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THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE THE FAR YONDER SCRIBE AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN FINE AMAZE THE ZED ALIZ ZED IN SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS LOVING THE LIGHT AND YOU R OF THE LIGHT MESSAGE TO THE ALL AND SUNDRY OF PLANET EARTH
HERE AM I DAVE D IN THE I'M DENISON DIMENSION
BIRTH DAY GREETINGS DAVE D 85 TODAY 21ST MAY 2024
THE LIGHT IS RISING NOW RISING IS THE LIGHT
THE MAGICALALPHABET
THE MAGICAL ALPHABET
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
REAL REALITY REVEALED HAVE I MENTIONED GODS DIVINE THOUGHT HAVE I MENTIONED THAT 9 9 9 9 9 9 9 9 9 9 9 9 4
REAL REALITY REVEALED I SAY HAVE I MENTIONED GODS DIVINE THOUGHT HAVE I MENTIONED THAT YET
MIND BORN SONS, THOSE PATENT PATIENT PATENTED PATTERN MAKERS MIND=4 BORN=4 SONS=4 THOSE=4 PATENT=4 PATIENT=4 PATENTED=4 PATTERN=4 MAKERS=4
Quo Vadis. I fled by night and in the grey of dawn met on the lonely
way a man I knew but could not name. He said “Good morning”, I the same ...
Quo Vadis
Quo vadis is a Latin phrase meaning "Where are you going?" It is used as a proverbial phrase from the Bible (John 13:36, 16:5). ... en.wikipedia.org/wiki/Quo_Vadis -
SALUTATIONS PEOPLES OF PLANET EARTH THOUGHTS OF LOVE THOUGHTS OF PEACE THOUGHTS OF LIGHT UNTO ALL SENTIENT BEINGS THROUGHOUT THE UNIVERSE OF GODS UNIVERSAL MIND
JOSEPH AND HIS BROTHERS Thomas Mann 1875-1955 Page 935 "Come nearer, my friend," he said, as the bee studded curtain closed behind them, "pray come close to me, dear Khabiru from the Retenu, fear not, nor startle in your step, come quite close to me! This is the mother of god, Tiy, who lives a million years. And I am Pharaoh. But think no more of that, lest it make you fearful. Pharaoh is God and Man, but sets as much store by the second as the first, yes he rejoices, sometimes his rejoicing amounts to defiance and scorn that he is a man like all men, seen from one side; he rejoices to snap his fingers at those sour faces who would have him bear himself uniformly as God
SIMULATIONS OF GOD THE SCIENCE OF BELIEF John Lilly 1975 Page xi "I am only an extraterrestrial who has come to the / Page xii / planet Earth to inhabit a human body, Everytime I leave this body and go back to my own civilization, I am expanded beyond all human imaginings, When I must return I am squeezed down into the limited vehicle."
THE LOST LANGUAGE OF SYMBOLISM AN ENQUIRY INTO THE ORIGIN OF CERTAIN LETTERS, WORDS, NAMES, FAIRY-TALES, FOLK-LORE AND MYTHOLOGIES Harold Bayley 1912 Page 267 CHAPTER XI "Language has been called by Jean Paul' a dictionary of
faded metaphors': so it is, and it is the duty of the etymologist to try
to restore them to their original brightness."-MAX MULLER. All Signs and Symbols displayed within quoted work have been omitted "1 Signs and Symbols of Primordial Man, Churchward, p.
128.
See Signs and Symbols of Primordial Man, Churchward, pp.
201, 202, 330, 345.
4 The amenities of Theology seem always to demand that the Gods of one's neighbour should be regarded as Demons. Our term Devil is cognate with devel, the Gypsy {or God; "Ogre" was originally a Northern Deity, and - tbe" Bluebeard" of fairy-tale is probably a perversion of blue-bearded SIN
THE LOST LANGUAGE OF SYMBOLISM AN ENQUIRY INTO THE ORIGIN OF CERTAIN LETTERS, WORDS, NAMES, FAIRY-TALES, FOLK-LORE AND MYTHOLOGIES Harold Bayley 1912 CHAPTER XI Page 273 "The Stag was not /Page 274 / only a symbol of Solitary Purity, but its branching antlers were likened to the rays of the rising Sun, and the Stag thus becomes a Solar emblem. The mouth was regarded as a well or fountain, and it is proverbial that" the mouth of a righteous man is a well of life." 1 Fig. 666 will thus denote what MATTHEW ARNOLD termed the" lonely pureness of the all-pure Fount." " If, in the silent mind of One
all-pure Seasons alternating, and night and
day, The solemn peaks but to the stars are known, But to the stars, and the cold lunar beams: Alone the sun arises and
alone
I = 9 9 = I " Greek myth attributes three eyes to JUPITER; Page 274 "In Italy there is a version of Cinderella called Mona
Catarina, i.e. "the lone Pure one," and in some localities the story of
Cinderella is told under the' title" One-Eye,
Notes to Page275
Page 278 "According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."
Page 278 "According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."
HOLY BIBLE Scofield References Page 922 HOSEA C 2 V 16 AND IT SHALL BE AT THAT DAY, SAITH THE LORD, THAT THOU SHALT CALL ME ISHI
THE LOST LANGUAGE OF SYMBOLISM Harold Bayley 1912 Page 278 "According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."
Page 278 ONE-EYE, TWO-EYES, THREE-EYES "According to the authors of The Perfect Way, the words
IS and ISH originally meant Light, and the
name ISIS, once
ISH-ISH, was Egyptian for Light-Light.l Those who
were ( 1 P. Ill) / Page 279 / initiated into the mysteries of ISIS were known as ISSA,1 and the legendary
"ISSEDONES," who were said to
have been evicted from their country by the ever-encroaching, one-eyed
Arimaspians, may probably be identified as the enlightened followers of
ORMUZ, the Lord of Light and adversary of AHRIMAN,2 the
Prince of Darkness. ISIS OSIRIS OSIRIS ISIS Page 280 Notes 1 Cinderella, p. 489. Page 281 " The sacred Stone Lanterns or Light receptacles of
Japan are still called Ishidoro, and the Japanese Heavenly Grandchild is Page 281 Notes I Thlngs Seen in Japan, Clive Holland, p. 209. 2 Cl Plutarch's
Isis
and Osiris.
Page 282 "And it shall be at that day, saith the Lord, that thou shalt call me ISHI" In HOSEA there is
a Millenniary prophecy wherein occurs the enigmatic passage: "And
it shall be at that day, saith the Lord, that thou shalt call me ISHI; and shalt call me
no more BAALI. For I
will take away the names of Baalim out of her
mouth, and they shall no more be remembered by their name." 1 The Baalim were
secondary divinities into which the Phoenician Great God EL was subdivided, and ISHI
was probably a synonym for the primal Light. The Celtic
giant blinded by LUGH, the
Light, was named BALOR, the
Bal of which may perhaps be
equated with the Baal of
Baalim.
Page 282 Notes 1 ii. 16, 17.
Page 283 "The name of the prophet ELISHA" "The knowledge that Is
or Ish meant Lux, the
light, not only elucidates the meaning of ISHI, but it also unravels the
etymology of many other obscure titles, e.g. the Goddess ISHTAR,
whose name has hitherto proved an insoluble enigma, may be resolved into
Ish, the Light, and Tar, " daughter of." 1
. Page 283 Notes 1 The syllable TAR
occurs again in the Finnish name ILMATAR, supposedly meaning "Daughter of the Air." It is well
recognised that the language of Finland
abounds in Chaldean survivals, and the Finnish suffix
"tar,"" equivalent to "the daughter of," is seemingly, one of these. Cf.
Popular Poetry of tlte Flnns, C. J. Billson.
ISRAEL 919-153 - 351-919 LEARSI
IS REAL LAER SI Page 284
~ ONE-EYE, TWO-EYES, THREE-EYES
Page 167 CHAPTER VIII "Who is she that looketh forth as the morning, fair as the
moon, clear as the sun, and terrible as an army with banners?"-SONG OF SOLOMON. Page 168 CINDERELLA THE EYE OF THE UNIVERSE
THE LOST LANGUAGE OF SYMBOLISM AN ENQUIRY INTO THE ORIGINOF CERTAIN LETTERS, WORDS, NAMES, FAIRY-TALES, FOLK-LORE AND MYTHOLOGIES Harold Bayley 1912 Page 300 " Each language, wh~her Sanscrit or Zulu, is like a
palimpsest, which, if carefully handled, will disclose the original
text beneath the superficial writing, and though that original text may be
more difficult to recover in illiterate languages, yet it is there
nevertheless. Every language, if properly summoned, will reveal to us the
mind of the artist who framed it, from its earliest awakening to its
latest dreams. Everyone will teach us the same lesson, the lesson on which
the whole Science of Thought is based, that there is no language without
reason, as there is no reason with.out language." 1 3°2 THE LOST LANGUAGE OF SYMBOLISl\1 25° THE LOST LANGUAGE OF SYMBOLISM
ISRAEL 919-153 - 351-919 LEARSI
IS REAL LAER SI Page 284
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
GOD BE WITH YOU
GOD BE WITH YOU AND WITH YOU
GOD BE WITH YOU AND WITH YOU
Quo vadis? The term pentacle is used in Tilings and patterns by Branko Grünbaum and G. C. Shephard to indicate a five-pointed star composed of ten line segments, similar to a pentagram but containing no interior lines.Pythagoreanism originated in the 6th century BCE and used the pentagram as a symbol of mutual recognition, of wellbeing, and to recognize good deeds and charity. From around 300–150 BCE the pentagram stood as the symbol of Jerusalem, marked by the 5 Hebrew letters ????? spelling its name.
