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FINGERPRINTS OF THE GODS A QUEST FOR THE BEGINNING AND THE END Graham Hancock 1995 Chapter 32 Speaking to the Unborn Page 285 "It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers. A message in the bottle of time" 'Of all the other stupendous inventions,' Galileo once remarked, what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3 If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps. "What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them"
"WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"
FIRST CONTACT 1980
PEACE AND LOVE UNTO ALL SENTIENT BEINGS
CODE DE CODE C+O D+E D+E C+O D+E 9+9+9+9+9 C+O D+E D+E C+O D+E CODE DE CODE
GNOSIS GODS SON IS
LETTERS AND NUMBERS AND NUMBERS AND LETTERS
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
"One, Two, Buckle My Shoe" is a popular English language nursery rhyme and counting-out rhyme. It has a Roud Folk Song Index number of 11284. A common version is given in The Oxford Dictionary of Nursery Rhymes: One, two, Buckle my shoe; Three, four, Knock at the door; Five, six, Pick up sticks; Seven, eight, Lay them straight: Nine, ten, A big fat hen; Eleven, twelve, Dig and delve; Thirteen, fourteen, Maids a-courting; Fifteen, sixteen, Maids in the kitchen; Seventeen, eighteen, Maids in waiting Nineteen, twenty, My plate's empty. Other sources give differing lyrics
NUMBERS RE-ARRANGED IN NUMERICAL ORDER
THE FEAR OF NUMBERS
THE CITY OF REVELATION John Michell 1972 Gnostic Numbers Page 118 "Exactly how they came by their science of numbers is not certain, but they appear to have made the discovery that the numerical code of the Hebrew cabala and those of other mystical systems throughout the world were all degenerate versions of the same once universal system of knowledge that returns within the reach of human perception at certain intervals in time. As the revealed books of the Old Testament were written in a code to be interpreted by reference to number, so were the revelations of the gnostic prophets expressed in words and phrases formed on a system of proportion, which gave life and power to the Christian myth, while allowing initiates to gain a further understanding of the balance of forces that produce the world of phenomena." Page 121 / How it was ever supposed that the Hebrew alphabet of twenty- two letters, together with various geometrical symbols might serve to represent the entire moving pattern of the universe is not now easy to understand; but, since all ancient philosophy, religion, magic, the arts and sciences were based on the concept of a correspondence between numbers and cosmic law, it is impossible to appreciate the history of the past without some actual experience of the fundamental truth behind this approach to cosmology. Plato gives a remarkable account in Cratylos of the origin of language and letters. The philosopher is asked whether there is any particular significance in names, for surely they are simply a matter of convention and one is more or less as good as another. After all, foreigners call things by different names and appear to manage just as well as the Greeks in this respect. The answer given is that despite appearances the matter is by no means so simple. Words are the tools of expression, and the making of these, as of any other tools, is the task of a skilled craftsman, in this case the lawgiver. Language has grown corrupt over the ages, and names have deviated from their original perfect forms, which are those used by the gods. But all names were originally formed on certain principles, through knowledge of which it is possible to discover the archetypal meaning of words in current use. 'So perhaps the man who knows about names considers their value and is not confused if some letter is added, transposed or subtracted, or even if the force of the name is expressed in quite different letters.' This is Plato's clearest reference to the mystical science of the cabala, in which letters, words and whole phrases may be substituted for others of the same numerical value. The force of a name is to be found in its number, and can be expressed through any combination of letters, provided the sum of the letters amounts to the appropriate number by gematria.
THE MAGIC ALPHABET
LETTERS TRANSPOSED INTO NUMBER RE-ARRANGED IN NUMERICAL ORDER
STUVWXYZ 180 ZYXWVUTS STUVWXYZ 36 ZYXWVUTS STUVWXYZ 9 ZYXWVUTS
JUST SIX NUMBERS Martin Rees 1 OUR COSMIC HABITAT PLANETS STARS AND LIFE Page 24 A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' Page 24 / 25
A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence'
What does the number 5 symbolize? https://en.wikipedia.org/en.wikipedia.org › wiki › 5 Greek numeral?: ??´ •The pattern of five dots on a die is called a quincunx. ...
