THE NUCLEAR FAMILY 1969
OSIRIS ISIS 13 ISIS OSIRIS
JOSEPH AND HIS BROTHERS
Thomas Mann 1875 - 1955
Page 967
"Here Tiy, his mother, cleared her throat, rattled her ornaments, and said, looking ahead of her into space:
"Pharaoh is to be praised when he practises statesmanship in matters of religious belief and spares the simplicity of the many..That is why I warned him not to wound the popular attachment to Usir, king of the lower regions. There is no contradiction between knowing and sparing, in this connection; and the office of teacher need not darken knowledge. Never have priests taught the multitude all they themselves know. They have told them what was. wholesome, and wisely left in the realm of the mysteries what was not beneficial. Thus knowledge and wisdom are together in the world, truth and forbearance. The mother recommends that it so remain."
"Thank you, Mama, "said Amenhotep, with a deprecating bow. "Thank you for the, contribution. It is very valuable and will for / Page / 968 / eternal ages be held in honour. But we are speaking of two different things. My Majesty speaks of the fetters which the teaching puts upon the thoughts of God; yours refers to priestly statecraft, which divides teaching and knowledge. But Pharaoh would not be arrogant, and there is no greater arrogance than such a division. No, there is no arrogance in the world greater than that of dividing the children of our Father into initiate and uninitiate and teaching double words: all-knowingly for the masses, knowingly in the inner circle. No, we must speak what we know, and witness what we have seen. Pharaoh wants to do nothing but improve the teaching, even though it be made hard for him by the teachhing. And still it has been said to me: 'Call me not Aton, for that is in need of improvement. Call me the Lord of the Aton!' But I, through keeping silent, forgot.' See now what the Father does for his beloved son! He sends him a messenger and dream-interpreter, who shows him his dreams, dreams from below and dreams from above, dreams important for the realm and for heaven; that he should awake in him what he already knows, and interpret what was already said to him. Yes, how loveth the Father his child the King who came forth out of him, that he sends down a soothsayer to him, to whom from long ages has been handed down the teaching that it profits man to press on towards the last and highest! "
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 II
Page12
THE LOST LANGUAGE OF SYMBOLISM
"The idea that identities of name were primarily due to punning, to blunder, or to accident, must be dispelled when we find that-as in most of the examples noted by myself -the symbolic value of the animal is not expressed by a homonym or pun, but in monosyllables that apparently are the debris of some marvellously ancient, prehistoric, almost extinct parent tongue. Modern language is a mosaic in which lie embedded the chips and fossils of predecessors in comparison with whose vast antiquity Sanscrit is but a speech of yesterday. In its glacier-like progress, Language must have brought down along the ages the detritus of tongues that were spoken possibly millions of years before the art of recording by writing was discovered, but which, notwithstanding, were indelibly inscribed and -faithfully preserved in the form of mountain, river, and country names. Empires may disappear and nations be sunk into oblivion under successive waves of invasion, but place names and proper names, preserved traditionally by word of mouth, remain to some extent inviolate; and it is, I am convinced, in this direction that one must look for the hypothetical mother-tongue of the hypothetical people, known nowadays as "Aryans."
The primal roots which seem to be traceable in directions far wider than any yet reconnoitred are the Semitic EL, meaning God and Power; the Semitic UR, meaning Fire or Light; the Semitic JAH, YAH, or IAH, meaning " Thou art" or the Ever-existent; the Sanscrit DI, meaning Brilliant; and the Hindoo OM or AUM, meaning the Sun. It is also evident that P A and MA, meaning a Parent, were once widely extensive, and in addition to the foregoing I have, I believe, by the comparative method, recovered from antiquity the root ak, apparently once meaning great or mighty."
Page 17
THE PARABLE OF THE PILGRIM
" Give me my scallop shell of quiet,
M y staff of faith to walk upon,
My scrip of joy, immortal diet,
My bottle of salvation,
My gown of glory, hope's true gage;
And thus I'll take my pilgrimage."
Sir Walter Raleigh
.
THE notion that Life is a pilgrimage and Everyman a pilgrim is common to most peoples and climes, and Allegories on this subject are well-nigh universal. In 1631 one of them was written in BOHEMIA under the title of The Labyrinth of the World and the Paradise of the Heart. Its author was John Amos Komensky (1592-1670), a leader of the sectarians known among themselves as the "Unity" or " Brethren," and to history as the "Bohemian Brethren" or the "Moravian Brothers." These long-suffering enthusiasts were obviously a manifestation of that spirit of mysticism which, either active or somnolent, is traceable from the dawn of History, and will be found noted under such epithets as Essenes, Therapeutics, Gnostics, Montanists, Paulicians, Manichees, Cathari, Vaudois, Albigeois, Patarini, Lollards, Friends of God, Spirituals, Arnoldists, Fratricelli, Anabaptists, Quakers, and many others.
The Labyrinth of"the World was condemned as heretical, and, until 1820, was included among the lists of dangerous / Page18 / and forbidden. books. COUNT LUTZOW-to whom English readers are indebted for an admirable translation-states that so congenial was its mysticism, that the many Bohemian exiles who were driven on account of their faith from their beloved country carried the Labyrinth with them, and that it was often practically their sole possession. In BOHEMIA itself, the book being prohibited, the few copies that escaped destruction passed from hand to hand secretly, and were safely hidden in the cottages of the peasants.1
The author of The Pilgrim's Progress was a persecuted Baptist tinker, and among the pathetic records of Continental Anabaptism will be found the continually expressed conviction: "We must in this world suffer, for Paul has said that all that will live godly in Christ Jesus must suffer persecution. We must completely conquer the world, sin, death, and the devil, not with material swords and spears, but with the sword of the Spirit, which is the Word of God, and with the shield of faith, wherewith we must quench all sharp and fiery darts, and place on our heads the helmet of salvation, with the armour of righteousness, and our feet be shod with the preparation of the Gospel. Being thus strengthened with these weapons, we shall, with Israel, get through the wilderness, oppose and overcome all our enemies." 2 In 1550 another obscure Anabaptist under sentence of death for heresy exclaimed: "It is not for the sake of party, or for conspiracy, that we suffer: we seek not to contest with any sword but that of the Spirit that is, the Word of God." 3
These pious convictions are to be seen expressed in the / Page 19 / trade mark emblems herewith, representing the sword of the Spirit and the helmet of Salvation."
Page 18 Notes
1 The Labyrinth of the World and the Paradise of the Heart, edited. and Englished by Count Lutzow (The Temple Classics), p. 266.
2 A Martyrology of the Churches of Christ commonly called Baptists, translated from the Dutch by T. J. Van Braaght, and edited for the Hanserd
Knollys Society by E. B. Underhill, vol. i. p. 376. London, 1850
3 Ibid
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: XXII
Page 347
CONCLUSION
" Facts are only stopping-places on the way to new ideas."
Dion Clayton Calthrop
.
"Perhaps in spite of every disillusionment, when we contemplate the seemingly endless vistas of knowledge which have been opened up even
within our own generation, many of us may cherish in our heart of hearts a
fancy, if not a hope, that some loophole of escape may after all be discovered from the iron walls of the prison-house which threaten to close in and crush us ; that, groping about in the darkness, mankind may yet' chance to lay hands on" that golden key that opes the palace of eternity,' and so to pass from this world of shadows and sorrow to a world of untroubled light and
joy."
J, G. Frazer
"The one Spirit's plastic stress
Sweeps through the dull, dense world, compelling there
All new successions to the forms they wear;
Torturing the unwilling dross that checks its flight
To its own likeness, as each mass they bear;
And bursting in its beauty and its might
From trees and beasts and men into the Heaven's light."
Shelley.
KOMENSKY attributes the recondite and supernormal kn-owledge possessed by his "True Christians" to Intuition or Inspiration. Following his description of ministering angels, he says: "I saw also (and it is not beseeming to conceal this) another advantage of this holy, invisible companionship-to wit, that the angels were not only as guards, but also as teachers to the chosen. They often give them secret knowledge of divers things, and teach them the deep secret. mysteries of God. For as they ever behold the / Page 348 / countenance of the omniscient God, nothing that a godly man can wish to know can be secret to them, and with God's permission they reveal that which they know, and which it is necessary that the chosen should know. Therefore the heart of the godly often feels that which has befallen elsewhere, mourns with the mournful, and rejoices with the joyful. Therefore, also, can they, by means of dreams and other visions, or of secret inspirations, imagine in their minds that which has befallen, or befalls, or will befall. Thence comes also other increase of the gifts of God within us, deep, valuable meditations, divers wondrous discoveries, by means of which man often -surpasses himself, though he knows not how he has that power. Oh, blessed school of the sons of God! It is this which often causes the astonishment of all worldly-wise men, when they see how some plain little fellow speaks wondrous mysteries; prophesies the future changes in the world and in the Church as if he saw them before his eyes; mentions the names of yet unborn kings and heads of states; proclaims and announces other things that could not be conceived
either by any study of the stars or by any endeavour of human wit."
The history of Heresy is conspicuous for these claims
to supernatural guidance. It was a main tenet of the Montanists, and the Albi'geois similarly claimed that they received daily visitations from their Invisible Chief, the Holy Spirit. In his account of the Huguenots SMILES relates that after the revocation of the Edict of Nantes, "The rapidity with which the contagion of convulsive prophesying spread was extraordinary. The adherents were all of the poorer classes, who read nothing but the Bible, and had it nearly by heart. It spread from Dauphiney to Viverais, and from thence into the Cevennes. 'I have seen,' said Marshal Villars, 'things that I could never /
349 /
have believed if they had not passed under my own eyes -an entire city, in which all the women and girls, without exception, appeared possessed by the devil; they quaked and prophesied publicly in the streets.'"
To account at all rationally for the facts accumulated in the preceding chapters one must necessarily accept either some theory of inspiration or the only alternative theory of a mystic tradition transmitted secretly by word of mouth from a vast period anterior to Christianity. There is plentiful testimony to the existence of some such esoteric knowledge, and in many Literatures are to be found references to certain " hidden wisdom," and claims to the stewardship of a Secret Doctrine. We meet them among the priesthoods of EGYPT and AMERICA, and in the Mysteries of GREECE and ROME. To the Jews the writer of Esdras stated it as a command from the Highest that cc Some things shalt thou publish
and some things shalt thou show secretly to the wise." 1
In the Advancement of Learning BACON refers to the discretion anciently observed of publishing part and reserving part to a private succession. Of this Traditionem Lampadis, the handing on of the traditive lamp or the Method bequeathed to the Sons of Sapience, he observes: "The pretence thereof seemeth to be this: that by the intricate envelopings of delivery the profane vulgar may be removed from the secrets of Sciences, and they only admitted which had either acquired the interpretation of parables by Tradition f(om . their teachers or by the sharpness and subtlety of their own wit- could pierce the veil." 2
The writer of the Epistles of St Paul- which are admittedly tinged strongly with Gnosticism - claims to speak the wisdom of God in a mystery, even the hidden wisdom, which God ordained before the world.3
It is now very generally recognised that Christianity / Page 350 /
did not originate in JERUSALEM or in PALESTINE or indeed from any unique focus) but that it arose simultaneously from many geographically independent foci. The. current diction of the primitive Christians, as exemplified in the Gospels, was more or less symbolic) and it was, thinks Professor W. B. SMITH) "a misconstruction of this symbolism (by second-century Ecclesiasticism) that has for 1800 years concealed the true nature of Proto-Christianity, which was an organised crusade of Greek-Jewish monotheism against the prevalent polytheism." 1
When CORTEZ landed in MExIco he reported that" the Devil had positively taught to the Mexicans the same things which God had taught to Christendom," and TERTULLIAN complained with characteristic bitterness that in the mysteries of MITHRA the Evil One had "emulously mimiced" even the precise particulars of the Divine sacraments. . We have it on the notable authority of ST AUGUSTINE' that "That very thing which is now designated the Christian Religion was in existence among the ancients, nor was it absent even from the commencement of the human race up to the time when Christ entered into the flesh, after which true religion, which already existed, began to be called Christian."
Mysticism was the core and kernel of Primitive
Christianity, and Symbolism was the language of Christian and every other form of Mysticism. "The earliest Christian Symbolism," says Mrs JENNER) "was for the most part constructed so that it should be understood fully by the initiated only. At the time at which Christianity was revealed to the world esoteric religions were common; and though Christianity differed from Mithraism and various Gnostic sects in that it had received and obeyed a command to go in to all the world and preach the Gospel / Page 351 /
to every creature, nevertheless there were many details which were only explained to .those who. had accepted the preliminary teaching. These, as in other religions, were often represented by signs to which the uninitiated would attach either some other, or perhaps no meaning at all, but which would remind the initiated of what they had learnt. As there has been an .unbroken tradition of Christianity, from those troublous times of its beginning, through the days when it no longer needed to hide it.self in caves and catacombs, until now, we know fairly well what these symbols meant. But had Christianity died out before the cessation of persecution, many of them would be as great puzzles to antiquaries as some of the Mithraic devices still remain. Even after the Peace of the Church the tradition of esoterism lingered on, as St John Chrysostom's not infrequent phrase, "The initiated will understand," shows us ; and the same symbols and types continued to be used, even after their meanings had become common property. It is not at all certain that what is known as the disciplina arcani had any real existence, and certainly if it had, some of the Apologists, such as St Justin, did not make much account of it. But a natural instinct of self-preservation, coupled with an objection to casting the pearls of the new religion before the Pagan swine, would lead to a considerable amount of unsystematic concealment, which would result in signs and emblems analogous to those of modern Freemasons." 1
The Founders of Christianity were uneducated, hardworking men, and the workers of the Middle Ages persistently claimed that they and not the luxurious clergy were the real possessors of the truths of Christianity.
There is on record the unwilling testimony of Roman Catholic inquisitors that the Vaudois "heresy" had / Page 352 / existed in these valleys from all antiquity. The Vaudois themselves maintained that the religion they followed had been preserved from father to son "from all time, and from time immemorial," and most of their historians support this same opinion.
It was said by Julian that "There is no wild beast like an angry theologian," and the " schismatics" of the Middle Ages have been assailed with such sulphurous rhetoric by their antagonists, that it is now almost impossible to disentangle the truth from fiction. But it is sufficiently evident that during the darkest periods of ecclesiastical corruption the Mysticism of the common man was in the maI n a shrine preserving the living kernel of Christianity, and that most of the so-called New Thought, New Theology, Christian Science, and Higher Criticism of to-day is merely recrudescence under new tumults of very ancient and well-nigh universal ideas.
The Troubadours, like the Templars and the later Freemasons, claimed to be the depositaries of a Noble Savoir or "Noble Knowledge," and their role in connection with a Mystic Tradition has been lucidly presented by Mrs I. Cooper-Oakley in Mystical Traditions and Traces of a Hidden
Tradition in Masonry and Medieval Mysticism.
One of the most potent influences on the Thought of EUROPE was the Romance of the Rose, and this encyclopredic poem of 23,000 lines-; about twice the length of Paradise Lost-was evidently.committed to memory, the poet exhorting his "readers
"To learn the whole by heart,
In view that whereso ye depart,
In city, castle, thorp, or town,
Ye may right widely make it known."