PENTAGRAM 5 PENTAGRAM
Daily Mail. Tuesday. March 31, 2015 Page 68 The point of pentangles ANSWERS TO CORRESPONDENTS QUESTION THE pentangle is usually represented as the pentagram, a five-pointed, linear star within a circle, worn or drawn with the point facing up. It served to mark directions in Sumerian texts, dating from about 30BC, and is found in most early cultures. The ancient Greeks established its symbolic status. Greek mathematician and philosopher Pythagoras believed five was the number of perfection, because of the fivefold division of the body (head, arms and legs outstretched) mirroring the division of the soul into fire, water, air, earth and psyche. The Pythagoreans held the pentacle sacred to Hygeia, the goddess of healing. Early Christians wore the pentagram to represent the five wounds of Christ and to symbolise the five senses. In the 14th-century English poem Sir Gawain And The Green Knight, the symbol decorates the shield of the hero, Gawain. The anonymous poet credits the symbol's origin to King Solomon, and explains that each of the five interconnected points represents a virtue tied to a group of five: Gawain is keen in his five senses, dextrous in his five fingers, faithful to the salvation provided through the Five Wounds of Christ, takes courage from the five joys that Mary had of Jesus and exemplifies the five virtues of knighthood. Renaissance-era ritual magicians, Henry Cornelius Agrippa von Nettesheim (14861535) and Giordano Bruno (1548-1600), used the pentagram to represent the perfection of the human body. To Bruno, five was the `number of the soul' because the human form is bound by five outer points. He warned magicians and sorcerers could perform spells by using the pentagram as it was a window to the soul. As Bruno and other Renaissance philosophers and magicians were executed under the Inquisition, perhaps the symbol came to be associated with evil forces. By the mid-19th century, a further distinction had developed among occultists regarding the pentagram's orientation. With a single point upwards it depicted a spirit presiding over the four elements of matter and was essentially 'good'. Occultists and satanists now claimed that the inverted pentagram was evil, the sign of the Devil even. Influential French occultist Eliphas Levi (1810-75) stated: 'A reversed pentagram, with two points projecting upwards, is a symbol of evil and attracts sinister forces because it overturns the proper order of things and demonstrates the triumph of matter over spirit. 'It is the goat of lust attacking the heavens with its horns, a sign execrated by initiates.' Symbolic: Anton LaVey, of the Church of Satan, with an inverted pentangle (image omitted) Brian Cummings, Hay-on-Wye, Powys.
DAILY MAIL Tuesday, April 10 2007 Page 42 Jonathan writes: Why am I travelling to Tibet to investigate a prophecy from Mexico? It has something to do with ancient cultures, complicated cosmologies and poignant predictions. On my way, I passed through Delhi, where there is a temple dedicated to Saturn. Word has not yet reached them there about the newly-discovered hexagonat Saturn's north pole. I have, however, been dwelling on this. The Star of David is hexagonal. Could Saturn have a message about the future of Israel?
FIVE POINTED STAR From Wikipedia, the free encyclopedia A five-pointed star A five-pointed star (☆) is a common ideogram used throughout the world. If the colinear edges are joined together a pentagram is produced. The five-pointed star, geometrically a regular concave decagon, used in flags originates from European or Western heraldry, and the golden five-pointed star has associations with military power and war. It has also become a symbol of fame or "stardom" in Western culture.
DAILY MAIL WEEKEND MAGAZINE 8 November 2008 Mystery of the screaming mummy Kathryn Knight It was a blood-curdling discovery. The mummy of a young man with his hands and feed bound, his face contorted in an eternal scream of pain. But who was he and how did he die? On a scorching hot day at the end of June 1886, Gaston Maspero, head of the Egyptian Antiquities Service, was unwrapping the mummies of the 40 kings and queens found a few years earlier in an astonishing hidden cache near the Valley of the Kings. The 1881 discovery of the tombs, in the Deir El Bahri valley, 300 miles south of Cairo, had been astonishing and plentiful. Hidden from the world for centuries were some of the great Egyptian pharaohs - Rameses the Great, Seti I and Tuthmosis III. Yet this body, buried alongside them, was different, entombed inside a plain, undecorated coffin that offered no clues to the deceased's identity. It was an unexpected puzzle and, once the coffin was opened, Maspero found himself even more shocked. Unexpected: Alongside the remains of great Egyptian pharoahs lay the body of a young man, his face locked in an eternal blood-curdling scream, in a plain, undecorated coffin There, wrapped in a sheep or goatskin - a ritually unclean object for ancient Egyptians - lay the body of a young man, his face locked in an eternal blood-curdling scream. It was a spine-tingling sight, and one that posed even more troubling questions: here was a mummy, carefully preserved, yet caught in the moment of death in apparently excrutiating pain. He had been buried in exalted company, yet been left without an inscription, ensuring he would be consigned to eternal damnation, as the ancient Egyptians believed identity was the key to entering the afterlife. Moreover, his hands and feet had been so tightly bound that marks still remained on the bones. Who could he be, this screaming man, assigned the anonymous label 'Man E' in the absence of a proper name?
NAME MAN E MAN NAME
An autopsy, performed by physicians in 1886 in the presence of Maspero, did little to shed any light on the subject. One of the physicians, Daniel Fouquet, believed the contracted shape of his stomach cavity showed he had been poisoned, writing in his report that 'the last convulsions of horrid agony can, after thousands of years, still be seen' - yet his science was unable to help him ascertain why. Even marrying these findings with historical documents only allowed experts to speculate. Some believed 'Man E' was the traitor son of Rameses III, who'd been involved in a coup to remove him from the throne, others that he was an Egyptian governor who had died abroad and been returned to his homeland for burial. Some believed the unconventional manner of his mummification showed that he was not Egyptian at all, but a member of a rival Hittite dynasty, who had died on Egyptian soil. All explanations were possible, yet Man E's true identity seemed destined to remain a mystery
Hidden from the world for centuries, buried beneath the vast desert sands, the magnificent Deir El Bahri temple (pictured) where Man E, the 'screaming mummy', was discovered As Dr Zahi Hawass, Secretary General of Egypt's Supreme Council of Antiquities, puts it, 'We'd never seen a mummy like this, suffering. It's not normal, and it tells us something happened, but we did not know exactly what.' Until now. Today, nearly 130 years after his body was first uncovered, a team of scientists has brought the wonders of modern forensic techniques to bear on the enigma. Using sophisticated-technology, including CT scanning, Xrays and facial reconstruction, to examine the mummy, they uncovered tantalising new clues that could reveal his identity, all under the watchful eye of Five's TV crew, who are making a series of documentaries hoping to unravel some of Egypt's great secrets. Their findings suggest that Man E is indeed Prince Pentewere, elder son of Rameses III, who, with his mother, Tiy, had evolved a plan to assassinate the pharaoh and ascend to the throne.
NAME MAN E MAN NAME
Certainly, the theory has a number of supporters. Among them is Dr Susan Redford, an Egyptologist from Pennsylvania State University, who points out that an ancient papyrus scroll details a plot by Tiy to dethrone Rameses III in favour of their son, even though he was not the nominated heir. The plot was apparently supported by a number of high level courtiers, suggesting that they felt Pentewere had a legitimate claim, even though the accession was usually thought to be divinely ordained.
A wall painting of pharoah Rameses III. The pharoah faced plots by his elder son Prince Pentewere and wife Tiy to dethrone him. Some believe that Man E is Prince Pentewere 'The scroll tells us that the coup was very quickly discovered and the plotters brought to trial,' she explained. 'They were sentenced to death, but the papyrus also tells us that Pentewere was spared this fate. Perhaps because of his royal status he was allowed to commit suicide.' He would almost certainly have done so, she says, by drinking poison. Yet other findings from the 1886 postmortem seemed to dispute the body might be that of Pentewere. It suggested that Man E had been buried with his internal organs intact, which was extraordinarily unusual, even for a traitor, and a boost to theories that the body had been mummified elsewhere at the time - or had not even been Egyptian at all. Some academics believed that the body may have been that of a rival Hittite prince, basing their theory on a letter written by Tutankhamun's widow Ankhesenamun. The pharaoh died without leaving an heir and, in her letter, his wife had appealed to the then King of the Hittites that he allow her to marry one of his sons, who would become king and ensure her own continuing power. Man E, some academics believed, was just such a prince, one who had travelled to Egypt to meet with his new bride and befallen a cruel and murderous fate. Yet today's forensic findings seemed to dispute this theory: a modern 3D scan showed the mummy had been completely eviscerated, as was customary for important Egyptians. Studies: The mummy's remains undergo a 3D scan, which showed that the body was completely eviscerated, as his customary for important Egyptians Moreover, new analysis of the condition of his joints and teeth also appeared to overturn earlier theories as to the mummy's age at the time of death: Fouquet had believed him to be in his early 20s, too young for Pentewere. Now, it seemed, he could have been anywhere up to the age of 40, consistent again with Rameses' son. Equally revealing was a full facial reconstruction. Using modern forensic techniques, a 3D image of Man E's skull was created, revealing what would have been a strong and handsome face, with a prominent nose and long jaw - features which do not correlate with a Hittite background. Egyptians had a long lower face and an extended cranium from the forehead to the back of the head, as did Man E, suggesting he's a ancient Egyptian. There are, of course, still anomalies - the sheepskin covering, the unorthodox way the body was preserved without a name. The passing of the centuries has ensured that some of the Screaming Man's secrets are destined to remain unsolved, and as Dylan Bickerstaffe, an eminent Egyptologist, puts it, 'With some questions we found the answers to be more ordinary than we thought,' he says. 'But we've also answered others and found the answers to be much stranger.' It is certainly enough to convince Dr Hawass, who now believes that this most enduring of Egyptian mysteries has been solved. 'It seems to me this man has been sitting in the Cairo Museum waiting for someone to identify him,' he says. 'Now I really do believe that this unknown man is not unknown any more.' Secrets Of Egypt, Five Thursday, 8pm.