5 is a primenumber. Penta- means five.A pentathlon is an athletics contest with five events and a pentagon isa figure with five sides and five angles. A pentasyllabic word has fivesyllables, like the word pentasyllabic itself. A devout follower of Islam worships five times a day facing the holy city of Mecca. The Islamic creed is the 'Five Pillars of the Faith'. The Five Ks are traditionallyworn by The Singhs, who are a brotherhood within the Sikh religion. Theseare kes, long hair; kangha, a comb; kirpan, a sword; kachh, short trousers; and kara, a steel bracelet. Pentominoes areshapes made from five squares. How many of these are possible? Only countshapes which cannot be made from each other by flipping them over or rotatingthem. Punch is a drink that traditionallyhas five ingredients - spirits, water, sugar, lemon juice and spice. Thename punch comes from the Hindi word for five. The Five Platonic Solids are the only five convex regular solids it is possible to construct. Theyare the tetrahedron (four sides), the cube (six sides), the octahedron(eight sides), the dodecahedron (12 sides) and the icosahedron (20 sides). www.astrovera.com/bible-religion/172-bible-number-5.html The number 5 in the Bible is significant because his creation, the ‘man’ has five fingers, five senses and five toes. Thus it is the number of God’s grace. There are five great mysteries: Father, Son, Spirit, Creation and Redemption. After the fall of man creation was cursed and it became subject to vanity. So man and creation needed to be redeemed therefore number 5 is the number of God’s grace. The number five may also speak of the inability of man and his weakness as only when ‘man’ is weak does he needs God’s Grace. As only if a man is incapable, he would require God’s Grace. Number 4 signifies man’s weakness and helplessness and number 5 i.e. 4+1 shows divine strength added to man’s weakness and vanity which of course, means God’s grace. Gematria is the name given to the process of assigning numbers to different words. The gematria of the word Earth would be 296 which, in fact, is a multiple of 4 and the gematria of the word Heaven is 395, which is a multiple of 5. Therefore, Earth, which is the land of the man, is synonymous to his weakness and vanity and Heaven is synonymous of God’s grace. But what do you mean by grace? Grace means favor, an act of kindness and support and favor can be of many types. Favor that is done for the unworthy, favor that is done for someone who doesn’t deserve it, that favor is called grace. God called upon Abram and promised to make his name great. Was there any reason behind it? Did God do that for any purpose? No. He did it without any cause, without any particular reason. This was an instance of God’s grace towards his creation. God changed Abram’s name to Abraham. This is very significant. Not because God chose Abram or because God endowed upon him his grace, but, the change was made by inserting in between his name the fifth letter of the alphabet h (Hey). Another instance of God’s grace can be seen when David went to fight with the enemy of Israel who was a giant named Goliath. David chose five smooth stones. These five stones were significant of David’s weakness supplemented by a divine power (the number of stones being 4+1). David used only one stone (one with divine power) and not the other four stones to defeat and conquer the mighty enemy. But God’s Grace should not be confused with merit or warrant. The scriptures tell us again and again through various examples that the grace and merit cannot exist together. However one can’t attain salvation from merit. This is because if the salvation could be achieved through merit then, the there would not be any requirement for God’s Grace. The fifth book of Psalms exemplifies the same great fact. The first Psalm (Psalm 107) magnifies this, and explains to us, how "He sent His word and healed them" (verse 20), and again and again delivered his men out of all their trouble. The importance of number 5 is further exemplified by the Fifth Psalm of the First Book. It has a special reference to the God’ Grace and tells us that God encompasses us all in his grace. The Fifth Book of the Bible (Deuteronomy) magnifies the grace of God, and in it special pains, so to speak, are taken to emphasis the great fact that not for the sake of the people, but for God's own Name's sake had He called, and chosen, and blessed them. In the Bible, there is also a reference to The Stone Kingdom. This kingdom would be the FIFTH kingdom after the