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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 = 351 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A 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 = 126 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A 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 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A
ABCDEFGH I JKLMNOPQ R STUVWXYZ = 351 = ZYXWVUTS R QPONMLKJ I HGFEDCBA ABCDEFGH I JKLMNOPQ R STUVWXYZ = 126 = ZYXWVUTS R QPONMLKJ I HGFEDCBA ABCDEFGH I JKLMNOPQ R STUVWXYZ = 9 = ZYXWVUTS R QPONMLKJ I HGFEDCBA
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 360° in 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 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 Santillana 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) The 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 interesting 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 radius ekla 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 stripped and striped wallpaper, decorated / Page 209 /
with a number of scarlet circles - 'you can see it's more than random.'19 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"
CITY OF REVELATION John Michell 1972 Page 77 CHAPTER SEVEN 3168, The Perimeter of the Temple "If the numbers of the sacred principles, mentioned by St John in connection with the New Jerusalem, are obtained from the Greek text by the cabalistic method of gematria, it is found that they correspond to the dimensions of the city, set out in Fig 16. (Figure omitted) For example, the perimeter of a hexagon contained within the circle representing the earth, 7920 feet in diameter, measures 2376 feet, and 2376 is the number of (Greek text omitted), the twelve apostles of the Lamb (Revelation 21.14). 2376 x 2 feet is equal to 1746 MY, and 1745 = (Greek text omitted), the twelve apostles. The names of the apostles are said to be in the twelve foundations of the wall of the city. The wall is the circle of diameter 7920 feet and 14,400 cubits in circumference, and the foundations are the twelve corners of the double hexagon inscribed within it, fonowing the customary pattern of an astrological chart. The position of the twelve apostles in the scheme is thus clearly defined. Page 78 The perimeter of the temple is 3168, Lord Jesus Christ, when the temple is measured by the foot, the most sacred unit of ancient metrology. In terms of the megalithic yard (2.72 feet), however, the perimeter measures 1164, because 3168 feet = 1164 MY. Yet this makes no difference to the symbolic interpretation by gematria, for 1164 is the number of another name of Christ, (Greek text omitted) Son of God. As a geodetic or earth-measuring number, 3168 also demonstrates the antiquity and sacred origin of British metrology, for 31,680 ft. = 6 miles. 31,680 furlongs = 3960 miles = radius of the earth. 31,680 miles = perimeter of square containing the terrestrial sphere. 31,680 miles = circumference of circle drawn on the combined diameters of the earth and moon (10,080 miles) Other cosmological correspondences of 3168 are given on page 109. The Stonehenge sarsen circle with circumference of 316.8 feet 3168 in Plato's city 5040 = 1 x 2 x 3 x 4 x 5 x 6 x 7 39,916,800 = 1 x 2 x 3 x 4 x 5x 6 x 7 x 8 x 9 x.10 x 11 5040, the radius of the circular city, is the product of the numbers1 - 7; 7920, the side of the square city, is the product of numbers 8 - 11. In each case the perimeter of the city is 31,680. In Plato's Republic is the famous, cryptic reference to the 'marriage number', which should be consulted by the guardians of the state in all matters relating to the seasonal union of male and female. There appear to be two numbers involved, adding up to a third, but the riddle is so obscure that no firm solution has been reached despite the vast literature on the subject. For various reasons the number 12,960,000 or 36002 is most commonly proposed, and this would seem appropriate, for 12,960 = 5040 + 7920. 12,960 therefore represents the union of square and circle, symbol of the sacred marriage, and the gematria is also appropriate, for 1296 = (Greek text omitted) Mary mother of Jesus. FIGURE 24 (Figure omitted) Plato's city divided into 5040 rings, Perimeter = 31,680, Areas: A + a = B + b = C + c = 31,680.
CITY OF REVELATION John Michell 1972 Page 78 CHAPTER SEVEN 3168, The Perimeter of the Temple Plato declares that there are certain numbers that link these with each other and with all phenomena capable of being measured. As an example of these numbers, the study of which Plato recommends as the most sanctifying of all pursuits, he gives 5040. This is the ideal number of citizens in the state and serves other purposes in con/ Page 79 / nection with the framing of laws and standards. The reason why it is most suitable for all matters of division is that for its size it has the greatest number of divisors, 60 in all, including the entire decad, the numbers 1 - 10. Another property of the number 5040 is that it is the radius of a circle with circumference 31,680. Further examination of the numerical foundations of Plato's state shows that the scheme to which he refers is the ancient plan of the cosmic temple.
"Plato declares that there are certain numbers that link these with each other and with all phenomena capable of being measured. As an example of these numbers, the study of which Plato recommends as the most sanctifying of all pursuits, he gives 5040."
WISE WISDOM LOST AT SEA DROWNED IN A SEE OF KNOWLEDGE
Homo sapiens sapiens - The Free Dictionary Define Homo sapiens sapiens. Homo sapiens sapiens synonyms, Homo sapiens sapiens pronunciation, Homo sapiens sapiens translation, English dictionary ...
Homo sapiens - Wikipedia https://en.wikipedia.org/wiki/Homo_sapiens Homo is the human genus, which also includes Neanderthals and many other extinct species of hominid; H. sapiens is the only surviving species of the genus Homo. Modern humans are the subspecies Homo sapiens sapiens, which differentiates them from what has been argued to be their direct ancestor, Homo sapiens idaltu.
Anatomically modern human - Wikipedia Anatomically modern humans evolved from archaic humans in the Middle Paleolithic, about 200,000 years ago. The emergence of anatomically modern human marks the dawn of the subspecies Homo sapiens sapiens, i.e. the subspecies of Homo sapiens to which all humans alive today belong.
HOLY BIBLE Scofield References “So God created man in his own image, in the image of God created he him; male and female created he them.
PARADISE THE GARDEN OF EDEN PARADE EYES IN THE GARDEN OF NEED
Halloween From Wikipedia, the free encyclopedia This article is about the observance. For other uses, see Halloween (disambiguation). "All Hallows' Eve" redirects here. For other uses, see All Hallows' Eve (disambiguation). Halloween A jack-o'-lantern, one of the symbols of Halloween Also called Hallowe'en Observed by Western Christians and many non-Christians around the world[1] Significance First day of Allhallowtide Celebrations Trick-or-treating, costume parties, making jack-o'-lanterns, lighting bonfires, divination, apple bobbing, visiting haunted attractions Observances Church services,[2] prayer,[3] fasting,[1] and vigil[4] Date 31 October Related to Totensonntag, Blue Christmas, Thursday of the Dead, Samhain, Hop-tu-Naa, Calan Gaeaf, Allantide, Day of the Dead, Reformation Day, All Saints' Day, Mischief Night (cf. vigils) Halloween or Hallowe'en (a contraction of All Hallows' Evening),[5] also known as Allhalloween,[6] All Hallows' Eve,[7] or All Saints' Eve,[8] is a celebration observed in a number of countries on 31 October, the eve of the Western Christian feast of All Hallows' Day. It begins the three-day observance of Allhallowtide,[9] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[10][11] It is widely believed that many Halloween traditions originated from Celtic harvest festivals which may have pagan roots, particularly the Gaelic festival Samhain, and that this festival was Christianized as Halloween.[1][7][12][13][14][15] Some academics, however, support the view that Halloween began independently as a solely Christian holiday.[1][16][17][18][19] Halloween activities include trick-or-treating (or the related guising), attending Halloween costume parties, decorating, carving pumpkins into jack-o'-lanterns, lighting bonfires, apple bobbing and divination games, playing pranks, visiting haunted attractions, telling scary stories and watching horror films. In many parts of the world, the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead, remain popular,[20][21][22] although elsewhere it is a more commercial and secular celebration.[23][24][25] Some Christians historically abstained from meat on All Hallows' Eve,[26][27] a tradition reflected in the eating of certain foods on this vigil day, including apples, potato pancakes and soul cakes.[27][28][29] 1 Etymology 2 History 2.1 Gaelic and Welsh influence 2.2 Christian influence 2.3 Spread to North America 3 Symbols 4 Trick-or-treating and guising 5 Costumes 6 Games and other activities 7 Haunted attractions 8 Food 9 Christian religious observances 10 Analogous celebrations and perspectives 10.1 Judaism 10.2 Islam 10.3 Hinduism 10.4 Neopaganism 11 Around the world 12 See also 13 References 14 Further reading 15 External links Etymology The word Halloween or Hallowe'en dates to about 1745[30] and is of Christian origin.[31] The word "Hallowe'en" means "hallowed evening" or "holy evening".[32] It comes from a Scottish term for All Hallows' Eve (the evening before All Hallows' Day).[33] In Scots, the word "eve" is even, and this is contracted to e'en or een. Over time, (All) Hallow(s) E(v)en evolved into Hallowe'en. Although the phrase "All Hallows'" is found in Old English "All Hallows' Eve" is itself not seen until 1556.[33][34] History Gaelic and Welsh influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life. Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[35][36] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[37] Historian Nicholas Rogers, exploring the origins of Halloween, notes that while "some folklorists have detected its origins in the Roman feast of Pomona, the goddess of fruits and seeds, or in the festival of the dead called Parentalia, it is more typically linked to the Celtic festival of Samhain, which comes from the Old Irish for "summer's end".[35] Samhain (pronounced SAH-win or SOW-in) was the first and most important of the four quarter days in the medieval Gaelic calendar and was celebrated on 31 October–1 November in Ireland, Scotland and the Isle of Man.[38][39] A kindred festival was held at the same time of year by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival began on the evening before 1 November by modern reckoning.[40] Samhain and Calan Gaeaf are mentioned in some of the earliest Irish and Welsh literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[41] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland. Samhain/Calan Gaeaf marked the end of the harvest season and beginning of winter or the 'darker half' of the year.[42][43] Like Beltane/Calan Mai, it was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí (pronounced ees shee), the 'spirits' or 'fairies', could more easily come into our world and were particularly active.[44][45] Most scholars see the Aos Sí as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs". The Aos Sí were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[46][47] At Samhain, it was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for the Aos Sí.[48][49][50] The souls of the dead were also said to revisit their homes seeking hospitality.[51] Places were set at the dinner table and by the fire to welcome them.[52] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures throughout the world.[53] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[54] Throughout Ireland and Britain, the household festivities included rituals and games intended to foretell one's future, especially regarding death and marriage.[55] Apples and nuts were often used in these divination rituals. They included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[56] Special bonfires were lit and there were rituals involving them. Their flames, smoke and ashes were deemed to have protective and cleansing powers, and were also used for divination.[41][42] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[41] It is suggested that the fires were a kind of imitative or sympathetic magic – they mimicked the Sun, helping the "powers of growth" and holding back the decay and darkness of winter.[52][57][58] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[59] Later, these bonfires served to keep "away the devil".[60] A traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland From at least the 16th century,[61] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[62] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food.[62] It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to the custom of souling (see below). Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[63] It is suggested that the mummers and guisers "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[64] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses—some of which had pagan overtones—in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[65] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[62] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked (or blackened) with ashes taken from the sacred bonfire.[61] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[62] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[62] Elsewhere in Europe, mumming and hobby horses were part of other yearly festivals. However, in the Celtic-speaking regions they were "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[62] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands.[62] Wearing costumes and playing pranks at Halloween spread to England in the 20th century.[62] The "traditional illumination for guisers or pranksters abroad on the night in some places was provided by turnips or mangel wurzels, hollowed out to act as lanterns and often carved with grotesque faces".[62] By those who made them, the lanterns were variously said to represent the spirits,[62] or were used to ward off evil spirits.[66][67] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[62] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of England and became generally known as jack-o'-lanterns.[62] Christian influence Today's Halloween customs are also thought to have been influenced by Christian dogma and practices derived from it. Halloween is the evening before the Christian holy days of All Hallows' Day (also known as All Saints' or Hallowmas) on 1 November and All Souls' Day on 2 November, thus giving the holiday on 31 October the full name of All Hallows' Eve (meaning the evening before All Hallows' Day).[68] Since the time of the early Church,[69] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils which began the night before, as did the feast of All Hallows'.[70] These three days are collectively called Allhallowtide and are a time for honoring the saints and praying for the recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[71] In 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs" on 13 May. This was the same date as Lemuria, an ancient Roman festival of the dead, and the same date as the commemoration of all saints in Edessa in the time of Ephrem.[72] The feast of All Hallows', on its current date in the Western Church, may be traced to Pope Gregory III's (731–741) founding of an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[73][74] In 835, All Hallows' Day was officially switched to 1 November, the same date as Samhain, at the behest of Pope Gregory IV.[75] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[75] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[76] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[75][76] It is also suggested that the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health considerations regarding Roman Fever – a disease that claimed a number of lives during the sultry summers of the region.[77] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[78] Top photograph shows Bangladeshi Christians lighting candles on the headstone, while bottom photograph shows Lutheran Christians praying and lighting candles in front of the crucifix. By the end of the 12th century they had become holy days of obligation across Europe and involved such traditions as ringing church bells for the souls in purgatory. In addition, "it was customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls."[79] "Souling", the custom of baking and sharing soul cakes for all christened souls,[80] has been suggested as the origin of trick-or-treating.[81] The custom dates back at least as far as the 15th century[82] and was found in parts of England, Flanders, Germany and Austria.[53] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives.[82][83][84] Soul cakes would also be offered for the souls themselves to eat,[53] or the 'soulers' would act as their representatives.[85] As with the Lenten tradition of hot cross buns, Allhallowtide soul cakes were often marked with a cross, indicating that they were baked as alms.[86] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[87] On the custom of wearing costumes, Christian minister Prince Sorie Conteh wrote: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes to disguise their identities".[88] It is claimed that, in the Middle Ages, churches that were too poor to display the relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[89] Some Christians observe this custom at Halloween today.[90] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[91] It has been suggested that the carved jack-o'-lantern, a popular symbol of Halloween, originally represented the souls of the dead.[92] On Halloween, in medieval Europe, "fires [were] lit to guide these souls on their way and deflect them from haunting honest Christian folk."[93] Households in Austria, England and Ireland often had "candles burning in every room to guide the souls back to visit their earthly homes". These were known as "soul lights".[94][95][96] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which has often been depicted in church decoration.[97] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that "Christians were moved by the sight of the Infant Jesus playing on his mother's knee; their hearts were touched by the Pietà; and patron saints reassured them by their presence. But, all the while, the danse macabre urged them not to forget the end of all earthly things."[98] An article published by Christianity Today claimed that the danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and suggested this was the origin of modern-day Halloween costume parties.[99][100] In parts of Britain, these customs came under attack during the Reformation as some Protestants berated purgatory as a "popish" doctrine incompatible with their notion of predestination. Thus, for some Nonconformist Protestants, the theology of All Hallows’ Eve was redefined; without the doctrine of purgatory, "the returning souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits. As such they are threatening."[95] Other Protestants maintained belief in an intermediate state, known as Hades (Bosom of Abraham),[101] and continued to observe the original customs, especially souling, candlelit processions and the ringing of church bells in memory of the dead.[68][102] With regard to the evil spirits, on Halloween, "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth."[93] In the 19th century, in some rural parts of England, families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him in a circle, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay, derived either from the Old English tendan (to kindle) or a word related to Old Irish tenlach (hearth).[103] The rising popularity of Guy Fawkes Night (5 November) from 1605 onward, saw many Halloween traditions appropriated by that holiday instead, and Halloween's popularity waned in Britain, with the noteworthy exception of Scotland.[104] There and in Ireland, they had been celebrating Samhain and Halloween since at least the early Middle Ages, and the Scottish kirk took a more pragmatic approach to Halloween, seeing it as important to the life cycle and rites of passage of communities and thus ensuring its survival in the country.[104] In France, some Christian families, on the night of All Hallows' Eve, prayed beside the graves of their loved ones, setting down dishes full of milk for them.[94] On Halloween, in Italy, some families left a large meal out for ghosts of their passed relatives, before they departed for church services.[105] In Spain, on this night, special pastries are baked, known as "bones of the holy" (Spanish: Huesos de Santo) and put them on the graves of the churchyard, a practice that continues to this day.[106] Spread to North America The annual Greenwich Village Halloween Parade in New York City is the world's largest Halloween parade.[107] Lesley Bannatyne and Cindy Ott both write that Anglican colonists in the Southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[108][109] although the Puritans of New England maintained strong opposition to the holiday, along with other traditional celebrations of the established Church, including Christmas.[110] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[111] It was not until mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in North America.[111] Confined to the immigrant communities during the mid-19th century, it was gradually assimilated into mainstream society and by the first decade of the 20th century it was being celebrated coast to coast by people of all social, racial and religious backgrounds.[112] "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[113] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including witches, skeletons, ghosts, cobwebs, and headstones. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[92][114] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[115] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[116] On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[117] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[118][119] but immigrants to North America used the native pumpkin, which is both much softer and much larger – making it easier to carve than a turnip.[118] The American tradition of carving pumpkins is recorded in 1837[120] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[121] The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein and Dracula) and classic horror films (such as Frankenstein and The Mummy).[122][123] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[124] skulls have therefore been commonplace in Halloween, which touches on this theme.[125] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils," a motif that has permeated the observance of this triduum.[126] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "Bogies" (ghosts), influencing Robert Burns' "Halloween" (1785).[127] Elements of the autumn season, such as pumpkins, corn husks and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[128] Black, orange, and sometimes purple are Halloween's traditional colors. Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" refers to "threat" to perform mischief on the homeowners or their property if no treat is given.[81] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[129] John Pymm writes that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[130] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[131][132] Mumming, practiced in Germany, Scandinavia and other parts of Europe,[133] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence."[134] In England, from the medieval period,[135] up until the 1930s,[136] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[102] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[83] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom, and is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit and money.[119] The practice of guising at Halloween in North America is first recorded in 1911, where a newspaper in Kingston, Ontario reported children going "guising" around the neighborhood.[137] Souling was a Christian practice carried out in many English towns on Halloween and Christmas. American historian and author Ruth Edna Kelley of Massachusetts wrote the first book length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[138] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[139] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[140] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald Alberta, Canada.[141] The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[142] Trick-or-treating does not seem to have become a widespread practice until the 1930s, with the first U.S. appearances of the term in 1934,[143] and the first use in a national publication occurring in 1939.[144] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgaiting), occurs when "children are offered treats from the trunks of cars parked in a church parking lot," or sometimes, a school parking lot.[106][145] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[146] such as those of children's literature, movies, scripture, and job roles.[147] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[148][149] Costumes Halloween costumes are traditionally modeled after supernatural figures such as vampires, monsters, ghosts, skeletons, witches, and devils. Over time, in the United States the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses.[81] Dressing up in costumes and going "guising" was prevalent in Ireland and Scotland at Halloween by the late 19th century.[119] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children. The first mass-produced Halloween costumes appeared in stores in the 1930s when trick-or-treating was becoming popular in the United States. The yearly New York Halloween Parade, begun in 1974 by puppeteer and mask maker Ralph Lee of Greenwich Village, is the world's largest Halloween parade and one of America's only major nighttime parades (along with Portland's Starlight Parade), attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience of over 100 million.