-
-
-
9
-
-
1+6
-
-
-
-
1+8
2
6
A
V
A
T
A
R
-
-
7
-
-
6
-
9
2+9
-
1
4
1
2
1
9
-
-
-
-
-
-
-
-
2
6
A
V
A
T
A
R
-
-
7
-
-
6
-
9

 

 

6
A
V
A
T
A
R
-
-
-
-
-
-
-
-
-
1
4
1
2
1
9
+
=
18
1+8
=
9
-
9
-
1
22
1
20
1
18
+
=
63
6+3
=
9
-
9
6
A
V
A
T
A
R
-
-
-
-
-
-
-
-
-
1
4
1
2
1
9
+
=
18
1+8
=
9
-
9
-
1
22
1
20
1
18
+
=
63
6+3
=
9
-
9
6
A
V
A
T
A
R
-
-
-
-
-
-
-
-
-
1
22
1
20
1
18
+
=
63
6+3
=
9
-
9
-
1
4
1
2
1
9
+
=
18
1+8
=
9
-
9
6
A
V
A
T
A
R
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
-
1
occurs
x
3
=
3
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
4
-
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
-
-
-
9
-
-
9
occurs
x
1
=
9
6
A
V
A
T
A
R
-
-
16
-
-
6
-
18
-
-
-
-
-
-
9
-
-
1+6
-
-
-
-
1+8
6
A
V
A
T
A
R
-
-
7
-
-
6
-
9
-
1
4
1
2
1
9
-
-
-
-
-
-
-
-
6
A
V
A
T
A
R
-
-
7
-
-
6
-
9

 

 

I

THAT

OLD

ROMANCER

NECROMANCER

 

 

-
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
6
-
-
5
-
-
-
+
=
16
1+6
=
7
=
7
=
7
-
-
14
-
-
-
15
-
-
14
-
-
-
+
=
43
4+3
=
7
=
7
=
7
-
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
--
-
-
5
3
9
-
4
1
-
3
5
9
+
=
39
3+9
=
12
1+2
3
=
3
--
-
-
5
3
18
-
13
1
-
3
5
18
+
=
66
6+6
=
12
1+2
3
=
3
-
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
--
-
14
5
3
18
15
13
1
14
3
5
18
+
=
109
1+0+9
=
10
1+0
1
=
1
--
-
5
5
3
9
6
4
1
5
3
5
9
+
=
55
5+5
=
10
1+0
1
=
1
-
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-`
-
1
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-`
3
-
-`
-
--
-
3
-`
-
-
-
3
occurs
x
2
=
6
=
6
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
5
5
-
-
-
-
-
5
-
5
-
-
-
5
occurs
x
4
=
20
2+0
2
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
occurs
x
2
=
6
=
6
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
17
11
N
E
C
R
O
M
A
N
C
E
R
-
-
28
-
-
10
-
55
-
28
1+7
1+1
5
5
-
-
-
-
-
5
-
5
-
-
-
2+8
-
-
1+0
-
5+5
-
2+8
8
2
N
E
C
R
O
M
A
N
C
E
R
-
-
10
-
-
1
-
10
-
10
-
-
5
5
3
9
6
4
1
5
3
5
9
-
-
1+0
-
-
-
-
1+0
-
1+0
8
2
N
E
C
R
O
M
A
N
C
E
R
-
-
1
-
-
1
-
1
-
1

 

 

11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
6
-
-
5
-
-
-
+
=
16
1+6
=
7
=
7
=
7
-
14
-
-
-
15
-
-
14
-
-
-
+
=
43
4+3
=
7
=
7
=
7
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
-
-
5
3
9
-
4
1
-
3
5
9
+
=
39
3+9
=
12
1+2
3
=
3
-
-
5
3
18
-
13
1
-
3
5
18
+
=
66
6+6
=
12
1+2
3
=
3
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
-
14
5
3
18
15
13
1
14
3
5
18
+
=
109
1+0+9
=
10
1+0
1
=
1
-
5
5
3
9
6
4
1
5
3
5
9
+
=
55
5+5
=
10
1+0
1
=
1
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-`
-
1
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-`
3
-
-`
-
--
-
3
-`
-
-
-
3
occurs
x
2
=
6
=
6
-
-
-
-
-
-
4
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
5
5
-
-
-
-
-
5
-
5
-
-
-
5
occurs
x
4
=
20
2+0
2
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
occurs
x
2
=
6
=
6
-
-
-
-
9
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
11
N
E
C
R
O
M
A
N
C
E
R
-
-
28
-
-
10
-
55
-
28
1+1
5
5
-
-
-
-
-
5
-
5
-
-
-
2+8
-
-
1+0
-
5+5
-
2+8
2
N
E
C
R
O
M
A
N
C
E
R
-
-
10
-
-
1
-
10
-
10
-
5
5
3
9
6
4
1
5
3
5
9
-
-
1+0
-
-
-
-
1+0
-
1+0
2
N
E
C
R
O
M
A
N
C
E
R
-
-
1
-
-
1
-
1
-
1

 

 

ESOTERIC = 4 = ESOTERIC

ESOTERIC

I

SECRET

O

ESOTERIC

ESOTERIC = 4 = ESOTERIC

 

 

ESOTERIC 6 SECRET 9 ESOTERIC

ESOTERIC 9 SECRET 6 ESOTERIC

 

 

ESOTERIC ISISIS ESOTERIC

O

SECRET

I

6 SECRET 9

ESOTERIC ISIS ESOTERIC

 

 

SEE RE C THAT C RE SEE

 

 

ESOTERIC = 4 = ESOTERIC

MATTER MIND SPIRIT GODS SPIRIT MIND MATTER

EXOTERIC = 9 9 = EXOTERIC

E MOTION ISISIS NOITOM E

I

THAT AM THAT

TIME EMIT

 

 

I

ME

EGO

CONSCIENCE

THE

CYCLE OF THE CIRCLE OF THE CIRCLE OF THE CYCLE

 

 

CIRCLE = 5 O 5 = ELCRIC

CIRCLE ET ELECTRIC ET CIRCLE

ELECTRIC CIRCLE ELECTRIC

CIRCLE ELECTRIC CIRCLE

ET

CIRCLE ELECTRIC CIRCLE

ELECTRIC CIRCLE ELECTRIC

CIRCLE ET ELECTRIC ET CIRCLE

CIRCLE = 5 O 5 = ELCRIC

 

 

POP WOW O WOW POP

WOW O WOW

POP WOW O WOW POP

....

SUNDAY + MONDAY + TUESDAY + WEDNESDAY + THURSDAY + FRIDAY + SATURDAY

=

+639 198 36 9

9

9 36 198 639

=

SATURDAY + FRIDAY + THURSDAY + WEDNESDAY + TUESDAY + MONDAY + SUNDAY

 

 

EARTH HEART THERA TERAH

EARTH HEART R HEAT HEAT R HEART EARTH

 

 

ANUBIS

A

GOD DOG

IS

 

 

ANUBIS

A

NUMBER

IS

 

 

ANUBIS

A

NUMBER ISOIS NUMBER

ANUBIS

 

 

ATUM 1234 ATUM

1234 ATUM MUTA 4321

ATUM 1234 ATUM

 

 

666

SIX SIX SIX

=

777

=

SIX SIX SIX

666

 

 

RA THE SUN GOD THE SUN GOD RA

RA'S AR'S RA'S ARSE = EARS RA'S AR'S RA'S

ANUS A SUN IS IS A SUN ANUS

URANUS U R A SUN A SUN U R URANUS

 

 

I

INCA

SON OF THE SUN

 

 

LANGUAGE LAND ENGAGE LAND LANGUAGE

 

 

MEETINGS WITH REMARKABLE MEN

G. I. Gurdjieff 1927

Page 64

Bogachevsky

That summer, also in Alexanderopol, I met with another phenomenon for which I could not find any explanation.

Page 65

Across from my uncle's house was some vacant land, in the middle of which was a little grove of poplars. I liked this spot and used to go there with a book or with work of some sort.

Children were always playing there, gathered from all parts of the town-children of all colours and different races. There were Armenians and Greeks, Kurds and Tartars, and their games made an incredible noise and commotion-which, however, never disturbed my work.

One day I was sitting under the poplars, busy with some work ordered by a neighbour for his niece's wedding the following day. My task was to draw a monogram on a shield-to be hung over the door of his house-a monogram combining his niece's initials with those of the man she was to marry. I had also to find space on the shield for the day of the month and the year.

Certain strong impressions somehow deeply imprint themselves on one's memory. I remember even now how I racked my brains to find the best way to fit in the figures of the year 1888. I was deep in my work when suddenly I heard a desperate shriek. I jumped up, certain that an accident had happened to one of the children during their play. I ran and saw the following picture:

In the middle of a circle drawn on the ground stood one of the little boys, sobbing and making strange movements, and the others were standing at a certain distance laughing at him. I was puzzled and asked what it was all about.

I learned that the boy in the middle was a Yezidi, that the circle had been drawn round him and that he could not get out of it until it was rubbed away. The child was indeed trying with all his might to leave this magic circle, but he struggled in vain. I ran up to him and quickly rubbed out part of the circle, and immediately he dashed out and ran away as fast as he could.

This so dumbfounded me that I stood rooted to the spot for a long time as if bewitched, until my usual ability to think returned. Although I had already heard something about these Yezidis, I had never given them any thought; but this astonishing incident, which I had seen with my own eyes, now compelled me to think seriously about them.

Looking round and seeing that the boys had gone back to their / Page 66 / games, I returned to my place, full of my thoughts, and continued the work on the monogram, which was not going well but had to be finished at all costs that same day.

The Yezidis are a sect living in Transcaucasia, mainly in the regions near Mount Ararat. They are sometimes called devil­worshippers.

Many years after the incident just described, I made a special experimental verification of this phenomenon and found that, in fact, if a circle is drawn round a Yezidi, he cannot of his own volition escape from it. Within the circle he can move freely, and the larger the circle, the larger the space in which he can move, but get out of it he cannot. Some strange force, much more powerful than his normal strength, keeps him inside. I myself, although strong, could not pull a weak woman out of the circle; it needed yet another man as strong as I.

If a Yezidi is forcibly dragged out of a circle, he immediately falls into the state called catalepsy, from which he recovers the instant he is brought back inside. But if he is not brought back into the circle, he returns to a normal state, as we ascertained, only after either thirteen or twenty-one hours.

To bring him hack to a normal state by any other means is impossible. At least my friends and I were not able to do so, in spite of the fact that we already possessed all the means known to contemporary hypnotic science for bringing people out of the cataleptic state. Only their priests could do so, by means of certain short incantations.

Having somehow finished and delivered the shield that evening, I set off to the Russian quarter, where most of my friends and acquaintances lived, in the hope that they might help me understand this strange phenomenon. The Russian quarter of Alexandropol was where all the local intelligentsia lived.

It should be mentioned that from the age of eight, owing to chance circumstances, my friends in Alexandropol as well as in Kars were much older than I and belonged to families who were considered socially higher than mine. In the Greek part of Alexandropol, where my parents formerly lived, I had no friends at all. They all lived on the opposite side of the town in the Russian / Page 67 / quarter, and were the children of officers, officials and clergymen. I often went to see them, and getting to know their families, gradually gained the entree into almost all the houses of the quarter.

I remember that the first person I spoke to about the phenomenon which had so greatly astonished me was my good friend Ananiev, who was also much older than 1. He did not even listen until I finished, but authoritatively stated:

'These boys simply played on your credulity. They were pulling your leg and have made an ass of you. But look, how smart this is!' he added, running to the next room and putting on, as he came back, his brand new uniform. (He had recently been appointed a postal-telegraph official.) He then asked me to go with him to the public gardens. I made the excuse of not having time and went off to see Pavlov, who lived in the same street.

Pavlov, who was a treasury official, was a very good fellow but a great drinker. At his house were the deacon of the fortress church, Father Maxim, an artillery officer called Artemin, Captain Terentiev, the teacher Stolmakh and two others whomI hardly knew. They were drinking vodka, and when I came in they asked me to join them and offered me a drink.

It must be said that that year I had already begun to drink, not much, it is true, but when I was invited to do so, as sometimes happened, I did not refuse. I had begun to drink owing to ah incident in Kars. One morning, being very tired from studying all night long, I was about to go to bed when suddenly a soldier came to call me to come to the cathedral. That day a service was to be held at a certain fort-I do not remember in honour of what-and at the last minute it was decided to have the choir for it, so the attendants and orderlies were sent to all parts of the town to call the choristers.

Having had no sleep all night, I was so exhausted by the walk up the steep hill to the fort and by the service itself that I could hardly stand on my feet. After the service a dinner had been prepared at the fort for the people invited and a special table had been laid for the choristers. The choir-master, a hearty drinker, seeing how weak I was, persuaded me to drink a small glass of / Page 68 /vodka. When I had drunk it I did in fact feel much better, and after taking a second glass all my weakness disappeared. After that whenever I was very tired or nervous I took one or two, or sometimes even three, small glasses.

On this evening also I took a glass of vodka with my friends, but, however much they tried to persuade me, I refused a second one. The company was not yet drunk, as they had only just begun drinking. But I knew how things usually went in this gay crowd. The first one to get tipsy was always the father deacon. When only slightly intoxicated he would, for some reason or other, begin to intone a prayer for the repose of the soul of that true believer, etc., the late Alexander I. ... But seeing that he was still sitting there glum, I could not resist telling him what I had seen that day. I did not, however, speak so seriously about it as I did to Ananiev, but instead spoke somewhat jokingly.

Everybody listened to me attentively and with great interest, and when I finished my story they began to express their opinions. The first to speak was the captain, who said that he himself had recently seen some soldiers draw a circle on the ground round a Kurd who begged them almost in tears to rub it away. Not until he, the captain, had ordered a soldier to erase a part of the circle, was the Kurd able to get out of it. 'I think,' added the captain, 'that they take some vow never to go out of a closed circle, and they do not go out of it, not because they cannot, but because they do not wish to break their vow.'

The deacon said: 'They are devil-worshippers and under ordinary circumstances the devil does not touch them, as they are his own. But as the devil himself is only a subordinate and is obliged by his office to impose his authority on everyone, he therefore, as you might say, for the sake of appearances, has limited the Yezidis' independence in this way so that other people should not suspect that they are his servants. It's exactly like Philip.'

Philip was a policeman who stood at the street-corner and whom these fellows, having no one else available, sometimes sent for cigarettes and drinks. The police service there at that time, as is said, 'even made the cat laugh'.

/ Page 69 /

'Now if I,' the deacon continued, 'make a row, let's say, in the street, this Philip is obliged without fail to take me to the police­ station, and for appearances' sake, so that it should not seem strange to others, he will of course do so, but as soon as we turn the corner he will let me go, not forgetting to say, "Please, a little tip ... "

'Well, the Unclean One is just the same, you might say, with his servants, the Yezidis.'

I do not know whether he invented this episode on the spur of the moment, or whether it had really taken place.

The artillery officer said that he had never heard about such a phenomenon and that, in his opinion, nothing of the sort could exist. He much regretted that we, intelligent people, should believe in such marvels and, still more, rack our brains about them.

Stolmakh, the teacher, retorted that on the contrary he firmly believed in supernatural phenomena and that, if there were much that positive science could not explain, he. was fully convinced that, with the present rapid progress of civilization, contemporary science would soon prove that all mysteries of the metaphysical world could be fully explained by physical causes. 'In regard to the fact you are now talking about,' he continued, 'I think it is one of those magnetic phenomena which are now being investigated by scientists at Nancy.'

He was going to say something more but Pavlov interrupted him, exclaiming: 'The devil take them and all the devil-worship­ pers! Give them each a half-bottle of vodka and then no devil will hold them back. Let's drink to the health ofIsakov!' (Isakov was the proprietor of the local vodka distillery.)

. These discussions not only did not calm my thoughts, but on the contrary on leaving Pavlov's I began to think all the more, and at the same time began to have doubts about people whom I had until then considered educated.

The next morning I met by chance the chief physician of the 39th Division, Dr. Ivanov. He had been called to see a 'sick Armenian neighbour of ours and I was asked to come and serve as interpreter. Dr. Ivanov had a good reputation among the / Page 70 / townspeople and had a very large practice. I knew him well as he was often at my uncle's.

After his visit to the sick man, I said to him: 'Your Excellency,' (he had the rank of a general) 'please explain to me why Yezidis cannot get out of a circle.'

'Ah, you mean those devil-worshippers?' he asked. 'That is simply hysteria.'

'Hysteria?' I queried.

'Yes, hysteria . . .' and then he rattled off a long rigmarole about hysteria, and all I could gather from it was that hysteria is hysteria. This I already knew myself, as there was not a single book on neuropathology and psychology in the library of the Kars military hospital that I had not read, and read very atten­ tively, carefully going over almost every line in my intense desire to find, through these branches of science, an explanation of the phenomenon of table-turning. Therefore I already well under­stood that hysteria is hysteria, but I wished to know something more.

The more I realized how difficult it was to find a solution, the more I was gnawed by the worm of curiosity. For several days I was not myself and did not wish to do anything. I thought and thought of one thing only: 'What is true? What is written in books and taught by my teachers, or the facts I am always running up against?'

 

 

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

1*2*8*3*4*5*6*7*8*9*1*2*8*3*4*5*6*7*8*9*1*2*8*3*4*5*6*7*8

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

A B C D E F G H I J K LM N O P Q R S T U V W X Y Z

 

 

1 B C D E F G H I 1 K LM N O P Q R 1 T U V W X Y Z

A 2 C D E F G H I J 2 LM N O P Q R S 2 U V W X Y Z

A B 3 D E F G H I J K 3 M N O P Q R S T 3 V W X Y Z

A B C 4 E F G H I J K L 4 N O P Q R S T U 4 W X Y Z

A B C D 5 F G H I J K LM 5 O P Q R S T U V 5 X Y Z

A B C D E 6 G H I J K LM N 6 P Q R S T U V W 6 Y Z

A B C D E F 7 H I J K LM N O 7 Q R S T U V W X 7 Z

A B C D E F G 8 I J K LM N O P 8 R S T U V W X Y 8

A B C D E F G H 9 J K LM N O P Q 9 S T U V W X Y Z

1*2*8*3*4*5*6*7*8*9*1*2*8*3*4*5*6*7*8*9*1*2*8*3*4*5*6*7*8

A B C D E F G H 9 J K LM N O P Q 9 S T U V W X Y Z

A B C D E F G 8 I J K LM N O P 8 R S T U V W X Y 8

A B C D E F 7 H I J K LM N O 7 Q R S T U V W X 7 Z

A B C D E 6 G H I J K LM N 6 P Q R S T U V W 6 Y Z

A B C D 5 F G H I J K LM 5 O P Q R S T U V 5 X Y Z

A B C 4 E F G H I J K L 4 N O P Q R S T U 4 W X Y Z

A B 3 D E F G H I J K 3 M N O P Q R S T 3 V W X Y Z

A 2 C D E F G H I J 2 LM N O P Q R S 2 U V W X Y Z

1 B C D E F G H I 1 K LM N O P Q R 1 T U V W X Y Z

 

 

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

Z5RO O55 T5O THR55 FOUR FIV5 SIX S5V55 5IGHT 5I55

5 - 5 - 5 - 5 - 5 - 5 - 5 - 5 - 5 - 5 - 5 - 5 - 5

Z5RO O55 T5O THR55 FOUR FIV5 SIX S5V55 5IGHT 5I55

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

 

 

WISE W IS E WISE

WISE W IS E WISE

5IS5 5 IS 5 5IS5

WISE W IS E WISE

WISE W IS E WISE

 

 

WISDOM W IS DOM WISDOM

WISDOM W IS DOM WISDOM

5IS5 5 IS 5 5IS5

WISDOM W IS DOM WISDOM

WISDOM W IS DOM WISDOM

 

 

LOOK AT THE E LOOK AT THE E LOOK AT THE E

THE E THE E THE E

 

 

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE

LETTER

E

Letter frequency - Wikipedia, the free encyclopedia1 Relative frequencies of letters in the English language .... the frequency distributions of the 26 most common Latin letters across some languages. ...

Relative frequencies of ... - Relative frequencies of the ... - See also
en.wikipedia.org/wiki/Letter_frequency - Cached - Similar

 

►English alphabet - Wikipedia, the free encyclopedia The English language was first written in the Anglo-Saxon futhorc runic ...
en.wikipedia.org/wiki/English_alphabet - Cached - Similar

 

Show more results from wikipedia.orgWhat is the Most Commonly Used Letter in English? 25 Oct 2010 ... The most commonly used letter in the English language is the letter “e”. This is the case in the general language, in fiction and ...
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Letter frequency
From Wikipedia, the free encyclopediaJump to: navigation, search
The frequency of letters in text has often been studied for use in cryptography, and frequency analysis in particular. No exact letter frequency distribution underlies a given language, since all writers write slightly differently. Linotype machines sorted the letters' frequencies as etaoin shrdlu cmfwyp vbgkqj xz based on the experience and custom of manual compositors. Likewise, Modern International Morse code encodes the most frequent letters with the shortest symbols; arranging the Morse alphabet into groups of letters that require equal amounts of time to transmit, and then sorting these groups in increasing order, yields e it san hurdm wgvlfbk opjxcz yq. Similar ideas are used in modern data-compression techniques such as Huffman coding.

More recent analyses show that letter frequencies, like word frequencies, tend to vary, both by writer and by subject. One cannot write an essay about x-rays without using frequent Xs, and the essay will have an especially strange letter frequency if the essay is about the frequent use of x-rays to treat zebras in Qatar. Different authors have habits which can be reflected in their use of letters. Hemingway's writing style, for example, is visibly different from Faulkner's. Letter, bigram, trigram, word frequencies, word length, and sentence length can be calculated for specific authors, and used to prove or disprove authorship of texts, even for authors whose styles aren't so divergent.

Accurate average letter frequencies can only be gleaned by analyzing a large amount of representative text. With the availability of modern computing and collections of large text corpora, such calculations are easily made. This Deafandblind link details examples from a variety of sources, (press reporting, religious text, scientific text and general fiction) and there are differences especially for general fiction with the position of 'h' and 'i'. The example differs from the linotype 'etaoin shrdlu' to come out as 'etaoHn Isrdlu'. There is an unproven statement[by whom?] that conversation is similar in frequency to general fiction.

Herbert S. Zim, in his classic introductory cryptography text "Codes and Secret Writing", gives the English letter frequency sequence as "ETAON RISHD LFCMU GYPWB VKXJQ Z", the most common letter pairs as "TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO", and the most common doubled letters as "LL EE SS OO TT FF RR NN PP CC".[1]

The 'top twelve' letters comprise about 80% of the total usage. The 'top eight" letters comprise about 65% of the total usage. A spy using the VIC cipher or some other cipher based on a straddling checkerboard typically uses a mnemonic such as "a sin to err" (dropping the second "r") to remember the top 8 characters.

The use of letter frequencies and frequency analysis plays a fundamental role in several games, including hangman, Scrabble, Wheel of Fortune, Definition, Bananagrams, and cryptograms.

Letter frequencies had a strong effect on the design of some keyboard layouts. The most-frequent letters are on the bottom row of the Blickensderfer typewriter. The most-frequent letters are on the home row of the Dvorak Simplified Keyboard.

Contents [hide]
1 Relative frequencies of letters in the English language
2 Relative frequencies of the first letters of a word in the English language
3 Relative frequencies of letters in other languages
4 See also
5 References
6 External links

[edit] Relative frequencies of letters in the English language

Relative frequencies of letters in text.
Relative frequencies ordered by frequency.The letter frequencies for English are listed below.[2] However, this table differs slightly from others, such as Cornell University Math Explorer's Project, which produced this table after measuring over 40,000 words.

Letter Frequency
a 8.167%
b 1.492%
c 2.782%
d 4.253%
e 12.702%
f 2.228%
g 2.015%
h 6.094%
i 6.966%
j 0.153%
k 0.772%
l 4.025%
m 2.406%
n 6.749%
o 7.507%
p 1.929%
q 0.095%
r 5.987%
s 6.327%
t 9.056%
u 2.758%
v 0.978%
w 2.360%
x 0.150%
y 1.974%
z 0.074%

In English, the space is slightly more frequent than the top letter (7% more frequent than, or 107% as frequent as, e), and the non-alphabetic characters (digits, punctuation, etc.) occupy the fourth position, between t and a.[3]

[edit] Relative frequencies of the first letters of a word in the English language
First Letter of a word frequencies:[4]

Letter Frequency
a 25.602%
b 4.702%
c 3.511%
d 2.670%
e 2.000%
f 3.779%
g 1.950%
h 7.232%
i 6.286%
j 0.631%
k 0.690%
l 2.705%
m 4.374%
n 2.365%
o 6.264%
p 2.545%
q 0.173%
r 1.653%
s 7.755%
t 16.671%
u 1.487%
v 0.619%
w 6.661%
x 0.005%
y 1.620%
z 0.050%

|3||16.924%

[edit] Relative frequencies of letters in other languages

Spanish letter frequenciesLetter French [5] German [6] Spanish [7] Portuguese [8] Esperanto [9] Italian[10] Turkish Swedish[11] Polish[12] Toki Pona [13] Dutch [14]
a 7.636% 6.51% 12.53% 14.63% 12.12% 11.74% 11.68% 9.3% 8.0% 17.2% 7.49%
b 0.901% 1.89% 1.42% 1.04% 0.98% 0.92% 2.95% 1.3% 1.3% 0.0% 1.58%
c 3.260% 3.06% 4.68% 3.88% 0.78% 4.5% 0.97% 1.3% 3.8% 0.0% 1.24%
d 3.669% 5.08% 5.86% 4.99% 3.04% 3.73% 4.87% 4.5% 3.0% 0.0% 5.93%
e 14.715% 17.40% 13.68% 12.57% 8.99% 11.79% 9.01% 9.9% 6.9% 7.4% 18.91%
f 1.066% 1.66% 0.69% 1.02% 1.03% 0.95% 0.44% 2.0% 0.1% 0.0% 0.81%
g 0.866% 3.01% 1.01% 1.30% 1.17% 1.64% 1.34% 3.3% 1.0% 0.0% 3.40%
h 0.737% 4.76% 0.70% 1.28% 0.38% 1.54% 1.14% 2.1% 1.0% 0.0% 2.38%
i 7.529% 7.55% 6.25% 6.18% 10.01% 11.28% 8.27%* 5.1% 7.0% 14.8% 6.50%
j 0.545% 0.27% 0.44% 0.40% 3.50% 0.00% 0.01% 0.7% 1.9% 3.0% 1.46%
k 0.049% 1.21% 0.01% 0.02% 4.16% 0.00% 4.71% 3.2% 2.7% 5.1% 2.25%
l 5.456% 3.44% 4.97% 2.78% 6.14% 6.51% 5.75% 5.2% 3.1% 10.2% 3.57%
m 2.968% 2.53% 3.15% 4.74% 2.99% 2.51% 3.74% 3.5% 2.4% 4.4% 2.21%
n 7.095% 9.78% 6.71% 5.05% 7.96% 6.88% 7.23% 8.8% 4.7% 11.6% 10.03%
o 5.378% 2.51% 8.68% 10.73% 8.78% 9.83% 2.45% 4.1% 7.1% 7.7% 6.06%
p 3.021% 0.79% 2.51% 2.52% 2.74% 3.05% 0.79% 1.7% 2.4% 3.7% 1.57%
q 1.362% 0.02% 0.88% 1.20% 0.00% 0.51% 0 0.007% - 0.0% 0.009%
r 6.553% 7.00% 6.87% 6.53% 5.91% 6.37% 6.95% 8.3% 3.5% 0.0% 6.41%
s 7.948% 7.27% 7.98% 7.81% 6.09% 4.98% 2.95% 6.3% 3.8% 4.1% 3.73%
t 7.244% 6.15% 4.63% 4.74% 5.27% 5.62% 3.09% 8.7% 2.4% 4.6% 6.79%
u 6.311% 4.35% 3.93% 4.63% 3.18% 3.01% 3.43% 1.8% 1.8% 3.2% 1.99%
v 1.628% 0.67% 0.90% 1.67% 1.90% 2.10% 0.98% 2.4% - 0.0% 2.85%
w 0.114% 1.89% 0.02% 0.01% 0.00% 0.00% 0 0.03% 3.6% 2.8% 1.52%
x 0.387% 0.03% 0.22% 0.21% 0.00% 0.00% 0 0.1% - 0.0% 0.04%
y 0.308% 0.04% 0.90% 0.01% 0.00% 0.00% 3.37% 0.6% 3.2% 0.0% 0.035%
z 0.136% 1.13% 0.52% 0.47% 0.50% 0.49% 1.50% 0.02% 5.1% 0.0% 1.39%
à 0.486% 0 0 see a 0 see a 0 0.0% 0 - see a
å 0 0 0 0 0 0 0 1.6% 0 - -
ä 0 - 0 0 0 0 0 2.1% 0 - see a
ą 0 - 0 0 0 0 0 0 see a - -
œ 0.018% 0 0 0 0 0 0 0 0 - -
ç 0.085% 0 0 see c 0 0 1.26% 0 0 - -
ĉ 0 0 0 0 0.66% 0 0 0 0 - -
ć 0 - 0 0 0 0 0 0 see c - -
è 0.271% 0 0 0 0 see e 0 0.0% 0 - see e
é 1.904% 0 0 see e 0 see e 0 0.0% 0 - see e
ê 0.225% 0 0 see e 0 0 0 0 0 - -
ë 0.001% 0 0 0 0 0 0 0 0 - see e
ę 0 - 0 0 0 0 0 0 see e - -
ĝ 0 0 0 0 0.69% 0 0 0 0 - -
ğ 0 0 0 0 0 0 1.13% 0 0 - -
ĥ 0 0 0 0 0.02% 0 0 0 0 - -
î 0.045% 0 0 0 0 0 0 0 0 0 -
ì 0 0 0 0 0 see i 0 0 0 - see i
ï 0.005% 0 0 0 0 0 0 0 0 - see i
ı 0 0 0 0 0 0 5.20%* 0 0 - -
ĵ 0 0 0 0 0.12% 0 0 0 0 - -
ł 0 - 0 0 0 0 0 0 see l - -
ñ 0 0 0.31% 0 0 0 0 0 0 - -
ń 0 - 0 0 0 0 0 0 see n - -
ò 0 0 0 0 0 see o 0 0 0 - see o
ö 0 - 0 0 0 0 0.87% 1.5% 0 - see o
ó 0 - 0 see o 0 0 0 0 see o - see o
ŝ 0 0 0 0 0.38% 0 0 0 0 - -
ş 0 0 0 0 0 0 1.94% 0 0 - -
ś 0 - 0 0 0 0 0 0 see s - -
ß 0 0.31% 0 0 0 0 0 0 0 - -
ù 0.058% 0 0 0 0 see u 0 0 0 - see u
ŭ 0 0 0 0 0.52% 0 0 0 0 - -
ü 0 - 0 0 0 0 1.99% 0 0 - see u
ź 0 - 0 0 0 0 0 0 see z - -
ż 0 - 0 0 0 0 0 0 0.7% - -

*See Turkish dotted and dotless I

The figure below illustrates the frequency distributions of the 26 most common Latin letters across some languages.

Based on these tables, the 'etaoin shrdlu'-equivalent results for each language is as follows:

French: 'esait nrulo'; (Indo-European: Romance; traditionally, 'esartinulop' is used, in part for its ease of pronunciation[15])
Spanish: 'eaosr nidlc'; (Indo-European: Romance)
Portuguese: 'aeosr indmt' (Indo-European: Romance)
Italian: 'eaion lrtsc'; (Indo-European: Romance)
Esperanto: 'aieon lsrtk' (artificial language – influenced by Indo-European languages, Romance, Germanic mostly)
German: 'enisr atdhu'; (Indo-European: Germanic)
Swedish: 'eantr slido'; (Indo-European: Germanic)
Turkish: 'aeinr ldkmu'; (Turkic: a non Indo-European language)
Dutch: 'enati rodsl'; (Indo-European: Germanic)[16]
Polish: 'aoiez nscwr'; (Indo-European: Slavic)
All these languages use a basically similar 25+ character alphabet.

[edit] See also
Corpus linguistics
ETAOIN SHRDLU
RSTLNE
Frequency analysis (cryptanalysis)
Linotype machine
Most common words in English
Scrabble
[edit] References
1.^ Zim, Herbert Spencer. Codes and secret writing (abridged edition). Scholastic Book Services, fourth printing, 1962. Copyright 1948 Herbert S. Zim. Originally published by William Morrow.
2.^ Beker, Henry; Piper, Fred (1982). Cipher Systems: The Protection of Communications. Wiley-Interscience. p. 397. Table also available from Lewand, Robert (2000). Cryptological Mathematics. The Mathematical Association of America. p. 36. ISBN 978-0883857199. http://books.google.com/books?id=CyCcRAm7eQMC&pg=PA36. and [1]
3.^ Lee, E. Stewart; Essays about Computer Security; University of Cambridge Computer Laboratory, p. 181
4.^ Calculated from "Project Gutenberg Selections" available from the NLTK Corpora
5.^ "CorpusDeThomasTempé". http://gpl.insa-lyon.fr/Dvorak-Fr/CorpusDeThomasTemp%C3%A9. Retrieved 2007-06-15.
6.^ Albrecht Beutelspacher, Kryptologie, 7. Aufl., Wiesbaden: Vieweg Verlagsgesellschaft, 2005, ISBN 3-8348-0014-7, p.10
7.^ Fletcher Pratt, Secret and Urgent: the Story of Codes and Ciphers Blue Ribbon Books, 1939, pp. 254-255.
8.^ "Frequência da ocorrência de letras no Português". http://www.numaboa.com/criptografia/criptoanalise/310-Frequencia-no-Portugues. Retrieved 2009-06-16.
9.^ "La Oftecoj de la Esperantaj Literoj". http://lingvakritiko.com/2007/09/13/literoftecoj-kaj-tabelvortoftecoj/. Retrieved 2007-09-14.
10.^ Simon Singh, Codici e Segreti, 1999, RCS, ISBN 88-17-12539-3
11.^ Simon Singh, Kodboken, 1999, Norstedts, ISBN 91-1-1300708-4
12.^ Wstęp do kryptologii, counting [space] 17.2%, [dot point] 0.9%, [comma] 0.9% and [semicolon] 0.5%
13.^ "lipu pi jan Jakopo pi toki pona". http://bellsouthpwp.net/j/i/jimhenry1973/conlang/tokipona/tokipona.htm. Retrieved 2007-09-14.
14.^ "Letterfrequenties". Genootschap OnzeTaal. http://www.onzetaal.nl/advies/letterfreq.php. Retrieved 2009-05-17.
15.^ Perec, Georges; Alphabets; Éditions Galilée, 1976
16.^ "Letterfrequenties". Genootschap OnzeTaal. http://www.onzetaal.nl/advies/letterfreq.php. Retrieved 2008-12-26.
[edit] External links
A site with content of Cryptographical Mathematics by Robert Edward Lewand
Some examples of letter frequency rankings in some common languages
Java-Application for building letter frequencies out of a text file
Some useful tables for single letter, digram, trigram, tetragram, and pentagram frequencies based on 20,000 words that take into account word-length and letter-position combinations for words 3 to 7 letters in length. The references are as follows: 1. Mayzner, M.S. & Tresselt, M.E. Tables of single-letter and digram frequency counts for various word-length and letter-position combinations.Psychonomic Monograph Supplements, 1965, 1, #2, 13-32. 2. Mayzner, M.S., Tresselt, M.E. & Wolin, B.R. Tables of trigram frequency counts for various word-length and letter-position combinations.Psychonomic Monograph Supplements, 1965, 1, #3, 33-78. 3. Mayzner, M.S., Tresselt, M.E. & Wolin, B.R. Tables of tetragram frequency counts for various word-length and letter-position combinations. Psychonomic Monograph Supplements, 1965, 1, #4, 79-143. 4. Mayzner, M.S., Tresselt, M.E. & Wolin, B.R. Tables of pentagram frequency counts for various word-length and letter-position combinations. Psychonomic Monograph Supplements, 1965, 1, #5, 144-190.