world powers when all of the earth’s dominions would be combined to one single kingdom and then the almighty would take over them to rule over the along with his appointed one with glory and with grace. There are also certain phrases which repeat five times in the bible and they speak of God’s Grace "Bless the Lord, O my soul." - All in Psalms 103 and 104, viz., 103:1, 2, 23 and 104:1, 35. The Talmud calls attention to this and says, "As God fills the earth and nourishes it, so He nourishes and blesses the soul." The various examples stated above tell us a great deal about the significance of the number five in the biblical literature. It tells us through the Gematria that the importance of this number is huge as it signifies the grace of God. Also through the various examples of David, The Fifth Book of Psalms, The fifth kingdom etc that how again and again God has showed Grace to his creation. The number five is the symbol of God’s grace. Grace should never be confused with merit, because merit is only for the worthy. But unlike merit, grace is for everyone without any prejudice and preconception. Religion and culture · ?Art, entertainment, and ... https://www.splashlearn.com/www.splashlearn.com › Math Vocabulary › Number Sense What is Five? - Definition, Facts & Example - Splash Math Fun Facts. 5 is a natural number. 5 is a odd number. 5 is the only prime number that is the sum of two consecutive prime numbers, namely 2 and 3. 5 is also the only prime number to end with 5 in ones place. https://www.researchgate.net/www.researchgate.net › publication › 259604698_Five_petals_The_... Five petals: The mysterious number "5" hidden in nature Five petals: The mysterious number "5" hidden in nature Yutaka Nishiyama at Osaka University of Economics This article examines why many flowers are five-petaled through the use of a five-petal model that draws insight from the location of cell clusters at a shoot apex, rather than from concepts such as the Fibonacci sequence or the Golden ratio which have been referred to in the past. The conclusions drawn are that flowers are most likely to be five-petaled, followed by six-petaled flowers, and that four petals are unstable and almost no flower can be seven-petaled. I am deeply interested in pentagonal forms in the natural world. A hexagon, as seen in bee's nests or snow crystals, is mathematically explained, but no clear explanation is made about a pentagon. Echinodemata such as sea urchins, starfish, and sea cucumbers are five-actinomorphic with a bony plate on the skin and a unique water-vascular sys-tem. In other words, they are pentagonal and rotationally symmetrical. The arm of a starfish has strong regeneration power as indicated by the fact that one of its five arms can regenerate immediately. Even more surprising is the fact that one arm can regenerate the remaining four arms (Ichikawa, 1982, [4]). International Journal of Pure and Applied Mathematics FIVE PETALS: THE MYSTERIOUS NUMBER 350 Y. Nishiyama FIVE PETALS: THE MYSTERIOUS NUMBER... 351
LIFE IS GOD IS LIFE LIFE IS QUALITIVELY THE SAME CREATIVE INTELLIGENCE IN EACH EVOCATION REGARDLESS OF FORM ALL IS ONE UNIVERSAL CREATOR MIND ALL AND EVERYTHING ONE UNIVERSAL PATTERN OF LIFE
PLATO - NUMBERS ARE THE HIGHEST DEGREE OF KNOWLEDGE IT IS KNOWLEDGE ITSELF
RE 95 RE REARRANGED NUMERICALLY REARRANGED RE 95 RE
IT IS KNOWLEDGE ITSELF
RE 95 RE REARRANGED NUMERICALLY REARRANGED RE 95 RE
RE 95 RE REARRANGED NUMERICALLY REARRANGED RE 95 RE
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S 5 x 5 = 25 LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 5 = 25
KNOWLEDGE 96 KNOWLEDGE
RE 95 RE REARRANGED NUMERICALLY REARRANGED RE 95 RE
THE EYWA AVATAR EYWA I SEE I SEE YOU I YOU SEE I THAT AM Y I C U R ME O ME R U C I I C THAT THAT THAT C I I
Enkidu - Wikipedia, the free encyclopedia
City And Colour - Northern Wind Lyrics www.lyricsmode.com › Top 100 › City And Colour You're the Northern Wind / Sending shivers down my spine / You're like falling leaves / In an autumn night / You're the lullaby / That's singing me to sleep. ... If you don't understand what i mean he's from the northern side and he's extremely ...
ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-
“The word used for man is lullu“,
ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-
ENUMA ELISH
The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found ... I hereby name it Babylon, home of the great gods. The word used in the text is written phonetically, ba-ab-i-li
I hereby name it Babylon, home of the great gods.