From time immemorial the most illustrious Bards and Poets have claimed to be vehicles of a supremely ancient / Page
353 / Wisdom. It is related, for instance, of VAINOMOINEN in the Kalevala that
"Day by day he sang unwearied, Night by night discoursed unceasing, Sang the Songs of bygone ages, Hidden words of ancient wisdom: Songs which all the children sing not, All-beyond men's comprehension; In these ages of misfortune,
When the race is near its ending." 1
Among the three Orders of the Druids were the socalled Bards or Masters of Wisdom, and a corresponding class flourished among all primitive and ancient races. The Druidic precepts which it was unlawful to set down in writing, were expressed in rhymed triplets amounting, it is said, to 20,000 in number. The whole of these were committed to memory and handed on from mouth to mouth. The memories of the American natives were, and still are, a matter of amazement. The entire Popul Vuh was memorised, and the Spaniards were struck with astonishment at the ease with which the Mexicans recited poems of stupendous length.
Tradition is not infrequently more truthful and more trustworthy 2 than script, and the tendency of modern research is to reinstate the accuracy and reputation of Tradition. The two most current traditions are the lapse of mankind from a Golden Age, and the destruction of the world by water, and I venture to think that both these beliefs are based upon actual fact.
Scattered over the world is material evidence in the / Page 354 /
form of ruins, majestic in conception and colossal in execution, proving beyond controversy the past existence of a civilisation in comparison with which much so-called "progress" is a fall rather than an advance. To some unknown prehistoric people the world is indebted for the development of wheat, of maize, and of the many fruits and edible grains which millions of years ago must have been scientifically
evolved from wild plants.
The original unity of the human race is admittedly proved by the universal similarity of folk-lore customs, fairy-tales, and superstitions, but more especially by language. Philology has already established such affinities as can only be accounted for by the supposition that mankind had a common cradle, the relation between all languages being that of sisters-daughters of one mother who perished, as it were, in. giving them birth. It is believed that no monuments of this Mother Tongue have been preserved, and that we have no history or even tradition of the nation
that spoke it.1
The mysterious ancestors from whom many modern races have supposedly sprung, have been termed Aryans, a Sanscrit word meaning "excellent" or "honourable," and the beneficent character of the Aryans has been deduced / Page 355 /
from the fact that the most ancient words all relate to peaceful occupations. " It should be observed," says MAX MULLER, "that most of the terms connected with chase and warfare differ in each of the Aryan dialects, while words connected with more peaceful occupations belong generally to the common heirloom of the Aryan language. The proper appreciation of this fact in its general bearing will show how a similar remark made by Niebuhr, with regard to Greek and Latin, requires a very different explanation from that which that great scholar, from his more restricted point of view, was able to give it. It will show that all the Aryan nations had led a long life of peace before they separated/ and that their language acquired individuality and nationality as each colony started in search of new homes-:-new generations forming new terms connected with the warlike and adventurous life of their onward migrations. Hence it is that not only Greek and Latin, but all Aryan languages, have their peaceful words in common; and hence it is that they all differ so strangely in their warlike expressions."
There is thus already-apart from any etymological evidence that I may have accumulated-good ground for the tradition of a Golden Age when, as the Indians say, "all men were well happified." I think that there is equally good ground for supposing that the world-wide legend of a Deluge was based upon some physical disaster, and that "in all probability this tradition preserves the memory of the destruction of Atlantis, circa 10,000 years
ago. SOLON, who knew nbthing of the findings of modern
Philology, described the Atlanteans in very much the same terms as the scientist now applies to the hypothetical Aryans. According to SOLON, "For many generations, as long as the divine nature lasted in them, they were obedient to the laws, and well-affectioned toward the gods, who were / Page 356 /
their kinsmen; for they possessed true and in every way great spirits, practising gentleness and wisdom in the various chances of life, and in their intercourse with one another. "They despised everything but virtue, not caring for their present state of life, and thinking lightly on the possession of gold and other property, which seemed only a burden to them; neither were they intoxicated by luxury; nor did wealth deprive them of their self-control; but they were sober, and saw dearly that all these goods are increased by virtuous friendship with one another, and that, by excessive zeal for them, the honour of them, the good of them is lost, and friendship perishes with them. By such reflections, and by the continuance in them of a divine nature, all that which we have described waxed and increased in them; but when this divine portion began to .fade away in them, and became diluted too often, and with too much of the mortal admixture, and the human nature got the upper hand, then, they being unable to bear their fortune, became unseemly."
It is stated that in ancient EGYPT even the very games and dances had a religious significance, and that the sublimer portions of Egyptian religion are those which are the most ancient. 1 The inference is that the remoter the time the purer and simpler was Humanity. There can be no older human monument than Language, and it is already an axiom among Philologists that" Language is fossil poetry; in other words, we are not to look for the poetry which a people may possess only in its poems, or its poetical customs, traditions, and beliefs. Many a single word also is itself a concentrated poem, having stores of poetical thought and imagery laid up in it." 2
By the unveiling of an unsuspected beauty underlying
many commonplace and supposedly unpoetic words, I am / Page
357 /
simply extending an already accepted principle. To what extent this New Philology may be sound, and to what extent fanhistic, must be gauged by Criticism, but the inherent probabilities are prima facie in favour of my having let loose- an imprisoned Poetry rather than imposed something supposititous, self-made, and non-existent. I did not cunningly invent or contrive some half-a-dozen roots to fit a preconceived idea; most of those used are already familiar and well-recognised, and to those few which are novel I was surprisedly led by the lamp of the Comparative Method.
Hitherto, this modern tool has been used almost solely as a weapon of destruction, and at present it is the vogue either to resolve the material of Mythology and Romance into th'e soulless unity of physical phenomena or to regard it as "lewd, foul, revolting, and unnatural, as the gross growth
of disgusting savagery."1 On the contrary, I believe it to be like many of the seemingly senseless and insane tribal customs of "savages," the survival of some infinitely ancient simple civilisation. The mere fact that certain
savage tribes who are now unable to count beyond five,
possess the mysterious and marvellous art of Language-an art they certainly have not now the wit to invent-is presumptive evidence of decadence.
The age of this Earth, estimated from Radium deposits, is now calculated by some scientists as upwards of 750 million years, and there are said to be proofs of Man having existed in the MISSISSIPPI Valley 50,000 years ago. There is thus abundant time for the Human race to have evolved from a supposed bestiality, and risen to a culminating point of morality, whence they have since declined. Whether the ancient culture-centre of this Earth was some island in the ATLANTIC or a vague site in ASIA is a problem that has no / Page 358 /
necessary relevance to Symbolism, but the Atlantean theory seems to me to offer the line of least difficulty. Primitive sounds And forms are, it is now generally believed, preserved more fa.ithfully in EUROPE than in INDIA, and Sanscrit has already been dethroned from the high place it occupied a few years ago.1
It is not impossible that our profusely numerous monosyllabic words and place-names are due to "phonetic decay," but it is far more probable that elementary words of one syllable are more primitive and more ancient than welldeveloped and complicated terms of two, three, four, or six syllables. It is more difficult to suppose that there was
once intimate intercommunication between BRITAIN and
MEXICO than it is to believe that both lands derived their customs and ideas from some common intermediate sourcea parent-people who, like the British of to-day, circumnavigated and colonised the world.
Dr FRAZER observes that :- "The comparative study of the beliefs and institutions of mankind is fitted to be much more than a means of satisfying an enlightened curiosity, and of furnishing materials for the researches of the' learned. Well handled, it may become a powerful instrument to expedite progress, if it lays bare certain weak spots in the foundations on which modern society is builtif it shows that much which we are wont to regard as solid rest on. the sands 'of superstition rather than on the rocks of nature. It is indeed a melancholy and in some respects thankless task to strike at the foundations of beliefs in which, as in a strong tower, the hopes and aspirations of. humanity through long ages have sought a refuge from the
storm and stress of life. Yet sooner or later it is inevitable that the battery of the comparative method should breach these venerable walls, mantled over with the ivy and / Page 359 /
mosses and wild flowers of a thousand tender and sacred associations. At present we are only dragging the guns into position; they have hardly yet begun to speak. The task of building up into fairer and more enduring forms the old structures so rudely shattered is reserved for other hands, perhaps for other and happier ages. We cannot forsee, we can hardly even guess, the new forms into which thought and society will run in the future. Yet this uncertainty ought not to induce us, from any consideration of expediency or regard for antiquity, to, spare the ancient moulds, however beautiful, when these are proved to' be outworn."
Dr FRAZER is our leading exemplar of the Comparative Method, and it is evident-vide the extract with which I have headed this chapter-that he is writhing uneasily at the pessimism of his own conclusions. It is true that Christianity-its symbols having grown too stark and solid -has been cast into the melting-pot, whence' it will never ,emerge except in a more rational, more widely sympathetic, less parochial, less petty, and less literalistic form. But the ancient moulds-to the degree that they are beautifulwill never prove outworn, and it would be a curious revenge if the irresistible guns of the Comparative Method instead of wreaking fresh and ever greater destruction, recoiled from the present dismal mud-and-dust Materialism, and became an instrument of the armies above, a trumpet-call of the Eternal Reason, and a weapon of the poetic dictum: "Beauty is truth, truth beauty."
Poets have from all time claimed to be the Tongues of an Unseen World, the 'custodians of an interior certainty, of a Knowledge standing behind and apart from evidence, and of an Understanding that makes darkness light. "Poets," to quote SHELLEY, "are the hierophants of an unapprehended inspiration; the mirrors of the gigantic /Page 360 /
shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not but moves." And he adds: "The persons in whom this power resides, may often, as far as regards many portions of their nature, have little apparent correspondence with that spirit of good of which they are the ministers. But even whilst they deny and abjure, they are yet compelled to serve the power which is seated on the throne of their own soul." 1
Although every scruple of due weight may be given to the force of Memory, to the possible existence of a Secret Tradition, and to the world-wide influence of Freemasonry; yet these causes are alone not adequate to account for the
phenomena of Symbolism.
There are manifold problems in Literature' that are insoluble except by the supposition that the mind is at times an instrument played upon by the fingers of an Unseen Force. "When I sit down to write my book," said CHARLES DICKENS, "some beneficent power shows it all to me and tempts me to be interested, and I don't invent-really do not-but see it and write it down." Dickens, like most other imaginative artists, is said to have declared that every word uttered by his characters was distinctly heard by him before it was written down. Yet, on the
other hand, he averred: "I work slowly and with great care, and never give way to my invention recklessly, but constantly restrain it." We have it on the authority of MILTON that the Muse" dictated" to him his" unpremeditated song." W AGNER was astonished at the gulf existing between his intuition and his reason, i.e. between his inspiration as an artist and. his intellectual ideas as a philosopher. "Seldom perhaps," he writes in this con/ Page 361 /
nection, " have a man's ideas and intuitions been at such marvellous variance as mine." 1 In his essay on The Oversoul, EMERSON says, cc I am a pensioner; not a cause, but a surprised spectator of this ethereal water; I desire and look up, and put myself in the attitude of reception, but from some alien energy the visions come."
It is curious that Etymology, unable to account for the curiously fluctuating and seemingly whimsical variations of speech, is now perplexedly falling back upon old and discarded ideas. The author of The English Language,2 published only just recently, writes: "When the early physicists became aware of forces they could not understand, they tried to escape their difficulty by personifying the laws of nature and inventing' spirits' that controlled material phenomena.. The student of language, in the presence of the mysterious power which creates and changes language, has been compelled to adopt this medireval procedure, and has vaguely defined, by the name of 'the Genius of the Language,' the power that guides and controls its progress. If we ask ourselves who are the ministers of this power, and whence its decrees derive their binding
force, we cannot find any definite answer to our question. It is not the grammarians or philologists who form or carry out its decisions; for the philologists disclaim all responsibility, and the schoolmasters and grammarians generally oppose, and fight bitterly, but in vain) against the new developments. We can, perhaps find its nearest analogy in what among social insects, we call, for lack of a more scientific name, 'the Spirit of the Hive.' This' spirit,' in societies of bees, is supposed to direct their labours on a fixed plan) with intelligent consideration of needs and opportunities; and although proceeding from no fixed / Page 362 /
authority, it is yet operative in each member of the community. And so in each one of us the Genius of the Language finds an instrument for the carrying out of its decrees."
The' Brahmins in the Hymns of the Veda raised Language to a Divine rank, as they did all things that they were unable to explain. They addressed hymns to
'Her in which she is said to have been with the Gods from the beginning, achieving the most wonderful things, and never revealed to man except in part. It is impossible to fix the exact number of known languages, but they number, it is supposed, not less than nine hundred. When we consider that the myriads and myriads of human aspirations and ideas are all microscopically expressed by the mere permutations of some two dozen elementary sounds, the results without question are not far distant from the miraculous.
The present is a period :when the walls of matter are crumbling momentarily down and the Fairy-land of Electricity, Radium, Rontgen Rays, Wireless Telegraphy, Gramophones, Cinematographs, and other scientific wonders, is becoming a reality. I believe with MILTON in the Fairies and that
"Millions of spiritual beings walk this earth,
Unseen, both when we wake and when we sleep."
I believe with Sir THOMAS BROWNE that " We do surely owe the discovery of many secrets to the discovery of good and bad angels, and I do think that many mysteries ascribed to our own inventions have been the courteous revelations of spirits; for these noble essences in; Heaven bear a friendly regard unto their fellow natures on earth." 1
I am in sympathy with the poet who wrote :/ Page 363 /
"Verily I was wrong,
And verily many thinkers of this age;
Ay, many Christian teachers, half in heaven, Are wrong in just my sense who understood Our natural world too insularly, as if
No spiritual counterpart completed it, Consummating its meaning, rounding all,
To justice and perfection, line by line,
Form by form, nothing single nor alone;
.!he great below clenched by the great above, Shade here, authenticating substance - there, The body proving spirit, as the effect,
The cause : we meantime being too grossly apt To hold the natural as dogs a bone,
(Though Reason and Nature beat us in the face) So obstinately that we'll break our teeth
Or ever we let go, For everywhere
We're too materialistic. . . . ay, materialist The age's name is. God himself with' some
Is apprehended as the bare result
Of what his hand materially has made."1
1 E. B. Browning, Aurora Lelg.;
Page 349 Notes 1 2 Esdras xv. 26. 2 Bk. vi. cap. ii. 3 I Corinthians ii. 7.
Page 350 Note 1 Ecce Deus
Page 351 Note Christian Symbolism, xv
Page 353 Notes
1 Runo, iii. 7, 14.
2 Tradition always maintained the existence of buried cities at HERCULANEUM and POMPEII, but the idea was long ridiculed by scientists as a vulgar superstition.
Page 354 Notes 1 " That such a people existed and spoke such a tongue is an inference of comparative philology, the process of reasoning being analogous to that followed in the kindred science of geology. The geologist, interpreting the inscriptions written by the finger of Nature herself upon the rock-tablets of the earth's strata, carries us back myriads of ages .before man appeared on the scene at all, and enables us to be present, as it were, at creation itself, and see one formation laid above another, and one plant or animal succeed another. Now languages are to the ethnologist what strata are in geology ; dead languages have been well called his fossils and petrifactions. By skilful interpretation of their indications, aided by the light of all other available monuments, he is able to spell out, with more or less probability, the ethnical records of the past, and thus obtain a glimpse here and there into the grey cloud that rests over the dawn of ages."-Article "Aryans," Chamber's Encyclopaedia,
Page 355 Note 1 Italics mine.
Page 356 Note 1 Renouf, Hibbert Lectures, pp. 91, 132. 2 Trench.