FIVE 5 FIVE
3+2 = 5 5 = 2+3 7+7 = 14 1+4 = 5 5 = 4+1 41 = 7+7 E = 5 5 = E
LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
1+4 = 5 = 1+4 6+8 = 14 = 1+4 = 5 = 1+4 = 14 = 6+8 7+7 = 14 = 1+4 = 5 = 1+4 = 14 = 7+7
LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 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 8 = 40
E typically takes first place regardless of which analysis method is used. What's The Most Common Letter Used In English? Thesaurus.com
LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
Daily Mail,Tuesday, December 1, 2015 Page 58 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge QUESTION Ramesses II claimed a great victory af the — Battle of Kadesh and erected monuments and temples to the victory. But did he, In fact, lose this battle? THE Poem of Pentaur is Ramesses II's official Egyptian record (along with The Bulletin) of his military victory over Hittite King Muwatalli II at the Battle of Kadesh (in what is now Syria) in 1273 or 1274 BC. To reinforce the idea of his success, he had the poem inscribed on the walls of temples at Abydos, Luxor, Karnak, Abu Simbel and in his Ramesseum. It details his personal bravery and concludes that `all the lands and all the foreign countries being fallen prostrate beneath his sandals for eternity and everlasting'. The first scholarly report on the battle, by James Henry Breasted in 1903, interpreted the poem as historical fact. But later evidence and a scoffing complaint by Hattusili, the Hittite king's brother, about the pharaoh's victorious depiction of the battle can be found in the Papyrus Raifet and Papyrus Sallie III. The Hittites, an ancient Anatolian people whose capital was at Hattusa, now in central Turkey, had long been making incursions into Egypt. Ramesses II resolved to drive the menace from his borders once and for all. The lynchpin to his campaign was the city of Kadesh, a centre of commerce at the time, held by the Hittites. Ramesses marched from Egypt at the head of more than 20,000 men, divided into four divisions. He led the Amun‘ division with the Re, Ptah and Set divisions following. King Muwatalli assembled an army of his allies to prevent this invasion of his territory. Over-enthusiastically, Ramesses -outran the rest of his force, and after hearing unreliable intelligence regarding the Hittite position from a pair of captured prisoners, he pitched his camp close to the town. The Hittite armies, hidden behind the town, launched a surprise attack against the Amun division and quickly sent it scattering. Ramesses tried to rally his troops against the onslaught of Hittite chariots, but it wasn't until the arrival of relief forces from Amurru that the Hittite attack was forced back. The Egyptians avoided an outright disaster at Kadesh, but it was a stalemate rather than the splendid victory that Ramesses later sought to portray. After an unsuccessful attempt to gain further ground the following day, Ramesses headed back south to Egypt, bragging about his personal achievements in the battle. The fact that the Hittites continued to occupy the city of Kadesh after the battle (and harried trade caravans from that site) supports their claim to having scored a victory over Ramesses. But in the battle, the Pharoah and his army had driven the enemy from the field, inflicting heavy casualties (a claim supported by both accounts) and returned to Egypt with his forces intact. The Battle of Kadesh has
great historical significance in that it led directly to the world's first known peace treaty, in 1258 BC, in which Ramesses II of Egypt and Hattusili of the Hittites promised to respect each other's boundaries and not make war between their kingdoms.
PLUTARCH MORALIA Edited by G. P. Goold 1936 Page 194 "THE E AT DELPHI"
THE 5 AT DELPHI
ISIS HORUS OSIRIS THAT CHRISTOS OF SPIRIT THAT SPIRIT OF CHRISTOS
PLUTARCH Plutarch; "On Isis and Osiris (De Iside et Osiride)" transl. by Frank Cole Babbitt, in Plutarch's Moralia, Vol. V, Loeb Classical Library, Harvard University Plutarch; "On Isis and Osiris (De Iside et Osiride)
Daily Mail. Tuesday. March 31, 2015 Page 68 The point of pentangles ANSWERS TO CORRESPONDENTS QUESTION THE pentangle is usually represented as the pentagram, a five-pointed, linear star within a circle, worn or drawn with the point facing up. It served to mark directions in Sumerian texts, dating from about 30BC, and is found in most early cultures. The ancient Greeks established its symbolic status. Greek mathematician and philosopher Pythagoras believed five was the number of perfection, because of the fivefold division of the body (head, arms and legs outstretched) mirroring the division of the soul into fire, water, air, earth and psyche. The Pythagoreans held the pentacle sacred to Hygeia, the goddess of healing. Early Christians wore the pentagram to represent the five wounds of Christ and to symbolise thefive senses. In the 14th-century English poem Sir Gawain And The Green Knight, the symbol decorates the shield of the hero, Gawain. The anonymous poet credits the symbol's origin to King Solomon, and explains that each of the five interconnected points represents a virtue tied to a group of five: Gawain is keen in his five senses, dextrous in his five fingers, faithful to the salvation provided through the Five Wounds of Christ, takes courage from the five joys that Mary had of Jesus and exemplifies the five virtues of knighthood. Renaissance-era ritual magicians, Henry Cornelius Agrippa von Nettesheim (14861535) and Giordano Bruno (1548-1600), used the pentagram to represent the perfection of the human body. To Bruno, five was the `number of the soul' because the human form is bound by five outer points. He warned magicians and sorcerers could perform spells by using the pentagram as it was a window to the soul. As Bruno and other Renaissance philosophers and magicians were executed under the Inquisition, perhaps the symbol came to be associated with evil forces. By the mid-19th century, a further distinction had developed among occultists regarding the pentagram's orientation. With a single point upwards it depicted a spirit presiding over the four elements of matter and was essentially 'good'. Occultists and satanists now claimed that the inverted pentagram was evil, the sign of the Devil even. Influential French occultist Eliphas Levi (1810-75) stated: 'A reversed pentagram, with two points projecting upwards, is a symbol of evil and attracts sinister forces because it overturns the proper order of things and demonstrates the triumph of matter over spirit. 'It is the goat of lust attacking the heavens with its horns, a sign execrated by initiates.' Symbolic: Anton LaVey, of the Church of Satan, with an inverted pentangle (image omitted) Brian Cummings, Hay-on-Wye, Powys.
THE NEW VIEW OVER ATLANTIS John Michell 1983 Page 150 "A series of clues to the composition of the final pyramidion at the very apex of the Pyramid begins with an observation in A.E. Berriman's Historical Metrology on the antiquity of the British or Imperial inch. There are a number of old Egyptian weights in the British Museum, and others from Greece and Babylon, whose standard of reference has proved to be the cubic inch of gold. Were it not for the common but inappropriate use of metric units in publishing details of antique weights, that feature would be more generally recognized. Five is the number chiefly associated with the pyramid form; which has five faces and five corners, PYRAMID = 86 = PYRAMID PYRAMID = 41 = PYRAMID PYRAMID = 5 = PYRAMID Five is the number chiefly associated with the pyramid form; which has five faces and five corners,
Y RAM MARY MARY Y RAM
PYRE AMIDST THE STONE
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
GURDJIEFF James Moore 1999 Edition Page 144 8. The Enneagram (p. 32) Gurdjieff's most cherished symbol was his enneagram, or nine-sided figure; he extolled it as an universal glyph, a schematic diagram of perpetual motion. The specific application of the enneagram which he demonstrated to the 1916 Moscow and Petrograd groups, was as a dynamic model for synthesizing, at macrocosmic and microcosmic level, his 'Law of Three' and `Law of Seven'. Later, at Fontainebleau in 1922, he choreographed and taught the first of those many Sacred Dances or 'Movements', whose beautiful but rigorously prescribed evolutions enact the enneagram (through individual and ensemble displacements), as a moving symbol. Page 345 To construct Gurdjieff's enneagram: describe a circle: divide its circumference into 9 equal parts; successively number the dividing points clockwise from 1 to 9, so that 9 is uppermost; join points 9, 3 and 6 to form an equilateral triangle with 9 at the apex; join the residual points in the successive order 1, 4, 2, 8, 5 and 7 to form an inverted hexagon (symmetrical about an imaginary diameter struck perpendicularly from 9). In relation to the integers 3 and 7 — which in Gurdjieff's model, as in metaphysical systems generally, are crucially significant — the sequence 142857 has noteworthy properties (lost incidentally when transposed to notations other than denary). It deploys all integers except 3 and its multiples. As a recurring decimal, it results from dividing ,1 (the Monad) by 7. Its cyclical progression yields every decimalized seventh (thus 2 sevenths = .285714; 3 sevenths = .428571 and so on).
LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
THE GAME WILL NEVER BE OVER BECAUSE WE ARE KEEPING THE DREAM ALIVE
LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
WEPWAWET WENNEFER WENNEVER WEPWAWET WEPWAWET WENNEFER WENNEFER WEPWAWET 55751552 5555569 5555569 55751552 WEPWAWET WENNEFER WENNEVER WEPWAWET WEPWAEWET WENNEFER WENNEVER WEPWAWET
LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES
WEPWAWET OSIRIS WENNEFER
WEPWAWET OPENER OF THE WAYS In late Egyptian mythology, Wepwawet (hieroglyphic wp-w3w.t; also rendered Upuaut, Wep-wawet, Wepawet, and Ophois) was originally a war deity, whose cult centre was Asyut in Upper Egypt (Lycopolis in the Greco-Roman period). His name means opener of the ways and he is often depicted as a wolf standing at the prow of a solar-boat. Some interpret that Wepwawet was seen as a scout, going out to clear routes for the army to proceed forward.[1] One inscription from the Sinai states that Wepwawet "opens the way" to king Sekhemkhet's victory.[2] Wepwawet originally was seen as a wolf deity, thus the Greek name of Lycopolis, meaning city of wolves, and it is likely the case that Wepwawet was originally just a symbol of the pharaoh, seeking to associate with wolf-like attributes, that later became deified as a mascot to accompany the pharaoh. Likewise, Wepwawet was said to accompany the pharaoh on hunts, in which capacity he was titled (one with) sharp arrow more powerful than the gods alone. Over time, the connection to war and thus to death led to Wepwawet also being seen as one who opened the ways to, and through, Duat, for the spirits of the dead. Through this, and the similarity of the jackal to the wolf, Wepwawet became associated with Anubis, a deity that was worshiped in Asyut, eventually being considered his son. Seen as a jackal, he also was said to be Set's son. Consequently, Wepwawet often is confused with Anubis.[2] This deity appears in the Temple of Seti I at Abydos.[2] In later Egyptian art, Wepwawet was depicted as a wolf or a jackal, or as a man with the head of a wolf or a jackal. Even when considered a jackal, Wepwawet usually was shown with grey, or white fur, reflecting his lupine origins. He was depicted dressed as a soldier, as well as carrying other military equipment—a mace and a bow. For what generally is considered to be lauding purposes of the pharaohs, a later myth briefly was circulated claiming that Wepwawet was born at the sanctuary of Wadjet, the sacred site for the oldest goddess of Lower Egypt that is located in the heart of Lower Egypt. Consequently, Wepwawet, who had hitherto been the standard of Upper Egypt alone, formed an integral part of royal rituals, symbolizing the unification of Egypt. In later Pyramid Texts, Wepwawet is called "Ra" who has gone up from the horizon, perhaps as the "opener" of the sky.[2] In the later Egyptian funerary context, Wepwawet assists at the Opening of the mouth ceremony and guides the deceased into the netherworld.[2]
Wepwawet – Occult World Wepwawet. Wepwawet – Opener of the Ways. Wepwawet is a road opener: • He clears the path to success and good fortune. • He opens the way to victory in ...