Babylonia From Wikipedia, the free encyclopedia Babylonia was an ancient Akkadian-speaking Semitic nation state and cultural region based in central-southern Mesopotamia (present-day Iraq). It emerged as an independent state c. 1894 BC, with the city of Babylon as its capital. It was often involved in rivalry with its fellow Akkadian state of Assyria in northern Mesopotamia. Babylonia became the major power in the region after Hammurabi (fl. c. 1792 - 1752 BC middle chronology, or c. 1696 – 1654 BC, short chronology) created an empire out of many of the territories of the former Akkadian Empire. The Babylonian state retained the written Semitic Akkadian language for official use (the language of its native populace), despite its Amorite founders and Kassite successors not being native Akkadians. It retained the Sumerian language for religious use, but by the time Babylon was founded this was no longer a spoken language, having been wholly subsumed by Akkadian. The earlier Akkadian and Sumerian traditions played a major role in Babylonian (and Assyrian) culture, and the region would remain an important cultural center, even under protracted periods of outside rule. The earliest mention of the city of Babylon can be found in a tablet from the reign of Sargon of Akkad (2334- 2279 BC), dating back to the 23rd century BC. Babylon was merely a religious and cultural centre at this point and not an independent state; like the rest of Mesopotamia, it was subject to the Akkadian Empire which united all the Akkadian and Sumerian speakers under one rule. After the collapse of the Akkadian empire, the south Mesopotamian region was dominated by the Gutians for a few decades before the rise of the Sumerian third dynasty of Ur, which encompassed the whole of Mesopotamia, including Babylon.
ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish- The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found ... I hereby name it Babylon, home of the great gods..
ENUMA ELISH
Epic of Gilgamesh: Tablet VI - Academy for Ancient Texts The Lullubu people' will bring you the produce of the mountains and countryside as tribute THE LULLUBU PEOPLE THE 3333323 PEOPLE
Wayne Horowitz - 1998 - Philosophy
B LULLU B
SLEEPY TIME BABY LULLABY
Evolution of Sumerian kingship - Ancient World Magazine 12 May 2018 - Interestingly, this kingship could only be held by one person at a time. ... The Lullubu people will bring you the produce of the mountains and ...
INANNA 53 INNANA INANNA 26 INNANA INANNA 8 INNANA INANNA 951551 INANNA
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 11 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL In the illustration shown in Plate 1,1(image omitted ) four men are seen sitting under a neat row of trees, neatly labelled. In the background is a rich countryside: in the foreground a refreshing stream flows from a fountain. The illustration is taken from an engraving in the eighteenth-century edition of the works of Ramon Lull, which is based on medieval tradition of Lull illustration. The lady whose horse wades in the stream is Intelligence; severe intellectual work is going on. The men so calmly seated in these pleasant surroundings are doing the Lullian Art. hi. the lifetime of the Catalan philosopher and mystic, Ramon Lull (1232-c. 1316), the Iberian peninsula was the home of three great religious and philosophical traditions. Dominant was Christianity and the Catholic Church, but a large part of the country was still under the rule of the Moslem Arabs; and it was in Spain that the Jews of the Middle Ages had their strongest centre. In the world of Ramon Lull, the brilliant civilisation of the Spanish Moslems, with its mysticism, philosophy, art, and / Page 12 / science, was close at hand; the Spanish Jews had intensively devoloped their philosophy, their science and medicine, and mysticism, or Cabala. To Lull, the Catholic Christian, occurred the generous idea that an Art, based on principles which all three religious traditions held in common, would serve to bind all three together on a common philosophical, scientific, and mystical basis. The men under the trees in the picture represent a Gentile or pagan; a Jew; a Saracen or Moslem; and a Christian. The representatives of the three religions have been found by the Gentile doing the Lullian Art together, and striving their unity in the fountain of life or mystical truth. the scientific principle held in common by Christians, Moslem and Jews, and on which Lull based his Art, was the theory of the elements.2 It is unnecessary to enter here into the historical origins of the elemental theory which was held by scientific men in Lull's period as a universally valid assumption about nature. The theory assumed that everything in the natural world composed of four elements - earth, water, air, fire. To these corresponded the elemental qualities - cold, moist, dry,hot. These formed different compounds, or different concords and contrasts, which could be exactly classified or graded. The elemental theory had its prolongation into the world of the stars, for the seven planets and the twelve signs of the zodiac were held to have either predominantly cold, moist, dry, or hot influences. Though these elemental characteristics of the stars, and their connection with terrestrial elements, were derived from the cbings of astrology, the