Page 357 Note 1 Dr Andrew Lang, M.A
Page 358 Note 1 Sayee, Principles of Comparative Philology, Preface.
Page 360 Note 1 A Prelude to Poetry.
Page 361 Notes 1 Cleather and Crump, Rt"n{J of the Nt"belung, pp. 127, 153. 2 Logan Pearsall Smith, M.A. VOL. 11.
Page 362 Note 1 Religio Medici.
Page 364
APPENDIX
THE LETTERS OF THE LATIN ALPHABET AS SEEMINGLY UNDERSTOOD BY THE MYSTICS
A = A cone) mountain) or pyramid) the Primal Cause.
B = The Feeder (?).
C = The crescent moon) the Great Mother) the Sea.
D = The Brilliant.
E = The letter of Apollo or the Sun) as at DELPHI.
F = The Fire or Life. '
G = The Self-Existent.
H = Twin pillars) the Aged and Immutable Gateway or Door. I = The" Holy One)" the Pole or Axis of the Universe.
L = God or Power.
M = When angular;) twin' mountain-peaks; when cursive) the
waves of the sea or the undulations of a serpent.
O = The Sun disc) the perfect One) the Pearl of Price.
P = A Shepherd's crook.
R = A Shepherd's crook.
S = A twisted serpent.
T = A hammer) or twin axes.
U = JUPITER'S Chain.
V = Twin rays.
W = Gel11ini) The Twins.
X = The.Cross of Lux.
Y = The Three in One) the Great Unit.
Z = The zigzags of the Lightning Flash.
Page 365
APPENDIX
A SUMMARY OF THE PRIMITIVE ROOTS USED IN THE FOREGOING PAGES
P or B
OP = hoop or eye, as in hoop, optics.
P A =.Father, as in pa, pater, parent.
T or D
OT = hot, as in hot.
D I = brilliant, as in DIANA, diamond, etc., and Sanscrit dyu, DY AUS.
CH or J
AJ = aged, as in age.
J A, IA, or Y A = ever-existent, as in JAH, JEHOVAH, JAHWE.
K or G
AK = great or mighty, as in KARNAK, CARNAC, Zodiac.
L
EL = God or Powcr, as Semitic
EL. LA = "That which has existed for ever."
MOM = Sun, as in Hindoo OM or AUM.
MA = Mother, as in ma, mama, matcr.
N
ON = onE, as in one.
NE = born of, as in French ne (I have not made any use of this root, which is seemingly apparent in ne, natal, navel, naitre, natus, naissance nascence) nucleus, new (or just born)) and Noel, the Birth of God).
R
UR = Fire and Light, as in Semitic ur.
RA = The Sun-God Ra or Re-fundamentally ur A) the Fiery A./ Page / 366
S or Z and SH or ZH
ES = essence or light, as in esse, to he.
ZE = Fire and Lift, as in ZEUS, Zoology, Zodiac.
F or V
EF = Life, as in EVE, alive, and ivy.
FI = Life and Fire, as in feu and vie.
Images of The Pleiades Constellation Denisovans
The Pleiades , also known as the Seven Sisters and Messier 45, is an asterism of an open star cluster containing middle-aged, hot B-type stars in the northwest of the constellation Taurus. At a distance of about 444 light-years, it is among the nearest star clusters to Earth and the nearest Messier object to Earth, being the most obvious star cluster to the naked eye in the night sky. It is also observed t…Wikipedia
Images of The Pleiades Constellation Denisovans
The Pleiades , also known as the Seven Sisters and Messier 45, is an asterism of an open star cluster containing middle-aged, hot B-type stars in the northwest of the constellation Taurus. At a distance of about 444 light-years, it is among the nearest star clusters to Earth and the nearest Messier object to Earth, being the most obvious star cluster to the naked eye in the night sky. It is also observed t…Wikipedia
Discover the mysterious Denisovans, an ancient human species that interbred with us and left traces in our DNA.
AND DNA AND DNA AND DNA AND DNA AND
10 |
CODE DE CODE |
67 |
13 |
4 |
|
C+O |
18 |
9 |
|
|
D+E |
9 |
9 |
|
|
D+E |
9 |
9 |
|
|
C+O |
18 |
9 |
|
|
D+E |
9 |
9 |
|
10 |
CODE DE CODE |
63 |
36 |
36 |
1+0 |
- |
6+3 |
3+6 |
3+6 |
1 |
CODE DE CODE |
9 |
9 |
9 |
1 |
I |
9 |
9 |
9 |
3 |
SAY |
45 |
9 |
9 |
7 |
DECODER |
54 |
36 |
9 |
6 |
DECODE |
36 |
27 |
9 |
4 |
CODE |
27 |
18 |
9 |
21 |
- |
171 |
99 |
45 |
2+1 |
- |
1+7+1 |
9+9 |
4+5 |
3 |
- |
9 |
18 |
9 |
- |
- |
- |
1+8 |
- |
- |
- |
9 |
9 |
9 |
- |
- |
- |
- |
- |
5 |
CODED |
31 |
22 |
4 |
5 |
CODES |
46 |
19 |
1 |
- |
CODE |
|
|
- |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
- |
DECODE |
|
|
- |
2 |
D+E |
9 |
9 |
9 |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
- |
DECODER |
|
|
- |
2 |
D+E |
9 |
9 |
9 |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
1 |
R |
18 |
9 |
9 |
CODE DE CODE
C+O D+E D+E C+O D+E
9+9+9+9+9
C+O D+E D+E C+O D+E
CODE DE CODE
DENISOVAN
DENISOVAN STAR TRAILS, ARCHAIC MEMORY OF THE PLEIADES
Denisovan Star Trails: Archaic Memory Of The Pleiades In The …
Graham Hancock Official Website
Denisovan Star Trails: Archaic Memory Of The Pleiades In The World’s First Story. Alistair Coombs outlines the freshest findings in the archaeo-scientific record on human evolution, and maps these with indigenous histories and star lore.
Note from The Editor
Since the writing of this article, two pronouncements from within the academic realm that are relevant to what is written by the author here have been made. First, the official death of ‘Clovis First’ and the ascent of the maritime ‘Kelp Highway’ model for …
A Door to The Past
Nuances arising out of contemporary research of the human genome begin to sound esoteric. Archives of ancient DNA teased out of fossils …
Migrations of The Denisovans
It is thought that the footloose tribes who once inhabited Denisova Cave diffused eastward to North America via the Bering Strait and southeastward to Melanesia and Australia via the …
Who Were The Denisovans of The Altai?
The big bang of evolutionary anthropology, known as “Out of Africa,” has the earliest humans migrating out of the mother continent in two major waves. The first of these has relatives of …
Denisovans: Face of long-lost human relative unveiled - BBC
WEBSep 19, 2019 · DNA shows cave girl was half Neanderthal. Primitive humans lived at high altitudes. The reconstructions offer the first glimpse of what the Denisovan looked like.
Images of The Pleiades Denisovan
DENISOVANS
THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY
THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE
AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED
THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF
THE
ALPHABET
IS
GIVEN
A
NUMERICAL
VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS
REARRANGING THEM IN ENDLESS CONFIGURATIONS
THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
LIGHT AND LIFE
Lars Olof Bjorn 1976
Page197
BY
WRITING
THE
26
LETTERS
OF
THE ENGLISH ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE
THE
MAGIKALALPHABET
ROOT
VALUE OF THE WORDS
I = 9 9 = I
ME = 9 9 = ME
EGO = 9 9 = EGO
CONSCIENCE = 9 9 = CONSCIENCE
DIVINE = 9 9 = DIVINE
THOUGHT = 9 9 = THOUGHT
OUR = 9 9 = OUR
LOVE = 9 9 = LOVE
REAL = 9 9 = REAL
REALITY = 9 9 = REALITY
SUN = 9 9 = SUN
EARTH = 7 7 = EARTH
MOON = 3 3 = MOON
JUPITER = 9 9 = JUPITER
MAGNETIC = 9 9 = MAGNETIC
FIELD = 9 9 = FIELD
PHYSICS = 9 9 = PHYSICS
ORIONIS = 9 9 = ORIONIS ASCENSION = 9
9 = ASCENSION ORIONIS = 9 9 = ORIONIS
973 GOD OF NAMES 99 NAMES OF GOD = 9 9 9 9 = GOD
OF NAMES 99 NAMES OF GOD 973
HEAVEN
THE
KINGDOM OF EVEN
I
ME
LIVING
MAGNETISM
POSITIVE + NEGATIVE
ISISIS MAAT IS IS MAAT ISISIS
I AM THAT EYE THAT EYE THAT AM I
I AM DROWNING ALWAYS DROWNING AM I
HAIL THE JEWEL AT THE CENTRE OF THE LOTUS
1818 ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ 8181
ONE EIGHT THREE SIX 1836 ISISIS 6381 SIX THREE EIGHT ONE
X X X 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 X X X 9 + 8 + 7 + 6 + 5 + 4 + 3 + 2 + 1 X X X
ABCDEFGHIJKLMNOPQRSTUVWXYZ 9 9 9 ZYXWVUTSRQPONMLKJIHGFEDCBA
ISISIS LOVE LOVE ISISIS ISISIS LIGHT 999 LOVE 999 LIGHT SISISI SISISI LOVE LOVE ISISIS
JUST SIX NUMBERS
Martin Rees
1
999
OUR COSMIC HABITAT
PLANETS STARS AND LIFE
Page 24
A
proton
is
1,836 times heavier than an electron, and the number 1,836
would have the same connotations to any 'intelligence'
YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY
DO HAVE A PLEASANT JOURNEY DO
8 |
QUO VADIS |
108 |
36 |
9 |
6 |
VOX POP |
108 |
36 |
9 |
11 |
SORROW |
108 |
36 |
9 |
8 |
INSTINCT |
108 |
36 |
9 |
11 |
DESCENDANTS |
108 |
36 |
9 |
8 |
STARTING |
108 |
36 |
9 |
9 |
NARRATIVE |
108 |
36 |
9 |
9 |
SEQUENCES |
108 |
36 |
9 |
9 |
COMPLETES |
108 |
36 |
9 |
9 |
AMBIGUOUS |
108 |
36 |
9 |
7 |
JOURNEY |
108 |
36 |
9 |
THE MAGIC MOUNTAIN
Thomas Mann
1875-1955
Page 417
"I preach mathematics."
I |
= |
9 |
- |
1 |
I |
9 |
9 |
9 |
S |
= |
1 |
- |
6 |
PREACH |
51 |
33 |
6 |
R |
= |
9 |
- |
11 |
MATHEMATICS |
112 |
40 |
4 |
- |
- |
19 |
- |
18 |
First Total |
|
|
|
- |
- |
1+9 |
- |
1+8 |
Add to Reduce |
1+7+2 |
9+1 |
1+9 |
Q |
- |
10 |
- |
9 |
Second Total |
10 |
10 |
10 |
- |
- |
1+0 |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
Q |
- |
1 |
- |
9 |
Essence of Number |
1 |
1 |
1 |
SUN EARTH MOON
JUST SIX NUMBERS
Martin Rees
1
999
OUR COSMIC HABITAT I
PLANETS STARS AND LIFE
Page 24
"A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "
Page 24 / 25
"A manifestly artificial signal- even if it were as boring as lists of prime numbers, or the digits of 'pi' - would imply that 'intelli- gence' wasn't unique to the Earth and had evolved elsewhere. The nearest potential sites are so far away that signals would take many years in transit. For this reason alone, transmission would be primarily one-way. There would be time to send a measured response, but no scope for quick repartee!
Any remote beings who could communicate with us would have some concepts of mathematics and logic that paralleled our own. And they would also share a knowledge of the basic particles and forces that govern our universe. Their habitat may be very different (and the biosphere even more different) from ours here on Earth; but they, and their planet, would be made of atoms just like those on Earth. For them, as for us, the most important particles would be protons and electrons: one electron orbiting a proton makes a hydrogen atom, and electric currents and radio transmitters involve streams of electrons. A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' able and motivated to transmit radio signals. All the basic forces and natural laws would be the same. Indeed, this uniformity - without which our universe would be a far more baffling place - seems to extend to the remotest galaxies that astronomers can study. (Later chapters in this book will, however, speculate about other 'universes', forever beyond range of our telescopes, where different laws may prevail.)
Clearly, alien beings wouldn't use metres, kilograms or seconds. But we could exchange information about the ratios of two masses (such as thc ratio of proton and electron masses) or of two lengths, which are 'pure numbers' that don't depend on what units are used: the statement that one rod is ten times as long as another is true (or false) whether we measure lengths / in feet or metres or some alien units"
"A proton is
1,836 times heavier than an electron, and the number 1,836
would have the same connotations to any 'intelligence'"
E |
= |
5 |
- |
8 |
EIGHTEEN |
73 |
46 |
1 |
T |
= |
2 |
- |
9 |
THIRTYSIX |
152 |
53 |
8 |
- |
- |
|
|
17 |
First Total |
|
|
|
- |
- |
|
- |
1+7 |
Add to Reduce |
2+2+5 |
9+9 |
|
Q |
- |
|
- |
|
Second Total |
|
|
|
- |
- |
|
- |
1+7 |
Reduce to Deduce |
- |
1+8 |
|
Q |
- |
|
- |
|
Essence of Number |
|
|
|
- |
LOVE EVOLVE LOVE |
- |
- |
- |
4 |
|
54 |
18 |
|
6 |
|
81 |
27 |
|
4 |
|
54 |
18 |
|
14 |
LOVE EVOLVE LOVE |
|
|
|
1+4 |
- |
1+8+9 |
6+3 |
2+7 |
|
|
|
|
|
- |
- |
1+8 |
- |
- |
|
|
|
|
|
WHAT IS LOVE
?
LOVELESS HEARTS SHALL LOVE
TOMORROW, HEARTS THAT HAVE
LOVED SHALL LOVE ANEW,
SPRING IS YOUNG NOW, SPRING
IS SINGING, IN THE SPRING
THE WORLD FIRST GREW.