WEPWAWET OPENER OF THE WAYS
WEPWAWET OPENER OF THE WAYS 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 10 = 50 LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 10 = 50 WEPWAWET OPENER OF THE WAYS
WEPWAWET OPENER OF THE WAYS
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 10 = 50 "The most common letter in the English alphabet is E." "The most common letter transposed into number in the English alphabet is 5." WEPWAWET OPENER OF THE WAYS
WEPWAWET OPENER OF THE WAYS
WEPWAWET OSIRIS WENNEFER
Results 1 - 10 of about 152 for Wepwawet Osiris Wennefer. (0.22 seconds) Search ResultsResults include your SearchWiki notes for Wepwawet Osiris Wennefer.
The Egyptian Book of the Dead: The Book of Going Forth by Day - Google Books Result by Raymond O. Faulkner, Dr. Ogden Goelet, Carol ... - 2008 - History - 174 pages
... - Wadjet, Wepwawet Jump to Wesir/Osiris.: Also sometimes Wennefer (Gr: Onnophris) which means "the eternally good being" or "the perfect one". Wesir/Osiris has been ...
-Osiris, Anhur, Onuris, Wesir Also sometimes Wennefer (Gr: Onnophris) which means "the eternally good being" or "the perfect one". Wesir/Osiris has been called "Lord of the Duat ... www.philae.nu/akhet/NetjeruO.html - Cached - Similar
-Ikhernofret's Description of the Osiris Passion Play at Abydos I organized the going forth of Wepwawet when he proceeded to avenge his father; ... I avenged Wennefer that day of the great fight; I overthrew all his ... www.touregypt.net/passionplay.htm - Cached - Similar
-The origins of theater in ancient Greece and beyond: from ritual ... - Google Books Result by Eric Csapo, Margaret Christina Miller - 2007 - Performing Arts - 440 pages I repulsed the attackers of the w^wrt-bark,26 felling the foes of Osiris. ... and I protected Wennefer (= Osiris) on that day of the Great Battle, ... books.google.com/books?isbn=0521836824
... - Kheruef ; TT192 ; TT 192 ; tombe Egypte (5) ... in the presence of Wennefer (the fully regenerated Osiris), for the ka of . ... "An offering which the king gives to Wepwawet of Upper Egypt, .... Osiris, Geb, Nut, Isis and Nephthys, Anubis, as well as to Wepwawet of Upper Egypt. ... www.osirisnet.net/tombes/nobles/kheru/e_kherouef_05.htm
- Cached -OSIRIS - REALM OF THE GODS One of these is, "Wennefer" which means "eternally good" or "eternally ... procession of Osiris`s barque (neshmet) which followed the jackal-god, Wepwawet. ...
-A Protective Measure at Abydos in the Thirteenth Dynasty of Abydos for his father Wepwawet, lord of the necropolis, like that which Horus did for his father Osiris Wennefer ,d forbiddinge (3) anyone to trespassf ... www.jstor.org/stable/3821898 - by A Leahy - 1989 - Cited by 5 - Related articles
Oriental Institute | Highlights from the Collection: Mummies 7 Feb 2007 ... Two images of the jackal god Wepwawet, protector of the necropolis, decorate the upper ... Lord of Shechet, and Wennefer (a form of Osiris), ... oi.uchicago.edu › Museum › Highlights from the Collections - Cached - Similar
-[PPT] The Origins of Drama and Theatre File Format: Microsoft Powerpoint - View as HTML
WEPWAWET WENNEFER A Protective Measure at Abydos in the Thirteenth ... - JSTOR
Toby Wilkinson · 2016 · ?History
Flickr photos, groups, and tags related to the "wennefer" Flickr tag. ... King Khakaure (Senusert III) beloved of the gods Osiris Wennefer and Wepwawet. by PJ Turner · Cited by 3 — before the countenance of Wennefer, the Justified. He has fed of the Abdu .. Egret who went up from the cultivation and the Wepwawet- jackal which emerged ...
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 11 = 55 LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 11 = 55
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S 5 x 11 = 55 LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 11 = 55
WEPWAWET WENNEFER LETTERS TRANSPOSED INT0 NUMBER REARRANGED IN NUMERICAL ORDER WEPWAWET WENNEFER 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 11 = 55 "The most common letter in the English alphabet is E." "The most common letter transposed into number in the English alphabet is 5."
WHEREVER WHATEVER WHENEVER WENNEFER WENNEFER WHENEVER WHATEVER WHEREVER
WENNEFER WEPWAWET WENNEFER
UNNEFER WENEN NEFER ONNOPHRIS
UNNEFER WENEN NEFER ONNOPHRIS LETTERS TRANSPOSED INT0 NUMBER REARRANGED IN NUMERICAL ORDER UNNEFER WENEN NEFER ONNOPHRIS
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 14 = 70 LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 14 = 70
LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES UNNEFER WENEN NEFER ONNOPHRIS 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 14 = 70 "The most common letter in the English alphabet is E." "The most common letter transposed into number in the English alphabet is 5."
LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES
UNNEFER WENEN NEFER ONNOPHRIS Unnefer (Wenen-nefer, Onnophris): A name meaning 'he who is continually happy', given to Osiris after his resurrection.
WENNEFER WEPWAWET WENNEFER 55555F5R 55P5A55T 55555F5R WENNEFER WEPWAWET WENNEFER WHEREVER WHATEVER WHENEVER WENNEFER WENNEFER WHENEVERWHATEVERWHEREVER
N-NEFER ONNOPHRIS 355565559 55555-55659 655678991 UNNEFER WENEN-NEFER ONNOPHRIS
Unnefer (Wenen-nefer, Onnophris): A name meaning 'he who is continually happy', given to Osiris after his resurrection.
UNNEFER WENEN-NEFER ONNOPHRIS 355565559 55555-55659 655678991 UNNEFER WENEN-NEFER ONNOPHRIS
UNNEFER WENEN-NEFER ONNOPHRIS 355565559 55555-55659 655678991 UNNEFER WENEN-NEFER ONNOPHRIS
Unnefer (Wenen-nefer, Onnophris): A name meaning 'he who is continually happy', given to Osiris after his resurrection.
Unnefer (Wenen-nefer, Onnophris): A name meaning 'he who is ... www.schools.pinellas.k12.fl.us/educators/tec/egypt/egygods/sld066.htm First Previous Next Last · Index Text. Slide 66 of 97. Unnefer (Wenen-nefer, Onnophris): A name meaning 'he who is continually happy', given to Osiris after his resurrection.
Egyptian Divinities: The All Who Are the One - Page 104 - Google Books Result books.google.co.uk/books?isbn=1931446040 Moustafa Gadalla - 2001 - History
Egyptian Culture - East Buchanan Community Schools www.east-buc.k12.ia.us/02_03/Cul/Egypt/egypt.htm Unnefer (Wenen-nefer, Onnophris): A name meaning 'he who is continually happy', given to Osiris after his resurrection. Anubis: The guardian of the Necropolis ...
List of Ancient Egyptian gods - Ehab Samy www.ehabweb.net/list-of-ancient-egyptian-gods/ UNNEFER (WENEN-NEFER, ONNOPHRIS),: a name meaning 'he who is continually happy', given to Osiris after his resurrection. WEPWAWET (UPUAUT): the ...
Eternal Gods, Eternal Lives - Ancient Worlds www.ancientworlds.net/aw/Journals/Journal/167968 Unnefer (Wenen-nefer, Onnophris): A name meaning 'he who is continually happy', given to Osiris after his resurrection.', Wepwawet (Upuaut): The jackal-god of ...
Daily Mail. Tuesday. March 31, 2015 Page 68 The point of pentangles ANSWERS TO CORRESPONDENTS QUESTION THE pentangle is usually represented as the pentagram, a five-pointed, linear star within a circle, worn or drawn with the point facing up. It served to mark directions in Sumerian texts, dating from about 30BC, and is found in most early cultures. The ancient Greeks established its symbolic status. Greek mathematician and philosopher Pythagoras believed five was the number of perfection, because of the fivefold division of the body (head, arms and legs outstretched) mirroring the division of the soul into fire, water, air, earth and psyche. The Pythagoreans held the pentacle sacred to Hygeia, the goddess of healing. Early Christians wore the pentagram to represent the five wounds of Christ and to symbolise thefive senses. In the 14th-century English poem Sir Gawain And The Green Knight, the symbol decorates the shield of the hero, Gawain. The anonymous poet credits the symbol's origin to King Solomon, and explains that each of the five interconnected points represents a virtue tied to a group of five: Gawain is keen in his five senses, dextrous in his five fingers, faithful to the salvation provided through the Five Wounds of Christ, takes courage from the five joys that Mary had of Jesus and exemplifies the five virtues of knighthood. Renaissance-era ritual magicians, Henry Cornelius Agrippa von Nettesheim (14861535) and Giordano Bruno (1548-1600), used the pentagram to represent the perfection of the human body. To Bruno, five was the `number of the soul' because the human form is bound by five outer points. He warned magicians and sorcerers could perform spells by using the pentagram as it was a window to the soul. As Bruno and other Renaissance philosophers and magicians were executed under the Inquisition, perhaps the symbol came to be associated with evil forces. By the mid-19th century, a further distinction had developed among occultists regarding the pentagram's orientation. With a single point upwards it depicted a spirit presiding over the four elements of matter and was essentially 'good'. Occultists and satanists now claimed that the inverted pentagram was evil, the sign of the Devil even. Influential French occultist Eliphas Levi (1810-75) stated: 'A reversed pentagram, with two points projecting upwards, is a symbol of evil and attracts sinister forces because it overturns the proper order of things and demonstrates the triumph of matter over spirit. 'It is the goat of lust attacking the heavens with its horns, a sign execrated by initiates.' Symbolic: Anton LaVey, of the Church of Satan, with an inverted pentangle (image omitted) Brian Cummings, Hay-on-Wye, Powys.