elemental theory was not in itself astrological, but might more properly be called an astral science. the use of the, Lullian Art as astral science can be studied in Its Tractatus de astronomia (1297) in which he works out a theory practice of astral medicine through calculating, by the Art, grading of elemental qualities. This treatise is preceded by a diatribe 'against astrology', from which Lull scholars of the past used to deduce (without reading the treatise) that Lull had / Page 13 / discarded the astrological world view. Careful reading of the treatise reveals that it describes an astral medicine, based on belief in elemental qualities in the seven planets and the twelve .signs, and their connection with terrestrial elements. This is a scientific use of a universally held theory of astral correspondences. It is not astrology in the sense of horoscope-making with lis assumption of astrological determinism which Lull is 'against'. In fact it is a kind of scientific escape from such determinism. In almost exactly the same way, two hundred years later, Pico della Mirandola was to pronounce himself 'against astrology',3 meaning that he was against astrological determinism whilst accepting those astral correspondences which underlie 'Renaissance Neoplatonism' as he and Ficino understood it. The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews. An extraordinary feature of Lullism is that it assigns a letter notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 14 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three. This bald outline, though it may give some idea of the Art, is highly misleading in its simplicity. For the Art in its workings is immensely complex. It may have forms based on more than nine dignities. Its combinations of letter-notations almost suggest a kind of algebra. There is a kind of geometry involved, for the Art uses three figures, the triangle, the circle, and the square. The artist in moving up and down the levels of creation applies these figures on each level. The geometry is symbolical; the triangle symbolises the divine; the circle stands for the heavens (by which Lull always means the seven planets and the twelve signs of the zodiac); the square symbolises the four elements. The Aristotelian categories play a part in the Art which is said to work by a 'natural' logic, but the dominant philosophy is a kind of Platonism. Lull belongs into the tradition of medieval Christian Platonism, based primarily on Augustine; the Lullian dignities' can nearly all be found listed as divine attributes in Augustine's works. Like all medieval Platonists, Lull is also strongly influenced by the work on the celestial hierarchies of / Page 15 / angels by Pseudo-Dionysius. The nearest parallel to his association of dignities or attributes with the elements is to be found in the De divisione naturae of the early Christian Platonist, John Scotus Erigena.4 Lull's dignities have the creative capacity of Scotus's primordial causes. Moslem forms of Platonic, or Neo-platonic, mysticism had also reached him. Yet perhaps the strongest influence on the formation of the Art was that of the Jewish Cabala. It was in medieval Spain that Cabala reached a high point of development,5 and that climax coincides with the appearance of Lullism. The Zohar was written in Spain in about 1275. It was in 1274 that Lull had the vision on Mount Randa in which the two primary figures of the Art were revealed to him. There are mmy points of contact or resemblance between Cabalism and Lullism. Spanish Cabala has as its bases the doctrine of the ten Sephiroth and the doctrine of the twenty-two letters of the Hebrew alphabet. The Sephiroth, as defined by G. Scholem, are 'the ten names most common to God and in their entirety they form his one great Name'.6 The Sephiroth derive from the nameless "en-soph'; their names are Gloria, Sapientia, Veritas, Bonitas, Potestas, Virtus, Eternitus, Splendor, Fundamentum. The parallel with the nine Lullian Dignitates Dei derived from a nameless A is striking. The twenty-two letters of the Hebrew alphabet also contain, for the Cabalist, the Name or Names, of God. They are the creative language of God and in contemplating them the Cabalist is contemplating both God himself and his creation. The thirteenth-century Spanish Jew, Abraham Abulafia.7 developed a complex technique of meditation through combining Hebrew letters in endless series of permutations and combinations. Thus the two salient characteristics of the Lullian Art, its basis in the Names or Dignities, and its techniques of letter combinations, are both, also characteristics of Cabala. Yet there are profound differences, above all the basic fact that the Names in / Page 16 / Cabala are in Hebrew, the letters which it combines are Hebrew letters; in the Lullian Art the Names are in Latin and the letters it combines are the ordinary letters of the Latin alphabet. Lullism may be said to be a Cabalist type of method but used without Hebrew. It is thus debarred from those insights into the linguistic mysteries which the Cabalist believed to be hidden in the Hebrew Scriptures. Nevertheless, if it is possible to speak of a Christian Cabalist method used without Hebrew, then it may be claimed that Lullism is the medieval form of Christian Cabala.8 Certainly it is like later Christian