Anonymous – Latin about 4th century
- |
LOVE EVOLVE LOVE |
- |
- |
- |
2 |
|
27 |
9 |
|
2 |
|
27 |
9 |
|
2 |
|
27 |
9 |
|
2 |
|
27 |
9 |
|
2 |
|
27 |
9 |
|
2 |
|
27 |
9 |
|
2 |
|
27 |
9 |
|
14 |
LOVE EVOLVE LOVE |
|
|
|
1+4 |
- |
1+8+9 |
6+3 |
6+3 |
|
|
|
|
|
- |
- |
1+8 |
- |
- |
|
|
|
|
|
- |
LOVE EVOLVE LOVE |
- |
- |
- |
- |
LOVE |
- |
- |
- |
2 |
|
27 |
9 |
|
2 |
|
27 |
9 |
|
- |
LOVE |
- |
- |
- |
- |
EVOLVE |
- |
- |
- |
2 |
|
27 |
9 |
|
2 |
|
27 |
9 |
|
2 |
|
27 |
9 |
|
- |
EVOLVE |
- |
- |
- |
- |
LOVE |
- |
- |
- |
2 |
|
27 |
9 |
|
2 |
|
27 |
9 |
|
- |
LOVE |
- |
- |
- |
14 |
LOVE EVOLVE LOVE |
|
|
|
1+4 |
- |
1+8+9 |
6+3 |
6+3 |
|
|
|
|
|
- |
- |
1+8 |
- |
- |
|
|
|
|
|
|
|
|
|
- |
LOVE EVOLVE LOVE |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
6 |
|
81 |
27 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
1+6 |
2+0 |
1+8 |
|
|
|
|
= |
5 |
|
6 |
|
81 |
27 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
|
14 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
1+4 |
|
1+8+9 |
6+3 |
6+3 |
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
5 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+8 |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
LOVE EVOLVE LOVE |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
6 |
|
81 |
27 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
1+6 |
2+0 |
1+8 |
|
|
|
|
= |
5 |
|
6 |
|
81 |
27 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
|
14 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
1+4 |
|
1+8+9 |
6+3 |
6+3 |
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
5 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+8 |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
LOVE EVOLVE LOVE |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
6 |
|
81 |
27 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
1+6 |
2+0 |
1+8 |
|
|
|
|
= |
5 |
|
6 |
|
81 |
27 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
|
14 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
1+4 |
|
1+8+9 |
6+3 |
6+3 |
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
5 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+8 |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
LOVE EVOLVE LOVE |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
6 |
|
81 |
27 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
3 |
|
1 |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
4 |
|
1 |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
5 |
|
1 |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
= |
6 |
|
1 |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
7 |
8 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
1+6 |
2+0 |
1+8 |
|
|
|
|
= |
5 |
|
6 |
|
81 |
27 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
4 |
|
54 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
|
14 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
1+4 |
|
1+8+9 |
6+3 |
6+3 |
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
5 |
LOVE EVOLVE LOVE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+8 |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
THEN WE ALL STARTED SINGING LOOK AT THE FIVES LOOK AT THE FIVES LOOK
AT
THE FIVES THE FIVES THE FIVES
AND
THEN LO AND BEHOLD YOU GOT THE MESSAGE
AND
YOU STARTED TO LAUGH AND SING
AND
SUDDENLY
OUT
OF
NOTHINGNESS
WOWEEWOW
WE WERE ALL LAUGHING SINGING AND DANCING
WOW O WOW
NOW WE KNOW KNOW WE NOW
IF THAT ISN'T INNER MAGIC FOR YOU WHAT IS
MARKS THAT 5 FIVE 5 THAT MARKS
NEVEREVERENDINGLOVEEVOLVE
N |
= |
5 |
- |
5 |
NEVER |
64 |
28 |
1 |
E |
= |
5 |
- |
4 |
EVER |
50 |
23 |
5 |
E |
= |
5 |
- |
6 |
ENDING |
53 |
35 |
8 |
L |
= |
3 |
- |
4 |
LOVE |
54 |
18 |
9 |
E |
= |
5 |
- |
6 |
EVOLVE |
81 |
27 |
9 |
B |
- |
23 |
|
25 |
Add to Reduce |
|
|
|
- |
- |
2+3 |
- |
2+5 |
Reduce to Deduce |
3+0+2 |
6+2 |
3+2 |
- |
- |
5 |
- |
7 |
Essence of Number |
|
|
|
N |
= |
5 |
- |
5 |
NEVER |
64 |
28 |
1 |
E |
= |
5 |
- |
4 |
EVER |
50 |
23 |
5 |
E |
= |
5 |
- |
6 |
ENDING |
53 |
35 |
8 |
L |
= |
3 |
- |
4 |
LOVE |
54 |
18 |
9 |
E |
= |
5 |
- |
6 |
EVOLVE |
81 |
27 |
9 |
B |
- |
23 |
|
25 |
|
|
|
|
- |
- |
2+3 |
- |
2+5 |
- |
3+0+2 |
1+3+1 |
3+2 |
- |
- |
5 |
- |
7 |
- |
|
|
|
LOOK AT THE FIVES LOOK AT THE FIVES LOOK
AT
THE FIVES THE FIVES THE FIVES
|
= |
5 |
|
|
5 |
NEVER |
64 |
28 |
1 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
4 |
EVER |
50 |
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
ENDING |
53 |
35 |
8 |
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
|
4 |
LOVE |
54 |
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
EVOLVE |
81 |
27 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
23 |
|
|
25 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
NEVER |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
4 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
7 |
|
|
- |
|
7 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
|
|
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
5 |
NEVER |
64 |
28 |
1 |
|
|
|
|
2+4 |
5+5 |
1+2 |
|
|
2+7 |
|
= |
5 |
|
|
4 |
EVER |
50 |
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
ENDING |
53 |
35 |
8 |
|
|
|
|
|
1+0 |
|
|
|
|
|
= |
3 |
|
|
4 |
LOVE |
54 |
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
EVOLVE |
81 |
27 |
9 |
|
|
|
|
|
|
|
|
|
|
- |
- |
32 |
|
|
25 |
Add to Reduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+2 |
5+5 |
|
2+5 |
Reduce to Deduce |
3+0+2 |
1+3+1 |
3+2 |
|
|
|
|
|
|
|
|
|
|
- |
- |
5 |
|
|
7 |
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
NEVEREVERENDINGLOVEEVOLVE
|
= |
5 |
|
|
5 |
NEVER |
64 |
28 |
1 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
4 |
EVER |
50 |
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
ENDING |
53 |
35 |
8 |
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
|
4 |
LOVE |
54 |
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
EVOLVE |
81 |
27 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
23 |
|
|
25 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
4 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
9 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
7 |
|
|
- |
|
7 |
7 |
7 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
6 |
|
|
- |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
6 |
|
|
|
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
5 |
NEVER |
64 |
28 |
1 |
|
|
|
|
2+4 |
5+5 |
1+2 |
|
|
2+7 |
|
= |
5 |
|
|
4 |
EVER |
50 |
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
ENDING |
53 |
35 |
8 |
|
|
|
|
|
1+0 |
|
|
|
|
|
= |
3 |
|
|
4 |
LOVE |
54 |
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
EVOLVE |
81 |
27 |
9 |
|
|
|
|
|
|
|
|
|
|
- |
- |
32 |
|
|
25 |
Add to Reduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+2 |
5+5 |
|
2+5 |
Reduce to Deduce |
3+0+2 |
1+3+1 |
3+2 |
|
|
|
|
|
|
|
|
|
|
- |
- |
5 |
|
|
7 |
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
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 |
|
|
5 |
NEVER |
64 |
28 |
1 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
4 |
EVER |
50 |
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
ENDING |
53 |
35 |
8 |
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
|
4 |
LOVE |
54 |
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
EVOLVE |
81 |
27 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
23 |
|
|
25 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
4 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
6 |
|
|
- |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
6 |
|
|
|
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
7 |
|
|
- |
|
7 |
7 |
7 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
9 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
5 |
NEVER |
64 |
28 |
1 |
|
|
|
|
2+4 |
5+5 |
1+2 |
|
|
2+7 |
|
= |
5 |
|
|
4 |
EVER |
50 |
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
ENDING |
53 |
35 |
8 |
|
|
|
|
|
1+0 |
|
|
|
|
|
= |
3 |
|
|
4 |
LOVE |
54 |
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
EVOLVE |
81 |
27 |
9 |
|
|
|
|
|
|
|
|
|
|
- |
- |
32 |
|
|
25 |
Add to Reduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+2 |
5+5 |
|
2+5 |
Reduce to Deduce |
3+0+2 |
1+3+1 |
3+2 |
|
|
|
|
|
|
|
|
|
|
- |
- |
5 |
|
|
7 |
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
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 |
|
|
5 |
NEVER |
64 |
28 |
1 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
4 |
EVER |
50 |
23 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
ENDING |
53 |
35 |
8 |
|
|
|
|
|
|
|
|
= |
3 |
|
|
4 |
LOVE |
54 |
18 |
9 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
EVOLVE |
81 |
27 |
9 |
|
|
|
|
|
|
|
|
|
23 |
|
|
25 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
|
|
|
|
|
|
|
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
4 |
4 |
4 |
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
= |
6 |
|
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
= |
6 |
|
|
|
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
= |
7 |
|
|
- |
|
7 |
7 |
7 |
|
|
|
|
|
|
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
= |
9 |
|
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
5 |
NEVER |
64 |
28 |
1 |
|
|
2+4 |
5+5 |
1+2 |
|
2+7 |
|
= |
5 |
|
|
4 |
EVER |
50 |
23 |
5 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
ENDING |
53 |
35 |
8 |
|
|
|
1+0 |
|
|
|
|
= |
3 |
|
|
4 |
LOVE |
54 |
18 |
9 |
|
|
|
|
|
|
|
|
= |
5 |
|
|
6 |
EVOLVE |
81 |
27 |
9 |
|
|
|
|
|
|
|
- |
- |
32 |
|
|
25 |
Add to Reduce |
|
|
|
|
|
|
|
|
|
|
|
|
3+2 |
5+5 |
|
2+5 |
Reduce to Deduce |
3+0+2 |
1+3+1 |
3+2 |
|
|
|
|
|
|
|
- |
- |
5 |
|
|
7 |
Essence of Number |
|
|
|
|
|
|
|
|
|
|
LOOK AT THE FIVES LOOK AT THE FIVES LOOK
AT
THE FIVES THE FIVES THE FIVES
NEVEREVERENDINGLOVEEVOLVE
MARKS THAT 5 FIVE 5 THAT MARKS
55V5R5V5R55DI5GLOV55VOLV5
11 x 5 = 55 = 5 x 11
55
5+5
10
1+0
1
MARKS THAT 9 NINE 9 THAT MARKS
N |
= |
5 |
- |
5 |
NEVER |
64 |
28 |
1 |
E |
= |
5 |
- |
4 |
EVER |
50 |
23 |
5 |
E |
= |
5 |
- |
6 |
ENDING |
53 |
35 |
8 |
L |
= |
3 |
- |
4 |
LOVE |
54 |
18 |
9 |
E |
= |
5 |
- |
6 |
EVOLVE |
81 |
27 |
9 |
B |
- |
23 |
|
25 |
Add to Reduce |
|
|
|
- |
- |
2+3 |
- |
2+5 |
Reduce to Deduce |
3+0+2 |
6+2 |
3+2 |
- |
- |
5 |
- |
7 |
Essence of Number |
|
|
|
The Winnowing - Wikipedia
en.wikipedia.org › wiki › The_Winnowing
"The Winnowing" is a science fiction short story by American writer Isaac Asimov. The story was written at the request of William Levinson, editor of the US ...
"The Winnowing" is a science fiction short story by American writer Isaac Asimov. The story was written at the request of William Levinson, editor of the US publication Physician's World, but when the latter ceased publication, the story was returned to the author, who then sold it to Analog. It appeared in the February 1976 edition.
Plot summary?[edit]
In the year 2005, the world's population of six billion is suffering from acute famine. The World Food Organization decides on desperate measures to decrease the population by a process of triage. They propose to do this by adding selective poisons to certain food shipments to grossly over-populated areas.
They attempt to blackmail biochemist Dr. Aaron Rodman into cooperating with their scheme (threatening to withhold food rations from his daughter's family if he doesn't comply), proposing to utilise his development of LP - a lipoprotein which when incorporated into foods will cause random deaths.
The scheme is planned but Rodman is unwilling to go along with it. At a meeting between him and senior government officials and members of the World Food Council, he provides sandwiches laced with the LP as refreshment, so that they will die at random, just as they had planned for so many others. He carefully matches the LP in the sandwiches (which he also eats) to his own metabolism, so that he will die quickly and not be guilty of involvement in the scheme.
Winnowing - Wikipedia
en.wikipedia.org › wiki › Winnowing
Winnowing is a process by which chaff is separated from grain. It can also be used to remove pests from stored grain. Winnowing usually follows threshing in ...This article is about the agricultural method. For other uses, see Winnow (algorithm) and Winnowing (disambiguation).
Not to be confused with Windrowing.