[107] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour." Images of skeletons and the dead are traditional decorations used as memento mori.[150][151] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[81] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[152][153] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[154] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[155] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[156] Some also suggest that they derive from Roman practices in celebration of Pomona.[81] The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[157] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[158] Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[159][160] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[161][162] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[163] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[164] However, if they were destined to die before marriage, a skull would appear. The custom was widespread enough to be commemorated on greeting cards[165] from the late 19th century and early 20th century. An image from the Book of Hallowe'en (1919) showing several Halloween activities, such as apple bobbing and nut roasting In Ireland and Scotland, items would be hidden in food—usually a cake, barmbrack, cranachan, champ or colcannon—and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example a ring meant marriage and a coin meant wealth.[166] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[41] Several similar games emerged in North America. One that was enjoyed in the early 1900s involved walnut shells. People would write fortunes in milk on white paper. After drying, the paper would be folded and placed in walnut shells. When the shell was warmed, milk would turn brown and the writing would appear on what looked like blank paper. Folks would also play fortune teller. Symbols would be cut out of paper and placed on a platter. Someone would enter a dark room, put their hand on a piece of ice then lay it on a platter. Their "fortune" would stick to the hand. Paper symbols included: dollar sign-wealth, button-bachelorhood, thimble-spinsterhood, clothespin- poverty, rice-wedding, umbrella- journey, caldron-trouble, 4-leaf clover- good luck, penny-fortune, ring-early marriage, and key-fame.[167] Telling ghost stories and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Humorous tombstones in front of a house in California Main article: Haunted attraction (simulated) Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses. The origins of these paid scare venues are difficult to pinpoint, but it is generally accepted that they were first commonly used by the Junior Chamber International (Jaycees) for fundraising.[168] They include haunted houses, corn mazes, and hayrides,[169] and the level of sophistication of the effects has risen as the industry has grown. Haunted attractions in the United States bring in an estimated $300–500 million each year, and draw some 400,000 customers, although press sources writing in 2005 speculated that the industry had reached its peak at that time.[168] This maturing and growth within the industry has led to technically more advanced special effects and costuming, comparable with that of Hollywood films.[170] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[29] Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[171] While there is evidence of such incidents,[172] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[173] A toffee apple/candy apple A jack-o'-lantern Halloween cake with a witches hat One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin and other charms are placed before baking. It is said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. List of foods associated with Halloween: Barmbrack (Ireland) Bonfire toffee (Great Britain) Candy apples/toffee apples (Great Britain and Ireland) Candy apples, Candy corn, candy pumpkins (North America) Monkey nuts (peanuts in their shells) (Scotland and Ireland) Caramel apples Caramel corn Colcannon (Ireland; see below) Cookies shaped in Halloween themes Halloween cake Novelty candy shaped like skulls, pumpkins, bats, worms, etc. Pumpkin, pumpkin pie, pumpkin bread Popcorn Pound cake Ramekins filled with pumpkin pureé Roasted pumpkin seeds Roasted sweet corn Soul cakes Christian religious observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en. On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[174] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve "as a meatless day with pancakes or Callcannon" being served instead.[175] In Mexico, on "All Hallows Eve, the children make a children's altar to invite the angelitos (spirits of dead children) to come back for a visit."[176] The Christian Church traditionally observed Hallowe'en through a vigil "when worshippers would prepare themselves with prayers and fasting" for feast day on the next day (All Saints' Day).[177] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[178][179] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[180][181] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[182][183] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light."[184] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[185][186] Some of these practices include praying, fasting and attending worship services.[1][2][3] O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[187] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[188][189] This is because Martin Luther is said to have nailed his Ninety-Five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[190] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[191] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[192] Others order Halloween-themed Scripture Candy to pass out to children on this day.[193][194] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[195] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[196] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[197] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[198] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[199] In the Roman Catholic Church, Halloween's Christian connection is cited, and Halloween celebrations are common in Catholic parochial schools throughout North America and in Ireland.[200][better source needed] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[201] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[202] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost. The Eastern Orthodox Church recommends the observance of Vespers and/or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[203] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3 which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor, which is equivalent to the observance of Allhallowtide in Christianity, as prayers are said for both "martyrs and for one's own family."[204] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[205] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews observing the holiday.[206] Jews do have the Purim holiday, where the children dress up in costumes to celebrate. Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has argued that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[207] Javed Memon, a Muslim writer, has disagreed, saying that his "daughter dressing up like a British telephone booth will not destroy her faith as a Muslim".[208] Hinduism Most Hindus do not observe All Hallows' Eve, instead they remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest." It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[209] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[210] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals."[211] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[212] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[213] and "avoid Halloween, because of the interruptions from trick or treaters."[214] The Manitoban writes that "Wiccans don’t officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan’s day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don’t try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead — a possible reason why Samhain can be confused with Halloween celebrations."[212] Around the world A Halloween display in Saitama, Japan Main article: Geography of Halloween The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[215][216] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[217] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations. This larger North American influence, particularly in iconic and commercial elements, has extended to places such as South America (Mostly Chile[218]), Australia,[219] New Zealand,[220] (most) continental Europe, Japan, and other parts of East Asia.[221] In the Philippines, during Halloween, Filipinos return to their hometowns and purchase candles and flowers,[222] in preparation for the following All Saints Day (Araw ng mga Patay) on 1 November and All Souls Day —though it falls on 2 November, most of them observe it on the day before.[223]
Quasimodo - Wikipedia https://en.wikipedia.org/wiki/Quasimodo Quasimodo (from Quasimodo Sunday) is a fictional character and the protagonist of the novel The Hunchback of Notre-Dame (1831) by Victor Hugo. Quasimodo ... Quasimodo (from Quasimodo Sunday[1]) is a fictional character and the protagonist of the novel The Hunchback of Notre-Dame (1831) by Victor Hugo. Quasimodo was born with a hunchback and feared by the townspeople as a sort of monster, but he finds sanctuary in an unlikely love that is fulfilled only in death. The role of Quasimodo has been played by many actors in film and stage adaptations, including Lon Chaney, Sr. (1923) and Charles Laughton (1939), as well as Tom Hulce in the 1996 Disney animated adaptation. In 2010, a British researcher found evidence suggesting there was a real-life hunchbacked stone carver who worked at Notre Dame during the same period Victor Hugo was writing the novel and they may have even known each other.[2]
"He was born to a Gypsy tribe", The deformed Quasimodo is described as "hideous" and a "creation of the devil." He was born with a severe hunchback, and a giant wart that covers his left eye. He was born to a Gypsy tribe, but due to his monstrous appearance he was switched during infancy with a physically normal baby girl (the infant Esmeralda). After being discovered, Quasimodo is exorcised and taken to Paris, where he is found abandoned in Notre Dame (on the foundlings' bed, where orphans and unwanted children are left to public charity) on Quasimodo Sunday, the first Sunday after Easter, by Claude Frollo, the Archdeacon of Notre Dame, who adopts the baby, names him after the day the baby was found, and brings him up to be the bell-ringer of the Cathedral. Due to the loud ringing of the bells, Quasimodo also becomes deaf. Although he is hated for his deformity, it is revealed that he is fairly kind at heart. Though Quasimodo commits acts of violence in the novel, these are only undertaken when he is instructed by others.
https://yorkminster.org/shop/chapter-house-heads-and-carvings.html https://yorkminster.org/shop/chapter-house-heads-and-carvings.html
www.ebay.co.uk › Garden & Patio › Garden Ornaments › Statues & Lawn Ornaments
https://blosslynspage.wordpress.com/2014/01/29/the-face-puller-of-cromer/
A large medieval carved limestone long fingered mouth puller gargoyle
Gargoyles: From the Archives of the Grey School of Wizardry
A GURGLING GARGLING GARGOYLE.
Grotesque Humor Notre Dame de Paris Cathedral ... Gravely Gorgeous: Gargoyles, Grotesques and the Nineteenth-Century Imagination ... a series of amusing grotesqueries: a “mouth puller” (possibly a toothache sufferer) contorts his face, mocking worshippers ...
Daily Mail, Monday, April, 10, 2017 Page 58 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge The glories of gargoyles QUESTION Must a grotesque on a church act as a water spout to be a gargoyle? TO BE a true gargoyle, a carved figure must convey water from a roof and spew it on to the pavement, clear of the wall, avoiding the need for downpipes and drains. 'Gargoyle' and 'gargle' are from the same root, referring to the throat. Carvings of faces and monsters which decorate edges or corners of roofs but don't convey water are, strictly speaking, not gargoyles but grotesques. These stone bits of humour, whimsy and monsters — which I call 'cartoons of the sky' because they're often satirical or bawdy — can be found all over Britain, but Oxford's a great place to see them. If you climb the tower of St Mary The Virgin, you can look down on the backs of the genuine gargoyles to see the channel in their backs which leads the water to their mouths. And contrary to popular belief, they are not all medieval: new ones are going up all the time. In Oxford, the Sixties restoration of St Edmund Hall has modern grotesques depicting college characters of the day: the dean and his favourite labrador; the bursar and his moneybags; the principal
with squash racket. New College has the Seven Virtues on the sunny south side of the Bell Tower and the Seven Deadly Sins on the dark north side. The vulgar and bawdy is permissible at gargoyle level. At Magdalen College, which features a busty wench modelled cheekily on one of the college serving maids, a monkey squats defecating nto a drainhead. This is despite a piouss bishop overlooking the bridge and blessing travellers. Many carvings serve to mock mankind, as with the grotesque pulling a face behind soldier on the Bodleian Library. Gargoyles can even settle 450-year-old scores. When Magdalene College, Cambridge, redeveloped a disused wharf nto the Quayside Centre in the Eighties, an unusual detail was specified — a particularly ugly gargoyle of a banker who lad cheated the college of its endowment n 1542. It is now dribbling like a simpleton into the river. Long memories. I'd like most public buildings bigger than a bus shelter to feature the odd gargoyle. It would cheer up our towns no end. Benedict le Vay, author Eccentric Britain, Eccentric Oxford, London SW19. Filthy looker:The banker's gargoyle at Magdalene College in Cambridge (image omitted)
1234 5 6789 WISE W IS E WISE WISE 5 IS 5 WISE 1234 5 6789
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
1234 5 6789
1234 5 6789 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 1234 5 6789
1234 5 6789
1234 5 6789
1234 5 6789
WISE OWL WISE
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
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9 |
9 |
FINGER PRINTS OF THE GODS
Graham Hancock 1995
Page 153
Adventures in the Underworld, Journeys to the Stars
"In Egypt's early dynastic period more than 4500 years ago, an 'Ennead' of nine omnipotent deities was particularly adored by the priesthood at Heliopolis.5 Likewise in Central America, both the Aztecs and the Mayas believed in an all-powerful system of nine deities"
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ENNEAD
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4+3 |
2+5 |
2+5 |
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7
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ENNEAD
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A+D |
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ENNEAD
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43
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25
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4+3 |
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2+5 |
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ENNEAD
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"The majority of the traditions of the God-King Quetzalcoatl, as we have seen, focus on his deeds and teaching as a civilizer. His followers in ancient Mexico, however, also believed that his human manifestation had experienced death and that afterwards he was reborn as a star.9"
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I+C+O |
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MEXICO |
69 |
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33 |
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7
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MEXICO
X I
COME
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MEXICO
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MEXICO |
69 |
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33 |
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MEXICO |
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18 |
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ESOTERIC O SECRET I SECRET O ESOTERIC
ESOTERIC 6 SECRET 9 SECRET 6 ESOTERIC
ESOTERIC O SECRET I SECRET O ESOTERIC
MEXICO
X I
COME
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ESOTERIC
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ESOTERIC O SECRET I SECRET O ESOTERIC
ESOTERIC 6 SECRET 9 SECRET 6 ESOTERIC
ESOTERIC O SECRET I SECRET O ESOTERIC
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ESOTERIC
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http://theosophy.org/tlodocs/teachers/Quetzalcoatl.htm
QUETZALCOATL
"What does your mind seek?
Where is your heart?
If you give your heart to each and every thing,
You lead it nowhere: you destroy your heart.
Can anything he found on earth?
Beyond is the place where one lives.
I would be lying to myself were I to say:
"Perhaps everything ends on this earth;
Here do our lives end."
No, O Lord of the Close Vicinity,
It is beyond, with those who dwell in Your house,
That I will sing songs to You, in the innermost of heaven.
My heart rises;
I fix my eyes upon You,
Next to You, beside You,
O Giver of Life.
Cantares Mexicanos
"No one outside the adyta of initiation can know the ultimate origins of American Indian spirituality, and only a few have penetrated the veil of metaphor and symbol constituting the core of Nahuatl literature. No one knows how many, if any, of those who still speak the Nahuatl tongue, spoken by the Aztecs before them and already richly developed in the time of the earliest Toltecs, really fathom the inner meaning of its startling profusion of juxtaposed images, symbolic descriptions and ethereal allusions. The Nahuatl mind found truth only in "flowers and songs", in intuitive apprehension, and entirely dispensed with delusive dichotomies and mechanistic categories. Only the barest lineaments of the history of the Aztecs, latest of the major pre-Columbian civilizations in Meso-America, are known. The peoples before them are immersed in an obscurity dimly illuminated here and there by legend and archaeological discovery. Ancient Mexico and the lands immediately south of it are, as H.P. Blavatsky said, "a land of mystery". Yet within that lost continent is to be found Quetzalcoatl, one of the iridescent spiritual impulses of poorly recorded history. Quetzalcoatl emblazoned a trail through human thought and culture that could not be effaced by the indifference of the rapacious conquistador and the ruthless zeal of the Inquisition."
12
|
QUETZALCOATL |
153 |
45 |
9
|
7 |
CHOLULA |
72 |
27 |
9 |
11 |
TEOTIHUACAN |
117 |
63 |
9 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
11 |
TEOTIHUACAN |
- |
- |
- |
4
|
T+E+O+T |
60 |
15 |
6
|
1 |
I |
9 |
9 |
9
|
3
|
H+U+A |
30 |
30 |
3
|
3
|
C+A+N |
18 |
9 |
9
|
11 |
TEOTIHUACAN |
117 |
63 |
27 |
1+1 |
- |
1+1+7 |
6+3 |
2+7 |
2 |
TEOTIHUACAN |
9 |
9 |
9 |
Tlamatini - Wikipedia
From Wikipedia, the free encyclopedia
Tlamatini (plural tlamatinime) is a Nahuatl language word meaning "someone who knows something", generally translated as "wise man". The word is analyzable as derived from the transitive verb mati "to know" with the prefix tla- indicating an unspecified inanimate object translatable by "something" and the derivational suffix -ni meaning "a person who are characterized by ...": hence tla-mati-ni "a person who is characterized by knowing something" or more to the point "a knower".[1]
The famous Nahuatl language translator and interpreter Miguel León-Portilla refers to the tlamatini as philosophers and they are the subject of his book Aztec Thought and Culture.[2][3]
Tlamatinime - ThroneWorld
www.throneworld.com/wiki/index.php?title=Tlamatinime
3 Oct 2009 - The world humans experience is the nahual -- the “disguise” or “mask” -- of the reality of teotl, the “house of paintings”, not the nelli -- rooted, true, authentic -- cosmos. The wisdom of the tlamatinime permits them to see beyond the illusion or dreamlike world to the teotl itself.
Aztec Philosophy | Internet Encyclopedia of Philosophy
www.iep.utm.edu/aztec/
Nahua tlamatinime ("knowers of things," "sages," "philosophers;" tlamatini [singular]) do not appear to have analyzed philosophical thought in these terms.
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A Companion to Latin American Philosophy - Google Books Result
https://books.google.co.uk/books?isbn=1118610563
Susana Nuccetelli, ?Ofelia Schutte, ?Otávio Bueno - 2013 - ?Philosophy
Nahua tlamatinime (tlamatini, singular), i.e., “knowers of things,” “poet-philosophers," or “sages,” conceived the raison d'étre of philosophy as providing ...
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TLAMATINI
SOMEONE WHO KNOWS SOMETHING
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http://theosophy.org/tlodocs/teachers/Quetzalcoatl.htm
QUETZALCOATL
"The earliest American high culture known to history was that developed by the Toltecs, whose name in Nahuatl means 'master craftsmen'. They built the great city of Tollan, a sacred precinct laid out to mirror and intimate the mysteries of existence. Tollan, literally 'metropolis', became the prototype of later cities which bore its name as well as specific names of their own. Tollan was the magnificent Teotihuacan which was recognized as the source of Nahuatl civilization, and Quetzalcoatl was the spiritual source of the earthly Tollan. Like Osiris in Egypt, Quetzalcoatl was a divine king who taught all the arts and sciences. Like Prometheus, he gave mankind sacred keys to wisdom. He is the spiritual progenitor of the tlamatinime, the wise men who were the priests and preservers of divine knowledge.
The wise maintain a light, a torch, a stout torch
that does not smoke;
A perforated mirror, a mirror pierced on both sides.
His are the black and red ink, his are the illustrated
manuscripts. . . .
He himself is writing and wisdom.
He is the path, the true way for others.
Codice Matritense
The priest who through purity and insight emerged foremost amongst his peers was given the name Quetzalcoatl, reminiscent of the Egyptian Initiate who earned the epithet Hermes Trismegistus. He is a mirror of the world and of the Divine, "pierced on both sides", so that the transcendent shines forth upon the world and man sees beyond the immanent through the wise man. The tlamatini mirrors the primordial and aeviternal activity of Quetzalcoatl, the divine sage, high priest and inner being of humanity.
Quetzalcoatl's ineluctably numinous nature, a mystery impenetrable to theological and mythological analysis, abides in his role as the bridge between ontological levels and between pairs of opposites within each level. The duality essential to manifestation is constrained by and unified in Quetzalcoatl. Thus, to explain the intertwined and enigmatic functions of this man-god, mythographers have been compelled to import the Sanskrit concept of avatara. Surviving fragments of myth, legend and history provide a tantalizingly incomplete mosaic of a priest-king and spiritual principle omnipresent in Nahuatl thought and life. Accounts of his functions and activities seem confused and contradictory, most likely because the keys to levels of interpretation perished with the silent tlamatinime. Nonetheless, Quetzalcoatl, believed to have incarnated as a righteous priest-king in Tollan, was first a metaphysical principle involved in the primordial creative emanation of the world. Ometeotl is the great god who abides forever in the twelfth and thirteenth heavens. In the highest realm, he alone is unaffected by the emergence and dissolution of the cosmos. In the twelfth heaven, Omeyocan (the Realm of Duality), he is "Our Mother and Our Father, Ometeotl-Omecihuatl, who is Dual Lord and Dual Lady", the first cause.
Our Lord, Lord of the Ring,
Self-engendered, self-willing, self-enjoying;
Even as He wills, so shall He desire that
it shall be.
The appearance and passing of worlds is the work of hierarchies of divine beings who operate in strict obedience to the universal law, the will of Ometeotl. Yet he also dwells in the centre of the cosmos and on every plane of being as Xiuhtecuhtli, the Lord of Fire and Time.
As Mother-Father, the Dual Lord confirms the connection of a soul to the body engendered by conception. In this role, he sits on high with his consort, his feminine self, and Quetzalcoatl sits between them, for Quetzalcoatl creates the connection willed by Ometeotl. As Ometeotl is the heart of manifestation, Quetzalcoatl is the heart of the dual Ometeotl. Within the vast unfoldment of cosmos, the world has emerged five times through five rebirths of the sun. Whilst some say the fifth sun is the last, others suggest that there will be seven suns, and still others hint at the possibility of twelve suns. Each sun has come into existence through the sacrifice of a god, just as Ometeotl must sacrifice his utter transcendence to become the dual first cause. Tezcatlipoca, son of Ometeotl, sacrificed himself in the cosmic fire so that the Sun of Night and of Earth might arise. Represented by the jaguar or tiger, the raw forces of this world were sterile from an evolutionary standpoint and therefore perished. Quetzalcoatl sacrificed himself to produce the second world, the Sun of Air, but its purely spiritual powers could not sustain form. Creatures of this world who corresponded to human beings in the world of the fifth sun became monkeys. Tlaloc, Lord of Rain, immolated himself in the cosmic fire to give birth to the Sun of Rain and Fire, but the volcanic intensity of this world allowed only birds to survive, though during its existence the prototype of maize was grown. Chalchiuhtlicue, life-giving goddess of waters, offered herself so that the fourth Sun of Waters might appear. Whilst men consumed the acicintli seed, it could not grow in water alone, and the world perished in a universal deluge.