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1 Relative frequencies of letters in the English language... Jump to text »
the frequency distributions of the 26 most common Latin letters across some languages. Jump to text »

 

Answers.com - What are the most popular letters in the alphabet In: Food and Cooking, English Language, Shopping [Edit categories] ... What is the most common letter in the alphabet? In English, 'e' Actually all of the ...
wiki.answers.com/.../What_are_the_most_popular_letters_in_the_alphabet - Cached - Similar

 

What is the frequency of the letters of the alphabet in English ... The world's most trusted dictionaries ... Dictionary; Other language resources. Help. US English; World English ... However, this gives the frequency of letters in English text, which is dominated by a relatively small ... The third column represents proportions, taking the least common letter (q) as equal to 1. ...
www.oxforddictionaries.com/page/frequencyalphabet - Cachedmost commonly used letters - Scott Bryce The most common first letter in a word in order of frequency ... The most commonly used words in the English language in order of frequency ...
scottbryce.com/cryptograms/stats.htm - Cached - Similar

 

Thousands of Lists - ListAfterList.com - Most Common Letters in ... According to a study done by AskOxford, using thier Concise English Dictionary, these are the most common letters in the English language. The letter "E" is ...
www.listafterlist.com › Fun & Games - CachedTrivia - What's the most popular letter? - ArcaMax Publishing 22 Apr 2007 ... "E" is the most frequently used letter in the English alphabet, "Q" is the least . ... Which is the world's most common language? ...
www.arcamax.com › ... › Knowledge › Trivia - Cached - Similar

 

Word Records > Longest Words This is the longest word in the first edition of the Oxford English Dictionary. Interestingly the most common letter in English, E, does not appear in this ...
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What is the most common letter? | Answerbag What is the most common letter? the bills they keep sending me. ... Im Alec. The most common letters in the English language are, in order, ETAOINSHRDLU. ...
www.answerbag.com/q_view/111800 - Cached - Similar

 

 

Herbert S. Zim, in his classic introductory cryptography text "Codes and Secret Writing", gives the English letter frequency sequence as "ETAON RISHD LFCMU GYPWB VKXJQ Z", the most common letter pairs as "TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO", and the most common doubled letters as "LL EE SS OO TT FF RR NN PP CC".[1]

"ETAON RISHD LFCMU GYPWB VKXJQ Z"

 

Show more results from wikipedia.orgWhat is the Most Commonly Used Letter in English? 25 Oct 2010 ... The most commonly used letter in the English language is the letter “e”. This is the case in the general language, in fiction and ...
www.wisegeek.com/what-is-the-most-commonly-used-letter-in-english.htm -

 

 

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

TH5 MOST COMMONLY US5D L5TT5R IN TH5 5NGLISH LANGUAG5 IS THE L5TT5R "5"

 

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

285 4612 36446537 3154 352259 95 285 5573918 31573175 91 285 352259 "5"

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

 

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

285 4612 36446537 3154 352259 95 285 5573918 31573175 91 285 352259 "5"

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

 

 

Herbert S. Zim, in his classic introductory cryptography text "Codes and Secret Writing", gives the English letter frequency sequence as "ETAON RISHD LFCMU GYPWB VKXJQ Z", the most common letter pairs as "TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO", and the most common doubled letters as "LL EE SS OO TT FF RR NN PP CC".[1]

"ETAON RISHD LFCMU GYPWB VKXJQ Z"

 

 

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE

IS

THE LETTER

E

 

 

O

BLESSED AND BELOVED

DREAMER OF DREAMS

THAT INBETWEEN INBETWEEN THAT

 

 

THEN WE ALL STARTED SINGING

LOOK AT THE FIVES LOOK AT THE FIVES LOOK

AT

THE FIVES THE FIVES THE FIVES

AND

THEN LO AND BEHOLD YOU GOT THE MESSAGE

AND

YOU STARTED TO LAUGH AND SING

AND

SUDDENLY

OUT

OF

NOTHINGNESS

WOWEEWOW

WE WERE ALL LAUGHING SINGING AND DANCING

WOW O WOW

NOW WE KNOW KNOW WE NOW

 

 

I

THAT AM THAT I THAT AM THAT

I THAT AM THAT I

THAT

IS

WEPWAWET WENNEFER WHEREVER WHENEVER

 

 

THEN WE ALL STARTED SINGING

LOOK AT THE NINES LOOK AT THE NINES LOOK

AT

THE NINES THE NINES THE NINES

AND

THEN LO AND BEHOLD YOU GOT THE MESSAGE

AND

YOU STARTED TO LAUGH AND SING

AND

SUDDENLY

OUT

OF

NOTHINGNESS

WOWEEWOW

WE WERE ALL LAUGHING SINGING AND DANCING

WOW O WOW

NOW WE KNOW O KNOW WE NOW

 

I

THAT AM THAT I THAT AM THAT

I THAT AM THAT I

THAT

IS

WEPWAWET WENNEFER

WHEREVER WHENEVER

OSIRIS

THAT SON SETS THAT SON

SORISES

THAT SUN SO SETS THAT SUN

SO RISES THAT SUN SO SETS THAT SON

SO SETS THAT SON SO OSIRIS THAT SON

 

 

The Fingerprints Of The Gods

Graham Hancock 1995

Page 274

"The pre-eminent number in the code is 72.   To this is frequently added 36, making 108, and it is permissible to multiply 108 by 100 to get 10,800 or to  divide it by 2  to get  54, which may then be multiplied by 10 and expressed as 540  (or as 54,000, or as 540,000, or as 5,400,000, and so on).
Also  highly significant  is 2160 ( the number of years required for the equinoctial point to transit one zodiacal / Page 275 / constellation), which is sometimes multiplied by 10 and by factors of ten (to give 216,000, 2,160,000, and so on)" and sometimes by 2 to give 4320, or 43,200, or 432,000, or 4,320,000,ad infinitum."

 

 

The Fingerprints Of The Gods

Graham Hancock 1995

Page 273

"These he joined to the 360 days of which the year then consisted (emphasis added)."

"Elsewhere the myth informs us that the 360 -  day year  consists of  "12 months of 30 days each".
Note 6
And in general,as Sellers observes , "phrases are used which prompt simple mental calculations and an attention to numbers ". note 7
"Elsewhere the myth informs us that the 360-day year consists of  '12 months of 30 days each'.  
Thus far we have been provided with three of Seller's precessional: 360, 12 and 30.  The fourth number,which occurs later in the text, is by far the most important.  As we saw in Chapter Nine, the evil deity known as Set led a group of conspirators in a plot to kill Osiris.  The number of these conspirators was 72."

 

 

 JOSEPH AND HIS BROTHERS

Thomas Mann

1875 - 1955

MINERVA

1997

Page 890 8 x 9 = 72.

 "In all there were two-and-seventy conspirators privy to the plot. It was a proper and a pregnant number, for there had been just seventy-two when red Set lured Usir into the chest. And these seventy-two in their turn had had good cosmic ground to be no more and no less than that number. For it is just that number of groups of five weeks which make up the three hundred and sixty days of the year, not counting the odd days; and there are just seventy-two days in the dry fifth of the year, when the gauge shows that the Nourisher has reached his lowest ebb, and the god sinks into his grave. So where there is conspiracy anywhere in the world it is requisite and customary for the number of conspirators to be seventy-two. And if the plot fail, the failure shows that if this number had not been adhered to it would have failed even worse."

 

 

JOSEPH AND HIS BROTHERS

Thomas Mann 1855 - 1955

Page 890   8 x 9 x 0 = 72  /

"...The ancient records dazed her small and scheming brain, so that she made up her mind to have Pharaoh stung by a serpent, to instigate a palace revolt and set on the throne of the two lands not Horus- Amenhotep, the rightful heir, who was sickly anyhow, but the fruit of her own womb, Noferka-Ptah.
      The first steps toward the goal of overturning the dynasty, bring-ing in a new time and elevating the nameless near-favourite to the rank of goddess-mother had been successfully taken. The plot was hatched in Pharaoh's house of women; but through certain officials of the harem and certain officers of the guard who had been eager for new things, connections had been established, on the one hand with the palace itself, where a number of friends, some of them highly placed - a head charioteer of the god, the chief of gens-d'-armes, the steward of the fruit stores, the overseer of the King's herds of oxen, the head keeper of the Kings ointments, and certain other's - were won over for the enterprise; and on the other hand they got in touch with the outer world of the residential city, where through the officer's wives the male kindred of Pharaoh's graces were drawn in and engaged to stir up Wese's population with evil talk against the old Re, who by now was nothing at all but gold and silver and lapis lazuli.
In all there were two and seventy conspirators privy to the plot.  It was a proper and a pregnant number, for there had been just seventy-two when red Set lured Usir into the chest.  And these seventy-two in their turn had had good cosmic ground to be no more and no less than that number.  For it is just that number of groups of five weeks which make up the three hundred and sixty days of the year, not counting the odd days; and there are just seventy-two days in the dry fifth of the year, when the gauge shows that the Nourisher has reached his lowest ebb, and the god sinks into his grave.  So where there is conspiracy anywhere in the world it is requisite and customary for the number of conspirators to be seventy-two.  And if the plot fail, the failure shows that if this number had not been adhered to it would have failed even worse.
     Now the present plot did fail, although it had the benefit of the best models and all the preliminary steps had been taken with the greatest care. The head keeper of ungents had even succeeded in purloining a magic script out of Pharaoh's book-house and, follow-ing its instructions, had shaped certain little wax images; these were smuggled about here and there and were calculated to produce by magic a mental confusion and bewitchment such as must assure the success of the undertaking. It was decided to put poison in Pharaoh' bread or his wine or in both; and to use the ensuing confusion for a palace coup..."

Page  891. 8 x 9x 1 = 72   7 + 2 = 9  /  

"... And then all at once the lid blew off. Possibly at the last minute one of the seventy-two decided . . .

 

 

THAT SO EVEN SEVEN EVEN SO THAT

 

 

CLOSER TO THE LIGHT

Melvin Morse

Souvenir Press Ltd

1991

 Page 78

CONJURED DEATHS AND ANCIENT RULERS

"Deep in an underground chamber a solemn group of men is seeking guidance from death. They are dressed in white robes and chanting softly around a casket that is sealed with wax. One of their members is steadfastly counting to himself, carefully marking the time. After about eight minutes, the casket is opened, and the man who nearly suffocated inside is revived by the rush of fresh air. He tells the men around him what he saw. As he passed out from lack of oxygen, he saw a light that became brighter and larger as he sped toward it through a tunnel. From that light came a radiant person in white who delivered a message of eternal life.

The priest who is attending this ceremony is pleased with the results. "No man escapes death," he says. "And every living soul is destined to resurrection. You go into the tomb alive that you will learn of the light."

The man who "died" but is now reborn is happy. He is now a member of one of the strangest societies in history, a group of civic leaders who induced nearly fatal suffocation to create a near-death experience.

Sound like a cult from some place in northern California? ex-hippies looking for a new high, perhaps? Not at all. This was the cult of Osiris, a small society of men who were the priests and pharaohs of ancient Egypt, one of the greatest civilizations in human history. This account of how they / Page 79 / inspired near death is an actual description of their rites from Egyptologists who have translated their hieroglyphics.

One of the most important Egyptian rituals involved the reenactment by their god-king of the myth of Osiris, the god who brought agriculture and civilization to the ancient Egyptians. He was the first king of Egypt who civilized his subjects and then traveled abroad to instruct others in the fine art of civilization. His enemies plotted against him. Upon his return to Egypt, he was captured and sealed in a chest. His eventual resurrection was seen as proof of life eternal.

Each new king was supposed to be a direct reincarnation of Osiris. An important part of the ceremony was to reenact his entombment. These rituals took place in the depths of the Great Pyramid and were a prerequisite for becoming a god-king. It is my guess that many slaves perished while the Egyptians experimented to find exactly how long a person could be sealed in an airtight container and survive.

Nonetheless, these near-death experiences were more important to the Egyptians than the lives of a few slaves. After all, this was the age of the bicameral mind, a period in which men believed that their thoughts came to them from the gods and were not internally generated. For the Egyptians, thoughts and dreams were gods speaking to them.

 

 

Fingerprints Of The Gods
Graham Hancock 1995

This page introduces chapter 45 and is absent of numberPage  419     " 'The House of Millions of years', was dedicated to Osiris,4  the 'Lord of Eternity', of whom it was said in the Pyramid texts:


You have gone but you will return, you have slept, but you will awake,
you have died, but you will live .  .  . Betake yourself to the waterway,
fare upstream .  .  . travel about Abydos in this spirit-form of yours
which the gods commanded to belong to you.  5

 

 

ATUM

Atum (or Tem or Tum) was an early god of Heliopolis, and a predynastic sun-deity. The Heliopolitan theologians interpreted his name to mean the "complete one." A reference to their belief that Atum created himself out of the waters of Nun, either through the effort of his own will power or by uttering his own name, which was the power of the spoken word. He also was called Neb-er-djer, "Lord to the Limit" or Universal God.

http://www.themystica.com/mythical-folk/articles/atum.html

 

 

THE WASTE LAND AND OTHER POEMS

T.S. Eliot

First published 1940

PagE 62

7

JOURNEY OF THE MAGI

"...All this was a long time ago, I remember,

And I would do it again, but set down

This set down

This: were we led all that way for

Birth or Death? There was a Birth, certainly,

We had evidence and no doubt. I had seen birth and death,

But had thought they were different; this Birth was

Hard and bitter agony for us, like Death, our death.

We returned to our places, these Kingdoms,

But no longer at ease here, in the old dispensation,

With an alien people clutching their gods.

I should be glad of another death."

 

 

S
=
1
-
6
SOPHIA
-
-
-
-
-
-
-
-
S+O+P+H
58
22
4
-
-
-
-
-
I
9
9
9
-
-
-
-
-
A
1
1
1
S
=
1
-
6
SOPHIA
68
32
14
-
-
-
-
-
-
6+8
3+2
1+4
S
=
1
-
6
SOPHIA
14
5
5
-
-
-
-
-
-
1+4
-
-
S
=
1
-
6
SOPHIA
5
5
5

 

 

-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
1
6
-
8
9
-
+
=
24
2+4
=
6
=
6
-
-
19
15
-
8
9
-
+
=
51
5+1
=
6
=
6
-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
-
-
7
-
-
1
+
=
8
-
=
8
=
8
-
-
-
-
16
-
-
1
+
=
17
1+7
=
17
1+7
8
-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
19
15
16
8
9
1
+
=
68
6+8
=
14
1+4
5
-
-
1
6
7
8
9
1
+
=
32
3+2
=
5
-
5
-
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
2
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
--
-
-
-
-
-
-
3
THREE
3
-
-
-
4
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
-
6
-
-
-
-
-
-
6
occurs
x
1
=
6
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
14
20
S
O
P
H
I
A
-
-
31
-
-
6
-
32
1+4
2+0
-
-
-
-
9
-
-
-
3+1
-
-
-
-
3+2
5
2
S
O
P
H
I
A
-
-
4
-
-
6
-
5
-
-
1
6
7
8
9
1
-
-
-
-
-
-
-
-
5
2
S
O
P
H
I
A
-
-
4
-
-
6
-
5

 

 

-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
1
6
-
8
9
-
+
=
24
2+4
=
6
=
6
-
-
19
15
-
8
9
-
+
=
51
5+1
=
6
=
6
-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
-
-
7
-
-
1
+
=
8
-
=
8
=
8
-
-
-
-
16
-
-
1
+
=
17
1+7
=
17
1+7
8
-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
19
15
16
8
9
1
+
=
68
6+8
=
14
1+4
5
-
-
1
6
7
8
9
1
+
=
32
3+2
=
5
-
5
-
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
-
6
-
-
-
-
-
-
6
occurs
x
1
=
6
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
14
20
S
O
P
H
I
A
-
-
31
-
-
6
-
32
1+4
2+0
-
-
-
-
9
-
-
-
3+1
-
-
-
-
3+2
5
2
S
O
P
H
I
A
-
-
4
-
-
6
-
5
-
-
1
6
7
8
9
1
-
-
-
-
-
-
-
-
5
2
S
O
P
H
I
A
-
-
4
-
-
6
-
5

 

 

A
=
1
-
6
ATUM
-
-
-
-
-
-
-
-
A
1
1
1
-
-
-
-
-
T
20
2
2
-
-
-
-
-
U
21
3
3
-
-
-
-
-
M
13
4
4
A
=
1
-
6
ATUM
55
10
10
-
-
-
-
-
-
5+5
1+0
1+0
A
=
1
-
6
ATUM
10
1
1
-
-
-
-
-
-
1+0
-
-
A
=
1
-
6
ATUM
5
5
5

 

 

-
6
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
+
=
55
5+5
=
10
1+0
1
-
-
1
2
3
4
+
=
10
1+0
=
1
-
1
-
6
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
+
=
55
5+5
=
10
1+0
1
-
-
1
2
3
4
+
=
10
1+0
=
1
-
1
-
6
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
+
=
55
5+5
=
10
1+0
1
-
-
1
2
3
4
+
=
10
1+0
=
1
-
1
-
6
A
T
U
M
-T
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
5
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
9
-
-
-
-
-
-
-
9
NINE
9
-
-
-
35
6
A
T
U
M
-
-
10
-
-
4
-
10
3+5
-
1
2
3
4
-
-
1+0
-
-
-
Q
1+0
8
6
A
T
U
M
-
-
1
-
-
4
-
2

 

 

6
A
T
U
M
-
-
-
-
-
--
-
-
`-
1
20
21
13
+
=
55
5+5
=
10
1+0
1
-
1
2
3
4
+
=
10
1+0
=
1
=
1
6
A
T
U
M
-
-
-
-
-
--
-
-
`-
1
20
21
13
+
=
55
5+5
=
10
1+0
1
-
1
2
3
4
+
=
10
1+0
=
1
=
1
6
A
T
U
M
-
-
-
-
-
--
-
-
`-
1
20
21
13
+
=
55
5+5
=
10
1+0
1
-
1
2
3
4
+
=
10
1+0
=
1
=
1
6
A
T
U
M
-T
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
-
-
-
4
-
-
4
occurs
x
1
=
4
6
A
T
U
M
-
-
10
-
-
4
-
10
-
1
2
3
4
-
-
1+0
-
-
-
Q
1+0
6
A
T
U
M
-
-
1
-
-
4
-
2

 

 

A
=
1
-
6
ATUM RA
-
-
-
-
-
-
-
4
ATUM
-
-
-
-
-
-
-
-
A
1
1
1
-
-
-
-
-
T
20
2
2
-
-
-
-
-
U
21
3
3
-
-
-
-
-
M
13
4
4
R
=
9
-
2
RA
-
-
-
A
R
10
-
-
R
18
9
9
-
-
1+0
-
-
A
1
1
1
A
=
1
-
6
ATUM RA
74
20
20
-
-
-
-
-
-
7+4
2+0
2+0
A
=
1
-
6
ATUM RA
11
2
2
-
-
-
-
-
-
1+1
-
-
A
=
1
-
6
ATUM RA
2
2
2

 

 

-
6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
-
6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
-
6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
-
6
A
T
U
M
-
R
A
-T
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
4
-
-
-
-
-
4
occurs
x
1
=
4
5
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
26
6
A
T
U
M
-
R
A
-
-
19
-
-
6
-
20
2+6
-
-
-
-
-
-
9
-
-
-
1+9
-
-
-
-
2+0
8
6
A
T
U
M
-
R
A
-
-
10
-
-
6
-
2
-
-
1
2
3
4
-
9
1
-
-
1+0
-
-
-
-
-
8
6
A
T
U
M
-
R
A
-
-
1
-
-
6
-
2

 

 

6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
-
R
A
-T
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
-
-
-
-
4
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
6
A
T
U
M
-
R
A
-
-
19
-
-
6
-
20
-
-
-
-
-
-
9
-
-
-
1+9
-
-
-
-
2+0
6
A
T
U
M
-
R
A
-
-
10
-
-
6
-
2
-
1
2
3
4
-
9
1
-
-
1+0
-
-
-
-
-
6
A
T
U
M
-
R
A
-
-
1
-
-
6
-
2

 

 

6
A
T
U
M
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
R
A
-T
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
-
-
-
3
-
-
-
-
-
3
occurs
x
1
=
3
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
6
A
T
U
M
R
A
-
-
19
-
-
6
-
20
-
-
-
-
-
9
-
-
-
1+9
-
-
-
Q
2+0
6
A
T
U
M
R
A
-
-
10
-
-
6
-
2
-
1
2
3
4
9
1
-T
-
1+0
-
-
-
-
-
6
A
T
U
M
R
A
-
-
1
-
-
6
-
2

 

 

R
=
9
-
6
RE ATUM
-
-
-
-
-
-
-
2
RE
-
-
-
-
-
-
-
-
R
18
9
9
-
-
-
-
-
E
5
5
5
A
=
1
-
4
ATUM
-
-
-
-
-
-
-
-
A
1
1
1
-
-
-
-
-
T
20
2
2
R
A
10
-
-
U
21
3
3
-
-
1+0
-
-
M
13
4
4
R
A
1
-
6
RE ATUM
60
24
24
-
-
-
-
-
-
6+0
2+4
2+4
R
A
1
-
6
RE ATUM
6
6
6
-
-
-
-
-
-
1+1
-
-
R
A
1
-
6
RE ATUM
6
6
6

 

 

-
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
18
-
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
-
9
-
-
1
2
3
4
+
=
24
2+4
=
6
=
6
-
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
-
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
-
6
R
E
-
A
T
U
M
-T
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
-
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
21
6
R
E
-
A
T
U
M
-
-
14
-
-
6
-
24
2+1
-
9
5
-
1
2
3
4
-
-
1+4
-
-
-
-
2+4
3
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6
-
-
9
5
-
1
2
3
4
-
-
-
-
-
-
-
-
3
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6

 

 

6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
`-
18
-
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
9
-
-
1
2
3
4
+
=
24
2+4
=
6
=
6
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
6
R
E
-
A
T
U
M
-T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
9
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
6
R
E
-
A
T
U
M
-
-
14
-
-
6
-
24
-
9
5
-
1
2
3
4
-
-
1+4
-
-
-
-
2+4
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6
-
9
5
-
1
2
3
4
-
-
-
-
-
-
-
-
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6

 

 

 

6
AMENOPHIS
-
-
-
-
A+M
14
5
5
-
H+I+S
36
18
9
-
O+P+E+N
50
23
5
6
AMENOPHIS
100
46
19
-
-
1+0+0
4+6
1+9
6
AMENOPHIS
1
10
10
-
-
-
1+0
1+0
6
AMENOPHIS
1
1
1

 

 

6
AMENOPHIS
-
-
-
-
A+M+E+N
33
15
6
-
O+P
31
13
4
-
H+I+S
36
18
9
6
AMENOPHIS
100
46
19
-
-
1+0+0
4+6
1+9
6
AMENOPHIS
1
10
10
-
-
-
1+0
1+0
6
AMENOPHIS
1
1
1

 

 

-
9
A
M
E
N
O
P
H
I
S
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
5
6
-
8
9
1
+
=
29
1+4
=
2
=
2
=
2
-
-
-
-
-
14
15
-
8
9
19
+
=
47
4+7
=
11
1+1
2
=
2
-
9
A
M
E
N
O
P
H
I
S
-
-
-
-
-
--
-
-
-
-
-
-
1
4
5
-
-
7
-
-
-
+
=
17
1+7
=
8
=
8
=
8
-
-
1
13
5
-
-
16
-
-
-
+
=
35
4+0
=
8
=
8
=
8
-
9
A
M
E
N
O
P
H
I
S
-
-
-
-
-
--
-
-
-
-
-
-
1
13
5
14
15
16
8
9
19
+
=
100
1+0+0
=
1
=
1
=
1
-
-
1
4
5
5
6
7
8
9
1
+
=
46
4+6
=
10
1+0
1
=
1
-
9
A
M
E
N
O
P
H
I
S
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
-
-
1
occurs
x
2
=
2
=
2
2
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
5
5
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
6
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
=
9
5
9
A
M
E
N
O
P
H
I
S
-
-
40
-``
-
9
-
46
-
46
-
-
-
-
-
-
-
-
-
9
-
-
-
4+0
-
-
-
-
4+6
-
4+6
5
9
A
M
E
N
O
P
H
I
S
-
-
4
-
-
9
-
10
-
10
-
-
1
4
5
5
6
7
8
9
1
-
-
-
-
-
-
-
1+0
-
1+0
5
9
A
M
E
N
O
P
H
I
S
-
-
4
-``
-
9
-
1
-
1

 

 

-
9
A
M
E
N
O
P
H
I
S
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
5
6
-
8
9
1
+
=
29
1+4
=
2
=
2
=
2
-
-
-
-
-
14
15
-
8
9
19
+
=
47
4+7
=
11
1+1
2
=
2
-
9
A
M
E
N
O
P
H
I
S
-
-
-
-
-
--
-
-
-
-
-
-
1
4
5
-
-
7
-
-
-
+
=
17
1+7
=
8
=
8
=
8
-
-
1
13
5
-
-
16
-
-
-
+
=
35
4+0
=
8
=
8
=
8
-
9
A
M
E
N
O
P
H
I
S
-
-
-
-
-
--
-
-
-
-
-
-
1
13
5
14
15
16
8
9
19
+
=
100
1+0+0
=
1
=
1
=
1
-
-
1
4
5
5
6
7
8
9
1
+
=
46
4+6
=
10
1+0
1
=
1
-
9
A
M
E
N
O
P
H
I
S
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
-
-
1
occurs
x
2
=
2
=
2
-
-
-
4
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
5
5
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
6
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
=
9
5
9
A
M
E
N
O
P
H
I
S
-
-
40
-``
-
9
-
46
-
46
-
-
-
-
-
-
-
-
-
9
-
-
-
4+0
-
-
-
-
4+6
-
4+6
5
9
A
M
E
N
O
P
H
I
S
-
-
4
-
-
9
-
10
-
10
-
-
1
4
5
5
6
7
8
9
1
-
-
-
-
-
-
-
1+0
-
1+0
5
9
A
M
E
N
O
P
H
I
S
-
-
4
-``
-
9
-
1
-
1

 

 

-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
-
-
-
-
8
9
1
+
=
18
1+8
=
9
-
9
-
-
-
-
-
-
8
9
19
+
=
36
3+6
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
2
4
5
7
-
-
-
+
=
18
1+8
=
9
=
9
-
-
11
13
5
16
-
-
-
+
=
45
4+5
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
11
13
5
16
8
9
19
+
=
81
8+1
=
9
=
9
-
-
2
4
5
7
8
9
1
+
=
36
3+6
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
-
``-
2
--
-
--
-
--
-
-
-
2
occurs
x
1
=
2
-
-
--
4
-
-
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
--
5
--
--
--
-
-
-
5
occurs
x
1
=
5
-
-
--
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
9
7
K
M
E
P
H
I
S
-
-
36
-
-
7
-
36
-
-
-
-
-
-
-
9
-
-
-
3+6
-
-
-
-
3+6
9
7
K
M
E
P
H
I
S
-
-
9
-
-
7
-
9
-
-
2
4
5
7
8
9
1
-
-
-
-
-
-
-
-
9
7
K
M
E
P
H
I
S
-
-
9
-
-
7
-
9

 

 

THRICE-GREATEST HERMES

Studies in Hellenistic Theosophy and Gnosis

G. R. S. Mead 1906

THE VIRGIN OF THE WORLD


KAMEPHIS AND THE DARK MYSTERY

Page 149 (All notes omitted)
"In apparent contradiction to all this we have the following statement: "Now give good heed, son Horus, for thou art being told the mystic spectacle which Kamephis, our forefather, was privileged to hear from Hermes, the record-writer of all deeds, and I from Kamephis when he did honour me with the Black [Rite] that gives perfection" (19).1
Here Reitzenstein (p. 137) professes to discover the conflation of two absolutely distinct traditions of (i) Kamephis, a later god and pupil of Hermes, and (ii) Kamephis, an older god and teacher of Isis; but in this I cannot follow him. It all depends on the meaning assigned to the words (text omitted), which Reitzenstein regards as signifying "the most ancient of all [gods]," but which I translate as " the most ancient of [us] all."
I take it to mean simply that, according to the general Isis-tradition, the founder of its mysteries was stated to be Kamephis, but that the Isis-Hermes circles claimed that this Kamephis, though truly the most ancient figure in the Isis tradition proper, was nevertheless in his turn the pupil of the still more ancient Hermes.
The grade of Kamephis was presumably represented in the mystery-cult by the arch-hierophant who presided at the degree called the "Dark Mystery" or "Black Rite" It was a rite performed only for those / Page 150 / who were judged worthy of it (text omitted) after long probation in lower degrees, something of a far more sacred character, apparently, than the instruction in the mysteries enacted in the light.
I would suggest, therefore, that we have here a reference to the most esoteric institution of the Isiac tradition, the more precise nature of which we will consider later on; it is enough for the moment to connect it with certain objects or shows that were apparently made to appear in the dark. As Clement of Alexandria says in his famous commonplace book, called the Stromateis1:

"It is not without reason that in the mysteries of the Greeks, lustrations hold the first place, analogous to ablutions among the Barbarians [that is, non-Greeks]. After these come the lesser mysteries, which have some foundation of instruction and of preliminary preparation for what is to follow; and then the great mysteries, in which nothing remains to be learned of the universe, but only to contemplate and comprehend nature [herself] and the things [which are mystically shown to the initiated]." 2 (note omitted)

Page151

KNEPH - KAMEPHIS

But who was Kamephis in the theology of the Egyptians? According to Reitzenstein, Kamephis or Kmephis, that is Kmeph, is equated by Egyptologists with Kneph, who, according to Plutarch,l (note omitted) was worshipped in the Thebaid as the ingenerable and immortal God. Kneph, however, as Sethe has shown,2 is one of the aliases of Ammon, who is the" bull [or husband] of his mother," the "creator who has created himself." Kneph is, moreover, the Good Daimon, as Philo of Byblus says.3
He is the Sun-god and Heaven-god Ammon

"If he open his eyes, he filleth all with light in his primaeval 4 land; and if he close them all is dark." 5
Here we have Kneph-Ammon as the giver of light in darkness, and the opener of the eyes.
Moreover, Porphyry 6 (note omitted) tells us that the Egyptians regarded Kneph as the demiurge or creator, and represented him in the form of a man, with skin of a blue-black tint, girt with a girdle, and holding / Page152 / a sceptre, and wearing a crown of regal wings. This symbolism, says Porphyry, signified that he was the representative of the Logos or Reason, difficult to discover, hidden,l not manifest 2; it is he who gives light and also life 3; he is the King. The winged crown upon his head, he adds, signifies that he moves or energizes intellectually.
Kamephis, then, stands in the Isis-tradition for the representative of Agathodaimon, the Logos-creator. He is, however, a later holder of this office, and has had it handed on to him by Hermes, or at any rate he is instructed in the Logos-wisdom by Hermes."