Winnowing is a process by which chaff is separated from grain. It can also be used to remove pests from stored grain. Winnowing usually follows threshing in grain preparation. In its simplest form, it involves throwing the mixture into the air so that the wind blows away the lighter chaff, while the heavier grains fall back down for recovery. Techniques included using a winnowing fan (a shaped basket shaken to raise the chaff) or using a tool (a winnowing fork or shovel) on a pile of harvested grain"
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
W |
= |
5 |
- |
9 |
WINNOWING |
128 |
56 |
2 |
- |
- |
7 |
- |
12 |
Add to Reduce |
|
|
|
- |
- |
- |
- |
1+2 |
Reduce to Deduce |
1+6+1 |
7+1 |
- |
- |
- |
7 |
- |
|
Essence of Number |
|
|
|
- |
- |
- |
- |
- |
THE WINNOWING |
- |
- |
- |
-3 |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
W |
= |
5 |
- |
9 |
WINNOWING |
128 |
56 |
2 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
9 |
- |
12 |
THE WINNOWING |
|
|
|
-3 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
THE |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
T |
= |
2 |
1 |
1 |
T |
20 |
2 |
2 |
- |
- |
2 |
- |
- |
- |
- |
- |
- |
- |
H |
= |
8 |
2 |
1 |
H |
8 |
8 |
8 |
- |
- |
- |
- |
- |
- |
- |
- |
8 |
- |
E |
= |
5 |
3 |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
- |
5 |
- |
- |
- |
- |
- |
- |
15 |
- |
3 |
THE |
33 |
15 |
15 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
WINNOWING |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
W |
= |
5 |
4 |
1 |
W |
23 |
5 |
5 |
- |
- |
- |
- |
- |
5 |
- |
- |
- |
- |
I |
= |
9 |
5 |
1 |
I |
9 |
9 |
9 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
9 |
N |
= |
5 |
6 |
1 |
N |
14 |
5 |
5 |
- |
- |
- |
- |
- |
5 |
- |
- |
- |
- |
N |
= |
5 |
7 |
1 |
N |
14 |
5 |
5 |
- |
- |
- |
- |
- |
5 |
- |
- |
- |
- |
O |
= |
6 |
8 |
1 |
O |
15 |
6 |
6 |
- |
- |
- |
- |
- |
- |
6 |
- |
- |
- |
W |
= |
5 |
9 |
1 |
W |
23 |
5 |
5 |
- |
- |
- |
- |
- |
5 |
- |
- |
- |
- |
I |
= |
9 |
10 |
1 |
I |
9 |
9 |
9 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
9 |
N |
= |
5 |
11 |
1 |
N |
14 |
5 |
5 |
- |
- |
- |
- |
- |
5 |
- |
- |
- |
- |
G |
= |
7 |
12 |
1 |
G |
7 |
7 |
7 |
- |
- |
- |
- |
- |
- |
- |
7 |
- |
- |
- |
- |
47 |
- |
9 |
WINNOWING |
128 |
56 |
56 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
30 |
|
|
|
18 |
- |
- |
- |
- |
- |
THE WINNOWING |
- |
- |
- |
- |
- |
- |
- |
- |
3+0 |
- |
- |
- |
1+8 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
|
|
|
|
|
|
|
|
|
W |
= |
5 |
- |
9 |
WINNOWING |
128 |
56 |
2 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
7 |
- |
12 |
THE WINNOWING |
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1+2 |
- |
1+6+1 |
7+1 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
7 |
- |
|
THE WINNOWING |
|
|
|
- |
|
|
|
|
|
|
|
|
|
SORTING THE WHEAT FROM THE CHAFF
- |
- |
- |
- |
- |
THE WINNOWING |
- |
- |
- |
-3 |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
W |
= |
5 |
- |
9 |
WINNOWING |
128 |
56 |
2 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
9 |
- |
12 |
THE WINNOWING |
|
|
|
-3 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
1 |
1 |
T |
20 |
2 |
2 |
- |
1 |
2 |
3 |
4 |
- |
- |
- |
- |
- |
H |
= |
8 |
2 |
1 |
H |
8 |
8 |
8 |
- |
1 |
- |
3 |
4 |
- |
- |
- |
8 |
- |
E |
= |
5 |
3 |
1 |
E |
5 |
5 |
5 |
- |
1 |
- |
3 |
4 |
5 |
- |
- |
- |
- |
W |
= |
5 |
4 |
1 |
W |
23 |
5 |
5 |
- |
1 |
- |
3 |
4 |
5 |
- |
- |
- |
- |
I |
= |
9 |
5 |
1 |
I |
9 |
9 |
9 |
- |
1 |
- |
3 |
4 |
- |
- |
- |
- |
9 |
N |
= |
5 |
6 |
1 |
N |
14 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
N |
= |
5 |
7 |
1 |
N |
14 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
O |
= |
6 |
8 |
1 |
O |
15 |
6 |
6 |
- |
1 |
- |
3 |
1 |
- |
6 |
- |
- |
- |
W |
= |
5 |
9 |
1 |
W |
23 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
I |
= |
9 |
10 |
1 |
I |
9 |
9 |
9 |
- |
1 |
- |
3 |
1 |
- |
- |
- |
- |
9 |
N |
= |
5 |
11 |
1 |
N |
14 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
G |
= |
7 |
12 |
1 |
G |
7 |
7 |
7 |
- |
1 |
- |
3 |
1 |
- |
- |
7 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
30 |
|
|
|
18 |
- |
- |
- |
- |
- |
THE WINNOWING |
- |
- |
- |
- |
- |
- |
- |
- |
3+0 |
- |
- |
- |
1+8 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
|
|
|
|
|
|
|
|
|
W |
= |
5 |
- |
9 |
WINNOWING |
128 |
56 |
2 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
7 |
- |
12 |
THE WINNOWING |
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1+2 |
- |
1+6+1 |
7+1 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
7 |
- |
|
THE WINNOWING |
|
|
|
- |
|
|
|
|
|
|
|
|
|
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
- |
- |
- |
- |
- |
THE WINNOWING |
- |
- |
- |
-3 |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
W |
= |
5 |
- |
9 |
WINNOWING |
128 |
56 |
2 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
9 |
- |
12 |
THE WINNOWING |
|
|
|
-3 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
1 |
1 |
T |
20 |
2 |
2 |
- |
1 |
2 |
3 |
4 |
- |
- |
- |
- |
- |
E |
= |
5 |
3 |
1 |
E |
5 |
5 |
5 |
- |
1 |
- |
3 |
4 |
5 |
- |
- |
- |
- |
W |
= |
5 |
4 |
1 |
W |
23 |
5 |
5 |
- |
1 |
- |
3 |
4 |
5 |
- |
- |
- |
- |
N |
= |
5 |
6 |
1 |
N |
14 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
N |
= |
5 |
7 |
1 |
N |
14 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
W |
= |
5 |
9 |
1 |
W |
23 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
N |
= |
5 |
11 |
1 |
N |
14 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
O |
= |
6 |
8 |
1 |
O |
15 |
6 |
6 |
- |
1 |
- |
3 |
1 |
- |
6 |
- |
- |
- |
G |
= |
7 |
12 |
1 |
G |
7 |
7 |
7 |
- |
1 |
- |
3 |
1 |
- |
- |
7 |
- |
- |
H |
= |
8 |
2 |
1 |
H |
8 |
8 |
8 |
- |
1 |
- |
3 |
4 |
- |
- |
- |
8 |
- |
I |
= |
9 |
5 |
1 |
I |
9 |
9 |
9 |
- |
1 |
- |
3 |
4 |
- |
- |
- |
- |
9 |
I |
= |
9 |
10 |
1 |
I |
9 |
9 |
9 |
- |
1 |
- |
3 |
1 |
- |
- |
- |
- |
9 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
30 |
|
|
|
18 |
- |
- |
- |
- |
- |
THE WINNOWING |
- |
- |
- |
- |
- |
- |
- |
- |
3+0 |
- |
- |
- |
1+8 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
|
|
|
|
|
|
|
|
|
W |
= |
5 |
- |
9 |
WINNOWING |
128 |
56 |
2 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
7 |
- |
12 |
THE WINNOWING |
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1+2 |
- |
1+6+1 |
7+1 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
7 |
- |
|
THE WINNOWING |
|
|
|
- |
|
|
|
|
|
|
|
|
|
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
- |
- |
- |
- |
- |
THE WINNOWING |
- |
- |
- |
-3 |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
W |
= |
5 |
- |
9 |
WINNOWING |
128 |
56 |
2 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
9 |
- |
12 |
THE WINNOWING |
|
|
|
-3 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
1 |
1 |
T |
20 |
2 |
2 |
- |
1 |
2 |
3 |
4 |
- |
- |
- |
- |
- |
E |
= |
5 |
3 |
1 |
E |
5 |
5 |
5 |
- |
1 |
- |
3 |
4 |
5 |
- |
- |
- |
- |
W |
= |
5 |
4 |
1 |
W |
23 |
5 |
5 |
- |
1 |
- |
3 |
4 |
5 |
- |
- |
- |
- |
N |
= |
5 |
6 |
1 |
N |
14 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
N |
= |
5 |
7 |
1 |
N |
14 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
W |
= |
5 |
9 |
1 |
W |
23 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
N |
= |
5 |
11 |
1 |
N |
14 |
5 |
5 |
- |
1 |
- |
3 |
1 |
5 |
- |
- |
- |
- |
O |
= |
6 |
8 |
1 |
O |
15 |
6 |
6 |
- |
1 |
- |
3 |
1 |
- |
6 |
- |
- |
- |
G |
= |
7 |
12 |
1 |
G |
7 |
7 |
7 |
- |
1 |
- |
3 |
1 |
- |
- |
7 |
- |
- |
H |
= |
8 |
2 |
1 |
H |
8 |
8 |
8 |
- |
1 |
- |
3 |
4 |
- |
- |
- |
8 |
- |
I |
= |
9 |
5 |
1 |
I |
9 |
9 |
9 |
- |
1 |
- |
3 |
4 |
- |
- |
- |
- |
9 |
I |
= |
9 |
10 |
1 |
I |
9 |
9 |
9 |
- |
1 |
- |
3 |
1 |
- |
- |
- |
- |
9 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
30 |
|
|
|
18 |
- |
- |
- |
- |
- |
THE WINNOWING |
- |
- |
- |
- |
- |
- |
- |
- |
3+0 |
- |
- |
- |
1+8 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
|
|
|
|
|
|
|
|
|
W |
= |
5 |
- |
9 |
WINNOWING |
128 |
56 |
2 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
7 |
- |
12 |
THE WINNOWING |
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1+2 |
- |
1+6+1 |
7+1 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
7 |
- |
|
THE WINNOWING |
|
|
|
- |
|
|
|
|
|
|
|
|
|
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
Jeremiah 15:7
Verse Concepts
“I will winnow them with a winnowing fork
At the gates of the land;
I will bereave them of children, I will destroy My people;
They did not repent of their ways.
Matthew 3:12
His winnowing fork is in His hand, and He will thoroughly clear His threshing floor; and He will gather His wheat into the barn, but He will burn up the chaff with unquenchable fire.”
Luke 3:17
His winnowing fork is in His hand to thoroughly clear His threshing floor, and to gather the wheat into His barn; but He will burn up the chaff with unquenchable fire.”
Proverbs 20:8
A king who sits on the throne of justice
Disperses all evil with his eyes.
Isaiah 41:16
“You will winnow them, and the wind will carry them away,
And the storm will scatter them;
But you will rejoice in the Lord,
You will glory in the Holy One of Israel.
8 Bible Verses about Winnowing
Most Relevant Verses
Ruth 3:2
Now is not Boaz our kinsman, with whose maids you were? Behold, he winnows barley at the threshing floor tonight.
Jeremiah 4:11
In that time it will be said to this people and to Jerusalem, “A scorching wind from the bare heights in the wilderness in the direction of the daughter of My people—not to winnow and not to cleanse,
Jeremiah 51:2
“I will dispatch foreigners to Babylon that they may winnow her
And may devastate her land;
For on every side they will be opposed to her
In the day of her calamity.
CORN = 50 = CORN
CORN = 5 = CORN
What is CORN in the King James Bible? - Christian Answers
christiananswers.net › dictionary › corn
At the time the King James Bible was translated, the word “corn” meant grain ... thus translated (bar; i.e., “winnowed”) means grain separated from chaff.
The wheat when first thrashed lies in one heap with chaff and straw, and is after winnowed to separate it; so the faithful are mixed up in one Church with the unfaithful; but persecution comes as a wind, that, tossed by Christ's fan, they whose hearts were separate before, may be also now separated in place.The wheat when first thrashed lies in one heap with chaff and straw, and is after winnowed to separate it; so the faithful are mixed up in one Church with the unfaithful; but persecution comes as a wind, that, tossed by Christ's fan, they whose hearts were separate before, may be also now separated in place.
From Wikipedia, the free encyclopedia
Matthew 3:12
? 3:11
3:13 ?
Jean-François Millet (II) 008.jpg
Jean-François Millet's depiction of winnowing
Book
Gospel of Matthew
Christian Bible part
New Testament
Matthew 3:12 is the twelfth verse of the third chapter of the Gospel of Matthew in the New Testament. The verse occurs in the section relating the preachings of John the Baptist. In this he uses the imagery of harvesting wheat to describe God's judgement.
In the King James Version of the Bible the text reads:
Whose fan is in his hand, and he will thoroughly purge his floor,and gather his wheat into the garner; but he will burn up the chaff with unquenchable fire.
The World English Bible translates the passage as:
His winnowing fork is in hishand, and he will thoroughly cleanse his threshing floor. He will gather his wheat into the barn, but the chaff he will burn up with unquenchable fire."
For a collection of other versions see BibleHub Matthew 3:12
Analysis?[edit]
A winnowing fork
This verse describes wind winnowing, the period's standard process for separating the wheat from the chaff. Ptyon, the word translated as winnowing fork in the World English Bible is a tool similar to a pitchfork that would be used to lift harvested wheat up into the air into the wind. The wind would then blow away the lighter chaff allowing the edible grains to fall to the threshing floor, a large flat surface. The unneeded chaff would then be burned. As with the axe already placed against the tree in the preceding verse, the winnowing fork is already in hand, emphasizing the nearness of judgement.[1]
Winnowing forks, generally made of wood, were common at the time, and several dating from this period have been found. Modern scholars mostly agree that the term "winnowing fork" is the most accurate but older versions have fan, shovel, broom, and other translations. In the Eastern Orthodox church the word was most often interpreted as broom and a common icon shows Christ holding a broom.
In this verse John the Baptist is still assumed to be addressing the Pharisees and Sadducees. The eschatological imagery is quite clear. The wheat represents those who are truly repentant, the chaff those like the Pharisees and Sadducees who are not. The messiah will clear the world, and those that are worthy would be brought into his "barn" while those that were unworthy will burn in unquenchable fire. France notes that unquenchable is in no way a synonym for eternal and that no doctrine of eternal damnation for the wicked should be read into this passage.[2]
What is the meaning of chaff in the Bible? - GotQuestions.org
www.gotquestions.org › Content Index › Topical › Topical: Analogies
4 Jan 2022 · Separating the worthless chaff from the valuable grain was a ready symbol for separating good from evil or showing the difference between God's ...
The wheat when first thrashed lies in one heap with chaff and straw, and is after winnowed to separate it; so the faithful are mixed up in one Church with the unfaithful; but persecution comes as a wind, that, tossed by Christ's fan, they whose hearts were separate before, may be also now separated in place.
W |
= |
5 |
9 |
WINNOWING |
128 |
56 |
2 |
+ |
- |
+ |
+ |
+ |
+ |
+ |
+ |
S |
= |
1 |
10 |
SEPARATING |
110 |
56 |
2 |
T |
= |
2 |
3 |
THE |
33 |
15 |
6 |
W |
= |
5 |
5 |
WHEAT |
57 |
21 |
3 |
F |
= |
6 |
4 |
FROM |
52 |
25 |
7 |
T |
= |
2 |
3 |
THE |
33 |
15 |
6 |
C |
= |
3 |
5 |
CHAFF |
24 |
15 |
6 |
|
|
24 |
39 |
First Total |
|
|
|
|
|
2+4 |
4+6 |
Add to Reduce |
4+3+7 |
2+0+3 |
3+2 |
|
|
|
|
Second Total |
|
|
|
|
|
|
1+0 |
Reduce to Deduce |
1+4 |
|
|
|
|
|
|
Essence of Number |
|
|
|
ME
LIVING
MAGNETISM
POSITIVE + NEGATIVE
ISISIS MAAT IS IS MAAT ISISIS
I AM THAT EYE THAT EYE THAT AM I
I AM DROWNING ALWAYS DROWNING AM I
HAIL THE JEWEL AT THE CENTRE OF THE LOTUS
1818 ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ 8181
ONE EIGHT THREE SIX 1836 ISISIS 6381 SIX THREE EIGHT ONE
X X X 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 X X X 9 + 8 + 7 + 6 + 5 + 4 + 3 + 2 + 1 X X X
ABCDEFGHIJKLMNOPQRSTUVWXYZ 9 9 9 ZYXWVUTSRQPONMLKJIHGFEDCBA
ISISIS LOVE LOVE ISISIS ISISIS LIGHT 999 LOVE 999 LIGHT SISISI SISISI LOVE LOVE ISISIS
THE TIME THAT IS COMING NOW IS
In geometry, an enneagram is a nine-pointed geometric figure. The term derives from two Greek words - ennea (nine) and grammos (something written or drawn). ... en.wikipedia.org/wiki/Enneagram
ENNEAGRAM
In Geometry an enneagram is a nine-pointed geometric figure. The term derives from two Greek words - ennea (nine) and grammos (something written or drawn).