Two gods volunteered themselves in the fiery sacrifice to create the fifth sun. The divine hearth was constructed at Teotihuacan, the centre of what would be the fifth world. After suitable ritual preparations were made and the gods had purified themselves, the moment came to approach the fire. Tecuciztecatl, Lord of the Snails, who had arrogantly claimed primacy, could not muster the courage to enter the cosmic fire. Nanahuatzin or Nanahuatl, the god whose form is diseased, who therefore understood the pain of limitation and imperfection, stepped forward and threw himself on the pyre. Shamed by such detachment, Tecuciztecatl followed him as the moon (which Tecuciztecatl became) follows the sun. The sun did not rise immediately, however, and the gods became anxious in the oppressive darkness. Quetzalcoatl, however, divined the locus of the sunrise and proceeded to the east. There he welcomed the rising sun as Lord of the Dawn and, when the sun wobbled uncertainly on its rising course, steadied it as god of wind. Thus, the fifth sun is called Nahui Ollin, Four Movement, Naollin, the synthesis of the four elements through dynamic interaction, the Sun of Quetzalcoatl, who as movement is the active ingredient of the ever-changing balance which sustains – and is – life. Its symbol is the human face, the countenance signifying life and intelligence, self-conscious will or choice in the service of unalterable cosmic law, that mystic promise of immortality within necessary dissolution that alone can mirror unmanifest eternity. Its glyph includes the four transient elements and three aspects of divine creativity, arranged as a quincunx that points to both the Fourth Round and Fifth Root Race.
In his Promethean aspect Quetzalcoatl is involved in the creation of human beings and in inspiring them with intelligence. Before Naollin's roseate splendour had burst into full day and brought the present world to light, Quetzalcoatl had to descend into the realm of the dead, Mictlan, to secure the precious bones of man so that humans might again inhabit the earth. In Mictlan, the realm of the fleshless, he confronted Mictlantecuhtli and Mictlancihuatl, Lord and Lady of the Land of the Dead, the 'masks' or reflections of Ometeotl and Omecihuatl in the lowest sphere of duality, beyond which is unknowable darkness, just as there is the Unknown above Omeyocan, the highest heaven. When Quetzalcoatl demanded the bones, Mictlantecuhtli offered them on condition that Quetzalcoatl sound the conch-shell and circle the kingdom four times. Whilst this seemed to be a genuine challenge, the shell had no sounding-hole and was ever mute. Quetzalcoatl called upon the worms to pierce the shell, and bees entered through the hole and made it sound. Whilst appearing to yield possession of the bones, Mictlantecuhtli called upon the forces of the underworld to prevent Quetzalcoatl from fulfilling his charge. Mirroring this deception, Quetzalcoatl sent his double, nahualli, who is Xolotl, his twin and another aspect of himself, to inform the Lord of the Dead that the bones would be left in Mictlan. Even whilst this message was being delivered, Quetzalcoatl gathered the bones of Man and Woman and fled.
The forces of the underworld did not pursue Quetzalcoatl directly; they had prepared a trap. Quetzalcoatl fell into the trap and lost consciousness for a time. When he recovered, he found the bones damaged and in disarray. Crying out to his nahualli, he asked, "What shall I do now?" His twin gave the pre-ordained response: "Since things have turned out badly, let them turn out as they may."
And as soon as he arrived, the woman called Quilaztli, who is Cihuacoatl, took them to grind and put them in a precious vessel of clay. Upon them Quetzalcoatl bled his member. The other gods and Quetzalcoatl himself did penance. And they said, "People have been born, O gods, the macehuales – those 'deserved' into life through penance." Because for our sake, the gods did penance!
Manuscript of 1558
Within this mysterious allegory one can see the failure of nature alone to produce intelligent men, the gathering of the lower vestures and their animation with the breath of life within the body of clay, as well as the penitential self-sacrifice of the gods, represented by the seminal blood and signifying the incarnation of the spiritual and divine within the prepared living human form. Once this complex process was completed, Quetzalcoatl stole maize, the proper food of self-consciously intelligent beings, and gave it to humanity.
Under Naollin, the fifth sun, Quetzalcoatl is the dynamic order of Nature, the homoeostasis in which humanity can flourish. Celestially, he guards the Milky Way, 'the Luminous Petticoat of Stars'. Tezcatlipoca, son of Ometeotl, became the four Tezcatlipocas who guard the four quarters of the world. In the west this fourfold hypostasis is Quetzalcoatl, whilst in the east he is the red Tezcatlipoca, the two constituting the tension between birth and death, which is also death in this world of change and birth into the Divine Darkness. The red Tezcatlipoca is also Xolotl, the twin of Quetzalcoatl, the other half of one ceaseless activity. In the atmosphere which blankets the fertile earth, Quetzalcoatl is the wind and the water it bears in the air. He is also lightning, sudden illuminator of darkness, who, like an ambassador, precedes Tlaloc, the god of rain. His multivalent functions are intimated in the deliberate ambiguity of his name: Quetzalcoatl is derived from quetzal, 'feathered' or 'precious', and coati, 'serpent' or 'twin'. Thus he is both the Plumed Serpent and the Precious Twin.
In tlalticpac, the dream world which is earth, Quetzalcoatl is the divine king who, like Osiris, the second divine pharaoh of Egypt, brought civilization to humanity. As the divine ruler in Tollan, he taught all the arts and sciences, from cultivation of maize to metallurgy and from astrology to poetry, as well as the sacred tlilli tlapalli, red and black ink, that is, writing and, by extension, wisdom. During the golden age he dwelt in his invisible form, guiding and governing in a kingdom of innocent joy. Yet the forces of limitation, shadows in this realm of light, plotted Quetzalcoatl's downfall. Tezcatlipoca took a mirror and invited Quetzalcoatl to gaze into it. To his horror, he thereby gained a body, rather like Anthropos, and seeing himself reflected in the mirror of inchoate Nature, became one with it, according to the Hermetic tradition. In his confusion he allowed a mask and feathered head-dress to be made for him, so that people might look upon him without fear. Whilst he was disoriented, demons made pulque, a fermented drink from sap of the maguey, and gave it to Quetzalcoatl. Thus intoxicated, he took Quetzalpetatl, his feminine aspect from which he now felt alienated, and slept with her, falling afterwards into a stupor. As the archetype of humanity, his deeds brought pain and suffering to humanity – the pain of having a body, the suffering of loneliness, the disharmonies of striving, contention, fear and guilt, which pit person against person and turn the powers of human consciousness into instruments of selfishness and its inevitable offspring, conflict and greed.
In the morning Quetzalcoatl awoke filled with grief and remorse. As god, he knew the unavoidable problems of incarnation, but as king, he saw the massive failure of civilization. Between potentiality and actualization fell the dread shadow of self-induced ignorance. Within the architectonics of human life, the problems of creating man had been wholly reflected, and thus Quetzalcoatl's earthly work was completed. He resolved to leave his beautiful Tollan and set out with his closest devotees. He journeyed throughout his kingdom, leaving at different sites marks of his presence – a sacred footprint here, a raised stone there – and stripped himself of his arts and powers as he went so that these might remain with humanity in his absence. He ordered a stone casket to be made, and when it was finished he lay in it for four days so that his most precious secrets might be absorbed into it.
When he was ready, he ordered the stone box sealed up to prevent theft or contamination of its contents. Only those who have redeemed Quetzalcoatl's wisdom through severe penance and self-sacrifice can hope to know the contents of that mystic sarcophagus now secreted in the human breast, in the place of purity where Quetzalcoatl was accustomed to bathing.
All work finished, Quetzalcoatl went to the sea.
When he reached the holy sea
And the shore of the luminous ocean,
He stayed his steps and wept.
He gathered his garments together
And dressed himself again
In his robes of quetzal feathers
And his turquoise mask.
Annals of Cuauhtitlan
There at Tlillin Tlapallin, the place of burning, he built a huge pyre, mounted it and set it aflame. His ashes rose into the air and the rarest birds of the earth appeared. As the red flames lit up the celestial vault, Quetzalcoatl became again the Lord of the Dawn.
When the ashes had ceased to burn,
Quetzalcoatl's heart rose up.
They say it was raised to heaven
And entered there.
Wise men say it became
The morning star, appearing at dawn,
And they add that it was not seen
For four days after his death,
Whilst he had sojourned in the Kingdom of Death.
And in these four days, he gathered arrows,
And eight days later, he appeared again
As the great star.
Since then he has sat enthroned.
"The heart of Quetzalcoatl became Venus, the morning star which promises first the dawn, then the rising sun itself."
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QUETZALCOATL |
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17 |
8 |
8
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8
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3
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3 |
3
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3
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5
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2
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2
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26 |
8 |
8
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8
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1
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1 |
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1 |
1 |
1
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1
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3 |
3
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3
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9 |
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15 |
6 |
6
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-
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-
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6
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-
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-
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A
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1
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10 |
1 |
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1 |
1 |
1
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2
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11 |
1 |
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2 |
2
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2
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3
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12 |
1 |
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12 |
3 |
3
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3
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45
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12
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QUETZALCOATL
|
153
|
45
|
45
|
-
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2
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4
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12
|
4
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5
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6
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7
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16
|
9
|
-
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-
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4+5 |
-
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1+2 |
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1+5+3 |
4+5 |
4+5 |
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1+2 |
-
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-
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-
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-
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1+6 |
-
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9
|
-
|
3
|
QUETZALCOATL
|
9
|
9
|
9
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-
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2
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4
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3
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4
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5
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6
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7
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7
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9
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1
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2
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3
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5
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6
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8
|
-
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-
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- |
12 |
QUETZALCOATL |
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1 |
1 |
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17 |
8 |
8
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8
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3
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2 |
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3 |
3
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-
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-
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3
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5
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3 |
1 |
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5 |
5 |
5
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5
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2
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4 |
1 |
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20 |
2 |
2
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-
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2
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8
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5 |
1 |
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26 |
8 |
8
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8
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1
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6 |
1 |
A
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1 |
1 |
1
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1
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3
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7 |
1 |
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3 |
3
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3
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8 |
1 |
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3 |
3 |
3
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3
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6
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9 |
1 |
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15 |
6 |
6
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6
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1
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10 |
1 |
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1 |
1 |
1
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1
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2
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11 |
1 |
T
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20 |
2 |
2
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2
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=
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3
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12 |
1 |
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12 |
3 |
3
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3
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45
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12
|
QUETZALCOATL
|
153
|
45
|
45
|
-
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2
|
4
|
12
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5
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6
|
16
|
-
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4+5 |
-
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1+2 |
-
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1+5+3 |
4+5 |
4+5 |
-
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-
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-
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1+2 |
-
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-
|
1+6 |
-
|
-
|
9
|
-
|
3
|
QUETZALCOATL
|
9
|
9
|
9
|
-
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2
|
4
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3
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5
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6
|
7
|
-
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-
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-
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-
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1
|
2
|
3
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5
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6
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8
|
-
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-
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-
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- |
12 |
QUETZALCOATL |
-
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-
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-
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A
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1
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1 |
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1 |
1 |
1
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1 |
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1 |
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1
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2
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1 |
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2 |
2
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-
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2
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2
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1 |
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2 |
2
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2
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3
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1 |
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3 |
3
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3
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1 |
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3 |
3
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3
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3
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1 |
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3 |
3 |
3
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3
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6
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8
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1 |
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17 |
8 |
8
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8
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Z
|
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|
8
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|
1 |
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26 |
8 |
8
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-
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-
|
-
|
-
|
8
|
-
|
-
|
45
|
-
|
12
|
QUETZALCOATL
|
153
|
45
|
45
|
-
|
2
|
4
|
12
|
5
|
6
|
16
|
-
|
-
|
4+5 |
-
|
1+2 |
-
|
1+5+3 |
4+5 |
4+5 |
-
|
-
|
-
|
1+2 |
-
|
-
|
1+6 |
-
|
-
|
9
|
-
|
3
|
QUETZALCOATL
|
9
|
9
|
9
|
-
|
2
|
4
|
3
|
5
|
6
|
7
|
QUETZALCOATL
THIS
SERPENT I PRESENT
Quetzalcoatl - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Quetzalcoatl
Quetzalcoatl /ˌkɛtsɑːlˈkoʊɑːtəl is a Mesoamerican deity whose name comes from the Nahuatl language and means feathered serpent". The worship of a ...
Tezcatlipoca - Huitzilopochtli - Kukulkan - Aztec mythology in popular ...
Quetzalcoatl in feathered serpent form as depicted in the Codex Telleriano-Remensis
Quetzalcoatl /ˌkɛtsɑːlˈkoʊɑːtəl/ (Classical Nahuatl: Quetzalcohuātl [ketsaɬˈko.aːtɬ]) is a Mesoamerican deity whose name comes from the Nahuatl language and means "feathered serpent".[1] The worship of a feathered serpent is first documented in Teotihuacan in the first century BCE or first century CE.[2] That period lies within the Late Preclassic to Early Classic period (400 BCE – 600 CE) of Mesoamerican chronology, and veneration of the figure appears to have spread throughout Mesoamerica by the Late Classic (600–900 AD).[3]
In the Postclassic period (900–1519 AD), the worship of the feathered serpent deity was based in the primary Mexican religious center of Cholula. It is in this period that the deity is known to have been named "Quetzalcoatl" by his Nahua followers. In the Maya area he was approximately equivalent to Kukulcan and Gukumatz, names that also roughly translate as "feathered serpent" in different Mayan languages.
In the era following the 16th-century Spanish Conquest, a number of sources were written that conflate Quetzalcoatl with Ce Acatl Topiltzin, a ruler of the mythico-historic city of Tollan. It is a matter of much debate among historians to which degree, or whether at all, these narratives about this legendary Toltec ruler describe historical events.[4] Furthermore, early Spanish sources written by clerics tend to identify the god-ruler Quetzalcoatl of these narratives with either Hernán Cortés or St. Thomas—an identification which is also a source of diversity of opinions about the nature of Quetzalcoatl.[5]
Among the Aztecs, whose beliefs are the best-documented in the historical sources, Quetzalcoatl was related to gods of the wind, of Venus, of the dawn, of merchants and of arts, crafts and knowledge. He was also the patron god of the Aztec priesthood, of learning and knowledge.[6] Quetzalcoatl was one of several important gods in the Aztec pantheon, along with the gods Tlaloc, Tezcatlipoca and Huitzilopochtli.
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QUETZALCOATL
|
-
|
-
|
-
|
4 |
Q+U+E+T |
63 |
18 |
9 |
2 |
Z+A |
27 |
9 |
9 |
6 |
L+C+O+A+T+L |
63 |
18 |
9 |
12 |
QUETZALCOATL
|
153
|
45
|
27
|
1+2 |
-
|
1+5+3 |
4+5 |
2+7 |
3
|
QUETZALCOATL
|
9
|
9
|
9
|
..
Quetzalpetatl, his feminine aspect
The Gospel of the Toltecs: The Life and Teachings of Quetzalcoatl
https://books.google.co.uk/books?isbn=187918186X
Frank Díaz - 2002 - ?Body, Mind & Spirit
QUETZALPETATL. 1 When the princess arrived she greeted Ce Acatl and told him: "Oh, brother, I've come from the jungles of the tiger, from the palace of ...
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4
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5
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6
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7
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8
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9
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- |
13 |
QUETZALPETATL |
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-
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-
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-
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Q
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=
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8
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1 |
1 |
Q
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17 |
8 |
8
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-
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8
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3
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2 |
1 |
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21 |
3 |
3
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3
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5 |
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5
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1 |
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2 |
2
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26 |
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8
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-
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-
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8
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6 |
1 |
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1 |
1 |
1
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-
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1
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-
|
-
|
-
|
-
|
-
|
-
|
-
|
L
|
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3
|
7 |
1 |
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|
12 |
3 |
3
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3
|
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|
-
|
-
|
-
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-
|
-
|
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|
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|
7
|
8 |
1 |
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16 |
7 |
7
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|
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1 |
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5 |
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5
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|
=
|
2
|
10 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
A
|
=
|
1
|
11 |
1 |
A
|
1 |
1 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
12 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
L
|
=
|
3
|
13 |
1 |
L
|
12 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
50
|
-
|
13
|
QUETZALPETATL
|
176
|
50
|
50
|
-
|
2
|
6
|
9
|
4
|
10
|
6
|
7
|
16
|
9
|
-
|
-
|
5+0 |
-
|
1+3 |
-
|
1+7+6 |
5+0 |
5+0 |
-
|
-
|
-
|
-
|
-
|
1+0 |
-
|
-
|
1+6 |
-
|
-
|
-
|
5
|
-
|
4
|
QUETZALPETATL
|
14
|
5
|
5
|
-
|
2
|
6
|
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QUETZALCOATL
THE FEATHERED SERPENT
Quetzalcoatl
Wikipedia
https://en.wikipedia.org › wiki › Quetzalcoatl
quetzalcoatl the feathered serpent from en.wikipedia.org
Feathered serpent deity in MesoamericaEdit · Quetzalcoatl Feathered Serpent Ornament · Feathered Serpent head at the Ciudadela complex in Teotihuacan
Vision ...
Other names: White Tecatlipoca, Ce Acatl Topi...
Major cult center: Temple of the Feathered Ser...
Maya equivalent: Kukulkan (God H)?
Parents: Ometecuhtli and ?Omecihuatl? (Codex ...?
?Quetzalcoatlus · ?Tlahuizcalpantecuhtli · ?Ehecatl · ?Fernando de Alva Ixtlilxochitl
You visited this page on 25/04/23.
Quetzalcoatl (/?k?ts?lko?'æt?l/[3]) [pron 1] is a deity in Aztec culture and literature. Among the Aztecs, it was related to wind, Venus, Sun, merchants, arts, crafts, knowledge, and learning. It was also the patron god of the Aztec priesthood.[5] It was one of several important gods in the Aztec pantheon, along with the gods Tlaloc, Tezcatlipoca and Huitzilopochtli. Two other gods represented by the planet Venus are Tlaloc (ally and the god of rain) and Xolotl (psychopomp and its twin).