Cabala in its missionary aim, its aim of proving the Trinity to Moslems and Jews and thereby converting them to Christianity. The rigorous method of the Lullian Art is deployed against a background suffused in poetic and romantic charm, the world of medieval Spain. The Lullian hermit wanders through allegorical forests,9 the trees of which symbolise all the subjects of the Art, neatly categorised and arranged for the Lullist to use in his operations. These operations have not only scientific but also moral value through the use of analogy and allegory which permeates the Art. Thus the concords and contrasts of the elements are allegorised on the 'moral' trees of the Art as concords and contrasts between virtues and vices. The Lullian artist as Lull saw him had not only mastered a universal science; he had learned an ethical and contemplative method through which he might mount on the ladder of creation to the highest heights. Not only that, he was also a poet singing mystical love songs with all the charm of a troubadour; and a knight instructed in astral science and ethics in relation to the code of chivalry.10 As the inventor of a method which was to have an immense influence throughout Europe for centuries, Lull is an extremely important figure. Lullism is a precursor of scientific method. Lullian astral medicine developed into Pseudo-Lullian alchemy. Page 17 The great figures of Renaissance Neoplatonism include Lullism in their interests, and naturally so since Lullism was the precursor of their ways of thinking. And from the point of view of history of religion and of religous toleration, surely we admire Lull's vision in taking advtage of the unique concentration of Christian, Moslem, Jewish traditions in his world for putting forward a common ground between them in an Art, which, though it envisaged conversion rather than toleration, was certainly, in its at understanding, vastly superior to the methods to be used later in Spain for the establishment of religious unity. The glorious reign of Ferdinand and Isabella (1474-1504) saw the union of the kingdoms of Aragon and Castile through their marriage, and the rapid advance in power of the unified kingdom through their energetic government. Determined on establishing total religious unity within the Iberian peninsula, the two Catholic sovereigns initiated the war against the Moors which ended triumphantly with the conquest of Granada in 1492. In the same year, 1492, the Jews were expelled from Spain; in 1505 the conquered Moors were also expelled. Thus two whole populations, embodying two great civilisations, were adrift from their homeland to wander as exiles. Through the tightening up of the Inquisition in Spain, particularly severe againstt Jews and Moors, return to what had been their native for so many centuries was impossible. Spain, like France the Revocation of the Edict of Nantes, became and remained 'toute Catholique'. Thus, as so often, Europe took a wrong turning and wasted the spiritual resources which might have been used constructiveIy. For of all the countries of Europe, Spain was the best placed for making a liberal approach to the three great closely related religions. Ramon Lull had realised this in his peculiar way .men he strove to construct a method based on Divine Names and elemental theory. Though, for him, the Art was not a / Page 18 / construction but a revelation from on high shown to him in the vision on Mount Randa. The old view of the origins of the so-called Renaissance held that the the fall of Constantinople to the Turks in 1453 was a startingpoint. Recent generations of scholars have weakened that view, through exploration of many other influences and particularly through demonstrating the importance of surviving medieval traditions in the so-called Renaissance. Yet there remains a good deal to be said for the old view, for, after all, it was the Greek refugees from Byzantium who spread the knowledge of Greek in Europe; and it was from Byzantium that the Greek manuscripts of works of Plato and the Neoplatonists, and of 'Hermes 'Iris megistus' and other prisci theologi, reached Florence to form that rich and confused strain of 'Renaissance Neoplatonism' with its Hermetic core which we associate with Marsilio Ficino. Another date which has not been so much stressed but which is equally, perhaps more, important, is 1492, the date of the expulsion of the Jews from Spain. Many of them went to Italy and spread there a new interest in the Hebrew language and an enthusiasm for the Jewish mystical tradition, or Cabala. This came to the mystically-minded as a new insight into the meaning of Christianity. Christian Cabala was founded by Ficino's friend and associate Pico della Mirandola. It was in 1486 that Pico went to Rome with his nine hundred theses, prominent among which were the Cabalist theses. The Cabalist theses were fundamental for Pico' s great aim of the concordance of all religious philosophies. Pico' s advocacy of Christian Cabala marked a turning-point in the history of the Judaeo-Christian tradition in its modern form. It came at the same time as one of its darkest tragedies. It was in the years immediately before the Expulsion, when the persecutions of the Jews in Spain were mounting in intensity, that Pico della Mirandola adopted Christian Cabala into the Italian Renaissance.