THE NEW VIEW OVER ATLANTIS John Michell 1983 Page 150 "A series of clues to the composition of the final pyramidion at the very apex of the Pyramid begins with an observation in A.E. Berriman's Historical Metrology on the antiquity of the British or Imperial inch. There are a number of old Egyptian weights in the British Museum, and others from Greece and Babylon, whose standard of reference has proved to be the cubic inch of gold. Were it not for the common but inappropriate use of metric units in publishing details of antique weights, that feature would be more generally recognized. Five is the number chiefly associated with the pyramid form; which has five faces and five corners, PYRAMID = 86 = PYRAMID PYRAMID = 41 = PYRAMID PYRAMID = 5 = PYRAMID Five is the number chiefly associated with the pyramid form; which has five faces and five corners,
Y RAM MARY MARY Y RAM
PYRE AMIDST THE STONE
LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
MAGI THE MAGIC SEE THE MAGI C THE MAGIC ART THOU MAGI THE MAGIC MAGI THE MAGIC AM I
RE 95 RE REARRANGED NUMERICALLY REARRANGED RE 95 RE
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RE 95 RE REARRANGED NUMERICALLY REARRANGED RE 95 RE 95
THE BALANCING I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1 I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
THE BALANCING I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1 I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
PROMETHEUS MET ORPHEUS MET PROMETHEUS
ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS
Prometheus - Wikipedia, the free encyclopedia In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ... Prometheus From Wikipedia, the free encyclopedia This article is about the Greek mythological figure. For other uses, see Prometheus (disambiguation). In Greek mythology, Prometheus (/prəˈmiːθiːəs/; Greek: Προμηθεύς, pronounced [promɛːtʰeús], meaning "forethought")[1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and gives fire to humanity, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind.[2] The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back to be eaten again the next day. (In ancient Greece, the liver was thought to be the seat of human emotions.)[3] In some stories, Prometheus is freed at last by the hero Heracles (Hercules). In another of his myths, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, other Greek deities of creative skills and technology.[4] In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein (1818). Contents [hide] 1.2 The Athenian Tradition of Prometheus: Aeschylus and Plato 1.2.1 Aeschylus and the Ancient Literary Aesthetics of Prometheus 1.3 Other authors 2 Religious symbolism in late Roman antiquity 5.2 The aesthetic Post-Renaissance tradition 5.2.1 Classical music, opera, and ballet 6 Notes Myths and legends[edit] Greek deities Titans Titans The Twelve Titans: The oldest legends of Prometheus among the Ancients[edit] The four most ancient sources for understanding the origin of the Prometheus myths and legends all rely on the images represented in the Titanomachia, or the cosmological climactic struggle between the Greek gods and their parents, the Titans.[5] Prometheus himself was a titan who managed to avoid being in the direct confrontational cosmic battle between Zeus and his followers against Cronus, Uranus and their followers.[6] Prometheus therefore survived the struggle in which the offending titans were eternally banished by Zeus to the chthonic depths of Tartarus, only to survive to confront Zeus on his own terms in subsequent climactic struggles. The greater Titanomachia depicts an overarching metaphor of the struggle between generations, between parents and their children, symbolic of the generation of parents needing to eventually give ground to the growing needs, vitality, and responsibilities of the new generation for the perpetuation of society and survival interests of the human race as a whole. Prometheus and his struggle would be of vast merit to human society as well in this mythology as he was to be credited with the creation of humans and therefore all of humanity as well. The four most ancient historical sources for the Prometheus myth are Hesiod, Homer, Pindar, and Pythagoras. Hesiod and the Theogony[edit] The Prometheus myth first appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony (lines 507–616). He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus. In the Theogony, Hesiod introduces Prometheus as a lowly challenger to Zeus's omniscience and omnipotence.[7] In the trick at Mekone, a sacrificial meal marking the "settling of accounts" between mortals and immortals, Prometheus played a trick against Zeus (545–557). He placed two sacrificial offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in "glistening fat" (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices.[7] Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus.[8] Prometheus, however, stole back fire in a giant fennel-stalk and restored it to humanity. This further enraged Zeus, who sent Pandora, the first woman, to live with humanity.[7] Pandora was fashioned by Hephaestus out of clay and brought to life by the four winds, with all the goddesses of Olympus assembled to adorn her. "From her is the race of women and female kind," Hesiod writes; "of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth."[7] Prometheus Brings Fire by Heinrich Friedrich Füger. Prometheus brings fire to mankind as told by Hesiod, with its having been hidden as revenge for the trick at Mecone. Hesiod revisits the story of Prometheus in the Works and Days (lines 42–105). Here, the poet expands upon Zeus's reaction to the theft of fire. Not only does Zeus withhold fire from humanity, but "the means of life," as well (42). Had Prometheus not provoked Zeus's wrath (44–47), "you would easily do work enough in a day to supply you for a full year even without working; soon would you put away your rudder over the smoke, and the fields worked by ox and sturdy mule would run to waste." Hesiod also expands upon the Theogony's story of the first woman, now explicitly called Pandora ("all gifts"). After Prometheus' theft of fire, Zeus sent Pandora in retaliation. Despite Prometheus' warning, Epimetheus accepted this "gift" from the gods. Pandora carried a jar with her, from which were released (91–92) "evils, harsh pain and troublesome diseases which give men death".[11] Pandora shut the lid of the jar too late to contain all the evil plights that escaped, but foresight remained in the jar, giving humanity hope. Angelo Casanova,[12] Professor of Greek Literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic trickster-figure, who served to account for the mixture of good and bad in human life, and whose fashioning of humanity from clay was an Eastern motif familiar in Enuma Elish; as an opponent of Zeus he was an analogue of the Titans, and like them was punished. As an advocate for humanity he gains semi-divine status at Athens, where the episode in Theogony in which he is liberated[13] is interpreted by Casanova as a post-Hesiodic interpolation.[14] Homer, the Iliad, and the Homeric Hymns[edit] The banishment of the warring titans by the Olympians to the chthonic depths of Tartoros was documented as early as Homer's Iliad and the Odyssey where they are also identified as the hypotartarioi, or, the "subterranean." The passages appear in the Iliad (XIV 279)[15] and also in the Homeric hymn to Apollo (335).[16] The particular forms of violence associated especially with the Titans are those of hybristes and atasthalie as further found in the Iliad (XIII 633-34). They are used by Homer to designate an unlimited, violent insolence among the warring Titans which only Zeus was able to ultimately overcome. This text finds direct parallel in Hesiod's reading in the Theogony (209) and in Homer's own Odyssey (XIX 406). In the words of Kerenyi, "Autolykos, the grandfather, is introduced in order that he may give his grandson the name of Odysseus."[17] In a similar fashion, the origin of the naming of the "titans" as a group has been disputed with some voicing a preference for reading it as a combination of titainein (to exert), and, titis (retribution) usually rendered as "retribution meted out to the exertion of the Titans."[18] It should be noted in studying material concerning Prometheus that Prometheus was not directly among the warring Titans with Zeus though Prometheus's association with them by lineage is a recurrent theme in each of his subsequent confrontations with Zeus and with the Olympian gods. Pindar and the Nemean Odes[edit] The duality of the gods and of humans standing as polar opposites is also clearly identified in the earliest traditions of Greek mythology and its legends by Pindar. In the sixth Nemean Ode, Pindar states: "There is one/race of men, one race of gods; both have breath/of life from a single mother. But sundered aurora collett us divided, so that one side is nothing, while on the other the brazen sky is established/a sure citadel forever."[19] Although this duality in strikingly apparent in Pindar, it also has paradoxical elements where Pindar actually comes quite close to Hesiod who before him had said in his Works and Days (108) "how the gods and mortal men sprang from one source."[20] The understanding of Prometheus and his role in the creation of humans and the theft of fire for their benefit is therefore distinctly adapted within this distinguishable source for understanding the role of Prometheus within the mythology of the interaction of the Gods with humans. Pythagoras and the Pythagorean Doctrine[edit] In order to understand the Prometheus myth in its most general context, the Late Roman author Censorinus states in his book titled De die natali that, "Pythagoras of Samos, Okellos of Lukania, Archytas of Tarentum, and in general all Pythagoreans were the authors and proponents of the opinion that the human race was eternal."[21] By this they held that Prometheus's creation of humans was the creation of humanity for eternity. This Pythagorean view is further confirmed in the book On the Cosmos written by the Pythagorean Okellos of Lukania. Okellos, in his cosmology, further delineates the three realms of the cosmos as all contained within an overarching order called the diakosmesis which is also the world order kosmos, and which also must be eternal. The three realms were delineated by Okellos as having "two poles, man on earth, the gods in heaven. Merely for the sake of symmetry, as it were, the daemons --not evil spirits but beings intermediate between God and man -- occupy a middle position in the air, the realm between heaven and earth. They were not a product of Greek mythology, but of the belief in daemons that had sprung up in various parts of the Mediterranean world and the Near East."[22] The Athenian Tradition of Prometheus: Aeschylus and Plato[edit] The two major authors to have a distinctive influence on the development of the myths and legends surrounding the titan Prometheus during the Socratic era of greater Athens were Aeschylus and Plato. The two men wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Greek tragedy, while for Plato this centered on the philosophical expression of his thought in the form of the various dialogues he had written and recorded during his lifetime. Aeschylus and the Ancient Literary Aesthetics of Prometheus[edit] Prometheus Bound, perhaps the most famous treatment of the myth to be found among the Greek tragedies, is traditionally attributed to the 5th-century BC Greek tragedian Aeschylus.[23] At the center of the drama are the results of Prometheus' theft of fire and his current punishment by Zeus; the playwright's dependence on the Hesiodic source material is clear, though Prometheus Bound also includes a number of changes to the received tradition.[24] Before his theft of fire, Prometheus played a decisive role in the Titanomachy, securing victory for Zeus and the other Olympians. Zeus's torture of Prometheus thus becomes a particularly harsh betrayal. The scope and character of Prometheus' transgressions against Zeus are also widened. In addition to giving humankind fire, Prometheus claims to have taught them the arts of civilization, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for humankind seems to have been saving them from complete destruction. In an apparent twist on the myth of the so-called Five Ages of Man found in Hesiod's Works and Days (wherein Cronus and, later, Zeus created and destroyed five successive races of humanity), Prometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him. Heracles freeing Prometheus from his torment by the eagle (Attic black-figure cup, c. 500 BC) Prometheus Bound also includes two mythic innovations of omission. The first is the absence of Pandora's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope (252): "[Prometheus] caused blind hopes to live in the hearts of men." Second, Aeschylus makes no mention of the sacrifice-trick played against Zeus in the Theogony.