Quetzalcoatl wears around his neck the breastplate ehecacozcatl, "the spirally voluted wind jewel". This talisman was a conch shell cut at the cross-section and was likely worn as a necklace by religious rulers, as such objects have been discovered in burials in archaeological sites throughout Mesoamerica,[6] and potentially symbolized patterns witnessed in hurricanes, dust devils, seashells, and whirlpools, which were elemental forces that had significance in Aztec mythology.[need quotation to verify] Codex drawings pictured both Quetzalcoatl and Xolotl wearing an ehecacozcatl around the neck.[citation needed] Additionally, at least one major cache of offerings includes knives and idols adorned with the symbols of more than one god, some of which were adorned with wind jewels.[7] Animals thought to represent Quetzalcoatl include resplendent quetzals, rattlesnakes (coatl meaning "serpent" in Nahuatl), crows, and macaws. In his form as Ehecatl he is the wind, and is represented by spider monkeys, ducks, and the wind itself.[8] In his form as the morning star, Venus, he is also depicted as a harpy eagle.[9] In Mazatec legends the astrologer deity Tlahuizcalpanteuctli, who is also represented by Venus, bears a close relationship with Quetzalcoatl.[10]
The earliest known documentation of the worship of a Feathered Serpent occurs in Teotihuacan in the first century BC or first century AD.[11] That period lies within the Late Preclassic to Early Classic period (400 BC – 600 AD) of Mesoamerican chronology; veneration of the figure appears to have spread throughout Mesoamerica by the Late Classic period (600–900 AD).[12] In the Postclassic period (900–1519 AD), the worship of the feathered-serpent deity centered in the primary Mexican religious center of Cholula. In this period the deity is known to have been named Quetzalcohuatl by his Nahua followers. In the Maya area he was approximately equivalent to Kukulkan and Gukumatz, names that also roughly translate as "feathered serpent" in different Mayan languages. In the era following the 16th-century Spanish conquest of the Aztec Empire, a number of records conflated Quetzalcoatl with Ce Acatl Topiltzin, a ruler of the mythico-historic city of Tollan. Historians debate to what degree, or whether at all, these narratives about this legendary Toltec ruler describe historical events.[13] Furthermore, early Spanish sources written by clerics tend to identify the god-ruler Quetzalcoatl of these narratives with either Hernán Cortés or Thomas the Apostle—identifications which have also become sources of a diversity of opinions about the nature of Quetzalcoatl.[14]
Etymology
The name Quetzalcoatl comes from the Nahuatl language and means "Precious serpent" or "Quetzal-feathered Serpent".[15] In the 17th century, Ixtlilxóchitl, a descendant of Aztec royalty and historian of the Nahua people, wrote, "Quetzalcoatl, in its literal sense, means 'serpent of precious feathers' but in the allegorical sense, 'wisest of men'."[16]
Feathered serpent deity in Mesoamerica
Main article: Feathered Serpent (deity)
In Mesoamerican history, many different ethnopolitical groups worshiped a feathered-serpent deity. Evidence of such worship comes from the iconography of different Mesoamerican cultures, in which serpent motifs occur frequently. On the basis of the different symbolic systems used in portrayals of the feathered-serpent deity in different cultures and periods, scholars have interpreted the religious and symbolic meaning of the feathered-serpent deity in Mesoamerican cultures.
Iconographic depictions
Quetzalcoatl Feathered Serpent Ornament
Feathered Serpent head at the Ciudadela complex in Teotihuacan
The earliest known iconographic depiction of the deity appears on Stela 19 at the Olmec site of La Venta. Dated to around 900 BC, it depicts a serpent rising up behind a person probably engaged in a shamanic ritual. Although probably not exactly a depiction of the same feathered-serpent deity worshipped in classic and post-classic periods, it shows the continuity of symbolism of feathered snakes in Mesoamerica from the formative period and on, for example in comparison to the Maya Vision Serpent shown below.
The first culture to use the symbol of a feathered serpent as an important religious and political symbol was that of Teotihuacan. At temples such as the aptly named "Quetzalcoatl temple" in the Ciudadela complex, feathered serpents figure prominently and alternate with a different kind of serpent head. The earliest depictions of the feathered serpent deity were fully zoomorphic, depicting the serpent as an actual snake, but already among the Classic Maya, images of the deity began acquiring human features, such as the beard (see the Borgia codex illustration above) that he was sometimes depicted with.
In the iconography of the classic period, Maya serpent imagery is also prevalent: a snake often appears as the embodiment of the sky itself, and a vision serpent is a shamanic helper presenting Maya kings with visions of the underworld.
The archaeological record shows that after the fall of Teotihuacan that marked the beginning of the epi-classic period in Mesoamerican chronology around 600 AD, the cult of the feathered serpent spread to new religious and political centers in central Mexico, centers such as Xochicalco, Cacaxtla and Cholula.[12] Feathered-serpent iconography is prominent at all of these sites. Cholula remained the most important center of worship of Quetzalcoatl, the Aztec/Nahua version of the feathered-serpent deity, in the post-classic period.
During the epi-classic period, a dramatic spread of feathered serpent iconography is evidenced throughout Mesoamerica, and during this period images begin to figure prominently at sites such as Chichén Itzá, El Tajín, and throughout the Maya area. Colonial documentary sources from the Maya area frequently speak of the arrival of foreigners from the central Mexican plateau, often led by a man whose name translates as "Feathered Serpent". It has been suggested that these stories recall the spread of the feathered-serpent cult in the epi-classic and early post-classic periods.[12]
Represented as the plumed serpent, Quetzalcoatl was also seen as manifest in the wind, one of the most powerful forces of nature; a text in the Nahuatl language captures this relationship:
Quetzalcoatl; yn ehecatl ynteiacancauh yntlachpancauh in tlaloque, yn aoaque, yn qujqujiauhti. Auh yn jquac molhuja eheca, mjtoa: teuhtli quaqualaca, ycoioca, tetecujca, tlatlaiooa, tlatlapitza, tlatlatzinj, motlatlaueltia.
Quetzalcoatl—he was the wind, the guide and road sweeper of the rain gods, of the masters of the water, of those who brought rain. And when the wind rose, when the dust rumbled, and it crack and there was a great din, became it became dark and the wind blew in many directions, and it thundered; then it was said: "[Quetzalcoatl] is wrathful."[17]
Quetzalcoatl also became linked with rulership and priestly office; additionally, among the Toltec, the name was used as a military title and its representation as an emblem.[18][need quotation to verify]
In the post-classic Nahua civilization of central Mexico (Aztec), the worship of Quetzalcoatl was ubiquitous. Cult worship may have involved the ingestion of hallucinogenic mushrooms (psilocybes), considered sacred.[19] The most important center was Cholula, where the world's largest pyramid was dedicated to Quetzalcoatl-worship. In Aztec culture, depictions of Quetzalcoatl were fully anthropomorphic. Quetzalcoatl was associated with the wind-god Ehecatl and is often depicted with his insignia: a beak-like mask.
Interpretations
Vision Serpent depicted on lintel 15 from Yaxchilan
On the basis of the Teotihuacan iconographical depictions of the feathered serpent, archaeologist Karl Taube has argued that the feathered serpent was a symbol of fertility and of internal political structures - contrasting with the War Serpent symbolizing the outwards military expansion of the Teotihuacan empire.[20] Historian Enrique Florescano - also analyzing Teotihuacan iconography - argues that the Feathered Serpent was part of a triad of agricultural deities:
the Goddess of the Cave, symbolizing motherhood, reproduction and life
Tlaloc, god of rain, lightning and thunder
the feathered serpent, god of vegetational renewal
The feathered serpent was furthermore connected to the planet Venus because of this planet's importance as a sign of the beginning of the rainy season. To both Teotihuacan and Maya cultures, Venus was in turn also symbolically connected with warfare.[21]
In Aztec culture
Quetzalcoatl as depicted in the Codex Magliabechiano
To the Aztecs, Quetzalcoatl was, as his name indicates, a feathered serpent. He was a creator deity having contributed essentially to the creation of mankind. He also had anthropomorphic forms, for example in his aspects as Ehecatl the wind god. Among the Aztecs, the name Quetzalcoatl was also a priestly title, as the two most important priests of the Aztec Templo Mayor were called "Quetzalcoatl Tlamacazqui". In the Aztec ritual calendar, different deities were associated with the cycle-of-year names: Quetzalcoatl was tied to the year Ce Acatl (One Reed), which correlates to the year 1519.[23]
MythsAttributes
The exact significance and attributes of Quetzalcoatl varied somewhat between civilizations and through history. There are several stories about the birth of Quetzalcoatl. In a version of the myth, Quetzalcoatl was born by a virgin named Chimalman, to whom the god Ometeotl appeared in a dream.[24] In another story, the virgin Chimalman conceived Quetzalcoatl by swallowing an emerald.[22] A third story narrates that Chimalman was hit in the womb by an arrow shot by Mixcoatl and nine months later she gave birth to a child which was called Quetzalcoatl.[24] A fourth story narrates that Quetzalcoatl was born from Coatlicue, who already had four hundred children who formed the stars of the Milky Way.[24]
According to another version of the myth, Quetzalcoatl is one of the four sons of Ometecuhtli and Omecihuatl, the four Tezcatlipocas, each of whom presided over one of the four cardinal directions. Over the West presides the White Tezcatlipoca, Quetzalcoatl, the god of light, justice, mercy and wind. Over the South presides the Blue Tezcatlipoca, Huitzilopochtli, the god of war. Over the East presides the Red Tezcatlipoca, Xipe Totec, the god of gold, farming and springtime. And over the North presides the Black Tezcatlipoca, known by no other name than Tezcatlipoca, the god of judgment, night, deceit, sorcery and the Earth.[25] Quetzalcoatl was often considered the god of the morning star, and his twin brother Xolotl was the evening star (Venus). As the morning star, he was known by the title Tlahuizcalpantecuhtli, meaning "lord of the star of the dawn". He was known as the inventor of books and the calendar, the giver of maize (corn) to mankind, and sometimes as a symbol of death and resurrection. Quetzalcoatl was also the patron of the priests and the title of the twin Aztec high priests. Some legends describe him as opposed to human sacrifice[26] while others describe him practicing it.[27][28]
Most Mesoamerican beliefs included cycles of suns. Often our current time was considered the fifth sun,[29] the previous four having been destroyed by flood, fire and the like. Quetzalcoatl went to Mictlan, the underworld, and created fifth-world mankind from the bones of the previous races (with the help of Cihuacoatl), using his own blood, from a wound he inflicted on his earlobes, calves, tongue, and penis, to imbue the bones with new life.
It is also suggested that he was a son of Xochiquetzal and Mixcoatl.[citation needed]
In the Codex Chimalpopoca, it is said Quetzalcoatl was coerced by Tezcatlipoca into becoming drunk on pulque, cavorting with his older sister, Quetzalpetlatl, a celibate priestess, and neglecting their religious duties. (Many academics conclude this passage implies incest.) The next morning, Quetzalcoatl, feeling shame and regret, had his servants build him a stone chest, adorn him in turquoise, and then, laying in the chest, set himself on fire. His ashes rose into the sky and then his heart followed, becoming the morning star (see Tlahuizcalpantecuhtli).[30]
He is also attributed with having brought the cacao plant from a sacred mountain to the Toltec people, teaching the women how to make traditional drinking chocolate.[31]
Feathered Serpent
https://en.wikipedia.org › wiki › Feathered_Serpent
quetzalcoatl the feathered serpent from en.wikipedia.org
The Feathered Serpent is a prominent supernatural entity or deity, found in many Mesoamerican religions. It is still called Quetzalcoatl among the Aztecs, ...
The Feathered Serpent is a prominent supernatural entity or deity, found in many Mesoamerican religions. It is still called Quetzalcoatl among the Aztecs, Kukulkan among the Yucatec Maya, and Q'uq'umatz and Tohil among the K'iche' Maya.
The double symbolism used by the Feathered Serpent is considered allegoric to the dual nature of the deity, where being feathered represents its divine nature or ability to fly to reach the skies and being a serpent represents its human nature or ability to creep on the ground among other animals of the Earth, a dualism very common in Mesoamerican deities.[1]
Description
The earliest representations of feathered serpents appear in the Olmec culture (c. 1400–400 BC).[citation needed] The Olmec culture predates the Maya and the Aztec. This cultural enclave extended from the Gulf of Mexico to Nicaragua. Most surviving representations in Olmec art, such as Monument 19 at La Venta, and a painting in the Juxtlahuaca cave (see below), show the Feathered Serpent as a crested rattlesnake, sometimes with feathers covering the body and legs, and often in close proximity to humans.[2] It is believed that Olmec supernatural entities such as the feathered serpent were the forerunners of many later Mesoamerican deities,[3] although experts disagree on the feathered serpent's religious importance to the Olmec.[4] H.B. Nicholson notes that as early as the Middle Formative (Preclassic) in the Olmec tradition, images of serpents with avian characteristics were often represented in several types of artifacts and monuments. This composite creature, who has been denominated the “Avian Serpent” and “Olmec God VII,” appears to constitute an earlier form of the later full-fledged Feathered Serpent, the rattlesnake covered with feathers, probably with at least some of the same celestial and fertility connotations.[5]
The pantheon of the people of Teotihuacan (200 BC – 700 AD) also featured a feathered serpent, shown most prominently on the Temple of the Feathered Serpent (dated 150–200 AD).[6] The pyramid was built southeast of the intersection of the avenue of the dead and the east-end avenue. Several feathered serpent representations appear on the building, many of them including full-body profiles and feathered serpent heads. The sculptures utilize practices such as relief carving to create complex ornate compositions. Head carvings of the Feathered Serpent have been frequently found around the Pyramid of the Feathered Serpent.
While the feathered serpent has been a common theme in different Mesoamerican works, it is frequently and most commonly reflected in the architecture of Mesoamerican culture. Some common techniques used to incorporate imagery of the Feathered Serpent into this architecture is relief carving, which involves “a sculpture with figures that protrude from a background while still being attached to it” and normally combined with tenoned heads, which are large pieces of stone carved but have a peg of sorts to insert them into the wall area, adding more depth and details to the architecture. Other Mesoamerican structures, such as the ones in Tula, the capital of the later Toltecs (950–1150 AD), also featured profiles of feathered serpents.[7]
The Aztec feathered serpent deity known as Quetzalcoatl is known from several Aztec codices, such as the Florentine codex, as well as from the records of the Spanish conquistadors. Quetzalcoatl was known as the deity of wind and rain, bringer of knowledge, the inventor of books, and associated with the planet Venus.
The corresponding Mayan god Kukulkan was rare in the Classic era Maya civilization.[8] However, in the Popol Vuh, the K'iche' feathered serpent god Tepeu Q'uq'umatz is the creator of the cosmos.[9]
Along with the feathered serpent deity, several other serpent gods existed in the pantheon of Mesoamerican gods with similar traits, all of which had an important role in the cultural development of Mesoamerican cultures. The evidence of the importance of these deities to Mesoamerican culture lies in the architecture left from these civilizations and the rituals surrounding them.
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9 |
FEATHERED |
72 |
45 |
9 |
-
|
2
|
6
|
3
|
4
|
8
|
6
|
7
|
7
|
9
|
S |
= |
1 |
- |
7 |
SERPENT |
97 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
9
|
- |
19 |
THE FEATHERED SERPENT |
202
|
103
|
22
|
-
|
2
|
6
|
3
|
4
|
8
|
6
|
7
|
7
|
9
|
- |
- |
- |
- |
1+9 |
-
|
1+9+9 |
1+0+3 |
2+2 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
9
|
- |
10
|
THE FEATHERED SERPENT |
4
|
4
|
4
|
-
|
2
|
6
|
3
|
4
|
8
|
6
|
7
|
7
|
9
|
- |
- |
- |
- |
1+9 |
- |
- |
- |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
9
|
- |
1 |
THE FEATHERED SERPENT |
4
|
4
|
4
|
-
|
2
|
6
|
3
|
4
|
8
|
6
|
7
|
7
|
9
|
LETTERS REARRANGED IN NUMERICAL ORDER
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
5 x 7 = 35
LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
5 x 7 = 35
"The most common letter in the English alphabet is E."
5 x 7 = 35
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
- |
- |
- |
- |
- |
THE FEATHERED SERPENT |
- |
- |
- |
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
F |
= |
6 |
- |
9 |
FEATHERED |
72 |
45 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
S |
= |
1 |
- |
7 |
SERPENT |
97 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
9
|
- |
19 |
THE FEATHERED SERPENT |
202
|
103
|
22
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
A
|
=
|
1
|
6 |
1 |
A
|
1 |
1 |
1
|
-
|
1
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
S
|
=
|
1
|
13 |
1 |
S
|
19 |
10 |
1
|
-
|
1
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
1 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
7 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
19 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
D
|
=
|
4
|
12 |
1 |
D
|
D |
4 |
4
|
-
|
-
|
-
|
3
|
4
|
-
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
3 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
3
|
-
|
5
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
5 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
3
|
-
|
5
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
9 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
3
|
-
|
5
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
11 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
3
|
-
|
5
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
14 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
3
|
-
|
5
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
17 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
3
|
-
|
5
|
-
|
-
|
-
|
-
|
N
|
=
|
5
|
18 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
3
|
-
|
5
|
-
|
-
|
-
|
-
|
F
|
=
|
6
|
4 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
3
|
-
|
-
|
6
|
-
|
-
|
-
|
P
|
=
|
7
|
16 |
1 |
P
|
16 |
7 |
7
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
7
|
-
|
-
|
H
|
=
|
8
|
8 |
1 |
H
|
8 |
8 |
8
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
8
|
-
|
H
|
=
|
8
|
2 |
1 |
H
|
8 |
8 |
8
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
8
|
-
|
R
|
=
|
9
|
10 |
1 |
R
|
18 |
9 |
9
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
9
|
R
|
=
|
9
|
15 |
1 |
R
|
18 |
9 |
9
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
9
|
-
|
-
|
43 |
-
|
7 |
THE FEATHERED SERPENT |
97 |
43 |
43 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
- |
- |
- |
THE FEATHERED SERPENT |
- |
- |
- |
-
|
2
|
6
|
3
|
4
|
35 |
6
|
7
|
16 |
18 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
-
|
-
|
-
|
-
|
-
|
3+5 |
-
|
-
|
1+6 |
1+8 |
F |
= |
6 |
- |
9 |
FEATHERED |
72 |
45 |
9 |
-
|
2
|
6
|
3
|
4
|
8
|
6
|
7
|
7
|
9
|
S |
= |
1 |
- |
7 |
SERPENT |
97 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
9
|
- |
19 |
THE FEATHERED SERPENT |
202
|
103
|
22
|
-
|
2
|
6
|
3
|
4
|
8
|
6
|
7
|
7
|
9
|
- |
- |
- |
- |
1+9 |
-
|
1+9+9 |
1+0+3 |
2+2 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
9
|
- |
10
|
THE FEATHERED SERPENT |
4
|
4
|
4
|
-
|
2
|
6
|
3
|
4
|
8
|
6
|
7
|
7
|
9
|
- |
- |
- |
- |
1+9 |
- |
- |
- |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
9
|
- |
1 |
THE FEATHERED SERPENT |
4
|
4
|
4
|
-
|
2
|
6
|
3
|
4
|
8
|
6
|
7
|
7
|
9
|
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
THIS
SERPENT I PRESENT
- |
- |
- |
- |
- |
THIS |
- |
- |
- |
S |
= |
1 |
- |
7 |
SERPENT |
97 |
43 |
7 |
I |
= |
9 |
- |
1 |
I |
9 |
9 |
9 |
P |
= |
7 |
- |
7 |
PRESENT |
97 |
43 |
7 |
- |
- |
17
|
- |
15 |
First Total |
203
|
95
|
23
|
- |
- |
1+7 |
- |
1+5 |
Add to Reduce |
2+0+3 |
9+5 |
2+3 |
- |
- |
8
|
- |
6
|
Second Total |
5
|
14
|
5
|
- |
- |
- |
- |
- |
Reduce to Deduce |
- |
1+4 |
- |
- |
- |
8
|
- |
6 |
Essence of Number |
5
|
5 |
5
|
THIS
SERPENT I PRESENT
12
|
QUETZALCOATL |
153 |
45 |
9
|
13
|
QUETZALPETATL |
176 |
50 |
5
|
5
|
81 |
27 |
27 |
9
|
5
|
VENUS |
81 |
27 |
9
|
2 |
V+E |
27 |
9 |
9
|
3
|
S+U+N |
54 |
18 |
9
|
5
|
VENUS |
81 |
27 |
18
|
- |
- |
8+1 |
2+7 |
1+8 |
5 |
VENUS |
9 |
9 |
9 |
PYRAMID OF THE SUN
-
|
-
|
-
|
-
|
-
|
PYRAMID OF THE SUN
|
-
|
-
|
-
|
P
|
=
|
7
|
-
|
7
|
PYRAMID |
86 |
41 |
5
|
O |
=
|
6 |
-
|
2 |
OF |
21 |
12 |
3 |
T
|
=
|
2
|
-
|
3
|
THE |
33 |
15 |
6
|
S |
=
|
1 |
-
|
3 |
SUN |
54 |
18 |
9 |
-
|
-
|
16 |
-
|
15 |
PYRAMID OF THE SUN
|
194 |
86 |
23 |
-
|
-
|
1+6 |
-
|
1+5 |
-
|
1+9+4 |
8+6 |
2+3 |
-
|
-
|
7 |
-
|
6 |
PYRAMID OF THE SUN
|
14 |
14 |
5 |
-
|
-
|
-
|
-
|
-
|
-
|
1+4 |
1+4 |
-
|
-
|
-
|
7 |
-
|
6 |
PYRAMID OF THE SUN |
5 |
5 |
5 |
Pyramid of the Sun
Wikipedia
https://en.wikipedia.org › wiki › Pyramid_of_the_Sun
pyramid of the sun mexico from en.wikipedia.org
The Pyramid of the Sun is the largest building in Teotihuacan, and one of the largest in Mesoamerica. It is believed to have been constructed about 200 AD.