 

 

7
THEBAID
49
31
4
-
-
-
-
-
-
-
-
-
-
8
KAMEPHIS
82
37
1
5
KMEPH
53
26
8
7
KMEPHIS
81
36
9
20
First Total
216
99
18
2+0
Add to Reduce
2+1+6
9+9
1+8
2
Second Total
9
18
9
-
Reduce to Deduce
-
1+8
-
2
Essence of Number
9
9
9

 

 

-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
-
-
-
-
8
9
1
+
=
18
1+8
=
9
-
9
-
-
-
-
-
-
8
9
19
+
=
36
3+6
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
2
4
5
7
-
-
-
+
=
18
1+8
=
9
=
9
-
-
11
13
5
16
-
-
-
+
=
45
4+5
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
11
13
5
16
8
9
19
+
=
81
8+1
=
9
=
9
-
-
2
4
5
7
8
9
1
+
=
36
3+6
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
-
``-
2
--
-
--
-
--
-
-
-
2
occurs
x
1
=
2
3
-
-
--
-
--
--
--
-
-
-
3
THREE
3
-
-
-
-
-
--
4
-
-
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
--
5
--
--
--
-
-
-
5
occurs
x
1
=
5
6
-
--
--
-
--
--
--
-
-
-
6
SIX
6
-
-
-
-
-
--
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
9
7
K
M
E
P
H
I
S
-
-
36
-
-
7
-
36
-
-
-
-
-
-
-
9
-
-
-
3+6
-
-
-
-
3+6
9
7
K
M
E
P
H
I
S
-
-
9
-
-
7
-
9
-
-
2
4
5
7
8
9
1
-
-
-
-
-
-
-
-
9
7
K
M
E
P
H
I
S
-
-
9
-
-
7
-
9

 

 

-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
-
-
-
-
8
9
1
+
=
18
1+8
=
9
-
9
-
-
-
-
-
-
8
9
19
+
=
36
3+6
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
2
4
5
7
-
-
-
+
=
18
1+8
=
9
=
9
-
-
11
13
5
16
-
-
-
+
=
45
4+5
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
11
13
5
16
8
9
19
+
=
81
8+1
=
9
=
9
-
-
2
4
5
7
8
9
1
+
=
36
3+6
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
-
``-
2
--
-
--
-
--
-
-
-
2
occurs
x
1
=
2
-
-
--
4
-
-
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
--
5
--
--
--
-
-
-
5
occurs
x
1
=
5
-
-
--
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
9
7
K
M
E
P
H
I
S
-
-
36
-
-
7
-
36
-
-
-
-
-
-
-
9
-
-
-
3+6
-
-
-
-
3+6
9
7
K
M
E
P
H
I
S
-
-
9
-
-
7
-
9
-
-
2
4
5
7
8
9
1
-
-
-
-
-
-
-
-
9
7
K
M
E
P
H
I
S
-
-
9
-
-
7
-
9

 

 

-
5
K
N
E
P
H
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
8
+
=
13
1+3
=
4
=
4
=
4
---
-
-
14
-
-
8
+
=
22
2+2
=
4
=
4
=
4
-
5
K
N
E
P
H
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
7
-
+
=
14
1+4
=
5
=
5
=
5
---
-
11
-
5
16
-
+
=
32
3+2
=
5
=
5
=
5
-
5
K
N
E
P
H
-
-
-
-
-
-
-
-
-
-
---
-
11
14
5
16
8
+
=
54
5+4
=
9
=
9
=
9
-
-
2
5
5
7
8
+
=
27
2+7
=
9
=
9
=
9
-
5
K
N
E
P
H
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
ONE
1
--
-
-
-
-
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
--
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
5
5
-
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
-
7
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
=
8
9
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
23
5
K
N
E
P
H
-
-
22
-
-
5
-
27
-
18
2+3
1+0
-
-
-
-
-
-
-
2+2
-
-
-
-
2+7
-
1+8
5
5
K
N
E
P
H
-
-
4
-
-
5
-
9
-
9
-
-
2
5
5
7
8
-
-
-
-
-
--
-
-
-
-
5
5
K
N
E
P
H
-
-
4
-
-
5
-
9
-
9

 

 

5
K
N
E
P
H
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
8
+
=
13
1+3
=
4
=
4
=
4
-
-
14
-
-
8
+
=
22
2+2
=
4
=
4
=
4
5
K
N
E
P
H
-
-
-
-
-
-
-
-
-
-
-
2
-
5
7
-
+
=
14
1+4
=
5
=
5
=
5
-
11
-
5
16
-
+
=
32
3+2
=
5
=
5
=
5
5
K
N
E
P
H
-
-
-
-
-
-
-
-
-
-
-
11
14
5
16
8
+
=
54
5+4
=
9
=
9
=
9
-
2
5
5
7
8
+
=
27
2+7
=
9
=
9
=
9
5
K
N
E
P
H
-
-
-
-
-
--
-
-
-
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
5
5
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
7
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
=
8
5
K
N
E
P
H
-
-
22
-
-
5
-
27
-
18
1+0
-
-
-
-
-
-
-
2+2
-
-
-
-
2+7
-
1+8
5
K
N
E
P
H
-
-
4
-
-
5
-
9
-
9
-
2
5
5
7
8
-
-
-
-
-
--
-
-
-
-
5
K
N
E
P
H
-
-
4
-
-
5
-
9
-
9

 

-
7
M
E
M
P
H
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
1
+
=
18
1+8
=
9
=
9
-
-
-
-
-
-
8
9
19
+
=
36
3+6
=
9
=
9
-
7
M
E
M
P
H
I
S
-
-
-
-
-
--
-
-
-
-
4
5
4
7
-
-
-
+
=
20
2+0
=
2
=
2
-
-
13
5
13
16
-
-
-
+
=
47
4+7
=
11
1+1
2
-
7
M
E
M
P
H
I
S
-
-
-
-
-
--
-
-
-
-
13
5
13
16
8
9
19
+
=
83
8+3
=
11
1+1
2
-
-
4
5
4
7
8
9
1
+
=
38
3+8
=
11
1+1
2
-
7
M
E
M
P
H
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
2
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
4
-
4
-
-
-
-
-
-
4
occurs
x
2
=
8
-
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
--
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
11
7
M
E
M
P
H
I
S
-
-
34
-
-
7
-
38
1+1
-
-
-
-
-
-
9
-
-
-
3+4
-
-
-
-
3+8
2
7
M
E
M
P
H
I
S
-
-
7
-
-
7
-
11
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1+1
2
7
M
E
M
P
H
I
S
-
-
7
-
-
7
-
2

 

 

7
M
E
M
P
H
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
1
+
=
18
1+8
=
9
=
9
-
-
-
-
-
8
9
19
+
=
36
3+6
=
9
=
9
7
M
E
M
P
H
I
S
-
-
-
-
-
--
-
-
-
4
5
4
7
-
-
-
+
=
20
2+0
=
2
=
2
-
13
5
13
16
-
-
-
+
=
47
4+7
=
11
1+1
2
7
M
E
M
P
H
I
S
-
-
-
-
-
--
-
-
-
13
5
13
16
8
9
19
+
=
83
8+3
=
11
1+1
2
-
4
5
4
7
8
9
1
+
=
38
3+8
=
11
1+1
2
7
M
E
M
P
H
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
-
4
-
4
-
-
-
-
-
-
4
occurs
x
2
=
8
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
--
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
7
M
E
M
P
H
I
S
-
-
34
-
-
7
-
38
-
-
-
-
-
-
9
-
-
-
3+4
-
-
-
-
3+8
7
M
E
M
P
H
I
S
-
-
7
-
-
7
-
11
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1+1
7
M
E
M
P
H
I
S
-
-
7
-
-
7
-
2

 

 

-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
-
-
-
-
8
9
1
+
=
18
1+8
=
9
-
9
-
-
-
-
-
-
8
9
19
+
=
36
3+6
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
2
4
5
7
-
-
-
+
=
18
1+8
=
9
=
9
-
-
11
13
5
16
-
-
-
+
=
45
4+5
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
--
-
-
-
-
11
13
5
16
8
9
19
+
=
81
8+1
=
9
=
9
-
-
2
4
5
7
8
9
1
+
=
36
3+6
=
9
=
9
-
7
K
M
E
P
H
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
-
``-
2
--
-
--
-
--
-
-
-
2
occurs
x
1
=
2
-
-
--
4
-
-
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
--
5
--
--
--
-
-
-
5
occurs
x
1
=
5
-
-
--
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
9
7
K
M
E
P
H
I
S
-
-
36
-
-
7
-
36
-
-
-
-
-
-
-
9
-
-
-
3+6
-
-
-
-
3+6
9
7
K
M
E
P
H
I
S
-
-
9
-
-
7
-
9
-
-
2
4
5
7
8
9
1
-
-
-
-
-
-
-
-
9
7
K
M
E
P
H
I
S
-
-
9
-
-
7
-
9

 

 

6
AMENTA
-
-
-
-
A
1
1
1
-
M+E
18
9
9
-
N+T+A
35
8
8
6
AMENTA
54
18
18
-
-
5+4
1+8
1+8
6
AMENTA
9
9
9

 

 

-
4
A
M
E
N
T
A
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
5
-
-
+
=
5
-
=
5
=
5
=
5
-
-
-
-
-
14
-
-
+
=
14
1+4
=
5
=
5
=
5
-
4
A
M
E
N
T
A
-
-
-
-
-
--
-
-
-
-
-
-
1
4
5
-
2
1
+
=
13
1+3
=
4
=
4
=
4
-
-
1
13
5
-
20
1
+
=
40
4+0
=
4
=
4
=
4
-
4
A
M
E
N
T
A
-
-
-
-
-
--
-
-
-
-
-
-
1
13
5
14
20
1
+
=
54
5+3
=
9
=
9
=
9
-
-
1
4
5
5
2
1
+
=
18
1+8
=
9
=
9
=
9
-
4
A
M
E
N
T
A
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
2
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
5
5
-
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
33
4
A
M
E
N
T
A
-
-
12
-``
-
6
-
18
-
9
3+3
-
-
-
-
-
-
-
-
-
1+2
-
-
-
-
1+8
-
-
6
4
A
M
E
N
T
A
-
-
3
-
-
6
-
9
-
9
-
-
1
4
5
5
2
1
-
-
-
-
-
-
-
-
-
-
8
4
A
M
E
N
T
A
-
-
3
-``
-
6
-
9
-
9

 

 

-
4
A
M
E
N
T
A
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
5
-
-
+
=
5
-
=
5
=
5
=
5
-
-
-
-
-
14
-
-
+
=
14
1+4
=
5
=
5
=
5
-
4
A
M
E
N
T
A
-
-
-
-
-
--
-
-
-
-
-
-
1
4
5
-
2
1
+
=
13
1+3
=
4
=
4
=
4
-
-
1
13
5
-
20
1
+
=
40
4+0
=
4
=
4
=
4
-
4
A
M
E
N
T
A
-
-
-
-
-
--
-
-
-
-
-
-
1
13
5
14
20
1
+
=
54
5+3
=
9
=
9
=
9
-
-
1
4
5
5
2
1
+
=
18
1+8
=
9
=
9
=
9
-
4
A
M
E
N
T
A
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
2
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
4
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
5
5
-
-
-
-
5
occurs
x
2
=
10
1+0
1
33
4
A
M
E
N
T
A
-
-
12
-``
-
6
-
18
-
9
3+3
-
-
-
-
-
-
-
-
-
1+2
-
-
-
-
1+8
-
-
6
4
A
M
E
N
T
A
-
-
3
-
-
6
-
9
-
9
-
-
1
4
5
5
2
1
-
-
-
-
-
-
-
-
-
-
8
4
A
M
E
N
T
A
-
-
3
-``
-
6
-
9
-
9

 

 

--
8
H
A
R
-
M
A
K
H
U
-
-
-
-
-
--
-
-
-
-
-
-
8
-
-
-
-
-
-
8
-
+
=
16
1+6
=
7
=
7
=
7
-
-
8
-
-
-
-
-
-
8
-
+
=
16
1+6
=
7
=
7
=
7
--
8
H
A
R
-
M
A
K
H
U
-
-
-
-
-
--
-
-
-
-
-
-
-
1
9
-
4
1
2
-
3
+
=
20
2+0
=
2
-
2
=
2
-
-
-
1
18
-
13
1
11
-
21
+
=
65
6+5
=
11
1+1
2
=
2
--
8
H
A
R
-
M
A
K
H
U
-
-
-
-
-
--
-
-
-
-
-
-
8
1
18
-
13
1
11
8
21
+
=
81
8+1
=
9
=
9
=
9
-
-
8
1
9
-
4
1
2
8
3
+
=
36
3+6
=
9
=
9
=
9
-
8
H
A
R
-
M
A
K
H
U
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
-
-
3
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
--
-
-
-
--
-
-
3
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
4
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
5
-
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
9
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
18
8
H
A
R
-
M
A
K
H
U
-
-
27
-
-
8
-
36
-
27
1+8
-
-
-
9
-
-
-
-
-
-
-
-
2+7
-
-
-
-
3+6
-
2+7
9
8
H
A
R
-
M
A
K
H
U
-
-
9
-
-
8
-
9
-
9
-
-
8
1
9
-
4
1
2
8
3
-
-
-
-
-
-
-
-
-
-
9
8
H
A
R
-
M
A
K
H
U
-
-
9
-
-
8
-
9
-
9

 

 

8
H
A
R
-
M
A
K
H
U
-
-
-
-
-
--
-
-
-
-
-
8
-
-
-
-
-
-
8
-
+
=
16
1+6
=
7
=
7
=
7
-
8
-
-
-
-
-
-
8
-
+
=
16
1+6
=
7
=
7
=
7
8
H
A
R
-
M
A
K
H
U
-
-
-
-
-
--
-
-
-
-
-
-
1
9
-
4
1
2
-
3
+
=
20
2+0
=
2
-
2
=
2
-
-
1
18
-
13
1
11
-
21
+
=
65
6+5
=
11
1+1
2
=
2
8
H
A
R
-
M
A
K
H
U
-
-
-
-
-
--
-
-
-
-
-
8
1
18
-
13
1
11
8
21
+
=
81
8+1
=
9
=
9
=
9
-
8
1
9
-
4
1
2
8
3
+
=
36
3+6
=
9
=
9
=
9
8
H
A
R
-
M
A
K
H
U
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
-
3
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
--
-
-
-
--
-
-
3
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
4
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
8
-
-
-
-
-
-
8
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
9
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
8
H
A
R
-
M
A
K
H
U
-
-
27
-
-
8
-
36
-
27
-
-
-
9
-
-
-
-
-
-
-
-
2+7
-
-
-
-
3+6
-
2+7
8
H
A
R
-
M
A
K
H
U
-
-
9
-
-
8
-
9
-
9
-
8
1
9
-
4
1
2
8
3
-
-
-
-
-
-
-
-
-
-
8
H
A
R
-
M
A
K
H
U
-
-
9
-
-
8
-
9
-
9

 

-
10
N
E
C
R
O
P
O
L
I
S
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
6
-
6
-
9
1
+
=
27
2+7
=
9
=
9
=
9
-
-
14
-
-
-
15
-
15
-
9
19
+
=
72
7+2
=
9
=
9
=
9
-
10
N
E
C
R
O
P
O
L
I
S
-
-
-
-
-
-
-
-
-
-
--
-
-
5
3
9
-
7
-
3
-
-
+
=
27
2+7
=
9
=
9
=
9
--
-
-
5
3
18
-
16
-
12
-
-
+
=
54
5+4
=
9
=
9
=
9
-
10
N
E
C
R
O
P
O
L
I
S
-
-
-
-
-
-
-
-
-
-
--
-
14
5
3
18
15
16
15
12
9
19
+
=
126
1+2+6
=
9
=
9
=
9
--
-
5
5
3
9
6
7
6
3
9
1
+
=
54
5+4
=
9
=
9
=
9
-
10
N
E
C
R
O
P
O
L
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-`
-
-
-
-
1
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-`
3
-
-`
-
-
3
-
-
-
-
3
occurs
x
2
=
6
=
6
4
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
6
-
6
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
-
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
9
occurs
x
2
=
18
1+8
9
14
10
N
E
C
R
O
P
O
L
I
S
-
-
31
-
-
10
-
54
-
27
1+4
1+0
-
-
-
9
-
-
-
-
9
-
-
-
3+1
-
-
1+0
-
5+4
-
2+7
5
1
N
E
C
R
O
P
O
L
I
S
-
-
4
-
-
1
-
9
-
9
-
-
5
5
3
9
6
7
6
3
9
1
-
-
-
-
-
-
-
-
-
-
5
1
N
E
C
R
O
P
O
L
I
S
-
-
4
-
-
1
-
9
-
9

 

 

10
N
E
C
R
O
P
O
L
I
S
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
6
-
6
-
9
1
+
=
27
2+7
=
9
=
9
=
9
-
14
-
-
-
15
-
15
-
9
19
+
=
72
7+2
=
9
=
9
=
9
10
N
E
C
R
O
P
O
L
I
S
-
-
-
-
-
-
-
-
-
-
-
-
5
3
9
-
7
-
3
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
5
3
18
-
16
-
12
-
-
+
=
54
5+4
=
9
=
9
=
9
10
N
E
C
R
O
P
O
L
I
S
-
-
-
-
-
-
-
-
-
-
-
14
5
3
18
15
16
15
12
9
19
+
=
126
1+2+6
=
9
=
9
=
9
-
5
5
3
9
6
7
6
3
9
1
+
=
54
5+4
=
9
=
9
=
9
10
N
E
C
R
O
P
O
L
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-`
-
-`
-
-
1
-
-
1
occurs
x
1
=
1
=
1
-
-
-`
3
-
-`
-
-`
3
-
-
-
-
3
occurs
x
2
=
6
=
6
-
5
5
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
6
-
6
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
-
7
-
-
-
-
9
-
-
-
-
9
-
-
-
9
occurs
x
2
=
18
1+8
9
10
N
E
C
R
O
P
O
L
I
S
-
-
31
-
-
10
-
54
-
27
1+0
-
-
-
9
-
-
-
-
9
-
-
-
3+1
-
-
1+0
-
5+4
-
2+7
1
N
E
C
R
O
P
O
L
I
S
-
-
4
-
-
1
-
9
-
9
-
5
5
3
9
6
7
6
3
9
1
-
-
-
-
-
-
-
-
-
-
1
N
E
C
R
O
P
O
L
I
S
-
-
4
-
-
1
-
9
-
9

 

 

I

THAT

OLD

ROMANCER

NECROMANCER

 

 

-
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
6
-
-
5
-
-
-
+
=
16
1+6
=
7
=
7
=
7
-
-
14
-
-
-
15
-
-
14
-
-
-
+
=
43
4+3
=
7
=
7
=
7
-
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
--
-
-
5
3
9
-
4
1
-
3
5
9
+
=
39
3+9
=
12
1+2
3
=
3
--
-
-
5
3
18
-
13
1
-
3
5
18
+
=
66
6+6
=
12
1+2
3
=
3
-
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
--
-
14
5
3
18
15
13
1
14
3
5
18
+
=
109
1+0+9
=
10
1+0
1
=
1
--
-
5
5
3
9
6
4
1
5
3
5
9
+
=
55
5+5
=
10
1+0
1
=
1
-
11
N
E
C
R
O
M
A
N
C
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-`
-
1
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-`
3
-
-`
-
--
-
3
-`
-
-
-
3
occurs
x
2
=
6
=
6
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
5
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Thrice-Greatest Hermes, Vol. 3: I. Excerpts by Stobæus: Commentary - 12:48pm
According to Reitzenstein, Kamephis or Kmephis, that is Kmeph, is equated by Egyptologists with Kneph, who, according to Plutarch, 1 was worshipped in the ...
www.sacred-texts.com/gno/th3/th328.htm - Cached

 

Thrice-Greatest Hermes, Vol. 3, by G.R.S. Mead, [1906], at sacred-texts.com

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COMMENTARY

ARGUMENT

1. The “Virgin of the World” is a sacred sermon of initiation into the Hermes-lore, the first initiation, in which the tradition of the wisdom is handed on by the hierophant to the neophyte, by word of mouth. The instructor, or revealer, is the representative of Isis-Sophia, and speaks in her name, pouring forth for her beloved son, the new-born Horus, the first draught of

p. 135

immortality, which is to purge away the poison of the mortal cup of forgetfulness and ignorance, and so raise him from the “dead.”

This pouring-forth explains that the divine economy is perfect order, mystery transcending mystery,—each state of being, and each being, a mystery to those below that state.

This order no mortal intellect can ever grasp; nay, in the far-off ages, when as yet there were no men, but only Gods, those essences that know no death, the first creation of the World-creator,—even these Gods, these mysteries to us, were in amazement at the glories of the greater mysteries which decked the Heaven with their unveiled transcendent beauty. Even these Gods did not know God as yet.

2. The Gods were immortal, but unknowing; they were intoxicated with Heaven’s beauty, amazed, nay awestruck, at the splendour of the mysteries of Heaven. Then came there forth another outpouring of the Father over all; He poured the Splendour of His Mind into their hearts and they began to know. 1

With this representation is blended a mythical historical tradition which suggests that all this was brought about for an “earth” on which our humanity had not as yet appeared, in far-off distant days when apparently our earth was not as now, ages ago, the purest Golden Age when there were Gods, not men. In that race of Gods, those of them in whom the ray was no low-burning spark, but a divine flame, were the instructors in the heavenly wisdom.

3. Of these was Hermes, a race or “being” rather

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than an individual; these “Sons of Fire” left the record of their wisdom engraved on “stone” in symbol, in charge of others of the same race but less knowing than themselves; and so they ascended to Heaven.

4. Those that succeeded them had not the flame so bright within their hearts; they were of the same race, but younger souls—the Tat-race. Hermes could not hand on the direct knowledge to them, the “perfect sight” (θεωρία), and so recorded the wisdom in symbol and myth. Still later the Asclepius-race joined themselves to the Tat-souls.

All this, however, took place many many ages ago, long even before the days of the men-gods Osiris and Isis; for the real wisdom of Hermes was so ancient that even Isis herself had had to search out the hidden records, and that too by means of the inner sight, when she herself had won the power to see, and the True Sun had risen for her mind.

5. But the strain of reconstructing the history of this far-distant past, as he conceived it to have been, is too much for the writer. He knows he is dealing with “myths,” with what Plutarch would have called the “doings of the daimones;” he knows that in reality these primæval “Books” of Hermes have no longer any physical existence, if indeed they ever had any; he knows that no matter what legends are told, or whatever the general priesthood may believe about ancient physical inscriptions of the primæval Hermes,—all this has passed away, and that the real wisdom of Hermes is engraved on the tablets of the æther, and not hidden in the shrines of earth.

The “Books” are engraved in the “sacred symbols of the cosmic elements,” and hidden away hard by the “secrets of Osiris”—the mysteries of creative fire, the light that speaks in the heart. The true Books of

p. 137

[paragraph continues] Hermes are hidden away in their own zones, the pure elements of the unseen world—the celestial Egypt.

6. This wisdom was held in safe keeping for the “souls” of men; it was a soul-gnosis, not a physical knowledge. Hereupon the writer begins the recital of his tradition 1 of the creation of the “souls” of men in their unfallen state, all of which is derived from the “Books of Hermes.” The soul-creation runs as follows:

The Watchers 2 approach the Creator. The hour has struck for a new Cosmic Dawn, for a new Day. The time has come for Cosmos to awake after the Night. 3 The Creative Mind of the universe turns His attention, His thought, to a new phase of things, a new world-period.

7. God smiled, and His laughter thrilled through space, 4 and with His Word, called forth into the light the new dawn from out the primæval darkness of the new world-space. His first creation, transcendental or intelligible Nature, stood before Him, in all the marvel of her new beauty, the primal plērōma, or potential fullness, of the new universe or system, the ideal cosmos of our world, for there were many others,—the Gods who marvelled at the mystery.

Straightway this Nature fell from one into three, herself and Toil and their fairest child Invention, to

p. 138

whom God gave the gift of being, themselves producing ideal form alone.

The first creation, then, was the bringing forth of potencies and types and ideas, to whom God gave the gift of being; it was as yet the world “above,” the primæval Heaven, in ultimate perfection, thus constituting the unchanging boundaries of the new universe that was to be. These things-that-are were filled with “mysteries,” not “breaths” or “lives,” for these were not as yet.

8. The next stage is the breathing of the spiritual (not the physical) breath of lives into the fairest blend of the primal elements that condition the world-area. This blend or soul-substance is called psychōsis. The primal elements were not our mixed earth, water, fire, and air, but “knowing fire” (perhaps “fire in itself,” as Hermes elsewhere calls it, or intelligible fire, perchance the “flower of fire” of the so-called “Chaldæan Oracles” 1) and unknowing air, if we may judge from the phrase (7): “Let heaven be filled with all things full, and air and æther [? = fire] too!” It is Heaven or the ideal world that is so filled; even earth-water was not yet manifested, much less earth and water.

It seems, then, that these souls (souls corresponding above with the subsequent man-stage below) were a blend of the three: spirit, knowing fire, and unknowing air,—triads, yet a unity called psychōsis.

9. They were moreover all essentially equal, but differed according to some fixed law of numbering; they were also apparently definite in number, one soul perchance for every star, as with Plato, according to the law of similarity of less and greater, of within and without.

10. These souls, then, were “sacred (or typical) men,”

p. 139

a creation prior to that of the “sacred animals”; their habitat was in Upper Nature, the “all-fairest station of the æther”—the celestial cosmos.

11. They were appointed to certain stations and to the task of keeping the “wheel revolving,”—that is, as we shall see, they were to fashion forms for birth and death, and so provide means of transmission for the life-currents ever circulating in the great sphere. This was their appointed task, the law imposed on them, as obedient children of the Great King, their sire. So long as they kept their appointed stations they were to live for ever in surroundings of bliss and beauty, in full contemplation of the glories of the greater universe, throned amid the stars. But if they disobeyed the law, bonds and punishment await them.

12. We next come to a further creation of souls—a subject somewhat difficult to follow. These souls are of an inferior grade to the preceding, for they are composed of the primal water and earth, of “water in itself” and “earth in itself” we must suppose, and not of the compound elements we now call by these names. These are the souls of certain “sacred animals” or lives, which bear the same relationship to the souls which “keep the wheel revolving” as animals do to man on earth. They are, however, not shaped like the animals on earth, nor possess even typical animal forms, but bear the forms of men, though they are not men.

13. Still was the divine “water-earth” substance unexhausted, and so the residue was handed over to “those souls that had gone in advance and had been summoned to the land of Gods,”—that is to say, those stations near the Gods, in highest æther, of which mention has just been made. These souls are, of course, the man-souls proper.

Out of this residue these Builders were to fashion

p. 140

animals, after the models the Creator gave them,—certain types of life, below the “man” type proper, ranged in due order corresponding to the “motions of the souls.” That is to say, there were various classes of Builders according to the types of animals which were to be copied. The Builders were to fashion the forms, the Creator was to breathe into them the life.

14. Thus these Builders fashioned the etheric doubles of birds, quadrupeds, fish and reptiles, and not their physical bodies, for as yet the earth was not solid.

15. And so the Builder-souls accomplished their task, and fashioned the primæval copies of the celestial types of animals. Proud of their work, they grew restive at the restraints placed upon them by the law of their stations, and overstepped the limits decreed by the Creator. 1

Whereupon the punishment is pronounced, and the Creator resolves to make the human frame, therein to imprison the disobedient souls.

And here we learn incidentally that all of this

p. 141

psychogenesis which has gone before was the direct teaching of Hermes to the writer; of no physical Hermes, however, but of that Hermes whose “Books” are hidden in the zones (5), of the Hermes whom the writer, as he would have us believe, came to know face to face only after his inner vision was opened, and he had gazed with all-seeing eyes “upon the mysteries of that new dawn” (4).

16. For the new and mysterious fabrication of the man-form, all the seven obedient Gods, to whom the man-souls are kin (17), are summoned by the chief of them, Hermes himself, the beloved son and messenger of the Supreme, “soul of My Soul, and holy mind of My own Mind.” 1

17. All of the seven promise to bestow the best they have on man.

18. The plasm out of which the man-form is to be modelled is the residue of the mixture out of which the Builders had already made the animal doubles. But the Builder of the man-frames was Hermes himself, who mixed the plasm with still more water.

19. Here the writer inserts a further piece of information concerning the source of his tradition. It is no longer as before what Hermes himself reveals to him in vision, but what the writer was told at a certain initiation called the “Black Rite.” This rite was presided over by Kamēphis, who is called the “earliest of all,” or perhaps more correctly the “most primæval of [us] all.” Kamēphis is thus conceived as the representative of a more ancient wisdom than that of Isis, and yet even he but hands on the tradition of Hermes. 2

20. The souls are “enfleshed,” and utter loud complaints. Apparently not all at first can speak articulately; most of them can only groan, or scream,

p. 142

or hiss. The leading class of souls can, however, so far dominate the plasm as to speak articulately, and so one of their number utters a desperate appeal to Heaven.

21. They have now lost their celestial state, and Heaven is shut away from them; no longer can they see “without the light.” They are shut down into a “heart’s small compass”; the Sun of their being has become a light-spark only, hidden in the heart. This is, of course, the logos, the inmost reality in man.

22. The souls pray for some amelioration of their unhappy lot, and the conditions of the moral law are expounded to them. They who do rightly shall, on their body’s dissolution, reascend to Heaven and be at rest; they who do ill, shall work out their redemption under the law of metempsychosis, or change from body to body, from prison to prison.

23. Details of this metempsychosis are then given with special reference to the incarnations of the “more righteous,” who shall be kings, philosophers and prophets. Such souls apparently, for it is not expressly so stated, shall, in passing round the wheel of rebirth, when out of incarnation in a human body, have some sort of life with the souls of the leading types of animals, which are given as eagles, lions, dragons, and dolphins. Or, if we are unjustified in this speculation, such souls shall in their animal parts have intimate relation with the noblest types of animal essence (24).

25. There now comes upon the scene the mighty Intellect of the Earth, a veritable Erdgeist, in the form of Mōmus, who speaking out of affection for him (28), urges Hermes to increase ills and trials upon the souls of men, so that they shall not dare too much (25-27). And thereon Hermes sets in motion the instrument or engine of unerring fate and mechanical retribution (28, 29).

p. 143

29. Now all these things took place at the dawn of earth-life, when all as yet was inert, as far as our now solid earth is concerned. We must then suppose that as yet our present phase of existence on earth had not yet been manifested; that all was as yet in a far subtler or more primitive state of existence, when earth was still all “a-tremble,” and had not yet hardened to its present state of solidity;—that is to say, that the man-plasm was in an etheric state (30).

31. The earth gradually hardens. Into the now more solid earth, the Creator and His obedient sons, the Gods who had not made revolt, poured forth the blessings of nature. This is described by the beautiful symbol of the hands of blessing, figured in Egypt as the sun-rays, each terminating in a hand for giving light and life. 1

The imprisoned souls, the kinsmen of the Gods obedient, continue their revolt; they are the leaders of mankind, of a mankind far weaker than themselves, a humanity, apparently evolved normally from the nature of things and as yet in its childhood. Instead of teaching them the lessons of love and wisdom, the Disobedient Ones use them for evil purposes, for war and conflict, for oppression and savagery.

32. Things go from bad to worse; the earth is befouled with the horrors of savage man, until in despair the pure elements complain to God. They pray that He will send a holy emanation of Himself to set things right (32-34).

35. Hereupon God sends forth the mystery of a new birth, a divine descent, or emanation, an avatāra, as the Aryan Hindu tradition would call it, a dual manifestation. 2 And so Osiris and Isis are born to help the

p. 144

world, to recall men from savagery, and restore the moral order (35-37).

It was they who were taught directly by Hermes (37) in all law and science and wisdom. Their mission meets with success, and the “world” is filled with a knowledge of the Path of Return. But before their ascension into Heaven they have a petition to make to the Father, that not only earth but also the surrounding spaces up to Heaven itself may be filled with a knowledge of the truth. Thus then they proceed to hymn the Sire and Monarch of all in a praise-giving which, unfortunately, Stobæus did not think fit to copy.

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The original text of the “Virgin of the World” treatise is obviously broken only by the omission of the Hymn of Osiris and Isis, and Excerpt ii. follows otherwise immediately on Excerpt i. The subject is the birth of royal souls, taken up from the instruction given in K. K., 23, 24 above.

39. There are four chief spaces: (i) Invisible Heaven, inhabited by the Gods, with the Invisible Sun as lord of all; (ii) Æther, inhabited by the Stars, of which for us the Sun is leader; (iii) Air, in which dwell non-incarnate souls, ruled by the Moon, as watcher o’er the paths of genesis; (iv) Earth, inhabited by men and animals, and over men the immediate ruler is the Divine King of the time.

40. The king-soul is the last of the Gods but the first of men 1; he is, however, on earth a demigod only, for his true divinity is obscured. His soul, or ka, comes from a soul-plane superior to that of the rest of mankind.

The ascending souls of normally evolving humanity are thought of, apparently, as describing ever widening

p. 145

circles in their wheelings in and out of incarnation, rising, as they increase in virtue and knowledge, at the zenith of their ascent in the intermediate state, before they turn to descend again into rebirth, ever nearer to the limits of the sensible world and, the frontiers of Heaven.

41. But there is also another class of descending royal souls, who have only slightly transgressed, and therefore descend only as far as this grade of humanity.

42. For the royal or ruling soul is not only a warrior monarch; his sovereignty may be also shown in arts of peace. He may be a righteous judge, a musician or poet, a truth-lover or philosopher. The activities of these souls are not determined, as is the case with souls of lower grades,—that is, those souls which have fallen deeper into material existence,—by what Basilides would have called the “appendages” of the animal nature; they are determined by a fairer taxis, an escort of angels and daimones, who accompany them into birth.

43. The description of their manner of birth, however, is, unfortunately, lost to us, owing either to the hesitation of Stobæus to make it public, or to its being cut out by some subsequent copyist.

44. We are next told that sex is no essential characteristic of the soul. It is an “accident” of the body, but this body is not the physical, but the “aery” body, which air, however, is not a simple element, but already differentiated into four sub-elements. 1

45. Moreover the sight, or intelligence, of the soul also depends upon the purity of certain envelopes, which

p. 146

are called “airs,”—“airs” apparently more subtle even than the aery body (45). 1

46. Next follows a naïve reason for the excellence of Egypt and the wisdom of the Egyptians (46-48). Here the writer seems to be no longer dependent directly on the Trismegistic tradition, but is inserting and expanding popular notions.

49. The remaining sections of the Excerpt are taken up with speculations as to the cause of delirium (49, 50), and Stobæus brings his extract to a conclusion apparently without allowing the writer to complete his exposition.

SOURCES?

The discussion as to the meaning of the title, which has so far been invariably translated “The Virgin of the World,” will come more appropriately later on.

How much of the original treatise has been handed on to us by Stobæus we have no external means of deciding. Our two Extracts, however, plainly stand in immediate connection with each other, and the original text is broken only by the unfortunate omission of the Hymn of Osiris and Isis. The first Extract, moreover, is plainly not the beginning of the treatise, since it opens with words referring to what has gone before; while the second Extract ends in a very unsatisfactory manner in the middle of a subject.

What we have, however, gives us some very interesting indications of how the writer regarded his sources,—whether written or oral, whether physical or psychic. He of course would have us take his treatise as a literary unity; and indeed the subject is so worked up that it is very difficult to discover what the literary

p. 147

sources that lay before the writer may have been, for the story runs on straight enough in the same thought-mould and literary form, in spite of the insertion of somewhat contradictory statements concerning the sources of information.

When, however, Reitzenstein (p. 136) expressly states that the creation-story shows indubitable traces of two older forms, and that this is not a matter of surprise, as we find two (or more precisely four) different introductions,—we are not able entirely to follow him. It is true that these introductory statements are apparently at variance, but on further consideration they appear to be not really self-contradictory.

THE DIRECT VOICE AND THE BOOKS OF HERMES

The main representation is that the teacher of Isis is Hermes, who saw the world-creation, that is, the creation of our earth-system, and the soul-making, with his own spiritual sight (2). Isis has obtained her knowledge in two ways: either from the sacred Books of Hermes (4, 5); or by the direct spiritual voice of the Master (15). The intention here is plainly to claim the authority of direct revelation, for even the Books are not physical. They have disappeared, if indeed they ever were physical, and can only be recovered from the tablets of unseen nature, by ascending to the zones (5) where they are hidden; and these zones are plainly the same as the soul-spaces mentioned in S. I. H., 8.