The Enneagram
An Adventure in Self Discovery
The Enneagram and its implications for study of self and personal growth.
www.ennea.com
The Enneagram of Holy Ideas
The transmitted view of the Enneagram is that each ennea-type fixation is the expression of a limited mental perspective on reality, and that each of the ... www.ahalmaas.com/Extracts/facets.htm
3 |
THE |
33 |
15 |
6 |
5 |
ENNEA |
39 |
21 |
3 |
|
Add to Reduce |
|
|
|
- |
Reduce to Deduce |
7+2 |
3+6 |
- |
|
Essence of Number |
|
|
|
3 |
THE |
33 |
15 |
6 |
5 |
ENNEA |
39 |
21 |
3 |
|
|
|
|
|
ENNEAD |
|
|
- |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
|
|
|
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
2 |
A+D |
5 |
5 |
5 |
|
|
|
- |
|
|
|
|
|
- |
- |
- |
|
- |
|
4+3 |
2+5 |
2+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
THE |
|
|
- |
|
|
|
|
|
ENNEAD |
|
|
- |
- |
- |
- |
- |
2 |
T+H |
28 |
10 |
1 |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
T |
= |
|
|
- |
THE |
|
|
- |
|
|
|
|
- |
ENNEAD |
|
|
- |
|
|
|
|
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
|
|
|
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
2 |
A+D |
5 |
5 |
5 |
|
|
|
|
|
THE |
|
|
- |
|
|
|
- |
|
|
|
|
|
- |
- |
- |
|
- |
|
7+6 |
4+0 |
3+1 |
- |
- |
|
|
|
|
|
|
|
|
|
- |
|
- |
|
1+3 |
- |
- |
|
|
|
|
|
|
|
|
|
R |
= |
9 |
6 |
RE ATUM |
78 |
24 |
6 |
|
1 |
S |
= |
1 |
3 |
SHU |
48 |
12 |
3 |
|
2 |
T |
= |
2 |
6 |
TEFNUT |
86 |
23 |
5 |
|
3 |
G |
= |
7 |
3 |
GEB |
14 |
14 |
5 |
|
4 |
N |
= |
5 |
3 |
NUT |
55 |
10 |
1 |
|
5 |
O |
= |
6 |
6 |
OSIRIS |
89 |
35 |
8 |
|
6 |
I |
= |
9 |
4 |
ISIS |
56 |
20 |
2 |
|
7 |
S |
= |
1 |
3 |
SET |
44 |
8 |
8 |
|
8 |
N |
= |
5 |
8 |
NEPHTHYS |
115 |
43 |
7 |
|
9 |
- |
- |
|
|
First Total |
|
|
|
- |
|
- |
- |
4+5 |
|
Add to Reduce |
5+8+5 |
1+8+9 |
4+5 |
- |
4+5 |
|
|
|
|
Second Total |
|
|
|
|
|
- |
- |
|
|
Reduce to Deduce |
1+8 |
1+8 |
- |
|
- |
- |
- |
|
|
Essence of Number |
|
|
|
|
|
THE
LIVING GODS ENERGIES GODS LIVING
DIVINE THOUGHT THOUGHT DIVINE
THE
CREATORS
R LIGHT PERFECT CREATORS I ME I ME I CREATORS PERFECT LIGHT R
|
|
|
|
|
ENNEA |
|
|
- |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
|
|
|
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
1 |
A |
1 |
1 |
1 |
|
|
|
- |
|
|
|
|
|
- |
- |
- |
|
- |
|
3+9 |
2+1 |
2+1 |
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
- |
|
1+2 |
- |
- |
|
|
|
|
|
|
|
|
|
FINGERPRINTS OF THE GODS
Graham Hancock 1995
Chapter Nineteen
Page 153 1 + 5 + 3 = 9
"In Egypt's early dynastic period, more than 4500 years ago, an 'Ennead' of nine omnipotent deities was particularly adored by the priesthood at Heliopolis. 5 Likewise in central America both the Aztecs and the Mayas believed in an all-powerful system of nine deities."
E |
= |
|
|
- |
ENNEAD |
- |
- |
- |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
|
- |
|
|
1 |
N |
14 |
5 |
5 |
|
|
|
|
1 |
E |
5 |
5 |
5 |
- |
|
- |
- |
2 |
A+D |
5 |
5 |
5 |
E |
= |
|
|
6 |
ENNEAD |
43 |
25 |
25 |
- |
- |
- |
- |
- |
- |
4+3 |
2+5 |
2+5 |
E |
= |
|
|
6 |
ENNEAD |
7 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
25 |
|
6 |
ENNEAD |
43 |
25 |
25 |
|
|
|
|
|
20 |
|
|
|
|
|
|
2+5 |
|
- |
- |
4+3 |
2+5 |
2+5 |
|
|
|
|
|
2+0 |
|
|
|
|
|
|
7 |
|
6 |
ENNEAD |
7 |
7 |
7 |
|
|
|
|
|
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
25 |
|
6 |
ENNEAD |
43 |
25 |
25 |
|
|
|
|
|
20 |
|
|
|
|
|
|
2+5 |
|
- |
- |
4+3 |
2+5 |
2+5 |
|
|
|
|
|
2+0 |
|
|
|
|
|
|
7 |
|
6 |
ENNEAD |
7 |
7 |
7 |
|
|
|
|
|
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
|
|
|
|
|
|
|
|
|
|
1 |
|
14 |
|
|
|
|
|
|
|
|
|
|
1 |
|
14 |
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
1 |
|
4 |
4 |
|
|
|
|
|
|
|
25 |
|
6 |
ENNEAD |
43 |
25 |
25 |
|
|
|
20 |
|
|
2+5 |
|
- |
- |
4+3 |
2+5 |
2+5 |
|
|
|
2+0 |
|
|
7 |
|
6 |
ENNEAD |
7 |
7 |
7 |
|
|
|
2 |
|
|
33 |
15 |
|
|
|
66 |
30 |
|
9 |
First Total |
99 |
45 |
45 |
- |
Add to Reduce |
9+9 |
4+5 |
4+5 |
9 |
Second Total |
18 |
9 |
9 |
- |
Reduce to Deduce |
1+8 |
|
|
9 |
Essence of Number |
9 |
|
|
|
|
- |
- |
- |
|
|
- |
- |
- |
|
|
20 |
2 |
|
|
H |
8 |
8 |
|
|
|
5 |
5 |
|
|
|
- |
- |
- |
|
F |
6 |
6 |
|
- |
A |
1 |
1 |
1 |
|
|
13 |
4 |
|
|
I |
9 |
9 |
|
|
|
12 |
3 |
|
- |
Y |
25 |
7 |
7 |
|
|
- |
- |
- |
9 |
Add to Reduce |
99 |
45 |
45 |
- |
Reduce to Deduce |
9+9 |
4+5 |
4+5 |
9 |
Essence of Number |
18 |
9 |
9 |
Shakespeare Quotes - Such Stuff as Dreams Are Made on.
www.enotes.com/shakespeare-quotes/we-such-stuff-dreams-made
The Tempest Act 4, scene 1, William Shakespeare
Prospero:
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.
2 |
WE |
28 |
10 |
1 |
3 |
ARE |
24 |
15 |
6 |
4 |
SUCH |
51 |
15 |
6 |
5 |
STUFF |
72 |
18 |
9 |
2 |
AS |
20 |
2 |
2 |
6 |
DREAMS |
60 |
24 |
6 |
3 |
ARE |
24 |
15 |
6 |
4 |
MADE |
23 |
14 |
5 |
2 |
ON |
29 |
11 |
2 |
3 |
AND |
19 |
10 |
1 |
3 |
OUR |
54 |
18 |
9 |
4 |
LITTLE |
78 |
24 |
6 |
4 |
LIFE |
32 |
23 |
5 |
2 |
IS |
28 |
10 |
1 |
7 |
ROUNDED |
81 |
36 |
9 |
4 |
WITH |
60 |
24 |
6 |
1 |
A |
1 |
1 |
1 |
5 |
SLEEP |
57 |
21 |
3 |
|
First Total |
|
|
|
6+6 |
Add to Reduce |
7+4+1 |
2+9+1 |
8+4 |
|
Second Total |
|
|
|
1+2 |
Reduce to Deduce |
1+2 |
1+2 |
1+2 |
|
Essence of Number |
|
|
|
THE ELEMENTS OF THE GODDESS
Caitlin Matthews 1989
Page38
"This ennead of aspects is endlessly adaptable for it is made up of nine, the most adjustable and yet essentially unchanging number. However one chooses to add up multiples of nine, for example 54, 72, 108, they always add up to nine"
THE MAN WHO LOVED ONLY NUMBERS
Paul Hoffman
1
999
Page 217
"Mathematicians in India in the sixth century had developed a place value system and introduced the concept of a zero to keep their symbols in their proper places. Thus a 1 with an 0 after it, or 10, is a very different number from a 1 alone. Erdos, who always joked that he was old and stupid, said the Indians were very clever, not just in their discovery of zero, but in their choice of similar- sounding Hindi words for stupid person (buddhu) and old person (buddha).
In the seventh century, Hindu scholars introduced Islam to the Indian number scene, and the ideas of zero / Page 216 ( omitted) and place value spread rapidly throughout the Arabic world. Six centuries later, Fibonacci was so impressed with the ease of the Hindu-Arabic numerals that he wanted to make Pisan merchants aware of them. In 1202, he wrote Liber abaci (Book of the Abacus), which, despite the title had little to do with the Abacus and a lot to do with liberating computations from the yoke of Roman numerals. The book seems quaint from the vantage point of the twentieth century, because it explains what we take for granted.
"The nine Indian figures are: 9 8 7 6 5 4 3 2 1 , and with the sign Zero. . . any number can be written."
THE ROOTS OF COINCIDENCE
Arthur Koestler 1972
Page 88
"Euclidian geometries, invented by earlier mathematicians more or less as a game, provided the basis for his relativistic cosmology
Another great physicist whose thoughts moved in a similar direction was Wolfgang Pauli.
At the end of the 1932 conference on nuclear physics in Copenhagen the participants, as was their custom on these occasions, performed a skit full of that quantum humour of which we have already had a few samples. In that particular year they produced a parody of Goethe's Faust, in which Wolfgang Pauli was cast in the role of Mephistopheles; his Gretchen was the neutrino, whose existence Pauli had predicted, but which had not yet been discovered.
MEPHISTOPHELES
(to Faust):
Beware, beware, of Reason and of Science
Man's highest powers, unholy in alliance.
You'll let yourself, through dazzling witchcraft yield
To weird temptations of the quantum field.
Enter Gretchen; she sings to Faust. Melody: "Gretchen at the Spinning Wheel" by Schubert.
GRETCHEN:
My rest-mass is zero
My charge is the same
You are my hero
Neutrino's my name."
|
|
|
|
|
|
|
14 |
5 |
|
|
|
5 |
5 |
|
|
|
41 |
5 |
|
|
|
18 |
9 |
|
|
|
9 |
9 |
|
|
|
14 |
5 |
|
|
|
34 |
16 |
|
|
NEUTRINOS |
|
|
|
|
|
1+1+7 |
5+4 |
4+5 |
|
-NEUTRINOS |
|
|
|
|
- |
|
|
|
|
-NEUTRINOS |
|
|
|
DOCTOR FAUSTUS
Thomas Mann 1933
THE MASTER AND MARGARITA
Mikhail Bulgakov
1977 Edition
Page 352
"Don Quixote or a Faust, or , devil take me, a dead Souls! Eh?"
Page 360
'You and I speak different languages as usual,'
"Spirit of evil"
Page 399
"He became pope in 999 under the name of Sylvester II"
THE MASTER AND MARGARITA
Mikhail Bulgakov
1977 Edition
BOOK ONE
'who are you, then?'
'I am part of that power which eternally will evil and eternally works good.'
GOETHE
CIRCLE = 50 = CIRCLE
CIRCLE = 5 = CIRCLE
BALANCING ALWAYS IS IS ALWAYS BALANCING
ONE TWO THREE FOUR 5 SIX SEVEN EIGHT NINE
NINE EIGHT SEVEN SIX 5 FOUR THREE TWE ONE
ALWAYS BALANCING IS IS BALANCING ALWAYS
GO DO GOOD GOD AND GODDESS ISISIS GODDESS AND GOD GOOD DO GO
GODDESS AND GOD GO DO GOOD ISISIS GOOD DO GO GOD AND GODDESS
PERFECT CREATIVITY DIVINE THOUGHT GODS THOUGHT DIVINE CREATIVITY PERFECT
THE MASTER AND MARGARITA
Mikhail Bulgakov
1977 Edition
THE EXTRACTION OF THE MASTER
CHAPTER 24
Page 276
"the cat"
"the cat"
"The cat"
Page 277
"the cat"
"the cat"
"the cat"
"the cat"
"the cat"
"the cat"
"History will judge"
THE NINE LIVES OF A CAT OF NINE TAILS
THE MASTER AND MARGARITA
Mikhail Bulgakov
1977 Edition
koroviev's stunts
CHAPTER 9
Page 99
"no. 50"
"five"
"five"
"five"
"five"
Page 250
'For someone well aquainted with the fifth dimension,"
"fifth dimension,"
"fifth dimension,"
"You must agree that that makes five""
Page 251
"five"
"fifth dimension,"
"fifth dimension,"
"to business, to business,"
THE MASTER AND MARGARITA
Mikhail Bulgakov
1977 Edition
BOOK ONE
'who are you, then?'
'I am part of that power which eternally will evil and eternally works good.'
GOETHE
“Who are you, then?"
"I am part of that power which eternally will evil and eternally works good.”
― Johann Wolfgang von Goethe, Faust
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
46 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
24 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
61 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
4 |
|
47 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+5 |
|
1+3 |
Add to Reduce |
1+7+8 |
7+0 |
1+6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce to Deduce |
1+6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
55 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
|
2 |
|
21 |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
49 |
13 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
77 |
32 |
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
5 |
|
51 |
33 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
|
112 |
40 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
56 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
4 |
|
48 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
|
112 |
40 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
86 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
|
4 |
|
41 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7+0 |
|
6+1 |
Add to Reduce |
7+5+0 |
3+0+0 |
5+7 |
|
|
|
|
1+2 |
2+0 |
|
|
|
|
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce to Deduce |
1+2 |
|
1+2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
Mephistopheles - Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Mephistopheles
Mephistopheles (/ˌmɛfɪˈstɒfɪˌliːz/, German pronunciation: ... Mephistopheles is also featured as the lead antagonist in Goethe's Faust, and in the ...
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
13 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
P |
|
7 |
|
1 |
P |
16 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
H |
|
|
|
1 |
H |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
I |
|
|
|
1 |
I |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
S |
|
1 |
|
1 |
S |
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
O |
|
|
|
1 |
O |
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
P |
|
7 |
|
1 |
P |
16 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
H |
|
|
|
1 |
H |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
12 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
S |
|
1 |
|
1 |
S |
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
|
170 |
71 |
71 |
|
|
|
|
|
15 |
|
14 |
16 |
|
|
|
7+1 |
|
1+4 |
|
1+7+0 |
7+1 |
7+1 |
|
|
|
|
|
1+5 |
|
1+4 |
1+6 |
|
|
|
|
|
5 |
|
8 |
8 |
8 |
|
|
|
|
|
6 |
|
5 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
S |
|
1 |
|
1 |
S |
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
S |
|
1 |
|
1 |
S |
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
12 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
13 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
O |
|
|
|
1 |
O |
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
P |
|
7 |
|
1 |
P |
16 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
P |
|
7 |
|
1 |
P |
16 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
H |
|
|
|
1 |
H |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
H |
|
|
|
1 |
H |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
I |
|
|
|
1 |
I |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
|
170 |
71 |
71 |
|
|
|
|
|
15 |
|
14 |
16 |
|
|
|
7+1 |
|
1+4 |
|
1+7+0 |
7+1 |
7+1 |
|
|
|
|
|
1+5 |
|
1+4 |
1+6 |
|
|
|
|
|
5 |
|
8 |
8 |
8 |
|
|
|
|
|
6 |
|
5 |
7 |
|
BHAGAVAD GITA
chapter 11, verses 31-33
“Tell me who you are?”
“I am come as time, the waster of the peoples ready for the hour that ripens to their ruin.”