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 11 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL Page 13 An extraordinary feature of Lullism is that it assigns a letter notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 74 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
Page 13 On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
Page 13 On these levels, the elemental theory comes into play; 1234 as the four elements works in conjunction with 234567892. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three. ABCD 1234 ABCD BCDEFGHIK 234567892 BCDEFGHIK
THREES = 3 = THREES
LULL 3333 LULL
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 175 CHAPTER 8 LULLISM AS AN ART OF MEMORY THOUGH we have now reached the Renaissance, with Camillo, we have to retrace our steps to the Middle Ages during this chapter. For there was another kind of art of memory which began in the Middle Ages, which continued into the Renaissance and beyond, and which it was the aim of many in the Renaissance to combine with the classical art in some new synthesis whereby memory should reach still further heights of insight and of power. This other art of memory was the Art of Ramon Lull. Lullism and its history is a most difficult subject and one for the exploration of which the full materials have not yet been assembled; The enormous number of Lull's own writings, some of them still unpublished, the vast Lullist literature written by his followers, the extreme complexity of Lullism, make it impossible as yet to reach very definite conclusions about what is, undoubtedly.ra strand of major importance in the European tradition. And what I have to do now is to write one not very long chapter giving some idea of what the Art of Ramon Lull was like, of why it was an art of memory, of how it differs from the classical art of memory, and of how Lullism became absorbed at the Renaissance into Renaissance forms of the classical art. Obviously- I am attempting the impossible, yet the impossible must be attempted because it is essential for the later part of this book that there should be some sketch at this stage of Lullism itself. The chapter is based on my own two articles on the art of Ramon Lull:' it is orientated towards a comparison of Lullism as an art of memory with. the classical art; and it is not concerned solely with 'genuine' Lullism but also with the Renaissance interpretation of Lullism, for it is this. which is important for the next stages of our history.
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 111 MEDIEVAL MEMORY AND THE FORMATION OF IMAGES "Petrarch makes his allusions to the art by introducing examples of men of antiquity famed for good memories and associating these with the classical art. His paragraph on the memories of Lucullus and Hortensius begins thus: - 'Memory is of two kinds, one for things, one for words.' 57 LUCULLUS 33333331 LUCULLUS
Daily Mail, Thursday, November 17, 2011 Page 70 QUESTION The W. B Yeats poem Mad As The Mists and snow name checks Homer, Horace, Cicero and and Tully ('and here is Tully's open page') Who was Tully?
Male Roman citizens typically had three names, their praenomen (given name), their nomen (clan name) and their' cognomen (nickname or family name), but in English classical Latin authors are generally known by a single name, often Anglicised. These sometimes derive from the nomen (for example, Horace's full name was Quintus Horatius Flaccus) and sometimes from the cognomen (as with Gaius Julius Caesar). In Cicero's case, he's today known by his cognomen, but has sometimes in the past been called Tully from his nomen. Despite coming from humble stock, Cicero's skill as an orator saw him rise to the supreme position of state in the Republic, the consulship, in 63BC and he played a key role in the defeat of the Catiline conspiracy. As a result of the rise to power of Julius Caesar, he took a lesser role in his later years, devoting himself to literature Instead. After Caesar's assassination in 44BC, Cicero returned to politics and took a key role in the senatorial opposition to Mark Antony. He was murdered on Antony's orders when he took power. Cicero's surviving letters form a key source for the history of the fall of the Roman Republic and its replacement by the rule of the emperors. David Bradbury, London.
From Wikipedia, the free encyclopedia Gaius Lucilius (c. 180 – 103/02 BC),[1] the earliest Roman satirist, of whose writings only fragments remain, was a Roman citizen of the equestrian class, born at Suessa Aurunca in Campania. He was a member of the Scipionic Circle.
Macbeth 1 [iii] Shakespeare, "Thrice to thine and thrice to mine, and thrice again to make up nine" Number 9 The Search for the Sigma code Cecil Balmond Page 45 "Three times three, the trinity of trinities, gains select status then as the doubling and resourcing of special power. From ancient times number nine was seen as a full complement; it was the cup of special promise that brimmed over. "
3 x 3 = 9 = 3 x 3
Daily Mail, Thursday, December 15, 2011 Page 57 At a formal dinner celebrating the opening of the Watford St Albans branch railway line in 1958 several toasts were drunk 'with three times three'. What does this mean? THE Watford to St Albans branch line, known locally as the Abbey Flyer, opened on May 5, 1858, so the dinner must have been part of the centenary celebrations. The 'three times three' is the traditional three cheers ('Hip, Hip, Hooray!' shouted three times). The origin of the cheer is obscure but it's recorded in 1816 when John Quincy Adams, an envoy to the English court, wrote in his diary that he had attended a dinner given by the Lord Mayor in the Mansion House and that 'every toast was drunk standing with what they call three time three hip! hip! hip! and nine huzzahs'. It is more usual now to proclaim only two hips and 'huzzah' has become 'hooray'. In the 17th and 18th centuries, three huzzahs - two short ones followed by a long sustained one - were given by the British infantry before a charge. It has been suggested 'hurrah' or 'hooray' comes from old Turkic and that the Turks used to shout 'Ur, ah!' meaning 'Come on, hit!". A less likely explanation is that 'hip' dates from the crusades and is an acronym of Hierosolyma est perdita -'Jerusalem is lost'. Equally unlikely is the idea that 'hurrah' is a corruption of the Slavonic hu-raj - paradise. In this scheme, 'Hip Hip Hooray!' would mean 'Jerusalem is lost; paradise here we come!' Barry Saunders, Watford.