At the same time there is mention of another tradition, which, though in later details purporting to be historic and physical, in its beginnings is involved in purely mythological and psychic considerations. When the first and most ancient Hermes ascended to Heaven, he left his Books in the charge of the Gods, his kinsmen,

p. 148

in the zones, and not on earth (3). On earth there succeeded to this wisdom a younger race, beloved of Hermes, and personified as his son Tat. These were souls as yet too young to understand the true science face to face. They were apparently regarded as the Tat (Thoth) priesthood of our humanity, who were subsequently joined by wisdom-lovers of another line of tradition, the Imuth (Asclepius) brotherhood, who had their doctrine originally from Ptah. 1 This seems to hint at some ancient union of two traditions or schools of mystic science, perhaps from the Memphitic and Thebaic priesthoods respectively. 2

What, however, is clear is that the writer professes to set forth a higher and more direct teaching than either the received tradition of the Isiac mystery-cult or of the Tat-Asclepius school. This he does in the person of Isis as the face to face disciple of the most ancient Hermes, 3 thus showing us that in the Hermes-circles of the Theoretics, or those who had the direct sight, though the Isis mystery-teaching was considered a tradition of the wisdom, it was nevertheless held to be entirely subordinate to the illumination of the direct sight.

 

p. 149

KAMEPHIS AND THE DARK MYSTERY

In apparent contradiction to all this we have the following statement: “Now give good heed, son Horus, for thou art being told the mystic spectacle which Kamēphis, our forefather, was privileged to hear from Hermes, the record-writer of all deeds, and I from Kamēphis when he did honour me with the Black [Rite] that gives perfection” (19). 1

Here Reitzenstein (p. 137) professes to discover the conflation of two absolutely distinct traditions of (i) Kamephis, a later god and pupil of Hermes, and (ii) Kamephis, an older god and teacher of Isis; but in this I cannot follow him. It all depends on the meaning assigned to the words παρὰ τοῦ πάντων προγενεστέρου, which Reitzenstein regards as signifying “the most ancient of all [gods],” but which I translate as “the most ancient of [us] all.”

I take it to mean simply that, according to the general Isis-tradition, the founder of its mysteries was stated to be Kamephis, but that the Isis-Hermes circles claimed that this Kamephis, though truly the most ancient figure in the Isis tradition proper, was nevertheless in his turn the pupil of the still more ancient Hermes.

The grade of Kamephis was presumably represented in the mystery-cult by the arch-hierophant who presided at the degree called the “Dark Mystery” or “Black Rite.” It was a rite performed only for those

p. 150

who were judged worthy of it (ἐτίμησεν) after long probation in lower degrees, something of a far more sacred character, apparently, than the instruction in the mysteries enacted in the light.

I would suggest, therefore, that we have here a reference to the most esoteric institution of the Isiac tradition, the more precise nature of which we will consider later on; it is enough for the moment to connect it with certain objects or shows that were apparently made to appear in the dark. As Clement of Alexandria says in his famous commonplace book, called the Stromateis 1:

“It is not without reason that in the mysteries of the Greeks, lustrations hold the first place, analogous to ablutions among the Barbarians [that is, non-Greeks]. After these come the lesser mysteries, which have some foundation of instruction and of preliminary preparation for what is to follow; and then the great mysteries, in which nothing remains to be learned of the universe, but only to contemplate and comprehend nature [herself] and the things [which are mystically shown to the initiated].” 2

 

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KNEPH-KAMEPHIS

But who was Kamēphis in the theology of the Egyptians? According to Reitzenstein, Kamephis or Kmephis, that is Kmeph, is equated by Egyptologists with Kneph, who, according to Plutarch, 1 was worshipped in the Thebaid as the ingenerable and immortal God. Kneph, however, as Sethe has shown, 2 is one of the aliases of Ammon, who is the “bull [or husband] of his mother,” the “creator who has created himself.” Kneph is, moreover, the Good Daimon, as Philo of Byblus says. 3 He is the Sun-god and Heaven-god Ammon.

“If he open his eyes, he filleth all with light in his primæval 4 land; and if he close them all is dark.” 5

Here we have Kneph-Ammon as the giver of light in darkness, and the opener of the eyes.

Moreover, Porphyry 6 tells us that the Egyptians regarded Kneph as the demiurge or creator, and represented him in the form of a man, with skin of a blue-black tint, girt with a girdle, and holding

 

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a sceptre, and wearing a crown of regal wings. This symbolism, says Porphyry, signified that he was the representative of the Logos or Reason, difficult to discover, hidden, 1 not manifest 2; it is he who gives light and also life 3; he is the King. The winged crown upon his head, he adds, signifies that he moves or energizes intellectually.

Kamephis, then, stands in the Isis-tradition for the representative of Agathodaimon, the Logos-creator. He is, however, a later holder of this office, and has had it handed on to him by Hermes, or at any rate he is instructed in the Logos-wisdom by Hermes.

HERMES I. AND HERMES II.

In this connection it is instructive to refer to the account which Syncellus 4 tells us he took from the statement of Manetho.

Manetho, says Syncellus, states in his Books, that he based his replies concerning the dynasties of Egypt to King Ptolemy on the monuments.

“[These monuments], he [Manetho] tells us, were engraved in the sacred language, and in the characters of the sacred writing, by Thoth the First Hermes; after the Flood they were translated from the sacred language into the then common tongue, but [still written] in hieroglyphic characters, and stored away in books, by the Good Daimon’s son, the Second Hermes, the father of Tat, in the inner shrines of the temples of Egypt.”

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Here we have a tradition, going back as far as Manetho, which I have shown, in Chapter V. of the “Prolegomena” on “Manetho, High Priest of Egypt,” cannot be so lightly disposed of as has been previously supposed,—dealing expressly with the Books of Hermes.

This tradition, it is true, differs from the account given in our Sermon (3-5), where the writer says nothing expressly of a flood, but evidently wishes us to believe that the most ancient records of Hermes were magically hidden in the zones of the unseen world, and that the flood, if there was one, was a flood or lapse of time that had utterly removed these records from the earth. For him they no longer existed physically.

Manetho’s account deals with another view of the matter. His tradition appears to be as follows. The oldest records were on stone monuments which had survived some great flood in Egypt. These records belonged to the period of the First Hermes, the Good Daimon par excellence, the priesthood, therefore, of the earliest antediluvian Egyptian civilization. After the flood they were translated from the most archaic language into ancient Egyptian, and preserved in book-form by the Second Hermes, the priesthood, presumably, of the most ancient civilization after the flood, who were in time succeeded by the Tat priesthood.

That this tradition is elsewhere contradicted by the Isis-tradition proper, which in a somewhat similar genealogy places Isis at the very beginning prior even to Hermes I., 1 need not detain us, since each tradition would naturally claim the priority of those whom it regarded as its own special founders, and we are for the moment concerned only with the claims of the Hermes-school.

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The main point of interest is that there was a tradition which explained the past on the hypothesis of periods of culture succeeding one another,—the oldest being supposed to have been the wisest and highest; the most archaic hieroglyphic language, which perhaps the priests of Manetho’s day could no longer fully understand, 1 was supposed to have been the tongue of the civilization before the Flood of Hermes I. It may even be that the remains of this tongue were preserved only in the magical invocations, as a thing most sacred, the “language of the gods.”

The point of view, however, of the circle to which our writer belonged, was that the records of this most ancient civilization were no longer to be read even in the oldest inscriptions; they could only be recovered by spiritual sight. Into close relation with this, we must, I think, bring the statement made in § 37, that Osiris and Isis, though they themselves had learned all the secrets of the records of Hermes, nevertheless kept part of them secret, and engraved on stone only such as were adapted for the intelligence of “mortal men.”

The Kamephis of the Isis-tradition, then, apparently stands for Kneph as Agathodaimon, that is for Hermes, but not for our Hermes I., 2 for he has no physical /page 155/ contact with the Isis-tradition, but for Hermes II., who was taught by Hermes I.

THE BLACK RITE

But what is the precise meaning of the “black rite” at which Kamephis presides? I have already suggested the environment in which the general meaning may be sought, though I have not been able to produce any objective evidence of a precise nature. Reitzenstein (pp. 139 ff.), however, thinks he has discovered that evidence. His view is as follows:

The key to the meaning, according to him, is to be found in the following line from a Magic Papyrus 1:

“I invoke thee, Lady Isis, with whom the Good Daimon doth unite, 2 He who is Lord ἐν τῷ τελείῳ μέλανι.”

Reitzenstein thinks that the Good Daimon here stands for Chnum, and works out (p. 140) a learned hypothesis that the “black” refers to a certain territory of black earth, between Syene and Takompso, the Dedocaschœnus, especially famed for its pottery, which was originally in the possession of the Isis priesthood, but was subsequently transferred to the priesthood of Chnum by King Dośer. Reitzenstein would thus, presumably, translate the latter half of the sentence as “the Good Daimon who is Lord in the perfect black [country],” and so make it refer to Chnum, though indeed he seems himself to feel the inadequacy of this explanation to cover the word “perfect” (p. 144). But this seems to me to take all the dignified meaning out of both our text and that of the Magic Papyrus, and to introduce /page 156/ local geographical considerations which are plainly out of keeping with the context.

It is far more natural to make the Agathodaimon of the Papyrus refer to Osiris; for indeed it is one of his most frequent designations. Moreover, it is precisely Osiris who is pre-eminently connected with the so-called “under world,” the unseen world, the “mysterious dark.” He is lord there, while Isis remains on earth; it is he who would most fitly give instructions on such matters, and indeed one of the ancient mystery-sayings was precisely, “Osiris is a dark God.” 1

“He who is Lord in the perfecting black,” might thus mean that Osiris, the masculine potency 2 of the soul, purified and perfected the man on the mysterious dark side of things, and completed the work which Isis, the feminine potency of the soul, had begun on him.

That, in the highest mystery-circles, this was some stage of union of the man with the higher part of himself, may be deduced from the interesting citations made by Reitzenstein (pp. 142-144) from the later Alchemical Hermes-literature; it clearly refers to the mystic “sacred marriage,” 3 the intimate union of the soul with the logos, or divine ray. Much could be written on this subject, but it will be sufficient to append two passages of more than ordinary interest. The Jewish over-writer of the Naassene Document contends that the chief mystery of the Gnosis was but the consummation of the instruction given in the various mystery-institutions of the nations. The /page 157/ [paragraph continues] Lesser Mysteries, he tells us, commenting on the text of the Pagan commentator, pertained to “fleshly generation,” whereas the Greater dealt with the new birth, or second birth, with regeneration, and not with genesis. And speaking of a certain mystery, he says:

“For this is the Gate of Heaven, and this is the House of God, where the Good God 1 dwells alone, into which [House] no impure [man] shall come; but it is kept under watch for the spiritual alone; where when they come they must cast away their garments, and all become bridegrooms obtaining their true manhood through the Virginal Spirit. For such a man is the Virgin big with child, conceiving and bearing a Son, not psychic, not fleshly, but a blessed Æon of Æons.” 2

In the marvellous mystery-ritual of the new-found fragments of The Acts of John, lately discovered in a fourteenth century MS. in Vienna, disguised in hymn form, and hiding an almost inexhaustible mine of very early tradition, the “sacred marriage” is plainly suggested as one of the keys to part of the ritual. Compare, for instance, with the “casting away of their garments,” in the above-quoted passage of the Naassene writer, the following:

“[The Disciple.] I would flee.

[The Master.] I would [have thee] stay.

[The Assistants.] Amen!

[The Disciple.] I would be robed.

[The Master.] And I would robe [thee].

[The Assistants.] Amen!

[The Disciple.] I would be at-oned.

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[The Master.] And I would at-one.

[The Assistants.] Amen!” 1

BLACK LAND.

But to return to the “mysterious black.” Plutarch tells us: “Moreover, they [the Egyptians] call Egypt, inasmuch as its soil is particularly black, as though it were the black of the eye, Chemia, and compare it with the heart,” 2—for, he adds, it is hot and moist, and set in the southern part of the inhabitable world, in the same way as the heart in the left side of a man. 3

Egypt, the “sacred land” par excellence, was called Chemia or Chem (Ḥem), Black-land, because of the nature of its dark loamy soil; it was, moreover, in symbolic phraseology the black of the eye, that is, the pupil of the earth-eye, the stars and planets being regarded as the eyes of the gods. 4 Egypt, then, was the eye and heart of the Earth; the Heavenly Nile poured its light-flood of wisdom through this dark of the eye, or made the land throb like a heart with the celestial life-currents.

Nor is the above quotation an unsupported statement of Plutarch’s, for in an ancient text from Edfu, 5 we read: “Egypt (lit. the Black), which is so called after the eye of Osiris, for it is his pupil.”

Ammon-Kneph, too, as we have seen, is black, or blue-black, signifying his hidden and mysterious /page 159/ character; and in the above-quoted passage he is called “he who holds himself hidden in his eye,” or “he who veils himself in his pupil.”

This pupil, then, concludes Reitzenstein (p. 145), is the “mysterious black.” Is this, then, the origin of this peculiar phrase? If so, it would be connected with seeing, the spiritual sight, the true Epopteia.

THE PUPIL OF THE WORLD’S EYE

But Isis, also, is the black earth, and, therefore, the pupil of the eye of Osiris, and, therefore, also of the Chnum or Ammon identified with Osiris at Syene. Isis, therefore, herself is the “Pupil of the World’s Eye”—the κόρη κόσμου. 1

Reitzenstein would, therefore, have it that the original type of our treatise looks back to a tradition which makes the mystery-goddess Isis the disciple and spouse of the mysterious Chnum or Ammon, or Kneph or Kamephis, as Agathodaimon; and, therefore, presumably, that the making of this Kamephis the disciple in his turn of Hermes is a later development of the tradition, when the Hermes-communities gained ascendancy in certain circles of the Isis-tradition.

This is very probable; but dare we, with Reitzenstein, cast aside the “traditional” translation of κόρη κόσμου, as “Virgin of the World,” and prefix to our treatise as title the new version, “The Pupil of the Eye of the World”? It certainly sounds strange as a title to unaccustomed ears, and differs widely from any other titles of the Hermetic sermons known to us. But what does the “Virgin of the World” mean in connection with our treatise? Isis as the Virgin Mother is a /p 160 /amiliar idea to students of Egyptology 1; she is κατ᾽ ἐξοχὴν, the “World-Virgin.”

THE SON OF THE VIRGIN

And here it will be of interest to turn to a curious statement of Epiphanius 2; it is missing in all editions of this Father prior to that of Dindorf (Leipzig, 1859), which was based on the very early (tenth century) Codex Marcianus 125, all previous editions being printed from a severely censured and bowdlerized fourteenth century MS.

Epiphanius is stating that the true birthday of the Christ is the Feast of Epiphany, “at a distance of thirteen days from the increase of the light [i.e. December 25]; for it needs must have been that this should be a figure of our Lord Jesus Christ Himself and of His twelve disciples, who make up the thirteen days of the increase of the Light.” The Feast of the Epiphany was a great day in Egypt, connected with the “Birth of the Æon,”—a phase of the “Birth of Horus.” For Epiphanius thus continues:

“How many other things in the past and present support and bear witness to this proposition, I mean the birth of Christ! Indeed, the leaders of the idol-cults, 3 filled with wiles to deceive the idol-worshippers who believe in them, in many places keep highest festival on this same night of Epiphany [= the Manifestation to Light], so that they whose hopes are in error may not seek the truth. For instance, at /page /161/ [paragraph continues] Alexandria, in the Koreion, 1 as it is called—an immense temple, that is to say the Precinct of the Virgin—after they have kept all-night vigil with songs and music, chanting to their idol, when the vigil is over, at cock-crow, they descend with lights into an underground crypt, and carry up a wooden image lying naked on a litter, with the seal of a cross made in gold on its forehead, and on either hand two similar seals, and on either knee two others, all five seals being similarly made in gold. And they carry round the image itself, circumambulating seven times the innermost temple, to the accompaniment of pipes, tabors and hymns, and with merry-making they carry it down again underground. And if they are asked the meaning of this mystery, they answer: ‘To-day at this hour the Maiden (Korē), that is, the Virgin, gave birth to the Æon.’”

He further adds that at Petra, in Arabia, where, among other places, this mystery was also performed, the Son of the Virgin is called by a name meaning the “Alone-begotten of the Lord.” 2

Here, then, at Alexandria, in every probability the very environment of our treatise, we have a famous mystery-rite, solemnized in the Temple of the Virgin, who gives birth to a Son, the Æon. This, we shall not be rash in assuming, signifies not only the birth of the new year, but also still more profound mysteries, when we remember the words of the Naassene Document quoted above: “For such a man is the Virgin, big with child, conceiving and bearing a Son,—not psychic, not fleshly [nor, we may add, temporal], but /p. 162/ blessed Æon of Æons”—that is, an Eternity of Eternities, an immortal God.

We should also notice the crowing of the cock, which plays so important a part in the crucifixion-story in the Gospels, 1 and above all things the stigmata on the image, the symbols of a cosmic and human mystery.

THE MYSTERY OF THE BIRTH OF HORUS

In our own treatise the mysterious Birth of Horus is also referred to (35, 36) as follows.

Isis has handed on the tradition of the Coming of Osiris, the Divine emanation, the descent of the efflux of the Supreme, and Horus asks: “How was it, mother, then, that Earth received God’s efflux?”—where Earth may well refer to the “Dark Earth,” a synonym of Isis herself.

And Isis answers: “I may not tell the story of [this] birth; for it is not permitted to describe the origin of this descent, O Horus, [son] of mighty power, lest afterward the way of birth of the immortal Gods should be known unto men.”

Here I think we have a clear reference to the mysterious “Birth of Horus,” the birth of the gods,—that is to say, of how a man becomes a god, becomes the most royal of all souls, gains the kingdom, or lordship over himself. This mystery was not yet to be revealed to the neophyte—Horus—and yet this Birth is suggested to Tat by Hermes—C. H., xiii. (xiv.) 2—when he says: “Wisdom that understands in silence [such is the matter and the womb from out which Man is born] and the True Good the Seed.”

The womb is the mysterious Silence, the matter is

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[paragraph continues] Wisdom, Isis herself, the seed is the Good, the Agathodaimon, Osiris.

But in our treatise Horus has not yet reached to this high state; Isis, as the introductory words tell us, is pouring forth for him “the first draught of immortality” only, “which souls have custom to receive from gods”; he is being raised to the understanding of a daimon, but not as yet to that of a god.

All of this, moreover, seems to have been part and parcel of the Isis mystery-tradition proper, for as Diodorus (i. 25), following Hecatæus, informs us, it was Isis who “discovered the philtre of immortality, by means of which, when her son Horus, who had been plotted against by the Titans, and found dead (νεκρόν) beneath the water, not only raised him to life (ἀναστῆσαι) by giving him life (ψυχήν), but also made him sharer in immortality.”

Here we have evidence to show that in the mystery-myth Horus was regarded as the human soul, and that there were two interpretations of the mystery. It referred not only to the “rising from the dead” in another body, or return to life in another enfleshment, but also to a still higher mystery, whereby the consciousness of immortality was restored to the memory of the soul. The soul had been cast by the Titans, or the opposing powers of the subtle universe, into the deep waters of the Great Sea, the Ocean of Generation, or Celestial Nile, for as the mysterious informant of Cleombrotus told him, 1 these stories of Titans concerned daimons or souls proper, not bodies. 2

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From this death in the sea of matter, Isis, the Mother Soul, brings Horus repeatedly back to life, and finally bestows on him the knowledge of immortality, and so raises him from the “dead.” 1

This birth of the “true man” within, the logos, was and is for man the chief of all mysteries. In the Chapter on “The Popular Theurgic Hermes-Cult,” we have already, in elucidation of the sacramental formula, “Thou art I and I am thou,” quoted the agraphon from the Gospel of Eve concerning the Great Man and the Little Man or Dwarf, and lovers of the Aupaniṣhad literature of Hindu-Aryan theosophy need hardly be /p.165/ reminded of “the ‘man,’ of the size of a thumb,” within, in the ether of the heart. 1

“ISHON”

But what is of more immediate interest is that the same idea is to some extent found in the Old Covenant documents, especially in the Prophetical and Wisdom literature, which latter was strongly influenced by Hellenistic ideas.

Ishon, which literally means “little man” or “dwarf,” 2 is in A.V. generally translated “apple of the eye.” 3

Thus we read in a purely literal sense, referring to weeping: “Let not the apple of thine eye cease” (Lam. ii. 18).

It was, however, a common persuasion, that the intelligence or soul itself, not merely the reflection of the image of another person, resided in the eye, and was made manifest chiefly by the eye.

Thus the “apple of the eye” was used as a synonym for a man’s most precious possession, the treasure-house as it were of the light of a man.

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And so we read: “He [Yahweh] kept him [Israel] as the apple of his eye” (Ps. xvii. 8)—where ishon is in the Hebrew further glossed as the “daughter of the eye”; and again: “Thus saith the Lord of Hosts: . . . He that toucheth you toucheth the apple of his eye” (Zech. ii. 8).

The “apple of the eye” (ishon) was, then, something of great value, something very precious, and, therefore, we read in the Wisdom-literature that the punishment of the man who curses his father and mother is that “his lamp shall be put out in obscure (ishon) darkness” (Prov. xx. 20)—that is, that he shall thus extinguish the lamp of his intelligence, or perhaps spiritual nature, “in the apple of his eye there will be darkness”; and this connects with a passage in the Psalms which shows traces of the same Wisdom-teaching. “In the hidden part 1 [of man] thou shalt make me to know wisdom” (Ps. li. 6).

But the most striking passages are to be found in that pre-eminently Wisdom-chapter in the Proverbs-collection, where the true Israelite is warned to remain faithful to the Law (Torah), and to have no commerce with the “strange woman,” the “harlot”—that is, the “false doctrines” of the Gentiles. 2

“Keep my law as the apple of thine eye” (Prov. vii. 2), says the writer, speaking in the name of Yahweh, for he has seen the young and foolish being led astray by the “strange woman.” “He went the way to her house, in the twilight, in the evening; in the black (ishon) and dark night” (Prov. vii. 9). That is to say,/p167/ his lamp was put out; there was dark night in his eye, in that little man of his, which should be his true light-spark understanding the wisdom of Yahweh.

Here, I think, we have additional evidence, that the idea, that the pupil of the eye was the seat of the spiritual intelligence in man, was widespread in Hellenistic circles. 1 But even so, can we translate κόρη κόσμου as the “Apple of the World-Eye”? It is true that Isis is the instrument or organ of conveying the hidden wisdom to Horus, and that it is eventually Hermes or the Logos who is the true light itself, which shines through her, the pupil of Egypt’s eye, 2 out of that mysterious darkness, in which she found herself, when she received illumination at the hands of Kamephis; but is this sufficient justification for rejecting the traditional translation of the title, and adopting a new version?

On the whole I am inclined to think, that though the new rendering may at first sight appear somewhat strained, nevertheless in proportion as we become more familiarized with the idea and remember the thought-environment of the time, we may venture so to translate it. Isis, then, is the “Apple or Pupil of the Eye of Osiris.” On earth the “mysterious black” is Egypt /p168/ herself, the wisdom-land. Isis is the mysterious wisdom of Egypt, but in our treatise she is even more than this, for she is that wisdom but now truly illumined by the direct sight, the new dawn of the Trismegistic discipline of which she speaks (4).

To a Greek, however, the word κόρη would combine and not distinguish the two meanings of the title over which we have been labouring; but even as logos meant both “word” and “reason,” so korē would mean both “virgin” and “pupil of the eye”; but as it is impossible to translate it in English by one word, we have followed the traditional rendering.

THE SIXTY SOUL-REGIONS

We now turn to a few of the most important points which require more detailed treatment than the space of a footnote can accommodate. There are, of course, many other points that could be elaborated, but if that were done, the present work would run into volumes.

The number of degrees into which the soul-stuff (psychōsis) is divided, is given as three, and as sixty (10). If this statement stood by itself we should have been somewhat considerably puzzled to have known what to make of it, even when we remembered the mystic statement that 60 is par excellence the number of the soul, and that he who can unriddle the enigma will know its nature.

Fortunately, however, if we turn to S. I. H., 6 (Ex. xxvii.), we find that according to this tradition the soul-regions also were divided into 60 spaces, presumably corresponding to the types of souls.

They were in 4 main divisions and 60 special spaces, with no overlapping (7). These spaces were also called zones, firmaments or layers.

We are further told (6) that the lowest division, that

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is the one nearest to the earth, consists of 4 spaces; the second, of 8; the third, of 16; and the fourth, of 32.

And still further (7), that there were besides the 4 main divisions 12 intervallic ones. This introduces an element of uncertainty, for, as far as I am aware, we have no objective information which can enable us to determine how the intervallic divisions were located in the mind of the writer; speculation is rash, but a scheme has suggested itself to me, and I append it with all reservation.

First of all we have 4 main divisions or planes, separated from one another by 3 determinations of some sort, for the whole ordering pertains to the Air proper, and perhaps the 4 states of Air were regarded as earthy, watery, aery, and fiery Air. The 3 determinations may perhaps have been regarded as corresponding to the three main grades or florescences of the soul-stuff, which were apparently of a superior substance.

Each division of the 4 may further have been regarded as divided off by three intervallic determinations; so that we should have 3 such intervals in the lowest division, subdividing it into 4 spaces of 1 space each; 3 in the second, subdividing it into 4 spaces of 2 spaces each; 3 in the third, subdividing it into 4 spaces of 4 spaces each; and 3 in the fourth, subdividing it into 4 spaces of 8 spaces each. The sum of these intervals would thus be 12.

PLUTARCH’S YOGIN

In this connection, however, I cannot refrain from appending a pleasant story told by Plutarch. 1

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The speaker is Cleombrotus, a Lacedæmonian gentleman and man of means, who was a great traveller, and a greedy collector of information of all sorts to form the basis of a philosophical religion. He had spent much time in Egypt, and had also been a voyage beyond the Red Sea. On his travels Cleombrotus had heard of a philosopher-recluse, who lived in complete retirement, except once a year when he was seen by “the folk round the Red Sea”; then it was that a certain divine inspiration came upon him, and he came forth and “prophesied” to the nobles and royal scribes who used to flock to hear him. With great difficulty, and only after the expenditure of much money, Cleombrotus discovered the hermitage of this recluse, and was granted a courteous reception.

Our old philosopher was the handsomest man Cleombrotus had ever met, deeply versed in the knowledge of plants, and a great linguist. With Cleombrotus, however, he spoke Doric, and almost in verse, and “as he spake perfume filled the place from the sweetness of his breath.”

His knowledge of the various mystery-cults was profound, and his intimate acquaintance with the unseen world remarkable; he explained many things to Cleombrotus, and especially the nature of the daimones, and the important part they played as factors in any satisfactory interpretation of ancient mythology, seeing that most of the great myths referred to the doings of the daimones and not of mortals.

Cleombrotus, however, has told his story merely as an introduction to the quotation of a scrap of information let fall by the old philosopher concerning the plurality of worlds 1; thus, then, he continues:

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“THE PLAIN OF TRUTH”

“He told me that the number of worlds was neither infinite, nor one, nor five, but that there were 183 of them, arranged in the figure of a triangle of which each side contained 60, and of the remaining 3 one set at each angle. And those on the sides touch each other, revolving steadily as in a choral dance. And the area of the triangle is the Common Hearth of all, and is called the ‘Plain of Truth,’ 1 in which the logoi and ideas and paradigms of all things which have been, and which shall be, lie immovable; and the Æon [or Eternity] being round them [sc. the ideas], time flows down upon the worlds like a stream. And the sight and contemplation (θέαν) of these things is possible for the souls of men only once in ten thousand years, should they have lived a virtuous life. And the highest of our initiations here below is only the dream of that true vision and initiation 2; and the discourses [sc. delivered in the mystic rites] have been carefully devised to awaken the memory of the sublime things above, or else are to no purpose.”

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This statement I am inclined to regard as one of the most distinct pronouncements on the nature of the higher mysteries which has been preserved to us from antiquity, and the locus classicus and point of departure for any really fruitful discussion of the true nature of the philosophic mysteries, and yet I have never seen it referred to in this connection.

Our old philosopher was well acquainted with the Egyptian mystery-tradition, for Cleombrotus obtained information from him concerning the esoteric significance of Typhon and Osiris, and what I have quoted above falls naturally into place in the scheme of ideas of the tradition preserved in the treatise which we are discussing. 1 It, indeed, pertains to a higher side of the matter, for it purports to be the highest theoria of all, and possible for the souls even of the most righteous only at long periods of time.

Of course the representation is symbolical. The triangle is no triangle; it is the “plain of truth,” the “hearth of the universe.” The triangle, then, pertained to the plane of Fire proper and not Air. Still, the ordering of the “worlds” is similar to that of our soul spaces. The triangle is shut off from the manifested world by the Æon; it is out of space and time proper. Time flows down from it. The worlds proper are 3 worlds or cosmoi, each divided into 60 subordinate cosmoi, in choral dance, or orderly harmonious movement of one to the other. Our soul-spaces, then, may have been regarded as some reflection of these supernal conditions.

One is almost tempted to turn the plane triangle

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into a solid figure, a tetrahedron, 1 and imagine the idea of a world or wheel, at each of the four angles, and to speculate on the Wheels of Ezekiel, the prototype of the Mercabah or Heavenly Chariot of Kabalism, the Throne of Truth of the Supreme, but I will not try the patience of my readers any further, for doubtless most of them will have cried already: Hold, enough!

THE BOUNDARIES OF THE NUMBERS WHICH PREEXIST IN THE SOUL

Perhaps, however, it would be as well, before dismissing the subject, to consider very briefly what Plato, following Pythagoras, 2 has to say concerning the “boundaries” of all numbers which pre-exist in the soul. These soul-numbers are 1, 2, 3, 4, 8, 9, 27 (the combination of the two Pythagorean series 1, 2, 4, 8 and 1, 3, 9, 27), or 1, 2, 3, 2², 2³, 3², 3³. Of these numbers 1, 2, 3 are apportioned to the World-Soul itself, in its intellectual or spiritual aspect, and signify its abiding in (1), its proceeding from (2), and its returning to itself (3); this with regard to primary natures. But in addition, intermediate subtle natures or souls are “providentially” ordered in their evolution and involution, by the World-Soul; they proceed according to the power of the fourth term (4 or 2²), “which possesses generative powers,” and return according to that of the fifth (9 or 3²), “which reduces them to one.” Finally also solid or gross natures are also “providentially” ordered in their procession according to 8 (2³), and in their conversion according to 27 (3³). 3

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From all of which we get the following scheme of circular progression and conversion of the soul, the various main stages through which it passes:

With this compare the “Chaldæan Oracle” (ap. Psellus, 19): “Do not soil the spirit, nor turn the plane into the solid”—μὴ πνεῦμα μολύνῃς μῦτε βαθύνῃς τὸ ἐπίπεδον (ed. Cory, Or. clii., p. 270); where the four stages correspond to the point, line, plane, and solid. It is also to be remembered that since x0 = 1, 20 = 1 and 30 = l.

That these are the boundary numbers of the soul, according to Pythagoreo-Platonic tradition, is of interest, but how this can in any way be made to agree with the ordering of the soul-spaces in our treatise is a puzzle. That by adding these numbers together (1 + 2 + 3 + 4 + 8 + 9 + 27) we get 54, and by farther adding the numbers of the World-Soul proper (1 + 2 + 3) we get 6, and so total out the whole sum of the phases to 60, savours somewhat of “fudging,” as we used to call it at school. It is by no means convincing, for we are here combining particulars with universals as though they were of equal dignity; still the ancients frequently resort to such combinations.

That, however, there is something more than learned trifling in these numbers of Plato may be seen by the brilliant study of Adam on the “nuptial number” of Plato, 1 which was based upon the properties of the

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[paragraph continues] “Pythagorean triangle,” a right-angled triangle to the containing sides of which the values of 3 and 4 were given, the value of its hypothenuse being consequently 5; and 3 × 4 × 5 = 60. The numbers 3, 4, 5, together with the series 1, 2, 4, 8, and 1, 3, 9, 27, were the numerical sequences which supplied those “canons of proportion” with which the Pythagoreans and Platonists chiefly busied themselves.

Still, as far as I can see, this does not throw any clear light on the ordering of the soul spaces as given in our treatise, and we are therefore tempted to connect it with the tradition of the mysterious 60’s of Cleombrotus. But what that choral dance was which ordered the subordinate cosmoi into 60’s, and whether they proceeded by stages which might correspond to 3’s and 4’s and 5’s, we have, as far as I am aware, no data on which to base an argument. It may, however, have been connected with Babylonian ideas; the 3 may have been regarded as “falling into” 4, so making 12, and this stage in its turn have been regarded as “falling into” 5, and so making 60.

THE MYSTERIOUS CYLINDER

It is to be noticed, however, that before the souls revolted, the Demiurge “appointed for them limits and reservations 1 in the height of Upper Nature, that they might keep the cylinder a-whirl in proper order and economy” (11).

They were, then, confined to certain orderings and spaces. But what is the mysterious “cylinder” which they were to keep revolving?

So far I have come across nothing that throws any

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direct light on the subject. However, Proclus 1 says that Porphyry stated that among the Egyptians the letter χ, surrounded by a circle, symbolized the mundane soul.

It is curious that Porphyry should have referred this idea to the Egyptians, when he must have known that Plato, to whom Porphyry looked as the corypheus of all philosophy, had treated of the significance of the symbol X (in Greek χ) in perhaps the most discussed passage of the Timæus (36B). 2 This letter symbolized the mutual relation of the axes and equators of the sphere of the “same” (the “fixed stars”) and the sphere of the “other” (the “seven planetary spheres”). Porphyry, however, may have believed that Plato, or Pythagoras, got the idea in the first place from Egypt—the common persuasion of his school.

This enigma of Plato is described as follows by Jowett in his Introduction to the Timæus 3:

“The universe revolves round a centre once in twenty-four hours, but the orbits of the fixed stars take a different direction from that of the planets. The outer and the inner sphere cross one another and meet again at a point opposite to that of their first contact; the first moving in a circle from left to right along the side of a parallelogram which is supposed to be inscribed in it, the second also moving in a circle along the diagonal of the same parallelogram from right to left 4; or, in

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other words, the first describing the path of the equator, the second, the path of the ecliptic.”

We should thus, just as the Egyptians, according to Porphyry, symbolized it, represent the conception by the figure of a circle with two diameters suggesting respectively the equator and the ecliptic.

But what is the rectangular figure to which Jowett refers, but which he does not further describe? The circles are spheres; and, therefore, the rectangular figure must be a solid figure inscribed in the sphere “of the same.” If we now set the circle revolving parallel to the longer sides of the figure, this “parallelogram” will trace out a cylinder, while the seven spheres of the “other,” the “souls” of the “planets,” moving parallel to one of the diagonals of our figure, and in an opposite direction to the sphere of the “same,” will, by their mutual difference of rates of motion, cause their “bodies” (the souls surrounding the bodies) to trace out spiral orbits.