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
49 |
13 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
46 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
61 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
24 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+9 |
|
1+5 |
Add to Reduce |
1+9+8 |
7+2 |
2+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+0 |
|
|
Reduce to Deduce |
1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
36 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
2 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
47 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+6 |
|
1+3 |
Add to Reduce |
1+2+6 |
5+4 |
2+7 |
|
|
|
|
|
|
|
|
|
1+8 |
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce to Deduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
|
86 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
21 |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
|
7 |
|
88 |
34 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2+2 |
|
2+1 |
Add to Reduce |
2+6+1 |
9+9 |
2+7 |
|
|
|
|
|
|
1+2 |
|
|
|
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce to Deduce |
|
1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
53 |
26 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
|
39 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
62 |
26 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
49 |
13 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
81 |
36 |
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
5 |
|
35 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
60 |
33 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
|
62 |
26 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5+3 |
|
3+6 |
Add to Reduce |
4+7+4 |
2+0+4 |
6+0 |
|
|
|
|
|
|
1+2 |
|
3+2 |
|
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce to Deduce |
1+5 |
1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
|
43 |
25 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
5 |
|
38 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
|
129 |
48 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
21 |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
6 |
|
91 |
28 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+3 |
|
3+4 |
Add to Reduce |
3+7+8 |
1+6+2 |
3+6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce to Deduce |
1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
3 |
|
33 |
15 |
|
|
|
|
- |
5 |
|
59 |
32 |
|
|
|
|
|
7 |
|
77 |
32 |
|
|
|
|
- |
6 |
|
76 |
22 |
|
|
|
|
- |
6 |
|
88 |
25 |
|
|
|
|
- |
|
First Total |
|
|
|
|
|
1+9 |
- |
2+7 |
Add to Reduce |
3+3+3 |
1+2+6 |
2+7 |
|
|
10 |
- |
9 |
Second Total |
|
|
|
|
|
1+0 |
|
|
Reduce to Deduce |
|
|
|
|
|
1 |
- |
|
Essence of Number |
|
|
|
10 |
CODE DE CODE |
67 |
13 |
4 |
|
C+O |
18 |
9 |
|
|
D+E |
9 |
9 |
|
|
D+E |
9 |
9 |
|
|
C+O |
18 |
9 |
|
|
D+E |
9 |
9 |
|
10 |
CODE DE CODE |
63 |
36 |
36 |
1+0 |
- |
6+3 |
3+6 |
3+6 |
1 |
CODE DE CODE |
9 |
9 |
9 |
1 |
I |
9 |
9 |
9 |
3 |
SAY |
45 |
9 |
9 |
7 |
DECODER |
54 |
36 |
9 |
6 |
DECODE |
36 |
27 |
9 |
4 |
CODE |
27 |
18 |
9 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
5 |
CODED |
31 |
22 |
4 |
5 |
CODES |
46 |
19 |
1 |
- |
CODE |
|
|
- |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
- |
DECODE |
|
|
- |
2 |
D+E |
9 |
9 |
9 |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
- |
DECODER |
|
|
- |
2 |
D+E |
9 |
9 |
9 |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
1 |
R |
18 |
9 |
9 |
CODE DE CODE
C+O D+E D+E C+O D+E
9+9+9+9+9
C+O D+E D+E C+O D+E
CODE DE CODE
THE SCULPTURE OF VIBRATIONS 1971
" The word "energy" was first used in the scientific sense of mechanical or electrical energy in the 1800s.
ENERGY ENERGIES ENERGISE ENERGISES ENERGISED ENERGISING
ENERGY ENERGIES ENERGISE ENERGISES ENERGISED ENERGISING
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
- |
- |
|
- |
50 |
First Total |
|
|
|
- |
- |
3+0 |
- |
|
Add to Reduce |
5+3+2 |
3+4+3 |
1+9 |
- |
- |
|
- |
|
Second Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
- |
- |
|
- |
|
Essence of
Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
|
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
50 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
38 |
|
6 |
|
74 |
38 |
38 |
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
46 |
|
8 |
|
82 |
55 |
46 |
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
16 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
17 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
19 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
20 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
21 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
22 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
46 |
|
8 |
|
82 |
55 |
46 |
|
|
|
|
|
|
|
|
|
|
|
|
|
23 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
25 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
26 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
27 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
28 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
29 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
30 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
31 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
47 |
|
9 |
|
101 |
65 |
47 |
|
|
|
|
|
|
|
|
|
|
|
|
|
32 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
33 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
34 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
35 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
36 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
37 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
38 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
39 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 |
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
50 |
|
9 |
|
86 |
59 |
50 |
|
|
|
|
|
|
|
|
|
|
|
|
|
41 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
42 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
43 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
44 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
45 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
46 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
47 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
48 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
49 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
50 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
50 |
|
10 |
|
107 |
71 |
62 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
|
|
|
|
|
1+1+5 |
|
5+6 |
|
1+0+8 |
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
|
|
|
|
|
|
|
1+1 |
|
|
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
|
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
50 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+0 |
- |
|
Add to Reduce |
5+3+2 |
3+4+3 |
1+9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
|
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
50 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
16 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
17 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
19 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
20 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
21 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
22 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
23 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
25 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
26 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
27 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
28 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
29 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
30 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
31 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
33 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
34 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
35 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
36 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
37 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
38 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
39 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 |
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
41 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
42 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
43 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
44 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
45 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
46 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
47 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
48 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
49 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
50 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
|
|
|
|
|
1+1+5 |
|
5+6 |
|
1+0+8 |
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
|
|
|
|
|
|
|
1+1 |
|
|
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
|
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
50 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+0 |
- |
|
Add to Reduce |
5+3+2 |
3+4+3 |
1+9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
ENERGYENERGIESENERGISEENERGISESENERGISEDENERGISING
LOOK AT THE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
5 x 23 = 115
TRANSPOSED LETTERS REARRANGED IN NUMERICAL ORDER
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
|
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
50 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
21 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
31 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
29 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
38 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
47 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 |
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
16 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
17 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
22 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
23 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
25 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
30 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
33 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
34 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
39 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
41 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
42 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
43 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
49 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
19 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
27 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
36 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
45 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
50 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
20 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
26 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
28 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
35 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
37 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
44 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
46 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
48 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
|
|
|
|
|
1+1+5 |
|
5+6 |
|
1+0+8 |
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
|
|
|
|
|
|
|
1+1 |
|
|
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
|
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
50 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+0 |
- |
|
Add to Reduce |
5+3+2 |
3+4+3 |
1+9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
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 23 = 115
the letter E
According to the data, the most common letter in the English language is the letter E. E typically takes first place regardless of which analysis method is used.
What's The Most Common Letter Used In English?
Thesaurus.com
https://www.thesaurus.com › ways-to-say › most-commo...
Letter Frequencies in the English Language
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
|
|
|
|
|
|
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
|
|
|
|
|
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
|
|
|
|
|
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
|
|
|
|
|
|
- |
- |
|
- |
50 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
21 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
31 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
29 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
38 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
47 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
40 |
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
15 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
16 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
17 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
22 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
23 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
24 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
25 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
30 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
32 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
33 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
34 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
39 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
41 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
42 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
43 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
49 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
19 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
27 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
36 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
45 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
50 |
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
18 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
20 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
26 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
28 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
35 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
37 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
44 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
46 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
48 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
|
|
|
|
|
|
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
|
|
|
1+1+5 |
5+6 |
1+0+8 |
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
|
|
|
|
|
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
|
|
|
|
1+1 |
|
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
|
|
|
|
|
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
|
|
|
|
|
|
- |
- |
|
- |
50 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
3+0 |
- |
|
Add to Reduce |
5+3+2 |
3+4+3 |
1+9 |
|
|
|
|
|
|
|
|
|
- |
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
- |
|
Essence of Number |
|
|
|
|
|
|
|
|
|
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
" The word "energy" was first used in the scientific sense of mechanical or electrical energy in the 1800s.
ENERGY ENERGIES ENERGISE ENERGISES ENERGISED ENERGISING
ENERG+Y ENERGIES ENERGISE ENERGISES ENERGISE+D ENERGISING
ENERGY ENERGIES ENERGISE ENERGISES ENERGISED ENERGISING
555RGY 555RGI5S 555RGIS5 555RGIS5S 555RGIS5D 555RGISI5G
ENERGY ENERGIES ENERGISE ENERGISES ENERGISED ENERGISING
Everything Is Energy and Science Has Proved It – Here Is How ...
https://www.learning-mind.com › Food for thought
14 Sep 2018 - Many spiritual traditions have viewed everything in the universe as part of an interconnected web of energy. ... Basically, there was a widespread belief that everything is energy or at least that a consciousness flows through everything. ... Quantum physics proves that solid matter does ...
“If quantum mechanics hasn’t profoundly shocked you, you haven’t understood it yet. Everything we call real is made of things that cannot be regarded as real.”
– Niels Bohr
energy' related words: work vitality electricity [598 more]
relatedwords.org › relatedto › energy
Words Related to energy According to the algorithm that drives this word similarity engine, the top 5 related words for "energy" are: kinetic energy, work, radiant energy, vitality, and electricity.
Energy is from energos, an ancient Greek word that means "active or working.
|
= |
5 |
|
|
|
|
|
|
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
14 |
5 |
5 |
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
18 |
9 |
9 |
- |
- |
- |
- |
2 |
|
7 |
7 |
7 |
- |
- |
- |
- |
1 |
|
15 |
6 |
6 |
- |
- |
- |
- |
1 |
|
19 |
10 |
1 |
|
= |
5 |
- |
7 |
|
|
|
|
- |
|
- |
- |
|
|
8+3 |
4+7 |
3+8 |
|
= |
5 |
|
7 |
|
|
|
|
- |
|
- |
- |
|
|
1+1 |
1+1 |
1+1 |
|
= |
5 |
|
7 |
|
|
|
|
Energy is from energos, an ancient Greek word that means "active or working.
|
= |
5 |
|
|
|
|
|
|
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
14 |
5 |
5 |
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
18 |
9 |
9 |
- |
- |
- |
- |
2 |
|
41 |
14 |
5 |
|
= |
5 |
- |
7 |
|
|
|
|
- |
|
- |
- |
|
|
8+3 |
4+7 |
3+8 |
|
= |
5 |
|
7 |
|
|
|
|
- |
|
- |
- |
|
|
1+1 |
1+1 |
1+1 |
|
= |
5 |
|
7 |
|
|
|
|
|
= |
5 |
|
|
|
|
|
|
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
14 |
5 |
5 |
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
18 |
9 |
9 |
- |
- |
- |
- |
2 |
|
32 |
14 |
5 |
|
= |
5 |
- |
6 |
|
|
|
|
- |
|
- |
- |
|
|
7+4 |
3+8 |
2+9 |
|
= |
5 |
|
|
|
|
|
|
- |
|
- |
- |
|
|
1+1 |
1+1 |
1+1 |
|
= |
5 |
|
|
|
|
|
|
ENERGY ENERGY ENERGY
ENERGY ENERG+Y ENERGY
ENERGY ENER7+7 ENERGY
55595 5559 555595
ENERGY ENER7+7 ENERGY
ENERGY ENERG+Y ENERGY
ENER GY ENER G+Y ENER GY
ENERGY ENERGY ENERGY
|
= |
5 |
|
|
|
|
|
|
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
14 |
5 |
5 |
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
50 |
23 |
5 |
|
= |
5 |
- |
6 |
|
|
|
|
- |
|
- |
- |
|
|
7+4 |
3+8 |
2+0 |
|
= |
5 |
|
|
|
|
|
|
- |
|
- |
- |
|
|
1+1 |
1+1 |
- |
|
= |
5 |
|
|
|
|
|
|
sun
energy
energy
energy
energy
energy
energy
energy
energy
energy
energy
rrrraaaaaaaahhhhhhhhhhhhhhhh!
OBJECTIVE REALITY
poems and essays by
lloyd c.daniel1985
|
= |
5 |
|
|
|
|
|
|
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
14 |
5 |
5 |
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
50 |
23 |
5 |
|
= |
5 |
- |
6 |
|
|
|
|
- |
|
- |
- |
|
|
7+4 |
3+8 |
2+0 |
|
= |
5 |
|
|
|
|
|
|
- |
|
- |
- |
|
|
1+1 |
1+1 |
- |
|
= |
5 |
|
|
|
|
|
|
SUN
ENERGY
ENERGY
ENERGY
ENERGY
ENERGY
ENERGY
ENERGY
ENERGY
ENERGY
ENERGY
RRRRAAAAAAAAHHHHHHHHHHHHHHHH!
ENERGY ENERGY ENERGY
ENERGY ENER G+Y ENERGY
ENERGY ENERGY ENERGY
|
= |
5 |
|
|
|
|
|
|
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
14 |
5 |
5 |
- |
- |
- |
- |
1 |
|
5 |
5 |
5 |
- |
- |
- |
- |
1 |
|
50 |
23 |
5 |
|
= |
5 |
- |
6 |
|
|
|
|
- |
|
- |
- |
|
|
7+4 |
3+8 |
2+0 |
|
= |
5 |
|
|
|
|
|
|
- |
|
- |
- |
|
|
1+1 |
1+1 |
- |
|
= |
5 |
|
|
|
|
|
|
ENERGY ENER G+Y ENERGY
ENERGY ENERG+Y ENERGY
ENERGY ENER7+7 ENERGY
55595 5559 555595
ENERGY ENER7+7 ENERGY
ENERGY ENERG+Y ENERGY
|
ENERGY |
74 |
38 |
|
|
ENERGIES |
82 |
46 |
|
|
ENERGISED |
86 |
50 |
|
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
- |
- |
|
- |
50 |
First Total |
|
|
|
- |
- |
3+0 |
- |
|
Add to Reduce |
5+3+2 |
3+4+3 |
1+9 |
- |
- |
|
- |
|
Second Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
- |
- |
|
- |
|
Essence of
Number |
|
|
|
" The word "energy" was first used in the scientific sense of mechanical or electrical energy in the 1800s.
ENERGY ENERGIES ENERGISE ENERGISES ENERGISED ENERGISING
" The word "energy" was first used in the scientific sense of mechanical or electrical energy in the 1800s.
ENERGY ENERGIES ENERGISE ENERGISES ENERGISED ENERGISING
5 x 23 = 115
LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
5 x 23 = 115
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
E |
= |
5 |
- |
|
ENERGIES |
82 |
55 |
|
E |
= |
5 |
- |
8 |
ENERGISE |
82 |
55 |
|
E |
= |
5 |
- |
9 |
ENERGISES |
101 |
65 |
2 |
E |
= |
5 |
- |
|
ENERGISED |
86 |
59 |
|
E |
= |
5 |
- |
10 |
ENERGISING |
107 |
71 |
8 |
- |
- |
|
- |
50 |
First Total |
|
|
|
- |
- |
3+0 |
- |
|
Add to Reduce |
5+3+2 |
3+4+3 |
1+9 |
- |
- |
|
- |
|
Second Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
- |
- |
|
- |
|
Essence of
Number |
|
|
|
E |
= |
5 |
- |
6 |
555RGY |
74 |
38 |
2 |
E |
= |
5 |
- |
|
555RGI5S |
82 |
55 |
|
E |
= |
5 |
- |
8 |
555RGIS5 |
82 |
55 |
|
E |
= |
5 |
- |
9 |
555RGIS5S |
101 |
65 |
2 |
E |
= |
5 |
- |
|
555RGIS5D |
86 |
59 |
|
E |
= |
5 |
- |
10 |
555RGISI5G |
107 |
71 |
8 |
- |
- |
|
- |
50 |
First Total |
|
|
|
- |
- |
3+0 |
- |
|
Add to Reduce |
5+3+2 |
3+4+3 |
1+9 |
- |
- |
|
- |
|
Second Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
- |
- |
|
- |
|
Essence of
Number |
|
|
|
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
the letter E
According to the data, the most common letter in the English language is the letter E
E typically takes first place regardless of which analysis method is used.