[23] The four tragedies of Prometheus attributed to Aeschylus, most of which are sadly lost to the passages of time into antiquity, are Prometheus Bound (Desmotes), Prometheus Delivered (Lyomens), Prometheus the Fire Bringer (Pyrphoros), and Prometheus the Fire Kindler (Pyrkaeus). The larger scope of Aeschylus as a dramatist revisiting the myth of Prometheus in the age of Athenian prominence has been discussed by William Lynch.[25] Lynch's general thesis concerns the rise of humanist and secular tendencies in Athenian culture and society which required the growth and expansion of the mythological and religious tradition as acquired from the most ancient sources of the myth stemming from Hesiod. For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been lost to antiquity. Significantly, Lynch further comments that although the Prometheus trilogy is not available, that the Orestia trilogy by Aeschylus remains available and may be assumed to provide significant insight into the overall structural intentions which may be ascribed to the Prometheus trilogy by Aeschylus as an author of significant consistency and exemplary dramatic erudition.[26] Harold Bloom, in his research guide for Aeschylus, has summarized some of the critical attention that has been applied to Aeschylus concerning his general philosophical import in Athens.[27] As Bloom states, "Much critical attention has been paid to the question of theodicy in Aeschylus. For generations, scholars warred incessantly over 'the justice of Zeus,' unintentionally blurring it with a monotheism imported from Judeo-Christian thought. The playwright undoubtedly had religious concerns; for instance, Jacqueline de Romilly[28] suggests that his treatment of time flows directly out of his belief in divine justice. But it would be an error to think of Aeschylus as sermonizing. His Zeus does not arrive at decisions which he then enacts in the mortal world; rather, human events are themselves an enactment of divine will."[29] According to Thomas Rosenmeyer regarding the religious import of Aeschylus, "In Aeschylus, as in Homer, the two levels of causation, the supernatural and the human, are co-existent and simultaneous, two way of describing the same event." Rosenmeyer insists that ascribing portrayed characters in Aeschylus should not conclude them to be either victims or agents of theological or religious activity too quickly. As Rosenmeyer states: "[T]he text defines their being. For a critic to construct an Aeschylean theology would be as quixotic as designing a typology of Aeschylean man. The needs of the drama prevail."[30] In a rare comparison of Prometheus in Aeschylus with Oedipus in Sophocles, Harold Bloom with more than simple irony has quoted Freud as stating that, "Freud called Oedipus an 'immoral play,' since the gods ordained incest and paracide. Oedipus therefore participates in our universal unconscious sense of guilt, but on this reading so do the gods. I (states Bloom) sometimes wish that Freud had turned to Aeschylus instead, and given us the Prometheus complex rather than the Oedipus complex."[31] Plato and the Philosophical Interpretation of Prometheus[edit] Olga Raggio in her study "The Myth of Prometheus" for the Courtauld Institute attributes Plato in the Protagoras as an important contributor to the early development of the Prometheus myth.[32] Raggio indicates that many of the more challenging and dramatic assertions which Aeschylean tragedy explores are absent from Plato's writings about Prometheus.[33] As summarized by Raggio, "After the gods have moulded men and other living creatures with a mixture of clay and fire, the two brothers Epimetheus and Prometheus are called to complete the task and distribute among the newly born creatures all sorts of natural qualities. Epimetheus sets to work, but, being unwise, distributes all the gifts of nature among the animals, leaving men naked and unprotected, unable to defend themselves and to survive in a hostile world. Prometheus then steals the fire of creative power from the workshop of Athena and Hephaistos and gives it to mankind." Raggio then goes on to point out Plato's distinction of creative power (techne) which is presented as superior to merely natural instincts (physis). For Plato, only the virtues of "reverence and justice can provide for the maintenance of a civilized society -- and these virtues are the highest gift finally bestowed on men in equal measure."[34] The ancients by way of Plato believed that the name Prometheus derived from the Greek pro (before) + manthano (intelligence) and the agent suffix -eus, thus meaning "Forethinker". In his dialogue titled Protagoras, Plato contrasts Prometheus with his dull-witted brother Epimetheus, "Afterthinker".[35] In Plato's dialogue Protagoras, Protagoras asserts that the gods created humans and all the other animals, but it was left to Prometheus and his brother Epimetheus to give defining attributes to each. As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilizing arts.[36] The Athenian tradition of religious dedication and observance[edit] It is understandable that since Prometheus was considered a Titan and not one of the Olympian gods that there would be an absence of evidence, with the exception of Athens, for the direct religious devotion to his worship. Despite his importance to the myths and imaginative literature of ancient Greece, the religious cult of Prometheus during the Archaic and Classical periods seems to have been limited.[37] Writing in the 2nd century AD, the satirist Lucian points out that while temples to the major Olympians were everywhere, none to Prometheus is to be seen.[38] Heracles freeing Prometheus, relief from the Temple of Aphrodite at Aphrodisias Pausanias recorded a few other religious sites in Greece devoted to Prometheus. Both Argos and Opous claimed to be Prometheus' final resting place, each erecting a tomb in his honor. The Greek city of Panopeus had a cult statue that was supposed to honor Prometheus for having created the human race there.[36] The Aesthetic tradition of Prometheus in Athenian art[edit] Prometheus' torment by the eagle and his rescue by Heracles were popular subjects in vase paintings of the 6th to 4th centuries BC. He also sometimes appears in depictions of Athena's birth from Zeus' forehead. There was a relief sculpture of Prometheus with Pandora on the base of Athena's cult statue in the Athenian Parthenon of the 5th century BC. A similar rendering is also found at the great altar of Zeus at Pergamon from the second century BC. The event of the release of Prometheus from captivity was frequently revisited on Attic and Etruscan vases between the sixth and fifth centuries BC. In the depiction on display at the Museum of Karlsruhe and in Berlin, the depiction is that of Prometheus confronted by a menacing large bird (assumed to be the eagle) with Hercules approaching from behind shooting his arrows at it.[45] In the fourth century this imagery was modified to depicting Prometheus bound in a cruciform manner, possibly reflecting an Aeschylus inspired manner of influence, again with an eagle and with Hercules approaching from the side.[46] Other authors[edit] Creation of humanity by Prometheus as Athena looks on (Roman-era relief, 3rd century AD) Prometheus watches Athena endow his creation with reason (painting by Christian Griepenkerl, 1877) Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BC (Diodorus, Herodorus) into the 4th century AD. The most significant detail added to the myth found in, e.g., Sappho, Aesop and Ovid[47] — was the central role of Prometheus in the creation of the human race. According to these sources, Prometheus fashioned humans out of clay. Although perhaps made explicit in the Prometheia, later authors such as Hyginus, the Bibliotheca, and Quintus of Smyrna would confirm that Prometheus warned Zeus not to marry the sea nymph Thetis. She is consequently married off to the mortal Peleus, and bears him a son greater than the father — Achilles, Greek hero of the Trojan War. Pseudo-Apollodorus moreover clarifies a cryptic statement (1026–29) made by Hermes in Prometheus Bound, identifying the centaur Chiron as the one who would take on Prometheus' suffering and die in his place.[36] Reflecting a myth attested in Greek vase paintings from the Classical period, Pseudo-Apollodorus places the Titan (armed with an axe) at the birth of Athena, thus explaining how the goddess sprang forth from the forehead of Zeus.[36] Other minor details attached to the myth include: the duration of Prometheus' torment;[48][49] the origin of the eagle that ate the Titan's liver (found in Pseudo-Apollodorus and Hyginus); Pandora's marriage to Epimetheus (found in Pseudo-Apollodorus); myths surrounding the life of Prometheus' son, Deucalion (found in Ovid and Apollonius of Rhodes); and Prometheus' marginal role in the myth of Jason and the Argonauts (found in Apollonius of Rhodes and Valerius Flaccus).[36] Modern scientific linguistics suggests that the name derived from the Proto-Indo-European root that also produces the Vedic pra math, "to steal," hence pramathyu-s, "thief", cognate with "Prometheus", the thief of fire. The Vedic myth of fire's theft by Mātariśvan is an analog to the Greek account. Pramantha was the tool used to create fire.[50] Religious symbolism in late Roman antiquity[edit] The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world; see creation of man from clay, theft of fire, and references for eternal punishment. It is the first of these three which has drawn attention to parallels with the biblical creation account related in the religious symbolism expressed in the book of Genesis. As stated by Olga Raggio,[51] "The Prometheus myth of creation as a visual symbol of the Neoplatonic concept of human nature, illustrated in (many) sarcophagi, was evidently a contradiction of the Christian teaching of the unique and simultaneous act of creation by the Trinity." This Neoplatonism of late Roman antiquity was especially stressed by Tertullian[52] who recognized both difference and similarity of the biblical deity with the mythological figure of Prometheus. The imagery of Prometheus and the creation of man used for the purposes of the representation of the creation of Adam in biblical symbolism is also a recurrent theme in the artistic expression of late Roman antiquity. Of the relatively rare expressions found of the creation of Adam in those centuries of late Roman antiquity, one can single out the so-called "Dogma sarcophagus" of the Lateran Museum where three figures are seen (in representation of the theological trinity) in making a benediction to the new man. Another example is found where the prototype of Prometheus is also recognizable in the early Christian era of late Roman antiquity. This can be found upon a sarcophagus of the Church at Mas d'Aire[53] as well, and in an even more direct comparison to what Raggio refers to as "a coursely carved relief from Campli (Teramo)[54] (where) the Lord sits on a throne and models the body of Adam, exactly like Prometheus." Still another such similarity is found in the example found on a Hellenistic relief presently in the Louvre in which the Lord gives life to Eve through the imposition of his two fingers on her eyes recalling the same gesture found in earlier representations of Prometheus.[55] In Georgian mythology, Amirani is a culture hero who challenged the chief god, and like Prometheus was chained on the Caucasian mountains where birds would eat his organs. This aspect of the myth had a significant influence on the Greek imagination. It is recognizable from a Greek gem roughly dated to the time of the Hesiod poems, which show Prometheus with hands bound behind his body and crouching before a bird with long wings.[56] This same image would also be used later in the Rome of the Augustan age as documented by Furtwangler.