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 21 "The Ad Herennium was a well known and much used text in the Middle Ages when it had an immense prestige because it was thought to be by Cicero. It was therefore believed that the precepts for the artificial memory which it expounded had been drawn up by Tullius himself" Page 32
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 21 "The Ad Herennium was a well known and much used text in the Middle Ages when it had an immense prestige because it was thought to be by Cicero. It was therefore believed that the precepts for the artificial memory which it expounded had been drawn up by Tullius himself" Page 32
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 135 (number omitted) "No study of Shakespeare can begin without some reference to Marlowe, the predecessor, and his mighty line." "Marlowe's famous play, Docter Faustus is closely based on the English translation of the German Faust-Buch (1587)" "Page 139 He turns to ask / Page 140 / Mephistopheles about divine astrology, about the elements, and the spheres of the planets. He still has scholarly instincts, and can hear echoes of the universal harmony, although damned. Awaiting damnation he calls on Christ, and there comes the famous line " See see where Christs bloud streames in the firmament.11"
SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT 155 155 58595 3899121 23634 12951451 95 285 699414552 IS 9 IS 9 IS 9 IS 155 155 58595 3899121 23634 12951451 95 285 699414552 SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT
ZOHAR 5 ZOHAR 5 ZOHAR 5 ZOHAR
SEPHIROTH 1 SEPHIROTH PHI'S OTHER NAME OTHER PHI'S SEPHIROTH 1 SEPHIROTH
SEPHIROTH 1 SEPHIROTH PHI'S OTHER CIRCLE OTHER PHI'S SEPHIROTH 1 SEPHIROTH
IS NAUTILUS NEMO OMEN NEMO NAUTILUS IS
MOON SOL SOLOMON IS IS SOLOMON SOL MOON SOLOMON SOL MOON IS IS MOON SOL SOLOMON MOON SOL SOLOMON IS IS SOLOMON SOL MOON
HEART EARTH TERAH THERA THE RA IS IS RA THE THERA TERAH EARTH HEART EARTH THE R THE EARTH HEART THE R THE HEART TERAH THE R THE TERAH THERA THE R THE THERA THE RA IS IS RA THE HEART EARTH TERAH THERA
TRIANGLE 5 TRIANGLE CIRCLE 5 CIRCLE SQUARE 9 SQUARE
HERMES 68 HERMES HERMES 41 HERMES HERMES 5 HERMES
HERMES MESSENGER OF THE GODS HERE ME SEE ME SEE ME HERE
Enya - Wikipedia, the free encyclopedia Enya is an Irish singer, instrumentalist and composer. The media sometimes refer to her by the Anglicized name, Enya Brennan; Enya is an approximate ... Enya discography - The Very Best of Enya - Enya (album) - And Winter Came...
HOLY BIBLE REVELATION C 21 V 1 And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea.2 And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband.3 And I heard a great voice out of heaven saying, Behold, the tabernacle of God is with men, and he will dwell with them, and they shall be his people, and God himself shall be with them, and be their God. 4 And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away. 5 And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these words are true and faithful.6 And he said unto me, It is done. I am Alpha and Omega, the beginning and the end. I will give unto him that is athirst of the fountain of the water of life freely. 7 He that overcometh shall inherit all things; and I will be his God, and he shall be my son.
THE LIGHT IS RISING RISING IS THE LIGHT
JOSEPH CHRIST MARY
LETTERS TRANSPOSED INTO NUMBERS REARRANGED IN NUMERICAL ORDER
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