Length: 220 meters (720 feet)
Part of: Teotihuacan
The Pyramid of the Sun is the largest building in Teotihuacan, and one of the largest in Mesoamerica. It is believed to have been constructed about 200 AD.[3] Found along the Avenue of the Dead, in between the Pyramid of the Moon and the Ciudadela, and in the shadow of the mountain Cerro Gordo, the pyramid is part of a large complex in the heart of the city.
History
The Sun pyramid
Pyramid of the Sun in Teotihuacan
The name Pyramid of the Sun comes from the Aztecs, who visited the city of Teotihuacan centuries after it was abandoned; the name given to the pyramid by the Teotihuacanos is unknown. It was constructed in two phases. The first construction stage, around 200 CE, brought the pyramid to nearly the size it is today. The second round of construction resulted in its completed size of 225 meters (738 feet) across and 75 meters (246 feet) high,[clarification needed] making it the third-largest pyramid in the world,[4] though still just over half the height of the Great Pyramid of Giza (146 metres). The second phase also saw the construction of an altar atop of the pyramid which has not survived into modern times.
Over the structure, the ancient Teotihuacanos finished their pyramid with lime plaster imported from surrounding areas, on which they painted brilliantly colored murals. While the pyramid has endured for centuries, the paint and plaster have not and are no longer visible. Jaguar heads and paws, stars, and snake rattles are among the few images associated with the pyramids.[citation needed]
It is thought that the pyramid venerated a deity within Teotihuacan society. However, little evidence exists to support this hypothesis. The destruction of the temple on top of the pyramid, by both deliberate and natural forces prior to the archaeological study of the site, has so far prevented identification of the pyramid with any particular deity.[citThe pyramid was built on a carefully selected spot, from where it was possible to align it both to the prominent Cerro Gordo to the north and, in perpendicular directions, to sunrises and sunsets on specific dates, recorded by a number of architectural orientations in Mesoamerica.[5] The whole central part of the urban grid of Teotihuacan, including the Avenue of the Dead, reproduces the orientation of the Sun Pyramid, while the southern part exhibits a slightly different orientation, dictated by the Ciudadela.[6]
-
|
-
|
-
|
-
|
-
|
PYRAMID OF THE SUN
|
-
|
-
|
-
|
P
|
=
|
7
|
-
|
7
|
PYRAMID |
86 |
41 |
5
|
O |
=
|
6 |
-
|
2 |
OF |
21 |
12 |
3 |
T
|
=
|
2
|
-
|
3
|
THE |
33 |
15 |
6
|
S |
=
|
1 |
-
|
3 |
SUN |
54 |
18 |
9 |
-
|
-
|
16 |
-
|
15 |
PYRAMID OF THE SUN
|
194 |
86 |
23 |
-
|
-
|
1+6 |
-
|
1+5 |
-
|
1+9+4 |
8+6 |
2+3 |
-
|
-
|
7 |
-
|
6 |
PYRAMID OF THE SUN
|
14 |
14 |
5 |
-
|
-
|
-
|
-
|
-
|
-
|
1+4 |
1+4 |
-
|
-
|
-
|
7 |
-
|
6 |
PYRAMID OF THE SUN |
5 |
5 |
5 |
-
|
-
|
-
|
-
|
-
|
PYRAMID OF THE SUN
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
P
|
=
|
7
|
-
|
7
|
PYRAMID |
86 |
41 |
5
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
O |
=
|
6 |
-
|
2 |
OF |
21 |
12 |
3 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
-
|
3
|
THE |
33 |
15 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
S |
=
|
1 |
-
|
3 |
SUN |
54 |
18 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
16 |
-
|
15 |
PYRAMID OF THE SUN
|
194 |
86 |
23 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
||
P
|
=
|
7
|
1 |
1 |
P
|
16 |
7 |
7
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7
|
-
|
-
|
Y
|
=
|
7
|
2 |
1 |
Y
|
25 |
7 |
7
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7
|
-
|
-
|
R |
= |
9 |
3 |
1 |
R |
18 |
9 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9 |
A
|
=
|
1
|
4 |
1 |
A
|
1 |
1 |
1
|
-
|
1 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
M
|
=
|
4
|
5 |
1 |
M
|
13 |
4 |
4
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
-
|
-
|
-
|
I |
= |
9 |
6 |
1 |
I |
9 |
9 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9 |
D
|
=
|
4
|
7 |
1 |
D
|
4 |
4 |
4
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
41 |
-
|
7 |
PYRAMID OF THE SUN |
86 |
41 |
41 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
O
|
=
|
6
|
8 |
1 |
O
|
15 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
F
|
=
|
6
|
9 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
W |
= |
12 |
-
|
2 |
PYRAMID OF THE SUN |
21 |
12 |
12 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T |
= |
2 |
10 |
1 |
T |
20 |
2 |
2 |
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
H
|
=
|
8
|
11 |
1 |
H
|
8 |
8 |
8
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
8
|
-
|
E
|
=
|
5
|
12 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
-
|
-
|
15 |
-
|
3 |
PYRAMID OF THE SUN |
33 |
15 |
15 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
S |
= |
1 |
13 |
- |
S |
19 |
10 |
1 |
- |
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
U
|
=
|
3
|
14 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
N
|
=
|
5
|
15 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
-
|
-
|
9 |
-
|
2 |
PYRAMID OF THE SUN |
54 |
18 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
P
|
=
|
7
|
-
|
7
|
PYRAMID |
86 |
41 |
5
|
-
|
2
|
2
|
3
|
8
|
10
|
12
|
14
|
8
|
18
|
O |
=
|
6 |
-
|
2 |
OF |
21 |
12 |
3 |
-
|
-
|
-
|
-
|
-
|
1+0 |
1+2 |
1+4 |
-
|
1+8 |
T
|
=
|
2
|
-
|
3
|
THE |
33 |
15 |
6
|
-
|
2
|
2
|
3
|
8
|
1
|
3
|
5
|
8
|
9
|
S |
=
|
1 |
-
|
3 |
SUN |
54 |
18 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
16 |
-
|
15 |
PYRAMID OF THE SUN
|
194 |
86 |
23 |
-
|
2
|
2
|
3
|
8
|
1
|
3
|
5
|
8
|
9
|
-
|
-
|
1+6 |
-
|
1+5 |
-
|
1+9+4 |
8+6 |
2+3 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7 |
-
|
6 |
PYRAMID OF THE SUN
|
14 |
14 |
5 |
-
|
2
|
2
|
3
|
8
|
1
|
3
|
5
|
8
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
1+4 |
1+4 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7 |
-
|
6 |
PYRAMID OF THE SUN |
5 |
5 |
5 |
-
|
2
|
2
|
3
|
8
|
1
|
3
|
5
|
8
|
9
|
-
|
-
|
-
|
-
|
-
|
PYRAMID OF THE SUN
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
P
|
=
|
7
|
-
|
7
|
PYRAMID |
86 |
41 |
5
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
O |
=
|
6 |
-
|
2 |
OF |
21 |
12 |
3 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
-
|
3
|
THE |
33 |
15 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
S |
=
|
1 |
-
|
3 |
SUN |
54 |
18 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
16 |
-
|
15 |
PYRAMID OF THE SUN
|
194 |
86 |
23 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
||
P
|
=
|
7
|
1 |
1 |
P
|
16 |
7 |
7
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7
|
-
|
-
|
Y
|
=
|
7
|
2 |
1 |
Y
|
25 |
7 |
7
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7
|
-
|
-
|
R |
= |
9 |
3 |
1 |
R |
18 |
9 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9 |
A
|
=
|
1
|
4 |
1 |
A
|
1 |
1 |
1
|
-
|
1 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
M
|
=
|
4
|
5 |
1 |
M
|
13 |
4 |
4
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
-
|
-
|
-
|
I |
= |
9 |
6 |
1 |
I |
9 |
9 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9 |
D
|
=
|
4
|
7 |
1 |
D
|
4 |
4 |
4
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
-
|
-
|
-
|
O
|
=
|
6
|
8 |
1 |
O
|
15 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
F
|
=
|
6
|
9 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
T
|
=
|
2 |
10 |
1 |
T |
20 |
2 |
2 |
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
H
|
=
|
8
|
11 |
1 |
H
|
8 |
8 |
8
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
8
|
-
|
E
|
=
|
5
|
12 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
S |
= |
1 |
13 |
- |
S |
19 |
10 |
1 |
- |
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
U
|
=
|
3
|
14 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
N
|
=
|
5
|
15 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
-
|
-
|
9 |
-
|
2 |
PYRAMID OF THE SUN |
54 |
18 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
P
|
=
|
7
|
-
|
7
|
PYRAMID |
86 |
41 |
5
|
-
|
2
|
2
|
3
|
8
|
10
|
12
|
14
|
8
|
18
|
O |
=
|
6 |
-
|
2 |
OF |
21 |
12 |
3 |
-
|
-
|
-
|
-
|
-
|
1+0 |
1+2 |
1+4 |
-
|
1+8 |
T
|
=
|
2
|
-
|
3
|
THE |
33 |
15 |
6
|
-
|
2
|
2
|
3
|
8
|
1
|
3
|
5
|
8
|
9
|
S |
=
|
1 |
-
|
3 |
SUN |
54 |
18 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
16 |
-
|
15 |
PYRAMID OF THE SUN
|
194 |
86 |
23 |
-
|
2
|
2
|
3
|
8
|
1
|
3
|
5
|
8
|
9
|
-
|
-
|
1+6 |
-
|
1+5 |
-
|
1+9+4 |
8+6 |
2+3 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7 |
-
|
6 |
PYRAMID OF THE SUN
|
14 |
14 |
5 |
-
|
2
|
2
|
3
|
8
|
1
|
3
|
5
|
8
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
1+4 |
1+4 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7 |
-
|
6 |
PYRAMID OF THE SUN |
5 |
5 |
5 |
-
|
2
|
2
|
3
|
8
|
1
|
3
|
5
|
8
|
9
|
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
-
|
-
|
-
|
-
|
-
|
PYRAMID OF THE SUN
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
P
|
=
|
7
|
-
|
7
|
PYRAMID |
86 |
41 |
5
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
O |
=
|
6 |
-
|
2 |
OF |
21 |
12 |
3 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
-
|
3
|
THE |
33 |
15 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
S |
=
|
1 |
-
|
3 |
SUN |
54 |
18 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
16 |
-
|
15 |
PYRAMID OF THE SUN
|
194 |
86 |
23 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
||
A
|
=
|
1
|
4 |
1 |
A
|
1 |
1 |
1
|
-
|
1 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
S |
= |
1 |
13 |
- |
S |
19 |
10 |
1 |
- |
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T |
= |
2 |
10 |
1 |
T |
20 |
2 |
2 |
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
U
|
=
|
3
|
14 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
M
|
=
|
4
|
5 |
1 |
M
|
13 |
4 |
4
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
-
|
-
|
-
|
D
|
=
|
4
|
7 |
1 |
D
|
4 |
4 |
4
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
12 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
N
|
=
|
5
|
15 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
O
|
=
|
6
|
8 |
1 |
O
|
15 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
F
|
=
|
6
|
9 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
P
|
=
|
7
|
1 |
1 |
P
|
16 |
7 |
7
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7
|
-
|
-
|
Y
|
=
|
7
|
2 |
1 |
Y
|
25 |
7 |
7
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7
|
-
|
-
|
H
|
=
|
8
|
11 |
1 |
H
|
8 |
8 |
8
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
8
|
-
|
R |
= |
9 |
3 |
1 |
R |
18 |
9 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9 |
I |
= |
9 |
6 |
1 |
I |
9 |
9 |
9 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9 |
-
|
-
|
-
|
-
|
-
|
PYRAMID OF THE SUN |
-
|
-
|
-
|
-
|
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http://theosophy.org/tlodocs/teachers/Quetzalcoatl.htm
Chalchiuhtlicue, life-giving goddess of waters, offered herself so that the fourth Sun of Waters might appear.
Chalchiuhtlicue - Wikipedia
https://en.wikipedia.org/wiki/Chalchiuhtlicue
Chalchiuhtlicue [t??a??t??iw't??ik?e?] also Chalciuhtlicue, or Chalcihuitlicue was an Aztec goddess of water, rivers, seas, streams, storms, and baptism, ...
?Mythology · ?Archaeological record · ?Visual depiction · ?Cult and rites
Chalchiuhtlicue - Wikipedia
https://en.wikipedia.org/wiki/Chalchiuhtlicue
Chalchiuhtlicue helped Tlaloc rule the kingdom of Tlalocan. It is believed that Tlaloc was one of the first 'abuser' gods and because of this Chalchiuhtlicue ...
Mythology · Archaeological record · Visual depiction · Cult and rites
CHALCHIUHTLICUE
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CHALCHIUHTLICUE
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CHALCHIUHTLICUE
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Kukulkan - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Kukulkan
Kukulkan Plumed Serpent", "Feathered Serpent") is the name of a Maya snake deity that also serves to designate historical persons. The depiction of the ...
Etymology - Kukulkan and the Itza - Modern folklore - Notes
Kukulkan
From Wikipedia, the free encyclopedia
Kukulkan at Chichen Itza during the Equinox. The famous descent of the snake. March 2009
The Classic Maya vision serpent, as depicted at Yaxchilan.
Kukulkan (/kuːkuːlˈkän/) ("Plumed Serpent", "Feathered Serpent") is the name of a Maya snake deity that also serves to designate historical persons. The depiction of the feathered serpent deity is present in other cultures of Mesoamerica. Kukulkan is closely related to the god Q'uq'umatz of the K'iche' Maya and to Quetzalcoatl of the Aztecs.[1] Little is known of the mythology of this pre-Columbian deity.[2]
Although heavily Mexicanised, Kukulkan has his origins among the Maya of the Classic Period, when he was known as Waxaklahun Ubah Kan (/waʃaklaˈχuːn uːˈɓaχ kän/), the War Serpent, and he has been identified as the Postclassic version of the Vision Serpent of Classic Maya art.[3]
The cult of Kukulkan/Quetzalcoatl was the first Mesoamerican religion to transcend the old Classic Period linguistic and ethnic divisions.[4] This cult facilitated communication and peaceful trade among peoples of many different social and ethnic backgrounds.[4] Although the cult was originally centred on the ancient city of Chichén Itzá in the modern Mexican state of Yucatán, it spread as far as the Guatemalan highlands.[5]
In Yucatán, references to the deity Kukulkan are confused by references to a named individual who bore the name of the god. Because of this, the distinction between the two has become blurred.[6] This individual appears to have been a ruler or priest at Chichen Itza, who first appeared around the 10th century.[7] Although Kukulkan was mentioned as a historical person by Maya writers of the 16th century, the earlier 9th-century texts at Chichen Itza never identified him as human and artistic representations depicted him as a Vision Serpent entwined around the figures of nobles.[8] At Chichen Itza, Kukulkan is also depicted presiding over sacrifice scenes.[9]
Sizeable temples to Kukulkan are found at archaeological sites throughout the north of the Yucatán Peninsula, such as Chichen Itza, Uxmal and Mayapan.[7]
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2 |
K+U |
32 |
5 |
5 |
2 |
L+K |
23 |
5 |
5
|
1 |
A |
1 |
1 |
1
|
1 |
N |
14 |
5 |
5
|
8
|
KUKULKAN |
102
|
21
|
21
|
- |
- |
1+0+2 |
2+1 |
2+1 |
8
|
KUKULKAN |
3
|
3
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
-
|
-
|
-
|
- |
8 |
KUKULKAN |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
K
|
=
|
2
|
-
|
1 |
K
|
11 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
U
|
=
|
3
|
-
|
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
K
|
=
|
2
|
-
|
1 |
K
|
11 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
U
|
=
|
3
|
-
|
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
L
|
=
|
3
|
-
|
1 |
L
|
12 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
K
|
=
|
2
|
-
|
1 |
K
|
11 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
A
|
=
|
1
|
-
|
1 |
A
|
1 |
1 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
N
|
=
|
5
|
-
|
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
-
|
-
|
21
|
-
|
8
|
KUKULKAN |
102
|
21
|
21
|
-
|
1
|
6
|
9
|
4
|
5
|
6
|
7
|
8
|
9
|
-
|
-
|
2+1 |
-
|
- |
- |
1+0+2 |
2+1 |
2+1 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
3
|
-
|
8
|
KUKULKAN |
3
|
3
|
3
|
-
|
1
|
6
|
9
|
4
|
5
|
6
|
7
|
8
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
5
|
-
|
-
|
-
|
- |
8 |
KUKULKAN |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
K
|
=
|
2
|
-
|
1 |
K
|
11 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
U
|
=
|
3
|
-
|
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
K
|
=
|
2
|
-
|
1 |
K
|
11 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
U
|
=
|
3
|
-
|
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
L
|
=
|
3
|
-
|
1 |
L
|
12 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
K
|
=
|
2
|
-
|
1 |
K
|
11 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
A
|
=
|
1
|
-
|
1 |
A
|
1 |
1 |
1
|
-
|
1
|
-
|
-
|
-
|
N
|
=
|
5
|
-
|
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
21
|
-
|
8
|
KUKULKAN |
102
|
21
|
21
|
-
|
1
|
6
|
9
|
5
|
-
|
-
|
2+1 |
-
|
- |
- |
1+0+2 |
2+1 |
2+1 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
3
|
-
|
8
|
KUKULKAN |
3
|
3
|
3
|
-
|
1
|
6
|
9
|
5
|
'Great mistake' The mummy of la Doncella is on display in a chamber that is filled with cold air that recreates the sub-freezing conditions in which she was found. Visitors told Argentina media they were impressed at the mummy's state of conservation. "I'm amazed," one woman said. "You just expect her at any moment to get up and start talking." But the exhibition has angered several indigenous groups who campaigned to stop the mummy from going on display.