[57] In the often cited and highly publicized interview between Joseph Campbell and Bill Moyers on Public Television, the author of The Hero with a Thousand Faces presented his view on the comparison of Prometheus and Jesus.[58] Moyers asked Campbell the question in the following words, "In this sense, unlike heroes such as Prometheus or Jesus, we're not going on our journey to save the world but to save ourselves." To which Campbell's well-known response was that, "But in doing that, you save the world. The influence of a vital person vitalizes, there's no doubt about it. The world without spirit is a wasteland. People have the notion of saving the world by shifting things around, changing the rules [...] No, no! Any world is a valid world if it's alive. The thing to do is to bring life to it, and the only way to do that is to find in your own case where the life is and become alive yourself." For Campbell, Jesus mortally suffered on the Cross while Prometheus eternally suffered while chained to a rock, and each of them received punishment for the gift which they bestowed to humankind, for Jesus this was the gift of propitiation from Heaven, and, for Prometheus this was the gift of fire from Olympus.[58] Significantly, Campbell is also clear to indicate the limits of applying the metaphors of his methodology in his book The Hero with a Thousand Faces too closely in assessing the comparison of Prometheus and Jesus. Of the four symbols of suffering associated with Jesus after his trial in Jerusalem (i) the crown of thorns, (ii) the scourge of whips, (iii) the nailing to the Cross, and (iv) the spearing of his side, it is only this last one which bears some resemblance to the eternal suffering of Prometheus' daily torment of an eagle devouring a replenishing organ, his liver, from his side.[59] For Campbell, the striking contrast between the New Testament narratives and the Greek mythological narratives remains at the limiting level of the cataclysmic eternal struggle of the eschatological New Testament narratives occurring only at the very end of the biblical narratives in the Apocalypse of John (12:7) where, "Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven." This eschatological and apocalyptic setting of a Last Judgement is in precise contrast to the Titanomachia of Hesiod which serves its distinct service to Greek mythology as its Prolegomenon, bracketing all subsequent mythology, including the creation of humanity, as coming after the cosmological struggle between the Titans and the Olympian gods.[58] It remains a continuing debate among scholars of comparative religion and the literary reception[60] of mythological and religious subject matter as to whether the typology of suffering and torment represented in the Prometheus myth finds its more representative comparisons with the narratives of the Hebrew scriptures or with the New Testament narratives. In the Book of Job, significant comparisons can be drawn between the sustained suffering of Job in comparison to that of eternal suffering and torment represented in the Prometheus myth. With Job, the suffering is at the acquiescence of heaven and at the will of the demonic, while in Prometheus the suffering is directly linked to Zeus as the ruler of Olympus. The comparison of the suffering of Jesus after his sentencing in Jerusalem is limited to the three days, from Thursday to Saturday, and leading to the culminating narratives corresponding to Easter Sunday. The symbolic import for comparative religion would maintain that suffering related to justified conduct is redeemed in both the Hebrew scriptures and the New Testament narratives, while in Prometheus there remains the image of a non-forgiving deity, Zeus, who nonetheless requires reverence.[58] Writing in late antiquity of the fourth and fifth century, the Latin commentator Marcus Servius Honoratus explained that Prometheus was so named because he was a man of great foresight (vir prudentissimus), possessing the abstract quality of providentia, the Latin equivalent of Greek promētheia (ἀπὸ τής πρόμηθείας).[61] Anecdotally, the Roman fabulist Phaedrus (c.15BC - c.50AD) attributes to Aesop a simple etiology for homosexuality, in Prometheus' getting drunk while creating the first humans and misapplying the genitalia.[62] The allegorical tradition of the Middle Ages[edit] Perhaps the most influential book of the Middle Ages upon the reception of the Prometheus myth was the mythological handbook of Fulgentius Placiades. As stated by Raggio,[63] "The text of Fulgentius, as well as that of (Marcus) Servius [...] are the main sources of the mythological handbooks written in the ninth century by the anonymous Mythographus Primus and Mythographus Secundus. Both were used for the more lengthy and elaborate compendium by the English scholar Alexander Neckman (1157-1217), the Scintillarium Poetarum, or Poetarius."[63] The purpose of his books was to distinguish allegorical interpretation from the historical interpretation of the Prometheus myth. Continuing in this same tradition of the allegorical interpretation of the Prometheus myth, along with the historical interpretation of the Middle Ages, is the Genealogiae of Giovanni Boccaccio. Boccaccio follows these two levels of interpretation and distinguishes between two separate versions of the Prometheus myth. For Boccaccio, Prometheus is placed "In the heavens where all is clarity and truth, [Prometheus] steals, so to speak, a ray of the divine wisdom from God himself, source of all Science, supreme Light of every man."[64] With this, Boccaccio shows himself moving from the mediaeval sources with a shift of accent towards the attitude of the Renaissance humanists. Using a similar interpretation to that of Boccaccio, Marsilio Ficino in the fifteenth century updated the philosophical and more somber reception of the Prometheus myth not seen since the time of Plotinus. In his book written in 1476-77 titled Quaestiones Quinque de Mente, Ficino indicates his preference for reading the Prometheus myth as an image of the human soul seeking to obtain supreme truth. As Olga Raggio summarizes Ficino's text, "The torture of Prometheus is the torment brought by reason itself to man, who is made by it many times more unhappy than the brutes. It is after having stolen one beam of the celestial light [...] that the soul feels as if fastened by chains and [...] only death can release her bonds and carry her to the source of all knowledge."[64] This somberness of attitude in Ficino's text would be further developed later by Charles de Bouelles' Liber de Sapiente of 1509 which presented a mix of both scholastic and Neoplatonic ideas. Prometheus in the Renaissance[edit] After the writings of both Boccaccio and Ficino in the late Middle Ages about Prometheus, interest in the titan shifted considerably in the direction of becoming subject matter for painters and sculptors alike. Among the most famous examples is that of Piero di Cosimo from about 1510 presently on display at the museums of Munich and Strasburg (see Inset). Raggio summarizes the Munich version[65] as follows; "The Munich panel represents the dispute between Epimetheus and Prometheus, the handsome triumphant statue of the new man, modeled by Prometheus, his ascension to the sky under the guidance of Minerva; the Strasburg panel shows in the distance Prometheus lighting his torch at the wheels of the Sun, and in the foreground on one side, Prometheus applying his torch to the heart of the statue and , on the other, Mercury fastening him to a tree." All the details are evidently borrowed from Boccaccio's Genealogiae. The same reference to the Genealogiae can be cited as the source for the drawing by Parmigianino presently located in the Pierpont Morgan Library in New York City.[66] In this drawing, a very noble rendering of Prometheus is presented which evokes the memory of Michelangelo's works portraying Jehovah. This drawing in the Morgan Library is perhaps one of the most intense examples of the visualization of the myth of Prometheus from the Renaissance period. Writing in the late British Renaissance, William Shakespeare uses the Promethean allusion in the famous death scene of Desdemona in his tragedy of Othello. Othello in contemplating the death of Desdemona asserts plainly that he cannot restore the "Promethean heat" to her body once it has been extinguished. For Shakespeare, the allusion is clearly to the interpretation of the fire from the heat as the bestowing of life to the creation of man from clay by Prometheus after it was stolen from Olympus. The analogy bears direct resemblance to the biblical narrative of the creation of life in Adam through the bestowed breathing of the creator in Genesis. Shakespeare's symbolic reference to the "heat" associated with Prometheus's fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans. The Post-Renaissance tradition[edit] Mythological narrative of Prometheus by Piero di Cosimo (1515) The myth of Prometheus has been a favorite theme of Western art and literature in the post-renaissance and post-Enlightenment tradition, and occasionally in works produced outside the West. The literary Post-Renaissance tradition[edit] For the Romantic era, Prometheus was the rebel who resisted all forms of institutional tyranny epitomized by Zeus — church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton's Paradise Lost, and the divinely inspired poet or artist. Prometheus is the lyrical "I" who speaks in Goethe's Sturm und Drang poem "Prometheus" (written c. 1772–74, published 1789), addressing God (as Zeus) in misotheist accusation and defiance. In Prometheus Unbound (1820), a four-act lyrical drama, Percy Bysshe Shelley rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus (under the Latin name Jupiter), but instead supplants him in a triumph of the human heart and intellect over tyrannical religion. Lord Byron's poem "Prometheus" also portrays the Titan as unrepentant. As documented by Olga Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well.[67] Mary Shelley's 1818 novel Frankenstein is subtitled "The Modern Prometheus", in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge. Goethe and the Prometheus-Ganymede poems[edit] "Prometheus" is a poem by Johann Wolfgang von Goethe, in which a character based on the mythic Prometheus addresses God (as Zeus) in a romantic and misotheist tone of accusation and defiance. The poem was written between 1772 and 1774. It was first published fifteen years later in 1789. It is an important work as it represents one of the first encounters of the Prometheus myth with the literary Romantic movement identified with Goethe and with the Sturm und Drang movement. The poem has appeared in Volume II of Goethe's poems (in his Collected Works) in a section of Vermischte Gedichte (assorted poems), shortly following the Harzreise im Winter. It is immediately followed by "Ganymed", and the two poems are written as informing each other according to Goethe's plan in their actual writing. Prometheus (1774) was originally planned as a drama but never completed by Goethe, though the poem is inspired by it. Prometheus is the creative and rebellious spirit rejected by God, and who angrily defies him and asserts himself; Ganymede, by direct contrast, is the boyish self who is both adored and seduced by God. As a high Romantic poet and a humanist poet, Goethe presents both identities as contrasting aspects of the Romantic human condition. "Prometheus" The poem offers direct biblical connotations for the Prometheus myth which was unseen in any of the ancient Greek poets dealing with the Prometheus myth in either drama, tragedy, or philosophy. The intentional use of the German phrase "Da ich ein Kind war..." ("When I was a child"): the use of Da is distinctive, and with it Goethe directly applies the Lutheran translation of Saint Paul's First Epistle to the Corinthians, 13:11: "Da ich ein Kind war, da redete ich wie ein Kind..." ("When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things"). Goethe's Prometheus is significant for the contrast it evokes with the biblical text of the Corinthians rather than for its similarities. In his book titled Prometheus: Archetypal Image of Human Existence, C. Kerenyi states the key contrast between Goethe's version of Prometheus with the ancient Greek version.