All this in itself, I confess, seems very far-fetched, and I should have thrown my notes on the subject into the waste-paper basket, but for the following consideration:

Basil of Cæsarea, in his Hexæmeron, or Homilies on

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the Six Days of Creation, declared it “a matter of no interest to us whether the earth is a sphere or a cylinder or a disk, or concave in the middle like a fan.” 1

The cylinder-idea, then, was a favourite theory with regard to the earth-shape in the time of Basil, that is the fourth century.

This cylinder-idea, however, I am inclined to think was very ancient. In the domain of Greek speculation we first meet with it in what little is known of the system of Anaximander of Miletus, the successor of Thales.

Anaximander is reported to have believed that “the earth is a heavenly body, controlled by no other power, and keeping its position because it is the same distance from all things; the form of it is curved, cylindrical, like a stone column; it has two faces; one of these is the ground beneath our feet, and the other is opposite to it.” 2

And again: “That the earth is a cylinder in form, and that its depth is one-third of its breadth.” 3

Now I have never been able to persuade myself that the earliest philosophers of Greece “invented” the ideas ascribed to them. They stood on the borderland of mythology and mysticism, and, in every probability, took their ideas from ancient traditions.

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[paragraph continues] Anaximander himself was in every probability indirectly, for all we know even directly, influenced by Egyptian and Chaldæan notions; indeed, who can any longer doubt in the light of the Cnossus excavations?” 1

Anaximander is thus said to have regarded the earth-cylinder as fixed, whereas in our treatise the cylinder is not the earth and is not fixed; it is, on the contrary, a celestial cylinder and in constant motion. Can it, then, possibly be that this cylinder notion was associated with some Babylonian idea, and had its source in that country par excellence of cylinders? In Babylonia, moreover, the cylinder-shape was frequently used for seals, fashioned like a small roller, so that the characters or symbols engraved on them could be impressed on soft substance, such as wax. Further, the Babylonian and Egyptian civilizations were, as we know, closely associated, and pre-eminently so in the matter of sigils and seals. In the Coptic-Gnostic works, translated from Greek originals, and indubitably mainly of Egyptian origin, the idea of “characters,” “seals,” and “sigils,” as types impressed on matter, is a commonplace.

Can our cylinder, then, have some connection with the circle of animal types, or types of life, of which so much is said in our treatise? The souls of the supernal man class would then have had the task of keeping this cylinder in motion, so that thereby the various types were continually impressed on the plasms in the sphere of generation, or ever-becoming—the wheel of genesis?

This may be so, for in P. S. A., 19, we read: “The air, moreover, is the engine, or machine, through which

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all things are made . . . mortal from mortal things and things like these.”

So also in K. K., 28, Hermes says: “And I will skillfully devise an instrument, mysterious, possessed of power of sight that cannot err . . . an instrument that binds together all that’s done.”

Here again we have the same idea, all connected with the notion of Fate or Heimarmene; the instrument of Hermes is the Kārmic Wheel, by which cause and effect are linked together, and that too with a moral purpose. 1

Finally, in connection with our cylinder, we may compare the Âryan Hindu myth of the “Churning of the Ocean,” in the Viṣhṇu Purāṇa. The churning-staff or Pillar was the heaven-mountain, round which was coiled the cosmic serpent, to serve as rope for twirling it. The rope was held at either end by the Devas and Asuras, or gods and dæmons. There is also a mystic symbol in India which probably connects with a similar range of ideas. It is two superimposed triangles (⧖), with their apices touching, and round the centre a serpent is twined,—a somewhat curious resemblance to our X and cylinder-idea. And so much for this puzzling symbol.

THE EAGLE, LION, DRAGON AND DOLPHIN

We now pass to the four leading types of animals, connected with souls of the highest rank—namely, the eagle, lion, dragon, and dolphin (24, 25)—which it may be of interest to compare with the symbolism of some of the degrees of the Mithriac Mysteries. 2

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[paragraph continues] In one of the preliminary degrees of the rite, we are informed, some of the mystæ imitated the voices of birds, others the roaring of lions. 1 All of this was interpreted by the initiates as having reference to transmigration or metempsychosis. Thus Porphyry 2 tells us that in the Mysteries of Mithras they called the mystæ by the names of different animals, so symbolizing man’s common lower nature with that of the irrational animals. Thus, for instance, they called some of the men “lions,” and some of the women “lionesses,” some were called “ravens,” while the “fathers,” the highest grade, were called “hawks” and “eagles.” The “ravens” were the lowest grade; those of the “lion” grade were apparently previously invested with the disguises and masks of a series of animal forms before they received the lion shape.

Porphyry tells us, further, that Pallas, who had, prior to Porphyry’s day, written an excellent treatise on the Mithriaca, now unfortunately lost, asserts that all this was vulgarly believed to refer to the zodiac, but that in truth it symbolized a mystery of the human soul, which is invested with animal natures of various kinds, 3

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according to the tradition of the Magi. Thus they call the sun (and therefore those corresponding to this nature) a bull, a lion, a dragon, and a hawk.

It is further to be remembered that Appuleius, 1 in describing the robe with which he was invested after his initiation into the Mysteries of Isis, tells us that he was enthroned as the sun, robed in twelve sacramental stoles or garments; these garments were of linen with beautiful paintings upon them, so that from every side “you might see that I was remarkable by the animals which were painted round my vestment in various colours.” This dress, he says, was called the “Olympic Stole.”

MOMUS

Finally, it may perhaps be of service to make the reader a little better acquainted with Momus.

Among the Greeks Momus was the personification of the spirit of fault-finding. Hesiod, in his Theogony (214), places him among the second generation of the children of Night, together with the Fates. From the Cypria 2 of Stasimus, 3 we learn that, when Zeus, in answer to Earth’s prayer to relieve her of her overpopulation of impious mankind, 4 first sent the Theban War, and on this proving insufficient, bethought him of annihilating the human race by thunderbolts (fire) and floods (water), Momus advises the Father of gods and men to marry the goddess Thetis to a mortal, so that a beautiful daughter (Aphrodite-Helen) might be born to / p. 183 /them, and so mankind, Greeks and Barbarians, on her account be involved in internecine strife—namely, the Trojan War. Further, the Scholiast on Il., i. 5, avers that it was Momus whom Homer meant to represent by the “will” or “counsel” of Zeus.

Sophocles, moreover, wrote a Satyric drama called “Momus,” 1 and so also Achæus. 2

Both Plato 3 and Aristotle 4 refer to Momus. Callimachus, the chief librarian of the Alexandrian Library, from 260-240 B.C., in his Ætia, 5 pilloried his critic and former pupil Apollonius Rhodius as Momus.

Momus, moreover, was a favourite figure with the Sophists and Rhetoricians, especially of the second century A.D. In Æl. Aristides, 6 Momus, as he could find no fault with Aphrodite herself, found fault with her shoe. 7 Lucian makes Aphrodite vow to oppose Momus tooth and nail, 8 and makes Momus find fault with even the greatest works of the gods, such as the house of Athene, the bull of Zeus, and the men of Hephæstus,—the last because the god-smith had not put windows in their breasts so that their hearts might be seen. 9

And, interestingly enough in connection with our treatise, Lucian, in one of his witty sketches, 10 makes

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[paragraph continues] Momus one of the persons of the dialogue with Zeus and Hermes. Momus finds fault because Bacchus is reckoned among the gods, and is commanded by Zeus to refrain from making ridicule of Hercules and Asclepius.

The popular figure of Momus was that of a feeble old man, 1—a very different representation from the grandiose Intelligence of our treatise, a true Lucifer.

Some representations give his one sharp tooth, and others wings. The story runs that Zeus finally banished him from Olympus for his fault-finding. 2

The Onomastica Vaticana 3 connects Momus with Mammon; but this side-issue need not detain us. 4

THE MYSTIC GEOGRAPHY OF SACRED LANDS

With regard to the symbolic figure of the Earth of §§ 46-48 of the second K. K. Extract, and the persuasion that Egypt was the heart or centre thereof, we may append two quotations on the subject from widely different standpoints. The first is from Dr Andrew D. White’s recent volumes 5:

“Every great people of antiquity, as a rule, regarded its own central city or most holy place as necessarily the centre of the earth.

“The Chaldeans held that their ‘holy house of the gods’ was the centre. The Egyptians sketched the world under the form of a human figure, in which Egypt was the heart, and the centre of it Thebes. For the Assyrians, it was Babylon; for the Hindus, it was Mount Meru; for the Greeks, so far as the civilized

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world was concerned, Olympus or the temple of Delphi; for the modern Mohammedans, it is Mecca and its sacred stone; the Chinese, to this day, speak of their empire as the ‘middle kingdom.’ It was in accordance, then, with a simple tendency of human thought that the Jews believed the centre of the world to be Jerusalem.

“The book of Ezekiel speaks of Jerusalem as in the middle of the earth, and all other parts of the world as set around the holy city. Throughout the ‘ages of faith’ this was very generally accepted as a direct revelation from the Almighty regarding the earth’s form. St Jerome, the greatest authority of the early Church upon the Bible, declared, on the strength of this utterance of the prophet, that Jerusalem could be nowhere but at the earth’s centre; in the ninth century Archbishop Kabanus Maurus reiterated the same argument; in the eleventh century Hugh of St Victor gave to the doctrine another scriptural demonstration; and Pope Urban, in his great sermon at Clermont urging the Franks to the crusade, declared, ‘Jerusalem is the middle point of the earth’; in the thirteenth century an ecclesiastical writer much in vogue, the monk Cæsarius of Heisterbach, declared, ‘As the heart in the midst of the body, so is Jerusalem situated in the midst of our inhabited earth,’—‘so it was that Christ was crucified at the centre of the earth.’ Dante accepted this view of Jerusalem as a certainty, wedding it to immortal verse; and in the pious book of travels ascribed to Sir John Mandeville, so widely read in the Middle Ages, it is declared that Jerusalem is at the centre of the world, and that a spear standing erect at the Holy Sepulchre casts no shadow at the equinox.

“Ezekiel’s statement thus became the standard of orthodoxy to early map-makers. The map of the world at Hereford Cathedral, the maps of Andrea Bianco,

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[paragraph continues] Marino Sanuto, and a multitude of others fixed this view in men’s minds, and doubtless discouraged during many generations any scientific statements tending to unbalance this geographical centre revealed in Scripture.”

So much for the righteous indignation of modern physical science; now for cryptology and mysticism. M. W. Blackden, in a recent article on “The Mysteries and the ‘Book of the Dead,’” writes as follows 1:

“One other key there is . . . without which it is useless to approach The Book of the Dead with the idea of discussing any of those gems of wisdom for which old Egypt was so famous. . . . The knowledge of its existence is no recent discovery: it is simply that ancient nations such as the Egyptians, Chaldees, and Jews, had a system of symbolic geography. . . .

“The Jewish and Egyptian priestly caste endeavoured to map out their lands in accordance with their symbols of spiritual things, so far as the physical features would permit. This symbolism of mountain, city, plain, desert, and river extended from the various parts and furniture of the Lodge, to use Masonic phraseology, up to the spiritual anatomy, as it were, of both macrocosm and microcosm.

“Thus in the Jewish Scriptures it is not difficult to distinguish, in the prophetic battles of the nations that were to rage round about Jerusalem, the same symbolism as we have more directly expressed in a little old book called The Siege of Mansoul, the author of which was the John Bunyan of The Pilgrim’s Progress, a man who could well grasp the excellence of geographical symbolism.

“I cannot, of course, here enter at length into the geographical symbols of Egypt, it would take too long; but as I have given Jerusalem as a symbol, I may say

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further that Jerusalem as a symbol corresponds to the Egyptian On, or Heliopolis, and so astronomically to the centre of the world and of the universe, and in the microcosm to the spiritual Heart of Man. 1

“But there is one difference between the Hebrew and Egyptian city; for whereas the actual Jerusalem corresponds among the Hebrew prophets to that Jerusalem that now is, and is in bondage with her children, Heliopolis corresponded among the Egyptian priesthood to that city which was to come, the Heavenly City, the New Heart, that should be given to redeemed mankind.”

Here then we have a thesis that deserves a volume to itself; and so I leave it to him who has a mind to undertake the labour.

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Footnotes
135:1 The arising of the knowledge of God among the Gods, and the gradual descent of this knowledge down to man, reminds us somewhat of the method of the descent of the “Gospel” in the system of Basilides.

137:1 Or rather apocalypse; see § 15: “As Hermes says when he speaks unto me.”

137:2 Cf. the Egregores of The Book of Enoch; see Charles’ Translation (Oxford; 1893), Index, under “Watchers.”

137:3 The new Manvantara following a periodical Pralaya, to use the terms of Indo-Aryan tradition.

137:4 The creation is figured in one Egyptian tradition as the bursting forth of the Creator into seven peals of laughter,—a sevenfold “Ha!”

138:1 Cf. the “florescence” of § 10.

140:1 Cf. the same idea as expressed by Basilides (ap. Hipp., Philos., vii. 27), but in reversed order, when, speaking of the consummation of the world-process, and the final ascension of the “Sonship” with all its experience gained from union with matter, he says of the remaining souls, which have not reached the dignity of the Sonship, that the Great Ignorance shall come upon them for a space.

“Thus all the souls of this state of existence, whose nature is to remain immortal in this state of existence alone, remain without knowledge of anything different from or better than this state; nor shall there be any rumour or knowledge of things superior in higher states, in order that the lower souls may not suffer pain by striving after impossible objects, just as though it were fish longing to feed on the mountains with sheep, for such a desire would end in their destruction. All things are indestructible if they remain in their proper condition, but subject to destruction if they desire to overleap and transgress their natural limits” (F. F. F., p. 270).

141:1 Cf. Cyril, C. Jul., i. 35; Frag. xvi.

141:2 Cf. §§ 29 and 37.

143:1 Cf. Hermes-Prayer, iii. 3.

143:2 This is of special interest as showing how the Egyptian tradition, in this pre-eminent above all others, did not limit the manifestation to the male sex alone.

144:1 Cf. C. H., xviii. 8 ff.

145:1 The “spirituous” or “aery” body, or vehicle, is composed of the sub-elements, but in it is a predominance of the sub-element “air,” just as in the physical there is a predominance of “earth.”—Philoponus, Proœm. in Aristot. de Anima; see my Orpheus (London, 1896), “The Subtle Body,” pp. 276-281. Cf. also S. I. H., 15, 20.

146:1 Compare this with the prāṇa’s of Indian theosophy; see C. H., x. (xi.) 13, Comment.

148:1 Cf. Diog. Laert., Proœm., i.: “The Egyptians say that Hephæstus (Ptah) was the son of Neilus (the Nile), and that he was the originator of philosophy, of that philosophy whose leaders are priests and prophets”—that is to say, a mystic philosophy of revelation.

148:2 Thus Suidas (s.v. “Ptah”) says that Ptah was the Hephæstus of the Memphite priesthood, and tells us that there was a proverbial saying current among them: “Ptah hath spoken unto thee.” This reminds us of our text: “As Hermes says when he speaks unto me.”

148:3 The type of Isis as utterer of “sacred sermons,” describing herself as daughter or disciple of Hermes, is old, and goes back demonstrably to Ptolemaic times. R. 136, n. 4; 137, n. 1.

149:1 ὁπότ᾽ ἐμὲ καὶ τῷ τελείῳ μέλανι ἐτίμησεν. This has hitherto been always supposed by the philological mind simply to refer to the mysteries of ink or writing, and that too without any humorous intent, but in all portentous solemnity. We must imagine, then, presumably, that it refers to the schooldays of Isis, when she was first taught the Egyptian equivalents for pothooks and hangers. This absurdity is repeated even by Meineke.

150:1 The more correct title of this work should be “Gnostic Jottings (or Notes) according to the True Philosophy,” as Clement states himself and as has been well remarked by Hort in his Ante-Nicene Fathers, p. 87 (London, 1895).

150:2 Op. cit., v. 11. Sopater (Dist. Quæst., p. 123, ed. Walz) speaks of these as “figures” (σχήματα), the same expression which Proclus (In Plat. Rep., p. 380) employs in speaking of the appearances which the Gods assume in their manifestations; Plato (Phædr., p. 250) calls them “blessed apparitions,” or beatific visions” (εὐδαίμονα φάσματα); the author of the Epinomis (p. 986) describes them as “what is most beautiful to see in the world”; these are the “mystic sights” or “wonders” (μυστικὰ θεάματα) of Dion Chrysostom (Orat., xii., p. 387, ed. Reiske); the “holy appearances” (ἅγια φαντάσματα) and “sacred shows” (ἱερὰ δεικνύμενα) of Plutarch (Wyttenbach, Fragm., vi. 1, t. v., p. 722, and De Profect. Virtut. Sent., p. 81, ed. Reiske); the “ineffable apparitions” (ἄρρητα φάσματα) of Aristides (Orat., xix. p. 416, ed. Dindorf); the “divine apparitions” (θεῖα φάσματα) of Himerius (Eclog., xxxii., p. 304, ed. Wernsdorf),—those sublime sights the memory of which was said to accompany the souls of the righteous into the after-life, and when they returned to birth. Cf. Lenormant (F.) on “The Eleusinian Mysteries” in The Contemporary Review (Sept. 1880), p. 416, who, however, thinks that these famous philosophers and writers bankrupted their adjectives merely for the mechanical figures and stage-devices of the lower degrees. See my “Notes on the Eleusinian Mysteries” in The Theosophical Review (April, May, June, 1898), vol. xxii., p. 156.

151:1 De Is. et Os., xxi.

151:2 Berl phil. Wochenschr. (1896), p. 1528; R. 137, n. 3.

151:3 R. 133, n. 2.

151:4 προτογόνῳ—cf. the προγενεστέρου πάντων above.

151:5 Epeius, ap. Eusebius, Præp. Ev., i. 10, p. 41 D.

151:6 Ap. Euseb., Præp., iii. 11, 45, p. 115.

152:1 Cf. the epithet “utterly hidden” found in the “Words (Logoi) of Ammon,” referred to by Justin Martyr, Cohort., xxxviii., and the note thereon in “Fragments from the Fathers.”

152:2 Typified by the dark-coloured body.

152:3 ζωοποιός—typified, presumably, by the girdle (the symbol of the woman) and the staff (the symbol of the man).

152:4 Chron., xl. (ed. Dind., i. 72).

153:1 Varro, De Gente Pop. Rom., ap. Augustine, De Civ. Dei, xviii. 3, 8; R. 139, n. 3.

154:1 It is said that with regard to ancient archaic texts which are still extant, modern Egyptology is able to translate them with greater accuracy than the priests of Manetho’s day; but this one may be allowed to question, unless the ancient texts are capable solely of a physical interpretation.

154:2 The Hermes, presumably, who was fabled to be the son of the Nile, not the physical Nile, but the Heaven Ocean, the Great Green, the Soul of Cosmos, and whom, we are told, the Egyptians would never speak of publicly, but, presumably, only within the circles of initiation. This Nile may be in one sense the Flood that hid the Books of Hermes in its depths or zones; but equally so the son of Nile may be the first Hermes after the Flood.

155:1 Wessley, Denkschr. d. k. Akad. (1893), p. 37, l. 500.

155:2 So R., though this is a meaning to which the lexicons give no support; the verb generally meaning “to defer” or “assent to.”

156:1 Compare also the mystery ritual in The Acts of John: “I am thy God, not that of the betrayer” (F. F. F., p. 434).

156:2 As the Gnostic Marcus would have called it.

156:3 On this ἱερός γάμος or γάμος πνευματικός, see Lobeck (C. A.), Aglaophamus (Königsberg, 1829), 608, 649, 651.

157:1 That is, the Agathodaimon.

157:2 That is, the “Birth of Horus.” Hippolytus, Philos., v. 8 (ed. Dunk, and Schneid, pp. 164, 166, ll. 86-94). see “Myth of Man in the Mysteries,” § 28. The last clause is the gloss of the later Christian over-writer.

158:1 The text is to be found in James (M. R.), Apocrypha Anecdota, ii. (Cambridge, 1897), in Texts and Studies; F. F. F., pp. 432, 433.

158:2 De Is. et Os., xxxiii.

158:3 Cf. this with K. K., 47, where Egypt is said to occupy the position of the heart of the earth.

158:4 Cf. K. K., 20: “Ye brilliant stars, eyes of the gods.”

158:5 Cited by Ebers, “Die Körperteile in Altägyptischen,” Abh. d. k. bayr. Akad. (1897), p. 111, where other references are given.

159:1 Compare also the Naassene document, § 8, in the “Myth of Man” chapter of the Prolegomena, where Isis is called “the seven-robed and black-mantled goddess.”

160:1 Cf. “Isis, the Queen of Heaven, whose most ancient and distinctive title was the Virgin Mother.” Marsham Adams (F.), The Book of the Master, or the Egyptian Doctrine of the Light born of the Virgin Mother (London, 1898), p. 63.

160:2 Hær., li. 22.

160:3 And pre-eminently, therefore, for Epiphanius, the Egyptians.

161:1 That is, the Temple of Korē. This can hardly be the Temple of Persephonē, as Dindorf (iii. 729) suggests, but rather the Temple of Isis.

161:2 Cf. D. J. L., pp. 407 ff.

162:1 Though some have conjectured that the “cock” was the popular name for the Temple-watchman who called the hours.

163:1 See below, where the story is given from Plutarch’s Moralia.

163:2 Compare The Book of the Dead, lxxviii. 31, 32; Budge’s Trans. (London, 1901), ii. 255: “I shall come forth . . . into the House of Isis, the divine lady. I shall behold sacred things which are hidden, and I shall be led on to the secret and holy things, even as they have granted unto me to see the birth of the Great God. Horus hath made me to be a spiritual body through his soul, [and I see what is therein].” Compare the last sentence with C. H., i. 7, and xi. (xii.) 6, where the pupil “sees” by means of the soul of his Master.

164:1 This passage, I believe, affords us an objective point of departure for the reconsideration of C. W. Leadbeater’s statement, in his Christian Creed (London, 1898), p, 45, that “Pontius Pilate” is a pseudo-historical gloss for πόντος πιλητός, the “dense sea” of “matter,” into which the soul is plunged. See for a discussion of this hypothesis D. T. L., pp. 423 ff.

In connection with this a colleague has supplied me with an exceedingly interesting note from Texts and Studies, iv. 2, Coptic Apocryphal Gospels, p. 177, Frag. 4. The Sahidic text is found in Rendiconti della R. Accademia dei Lincei, vol. iii., sem. 2, pp. 381-384 (Frammenti Copti, Nota Via), by Ignazio Guidi (1887). The legend runs that the Devil taking “the form of a fisherman,” goes fishing, and is met by Jesus as He was coming down from the Mount with His disciples. The Devil announces that “he who catcheth fish here, he is the Master. It is not a wonder to catch fish in the waters, the wonder is in this desert, to catch fish therein.” They then have a trial of skill, but the MS. unfortunately breaks off before the result is told. It is in this Fragment that the following remarkable sentence occurs: “Now as Pilate was saying these things before the authorities of Tiberius, the king, Herod, could not refrain from setting Pilate at naught, saying, ‘Thou art a Galilæan foreign Egyptian Pontus.’” The literal translation from the Coptic runs: “Thou art a Pontus Galilæan foreign Egyptian.”

165:1 Compare, for instance, Kaṭhopaniṣhad, Sec. ii., Pt. ii., iv. 11, 12: “The Man, of the size of a thumb, resides in the midst, within in the self, of the past and the future the lord; from him a man hath no desire to hide. This verily is That.

“The Man, of the size of a thumb, like flame free from smoke, of past and of future the lord, the same is to-day, to-morrow the same will he be. This verily is That.”—Mead and Chaṭṭopādhyāya’s Trans. (London, 1896), i. 68, 69.

Here “to-day” and “to-morrow” are said by some to refer to different incarnations; the “Man” (puruṣha) being the potential Self, destined finally to become, or grow into the stature of, the Great Self (Maha-puruṣha).

165:2 See the article, “Theosophic Light on Bible Shadows,” in The Theosophical Review (Nov. 1904), xxxv. 230, 231.

165:3 The minute image of a person reflected in the pupil of the eye of another may to some extent account for the popular belief underlying this identification.

166:1 The same idea which we found above in connection with Ammon.

166:2 To go “a-whoring” after strange gods and strange doctrines was the graphic figure invariably employed by Hebrew orthodoxy; “to commit fornication” not unfrequently echoes the same idea in the New Testament.

167:1 For the latest study on the subject, see Monseur (E.), “L’Âme Pupilline,” Rev. de l’Hist. des Relig. (Jan. and Feb. 1905), who discusses the significance in primitive religion of the reflected image to be seen in the pupil of the eye. This “little man” of the eye was taken to be its soul, and to control all its functions.

167:2 Cf., for the idea in the mind of the ancients, Tim. 45 B: “So much of the fire as would not burn, but gave a gentle light, they formed into a substance akin to the light of every-day life; and the pure fire which is within us and related thereto they made to flow through the eyes in a stream smooth and dense, compressing the whole eye, and especially the centre part, so that it kept out everything of a coarser nature, and allowed to pass only this pure element.”

169:1 De Defectu Oraculorum, xxi., xxii. (42lA-422C), ed. G. N. Bernardakis (Leipzig, 1891), iii. 97-101. See my paper, “Plutarch’s Yogī,” in The Theosophical Review (Dec. 1891), ix. 295-297.

170:1 In this referring to the passage in the Timæus, (55 C D), which runs: “Now, he who, duly reflecting on all this, enquires whether the worlds are to be regarded as indefinite or definite in number, will be of opinion that the notion of their indefiniteness is characteristic of a sadly indefinite and ignorant mind. He, however, who raises the question whether they are to be truly regarded as one or five, takes up a more reasonable position” (Jowett’s Trans., 3rd ed., iii. 475, 476).

171:1 Cf. S. I. H., 3: “Now as I chance myself to be as though initiate into the nature that transcendeth death, and that my feet have crossed the Plain of Truth”; and K. K., 22: “The Monarch came, and sitting on the Throne of Truth made answer to their prayers.” The locus classicus is, of course, Plato, Phædrus, 248 B.

171:2 Cf. K. K., 37: “’Tis they who, taught by Hermes that the things below have been disposed by God to be in sympathy with things above, established on the earth the sacred rites o’er which the mysteries in heaven preside.”

172:1 Our difficulty, however, is that Plutarch, in the words of one of his characters, rejects the idea of this numbering being in any way Egyptian, and ascribes it to a certain Petron of Himera in Sicily,—thereby suggesting a probable Pythagorean connection.

173:1 See the section, “Some Outlines of Æonology,” F. F. F., pp. 311-335.

173:2 See my Orpheus (London, 1896), pp. 255-262.

173:3 Cf. Taylor (T.), “Introd. to Timæus,” Works of Plato (London, 1804), p. 442.

174:1 Rep., viii. 545C-547A. See Adam (J.), The Nuptial Number of Plato: Its Solution and Significance (London, 1891).

175:1 Which may have been regarded as the prototypes of the soul-spaces.

176:1 Comment. in Plat. Tim., 216C; ed. C. E. C. Schneider (Vratislaviæ, 1847), p. 250.

176:2 A passage which Proclus, op. cit., 213A (ed. Sch., p. 152) further explains by means of the “harmonic canon” or ruler.

176:3 Jowett (B.), Dialogues of Plato (3rd ed., Oxford, 1892), iii. 403.

176:4 Cf. text 36C: “The motion of the same he carried round by the side to the right, and the motion of the diverse diagonally to the left,”—that is the side of the rectangular figure supposed to be inscribed in the circle of the “same,” and diagonally, across the rectangular figure from corner to corner; and 38D, 39A: “Now, when all the stars which were necessary to the creation of time [i.e. the spheres of the sun, moon, and five planets] had attained a motion suitable to them, and had become living creatures, having bodies fastened by vital chains, and learned their appointed task, moving in the motion of the diverse, which is diagonal, and passes through, and is governed by the motion of the same, they revolved, some in a larger and some in a lesser orbit. . . . The motion of the same made them turn all in a spiral.” With these instruments of “time,” surrounded by the sphere of the same, compare the idea of time flowing down on the worlds, from the Æon, in the story of Cleombrotus.

178:1 So quoted in Andrew Dickson White’s History of the Warfare of Science with Theology in Christendom (New York, 1898), i. 92. Dr White, unfortunately, does not give the exact reference. The “fan” is, of course, the winnowing fan, a broad basket into which the corn mixed with chaff was received after threshing, and was then thrown up into the wind, so as to disperse the chaff and leave the grain.

178:2 Alexander of Aphrodisias, Comment. on Aristotle in Meteor., 91r (vol. i., 268 I d); Diels, Doxographi Græci (Berlin, 1879), p. 478. Cf. Aëtius, De Placitis Reliquiæ, iii. 10 (Diels, 579).

178:3 Plutarch, Strom., 2 (Diels, 579). See Fairbanks (A.), The First Philosophers of Greece (London, 1898), pp. 13, 14.

179:1 Delitzsch also, in his Babel und Bibel, states that the great debt of early Greece to Assyria will be made clear in a forthcoming work of German scholarship.

180:1 I have also got a stray reference, “κύλινδρος, Plut., 2, 682 C, Xylander’s pages,” but I have not been able to verify this.

180:2 See Cumont (F.), Textes et Monuments figurés relat. aux Mystères de Mithra (Bruxelles, 1899), i. 315.

181:1 Ps. Augustine, Quæstt. Vet. et Nov. Test. (Migne, P. L., tom, xxxiv. col. 2214 f.).

181:2 De Abstinentia, iv. 16 (ed. Nauck, p. 253).

181:3 Cf. Clement of Alexandria on the Basilidian theory of “appendages,” remembering that the School of Basilides was strongly tinctured with Egyptian ideas. “The Basilidians are accustomed to give the name of appendages (or accretions) to the passions. These essences, they say, have a certain substantial existence, and are attached to the rational soul, owing to a certain turmoil and primitive confusion. On to this nucleus other bastard and alien natures of the essence grow, such as those of the wolf, ape, lion, goat, etc. . . . And not only do human souls thus intimately associate themselves with the impulses and impressions of irrational animals, but they even initiate the movements and beauties of plants, because they likewise bear the characteristics of plants appended to them. Nay, there are also certain characteristics [of minerals] shown by habits, such as the hardness of adamant” (F. F. F., p. 276).

182:1 Metamorphoses, Book xi.

182:2 Which Pindar and Herodotus ascribed to Homer himself.

182:3 See Frag. I. from the Scholion on Hom., Il., i. 5 ff.

182:4 See K. K., 34.

183:1 Frag. 369-374B (ed. Dind.); the context of which some believe to be found in Lucian’s Hermotimus, 20.

183:2 Frag. 29, from the Scholion on Aristophanes, Pax, 357.

183:3 Rep., vi. 487A: “Nor would even Momus find fault with this.”

183:4 De Partt. Animal., iii. 2.

183:5 And also at the end of his Hymn to Apollo, ii. 112; also Epigram. Frag., 70.

183:6 Or., 49; ed. Jebb, p. 497.

183:7 Cf. Julian, Ep. ad Dionys.

183:8 Dial. Deor., xx. 2.

183:9 Hermot., xx.; cf. Nig., xxxii.; Dial. Deor., ix.; Ver. Hist., ii. 3; Bab. Fab., lix.; and Jup. Trag., xxii.

183:10 Deor. Consil, iv.

184:1 Philostratus, Ep. 21.

184:2 For the above and other references, see Trümpel’s art. “Momus,” in Roscher’s Lexicon.

184:3 Lug., 194, 59.

184:4 See Nestle’s art. “Mammon,” in Cheyne’s Encyclopædia Biblica.

184:5 Op. supra cit., i. 98, 99.

186:1 The Theosophical Review (July, 1902), vol. xxx. pp. 406, 407.

187:1 “There is an old map of the world in the British Museum which demonstrates both these significations. See also Mappa Mundi, ‘Ebsdorf,’ 1284, and that in Hereford Cathedral made by Richard of Haldingham, one of the Prebends, 1290-1310.”