Miguel Suarez from the Calchaquies valley tribes in and around Salta told the Associated Press news agency that the exhibit was "a great mistake", adding that he hoped visitors would show respect for the dead."
| - | LLULLAILLACO | - |
- |
- |
| 3 | L+L+U | 45 |
9 |
9 |
| 2 | L+L+A | 25 |
7 |
7 |
| 1 | I | 9 |
9 |
9 |
| 3 | L+L+A | 25 |
7 |
7 |
| 2 | C+O | 18 |
9 |
9 |
| 12 | LLULLAILLACO | 122 |
41 |
41 |
1+2 |
- | 1+2+2 | 4+1 | 4+1 |
| 3 | LLULLAILLACO | 5 |
5 |
5 |
- |
- | - | - | - |
| 3 | LLULLAILLACO | 5 |
5 |
5 |
| - | - | - | - | - | - | LLULLAILLACO | - |
- |
- | |
| L | 3 | - | - | - | L | 1 | L | 12 |
3 |
3 |
| L | 3 | - | - | - | L | 1 | L | 12 |
3 |
3 |
| U | 3 | - | - | - | U | 1 | U | 21 |
3 |
3 |
| L | 3 | - | - | - | L | 1 | L | 12 |
3 |
3 |
| L | 3 | - | - | - | L | 1 | L | 12 |
3 |
3 |
| - | - | A | - | - | A | 1 | A | 1 |
1 |
1 |
| - | - | - | I | - | I | 1 | I | 9 |
9 |
9 |
| L | 3 | - | - | - | L | 1 | L | 12 |
3 |
3 |
| L | 3 | - | - | - | L | 1 | L | 12 |
3 |
3 |
| - | - | A | - | - | A | 1 | A | 1 |
1 |
1 |
| C | 3 | - | - | - | C | 1 | C | 3 |
3 |
3 |
| - | - | - | - | O | O | 1 | O | 15 |
6 |
6 |
| 24 | - | - | 12 | LLULLAILLACO | 122 |
41 |
41 |
|||
| 2+4 | - | - | 1+2 |
- | 1+2+2 | 4+1 | 4+1 | |||
| 6 | - | - | 3 | LLULLAILLACO | 5 |
5 |
5 |
|||
| - | - | - | - |
- | - | - | - | |||
| 1 | - | - | 3 | LLULLAILLACO | 5 |
5 |
5 |
-
|
12 |
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
-
|
-
|
-
|
--
|
-
|
- |
- |
-
|
- |
- |
-
|
-
|
-
|
-
|
-
|
-
|
9 |
-
|
-
|
-
|
-
|
6 |
+
|
=
|
15
|
1+5 |
=
|
6
|
-
|
6
|
-
|
6
|
- |
- |
-
|
-
|
-
|
-
|
-
|
-
|
9 |
-
|
-
|
-
|
-
|
15 |
+
|
=
|
24
|
2+4 |
=
|
6
|
-
|
6
|
-
|
6
|
-
|
12 |
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
-
|
-
|
-
|
--
|
-
|
- |
- |
-
|
- |
- |
3 |
3 |
3 |
3 |
3 |
1 |
-
|
3 |
3 |
1 |
3 |
-
|
+
|
=
|
26
|
2+6 |
=
|
8
|
-
|
8
|
-
|
8
|
- |
- |
12 |
12 |
21 |
12 |
12 |
1 |
-
|
12 |
12 |
1 |
3 |
-
|
+
|
=
|
98
|
9+8 |
=
|
17
|
1+7 |
8
|
-
|
8
|
-
|
12 |
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
-
|
-
|
-
|
--
|
-
|
- |
-
|
-
|
- |
- |
12 |
12 |
21 |
12 |
12 |
1 |
9 |
12 |
12 |
1 |
3 |
15 |
+
|
=
|
122
|
1+2+2 |
=
|
5
|
-
|
5
|
-
|
5
|
- |
- |
3 |
3 |
3 |
3 |
3 |
1 |
9 |
3 |
3 |
1 |
3 |
6 |
+
|
=
|
41
|
4+1 |
=
|
5
|
1+6
|
5
|
-
|
5
|
-
|
12 |
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
-
|
-
|
-
|
1
|
-
|
-
|
-
|
-
|
1
|
occurs |
x |
2
|
= |
2 |
-
|
2
|
2 |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
3
|
3
|
3
|
3
|
3
|
-
|
-
|
3
|
3
|
-
|
3
|
--
|
-
|
-
|
3
|
occurs |
x |
8
|
= |
24 |
2+4 |
6
|
4 |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
5 |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
6
|
occurs |
x |
1
|
= |
6 |
-
|
6
|
7 |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
8 |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
8
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
-
|
-
|
-
|
-
|
-
|
-
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9
|
occurs |
x |
1
|
= |
9 |
-
|
9
|
26
|
12
|
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
19
|
-
|
-
|
12
|
-
|
41
|
-
|
23
|
2+6 |
1+2 |
-
|
-
|
-
|
-
|
-
|
-
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1+9 |
-
|
-
|
1+2 |
-
|
4+1 |
-
|
2+3 |
8
|
3
|
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
10
|
-
|
-
|
3
|
-
|
5
|
-
|
5
|
-
|
-
|
3 |
3 |
3 |
3 |
3 |
1 |
9
|
3 |
3 |
1 |
3 |
6 |
-
|
-
|
1+0 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
8
|
3
|
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
1
|
-
|
-
|
3
|
-
|
5
|
-
|
5
|
12 |
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
-
|
-
|
-
|
--
|
-
|
- |
- |
-
|
- |
-
|
-
|
-
|
-
|
-
|
-
|
9 |
-
|
-
|
-
|
-
|
6 |
+
|
=
|
15
|
1+5 |
=
|
6
|
-
|
6
|
-
|
6
|
- |
-
|
-
|
-
|
-
|
-
|
-
|
9 |
-
|
-
|
-
|
-
|
15 |
+
|
=
|
24
|
2+4 |
=
|
6
|
-
|
6
|
-
|
6
|
12 |
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
-
|
-
|
-
|
--
|
-
|
- |
- |
-
|
- |
3 |
3 |
3 |
3 |
3 |
1 |
-
|
3 |
3 |
1 |
3 |
-
|
+
|
=
|
26
|
2+6 |
=
|
8
|
-
|
8
|
-
|
8
|
- |
12 |
12 |
21 |
12 |
12 |
1 |
-
|
12 |
12 |
1 |
3 |
-
|
+
|
=
|
98
|
9+8 |
=
|
17
|
1+7 |
8
|
-
|
8
|
12 |
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
-
|
-
|
-
|
--
|
-
|
- |
-
|
-
|
- |
12 |
12 |
21 |
12 |
12 |
1 |
9 |
12 |
12 |
1 |
3 |
15 |
+
|
=
|
122
|
1+2+2 |
=
|
5
|
-
|
5
|
-
|
5
|
- |
3 |
3 |
3 |
3 |
3 |
1 |
9 |
3 |
3 |
1 |
3 |
6 |
+
|
=
|
41
|
4+1 |
=
|
5
|
1+6
|
5
|
-
|
5
|
12 |
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
-
|
-
|
-
|
1
|
-
|
-
|
-
|
-
|
1
|
occurs |
x |
2
|
= |
2 |
-
|
2
|
-
|
3
|
3
|
3
|
3
|
3
|
-
|
-
|
3
|
3
|
-
|
3
|
--
|
-
|
-
|
3
|
occurs |
x |
8
|
= |
24 |
2+4 |
6
|
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
6
|
occurs |
x |
1
|
= |
6 |
-
|
6
|
- |
-
|
-
|
-
|
-
|
-
|
-
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9
|
occurs |
x |
1
|
= |
9 |
-
|
9
|
12
|
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
19
|
-
|
-
|
12
|
-
|
41
|
-
|
23
|
1+2 |
-
|
-
|
-
|
-
|
-
|
-
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1+9 |
-
|
-
|
1+2 |
-
|
4+1 |
-
|
2+3 |
3
|
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
10
|
-
|
-
|
3
|
-
|
5
|
-
|
5
|
-
|
3 |
3 |
3 |
3 |
3 |
1 |
9
|
3 |
3 |
1 |
3 |
6 |
-
|
-
|
1+0 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
3
|
L
|
L
|
U
|
L
|
L
|
A
|
I
|
L
|
L
|
A
|
C
|
O
|
-
|
-
|
1
|
-
|
-
|
3
|
-
|
5
|
-
|
5
|
-
|
-
|
-
|
-
|
- | LLULLAILLACO | - |
- |
- | -
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
| L | =
|
1
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
| L | =
|
8
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
| U | =
|
1
|
-
|
1 | U | 21 |
3 |
3 | -
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
| L | =
|
7
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
| L | =
|
5
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
| A | =
|
1
|
-
|
1 | A | 1 |
1 |
1 | -
|
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
| I | =
|
8
|
-
|
1 | I | 9 |
9 |
9 | -
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9
|
| L | =
|
9
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
| L | =
|
6
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
| A | =
|
2
|
-
|
1 | A | 1 |
1 |
1 | -
|
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
| C | =
|
5
|
-
|
1 | C | 3 |
3 |
3 | -
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
| O | =
|
9
|
-
|
1 | O | 15 |
6 |
6 | -
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
-
|
-
|
41
|
-
|
12 | LLULLAILLACO | 122 |
41 |
41 |
-
|
2
|
2
|
24 | 4
|
5
|
6
|
7
|
8
|
9
|
-
|
-
|
4+1 |
-
|
1+2 |
- | 1+2+2 | 4+1 | 4+1 | -
|
-
|
-
|
2+4 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
3 | LLULLAILLACO | 5 |
5 |
5 |
-
|
2
|
2
|
6 | 4
|
5
|
6
|
7
|
8
|
9
|
-
|
-
|
-
|
-
|
- |
- | - | - | - | -
|
-
|
-
|
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
3 | LLULLAILLACO | 5 |
5 |
5 |
-
|
2
|
2
|
6 | 4
|
5
|
6
|
7
|
8
|
9
|
-
|
-
|
-
|
-
|
- | LLULLAILLACO | - |
- |
- | -
|
1
|
6
|
9
|
|
| L | =
|
1
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| L | =
|
8
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| U | =
|
1
|
-
|
1 | U | 21 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| L | =
|
7
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| L | =
|
5
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| A | =
|
1
|
-
|
1 | A | 1 |
1 |
1 | -
|
1
|
-
|
-
|
-
|
| I | =
|
8
|
-
|
1 | I | 9 |
9 |
9 | -
|
-
|
-
|
-
|
9
|
| L | =
|
9
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| L | =
|
6
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| A | =
|
2
|
-
|
1 | A | 1 |
1 |
1 | -
|
1
|
-
|
-
|
-
|
| C | =
|
5
|
-
|
1 | C | 3 |
3 |
3 | -
|
-
|
3
|
-
|
-
|
| O | =
|
9
|
-
|
1 | O | 15 |
6 |
6 | -
|
-
|
-
|
6
|
-
|
-
|
-
|
41
|
-
|
12 | LLULLAILLACO | 122 |
41 |
41 |
-
|
2
|
24 | 6
|
9
|
-
|
-
|
4+1 |
-
|
1+2 |
- | 1+2+2 | 4+1 | 4+1 | -
|
-
|
2+4 |
-
|
-
|
-
|
-
|
5
|
-
|
3 | LLULLAILLACO | 5 |
5 |
5 |
-
|
2
|
6 | 6
|
9
|
-
|
-
|
-
|
-
|
- |
- | - | - | - | -
|
-
|
- |
-
|
-
|
-
|
-
|
5
|
-
|
3 | LLULLAILLACO | 5 |
5 |
5 |
-
|
2
|
6 | 6
|
9
|
-
|
-
|
-
|
-
|
- | LLULLAILLACO | - |
- |
- | -
|
1
|
6
|
9
|
|
| A | =
|
1
|
-
|
1 | A | 1 |
1 |
1 | -
|
1
|
-
|
-
|
-
|
| A | =
|
2
|
-
|
1 | A | 1 |
1 |
1 | -
|
1
|
-
|
-
|
-
|
| L | =
|
1
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| L | =
|
8
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| U | =
|
1
|
-
|
1 | U | 21 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| L | =
|
7
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| L | =
|
5
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| L | =
|
9
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| L | =
|
6
|
-
|
1 | L | 12 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| C | =
|
5
|
-
|
1 | C | 3 |
3 |
3 | -
|
-
|
3 | -
|
-
|
| O | =
|
9
|
-
|
1 | O | 15 |
6 |
6 | -
|
-
|
-
|
6
|
-
|
| I | =
|
8
|
-
|
1 | I | 9 |
9 |
9 | -
|
-
|
-
|
-
|
9
|
-
|
-
|
41
|
-
|
12 | LLULLAILLACO | 122 |
41 |
41 |
-
|
2
|
24 | 6
|
9
|
-
|
-
|
4+1 |
-
|
1+2 |
- | 1+2+2 | 4+1 | 4+1 | -
|
-
|
2+4 |
-
|
-
|
-
|
-
|
5
|
-
|
3 | LLULLAILLACO | 5 |
5 |
5 |
-
|
2
|
6 | 6
|
9
|
-
|
-
|
-
|
-
|
- |
- | - | - | - | -
|
-
|
- |
-
|
-
|
-
|
-
|
5
|
-
|
3 | LLULLAILLACO | 5 |
5 |
5 |
-
|
2
|
6 | 6
|
9
|
The civilisation we discuss, which does not appear to have found a need to develop writing, is that of the Incas. The Inca empire which existed in 1532, ... www-history.mcs.st-andrews.ac.uk/
HistTopics/Inca_mathematics
History topic: Mathematics of the Incas
The civilisation we discuss, which does not appear to have found a need to develop writing, is that of the Incas. The Inca empire which existed in 1532, before the Spanish conquest, was vast. It spread over an area which stretched from what is now the northern border of Ecuador to Mendoza in west-central Argentina and to the Maule River in central Chile. The Inca people numbered around 12 million but they were from many different ethnic groups and spoke about 20 different languages. The civilisation had reached a high level of sophistication with a remarkable system of roads, agriculture, textile design, and administration. Of course even if writing is not required to achieve this level, counting and recording of numerical information is necessary. The Incas had developed a method of recording numerical information which did not require writing. It involved knots in strings called quipu.
The quipu was not a calculator, rather it was a storage device. Remember that the Incas had no written records and so the quipu played a major role in the administration of the Inca empire since it allowed numerical information to be kept. Let us first describe the basic quipu, with its positional number system, and then look at the ways that it was used in Inca society.
The quipu consists of strings which were knotted to represent numbers. A number was represented by knots in the string, using a positional base 10 representation. If the number 586 was to be recorded on the string then six touching knots were placed near the free end of the string, a space was left, then eight touching knots for the 10s, another space, and finally 5 touching knots for the 100s.
(Illustration omitted) 586 on a quipu.
For larger numbers more knot groups were used, one for each power of 10, in the same way as the digits of the number system we use here are occur in different positions to indicate the number of the corresponding power of 10 in that position.
Now it is not quite true that the same knots were used irrespective of the position as would be the case in a true positional system. There seems only one exception, namely the unit position, where different styles of knots were used from those in the other positions. In fact two different styles were used in the units position, one style if the unit were a 1 and a second style if the unit were greater than one. Both these styles differed from the standard knot used for all other positions. The system had a zero position, for this would be represented as no knots in that position. This meant that the spacing had to be highly regular so that zero positions would be clear.
There are many drawings and descriptions of quipus made by the Spanish invaders. Garcilaso de la Vega, whose mother was an Inca and whose father was Spanish, wrote (see for example [5]):-
According to their position, the knots signified units, tens, hundreds, thousands, ten thousands and, exceptionally, hundred thousands, and they are all well aligned on their different cords as the figures that an accountant sets down, column by column, in his ledger.
Now of course recording a number on a string would, in itself, not be that useful. A quipu had many strings and there had to be some way that the string carrying the record of a particular number could be identified. The primary way this was done was by the use of colour. Numbers were recorded on strings of a particular colour to identify what that number was recording. For example numbers of cattle might be recorded on green strings while numbers of sheep might be recorded on white strings. The colours each had several meanings, some of which were abstract ideas, some concrete as in the cattle and sheep example. White strings had the abstract meaning of "peace" while red strings had the abstract meaning of "war"
As well as the colour coding, another way of distinguishing the strings was to make some strings subsidiary ones, tied to the middle of a main string rather than being tied to the main horizontal cord.
(Illustration omitted) Quipu with subsidiary cords.
We quote Garcilaso de la Vega again [5]:-
The ordinary judges gave a monthly account of the sentences they imposed to their superiors, and they in turn reported to their immediate superiors, and so on finally to the Inca or those of his Supreme Council. The method of making these reports was by means of knots, made of various colours, where knots of such and such colours denote that such and such crimes had been punished. Smaller threads attached to thicker cords were of different colours to signify the precise nature of the punishment that had been inflicted.
It was not only judges who sent quipus to be kept in a central record. The Inca king appointed quipucamayocs, or keepers of the knots, to each town. Larger towns might have had up to thirty quipucamayocs who were essentially government statisticians, keeping official census records of the population, records of the produce of the town, its animals and weapons. This and other information was sent annually to the capital Cuzco. There was even an official delivery service to take to quipus to Cuzco which consisted of relay runners who passed the quipus on to the next runner at specially constructed staging posts. The terrain was extremely difficult yet the Incas had constructed roads to make the passing of information by quipus surprisingly rapid.
Much information on the quipus comes from a letter of the Peruvian Felipe Guaman Poma de Ayala to the King of Spain, written about eighty years after the Spanish conquest of the Incas. This remarkable letter contains 1179 pages and there are several drawings which show quipus. A fascinating aspect of one of these drawing is a picture of a counting board in the bottom left hand corner of one of them. This is called the yupana and is presumed to be the counting board of the Incas.
(Illustration omitted) This is what the yupana looked like.
Interpretations of how this counting board, or Peruvian abacus, might have been used have been given by several authors, see for example [9] and [11]. However some historians are less certain that this really is a Peruvian abacus. For example [2] in which the authors write:-
It is unclear from Poma's commentary whether it is his version of a device associated with Spanish activities analogous to those of the person depicted or whether he is implying its association with the Incas. In either case, his commentary makes interpretation of the configuration and the meaning of the unfilled and filled holes highly speculative.
It is a difficult task to gain further insights into the mathematical understanding of the Incas. The book [6] by Urton is interesting for it examines the concept of number as understood by the Inca people. As one might expect, their concept of number was a very concrete one, unlike our concept of number which is a highly abstract one (although this is not really understood by many people). The concrete way of conceiving numbers is illustrated by different words used when describing properties of numbers. One example given in [6] is that of even and odd numbers. Now the ideas of an even number, say, relies on having an abstract concept of number which is independent of the objects being counted. However, the Peruvian languages had different words which applied to different types of objects. For example separate words occur for the idea of [6]:-
... the two together that make a pair ...
... the one together with its mate ...
... two - in reference to one thing that is divided into two parts ...
... a pair of two separate things bound intimately together, such as two bulls yoked together for ploughing ... etc.
This is a fascinating topic and one which deserves much further research. One wonders whether the Incas applied their number system to solve mathematical problems. Was it merely for recording? If the yupana really was an abacus then it must have been used to solve problems and this prompts the intriguing question of what these problems were. A tantalising glimpse may be contained in the writings of the Spanish priest José de Acosta who lived among the Incas from 1571 to 1586. He writes in his book Historia Natural Moral de las Indias which was published in Madrid in 1596:-
To see them use another kind of calculator, with maize kernels, is a perfect joy. In order to carry out a very difficult computation for which an able computer would require pen and paper, these Indians make use of their kernels. They place one here, three somewhere else and eight, I know not where. They move one kernel here and there and the fact is that they are able to complete their computation without making the smallest mistake. as a matter of fact, they are better at practical arithmetic than we are with pen and ink. Whether this is not ingenious and whether these people are wild animals let those judge who will! What I consider ascertain is that in what they undertake to do they are superior to us.