[68] As Kerenyi states, "Goethe's Prometheus had Zeus for father and a goddess for mother. With this change from the traditional lineage the poet distinguished his hero from the race of the Titans." For Goethe, the metaphorical comparison of Prometheus to the image of the Son from the New Testament narratives was of central importance, with the figure of Zeus in Goethe's reading being metaphorically matched directly to the image of the Father from the New Testament narratives. Percy Bysshe Shelley and Prometheus Unbound[edit] Percy Shelley published his four-act lyrical drama titled Prometheus Unbound in 1820. His version was written in response to the version of myth as presented by Aeschylus (described in the Section above) and is oriented to the high British Idealism and high British Romanticism prevailing in Shelley's own time. Shelley, as the author himself discusses, admits the debt of his version of the myth to Aeschylus and the Greek poetic tradition which he assumes is familiar to readers of his own lyrical drama. For example, it is necessary to understand and have knowledge of the reason for Prometheus's punishment if the reader is to form an understanding of whether the exoneration portrayed by Shelley in his version of the Prometheus myth is justified or unjustified. The quote of Shelley's own words describing the extent of his indebtedness to Aeschylus has been published in numerous sources publicly available. The literary critic Harold Bloom in his book Shelley's Mythmaking expresses his high expectation of Shelley in the tradition of mythopoeic poetry. For Bloom, Percy Shelley's relationship to the tradition of mythology in poetry "culminates in 'Prometheus'; the poem provides a complete statement of Shelley's vision."[69] Bloom devotes two full chapters in this book to Shelley's lyrical drama Prometheus Unbound which was among the first books Bloom had ever written, originally published in 1959.[70] Following his 1959 book, Bloom edited an anthology of critical opinions on Shelley for Chelsea House Publishers where he concisely stated his opinion as, "Shelley is the unacknowledged ancestor of Wallace Stevens' conception of poetry as the Supreme Fiction, and Prometheus Unbound is the most capable imagining, outside of Blake and Wordsworth, that the Romantic quest for a Supreme Fiction has achieved."[71] Within the pages of his Introduction to the Chelsea House edition on Percy Shelley, Harold Bloom also identifies the six major schools of criticism opposing Shelley's idealized mythologizing version of the Prometheus myth. In sequence, the opposing schools to Shelley are given as: (i) The school of "common sense", (ii) The Christian orthodox, (iii) The school of "wit", (iv) Moralists, of most varieties, (v) The school of "classic" form, and (vi) The Precisionists, or concretists.[72] Although Bloom is least interested in the first two schools, the second one on the Christian orthodox has special bearing on the reception of the Prometheus myth during late Roman antiquity and the synthesis of the New Testament canon. The Greek origins of the Prometheus myth have already discussed the Titanomachia as placing the cosmic struggle of Olympus at some point in time preceding the creation of humanity, while in the New Testament synthesis there was a strong assimilation of the prophetic tradition of the Hebrew prophets and their strongly eschatological orientation. This contrast placed a strong emphasis within the ancient Greek consciousness as to the moral and ontological acceptance of the mythology of the Titanomachia as an accomplished mythological history, whereas for the synthesis of the New Testament narratives this placed religious consciousness within the community at the level of an anticipated eschaton not yet accomplished. Neither of these would guide Percy Shelley in his poetic retelling and reintegration of the Prometheus myth.[73] To the Socratic Greeks, one important aspect of the discussion of religion would correspond to the philosophical discussion of 'becoming' with respect to the New Testament syncretism rather than the ontological discussion of 'being' which was more prominent in the ancient Greek experience of mythologically oriented cult and religion.[74] For Percy Shelley, both of these reading were to be substantially discounted in preference to his own concerns for promoting his own version of an idealized consciousness of a society guided by the precepts of High British Romanticism and High British Idealism.[75] Mary Shelley and Frankenstein: The Modern Prometheus[edit] The author of Frankenstein: The Modern Prometheus, Mary Shelley, wrote the famous version of her short novel in the 19th century. It has endured as one of the most frequently revisited literary themes in twentieth century film and popular reception with few rivals for its sheer popularity among even established literary works of art. The primary theme is a parallel to the aspect of the Prometheus myth which concentrates on the creation of man by the titans, transferred and made contemporary by Shelley for British audiences of her time. The subject is that of the creation of life by a scientist, thus bestowing life through the application and technology of medical science rather than by the natural acts of reproduction. The short novel has been adapted into many films and productions ranging from the early versions with Boris Karloff to much later versions featuring Kenneth Branagh among others. Prometheus in the Twentieth Century[edit] Prometheus (1909) by Otto Greiner According to the first, he was clamped to a rock in the Caucasus for betraying the secrets of the gods to men, and the gods sent eagles to feed on his liver, which was perpetually renewed. This short piece by Kafka concerning his interest in Prometheus was supplemented by two other mythological pieces written by him. As stated by Reiner Stach, "Kafka's world was mythical in nature, with Old Testament and Jewish legends providing the templates, and it was only logical (even if Kafka did not state it openly) that he would try his hand at the canon of antiquity, reinterpreting it and incorporating it into his own imagination in the form of allusions, as in 'The Silence of the Sirens,' 'Prometheus,' and 'Poseidon.'"[77] Among contemporary poets, the British poet Ted Hughes wrote the a 1973 collection of poems titled Prometheus On His Crag. The Nepali poet Laxmi Prasad Devkota (d. 1949) also wrote an epic titled Prometheus (प्रमीथस). In his 1952 book, Lucifer and Prometheus, Zvi Werblowsky presented the speculatively derived Jungian construction of the character of Satan in Milton's celebrated poem Paradise Lost. Werblowsky applied his own Jungian style of interpretation to appropriate parts of the Prometheus myth for the purpose of interpreting Milton. A reprint of his book in the 1990s by Routledge Press included an introduction to the book by Carl Jung. Some Gnostics have been associated with identifying the theft of fire from heaven as embodied by the fall of Lucifer "the Light Bearer".[78] The artificial element Promethium was named with the myth in mind. The aesthetic Post-Renaissance tradition[edit] Classical music, opera, and ballet[edit] Works of classical music, opera, and ballet directly or indirectly inspired by the myth of Prometheus have included renderings by some of the major composers of both the nineteenth and twentieth centuries. In this tradition, the orchestral representation of the myth has received the most sustained attention of composers. These have included the symphonic poem by Franz Liszt titled Prometheus from 1850, among his other Symphonic Poems (No. 5, S.99).[79] Alexander Scriabin composed Prometheus: Poem of Fire, Opus 60 (1910),[80] also for orchestra.[81] In the same year Gabriel Fauré composed his three-act opera Prométhée (1910).[82] Charles-Valentin Alkan composed his Grande sonate 'Les quatre âges' (1847), with the 4th movement entitled "Prométhée enchaîné" (Prometheus Bound).[83] Beethoven composed the score to a ballet version of the myth titled The Creatures of Prometheus (1801).[84] An adaptation of Goethe's poetic version of the myth was composed by Hugo Wolf, Prometheus (Bedecke deinen Himmel, Zeus, 1889), as part of his Goethe-lieder for voice and piano,[85] later transcribed for orchestra and voice.[86] An opera of the myth was composed by Carl Orff titled Prometheus (1968),[87][88] using Aeschylus' Greek language Prometheia.[89] In film[edit] The recent 2012 science fiction fantasy film titled Prometheus by Ridley Scott has a resemblance to the myth largely through a coincidence of name.[90] Of the three principal mythological themes associated with the myth of the titan Prometheus, that is, the eternal punishment, the theft of fire, and the creation of man, it is with this latter theme that the film seems to be at least partially concerned. In the science fiction film, one of the wealthy lead characters in the future spends vast sums of money in order to locate the extraterrestrials who he believes were responsible for the creation of man. His hope is that if he finds his 'creators,' they will be able somehow to extend his life. In this belief he is straightforwardly disappointed. Benji Taylor writing in an extensive three-part essay on the science fiction film titled Prometheus, published between 22 June 2012 and 17 July 2012, identified the eight key themes in understanding the film as including: "Aliens Seeded Life On Earth," "Insignificance and Futility," "Interwoven Notions of Creation and Destruction," "Parental Issues," "The Nature of the Soul," "Existential Loss," and "Science and Religion."[91][92][93] Of these themes covered in the film, Taylor identifies that only the theme of "Parental Issues" appears to have a general reference point to the myth of Prometheus stating that in the "mythology between the titan Prometheus and the chief Olympian Zeus but on a more global level it's an echo of the tribulation embodied in the Titanomachy -- the archetypal war between parent and child which was the great 'War of the Titans and Olympians' that shook the Greek mythological world to its core."[94]
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NUMBER 9 THE SEARCH FOR THE SIGMA CODE Cecil Balmond 1998 Page 32 5
THE BALANCING ONE TWO THREE FOUR FIVE NINE EIGHT SEVEN SIX
1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
V 5 FIVE 5 1 2 3 4 5V5 6 7 8 9 5 IVE IS THE FULCRUM IN THE BALANCING OF THE NINE NUMBERS
NUMBERS RE-ARRANGED IN NUMERICAL ORDER
ZERO THE OUGHT AS IN THOUGHT
LOOK AT THE FIVES THE FIVES THE FIVES
SEVENTY SEVENTYONE SEVENTYTWO SEVENTYTHREE SEVENTYFOUR SEVENTYFIVE SEVENTYSIX SEVENTYSEVEN SEVENTYEIGHT SEVENTYNINE
SEVENTY SEVENTYONE SEVENTYTWO SEVENTYTHREE SEVENTYFOUR SEVENTYFIVE SEVENTYSIX SEVENTYSEVEN SEVENTYEIGHT SEVENTYNINE
SEVENTY SEVENTYONE SEVENTYTWO SEVENTYTHREE SEVENTYFOUR SEVENTYFIVE SEVENTYSIX SEVENTYSEVEN SEVENTYEIGHT SEVENTYNINE
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S 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 43 = 215
E typically takes first place regardless of which analysis method is used. What's The Most Common Letter Used In English? Thesaurus.com
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
LOOK AT THE FIVES THE FIVES THE FIVES
SEVENTY SEVENTYONE SEVENTYTWO SEVENTYTHREE SEVENTYFOUR SEVENTYFIVE SEVENTYSIX SEVENTYSEVEN SEVENTYEIGHT SEVENTYNINE
SEVENTY SEVENTYONE SEVENTYTWO SEVENTYTHREE SEVENTYFOUR SEVENTYFIVE SEVENTYSIX SEVENTYSEVEN SEVENTYEIGHT SEVENTYNINE
SEVENTY SEVENTYONE SEVENTYTWO SEVENTYTHREE SEVENTYFOUR SEVENTYFIVE SEVENTYSIX SEVENTYSEVEN SEVENTYEIGHT SEVENTYNINE
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S 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 43 = 215
E typically takes first place regardless of which analysis method is used. What's The Most Common Letter Used In English? Thesaurus.com
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S 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 43 = 215
E typically takes first place regardless of which analysis method is used. What's The Most Common Letter Used In English? Thesaurus.com
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S
METAMORPHOSIS GODS METAMORPHOSIS 4+5+2+1+4+6+9+7+8+6+1+9+1= 4+5+2+1+4+6+9+7+8+6+1+9+1 METAMORPHOSIS GODS METAMORPHOSIS
NUCLEAR FAMILY 19769
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THE MAGICALALPHABET
THE SCULPTURE OF VIBRATIONS
THE MAGICAL ALPHABET
WELL I NEVER DID YOU EVER
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