 

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Phowa deals directly with our fear of death and our aspiration for enlightenment. Phowa, or "transference of consciousness," is the Tibetan Buddhist method ... www.buddhistsinmalta.com/index_files/Page338.htm

 

 

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Phowa literally means "transference of consciousness". In old Tibet, ordinary people without the time or resources. to pursue a dedicated meditation and ... www.pcddallas.org/About_Phowa_Practice.htm

 

 

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23
2+3
=
5
=
5
13
P
H
O
-
W
A
-
-
-
-
-
-
-
-
-
7
-
-
-
5
1
+
=
13
1+3
=
4
-
4
-
16
-
--
`-
23
1
+
=
40
4+0
=
4
-
4
13
P
H
O
-
W
A
-
-
-
-
-
-
-
-
-
16
8
15
`-
23
1
+
=
63
6+3
=
9
-
9
-
7
8
6
-
5
1
+
=
27
2+7
=
9
-
9
13
P
H
O
-
W
A
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
-
-
-
-
-
5
-
-
-
5
occurs
x
1
=
5
-
-
-
6
-
-
-
-
-
6
occurs
x
1
=
6
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
-
-
8
-
-
-
-
-
-
8
occurs
x
1
=
8
13
P
H
O
-
W
A
-
-
27
-
1
5
-
27
-
--
-
-
-
-
-
-
-
2+7
-
-
-
-
2+7
13
P
H
O
-
W
A
-
-
9
-
1
5
-
9
7
8
6
-
5
1
-
-
-
-
-
-
-
-
13
P
H
O
-
W
A
-
-
9
-
-
5
-
9

 

 

 

 

B
=
2
-
3
BUT
43
7
7
T
=
2
-
4
THAT
49
13
4
W
=
5
-
3
WAS
43
7
7
T
=
2
-
3
THE
33
15
6
R
=
9
-
5
RIVER
72
36
9
-
-
20
4
18
First Total
240
78
33
-
-
2+0
-
1+0
Add to Reduce
2+4+0
7+8
3+3
S
-
2
4
9
Second Total
6
15
6
-
-
-
-
-
Reduce to Deduce
-
1+5
-
-
-
2
-
9
Essence of Number
6
6
6

 

 

N
=
5
-
3
NOW
52
16
7
T
=
2
-
4
THIS
56
20
2
I
=
9
-
2
IS
28
10
1
T
=
2
-
3
THE
33
15
6
S
=
1
-
3
SEA
25
7
7
S
-
19
4
15
First Total
194
68
23
-
-
1+9
-
1+5
Add to Reduce
1+9+4
6+8
2+3
S
-
10
4
6
Second Total
14
14
5
-
-
1+0
-
-
Reduce to Deduce
1+4
1+4
-
-
-
1
-
6
Essence of Number
5
5
5

 

 

I

LOVE EVOLVE LOVE

ALL IS LOVE IS LOVE IS ALL

AUM MANI PADME HUM

ALL HAIL THE JEWEL AT THE CENTRE OF THE LOTUS

 

 

I

ME

A MAN A NAME A MAN

A

NAME

I

MEAN

AMEN THE NAME

PROMETHEUS ORPHEUS MET ORPHEUS PROMETHEUS

THE

LIGHT

BRINGER

PROMETHEUS MORPHEUS ET MORPHEUS PROMETHEUS

 

 

I

ME

EGO

PARADISE

AND THE GARDEN OF EDEN

PARADE EYES IN THE GARDEN OF NEED

 

 

THE RA EXPEDITIONS
Thor Heyerdal 1970

Page 14

"The largest reed boats in Peru were depicted as two deckers. Quantities of water jars and other cargo were painted in on the lower deck, as well as rows of little people, and on the upper deck usually stood the earthly representative of the sun-god the priest king, larger than all his companions, surrounded by bird-headed men who were often hauling on ropes to help the reed boat through the water. The tomb paintings in Egypt also portrayed the sun-god's earthly represen-tative, the priest-king known as the pharaoh, like an imposing giant on his reed boat, surrounded by minature people, while / Page 15  / the same mythical men with bird heads towed the reed boat through the water.
     Reed boats and bird-headed men seemed to go together, for some inexplicable reason. For we had found them far out in the Pacific Ocean too, on Easter Island, where the sun-god's mask, the reed boats with sails, and the men with bird heads formed an inseperable trio amomg the wall-paintings and reliefs in the ancient ceremonial village of Orongo, with its solar observatory. Easter Island, Peru, Egypt. These strange parallels could hardly have been found further apart. Apparently they could hardly furnish better proof that men must have arrived independently at the same time in widely seperated places. Apparently. But what was even more strange was that the aboriginal people of Easter Island called the sun ra. Ra was the name for the sun on all the hundreds of Polynesian islands, so it could be no mere accident. Ra was also the name for the sun in ancient Egypt. No word was more important to the ancient Egyptian religion than Ra, the sun, the sun-god, ancestor of the pharaohs. The one who sailed reed boats, with an entourage of bird headed men. Giant monolithic statues as high as houses had been erected in honour of the sun-god's earthly priest-kings on Easter Island, in Peru and in ancient Egypt. And in all three places, solid rock had been sliced up like cheese into blocks as big as railway trucks and fitted together in stepped pyramids designed on an astronomical basis according to the movements of the sun. All in honour of the common ancestor, the sun, Ra. Was there some connection, or was it just coincidence?"

 

 

ASTROLOGY A STARRY LOGO

I S

 

 

www.kididdles.com/lyrics/t023.html - Cached - Similar►Twinkle Twinkle Little Star - Wikipedia, the free encyclopedia
"Twinkle, Twinkle, Little Star" is a popular English nursery rhyme. The lyrics are from an early nineteenth-century English poem, "The Star" by Jane Taylor. ...
en.wikipedia.org/wiki/Twinkle_Twinkle_Little_Star

 

Twinkle Twinkle Little Star
From Wikipedia, the free encyclopediaJump to: navigation, search
"Ah! vous dirai-je, Maman" redirects here. For the variations for piano by Wolfgang Amadeus Mozart, see Variations on "Ah vous dirai-je, Maman".
"Twinkle, Twinkle, Little Star"
Roud #7666

Music by Traditional
Lyrics by Jane Taylor
Published 1806
Written England
Language English
Form Nursery Rhyme

"Twinkle, Twinkle, Little Star" is a popular English nursery rhyme. The lyrics are from an early nineteenth-century English poem, "The Star" by Jane Taylor. The poem, which is in couplet form, was first published in 1806 in Rhymes for the Nursery, a collection of poems by Taylor and her sister Ann. It is sung to the tune of the French melody "Ah! vous dirai-je, Maman" (oldest known publication 1761).[1] The English lyrics have five stanzas, although only the first is widely known. It has a Roud Folk Song Index number of 7666.

Contents [hide]
1 Lyrics
2 Appearances of the melody
2.1 First appearances of the melody and the original French text version
2.2 French "nursery rhyme" version
2.3 Other text versions
3 Covers, remixes, samples and uses
4 Notes
5 External links

[edit] Lyrics
The English lyrics were first published as a poem with the title "The Star" by sisters Ann and Jane Taylor (1793–1824) in Rhymes for the Nursery in London in 1806.[2] The poem was probably written by Jane.[3] There are five stanzas. The repetition of the first two lines at the end of each verse is not in the original, but is needed to fit the usual melody. Below is the whole text with only the first phrase with the repetition of the first two lines added:

Twinkle Twinkle Little Star
Tune for Twinkle Twinkle Little Star

--------------------------------------------------------------------------------

Twinkle, twinkle, little star,
How I wonder what you are!
Up above the world so high,
Like a diamond in the sky!

Repeat:
*Twinkle, twinkle, little star,
How I wonder what you are!*

When the blazing sun is gone,
When he nothing shines upon,
Then you show your little light,
Twinkle, twinkle, all the night.
(*repeat)

Then the traveller in the dark,
Thanks you for your tiny spark,
He could not see which way to go,
If you did not twinkle so.
(*repeat)

In the dark blue sky you keep,
And often through my curtains peep,
For you never shut your eye,
Till the sun is in the sky.
(*repeat)

As your bright and tiny spark,
Lights the traveller in the dark,—
Though I know not what you are,
Twinkle, twinkle, little star.
(*repeat)[2][3][4]

 

Twinkle, twinkle, little star
How I wonder what you are.
Up above the world so high
Like a diamond in the sky
Twinkle, twinkle, little star
How I wonder what you are!

 

 

"I TALK TO THE TREES BUT THEY DON'T LISTEN TO ME. I TALK TO THE STARS, BUT THEY NEVER HEAR ME"

 

 

I TALK TO THE TREES

I talk to the trees, but they don't listen to me
I talk to the stars, but they never hear me
The breeze hasn't time to stop and hear what I say
I talk to them all in vain

But suddenly my words reach someone else's ear
Touch someone else's heartstrings, too
I tell you my dreams and while you're listening to me
I suddenly see them come true

I can see us on an April night
Looking out across a rollin' farm
Having supper in the candlelight
Walkin' later arm-in-arm

Then I'll tell you how I passed the day
Thinking mainly how the night would be
Then I'll try to find the words to say
All the things you mean to me

Then I'll tell you how I passed the day
Thinking mainly how the night would be
Then I'll try to find the words to say
All the things you mean to me

(Orchestral Interlude)

I tell you my dreams and while you're listening to me
I suddenly see them come true

 

Frani's words. Letter dated 28th October 2010.

Sweet Oak,

Silent, strong, alone

Me, silent, fragile, alone.

I sit at your side, me grounded, you reaching for the sky.

We connect, Spirit, mind, touch, we feel.

Free woman, brother oak,

Brother tree, sister me.

I live on the edge of the wind.

I change direction with it.

I am gentle like the summer breeze.

I am ferocious like the raging storm.

I am wild like it.

Feel me gently on your face

Feel me teasing through your hair

Hear me singing softly in your summer garden

Hear me screaming madly on the storm filled night.

I am free like it . . .

 

 

HOLY BIBLE

SCHOFIELD REFERENCE

SAINT JOHN

C 6 V 63

Page 1124

"IT IS THE SPIRIT THAT QUICKENETH; THE FLESH PROFITETH NOTHING

THE WORDS THAT I SPEAK UNTO YOU THEY ARE SPIRIT AND THEY ARE LIFE.

 

 

THOMAS MANN

MARIO AND THE MAGICIANS

1875 - 1955

Pages

286

7-8-9 - 90 91

18

THE

TABLES OF THE LAW

 

"DO NOT OPPRESS THEM. LOOK ON THEM AS YE LOOK ON YOURSELF AND GIVE THEM EQUAL RIGHTS, OR I SHALL CRASH DOWN UPON YOU. FOR THEY TOO STAND UNDER THE PROTECTION OF JAHWE. IN SHORT, DO NOT MAKE SUCH A STUPID, ARROGANT DISTINCTION BETWEEN THYSELF AND THE OTHERS, SO THAT THOU THINKEST THAT THOU ALONE ART REAL AND THOU ALONE COUNTEST WHILE THE OTHERS ARE ONLY A SEMBLANCE. YE BOTH HAVE LIFE IN COMMON, AND IT IS ONLY AN ACCIDENT THAT THOU ART NOT HE. THEREFORE DO NOT LOVE THYSELF ALONE BUT LOVE HIM IN THE SAME WAY, AND DO UNTO HIM AS THOU DESIREST THAT HE DO UNTO YOU. BE GRACIOUS WITH ONE ANOTHER AND KISS THE TIPS OF YOUR FINGERS WHEN YE PASS EACH OTHER AND BOW WITH CIVILITY AND SPEAK THE GREETING, 'BE HALE AND HEALTHY'. FOR IT IS QUITE AS IMPORTANT THAT HE BE HEALTHY AS THAT THOU BE HEALTHY. AND EVEN IF IT IS ONLY FORMAL CIVILITY THAT YE DO THUS AND KISS YOUR FINGERTIPS, THE GESTURE DOES LEAVE SOMETHING IN YOUR HEART OF THAT WHICH SHOULD BE THERE OF YOUR NEIGHBOUR."

TO THAT SAY

YE

AMEN AND THEY ALL SAID AMEN

 

 

THE

LOST LANGUAGE OF SYMBOLISM

AN ENQUIRY INTO THE ORIGIN OF CERTAIN

LETTERS, WORDS, NAMES, FAIRY-TALES, FOLK-LORE AND MYTHOLOGIES

Harold Bayley 1912

Page 284
"It is obvious that Jeshurun or "ISRAEL" refers frequently to something more than an historic tribe of Semitic demon-worshippers, and that ISRAEL, he or she, is sometimes a personification of the individual soul wandering in the wilderness. I suggest that the name ISRAEL resolves itself naturally into Is, " the Light of," RA, " the eternal Sun which has existed for ever,"

 

 

THE JESUS MYSTERIES

 
WAS THE ORIGINAL JESUS A PAGAN GOD
 
Timothy Freke & Peter Gandy 1999
 
"This book is dedicated to the Christ in you"

Page 177

"THE GOSPELS ARE ACTUALLY ANONYMOUS WORKS, IN WHICH EVERYTHING,WITHOUT EXCEPTION, IS WRITTEN IN CAPITAL LETTERS, WITH NO HEADINGS, CHAPTER OR VERSE DIVISIONS, AND PRACTICALLY NO PUNCTUATION OR SPACES BETWEEN WORDS. THEY WERE NOT WRITTEN IN THE ARAMAIC OF THE JEWS BUT IN GREEK"

 

 

Aubade

I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what's really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.
The mind blanks at the glare. Not in remorse
- The good not done, the love not given, time
Torn off unused - nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast, moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear - no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anasthetic from which none come round.

And so it stays just on the edge of vision,
A small, unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace-fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can't escape,
Yet can't accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.

Philip Larkin

 

 

I

ME

EGO

OGRE

CONSCIENCE

SHADE HADES SHADE

ENTERS THE NETERS

FUNERAL REAL FUN ISISIS FUN REAL FUNERAL

 

 

O

NAMUH

FOR YOU THERE IS ONLY ONE

JOURNEY THAT JOURNEY

THE

PATH OF PTAH

ENTERS THE NETERS

CONSCIOUSNESS INDIVIDUAL CONSCIOUSNESS

AWAKENING

INTO

UNIVERSAL MIND UNIVERSAL

 

 

ILLUSION GENERATED WITHIN REALITY

THAT THAT THAT

ISISIS

ISISIS

THAT THAT THAT

ILLUSION GENERATED WITHIN REALITY

 

 

LIFE DEATH LIFE GODS LIFE DEATH LIFE

THAT

THREAD OF THE R DEATH

THE

AWAKENING

 

 

GODS

CREATIVE CONSCIOUS CREATIVE

MIND

ABSORPTION AND MERGING I THAT AM INTO ME GODS ME INTO AM THAT I MERGING AND ABSORPTION

 

 

I

ME

EGO

OGRE

CONSCIENCE

THE

SENSES SELF SENSES

THAT THAT THAT

ISISIS

BECOMETH

WHOLE OF SOURCE

LIFE DEATH LIFE GODS LIFE DEATH LIFE

THAT

CYCLE OF THE CIRCLE OF THE CIRCLE OF THE CYCLE

 

 

THE GROUND GOES ROUND GODS ROUND GOES THE GROUND

 

 

PROMETHEUS PROMISE THOU US PROMETHEUS

THAT E THAT

PROMETHEUS PROMISE THEE US PROMETHEUS

 

 

PROMETHEUS MOTHERS PROMETHEUS

HOMER HOME ROME MORE MORSE MORPHEUS SUPREME TERM SURE USER USE SUE SOME

POUR PORE PRONE PROM SPUR TREE TOP HOUSE THE PROM ROMP

OPUS ME MET MUSE MOTH MEET EROS SORE ROSE

SPERM SPURT PUSH PORT POEM PROSE HOSE HORSE THEM MESH SHEM

 

 

PROMETHEUS ORPHEUS MET ORPHEUS PROMETHEUS

THE

LIGHT

BRINGER

PROMETHEUS MORPHEUS ET MORPHEUS PROMETHEUS

 

 

ELECTRIC ET CIRCLE

ET

CIRCLE ET ELECTRIC

 

 

ATUM 1234 4321 MUTA

MUTA 4321 1234 ATUM

 

 

IN SEARCH OF EXTRA TERRESTRIALS

Unsolved UFO sightings... strange secrets of the moon... new evidence that alien astronauts are exploring the earth

Alan Landsburg 1976

Page 79

" The words of J. B. S. Haldane came back to haunt me. He once wrote, "Now my suspicion is that the universe is not only queerer than we suppose, but queerer than we can suppose. I suspect that there are more things in heaven and earth than are dreamed of in any philosophy. That is the reason why I have no philosophy myself, and must be my excuse for dreaming."

 

 

A
=
1
-
4
ANY
40
13
4
S
=
1
-
4
SUFFICIENTLY
149
59
5
A
=
1
-
9
ADVANCED
54
27
9
T
=
2
-
2
TECHNOLOGY
124
52
7
I
=
9
-
5
IS
28
10
1
I
=
9
-
9
INDISTINGUISHABLE
182
83
2
F
=
6
-
2
FROM
52
25
7
M
=
4
-
2
MAGIC
33
24
6
-
-
33
-
61
First Total
662
293
41
-
-
3+3
-
6+1
Add to Reduce
6+6+2
2+9+3
4+1
-
-
6
-
7
Second Total
14
14
5
-
-
-
-
-
Reduce to Deduce
1+4
1+4
-
-
-
6
-
7
Essence of Number
5
5
5

 

 

REACH FOR TOMORROW

Arthur C. Clarke 1956

Introduction to 1989 Edition

"However I have made some interesting discoveries; for instance, on the very first page of the first story, I see the number 9000. Ive no idea why I selected it again for HALs serial number 20 years later. . . "

 I see the number 9000 Ive no idea why I selected it again for HALs serial number 20 years later. . . "

 

 

THE LOST WORLDS OF 2001

Arthur C. Clarke 1972

Page179

"A long time ago," said Kaminski, "I came across a remark that I've never forgotten-though I can't remember who made it. 'Any sufficiently advanced technology is indistinguishable from magic.' That's what we're up against here. Our lasers and mesotrons and nuclear reactors and neutrino telescopes would have seemed pure magic to the best scientists of the nineteenth century. But they could have understood how they worked-more or less-if we were around to explain the theory to them."

 Page 189

"The other is Clarke's Third* Law

"Any sufficiently advanced technology is indistinguishable from magic"

 

 

GODS OF THE DAWN

Peter Lemesurier

1997

"As Arthur C. Clarke's perceptive Third Law puts it:

"Any sufficiently advanced technology is indistinguishable from magic."

 

 

THE SECRET HISTORY

OF

ANCIENT EGYPT

Herbie Brennan

2000

"The British science fiction writer Arthur C. Clarke is said to have commented that

"any sufficiently high technology is indistinguishable from magic"

 

 

THE BIBLE CODE

Michael Drosnin 1997

Chapter Four

THE SEALED BOOK  

Page 70

"The astronomer Carl Sagan once noted that if there was other intelligent life in the universe some of it would have certainly evolved far earlier than we did, and had thousands, or hundreds of thousands, or millions, or hundreds of millions of years to develop the advanced technology that we are only now beginning to develop.

'After billions of years of biological evolution - on their planet and ours - an alien civilization cannot be in technological lockstep with us,' wrote Sagan.

'There 'have been humans for more than twenty thousand centuries, but we've had radio only for about one century,' wrote Sagan. 'If alien civilizations are behind us, they're likely to be too far behind us to have radio. And if they're ahead of us, they're likely to be far ahead of us. Think of the technical advances on our world over just the last few centuries. What is for us technologically difficult or impossible, what might seem to us like magic, might for them be trivially easy.'

The author of 2001, Arthur C. Clarke - who envisioned a mysterious black monolith that reappears at successive stages of human evolution, each time we are ready to be taken to a higher level - made a similar observation:

'Any sufficiently advanced technology is indistinguishable from magic.'

Page 163

pages 69-75 Chapter notes,
"The astronomer Carl Sagan suggested that an advanced alien technology 'might seem to us like magic' in Pale Blue Dot (Random House, 1994), p. 352.

The author of 2001, Arthur C. Clarke, made a similar observation: 'Any sufficiently advanced technology is indistinguishable from magic' (Profiles of the Future, Holt, Rinehart, and Winston, 1984).

Paul Davies' imagined 'alien artifact' is described in his book Are We Alone? (Basic Books, 1995), p. 42. Stanley Kubrick, in his famous movie version of Clarke's 2001, showed a mysterious black monolith that seemed to reappear at successive stages of human evolution, each time we were ready to be taken to a higher level. When I told him about the Bible code, Kubrick's immediate reaction was, 'It's like the monolith in 2001.' "

 

 

FIRST CONTACT

THE SEARCH FOR EXTRA TERRESTRIAL INTELLIGENCE

Edited By Ben Bova and Byron Preiss

1990

SEIZING THE MOMENT

A UNIQUE MOMENT IN HUMAN HISTORY

Michael Michaud 

ANTHROPOCENTRISM GOOD-BYE

Page311

"The most profound message from the aliens may never be spoken: We are not alone or unique. Contact would tell us that life and intelligence have evolved elsewhere in the Universe, and that they may be common by-products of cosmic evolution. Contact would tend to confirm the theory that life evolves chemically from inanimate mat- ter, through universal processes,implying that there are other alien civilizations in addition to the one we had detected. We might see ourselves as just one example of biocosmic processes, one facet of the Universe becoming aware of itself. We would undergo a revolution in the way that we conceive our own position in the Universe; any remaining pretense of centrality or a special role, any belief that we are a chosen species would be dashed for- ever, completing the process begun by Copernicus four centuries ago.

The revelation that we are not the most technologi-cally advanced intelligent species could lead to a humbling deflation of our sense of self-importance. We might reclassify ourselves to a lower level of ability and worth. This leveling of our pretensions, this anti-hubris, could be intensified if we were confronted with alien technology beyond our understanding.

 

(Arthur C. Clarke has observed that any sufficiently advanced technology would be indistinguishable from magic.)

"ANY SUFFICIENTLY ADVANCED TECHNOLOGY IS INDISTINGUISHABLE FROM MAGIC"

 

 

THE SUPERGODS

Maurice M Cotterell

1997

Page 118

"Sacrifice at first appears as penance, difficult and tortuous, attracting few followers. In the Hindu holy book, the Bhagava-Geeta, the teacher Lord Krishna supports this view saying:

Hear further the three kinds of pleasure. That which increases day after day and delivers one from misery, which at first seems like poison, but afterwards acts like nectar - that pleasure is pure, for it is born of wis-dom. That which is at first like nectar, because the senses revel in their objects, but in the end acts like poison - that pleasure arises from pas-sion. While the pleasure which from first to last merely drugs the senses, which springs from indolence, lethargy and folly - that pleasure flows from ignorance. (BG, 18:36-9)

"(BG, 18:36-9)"

 

 

HARMONIZED

Page number omitted

THE STUDENT'S ASSISTANT

 IN

ASTRONOMY AND ASTROLOGY

  : CONTAINING
 
 OBSERVATIONS ON THE REAL AND APPARENT MOTIONS OF THE
SUPERIOR PLANET8.-THE GEOCENTRIC LONGITUDE OF THE
       SUN AND SUPERIOR PLANETS,
              CALCULATED FOR 44 YEARS TO COME.
 Geocentric Longitude of the Planet Herschel for 100 years during the 18th Century. The Moon's Node on the first day of
         every month, from 1836 to 1880. Heliocentric
and Geocentric Longitude of all the
f
PLANETS' ASCENDING AND DESCENDING
NODES
LONGITUDE, LATITUDE, AND MAGNITUDE OF

ONE HUNDRED AND FORTY-FOUR

FIXED STARS, FOR PAST AND  FUTURE YEARS.
        Eclipses of the Sun visible in England.
 ALSO
           A DISCOURSE ON THE HARMONY OF
PHRENOLOGY, ASTROLOGY, AND PHYSIOGNOMY.
BY J.T. HACKET.
LONDON:
BRAY AND KING, 55, ST. MARTIN'S LANE,
         AND  E. GRATTAN, 51, PATERNOSTER ROW.
Milton Press J. Nichols, 9, Chandos Street. Strand.

PREFACE

"A work of this kind may not be so amusing to some individuals as a pleasing romance; yet it is hoped will prove to the Astronomical Stu-dent and learner, gratifying and instructive. At  the request of a select number of students, the present laborious calculations were made, in order to give others and themselves an opportu-nity of more perfectly understanding the appa-rent motions of the superior Planetary bodies herein mentioned, together with an illustration of the various phenomena the above planets present to us, the observers on this Earth, caused by the revolution of the planets and the earth, around the Sun, as the centre and great point of attraction tion to the Solar System. I have given a correct Table of the longitude and latitude of 144 fixed stars, calculated up to 1836,..."

"Table of the longitude and latitude of 144 fixed stars, calculated up to 1836,..."

Page 9 (number omitted)

INTRODUCTION TO ASTRONOMY.

"THIS Introduction is merely intended to con-vey a sufficient idea to those who are not already acquainted with the solar system, the propor-tional distances of the Planets' orbits from the Sun, and the Earth, together with the apparent motions of the superior planets, as viewed from this Earth, called their geocentric places or motions. The path of the Planets or circles which their orbits describe in the heavens, is called the Zodiac. Suppose it a belt 20° wide with the Ecliptic, orbit, or path of the Earth in the centre thereof; in as much as a planet's orbit differs from the exact plane of the Ecliptic, or orbit ,of the Earth, so much is the planet's latitude in degrees and minutes; the points where these imaginary circles intersect the Ecliptic, are cal!ed the nodes: The ascend-ing node is that point which the planet enters / Page 10 / for north latitude, the opposite is the descending node for south latitude. The Zodiac is divided into 12 Constellations, called signs, each sign divided into 30 degrees, each degree into minutes and seconds."

 

 

UNCONDITIONAL LIFE

MASTERING THE FORCES THAT SHAPE PERSONAL REALITY

Deepak Chopra 1991

A Mirage of Miracles

Page 89

"The Mask of Maya"

"...denoting the ability of gods to change form, to make worlds, to assume masks and disguises."

"Maya also means magic a show of illusions"

"Maya also denotes the delusion of thinking that you are seeing reality when in fact you are only seeing a layer of trick effects superimposed upon the real reality

True to its deceptive nature, Maya is full of paradoxes. First of all it is everywhere, even though it doesnt exist. It is / Page 90 / often compared with a desert mirage, yet unlike a mirage Maya does not merely float "out there" The Mysterious One is nowhere if not in each person. Finally Maya is not so omnipotent that we cannot control it - and that is the key point Maya is fearfull or diverting all powerful or completely impotent depending on your perspective."

"The fearfull illusion becomes a wonderful show if only you can manipulate it."

 

 

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Andrew Lloyd Webber lyrics
Album: Jesus Christ Super Star [1970]
Tracks 26

01 1. Overture.
02 2. Heaven On Their Minds.
03 3. What's The Buzz.
04 4. Strange Thing Mystifying.
05 5. Everything's Alright.
06 6. This Jesus Must Die.
07 1. Hosanna.
08 2. Simon Zealotes:
09 3. Poor Jerusalem.
10 4. Pilate's Dream.
11 5. The Temple.
12 6. Everything's Alright.
13 7. I Don't Know How To Love Him.
14 8. Damned For All Time.
15 9. Blood Money.
16 1. The Last Supper.
17 2. Gethsemane (I Only Want To Say).
18 3. Arrest.
19 4. Peter's Denial.
20 5. Pilate And Christ.
21 6. King Herod's Song.
22 1. Judas' Death.
23 2. Trial Before Pilate (Including The 39 Lashes).
24 3. Superstar.
25 4. The Crucifixion.
26 5. John Nineteen Forty-One.

all Andrew Lloyd Webber lyrics

 

1. Overture.


2. Heaven On Their Minds.

Judas:
My mind is clearer now - at last all too well
I can see where we all soon will be
If you strip away the myth from the man
You will see where we all soon will be
Jesus! You've started to believe the things they say of you
You really do believe this talk of God is true
And all the good you've done will soon get swept away
You've begun to matter more than the things you say
Listen Jesus I don't like what I see
All I ask is that you listen to me
And remember - I've been your right hand man all along
You have set them all on fire
They think they've found the new Messiah
And they'll hurt you when they find they're wrong
I remember when this whole thing began
No talk of God then - we called you a man
And believe me - my admiration for you hasn't died
But every word you say today
Gets twisted round some other way
And they'll hurt you if they think you've lied
Nazareth your famous son should have stayed a great unknown
Like his father carving wood - he'd have made good
Tables, chairs and oaken chests would have suited Jesus best
He'd have caused nobody's harm - no-one alarm
Listen Jesus do you care for your race?
Don't you see we must keep in our place?
We are occupied - have you forgotten how put down we are?
I am frightened by the crowd
For we are getting much too loud
And they'll crush us if we go too far
Listen Jesus to the warning I give
Please remember that I want us to live
But it's sad to see our chances weakening with every hour
All your followers are blind
Too much heaven on their minds
It was beautiful but now it's sour
Yes it's all gone sour
3. What's The Buzz.

(Bethany, Friday Night)

Apostles:
What's the buzz? Tell me what's happening

Jesus:
Why should you want to know?
Don't you mind about the future, don't you try to think ahead
Save tomorrow for tomorrow, think about today instead

Apostles:
What's the buzz? Tell me what's happening

Jesus:
I could give you facts and figures
I could give you plans and forecasts
Even tell you where I'm going -

Apostles:
When do we ride into Jerusalem

Jesus:
Why should you want to know?
Why are you obsessed with fighting times
and fates you can't defy?
If you knew the path we're riding you'd
understand it less then I

Apostles:
What's the buzz? Tell me what's happening

Mary Magdalene:
Let me try to cool down your face a bit

Jesus:
That feels nice, so nice
Mary that is good
While you prattled through your supper where and when and who
and how
She alone has tried to give me what I need right here and now

Apostles:
What's the buzz? Tell me what's happening
4. Strange Thing Mystifying.

Judas:
It seems to me a strange thing, mystifying
That a man like you can waste his time on women of her kind
Yes I can understand that she amuses
But to let her stroke you, kiss your hair is hardly
in your line
It's not that I object to her profession
But she doesn't fit in well with what you teach and say
It doesn't help us if you're inconsistent
They only need a small excuse to put us all away

Jesus:
Who are you to criticise her? Who are you to despise her?
Leave her, leave her, let her be now
Leave her, leave her, she's with me now
If your slate is clean - then you can throw stones
If your slate is not then leave her alone
I'm amazed that a man like you can be so shallow thick
and slow
There is no man among you who knows or cares if I come or go

All (save Judas):
No you're wrong! You're very wrong!
How can you say that!

Jesus:
Not one - not one of you!
5. Everything's Alright.

Mary Magdalene:
Try not to get worried, try not to turn on to
Problems that upset you oh don't you know
Everything's alright yes everything's fine
And we want you to sleep well tonight
Let the world turn without you tonight
If we try we'll get by so forget all about us tonight

Apostles' women:
Everything's alright yes everything's alright yes

Mary Magdalene:
Sleep and I shall soothe you, calm you and anoint you
Myrrh for your hot forehead and then you'll feel
Everything's alright yes everything's fine
And it's cool and the ointment's sweet
For the fire in your head and feet
Close your eyes close your eyes
And relax think of nothing tonight

Apostles' women:
Everything's alright yes everything's alright yes

Judas:
Woman your fine oinment - brand new and expensive
Could have been saved for the poor
Why has it been wasted? We could have raised maybe
Three hundred silver pieces or more
People who are hungry, people who are starving
Matter more than your feet and hair

Mary Magdalene:
Try not to get worried, try not to turn on to
Problems that upset you oh don't you know
Everything's alright yes everything's fine
And we want you to sleep well tonight
Let the world turn without you tonight
If we try we'll get by so forget all about us tonight

Apostles' women:
Everything's alright yes everything's alright yes

Jesus:
Surely you're not saying we have the resources
To save the poor from their lot?
There will be poor always pathetically struggling -
Look at the good things you've got!
Think! While you still have me
Move! While you still see me
You'll be lost you'll be so sorry when I'm gone

Mary Magdalene:
Sleep and I shall soothe you, calm you and anoint you
Myrrh for your hot forehead and then you'll feel
Everything's alright yes everything's fine
And it's cool and the ointment's sweet
For the fire in your head and feet
Close your eyes close your eyes
And relax think of nothing tonight

All:
Everything's alright yes everything's alright yes
6. This Jesus Must Die.

(Jerusalem, Sunday)

Priest 1:
Good Caiaphas the counsil waits for you
The Pharisees and priests are here for you

Caiaphas:
Ah gentlemen - you know why we are here
We've not much time and quite a problem here

Mob outside:
Hosanna! Superstar!

Annas:
Listen to that howling mob of blockheads in the street!
A trick or two with lepers and the whole town's on its feet

All:
He is dangerous

Mob outside:
Jesus Christ Superstar -
Tell us that you're who will say you are

All:
He is dangerous

Priest 2:
The man is in town right now to whip us some support

Priest 3:
A rabble rousing mission that I think we must abort

All:
He is dangerous

Mob outside:
Jesus Christ Superstar!

All:
He is dangerous

Priest 2:
Look Caiaphas - they're outside our yard

Priest 3:
Quick Caiaphas - go call the Roman guard

Caiaphas:
No wait - we need a more permanent solution to our problem

Annas:
What then to do about Jesus of Nazareth
Miracle wonderman - hero of fools?

Priest 3:
No riots, no army, no fighting, no slogans

Caiaphas:
One thing I'll say for him - Jesus is cool

Annas:
We dare not leave him to his own devices
His half - witted fans will get out of control

Priest 3:
But how can we stop him? His glamour increases
By leaps every minute - he's top of the poll

Caiaphas:
I see bad things arising - the crowd crown him king
Which the Romans would ban
I see blood and destruction, our elimination
because of one man
Blood and destruction because of one man

All:
Because, because, because of one man

Caiaphas:
Our elimination because of one man

All:
Because, because, because of one
'Cause of one, 'cause of one man

Priest 3:
What then to do about this Jesusmania?

Annas:
How do we deal with the carpenter king?

Priest 3:
Where do we start with a man who is bigger
Than John was when John did his Baptism thing?

Caiaphas:
Fools! You have no perception!
The stakes we are gambling are frightenly high!
We must crush him completely
So like John before him, this Jesus must die
For the sake of the nation this Jesus must die

All:
Must die, must die, this Jesus must die

Caiaphas:
So like John before him this Jesus must die

All:
Must die, must die, this Jesus must,
Jesus must, Jesus must die.

 

 

SIDE TWO
1. Hosanna.

Crowd:
Hosanna Heysanna Sanna Sanna Ho
Sanna Hey Sanna Ho Sanna
Hey JC, JC won't you smile at me?
Sanna Ho Sanna Hey Superstar

Caiaphas:
Tell the rabble to be qiuet we anticipate a riot
This common crowd is much to loud
Tell the mob who sing your song
That they are fools and they are wrong
They are a curse, they should disperse

Crowd:
Hosanna Heysanna Sanna Sanna Ho
Sanna Hey Sanna Ho Sanna
Hey JC, JC you're alrigt by me
Sanna Ho Sanna Hey Superstar

Jesus:
Why waste your breath moaning at the crowd?
Nothing can be done to stop the shouting
If every tongue was still the noise would still continue
The rocks and stones themselves would start to sing

Crowd (with Jesus):
Hosanna Heysanna Sanna Sanna Ho
Sanna Hey Sanna Ho Sanna
Hey JC, JC won't you fight for me?
Sanna Ho Sanna Hey Superstar
2. Simon Zealotes:

Crowd:
Christ you know I love you did you see I waved?
I believe in you and God so tell me that I'm saved
Christ you know I love you did you see I waved
I believe in you and God so tell me that I'm saved
Jesus I am with you touch me touch me Jesus
Jesus I am on your side kiss me kiss me Jesus

Simon Zealotes:
Christ, what more do you need to convince you
That you've made it and you're easily as strong
As the fifth from Rome who rape our country
And who've terrorized our people for so long?

Crowd:
Christ you know I love you did you see I waved?
I believe in you and God so tell me that I'm saved
Christ you know I love you did you see I waved
I believe in you and God so tell me that I'm saved
Jesus I am with you touch me touch me Jesus
Jesus I am on your side kiss me kiss me Jesus

Simon Zealotes:
There must be over fifty thousand
Screaming love and more for you
And everyone of fifty thousand
Would do whatever you ask him to
Keep them yelling their devotion
But add a touch of hate at Rome
You will rise to a greater power
We will win ourselves a home
You'll get the power and the glory
For ever and ever and ever
Amen! Amen!
3. Poor Jerusalem.