What a pity that de Acosta did not have the mathematical skills to give a precise description which would have allowed us to understand this method of calculation by the Incas.
Article by: J J O'Connor and E F Robertson January 2001 MacTutor History of Mathematics
[http://www-history.mcs.st-andrews.ac.uk/HistTopics/Inca_mathematics.html]
5
|
HORUS |
81 |
27 |
9
|
5
|
VENUS |
81 |
18 |
9 |
3 |
SUN |
54 |
9 |
9
|
7
|
JUPITER |
99 |
36 |
9
|
7 |
ORIONIS |
99 |
45 |
9 |
11
|
SAGITTARIUS |
144 |
45 |
9
|
GOD OF NAMES 99 NAMES OF GOD
12
|
QUETZALCOATL |
153 |
45 |
9
|
13 |
SETI-MER-EN-PTAH |
153 |
72 |
9 |
14 |
PHARAOH
+ PYRAMID |
153 |
81 |
9 |
14 |
ALBERT
+ EINSTEIN |
153 |
63 |
9 |
THE EGYPTIAN HEAVEN AND HELL
E. E. Wallis Budge 1857-1934
Page 59
"CHAPTER OF COMING FORTH BY DAY AND OF MAKING A WAY THROUGH THE AMMEHET."
"SETI MER EN PTAH"
13 |
SETI-MER-EN-PTAH |
153 |
72 |
9 |
9
|
ALIVE+DEAD |
63 |
36 |
9
|
11 |
DYING+RISING |
135 |
72 |
9
|
9 |
LIGHT+DARK |
90 |
45 |
9
|
16 |
POSITIVE+NEGATIVE |
198 |
81 |
9 |
10 |
MIND+MATTER |
117 |
45 |
9 |
13 |
MAGNETIC+FIELD |
1O8 |
45 |
9 |
9 |
ATOMS
+MIND |
108 |
36 |
9 |
4
|
KNOW |
63 |
18 |
9
|
4
|
REAL |
36 |
18 |
9
|
7
|
REALITY |
90 |
36 |
9
|
4 |
GODS |
45 |
18 |
9 |
4
|
LOVE |
54 |
18 |
9
|
| 6
|
DIVINE |
63 |
36 |
9
|
7
|
THOUGHT |
99 |
36 |
9
|
GODS JUDGEMENT GODS
DIVINE LAW ISISISISISIS LAW DIVINE
5
|
THE
HOLY WORD |
81 |
27 |
9
|
3 |
THE |
33 |
15 |
6
|
4
|
HOLY |
60 |
24 |
6
|
4
|
WORD |
60 |
24 |
6
|
11
|
HOLY
THE WORD |
153 |
63 |
9
|
1+1 |
- |
1+5+3 |
6+3 |
- |
2 |
THE
HOLY WORD |
9 |
9 |
9 |
WHATEVER THOU SOWETH THOU REAPEST
THE TIMES
Monday September 12 2005
Advert opposite Page 16
"GLOBAL WARNING"
GLOBAL WARNING GLOBAL
GLOBALWARNINGGLOBALWARMINGGLOBALWARMINGGLOBALWARNING
GLOBAL WARMING GLOBAL
DAILY STAR
Front Page Headlines
Monday, September 12, 2005
"999 PANIC"
Twinkle, Twinkle, Little Star - Wikipedia
"Twinkle, Twinkle, Little Star" is a popular English lullaby. The lyrics are from an early 19th-century English poem by Jane Taylor, "The Star".
"Twinkle, Twinkle, Little Star" is a popular English lullaby. The lyrics are from an early-century
The English lyrics were first written as a poem by Jane Taylor (1783–1824)[4] and published with the title "The Star" in Rhymes for the Nursery by Jane and her sister Ann Taylor (1782–1866) in London in 1806:[5]
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.
When the blazing sun is gone,
When he nothing shines upon,
Then you show your little light,
Twinkle, twinkle, all the night.
Then the traveller in the dark
Thanks you for your tiny sparks;
He could not see which way to go,
If you did not twinkle so.
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.
As your bright and tiny spark
Lights the traveller in the dark,
Though I know not what you are,
Twinkle, twinkle, little star.
The lyrics from "The Star" were first published with the tune in The Singing Master: First Class Tune Book in 1838.[4]
th-century English poem by Jane Taylor, "The Star". 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, which was published in 1761 and later arranged by several composers including Mozart with Twelve Variations on "Ah vous dirai-je, Maman".[1] The English lyrics have five stanzas, although only the first is widely known. It has a Roud Folk Song Index number of 7666. This song is usually performed in the key of C Major.
The song is in the public domain,[2] and has many adaptations around the world.[3]
PROMETHEUS
PROMISE THOU
PROMISE THEE US
LUCIFER
L U C FIRE
LET U C FIRE
ELECTRIC = E CIRCLE T
LIVE EVIL
DEVIL LIVED
SATAN CLAWS
SANTA CLAUS
MONKEY
MON K EY
K
MONEY
IS THERE ANY BODY THERE?
SUCH A QUESTION AS THAT IS.
ILLUMINED = 99-45-9
SEE1836SEE
SEE SOUL SEE
SO U L-IVE
SO U L EARN
SO U L-OVE
ONE
TWO
THREE
FOUR
FIVE
SIX
SEVEN
EIGHT
NINE
ZERO
.
1234 5 6789
BALANCING
LOVE=9
EVOLVE=9
WIZARD=9
WITCH=9
DIVINE=9
THOUGHT=9
SEE1836SEE
SEEISISSEE
SEEHORUSSEE
SEEOSIRISSEE
SEE1836SEE
ZEROONETWOTHREEFOURFIVESIXSEVENEIGHTNINE = 522-225-9
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE = 9
ZERO = 1
ONE = 7
TWO = 4
THREE = 2
FOUR = 6
FIVE = 6
SIX = 7
SEVEN = 2
EIGHT = 4
NINE = 6
EVEN NUMBERS 2, 2, 4, 4, 6, 6, 6 = 30 3+0 = 3
ODD NUMBERS 1, 7, 7 = 15 1+5 = 6
ODDS EVENS
ODDSEVENS = 1224466677 = 45 4+5= 9
ADD TO REDUCE AND REDUCE TO DEDUCE = 270-117-36-9
Noted at 9:09 am 02 Nov 2016
The Oracle Forum at 973-Eht-Namuh-973.com
Topics An Introduction to Hyperspace by heron » 05 Apr 2016 15:57
1/2 Replies 15
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Last post by heron View the latest post 02 Nov 2016 06:14
User avatar
heron
Posts: 18
Joined: 05 Apr 2016 15:48
Re: An Introduction to Hyperspace
Quote Postby heron » 05 Apr 2016 20:10
Creatures that drift
in the depths of the sea
are the very last
to discover the water
The Tempest's Epilogue
"You do look, my son, in a moved sort,
As if you were dismayed; be cheerful, sir.
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-capped towers, 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."
William Shakespeare 1564-1616
6 |
HERMES |
68 |
32 |
5 |
12 |
TRISMEGISTUS |
179 |
53 |
8 |
18 |
First Total |
247
|
85
|
13
|
1+8
|
Add to Reduce |
2+4+7 |
8+5 |
1+3 |
9 |
Second Total |
13
|
13
|
4
|
-
|
Reduce to Deduce |
1+3 |
1+3 |
- |
9 |
Essence of Number |
4
|
4
|
4
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
H
|
=
|
8
|
- |
6 |
HERMES |
68 |
32 |
5 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
- |
12 |
TRISMEGISTUS |
179 |
53 |
8 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
H
|
=
|
8
|
-
|
1 |
H
|
8 |
8 |
8
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
8
|
-
|
E
|
=
|
5
|
-
|
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
R
|
=
|
5
|
-
|
1 |
R
|
18 |
9 |
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9
|
M
|
=
|
4
|
-
|
1 |
M
|
13 |
4 |
4
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
-
|
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
S
|
=
|
1
|
-
|
1 |
S
|
19 |
10 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
-
|
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
R
|
=
|
5
|
-
|
1 |
R
|
18 |
9 |
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9
|
I
|
=
|
9
|
-
|
1 |
I
|
9 |
9 |
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9
|
S
|
=
|
1
|
-
|
1 |
S
|
19 |
10 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
M
|
=
|
4
|
-
|
1 |
M
|
13 |
4 |
4
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
-
|
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
G
|
=
|
2
|
-
|
1 |
G
|
7 |
7 |
7
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
7
|
-
|
-
|
I
|
=
|
9
|
-
|
1 |
I
|
9 |
9 |
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9
|
S
|
=
|
1
|
-
|
1 |
S
|
19 |
10 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
-
|
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
U
|
=
|
3
|
-
|
1 |
U
|
21 |
12 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
S
|
=
|
1
|
-
|
1 |
S
|
19 |
10 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
85 |
-
|
18 |
-
|
247 |
121 |
85 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
6 |
HERMES |
68 |
32 |
5 |
-
|
4
|
4
|
3
|
8
|
15
|
6
|
7
|
8
|
36
|
-
|
-
|
-
|
-
|
12 |
TRISMEGISTUS |
179 |
53 |
8 |
-
|
-
|
-
|
-
|
-
|
1+5 |
-
|
-
|
-
|
3+6 |
-
|
-
|
85
|
-
|
18
|
First Total |
247
|
85
|
13
|
-
|
4
|
4
|
3
|
8
|
6
|
6
|
7
|
8
|
9
|
-
|
-
|
8+5 |
-
|
1+8 |
Add to Reduce |
2+4+7 |
8+5 |
1+3 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
13
|
-
|
9
|
Second Total |
13
|
13
|
4
|
-
|
4
|
4
|
3
|
8
|
6
|
6
|
7
|
8
|
9
|
-
|
-
|
1+3 |
-
|
-
|
Reduce to Deduce |
1+3 |
1+3 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4
|
-
|
9
|
Essence of Number |
4
|
4
|
4
|
-
|
4
|
4
|
3
|
8
|
6
|
6
|
7
|
8
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
H
|
=
|
8
|
- |
6 |
HERMES |
68 |
32 |
5 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
- |
12 |
TRISMEGISTUS |
179 |
53 |
8 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
S
|
=
|
1
|
-
|
1 |
S
|
19 |
10 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
S
|
=
|
1
|
-
|
1 |
S
|
19 |
10 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
S
|
=
|
1
|
-
|
1 |
S
|
19 |
10 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
S
|
=
|
1
|
-
|
1 |
S
|
19 |
10 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
T
|
=
|
2
|
-
|
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
T
|
=
|
2
|
-
|
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
U
|
=
|
3
|
-
|
1 |
U
|
21 |
12 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
6
|
-
|
-
|
-
|
M
|
=
|
4
|
-
|
1 |
M
|
13 |
4 |
4
|
-
|
-
|
-
|
-
|
4
|
-
|
6
|
-
|
-
|
-
|
M
|
=
|
4
|
-
|
1 |
M
|
13 |
4 |
4
|
-
|
-
|
-
|
-
|
4
|
-
|
6
|
-
|
-
|
-
|
E
|
=
|
5
|
-
|
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
6
|
-
|
-
|
-
|
E
|
=
|
5
|
-
|
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
6
|
-
|
-
|
-
|
E
|
=
|
5
|
-
|
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
6
|
-
|
-
|
-
|
G
|
=
|
2
|
-
|
1 |
G
|
7 |
7 |
7
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
7
|
-
|
-
|
H
|
=
|
8
|
-
|
1 |
H
|
8 |
8 |
8
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
8
|
-
|
R
|
=
|
5
|
-
|
1 |
R
|
18 |
9 |
9
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
9
|
R
|
=
|
5
|
-
|
1 |
R
|
18 |
9 |
9
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
9
|
I
|
=
|
9
|
-
|
1 |
I
|
9 |
9 |
9
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
9
|
I
|
=
|
9
|
-
|
1 |
I
|
9 |
9 |
9
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
9
|
-
|
-
|
85 |
-
|
18 |
-
|
247 |
121 |
85 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
6 |
HERMES |
68 |
32 |
5 |
-
|
4
|
4
|
3
|
8
|
15
|
6
|
7
|
8
|
36
|
-
|
-
|
-
|
-
|
12 |
TRISMEGISTUS |
179 |
53 |
8 |
-
|
-
|
-
|
-
|
-
|
1+5 |
-
|
-
|
-
|
3+6 |
-
|
-
|
85
|
-
|
18
|
First Total |
247
|
85
|
13
|
-
|
4
|
4
|
3
|
8
|
6
|
6
|
7
|
8
|
9
|
-
|
-
|
8+5 |
-
|
1+8 |
Add to Reduce |
2+4+7 |
8+5 |
1+3 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
13
|
-
|
9
|
Second Total |
13
|
13
|
4
|
-
|
4
|
4
|
3
|
8
|
6
|
6
|
7
|
8
|
9
|
-
|
-
|
1+3 |
-
|
-
|
Reduce to Deduce |
1+3 |
1+3 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4
|
-
|
9
|
Essence of Number |
4
|
4
|
4
|
-
|
4
|
4
|
3
|
8
|
6
|
6
|
7
|
8
|
9
|
6 |
HERMES |
68 |
32 |
5 |
12 |
TRISMEGISTUS |
179 |
53 |
8 |
18 |
First Total |
247
|
85
|
13
|
1+8
|
Add to Reduce |
2+4+7 |
8+5 |
1+3 |
9 |
Second Total |
13
|
13
|
4
|
-
|
Reduce to Deduce |
1+3 |
1+3 |
- |
9 |
Essence of Number |
4
|
4
|
4
|
M |
= |
4 |
-
|
9 |
MERCURIUS |
127 |
46 |
1 |
T |
= |
2 |
-
|
12 |
TRISMEGISTUS |
179 |
53 |
8 |
-
|
-
|
6 |
-
|
21 |
First Total |
306
|
99
|
9
|
-
|
-
|
-
|
-
|
2+1
|
Add to Reduce |
3+0+6 |
9+9 |
- |
-
|
-
|
6 |
-
|
3 |
Second Total |
9
|
18
|
9
|
-
|
-
|
-
|
-
|
- |
Reduce to Deduce |
- |
1+8 |
- |
-
|
-
|
6 |
-
|
3
|
Essence of Number |
9
|
9
|
9
|
1
22
333
4444
55555
666666
7777777
88888888
999999999
one
twotwo
threethreethree
fourfourfourfour
fivefivefivefivefive
sixsixsixsixsixsix
sevensevensevensevensevensevenseveven
eighteighteighteighteighteighteighteighteight
nineninenineninenineninenineninenine
ONE
TWOTWO
THREETHREETHREE
FOURFOURFOURFOUR
FIVEFIVEFIVEFIVEFIVE
SIXSIXSIXSIXSIXSIX
SEVENSEVENSEVENSEVENSEVENSEVENSEVEN
EIGHTEIGHTEIGHTEIGHTEIGHTEIGHTEIGHTEIGHT
NINENINENINENINENINENINENINENINENINE
THE DIVINE INVASION
Phillip K Dick 1981
The time you have waited for has come. The work is complete: the final world is here.
He has been transplanted and is alive.
Mysterious voice in the night
Page 36
"That night as he lay sleeping a voice said softly to him, Herbert, Herbert.'
He opened his eyes. I'm not on standby,' he said, / Page 37 / thinking it was the mother ship. 'Dome Nine is active. Let me sleep.'
'Look,' the voice said.
He looked - and saw that his control board, which governed all his communications gear, was on fire. 'Jesus Christ,' he said, and reached for the wall switch, that would turn on the emergency fire extinguisher. But then he realized something. Something perplexing. Although the control board was burning, it was not consumed.
The fire dazzled him and burned his eyes. He shut his eyes and put his arm over his face. 'Who is it?' he said.
The voice said, 'It is Ehyeh.'
'Well,' Herb Asher said, amazed. It was the deity of the mountain, speaking to him openly, without an electronic interface. A strange sense of his own worthlessness overcame Herb Asher, and he kept his face covered. 'What do you want?' he said. 'I mean, it's late. This is my sleep cycle. '
'Sleep no more,' Yah said.
'I've had a hard day.' He was frightened.
Yah said, 'I command you to take care of the ailing girl. She is all alone. If you do not hasten to her side I will burn down your dome and all the equipment in it, as well as all you own besides. Iwill scorch you with flame until you wake up. You are not awake, Herbert, not yet, but 1 will cause you to be awake; I will make you rise up from your bunk and go and help her."
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
M |
= |
4 |
- |
10 |
MYSTERIOUS |
164 |
47 |
2 |
V |
= |
4 |
- |
5 |
VOICE |
54 |
27 |
9 |
I |
= |
9 |
- |
2 |
IN |
23 |
14 |
5 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
N |
= |
5 |
- |
5 |
NIGHT |
58 |
31 |
4 |
- |
- |
25 |
4
|
26 |
Add to Reduce |
333
|
135
|
27
|
- |
- |
2+5 |
- |
2+6 |
Reduce to Deduce |
3+3+3 |
1+3+5 |
2+7 |
Q |
- |
7 |
- |
8
|
Essence of Number |
9
|
9
|
9
|
A |
B |
C |
D |
E |
F |
G |
H |
I |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
J |
K |
L |
M |
N |
O |
P |
Q |
R |
10 |
11 |
12 |
13 |
14 |
15 |
16 |
17 |
18 |
1+0 |
1+1 |
1+2 |
1+3 |
1+4 |
1+5 |
1+6 |
1+7 |
1+8 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
S |
T |
U |
V |
W |
X |
Y |
Z |
I |
19 |
20 |
21 |
22 |
23 |
24 |
25 |
26 |
9 |
1+9 |
2+0 |
2+1 |
2+2 |
2+3 |
2+4 |
2+5 |
2+6 |
ME |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
= |
I |
ME |
I |
ME |
I |
ME |
I |
ME |
I |
9 |
18 |
9 |
18 |
9 |
18 |
9 |
18 |
9 |
= |
1+8 |
= |
1+8 |
= |
1+8 |
= |
1+8 |
= |
= |
9 |
= |
9 |
= |
9 |
= |
9 |
= |
I |
ME |
I |
ME |
I |
ME |
I |
ME |
1 |
9 |
9 |
9 |
9 |
9 |
9 |
9 |
9 |
9 |
I |
ME |
I |
ME |
I |
ME |
I |
ME |
1 |
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 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
1+0 |
1+1 |
1+2 |
1+3 |
1+4 |
1+5 |
1+6 |
1+7 |
1+8 |
1+9 |
2+0 |
2+1 |
2+2 |
2+3 |
2+4 |
2+5 |
2+6 |
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 |
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 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
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 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
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 |
..