Jesus:
Neither you Simon, nor the fifty thousand
Nor the Romans, nor the Jews
Nor Judas, nor the twelve, nor the Priests, nor the scribes
Nor doomed Jerusalem itself
Understand what power is
Understand what glory is
Understand at all... understand at all
If you knew all that I knew, my poor Jerusalem
You'd see the truth, but you close your eyes
But you close your eyes
While you live your troubles are many, poor Jerusalem
To conquer death you only have to die
You only have to die
4. Pilate's Dream.

(Pontius Pilate's house, Monday)

Pilate:
I dreamt I met a Galilean a most amazing man
He had that look you very rarely find
The haunting hunted kind
I asked him to say what had happened how it all began
I asked again - he never said a word
As if he hadn't heard
And next the room was full of wild and angry men
They seemed to hate this man - they fell on him and then
They disappeared
Then I saw thousands of millions crying for this man
And then I heard them mentioning my name
And leaving me the blame
5. The Temple.

(The temple)

Moneylenders and merchants:
Roll on up - for my price is down
Come on it - for the best in town
Take your pick of the finest wine
Lay your bets on this bird of mine
Roll on up - for my price is down
Come on it - for the best in town
Take your pick of my finest wine
Lay your bets on this bird of mine
Name your price I got everything
Come and buy it's all going fast.
Borrow cash on the finest terms
Hurry now while stocks still last

Jesus:
My temple should be a house of prayer
But you have made it a den of thieves
Get out! Get out!
My time is almost through
Little left to do
After all I've tried for three years
Seems like thirty, seems like thirty

Crowd:
See my eyes I can hardly see
See me stand I can hardly walk
I believe you can make me whole
See my tongue I can hardly talk
See my skin I'm a mass of blood
See my legs I can hardly stand
I believe you can make me well
See my purse I'm a poor poor man
Will you touch will you mend me Christ
Won't you touch will you heal me Christ
Will you kiss you can cure me Christ
Won't you kiss won't you pay me Christ

Jesus:
There's too many of you - don't push me
There's too little of me - don't crowd me
Heal yourselves!
6. Everything's Alright.

Mary Magdalene:
Try not to get worried try not to turn on to
Problems that upset you oh don't you know
Everything's alright yes everything's fine

Jesus:
And I think I shall sleep well tonight
Let the world turn without me tonight

Mary Magdalene:
Close your eyes close your eyes
And forget all about us tonight
7. I Don't Know How To Love Him.

Mary Magdalene:
I don't know how to love him
What to do how to move him
I've been changed yes really changed
In these past few days when I've seen myself
I seem like someone else
I don't know how to take this
I don't see why he moves me
He's a man he's just a man
And I've had so many men before in very many ways
He's just one more
Should I bring him down should I scream and shout
Should I speak of love let my feelings out
I never thought I'd come to this - what's it all about
Don't you think it's rather funny
I should be in this position
I'm the one who's always been
So calm so cool, no lover's fool running every show
He scares me so

I never thought I'd come to this - what's it all about
Yet if he said he loves me
I'd be lost I'd be frightened
I couldn't cope just couldn't cope
I'd turn my head, I'd back away, I wouldn't want to know
He scares me so
I want him so
I love him so
8. Damned For All Time.

(Tuesday)

Judas:
Now if I help you it matters that you see
These sordid kinds of things are coming hard to me
It's taken me some time to work out what to do
I weighed the whole thing up before I came to you
I have no thought at all about my own reward
I really didn't come here of my own accord
Just don't say I'm
Damned for all time
I came because I had to I'm the one who saw
Jesus can't control it like he did before
And further more I know that Jesus thinks so too
Jesus wouldn't mind that I was care with you
I have no thought at all about my own reward
I really didn't come here of my own accord
Just don't say I'm
Damned for all time
Annas you're a friend a wordly man and wise
Caiaphas my friend I know you symphathise
Why are we the prophets? Why are we the ones?
Who see the sad solution - know what must be done
I have no thought at all about my own reward
I really didn't come here of my own accord
Just don't say I'm damned
For all time

Annas:
Cut the protesting forget the excuses
We want information get up off the floor

Caiaphas:
We have the papers we need to arrest him
You know his movements - we know the law

Annas:
Your help in this matter won't go unrewarded

Caiaphas:
We'll pay you in silver - cash on the nail
We just need to know where the soldiers can find him

Annas:
With no crowd around him

Caiaphas:
Then we can't fail
9. Blood Money.

Judas:
I don't need your blood money!

Caiaphas:
Oh that doesn't matter our expenses are good

Judas:
I don't want your blood money!

Annas:
But you might as well take it - we think that you should

Caiaphas:
Think of the things you can do with that money
Choose any charity - give to the poor
We've noted your motives - we've noted your feelings
This isn't blood money - it's a fee nothing
Fee nothing, fee nothing more

Judas:
On Thursday night you'll find him where you want him
Far from the crowds in the Garden of Gethsemane

Choir:
Well done Judas
Good old Judas

 

 

SIDE THREE
1. The Last Supper.

(Thursday night, the Last Supper)

Apostles:
Look at all my trials and tribulations
Sinking in a gentle pool of wine
Don't disturb me now I can see the answers
Till this evening is this morning life is fine
Always hoped that I'd be an apostle
Knew that I would make it if I tried
Then when we retire we can write the gospels
So they'll still talk about us when we've died

Jesus:
The end...
Is just a little harder when brought about by friends
For all you care this wine could be my blood
For all you care this bread could be my body
The end!
This is my blood you drink
This is my body you eat
If you would remember me when you eat and drink
I must be mad thinking I'll be remembered - yes
I must be out of my head!
Look at your blank faces! My name will mean nothing
Ten minutes after I'm dead!
One of you denies me
One of you betrays me -

Apostles:
Not I! Who could? Impossible!

Jesus:
Peter will deny me in just a few hours
Three times will deny me - and that's not all I see
One of you here dining, one of my twelve chosen
Will leave to betray me -

Judas:
Cut out the dramatics! You know very well who -

Jesus:
Why don't you go do it?

Judas:
You want me to do it?

Jesus:
Hurry they're waiting

Judas:
If you knew why I do it...

Jesus:
I don't care why you do it!

Judas:
To think I admired you but for now I despise you

Jesus:
You liar - you Judas

Judas:
You want me to do it!
What if I just stayed here and ruined your ambition?
Christ you deserve it!

Jesus:
Hurry you fool, hurry and go
Save me your speeches, I don't wanna know - GO!

Apostles:
Look at all my trials and tribulations
Sinking in a gentle pool of wine
What's that in the bread it's gone to my head
Till this morning is this evening life is fine
Always hoped that I'd be an apostle
Knew that I would make it if I tried
Then when we retire we can write the gospels
So they'll all talk about us when we die

Judas:
You said pathetic man - see where you've brought us to
Our ideals die around us all because of you
And now the saddest cut of all -
Someone has to turn you in
Like a common criminal, like a wounded animal
A jaded mandarin
A jaded mandarin
A jaded jaded faded mandarin

Jesus:
Get out! They're waiting! Get out!
They're waiting for you

Judas:
Every time I look at you I don't understand
Why you let the things you did get so out of hand
You'd have managed better if you'd had it planned -

Apostles:
Look at all my trials and tribulations
Sinking in a gentle pool of wine
Don't disturb me now I can see the answers
Till this evening is this morning life is fine
Always hoped that I'd be an apostle
Knew that I would make it if I tried
Then when we retire we can write the gospels
So they'll still talk about us when we've died

Jesus:
Will no-one stay awake with me?
Peter? John? James?
Will none of you wait with me?
Peter? John? James?
2. Gethsemane (I Only Want To Say).

(In the Garden of Gethsemane)

Jesus:
I only want to say
If there is a way
Take this cup away from me for I don't want to taste
its poison
Feel it burn me, I have changed, I'm not as sure as
when we started
Then I was inspired
Now I'm sad and tired
Listen surely I've exceeded espectations tried for three years
Seems like thirty
Could you ask as much from any other man?
But if I die
See the saga through and do the things you ask of me
Let them hate me, hit me, hurt me, nail me to their tree
I'd wanna know I'd wanna know my God
I'd wanna see I'd wanna see my God
Why I should die
Would I be more noticed than I ever was before?
Would the things I've said and done matter anymore?
I'd have to know I'd have to know my Lord
I'd have to see I'd have to see my Lord
If I die what will be my reward?
I'd have to know I'd have to know my Lord
Why should I die?
Can you show me now that I would not be killed in vain?
Show me just a little of your omnipresent brain
Show me there's a reason for your wanting me to die
You're far too keen on where and how and not so hot on why
Alright I'll die!
Just watch me die!
See how I die!
Then I was inspired
Now I'm sad and tired
After all I've tried for three years seems like ninety
Why then am I scared to finish what I started
What you started - I didn't start it
God thy will is hard
But you hold every card
I will drink your cup of poison
Nail me to your cross and break me
Bleed me beat me kill me take me now -
Before I change my mind
3. Arrest.

Judas:
There he is! They're all asleep - the fools!

Jesus:
Judas - must you betray me with a kiss?

Peter:
What's the buzz? Tell me what's happening

Peter & Apostles:
What's the buzz? Tell me what's happening
Hang on Lord we're gonna fight for you

Jesus:
Put away your sword
Don't you know that it's all over? It was nice but
now it's gone
Why are you obsessed with fighting? Stick to fishing
from now on

Crowd:
Tell me Christ how you feel tonight
Do you plan to put up a fight?
Do you feel that you've had the breaks?
What would you say were your big mistakes?
Do you think that you may retire?
Did you think you would get much higher?
How do you view your coming trial?
Have your men proved at all worth while?
Come with us to see Caiaphas
You'll just love the High Priest's house
You'll just love seeing Caiaphas
You'll just die in the High Priest's house
Come on God this is not like you
Let us know what you're gonna do
You know what your suppoters feel
You'll escape in the final real
Tell me Christ how you feel tonight
Do you plan to put up the fight?
Do you feel that you've had the breaks?
What would you say were your big mistakes?
Come with us to see Caiaphas
You'll just love the High Priest's house
You'll just love seeing Caiaphas
You'll just die in the High Priest's house
Now we have him! Now we have got him!

Caiaphas:
Jesus you must realize the serious charges facing you
You say you're the Son of God in all your handonts -
Well is it true?

Jesus:
That's what you say - you say that I am

Annas:
There you have it gentlemen - what more evidence still we need
Judas thank you for the victim - stay a while and you'll see
it bleed

Crowd:
Now we have him! Now we have got him!
Take him to Pilate!
4. Peter's Denial.

Maid by the fire:
I think I've seen you somewhere I remember
You were with that man they took away
I recognize your face

Peter:
You've got the wrong man lady I don't know him
And I wasn't where he was tonight - never near the place

Soldier:
That's strange for I'm sure I saw you with him
You were right by his side and yet you denied -

Peter:
I tell you I was never ever with him

Old man:
But I saw you too - it looked just like you

Peter:
I don't know him!

Mary Magdalene:
Peter - don't you know what you have said
You've gone and cut him dead

Peter:
I had to do it don't you see?
Or else they'd go for me

Mary Magdalene:
That's what he told us you would do -
I wonder how he knew ...
5. Pilate And Christ.

(Friday)

Pilate:
Who is this broken man cluttering up my hallway?
Who is this unfortunate?

Soldier:
Someone Christ - king of the Jews

Pilate:
Oh so this is Jesus Christ, I am really quite surprised
You look so small - not a king at all
We all know that you are news - but are you king
King of the Jews?

Jesus:
That's what you say

Pilate:
What do you mean by that? That is not an answer
You're deep in trouble friend -
Someone Christ - king of the Jews
How can someone in your state be so cool about your fate?
An amazing thing - this silent king
Since you come from Galilee then you need not come to me
You're Herod's race! You're Herod's case!

Mob:
Hosanna Hey Sanna Sanna Sanna Ho
Sanna Hey Sanna Ho and how
Hey JC, JC please explain to me
You had everything where is it now?
6. King Herod's Song.

Herod:
Jesus I am overjoyed to meet you face to face
You've been getting quite a name all around the place
Healing cripples raising from the dead
And now I understand you're God
And least that's what you've said
So you are the Christ you're the great Jesus Christ
Prove to me that you're divine - change my water into wine
That's all you need do and I'll know it's all true
C'mon king of the Jews
Jesus you just won't believe the hit you've made round here
You are all we talk about the wonder of the year
Oh what a pity if it's all a lie
Still I'm sure that you can rock the cynics if you try
So you are the Christ you're the great Jesus Christ
Prove to me that you're no fool walk across
my swimming pool
If you do that for me then I'll let you go free
C'mon king of the Jews
I only ask things I'd ask any superstar
What is it that you have got that puts you where you are
I am waiting yes I'm a captive man
I'm dying to be shown that you are not just any man
So if you are the Christ yes the great Jesus Christ
Feed my household with this bread - you can do it
on your head
Or has something gone wrong? Why do you take so long?
C'mon king of the Jews
Hey! Aren't you scared of me Christ? Mr Wonderful Christ!
You're joker you're not the Lord - you are nothing but a fraud
Take him away - he's got nothing to say!
Get out you king of the Jews! Get out of My Life!

 

 

SIDE FOUR
1. Judas' Death.

Judas:
My God! I saw him - he looked three-quarters dead!
And he was so bad I had to turn my head
You beat him so hard that he was bent and lame
And I know who everybody's gonna blame
I don't believe he knows I acted for our good
I'd save him all this suffering if I could
Don't believe ... our good ... save him ... if I could

Priest 3:
Cut the confessions forget the excuses
I don't understand why you feel with remorse
All that you've said has come true with a vengeance
The mob turned against him - you backed the right horse

Caiaphas:
What you have done will be the saving of Israel
You'll be remembered forever for this
And not only that you've been paid for your efforts
Prettly good wages for one little kiss

Judas:
Christ! I know you can't hear me
But I only did what you wanted me to
Christ! I'd sell out the nation
For I have been saddled with the murder of you
I have been spattered with innocent blood
I shall be dragged through the slime and the mud
I have been spattered with innocent blood
I shall be dragged through the slime and the mud!

I don't know how to love him
I don't know why he moves me
He's a man - he's just a man
He's not a king - he's just the same
As anyone I know
He scares me so
When he's cold and dead will he let me be?
Does he love me too? Does he care for me?
My mind is in darkness now - my God I am sick I've been used
And you knew all the time
God! I'll never ever know why you chose me for your crime
Your foul bloody crime
You have murdered me! You have murdered me!

Choir:
Poor old Judas
So long Judas
2. Trial Before Pilate (Including The 39 Lashes).

Pilate:
And so the king is once again my guest
And why is this? Was Herod unimpressed?

Caiaphas:
We turn to Rome to sentence Nazareth
We have no law to put a man to death
We need him crucified - it's all you have to do
We need him crucified - it's all you have to do

Pilate:
Talk to me Jesus Christ
You've been brought here - manacled, beaten
By your own people - do you have the first idea
why you deserve it?
Listen king of the Jews
Where is your kingdom?
Look at me - am I a Jew?

Jesus:
I have got no kingdom in this world -
I'm through, through, through

Mob:
Talk to me Jesus Christ

Jesus:
There may be a kingdom for me somewhere - if I only knew

Pilate:
Then you're a king?

Jesus:
That's that you say I am

Pilate:
I look for truth and find that I get damned

Jesus:
But what is truth? Is truth unchanging law?
We both have truths - are mine the same as yours?

Mob:
Crucify him!

Pilate:
What do you mean? You'd crucify your king?

Mob:
We have no king but Caesar!

Pilate:
He's done no wrong - no not the slightest thing

Mob:
We have no king but Caesar! Crusify him!

Pilate:
I see no reason - I find no evil
This man is harmless so why does he upset you?
He's just misguided - thinks he's important
But to keep you vultures happy I shall flog him

Mob:
Crucify him!

THIRTY-NINE LASHES

Pilate:
Where are you from Jesus? What do you want Jesus? Tell me
You've got to be careful - you could be dead soon -
could well be
Why do you not speak when I have your life in my hands?
How can you stay quiet? I don't believe you understand

Jesus:
You have nothing in your hands
Any power you have comes to you from far beyond
Everything is fixed and you can't change it

Pilate:
You're a fool Jesus Christ - how can I help you?

Mob:
Pilate! Crucify him!
Remember Caesar - you have a duty
To keep the peace so crucify him!
Remember Caesar - you'll be demoted, you'll be deported
Crucify him!

 

Rock Lyrics: Andrew Lloyd Webber: Jesus Christ Super Star lyrics
Jump to Superstar.‎: Jesus Christ, Jesus Christ Who are you? What have you sacrificed? Jesus Christ Superstar Do you think you're what they say you are? ...
lyrics.rockmagic.net/lyrics/.../jesus_christ_super_star_1970.html - Cached - Similar

 

Pilate:
Don't let me stop your great selfdestruction
Die if you want to you misguided martyr
I wash my hands of your demolition
Die if you want to you innocent puppet!
3. Superstar.

Voice of Judas:
Every time I look at you I don't understand
Why you let the things you did get so out of your hand
You'd have managed better if you'd had it planned
Why'd you choose such a backward time and such a strange land?
If you'd come today you would have reached a whole nation
Israel in 4 BC had no mass communication
Don't you get me wrong - I only wanna know

Choir:
Jesus Christ, Jesus Christ
Who are you? What have you sacrificed?
Jesus Christ Superstar
Do you think you're what they say you are?

Voice of Judas:
Tell me what you think about your friends at the top
Who'd you think besides yourself's the pick of the crop
Buddah was he where it's all? Is he where you are?
Could Mahomet move a mountain or was that just PR?
Did you mean to die like that? Was that a mistake or
Did you know your messy death would be a record-breaker?
Don't you get me wrong - I only wanna know

Choir:
Jesus Christ, Jesus Christ
Who are you? What have you sacrificed?
Jesus Christ Superstar
Do you think you're what they say you are?
4. The Crucifixion.

(The crusifixion)

Jesus:
God forgive them - they don't know what they're doing
Who is my mother? Where is my mother?
My God My God why have you forgotten me?
I'm thirsty
It is finished
Father into your hands I comment my spirit
5. John Nineteen Forty-One.

 

 

JESUS CHRIST SUPER STAR

DO YOU THINK YOU'RE WHAT THEY SAY YOU ARE

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
J
=
1
1
5
JESUS
74
11
2
-
-
2
-
-
-
-
-
-
-
C
=
3
2
6
CHRIST
77
32
5
-
-
-
-
-
5
-
-
-
-
S
=
1
3
9
SUPERSTAR
137
38
2
-
-
2
-
-
-
-
-
-
-
-
-
5
-
20-
-
288
81
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
D
=
4
4
2
DO
19
10
1
-
1
-
-
-
-
-
-
-
-
Y
=
7
5
3
YOU
60
16
7
-
-
-
-
-
-
-
7
-
-
T
=
5
6
5
THINK
62
26
8
-
-
-
-
-
-
-
-
8
-
Y
=
7
7
5
YOU'RE
84
30
3
-
-
-
3
-
-
-
-
-
-
W
=
5
8
4
WHAT
52
16
7
-
-
-
-
-
-
-
7
-
-
T
=
2
9
4
THEY
58
22
4
-
-
-
-
4
-
-
-
-
-
S
=
1
10
5
SAY
45
9
9
-
-
-
-
-
-
-
-
-
9
Y
=
7
11
3
YOU
60
16
7
-
-
-
-
-
-
-
7
-
-
A
=
1
12
3
ARE
24
15
6
-
-
-
-
-
-
6
-
-
-
-
39
-
34
First Total
754
241
61
-
1
4
3
4
5
6
21
8
9
-
-
Add to Reduce
7+5+4
2+4+1
6+1
-
-
-
-
-
-
-
2+1
-
-
-
44
-
54
Second Total
16
7
7
-
1
4
3
4
5
6
3
8
9
4+4
-
5+4
Reduce to Deduce
1+6
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Essence of Number
7
7
7
-
1
4
3
4
5
6
3
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
J
=
1
1
5
JESUS
74
11
2
-
-
2
-
-
-
-
-
-
-
C
=
3
2
6
CHRIST
77
32
5
-
-
-
-
-
5
-
-
-
-
S
=
1
3
9
SUPERSTAR
137
38
2
-
-
2
-
-
-
-
-
-
-
D
=
4
4
2
DO
19
10
1
-
1
-
-
-
-
-
-
-
-
Y
=
7
5
3
YOU
60
16
7
-
-
-
-
-
-
-
7
-
-
T
=
5
6
5
THINK
62
26
8
-
-
-
-
-
-
-
-
8
-
Y
=
7
7
5
YOU'RE
84
30
3
-
-
-
3
-
-
-
-
-
-
W
=
5
8
4
WHAT
52
16
7
-
-
-
-
-
-
-
7
-
-
T
=
2
9
4
THEY
58
22
4
-
-
-
-
4
-
-
-
-
-
S
=
1
10
5
SAY
45
9
9
-
-
-
-
-
-
-
-
-
9
Y
=
7
11
3
YOU
60
16
7
-
-
-
-
-
-
-
7
-
-
A
=
1
12
3
ARE
24
15
6
-
-
-
-
-
-
6
-
-
-
-
39
-
34
First Total
754
241
61
-
1
4
3
4
5
6
21
8
9
-
-
Add to Reduce
7+5+4
2+4+1
6+1
-
-
-
-
-
-
-
2+1
-
-
-
44
-
54
Second Total
16
7
7
-
1
4
3
4
5
6
3
8
9
4+4
-
5+4
Reduce to Deduce
1+6
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Essence of Number
7
7
7
-
1
4
3
4
5
6
3
8
9

 

LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
D
=
4
4
2
DO
19
10
1
-
1
-
-
-
-
-
-
-
-
J
=
1
1
5
JESUS
74
11
2
-
-
2
-
-
-
-
-
-
-
S
=
1
3
9
SUPERSTAR
137
38
2
-
-
2
-
-
-
-
-
-
-
Y
=
7
7
5
YOU'RE
84
30
3
-
-
-
3
-
-
-
-
-
-
T
=
2
9
4
THEY
58
22
4
-
-
-
-
4
-
-
-
-
-
C
=
3
2
6
CHRIST
77
32
5
-
-
-
-
-
5
-
-
-
-
A
=
1
12
3
ARE
24
15
6
-
-
-
-
-
-
6
-
-
-
Y
=
7
5
3
YOU
60
16
7
-
-
-
-
-
-
-
7
-
-
W
=
5
8
4
WHAT
52
16
7
-
-
-
-
-
-
-
7
-
-
Y
=
7
11
3
YOU
60
16
7
-
-
-
-
-
-
-
7
-
-
T
=
5
6
5
THINK
62
26
8
-
-
-
-
-
-
-
-
8
-
S
=
1
10
5
SAY
45
9
9
-
-
-
-
-
-
-
-
-
9
-
39
-
34
First Total
754
241
61
-
1
4
3
4
5
6
21
8
9
-
-
Add to Reduce
7+5+4
2+4+1
6+1
-
-
-
-
-
-
-
2+1
-
-
-
44
-
54
Second Total
16
7
7
-
1
4
3
4
5
6
3
8
9
4+4
-
5+4
Reduce to Deduce
1+6
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Essence of Number
7
7
7
-
1
4
3
4
5
6
3
8
9

 

 

AND WHO ARE YOU MAY I ASK

 

SALOME

 

Salome (French: Salomé, pronounced [sal?me]) is a tragedy by Oscar Wilde. The original 1891 version of the play was in French. Three years later an English translation was published. The play tells in one act the Biblical story of stepdaughter of the tetrarch Herod Antipas (identified as Salome by historian Josephus), who, to her stepfather's dismay but to the delight of her mother Herodias, requests the head of Jokanaan (John the Baptist) on a silver platter as a reward for pleasing Herod for her dancing, which is described for the first time in this play as the dance of the seven veils.


“Ah! thou wouldst not suffer me to kiss thy mouth, Iokanaan. Well! I will kiss it now. I will bite it with my teeth as one bites a ripe fruit. Yes, I will kiss thy mouth, Iokanaan. I said it; did I not say it? I said it. Ah! I will kiss it now . . . . But wherefore dost thou not look at me, Iokanaan? Thine eyes that were so terrible, so full of rage and scorn, are shut now. Wherefore are they shut? Open thine eyes! Lift up thine eyelids, Iokanaan! Wherefore dost thou not look at me? Art thou afraid of me, Iokanaan, that thou wilt not look at me?”

“Ah! thou wouldst not suffer me to kiss thy mouth, Iokanaan. Well! I will kiss it now. I will bite it with my teeth as one bites a ripe fruit. Yes, I will kiss thy mouth, Iokanaan. I said it; did I not say it? I said it. Ah! I will kiss it now . . . . But wherefore dost thou not look at me, Iokanaan? Thine eyes that were so terrible, so full of rage and scorn, are shut now. Wherefore are they shut? Open thine eyes! Lift up thine eyelids, Iokanaan! Wherefore dost thou not look at me? Art thou afraid of me, Iokanaan, that thou wilt not look at me?”

“I am athirst for thy beauty; I am hungry for thy body; and neither wine nor apples can appease my desire. What shall I do now, Iokanaan? Neither the floods nor the great waters can quench my passion. I was a princess, and thou didst scorn me. I was a virgin, and thou didst take my virginity from me. I was chaste, and thou didst fill my veins with fire . . .”
“They say that love hath a bitter taste.... But what matter? What matter? I have kissed thy mouth.”
“Ah! ah! wherefore didst thou not look at me? If thou hadst looked at me thou hadst loved me. Well I know that thou wouldst have loved me, and the mystery of Love is greater than the mystery of Death.”

“One should not look at anything. Neither at things, nor at people should one look. Only in mirrors is it well to look, for mirrors do but show us masks.”

“Ah, Iokanaan, Iokanaan, thou wert the man that I loved alone among men! All other men were hateful to me. But thou wert beautiful! Thy body was a column of ivory set upon feet of silver. It was a garden full of doves and lilies of silver. It was a tower of silver decked with shields of ivory. There was nothing in the world so white as thy body. There was nothing in the world so black as thy hair. In the whole world there was nothing so red as thy mouth. Thy voice was a censer that scattered strange perfumes, and when I looked on thee I heard a strange music. Ah! wherefore didst thou not look at me, Iokanaan?”

“You have a dreamer’s look; you must not dream. It is only sick people who dream.”
“Look at the moon! How strange the moon seems! She is like a woman rising from a tomb. She is like a dead woman. You would fancy she was looking for dead things.”

“THE VOICE OF SALOME:

Ah! I have kissed thy mouth, Iokanaan, I have kissed thy mouth. There was a bitter taste on thy lips. Was it the taste of blood?... Nay; but perchance it was the taste of love... They say that love hath a bitter taste... But what matter? What matter? I have kissed thy mouth, Iokanaan, I have kissed thy mouth.”

 

 

Hallelujah Chorus: Text

|: Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! :|
|: For the Lord God Omnipotent reigneth.
Hallelujah! Hallelujah! Hallelujah! Hallelujah! :|

For the Lord God omnipotent reigneth.
|: Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! :|

The kingdom of this world
Is become the kingdom of our Lord,
And of His Christ, and of His Christ;
And He shall reign for ever and ever,
For ever and ever, forever and ever,

King of kings, and Lord of lords,
|: King of kings, and Lord of lords, :|
And Lord of lords,
And He shall reign,
And He shall reign forever and ever,
King of kings, forever and ever,
And Lord of lords,
Hallelujah! Hallelujah!

And He shall reign forever and ever,
|: King of kings! and Lord of lords! :|
And He shall reign forever and ever,
King of kings! and Lord of lords!
Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah!

 

-
-
-
-
-
TITLE
-
-
-
H
=
8
1
11
HALLELUJAH
90
36
9
-
-
-
-
-
-
90
36
9
-
-
-
-
-
-
-
-
-
H
=
8
1
11
HALLELUJAH
90
36
9
H
=
8
2
11
HALLELUJAH
90
36
9
H
=
8
3
11
HALLELUJAH
90
36
9
H
=
8
4
11
HALLELUJAH
90
36
9
H
=
8
5
11
HALLELUJAH
90
36
9
-
-
-
-
-
-
450
180-
45
-
-
-
-
-
-
-
-
-
H
=
8
6
11
HALLELUJAH
90
36
9
H
=
8
7
11
HALLELUJAH
90
36
9
H
=
8
8
11
HALLELUJAH
90
36
9
H
=
8
9
11
HALLELUJAH
90
36
9
-
-
-
-
-
-
360
144-
36
-
-
-
-
-
-
-
-
-
H
=
8
10
11
HALLELUJAH
90
36
9
H
=
8
11
11
HALLELUJAH
90
36
9
H
=
8
12
11
HALLELUJAH
90
36
9
H
=
8
13
11
HALLELUJAH
90
36
9
H
=
8
14
11
HALLELUJAH
90
36
9
H
=
8
15
11
HALLELUJAH
90
36
9
H
=
8
16
11
HALLELUJAH
90
36
9
-
-
-
-
-
-
630
252-
63
-
-
-
-
-
-
-
-
-
H
=
8
17
11
HALLELUJAH
90
36
9
H
=
8
18
11
HALLELUJAH
90
36
9
-
-
-
-
-
-
180
72-
18
-
-
-
-
-
-
-
-
-
H
=
8
19
11
HALLELUJAH
90
36
9
H
=
8
20
11
HALLELUJAH
90
36
9
H
=
8
21
11
HALLELUJAH
90
36
9
H
=
8
22
11
HALLELUJAH
90
36
9
H
=
8
23
11
HALLELUJAH
90
36
9
-
-
-
-
-
-
450
180-
45
-
-
-
-
-
-
-
-
-
-
-
36
-
11
HALLELUJAH
2160
864
216
-
-
3+6
-
1+1
-
2+1+6+0
8+6+4
2+1+6
-
-
6
-
2
HALLELUJAH
9
9
9

 

HALLELUJAH AS NUMBER 90 x 24 = 2160 - 864 - 18 - 9

CHORUS MINUS TITLE

HALLELUJAH AS NUMBER 90 x 23 = 2070 -828 - 18 - 9

 

CHORUS C HORUS

CHORUS SEE HORUS

 

Hallelujah Chorus: Text

|: Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! :|
|: For the Lord God Omnipotent reigneth.
Hallelujah! Hallelujah! Hallelujah! Hallelujah! :|

For the Lord God omnipotent reigneth.
|: Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! :|

The kingdom of this world
Is become the kingdom of our Lord,
And of His Christ, and of His Christ;
And He shall reign for ever and ever,
For ever and ever, forever and ever,

King of kings, and Lord of lords,
|: King of kings, and Lord of lords, :|
And Lord of lords,
And He shall reign,
And He shall reign forever and ever,
King of kings, forever and ever,
And Lord of lords,
Hallelujah! Hallelujah!

And He shall reign forever and ever,
|: King of kings! and Lord of lords! :|
And He shall reign forever and ever,
King of kings! and Lord of lords!
Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah!

Messiah (HWV 56)[1][n 1] is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the Coverdale Psalter, the version of the Psalms included with the Book of Common Prayer. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

 

-
-
-
-
10
HALLELUJAH
90
36
9
-
1
2
3
4
5
6
7
8
9
H
=
8
1
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
2
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
L
=
3
3
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
4
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
E
=
5
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
L
=
3
6
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
U
=
3
7
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
J
=
1
8
1
J
10
1
1
-
1
-
-
-
-
-
-
-
-
A
=
1
9
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
H
=
8
10
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
-
-
36
-
11
HALLELUJAH
90
36
36
-
1
2
3
4
6
6
7
7
9
-
-
3+6
-
1+1
-
9+0
3+6
3+6
-
-
-
-
-
-
-
-
-
-
-
-
9
-
2
HALLELUJAH
9
9
9
-
1
2
3
4
6
6
7
7
9

 

 

-
-
-
-
10
HALLELUJAH
90
36
9
-
1
2
3
4
5
6
7
8
9
H
=
8
1
1
H
8
8
8
-
-
2
-
4
-
6
7
8
9
A
=
1
2
1
A
1
1
1
-
1
2
-
4
-
6
7
-
9
L
=
3
3
1
L
12
3
3
-
-
2
3
4
-
6
7
-
9
L
=
3
4
1
L
12
3
3
-
-
2
3
4
-
6
7
-
9
E
=
5
5
1
E
5
5
5
-
-
2
-
4
5
6
7
-
9
L
=
3
6
1
L
12
3
3
-
-
2
3
4
-
6
7
-
9
U
=
3
7
1
U
21
3
3
-
-
2
3
4
-
6
7
-
9
J
=
1
8
1
J
10
1
1
-
1
2
-
4
-
6
7
-
9
A
=
1
9
1
A
1
1
1
-
1
2
-
4
-
6
7
-
9
H
=
8
10
1
H
8
8
8
-
-
2
-
4
-
6
7
8
9
-
-
36
-
11
HALLELUJAH
90
36
36
-
1
2
3
4
6
6
7
7
9
-
-
3+6
-
1+1
-
9+0
3+6
3+6
-
-
-
-
-
-
-
-
-
-
-
-
9
-
2
HALLELUJAH
9
9
9
-
1
2
3
4
6
6
7
7
9

 

LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER

 

-
-
-
-
11
HALLELUJAH
126
54
18
-
1
2
3
4
5
6
7
8
9
A
=
1
2
1
A
1
1
1
-
1
2
-
4
-
6
7
-
9
J
=
1
8
1
J
10
1
1
-
1
2
-
4
-
6
7
-
9
A
=
1
9
1
A
1
1
1
-
1
2
-
4
-
6
7
-
9
L
=
3
3
1
L
12
3
3
-
-
2
3
4
-
6
7
-
9
L
=
3
4
1
L
12
3
3
-
-
2
3
4
-
6
7
-
9
L
=
3
6
1
L
12
3
3
-
-
2
3
4
-
6
7
-
9
U
=
3
7
1
U
21
3
3
-
-
2
3
4
-
6
7
-
9
E
=
5
5
1
E
5
5
5
-
-
2
-
4
5
6
7
-
9
H
=
8
1
1
H
8
8
8
-
-
2
-
4
-
6
9
8
9
H
=
8
10
1
H
8
8
8
-
-
2
-
4
-
6
7
8
9
-
-
36
-
10
HALLELUJAH
90
36
36
-
1
2
3
4
6
6
7
7
9
-
-
3+6
-
1+0
-
9+0
3+6
3+6
-
-
-
-
-
-
-
-
-
-
-
-
9
-
1
HALLELUJAH
9
9
9
-
1
2
3
4
6
6
7
7
9

 

 

-
-
-
-
11
HALLELUJAH
126
54
18
-
1
3
5
8
A
=
1
2
1
A
1
1
1
-
1
-
-
-
J
=
1
8
1
J
10
1
1
-
1
-
-
-
A
=
1
9
1
A
1
1
1
-
1
-
-
-
L
=
3
3
1
L
12
3
3
-
-
3
-
-
L
=
3
4
1
L
12
3
3
-
-
3
-
-
L
=
3
6
1
L
12
3
3
-
-
3
-
-
U
=
3
7
1
U
21
3
3
-
-
3
-
-
E
=
5
5
1
E
5
5
5
-
-
-
5
-
H
=
8
1
1
H
8
8
8
-
-
-
-
8
H
=
8
10
1
H
8
8
8
-
-
-
-
8
-
-
36
-
10
HALLELUJAH
90
36
36
-
1
3
6
7
-
-
3+6
-
1+0
-
9+0
3+6
3+6
-
-
-
-
-
-
-
9
-
1
HALLELUJAH
9
9
9
-
1
3
6
7

 

 

 

THE SCULPTURE OF VIBRATIONS 1971

 

....

 

MESSAGE IN A BOTTLE

Lyrics Sting and Police

Just a castaway, an island lost at sea, oh
Another lonely day, with no one here but me, oh
More loneliness than any man could bear
Rescue me before I fall into despair, oh

Ill send an s.o.s. to the world
Ill send an s.o.s. to the world

I hope that someone gets my
I hope that someone gets my
I hope that someone gets my

Message in a bottle, yeah
Message in a bottle, yeah

A year has passed since I wrote my note
But I should have known this right from the start
Only hope can keep me together
Love can mend your life but
Love can break your heart

Ill send an s.o.s. to the world
Ill send an s.o.s. to the world

I hope that someone gets my
I hope that someone gets my
I hope that someone gets my

Message in a bottle, yeah
Message in a bottle, yeah
Message in a bottle, yeah
Message in a bottle, yeah

Walked out this morning, dont believe what I saw
Hundred billion bottles washed up on the shore
Seems Im not alone at being alone
Hundred billion castaways, looking for a home

Ill send an s.o.s. to the world
Ill send an s.o.s. to the world

I hope that someone gets my
I hope that someone gets my
I hope that someone gets my

Message in a bottle, yeah
Message in a bottle, yeah
Message in a bottle, yeah
Message in a bottle, yeah

Sending out at an s.o.s.
Sending out at an s.o.s.
Sending out at an s.o.s.
Sending out at an s.o.s.
Sending out at an s.o.s.
Sending out at an s.o.s.

 

SENDING OUT AN SOS SENDING OUT AN SOS SENDING OUT AN SOS

SENDING OUT AN SOS SENDING OUT AN SOS SENDING OUT AN SOS

SENDING OUT AN SOS SENDING OUT AN SOS SENDING OUT AN SOS

SENDING OUT AN SOS SENDING OUT AN SOS SENDING OUT AN SOS

SENDING OUT AN SOS SENDING OUT AN SOS SENDING OUT AN SOS

SENDING OUT AN SOS SENDING OUT AN SOS SENDING OUT AN SOS

SENDING OUT AN SOS SENDING OUT AN SOS SENDING OUT AN SOS

SENDING OUT AN SOS SENDING OUT AN SOS SENDING OUT AN SOS

SENDING OUT AN SOS SENDING OUT AN SOS SENDING OUT AN SOS

 

 

I

SAY

IS THIS THE OTHER SIDE OF THE GREAT DIVIDE

?

NO ITS OVER THERE

I

HAVE JUST BEEN OVER THERE AND THEY SAID IT WAS OVER HERE

 

 

Did Spacemen Colonise the Earth?

Robin Collyns 1974

Page 206

"FINIS"

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1924

THE THUNDERBOLT

Page 715

"There is our friend, there is Hans Castorp! We recognize him at a distance, by the little beard he assumed 'while sitting at the " bad" Russian table. Like all the others, he is wet through and glowing. He is running, his feet heavy with mould, the bayonet swinging in his, hand. Look! He treads on the hand of a fallen comrade; with his hobnailed boot he treads the hand deep into the slimy, branch-strewn ground. But it is he. What, singing? As one sings, unaware, staring stark ahead, yes, thus. he spends his hurrying breath, to sing half soundlessly:

"And loving words I've carven
Upon its branches fair-"

He stumbles, No, he has flung himself down, a hell-hound is coming howling, a huge explosive shell, a disgusting sugar-loaf from the infernal regions. He lies with his face in the cool mire, legs. sprawled out, feet twisted, heels turned down. The product of a perverted science, laden with death, slopes earthward thirty paces in front of him and buries its nose in the ground; explodes inside there, with hideous expense of power, and raises up a fountain high as a house, of mud, fire, iron, molten metal, scattered fragments of humanity. Where it fell, two youths had lain, friends who in their need flung themselves down together - now they are scattered, commingled and gone.
Shame of our shadow-safety! Away! No more!-But our friend? Was he hit? He thought so, for the moment. A great clod of earth struck him on the shin, it hurt, but he smiles at it. Up he gets, and staggers on, limping on his earth-bound feet, all unconsciously singing:

"Its waving branches whiispered
A message in my ear -"

and thus, in the tumult, in the rain, in the dusk, vanishes out of our sight.
Farewell, honest Hans Castorp, farewell, Life's delicate child!
Your tale is told. We have told it to the end, and it was neither short nor long, but hermetic. We have told it for its own sake, not for yours, for you were simple. But after all, it was your story, it befell you, you must have more in you than we thought; we will not disclaim the pedagogic weakness we conceived for / Page 716 / you in the telling; which could even lead us to press a finger delicately to our eyes at the thought that we shall see you no more, hear you no more for ever.
Farewell - and if thou livest or diest! Thy prospects are poor. The desperate dance, in which thy fortunes are caught up, will last yet many a sinful year; we should not care to set a high stake on thy life by the time it ends. We even confess that it is without great concern we leave the question open. Adventures of the flesh and in the spirit, while enhancing thy simplicity, granted thee to know in the spirit what in the flesh thou scarcely couldst have done. Moments there were, when out of death, and the rebellion of the flesh, there came to thee, as thou tookest stock of thyself, a dream of love. Out of this universal feast of death, out of this extremity of fever, kindling. the rain-washed evening sky to a fiery glow, may it be that Love one day shall mount?

FINIS OPERIS

 

 

 

THE LAST SUPPER 1977

 

 

3
THE
33
15
6
6
DIVINE
63
36
9
8
FEMININE
75
48
3
17
First Total
171
99
18
1+7
Add to Reduce
1+7+1
9+9
1+8
8
Second Total
9
18
9
-
Reduce to Deduce
-
1+8
-
8
Essence of Number
9
9
9

 

 

THE DIVINE FEMININE

 

-
-
-
=
-
17
THE DIVINE FEMININE
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
=
-
3
THE
33
15
6
4
-
-
-
-
-
-
-
-
-
D
=
4
=
-
6
DIVINE
63
36
9
4
-
-
-
-
-
-
-
-
-
F
=
6
=
-
8
FEMININE
75
48
3
4
1
2
3
4
5
6
7
8
9
-
-
12
-
-
17
THE DIVINE FEMININE
171
99
18
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
15
4
4
3
-
33
15
15
-
-
-
-
-
-
-
-
-
-
D
=
4
-
4
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
5
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
V
=
4
-
6
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
7
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
-
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
9
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
36
4
4
6
-
63
36
36
-
-
-
-
-
-
-
-
-
-
F
=
6
-
10
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
E
=
5
-
11
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
M
=
4
-
12
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
13
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
-
14
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
15
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
-
16
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
17
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
48
4
4
8
-
75
48
48
-
-
-
-
-
-
-
-
-
-
-
-
-
=
-
17
THE DIVINE FEMININE
-
-
-
-
1
2
3
12
35
6
7
8
36
T
=
2
=
-
3
THE
33
15
6
-
-
-
-
1+2
3+5
-
-
-
3+6
D
=
4
=
-
6
DIVINE
63
36
9
4
1
2
3
3
8
6
7
8
9
F
=
6
=
-
8
FEMININE
75
48
3
4
-
-
-
-
-
-
-
-
-
-
-
12
-
-
17
THE DIVINE FEMININE
171
99
18
4
1
2
3
3
8
6
7
8
9
-
-
1+2
-
-
1+7
-
1+7+1
9+9
1+8
4
-
-
-
-
-
-
-
-
-
Q
-
3
-
-
8
THE DIVINE FEMININE
9
18
9
4
1
2
3
3
8
6
7
8
9
-
-
-
-
-
-
-
-
1+8
-
4
-
-
-
-
-
-
-
-
-
Q
-
3
-
-
8
THE DIVINE FEMININE
9
9
9
4
1
2
3
3
8
6
7
8
9

 

 

-
-
-
=
-
17
THE DIVINE FEMININE
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
=
-
3
THE
33
15
6
4
-
-
-
-
-
-
-
-
-
D
=
4
=
-
6
DIVINE
63
36
9
4
-
-
-
-
-
-
-
-
-
F
=
6
=
-
8
FEMININE
75
48
3
4
1
2
3
4
5
6
7
8
9
-
-
12
-
-
17
THE DIVINE FEMININE
171
99
18
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
1
2
3
-
-
-
7
-
-
H
=
8
-
2
1
H
8
8
8
-
1
-
3
-
-
-
7
8
-
E
=
5
-
3
1
E
5
5
5
-
1
-
3
-
5
-
7
-
-
D
=
4
-
4
1
D
4
4
4
-
1
-
3
4
-
-
7
-
-
I
=
9
-
5
1
I
9
9
9
-
1
-
3
-
-
-
7
-
9
V
=
4
-
6
1
V
22
4
4
-
1
-
3
4
-
-
7
-
-
I
=
9
-
7
1
I
9
9
9
-
1
-
3
-
-
-
7
-
9
N
=
5
-
8
1
N
14
5
5
-
1
-
3
-
5
-
7
-
-
E
=
5
-
9
1
E
5
5
5
-
1
-
3
-
5
-
7
-
-
F
=
6
-
10
1
F
6
6
6
-
1
-
3
-
-
6
7
-
-
E
=
5
-
11
1
E
5
5
5
-
1
-
3
-
5
-
7
-
-
M
=
4
-
12
1
M
13
4
4
-
1
-
3
4
-
-
7
-
-
I
=
9
-
13
1
I
9
9
9
-
1
-
3
-
-
-
7
-
9
N
=
5
-
14
1
N
14
5
5
-
1
-
3
-
5
-
7
-
-
I
=
9
-
15
1
I
9
9
9
-
1
-
3
-
-
-
7
-
9
N
=
5
-
16
1
N
14
5
5
-
1
-
3
-
5
-
7
-
-
E
=
5
-
17
1
E
5
5
5
-
1
-
3
-
5
-
7
-
-
-
-
-
=
-
17
THE DIVINE FEMININE
-
-
-
-
1
2
3
12
35
6
7
8
36
T
=
2
=
-
3
THE
33
15
6
-
-
-
-
1+2
3+5
-
-
-
3+6
D
=
4
=
-
6
DIVINE
63
36
9
4
1
2
3
3
8
6
7
8
9
F
=
6
=
-
8
FEMININE
75
48
3
4
-
-
-
-
-
-
-
-
-
-
-
12
-
-
17
THE DIVINE FEMININE
171
99
18
4
1
2
3
3
8
6
7
8
9
-
-
1+2
-
-
1+7
-
1+7+1
9+9
1+8
4
-
-
-
-
-
-
-
-
-
Q
-
3
-
-
8
THE DIVINE FEMININE
9
18
9
4
1
2
3
3
8
6
7
8
9
-
-
-
-
-
-
-
-
1+8
-
4
-
-
-
-
-
-
-
-
-
Q
-
3
-
-
8
THE DIVINE FEMININE
9
9
9
4
1
2
3
3
8
6
7
8
9

 

ADDED TO ALL MINUS NONE SHARED BY EVERYTHING MULTIPLIED IN ABUNDANCE

 

-
-
-
=
-
17
THE DIVINE FEMININE
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
=
-
3
THE
33
15
6
4
-
-
-
-
-
-
-
-
-
D
=
4
=
-
6
DIVINE
63
36
9
4
-
-
-
-
-
-
-
-
-
F
=
6
=
-
8
FEMININE
75
48
3
4
1
2
3
4
5
6
7
8
9
-
-
12
-
-
17
THE DIVINE FEMININE
171
99
18
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
1
2
3
-
-
-
7
-
-
D
=
4
-
4
1
D
4
4
4
-
1
-
3
4
-
-
7
-
-
V
=
4
-
6
1
V
22
4
4
-
1
-
3
4
-
-
7
-
-
M
=
4
-
12
1
M
13
4
4
-
1
-
3
4
-
-
7
-
-
E
=
5
-
3
1
E
5
5
5
-
1
-
3
-
5
-
7
-
-
N
=
5
-
8
1
N
14
5
5
-
1
-
3
-
5
-
7
-
-
E
=
5
-
9
1
E
5
5
5
-
1
-
3
-
5
-
7
-
-
E
=
5
-
11
1
E
5
5
5
-
1
-
3
-
5
-
7
-
-
N
=
5
-
14
1
N
14
5
5
-
1
-
3
-
5
-
7
-
-
N
=
5
-
16
1
N
14
5
5
-
1
-
3
-
5
-
7
-
-
E
=
5
-
17
1
E
5
5
5
-
1
-
3
-
5
-
7
-
-
F
=
6
-
10
1
F
6
6
6
-
1
-
3
-
-
6
7
-
-
H
=
8
-
2
1
H
8
8
8
-
1
-
3
-
-
-
7
8
-
I
=
9
-
5
1
I
9
9
9
-
1
-
3
-
-
-
7
-
9
I
=
9
-
7
1
I
9
9
9
-
1
-
3
-
-
-
7
-
9
I
=
9
-
13
1
I
9
9
9
-
1
-
3
-
-
-
7
-
9
I
=
9
-
15
1
I
9
9
9
-
1
-
3
-
-
-
7
-
9
-
-
-
=
-
17
THE DIVINE FEMININE
-
-
-
-
1
2
3
12
35
6
7
8
36
T
=
2
=
-
3
THE
33
15
6
-
-
-
-
1+2
3+5
-
-
-
3+6
D
=
4
=
-
6
DIVINE
63
36
9
4
1
2
3
3
8
6
7
8
9
F
=
6
=
-
8
FEMININE
75
48
3
4
-
-
-
-
-
-
-
-
-
-
-
12
-
-
17
THE DIVINE FEMININE
171
99
18
4
1
2
3
3
8
6
7
8
9
-
-
1+2
-
-
1+7
-
1+7+1
9+9
1+8
4
-
-
-
-
-
-
-
-
-
Q
-
3
-
-
8
THE DIVINE FEMININE
9
18
9
4
1
2
3
3
8
6
7
8
9
-
-
-
-
-
-
-
-
1+8
-
4
-
-
-
-
-
-
-
-
-
Q
-
3
-
-
8
THE DIVINE FEMININE
9
9
9
4
1
2
3
3
8
6
7
8
9

 

 

-
-
-
=
-
17
THE DIVINE FEMININE
-
-
-
-
2
4
5
6
8
9
T
=
2
=
-
3
THE
33
15
6
4
-
-
-
-
-
-
D
=
4
=
-
6
DIVINE
63
36
9
4
-
-
-
-
-
-
F
=
6
=
-
8
FEMININE
75
48
3
4
2
4
5
6
8
9
-
-
12
-
-
17
THE DIVINE FEMININE
171
99
18
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
4
5
6
8
9
T
=
2
-
1
1
T
20
2
2
-
2
-
-
-
-
-
D
=
4
-
4
1
D
4
4
4
-
-
4
-
-
-
-
V
=
4
-
6
1
V
22
4
4
-
-
4
-
-
-
-
M
=
4
-
12
1
M
13
4
4
-
-
4
-
-
-
-
E
=
5
-
3
1
E
5
5
5
-
-
-
5
-
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
5
-
-
-
E
=
5
-
9
1
E
5
5
5
-
-
-
5
-
-
-
E
=
5
-
11
1
E
5
5
5
-
-
-
5
-
-
-
N
=
5
-
14
1
N
14
5
5
-
-
-
5
-
-
-
N
=
5
-
16
1
N
14
5
5
-
-
-
5
-
-
-
E
=
5
-
17
1
E
5
5
5
-
-
-
5
-
-
-
F
=
6
-
10
1
F
6
6
6
-
-
-
-
6
-
-
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
8
-
I
=
9
-
5
1
I
9
9
9
-
-
-
-
-
-
9
I
=
9
-
7
1
I
9
9
9
-
-
-
-
-
-
9
I
=
9
-
13
1
I
9
9
9
-
-
-
-
-
-
9
I
=
9
-
15
1
I
9
9
9
-
-
-
-
-
-
9
-
-
-
=
-
17
THE DIVINE FEMININE
-
-
-
-
2
12
35
6
8
36
T
=
2
=
-
3
THE
33
15
6
-
-
1+2
3+5
-
-
3+6
D
=
4
=
-
6
DIVINE
63
36
9
4
2
3
8
6
8
9
F
=
6
=
-
8
FEMININE
75
48
3
4
-
-
-
-
-
-
-
-
12
-
-
17
THE DIVINE FEMININE
171
99
18
4
2
3
8
6
8
9
-
-
1+2
-
-
1+7
-
1+7+1
9+9
1+8
4
-
-
-
-
-
-
Q
-
3
-
-
8
THE DIVINE FEMININE
9
18
9
4
2
3
8
6
8
9
-
-
-
-
-
-
-
-
1+8
-
4
-
-
-
-
-
-
Q
-
3
-
-
8
THE DIVINE FEMININE
9
9
9
4
2
3
8
6
8
9

 

 

-
17
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
9
5
-
-
-
-
-
9
5
9
5
-
+
=
59
5+9
=
14
1+4
5
=
5
-
-
-
8
-
-
-
9
-
9
14
-
-
-
-
-
9
14
9
14
-
+
=
86
8+6
=
14
1+4
5
=
5
-
17
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
4
-
4
-
-
5
-
6
5
4
-
-
-
-
5
+
=
40
4+0
=
4
=
4
=
4
-
-
20
-
5
-
4
-
22
-
-
5
-
6
5
13
-
-
-
-
5
+
=
85
8+5
=
13
1+3
4
=
4
-
17
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
4
9
22
9
14
5
-
6
5
13
9
14
9
14
5
+
=
99
9+9
=
18
1+8
9
=
9
-
-
2
8
5
-
4
9
4
9
5
5
-
6
5
4
9
5
9
5
5
+
=
171
1+7+1
=
9
=
9
=
9
-
17
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
-
-
-
-
4
-
4
-
-
-
-
-
-
4
-
-
-
-
-
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
-
5
-
-
-
-
-
5
5
-
-
5
-
-
5
-
5
5
-
-
5
occurs
x
7
=
35
3+5
8
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
9
-
9
-
-
-
-
-
-
9
-
9
-
-
-
-
9
occurs
x
4
=
36
3+6
9
11
17
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
34
-
-
17
-
99
-
36
1+7
1+7
-
-
-
-
-
9
-
9
-
-
-
-
-
-
9
-
9
-
-
-
-
3+4
-
-
1+7
-
9+9
-
3+6
2
8
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
7
-
-
8
-
18
-
9
-
-
2
8
5
-
4
9
4
9
5
5
-
6
5
4
9
5
9
5
5
-
-
-
-
-
1+8
-
-
-
-
2
8
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
7
-
-
9
-
9
-
9

 

 

17
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
9
5
-
-
-
-
-
9
5
9
5
-
+
=
59
5+9
=
14
1+4
5
=
5
-
-
8
-
-
-
9
-
9
14
-
-
-
-
-
9
14
9
14
-
+
=
86
8+6
=
14
1+4
5
=
5
17
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
4
-
4
-
-
5
-
6
5
4
-
-
-
-
5
+
=
40
4+0
=
4
=
4
=
4
-
20
-
5
-
4
-
22
-
-
5
-
6
5
13
-
-
-
-
5
+
=
85
8+5
=
13
1+3
4
=
4
17
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
4
9
22
9
14
5
-
6
5
13
9
14
9
14
5
+
=
99
9+9
=
18
1+8
9
=
9
-
2
8
5
-
4
9
4
9
5
5
-
6
5
4
9
5
9
5
5
+
=
171
1+7+1
=
9
=
9
=
9
17
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
4
-
4
-
-
-
-
-
-
4
-
-
-
-
-
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
5
-
-
-
-
-
5
5
-
-
5
-
-
5
-
5
5
-
-
5
occurs
x
7
=
35
3+5
8
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
9
-
9
-
-
-
-
-
-
9
-
9
-
-
-
-
9
occurs
x
4
=
36
3+6
9
17
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
34
-
-
17
-
99
-
36
1+7
-
-
-
-
-
9
-
9
-
-
-
-
-
-
9
-
9
-
-
-
-
3+4
-
-
1+7
-
9+9
-
3+6
8
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
7
-
-
8
-
18
-
9
-
2
8
5
-
4
9
4
9
5
5
-
6
5
4
9
5
9
5
5
-
-
-
-
-
1+8
-
-
-
-
8
T
H
E
-
D
I
V
I
N
E
-
F
E
M
I
N
I
N
E
-
-
7
-
-
9
-
9
-
9

 

THE TIME STRIKES NOW

1836

 

3
THE
33
15
6
6
DIVINE
63
36
9
9
DIMENSION
102
48
3
18
First Total
198
99
18
1+8
Add to Reduce
1+9+8
9+9
1+8
9
Second Total
18
18
9
-
Reduce to Deduce
1+8
1+8
-
9
Essence of Number
9
9
9

 

 

-
18
T
H
E
-
D
I
V
I
N
E
-
D
I
M
E
N
S
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
9
5
-
-
-
9
-
-
5
1
9
6
5
+
=
66
6+6
=
12
1+2
3
=
3
-
-
-
8
-
-
-
9
-
9
14
-
-
-
9
-
-
14
19
9
15
14
+
=
120
1+2+0
=
3
-
3
=
3
-
18
T
H
E
-
D
I
V
I
N
E
-
D
I
M
E
N
S
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
4
-
4
-
-
5
-
4
-
4
5
-
-
-
-
-
+
=
33
3+3
=
6
6
=
6
-
-
20
-
5
-
4
-
22
-
-
5
-
4
-
13
5
-
-
-
-
-
+
=
78
7+8
=
15
1+5
6
=
6
-
18
T
H
E
-
D
I
V
I
N
E
-
D
I
M
E
N
S
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
4
9
22
9
14
5
-
4
9
13
5
14
19
9
15
14
+
=
198
1+9+8
=
18
1+8
9
=
9
-
-
2
8
5
-
4
9
4
9
5
5
-
4
9
4
5
5
1
9
6
5
+
=
99
9+9
=
18
1+8
9
=
9
-
18
T
H
E
-
D
I
V
I
N
E
-
D
I
M
E
N
S
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
-
-
-
-
-
-
-
-
-
-
-
-
4
-
4
-
-
-
-
4
-
4
-
-
-
-
-
-
-
-
4
occurs
x
4
=
16
1+6
7
-
-
-
-
5
-
-
-
-
-
5
5
-
-
-
-
5
5
-
-
-
-
-
-
5
occurs
x
6
=
30
3+0
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
6
occurs
x
1
=
6
=
6
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
9
-
9
-
-
-
-
9
-
-
-
-
9
-
-
-
-
9
occurs
x
4
=
36
3+6
9
10
18
T
H
E
-
D
I
V
I
N
E
-
D
I
M
E
N
S
I
O
N
-
-
35
-
-
18
-
99
-
36
1+0
1+8
-
-
-
-
-
9
-
9
-
-
-
-
9
-
-
-
-
9
-
-
-
-
3+5
-
-
1+8
-
9+9
-
3+6
1
8
T
H
E
-
D
I
V
I
N
E
-
D
I
M
E
N
S
I
O
N
-
-
8
-
-
9
-
18
-
9
-
-
2
8
5
-
4
9
4
9
5
5
-
4
9
4
5
5
1
9
6
5
-
-
-
-
-
-
-
-
-
-
1
8
T
H
E
-
D
I
V
I
N
E
-
D
I
M
E
N
S
I
O
N
-
-
8
-
-
9
-
9
-
9

 

 

3
THE
33
15
6
6
DIVINE
63
36
9
9
DIMENSION
102
48
3
18
First Total
198
99
18
1+8
Add to Reduce
1+9+8
9+9
1+8
9
Second Total
18
18
9
-
Reduce to Deduce
1+8
1+8
-
9
Essence of Number
9
9
9

 

-
-
-
=
-
18
THE DIVINE DIMENSION
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
=
-
3
THE
33
15
6
4
-
-
-
-
-
-
-
-
-
D
=
4
=
-
6
DIVINE
63
36
9
4
-
-
-
-
-
-
-
-
-
D
=
4
=
-
9
DIMENSION
102
48
3
4
1
2
3
4
5
6
7
8
9
-
-
10
-
-
18
THE DIVINE DIMENSION
198
99
18
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
15
4
4
3
-
33
15
15
-
-
-
-
-
-
-
-
-
-
D
=
4
-
4
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
5
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
V
=
4
-
6
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
7
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
-
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
9
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
36
4
4
6
-
63
36
36
-
-
-
-
-
-
-
-
-
-
D
=
4
-
10
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
11
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
M
=
4
-
12
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
13
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
14
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
S
=
1
-
15
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
16
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
17
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
N
=
5
-
18
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
48
4
4
9
-
102
57
48
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
18
THE DIVINE DIMENSION
-
-
-
-
1
2
3
16
30
6
7
8
36
T
=
2
-
-
3
THE
33
15
6
-
-
-
-
1+6
3+0
-
-
-
3+6
D
=
4
-
-
6
DIVINE
63
36
9
4
1
2
3
7
3
6
7
8
9
D
=
4
-
-
9
DIMENSION
102
57
3
4
-
-
-
-
-
-
-
-
-
-
-
10
-
-
18
THE DIVINE DIMENSION
198
108
18
4
1
2
3
7
3
6
7
8
9
-
-
1+0
-
-
1+8
-
1+9+8
1+0+8
1+8
4
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
THE DIVINE DIMENSION
18
18
9
4
1
2
3
7
3
6
7
8
9
-
-
-
-
-
-
-
1+8
1+8
-
4
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
THE DIVINE DIMENSION
9
9
9
4
1
2
3
7
3
6
7
8
9

 

 

-
-
-
=
-
18
THE DIVINE DIMENSION
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
=
-
3
THE
33
15
6
4
-
-
-
-
-
-
-
-
-
D
=
4
=
-
6
DIVINE
63
36
9
4
-
-
-
-
-
-
-
-
-
D
=
4
=
-
9
DIMENSION
102
48
3
4
1
2
3
4
5
6
7
8
9
-
-
10
-
-
18
THE DIVINE DIMENSION
198
99
18
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
-
2
3
-
-
-
7
-
-
H
=
8
-
2
1
H
8
8
8
-
-
-
3
-
-
-
7
8
-
E
=
5
-
3
1
E
5
5
5
-
-
-
3
-
5
-
7
-
-
D
=
4
-
4
1
D
4
4
4
-
-
-
3
4
-
-
7
-
-
I
=
9
-
5
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
V
=
4
-
6
1
V
22
4
4
-
-
-
3
4
-
-
7
-
-
I
=
9
-
7
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
N
=
5
-
8
1
N
14
5
5
-
-
-
3
-
5
-
7
-
-
E
=
5
-
9
1
E
5
5
5
-
-
-
3
-
5
-
7
-
-
D
=
4
-
10
1
D
4
4
4
-
-
-
3
4
-
-
7
-
-
I
=
9
-
11
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
M
=
4
-
12
1
M
13
4
4
-
-
-
3
4
-
-
7
-
-
E
=
5
-
13
1
E
5
5
5
-
-
-
3
-
5
-
7
-
-
N
=
5
-
14
1
N
14
5
5
-
-
-
3
-
5
-
7
-
-
S
=
1
-
15
1
S
19
10
1
-
1
-
3
-
-
-
7
-
-
I
=
9
-
16
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
O
=
6
-
17
1
O
15
6
6
-
-
-
3
-
-
6
7
-
-
N
=
5
-
18
1
N
14
5
5
-
-
-
3
-
5
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
18
THE DIVINE DIMENSION
-
-
-
-
1
2
3
16
30
6
7
8
36
T
=
2
-
-
3
THE
33
15
6
-
-
-
-
1+6
3+0
-
-
-
3+6
D
=
4
-
-
6
DIVINE
63
36
9
4
1
2
3
7
3
6
7
8
9
D
=
4
-
-
9
DIMENSION
102
57
3
4
-
-
-
-
-
-
-
-
-
-
-
10
-
-
18
THE DIVINE DIMENSION
198
108
18
4
1
2
3
7
3
6
7
8
9
-
-
1+0
-
-
1+8
-
1+9+8
1+0+8
1+8
4
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
THE DIVINE DIMENSION
18
18
9
4
1
2
3
7
3
6
7
8
9
-
-
-
-
-
-
-
1+8
1+8
4
-
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
THE DIVINE DIMENSION
9
9
9
4
1
2
3
7
3
6
7
8
9

 

ADDED TO ALL MINUS NONE SHARED BY EVERYTHING MULTIPLIED IN ABUNDANCE

 

-
-
-
=
-
18
THE DIVINE DIMENSION
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
=
-
3
THE
33
15
6
4
-
-
-
-
-
-
-
-
-
D
=
4
=
-
6
DIVINE
63
36
9
4
-
-
-
-
-
-
-
-
-
D
=
4
=
-
9
DIMENSION
102
48
3
4
1
2
3
4
5
6
7
8
9
-
-
10
-
-
18
THE DIVINE DIMENSION
198
99
18
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
15
1
S
19
10
1
-
1
-
3
-
-
-
7
-
-
T
=
2
-
1
1
T
20
2
2
-
-
2
3
-
-
-
7
-
-
D
=
4
-
4
1
D
4
4
4
-
-
-
3
4
-
-
7
-
-
V
=
4
-
6
1
V
22
4
4
-
-
-
3
4
-
-
7
-
-
D
=
4
-
10
1
D
4
4
4
-
-
-
3
4
-
-
7
-
-
M
=
4
-
12
1
M
13
4
4
-
-
-
3
4
-
-
7
-
-
E
=
5
-
3
1
E
5
5
5
-
-
-
3
-
5
-
7
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
3
-
5
-
7
-
-
E
=
5
-
9
1
E
5
5
5
-
-
-
3
-
5
-
7
-
-
E
=
5
-
13
1
E
5
5
5
-
-
-
3
-
5
-
7
-
-
N
=
5
-
14
1
N
14
5
5
-
-
-
3
-
5
-
7
-
-
N
=
5
-
18
1
N
14
5
5
-
-
-
3
-
5
-
7
-
-
O
=
6
-
17
1
O
15
6
6
-
-
-
3
-
-
6
7
-
-
H
=
8
-
2
1
H
8
8
8
-
-
-
3
-
-
-
7
8
-
I
=
9
-
5
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
I
=
9
-
7
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
I
=
9
-
11
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
I
=
9
-
16
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
18
THE DIVINE DIMENSION
-
-
-
-
1
2
3
16
30
6
7
8
36
T
=
2
-
-
3
THE
33
15
6
-
-
-
-
1+6
3+0
-
-
-
3+6
D
=
4
-
-
6
DIVINE
63
36
9
4
1
2
3
7
3
6
7
8
9
D
=
4
-
-
9
DIMENSION
102
57
3
4
-
-
-
-
-
-
-
-
-
-
-
10
-
-
18
THE DIVINE DIMENSION
198
108
18
4
1
2
3
7
3
6
7
8
9
-
-
1+0
-
-
1+8
-
1+9+8
1+0+8
1+8
4
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
THE DIVINE DIMENSION
18
18
9
4
1
2
3
7
3
6
7
8
9
-
-
-
-
-
-
-
1+8
1+8
4
-
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
THE DIVINE DIMENSION
9
9
9
4
1
2
3
7
3
6
7
8
9

 

 

-
-
-
=
-
18
THE DIVINE DIMENSION
-
-
-
-
1
2
4
5
6
8
9
T
=
2
=
-
3
THE
33
15
6
4
-
-
-
-
-
-
-
D
=
4
=
-
6
DIVINE
63
36
9
4
-
-
-
-
-
-
-
D
=
4
=
-
9
DIMENSION
102
48
3
4
1
2
4
5
6
8
9
-
-
10
-
-
18
THE DIVINE DIMENSION
198
99
18
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
4
5
6
8
9
S
=
1
-
15
1
S
19
10
1
-
1
-
-
-
-
-
-
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
D
=
4
-
4
1
D
4
4
4
-
-
-
4
-
-
-
-
V
=
4
-
6
1
V
22
4
4
-
-
-
4
-
-
-
-
D
=
4
-
10
1
D
4
4
4
-
-
-
4
-
-
-
-
M
=
4
-
12
1
M
13
4
4
-
-
-
4
-
-
-
-
E
=
5
-
3
1
E
5
5
5
-
-
-
-
5
-
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
-
5
-
-
-
E
=
5
-
9
1
E
5
5
5
-
-
-
-
5
-
-
-
E
=
5
-
13
1
E
5
5
5
-
-
-
-
5
-
-
-
N
=
5
-
14
1
N
14
5
5
-
-
-
-
5
-
-
-
N
=
5
-
18
1
N
14
5
5
-
-
-
-
5
-
-
-
O
=
6
-
17
1
O
15
6
6
-
-
-
-
-
6
-
-
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
8
-
I
=
9
-
5
1
I
9
9
9
-
-
-
-
-
-
-
9
I
=
9
-
7
1
I
9
9
9
-
-
-
-
-
-
-
9
I
=
9
-
11
1
I
9
9
9
-
-
-
-
-
-
-
9
I
=
9
-
16
1
I
9
9
9
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
18
THE DIVINE DIMENSION
-
-
-
-
1
2
16
30
6
8
36
T
=
2
-
-
3
THE
33
15
6
-
-
-
1+6
3+0
-
-
3+6
D
=
4
-
-
6
DIVINE
63
36
9
4
1
2
7
3
6
8
9
D
=
4
-
-
9
DIMENSION
102
57
3
4
-
-
-
-
-
-
-
-
-
10
-
-
18
THE DIVINE DIMENSION
198
108
18
4
1
2
7
3
6
8
9
-
-
1+0
-
-
1+8
-
1+9+8
1+0+8
1+8
4
-
-
-
-
-
-
-
Q
-
1
-
-
9
THE DIVINE DIMENSION
18
18
9
4
1
2
7
3
6
8
9
-
-
-
-
-
-
-
1+8
1+8
4
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
THE DIVINE DIMENSION
9
9
9
4
1
2
7
3
6
8
9

 

 

 

 

 
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