.gif)
Y |
= |
3 |
- |
3 |
YOU |
61 |
16 |
7 |
A |
= |
1 |
- |
3 |
ARE |
24 |
15 |
6 |
G |
= |
7 |
- |
5 |
GOING |
52 |
34 |
7 |
O |
= |
6 |
- |
2 |
ON |
29 |
11 |
2 |
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
J |
= |
1 |
- |
7 |
JOURNEY |
108 |
36 |
9 |
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
V |
= |
4 |
- |
4 |
VERY |
70 |
25 |
7 |
S |
= |
1 |
- |
7 |
SPECIAL |
65 |
29 |
2 |
J |
= |
1 |
- |
7 |
JOURNEY |
108 |
36 |
9 |
D |
= |
4 |
- |
2 |
DO |
19 |
10 |
1 |
H |
= |
8 |
- |
4 |
HAVE |
36 |
18 |
9 |
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
P |
= |
7 |
- |
8 |
PLEASANT |
88 |
25 |
7 |
J |
= |
1 |
- |
7 |
JOURNEY |
108 |
36 |
9 |
D |
= |
4 |
- |
2 |
DO |
19 |
10 |
1 |
``- |
- |
55 |
- |
54 |
First Total |
790
|
304
|
79
|
- |
- |
5+5 |
- |
5+4 |
Add to Reduce |
7+9+0 |
3+0+4 |
7+9 |
- |
- |
10 |
- |
9 |
Second Total |
16
|
7
|
16
|
- |
- |
1+0 |
- |
-
|
Reduce to Deduce |
1+6 |
- |
1+6 |
- |
- |
1 |
- |
9
|
Essence of Number |
7
|
7
|
7
|
OF TIME AND STARS
Arthur C. Clarke
Page 205
The Sentinel
"I can never look now at the Milky Way without wondering from which of those banked clouds of stars the emissaries are coming. If you will pardon so commonplace a simile, we have set off the fire alarm and have nothing to do but to wait.
I do not think we will have to wait for long.
I
CAN NEVER LOOK NOW AT THE MILKY WAY WITHOUT WONDERING
FROM WHICH OF THOSE BANKED CLOUDS OF STARS THE EMISSARIES ARE COMING.
IF YOU WILL PARDON SO COMMONPLACE A SIMILE,
WE HAVE SET OFF THE FIRE ALARM AND HAVE NOTHING TO DO BUT TO WAIT.
I DO NOT THINK WE WILL HAVE TO WAIT FOR LONG.
THE FATEFUL ENCOUNTER
- |
CODE |
- |
- |
-
|
2
|
CO |
18 |
9 |
9
|
2
|
DE |
9 |
9 |
9
|
4 |
CODE
|
27 |
18 |
18 |
- |
-
|
2+7 |
1+8 |
1+8 |
4 |
CODE
|
9 |
9 |
9 |
HAMLET'S MILL
AN ESSAY INVESTIGATING THE ORIGINS OF HUMAN KNOWLEDGE
AND ITS TRANSMISSION THROUGH MYTH
Giorgio De Santillana and Hertha Von Dechend 1969
Page 162
"Finally, there is one remarkable and disturbing coincidence from the same direction. It is known that in the final battle of the gods, the massed legions on the side of "order" are the dead warriors, the "Einherier" who once fell in combat on earth and who have been transferred by the Valkyries to reside with Odin in Valhalla-a theme much rehearsed in heroic poetry. On the last day, they issue forth to battle in martial array. Says the Grimnismal (23): "Five hundred gates and forty more-are in the mighty building of Walhalla-eight hundred 'Einherier' come out of each one gate-on the time they go out on defence against the Wolf."
That makes 432,000 in all, a number of significance from of old.
This number must have had a very ancient meaning, for it is also the number of syllables in the Rigveda. But it goes back to the basic figure 10,800, the number of stanzas in the Rigveda (40 syllables to a stanza) which, together with 108, occurs insistently in Indian tradition. 10,800 is also the number which has been given by Heraclitus for the duration of the Aion, according to Censorinus (De die natali 18), whereas Berossos made the Babylonian Great Year to last 432,000 years. Again, 10,800 is the number of bricks of the Indian fire-altar (Agnicayana). 32
"To quibble away such a coincidence," remarks Schroder, "or to ascribe it to chance, is in my opinion to drive skepticism beyond its limits."33 Shall one add Angkor to the list? It has five gates, and to each of them leads a road, bridging over that water ditch which surrounds the whole place. Each of these roads is bordered by a row of huge stone figures, 108 per avenue, 54 on each side, altogether 540 statues of Deva and Asura, and each row carries a huge Naga / Page 163 / serpent with nine heads. Only, they do not "carry" that serpent, they are shown to "pull" it, which indicates that these 540 statues are churning the Milky Ocean, represented (poorly, indeed) by the water ditch,34 using Mount Mandara as a churning staff, and Vasuki, the prince of the Nagas, as their drilling rope. (Just to prevent misunderstanding: Vasuki had been asked before, and had agreeably consented, and so had Vishnu's tortoise avatar, who was going to serve as the fixed base for that "incomparably mighty churn," and even the Milky Ocean itself had made it clear that it was willing to be churned.) The whole of Angkor thus turns out to be a colossal model set up for "alternative motion" with true Hindu fantasy and incongruousness to counter the idea of a continuous one-way Precession from west to east."
www.bibliotecapleyades.net/
HAMLET'S MILL
AN ESSAY INVESTIGATING THE ORIGINS OF HUMAN KNOWLEDGE
AND ITS TRANSMISSION THROUGH MYTH
Giorgio De Santillana and Hertha Von Dechend 1969
CHAPTER X
The Twilight of the Gods
"Egyptian Book of the Dead, Osiris speaking:
"Hail, Thot! What is it that hath happened to the divine children of Nut? They have done battle, they have upheld strife, they have made slaughter, they have caused trouble: in truth, in all their doing the mighty have worked against the weak. Grant, O might of Thot, that that which the God Atum hath decreed (may be accomplished)! And thou regardest not evil nor art thou provoked to anger when they bring their years to confusion and throng in and push to disturb their months; for in all that they have done unto thee, they have worked iniquity in secret!" [n1 Chapter 175, 1-8, W. Budge trans. The italics are ours.].
Thot is the god of science and wisdom; as for Atum, he precedes, so to speak, the divine hierarchy."
The fateful encounter hypothesis which is what is most commonly accepted is that it was solely by chance that a single mitochondria was taken up by a single ancient bacterial cell that then divided together to give each daughter cell a mitochondria of its own.27 Oct 2014
- |
- |
- |
- |
19 |
THE FATEFUL ENCOUNTER |
- |
- |
- |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
F |
= |
6 |
- |
7 |
FATEFUL |
71 |
26 |
8 |
E |
= |
5 |
- |
9 |
ENCOUNTER |
115 |
43 |
7 |
- |
- |
13 |
- |
19 |
THE FATEFUL ENCOUNTER |
219 |
84 |
21 |
- |
- |
1+3 |
- |
1+9 |
-
|
2+1+9 |
8+4 |
2+1 |
-
|
-
|
4 |
-
|
10 |
THE FATEFUL ENCOUNTER |
12 |
12 |
3 |
-
|
-
|
- |
- |
1+0 |
- |
1+2 |
1+2 |
- |
-
|
-
|
4 |
-
|
1 |
THE FATEFUL ENCOUNTER |
3 |
3 |
3 |
- |
- |
- |
- |
19 |
THE FATEFUL ENCOUNTER |
- |
- |
- |
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
F |
= |
6 |
- |
7 |
FATEFUL |
71 |
26 |
8 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
E |
= |
5 |
- |
9 |
ENCOUNTER |
115 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
13 |
- |
19 |
THE FATEFUL ENCOUNTER |
219 |
84 |
21 |
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
- |
- |
- |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
6 |
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 |
-
|
3 |
THE FATEFUL ENCOUNTER |
33 |
15 |
15 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
F
|
=
|
6
|
4 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
A
|
=
|
1
|
5 |
1 |
A
|
1 |
1 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
6 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
7 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
F
|
=
|
6
|
8 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
U
|
=
|
3
|
9 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
L
|
=
|
3
|
10 |
1 |
L
|
12 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
25 |
-
|
7 |
THE FATEFUL ENCOUNTER |
71 |
26 |
26 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
12 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
N
|
=
|
5
|
13 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
C
|
=
|
3
|
14 |
1 |
C
|
3 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
O
|
=
|
6
|
15 |
1 |
O
|
15 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
-
|
U
|
=
|
3
|
16 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
-
|
-
|
N
|
=
|
5
|
17 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
18 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
7 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
-
|
R
|
=
|
9
|
20 |
1 |
R
|
18 |
9 |
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9
|
-
|
-
|
49 |
-
|
9 |
THE FATEFUL ENCOUNTER |
115 |
43 |
43 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
- |
- |
19 |
THE FATEFUL ENCOUNTER |
- |
- |
- |
-
|
1
|
6
|
12 |
4
|
30 |
18
|
7
|
8
|
9
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
-
|
-
|
-
|
1+2 |
-
|
3+0 |
1+8 |
-
|
-
|
-
|
F |
= |
6 |
- |
7 |
FATEFUL |
71 |
26 |
8 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
E |
= |
5 |
- |
9 |
ENCOUNTER |
115 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
13 |
- |
19 |
THE FATEFUL ENCOUNTER |
219 |
84 |
21 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
- |
- |
1+3 |
- |
1+9 |
-
|
2+1+9 |
8+4 |
2+1 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4 |
-
|
10 |
THE FATEFUL ENCOUNTER |
12 |
12 |
3 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
-
|
-
|
- |
- |
1+0 |
- |
1+2 |
1+2 |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4 |
-
|
1 |
THE FATEFUL ENCOUNTER |
3 |
3 |
3 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
- |
- |
- |
- |
19 |
THE FATEFUL ENCOUNTER |
- |
- |
- |
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
F |
= |
6 |
- |
7 |
FATEFUL |
71 |
26 |
8 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
E |
= |
5 |
- |
9 |
ENCOUNTER |
115 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
13 |
- |
19 |
THE FATEFUL ENCOUNTER |
219 |
84 |
21 |
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
- |
- |
- |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
6 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
4
|
-
|
-
|
7
|
-
|
-
|
H
|
=
|
8
|
2 |
1 |
H
|
8 |
8 |
8
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
7
|
8
|
-
|
E
|
=
|
5
|
3 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
F
|
=
|
6
|
4 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
4
|
-
|
6
|
7
|
-
|
-
|
A
|
=
|
1
|
5 |
1 |
A
|
1 |
1 |
1
|
-
|
1
|
-
|
-
|
4
|
-
|
-
|
7
|
-
|
-
|
T
|
=
|
2
|
6 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
4
|
-
|
-
|
7
|
-
|
-
|
E
|
=
|
5
|
7 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
F
|
=
|
6
|
8 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
4
|
-
|
6
|
7
|
-
|
-
|
U
|
=
|
3
|
9 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
4
|
-
|
-
|
7
|
-
|
-
|
L
|
=
|
3
|
10 |
1 |
L
|
12 |
3 |
3
|
-
|
-
|
-
|
3
|
4
|
-
|
-
|
7
|
-
|
-
|
E
|
=
|
5
|
12 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
N
|
=
|
5
|
13 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
C
|
=
|
3
|
14 |
1 |
C
|
3 |
3 |
3
|
-
|
-
|
-
|
3
|
4
|
-
|
-
|
7
|
-
|
-
|
O
|
=
|
6
|
15 |
1 |
O
|
15 |
6 |
6
|
-
|
-
|
-
|
-
|
4
|
-
|
6
|
7
|
-
|
-
|
U
|
=
|
3
|
16 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
4
|
-
|
-
|
7
|
-
|
-
|
N
|
=
|
5
|
17 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
T
|
=
|
2
|
18 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
4
|
-
|
-
|
7
|
-
|
-
|
E
|
=
|
5
|
7 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
R
|
=
|
9
|
20 |
1 |
R
|
18 |
9 |
9
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
7
|
-
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
- |
- |
19 |
THE FATEFUL ENCOUNTER |
- |
- |
- |
-
|
1
|
6
|
12 |
4
|
30 |
18
|
7
|
8
|
9
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
-
|
-
|
-
|
1+2 |
-
|
3+0 |
1+8 |
-
|
-
|
-
|
F |
= |
6 |
- |
7 |
FATEFUL |
71 |
26 |
8 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
E |
= |
5 |
- |
9 |
ENCOUNTER |
115 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
13 |
- |
19 |
THE FATEFUL ENCOUNTER |
219 |
84 |
21 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
- |
- |
1+3 |
- |
1+9 |
-
|
2+1+9 |
8+4 |
2+1 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4 |
-
|
10 |
THE FATEFUL ENCOUNTER |
12 |
12 |
3 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
-
|
-
|
- |
- |
1+0 |
- |
1+2 |
1+2 |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4 |
-
|
1 |
THE FATEFUL ENCOUNTER |
3 |
3 |
3 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
LETTERS TRANSPOSED INTO NUMBER REARRANGED INTO NUMERICAL ORDER
- |
- |
- |
- |
19 |
THE FATEFUL ENCOUNTER |
- |
- |
- |
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
F |
= |
6 |
- |
7 |
FATEFUL |
71 |
26 |
8 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
E |
= |
5 |
- |
9 |
ENCOUNTER |
115 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
13 |
- |
19 |
THE FATEFUL ENCOUNTER |
219 |
84 |
21 |
-
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
- |
- |
- |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
A
|
=
|
1
|
5 |
1 |
A
|
1 |
1 |
1
|
-
|
1
|
-
|
-
|
4
|
-
|
-
|
7
|
-
|
-
|
T
|
=
|
2
|
6 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
4
|
-
|
-
|
7
|
-
|
-
|
T
|
=
|
2
|
6 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
4
|
-
|
-
|
7
|
-
|
-
|
T
|
=
|
2
|
18 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
4
|
-
|
-
|
7
|
-
|
-
|
U
|
=
|
3
|
9 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
4
|
-
|
-
|
7
|
-
|
-
|
L
|
=
|
3
|
10 |
1 |
L
|
12 |
3 |
3
|
-
|
-
|
-
|
3
|
4
|
-
|
-
|
7
|
-
|
-
|
C
|
=
|
3
|
14 |
1 |
C
|
3 |
3 |
3
|
-
|
-
|
-
|
3
|
4
|
-
|
-
|
7
|
-
|
-
|
U
|
=
|
3
|
16 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
4
|
-
|
-
|
7
|
-
|
-
|
E
|
=
|
5
|
3 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
E
|
=
|
5
|
7 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
E
|
=
|
5
|
12 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
N
|
=
|
5
|
13 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
N
|
=
|
5
|
17 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
E
|
=
|
5
|
7 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
4
|
5
|
-
|
7
|
-
|
-
|
F
|
=
|
6
|
4 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
4
|
-
|
6
|
7
|
-
|
-
|
F
|
=
|
6
|
8 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
4
|
-
|
6
|
7
|
-
|
-
|
O
|
=
|
6
|
15 |
1 |
O
|
15 |
6 |
6
|
-
|
-
|
-
|
-
|
4
|
-
|
6
|
7
|
-
|
-
|
H
|
=
|
8
|
2 |
1 |
H
|
8 |
8 |
8
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
7
|
8
|
-
|
R
|
=
|
9
|
20 |
1 |
R
|
18 |
9 |
9
|
-
|
-
|
-
|
-
|
4
|
-
|
-
|
7
|
-
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
- |
- |
19 |
THE FATEFUL ENCOUNTER |
- |
- |
- |
-
|
1
|
6
|
12 |
4
|
30 |
18
|
7
|
8
|
9
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
-
|
-
|
-
|
1+2 |
-
|
3+0 |
1+8 |
-
|
-
|
-
|
F |
= |
6 |
- |
7 |
FATEFUL |
71 |
26 |
8 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
E |
= |
5 |
- |
9 |
ENCOUNTER |
115 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
13 |
- |
19 |
THE FATEFUL ENCOUNTER |
219 |
84 |
21 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
- |
- |
1+3 |
- |
1+9 |
-
|
2+1+9 |
8+4 |
2+1 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4 |
-
|
10 |
THE FATEFUL ENCOUNTER |
12 |
12 |
3 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
-
|
-
|
- |
- |
1+0 |
- |
1+2 |
1+2 |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4 |
-
|
1 |
THE FATEFUL ENCOUNTER |
3 |
3 |
3 |
-
|
1
|
6
|
3
|
4
|
3
|
9
|
7
|
8
|
9
|
- |
- |
- |
- |
19 |
THE FATEFUL ENCOUNTER |
- |
- |
- |
-
|
1
|
2
|
3
|
5
|
6
|
8
|
9
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
F |
= |
6 |
- |
7 |
FATEFUL |
71 |
26 |
8 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
E |
= |
5 |
- |
9 |
ENCOUNTER |
115 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
13 |
- |
19 |
THE FATEFUL ENCOUNTER |
219 |
84 |
21 |
-
|
1
|
2
|
3
|
5
|
6
|
8
|
9
|
- |
- |
- |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
A
|
=
|
1
|
5 |
1 |
A
|
1 |
1 |
1
|
-
|
1
|
-
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
6 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
6 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
T
|
=
|
2
|
18 |
1 |
T
|
20 |
2 |
2
|
-
|
-
|
2
|
-
|
-
|
-
|
-
|
-
|
U
|
=
|
3
|
9 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
L
|
=
|
3
|
10 |
1 |
L
|
12 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
C
|
=
|
3
|
14 |
1 |
C
|
3 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
U
|
=
|
3
|
16 |
1 |
U
|
21 |
3 |
3
|
-
|
-
|
-
|
3
|
-
|
-
|
-
|
-
|
E
|
=
|
5
|
3 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
E
|
=
|
5
|
7 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
E
|
=
|
5
|
12 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
N
|
=
|
5
|
13 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
N
|
=
|
5
|
17 |
1 |
N
|
14 |
5 |
5
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
E
|
=
|
5
|
7 |
1 |
E
|
5 |
5 |
5
|
-
|
-
|
-
|
-
|
5
|
-
|
-
|
-
|
F
|
=
|
6
|
4 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
F
|
=
|
6
|
8 |
1 |
F
|
6 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
O
|
=
|
6
|
15 |
1 |
O
|
15 |
6 |
6
|
-
|
-
|
-
|
-
|
-
|
6
|
-
|
-
|
H
|
=
|
8
|
2 |
1 |
H
|
8 |
8 |
8
|
-
|
-
|
-
|
-
|
-
|
-
|
8
|
-
|
R
|
=
|
9
|
20 |
1 |
R
|
18 |
9 |
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
9
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
- |
- |
19 |
THE FATEFUL ENCOUNTER |
- |
- |
- |
-
|
1
|
6
|
12 |
30 |
18
|
8
|
9
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
-
|
-
|
-
|
1+2 |
3+0 |
1+8 |
-
|
-
|
F |
= |
6 |
- |
7 |
FATEFUL |
71 |
26 |
8 |
-
|
1
|
6
|
3
|
3
|
9
|
8
|
9
|
E |
= |
5 |
- |
9 |
ENCOUNTER |
115 |
43 |
7 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
- |
- |
13 |
- |
19 |
THE FATEFUL ENCOUNTER |
219 |
84 |
21 |
-
|
1
|
6
|
3
|
3
|
9
|
8
|
9
|
- |
- |
1+3 |
- |
1+9 |
-
|
2+1+9 |
8+4 |
2+1 |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4 |
-
|
10 |
THE FATEFUL ENCOUNTER |
12 |
12 |
3 |
-
|
1
|
6
|
3
|
3
|
9
|
8
|
9
|
-
|
-
|
- |
- |
1+0 |
- |
1+2 |
1+2 |
- |
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
-
|
4 |
-
|
1 |
THE FATEFUL ENCOUNTER |
3 |
3 |
3 |
-
|
1
|
6
|
3
|
3
|
9
|
8
|
9
|
THE LIGHT IS RISING NOW RISING IS THE LIGHT
1 IS 1
8 IS 8
3 IS 3
6 IS 6
RECOGNISE THAT 1836 THAT RECOGNISE
.......
....
THE LIGHT IS RISING NOW RISING IS THE LIGHT
 |
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