What's The Most Common Letter Used In English?
Thesaurus.com
https://www.thesaurus.com › ways-to-say › most-commo...
Letter Frequencies in the English Language is the letter E
THE LIGHT IS RISING RISING IS THE LIGHT
2 |
IS |
28 |
10 |
1 |
9 |
UNIVERSAL |
121 |
40 |
4 |
4 |
MIND |
40 |
22 |
4 |
3 |
THE |
33 |
15 |
6 |
4 |
MIND |
40 |
22 |
4 |
2 |
OF |
21 |
12 |
3 |
9 |
HUMANKIND |
95 |
41 |
5 |
33 |
First Total |
|
|
|
3+3 |
Add to Reduce |
3+7+8 |
1+6+2 |
2+7 |
6 |
Second Total |
|
|
|
|
Reduce to Deduce |
1+8 |
- |
- |
|
Essence of Number |
|
|
|
9 |
UNIVERSAL |
121 |
40 |
4 |
4 |
MIND |
40 |
22 |
4 |
2 |
IS |
28 |
10 |
1 |
3 |
THE |
33 |
15 |
6 |
4 |
MIND |
40 |
22 |
4 |
2 |
OF |
21 |
12 |
3 |
9 |
HUMANKIND |
95 |
41 |
5 |
33 |
First Total |
|
|
|
3+3 |
Add to Reduce |
3+7+8 |
1+6+2 |
2+7 |
6 |
Second Total |
|
|
|
|
Reduce to Deduce |
1+8 |
- |
- |
|
Essence of Number |
|
|
|
E |
= |
5 |
- |
2 |
EX |
11 |
2 |
2 |
U |
= |
3 |
- |
6 |
UMBRIS |
82 |
28 |
1 |
E |
= |
5 |
- |
2 |
ET |
25 |
7 |
7 |
I |
= |
9 |
|
10 |
IMAGINIBUS |
104 |
50 |
5 |
I |
= |
9 |
- |
2 |
IN |
23 |
14 |
5 |
V |
= |
4 |
- |
9 |
VERITATEM |
113 |
41 |
5 |
- |
- |
|
- |
31 |
First Total |
|
|
|
- |
- |
3+5 |
- |
3+1 |
Add to Reduce |
3+5+8 |
1+4+2 |
2+5 |
- |
- |
|
- |
4 |
Second Total |
|
|
|
- |
- |
- |
- |
|
Reduce to Deduce |
1+6 |
- |
- |
- |
- |
|
- |
4 |
Essence of Number |
|
|
|
O |
= |
6 |
- |
3 |
OUT |
56 |
11 |
2 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
S |
= |
1 |
- |
7 |
SHADOWS |
89 |
26 |
8 |
A |
= |
1 |
- |
3 |
AND |
82 |
28 |
1 |
P |
= |
7 |
|
9 |
PHANTASMS |
111 |
30 |
3 |
I |
= |
9 |
- |
4 |
INTO |
58 |
22 |
4 |
T |
= |
2 |
- |
5 |
TRUTH |
87 |
24 |
6 |
- |
- |
|
- |
33 |
Add to Reduce |
|
|
|
- |
- |
3+2 |
- |
3+3 |
Reduce to Deduce |
4+4+1 |
1+3+5 |
2+7 |
- |
- |
|
- |
6 |
Essence of Number |
|
|
|
THIS IS THE SCENE OF THE SCENE UNSEEN
THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
3 |
THE |
33 |
15 |
6 |
4 |
MIND |
40 |
22 |
4 |
2 |
OF |
21 |
12 |
3 |
9 |
HUMANKIND |
95 |
41 |
5 |
18 |
First Total |
|
|
|
1+8 |
Add to Reduce |
1+8+9 |
9+0 |
1+8 |
9 |
Second Total |
|
|
|
|
Reduce to Deduce |
1+8 |
- |
- |
|
Essence of Number |
|
|
|
THE
RA IN BOW
LIGHT
- |
THE RAINBOW LIGHT |
- |
- |
- |
|
THE |
33 |
15 |
|
|
RAINBOW |
82 |
37 |
|
|
LIGHT |
56 |
29 |
|
15 |
|
171 |
81 |
9 |
1+5 |
|
1+7+1 |
8+1 |
- |
6 |
|
9 |
9 |
9 |
I
ME YOU ME
CREATORS GODS CREATORS
THOU ART THAT THAT ART THOU
GOD SPIRIT ART THOU THOU ART GOD SPIRIT
MIND MATTER SPIRIT GOD SPIRIT MATTER MIND
THOU ART UNIVERSAL MIND GODS UNIVERSAL MIND ART THOU
INRI 9599 INRI
"INRI" is an abbreviation for the Latin "Iesus Nazarenus, Rex Iudaeorum" ("Jesus the Nazarene, King of the Jews"), posted on the cross by order of the Roman procurator, Pontius Pilate.
I N R I
=
9 5 9 9
THE
R
IN
EVOLUTION
REVOLUTION
- |
|
- |
- |
- |
THE R IN EVOLUTION REVOLUTION |
- |
- |
- |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
R |
= |
9 |
- |
1 |
R |
18 |
9 |
9 |
I |
= |
9 |
- |
2 |
IN |
23 |
14 |
5 |
E |
= |
5 |
- |
9 |
EVOLUTION |
133 |
43 |
7 |
E |
= |
5 |
- |
10 |
REVOLUTION |
151 |
52 |
7 |
S |
- |
25 |
- |
25 |
THE R IN EVOLUTION REVOLUTION |
|
|
|
- |
- |
2+5 |
- |
2+5 |
-` |
3+5+8 |
1+3+3 |
3+4 |
S |
- |
|
- |
|
THE R IN EVOLUTION REVOLUTION |
|
|
|
- |
- |
- |
- |
- |
-` |
1+6 |
S |
- |
S |
- |
|
- |
|
THE R IN EVOLUTION REVOLUTION |
|
|
|
THE
R
IN
ELEVATION
REVELATION
- |
|
- |
- |
- |
THE R IN ELEVATION REVELATION |
- |
- |
- |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
R |
= |
9 |
- |
1 |
R |
18 |
9 |
9 |
I |
= |
9 |
- |
2 |
IN |
23 |
14 |
5 |
E |
= |
5 |
- |
9 |
ELEVATION |
103 |
40 |
4 |
R |
= |
9 |
- |
10 |
REVELATION |
121 |
58 |
4 |
S |
- |
34 |
- |
25 |
THE R IN ELEVATION REVELATION |
|
|
|
- |
- |
3+4 |
- |
2+5 |
-` |
2+9+8 |
1+3+6 |
2+8 |
S |
- |
|
- |
|
THE R IN ELEVATION REVELATION |
|
|
|
- |
- |
- |
- |
- |
-` |
1+9 |
1+0 |
1+0 |
S |
- |
|
- |
|
THE R IN ELEVATION REVELATION |
|
|
|
RELEVATION
9535412965
RELEVATION
REVELATION
9545312965
REVELATION
ENGINE
LOOK AT THE 5'S THE 5'S THE 5'S
ENGINE
55GI55
ENGINE
ENGINEERING
LOOK AT THE 5'S THE 5'S THE 5'S
55GI555RI5G
ENGINEERING
ENGINEERED
LOOK AT THE 5'S THE 5'S THE 5'S
55GI555R5D
ENGINEERED
NUMBER
9
THE SEARCH FOR THE SIGMA CODE
Cecil Balmond 1998
Page 32
5
To Sorcerers and Magicians number FIVE is the most powerful - five is the mark of the pentacle, a five pointed star drawn by extending the sides of a Pentagon. Five surely is in the possession of the occult. And the Pentagon is the geometric figure in which the golden ratio of classical art and architecture is found most.
THE
BALANCING
ONE TWO THREE FOUR
FIVE
NINE EIGHT SEVEN SIX
O |
= |
15 |
- |
3 |
|
34 |
16 |
7 |
- |
1 |
T |
= |
20 |
- |
3 |
|
58 |
13 |
4 |
- |
2 |
T |
= |
20 |
- |
5 |
|
56 |
29 |
2 |
- |
3 |
F |
= |
6 |
- |
4 |
|
60 |
24 |
6 |
- |
4 |
- |
- |
61 |
- |
15 |
Add |
208 |
82 |
19 |
- |
10 |
- |
- |
6+1 |
- |
1+5 |
Reduce |
2+0+8 |
8+2 |
1+9 |
- |
1+0 |
- |
- |
7 |
- |
6 |
Deduce |
10 |
10 |
10 |
- |
1 |
- |
- |
- |
- |
- |
Produce |
1+0 |
1+0 |
1+0 |
- |
- |
- |
- |
7 |
- |
6 |
Essence |
1 |
1 |
1 |
- |
1 |
N |
= |
14 |
- |
4 |
|
42 |
24 |
6 |
- |
9 |
E |
= |
5 |
- |
5 |
|
49 |
31 |
4 |
- |
8 |
S |
= |
19 |
- |
5 |
|
65 |
20 |
2 |
- |
7 |
S |
= |
19 |
- |
3 |
|
52 |
16 |
7 |
- |
6 |
- |
- |
57 |
- |
17 |
Add |
208 |
91 |
19 |
- |
30 |
- |
- |
5+7 |
- |
1+7 |
Reduce |
2+0+8 |
9+1 |
1+9 |
- |
3+0 |
- |
- |
12 |
- |
8 |
Deduce |
10 |
10 |
10 |
- |
3 |
- |
- |
1+2 |
- |
- |
Produce |
1+0 |
1+0 |
1+0 |
- |
- |
- |
- |
3 |
- |
8 |
Essence |
1 |
1 |
1 |
- |
3 |
1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
15 |
ONE TWO THREE FOUR |
208 |
82 |
1 |
4 |
FIVE |
42 |
24 |
6 |
17 |
NINE EIGHT SEVEN SIX |
208 |
91 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
2 |
|
34 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
4 |
|
28 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
4 |
4 |
|
37 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
4 |
|
28 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
7 |
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
5 |
|
60 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
9 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
4 |
|
28 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
4 |
|
37 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
5 |
|
32 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
14 |
3 |
|
48 |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
4 |
|
26 |
17 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
16 |
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
17 |
4 |
|
48 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
4 |
|
48 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
19 |
4 |
|
47 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7+7 |
|
6+4 |
Add to Reduce |
5+9+4 |
2+9+7 |
7+2 |
|
|
|
|
|
|
|
|
|
2+7 |
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+4 |
|
1+0 |
Reduce to Deduce |
1+8 |
1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
K |
= |
2 |
|
|
KINETIC |
|
|
|
E |
= |
5 |
|
|
ENERGIES |
|
|
|
|
|
7 |
|
|
Add to Reduce |
|
|
9 |
- |
- |
- |
- |
1+5 |
Reduce to Deduce |
1+5+3 |
9+0 |
- |
|
|
7 |
|
|
Essence of Number |
|
|
9 |
K |
= |
2 |
- |
- |
KINETIC |
- |
- |
- |
- |
- |
- |
- |
1 |
K |
11 |
2 |
2 |
- |
- |
- |
- |
1 |
I |
9 |
9 |
9 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
T |
20 |
2 |
2 |
- |
- |
- |
- |
1 |
I |
9 |
9 |
9 |
- |
- |
- |
- |
1 |
C |
3 |
3 |
3 |
K |
= |
2 |
- |
7 |
KINETIC |
71 |
35 |
35 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
E |
= |
5 |
- |
- |
ENERGIES |
- |
- |
- |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
R |
18 |
9 |
9 |
- |
- |
- |
- |
1 |
G |
7 |
7 |
7 |
- |
- |
- |
- |
1 |
I |
9 |
9 |
9 |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
S |
19 |
10 |
1 |
E |
= |
5 |
- |
8 |
ENERGIES |
82 |
55 |
46 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
K |
= |
2 |
|
|
KINETIC |
|
|
|
E |
= |
5 |
|
|
ENERGIES |
|
|
|
|
|
7 |
|
|
Add to Reduce |
|
|
|
- |
- |
- |
- |
1+5 |
Reduce to Deduce |
1+5+3 |
9+0 |
8+1 |
|
|
7 |
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
K |
= |
2 |
- |
- |
KINETIC |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
K |
11 |
2 |
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
N |
14 |
5 |
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
E |
5 |
5 |
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
T |
20 |
2 |
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
C |
3 |
3 |
|
- |
|
|
|
|
|
|
|
|
|
K |
= |
2 |
- |
7 |
KINETIC |
71 |
35 |
35 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
E |
= |
5 |
- |
- |
ENERGIES |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
R |
18 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
9 |
- |
- |
- |
- |
1 |
G |
7 |
7 |
7 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
9 |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1 |
S |
19 |
10 |
1 |
- |
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
8 |
ENERGIES |
82 |
55 |
46 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
K |
= |
2 |
|
|
KINETIC |
|
|
|
- |
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
|
ENERGIES |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
7 |
|
|
Add to Reduce |
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1+5 |
Reduce to Deduce |
1+5+3 |
9+0 |
8+1 |
- |
|
|
|
|
3+0 |
|
|
|
8+1 |
|
|
7 |
|
|
Essence of Number |
|
|
|
- |
|
|
|
|
|
|
|
|
|
K |
= |
2 |
|
|
KINETIC |
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
|
ENERGIES |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
7 |
|
|
Add to Reduce |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
= |
2 |
- |
- |
KINETIC |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
K |
|
|
1 |
1 |
K |
11 |
2 |
|
- |
|
|
|
|
|
|
|
|
|
I |
|
9 |
2 |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
|
N |
|
|
3 |
1 |
N |
14 |
5 |
|
- |
|
|
|
|
|
|
|
|
|
E |
|
|
4 |
1 |
E |
5 |
5 |
|
- |
|
|
|
|
|
|
|
|
|
T |
|
|
5 |
1 |
T |
20 |
2 |
|
- |
|
|
|
|
|
|
|
|
|
I |
|
9 |
6 |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
|
C |
|
|
7 |
1 |
C |
3 |
3 |
|
- |
|
|
|
|
|
|
|
|
|
E |
|
5 |
8 |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
N |
|
5 |
9 |
1 |
N |
14 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
E |
|
5 |
10 |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
R |
|
9 |
11 |
1 |
R |
18 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
9 |
G |
|
7 |
12 |
1 |
G |
7 |
7 |
7 |
- |
|
|
|
|
|
|
|
|
|
I |
|
9 |
13 |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
9 |
E |
|
5 |
14 |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
S |
|
1 |
15 |
1 |
S |
19 |
10 |
1 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
ENERGIES |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
K |
= |
2 |
|
|
KINETIC |
|
|
|
- |
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
|
ENERGIES |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
7 |
|
|
Add to Reduce |
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1+5 |
Reduce to Deduce |
1+5+3 |
9+0 |
8+1 |
- |
|
|
|
|
3+0 |
|
|
|
8+1 |
|
|
7 |
|
|
Essence of Number |
|
|
|
- |
|
|
|
|
|
|
|
|
|
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
5 x 6 = 30
TRANSPOSED LETTERS REARRANGED IN NUMERICAL ORDER
K |
= |
2 |
|
|
KINETIC |
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
|
ENERGIES |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
7 |
|
|
Add to Reduce |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
= |
2 |
- |
- |
KINETIC |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
S |
|
1 |
15 |
1 |
S |
19 |
10 |
1 |
- |
|
|
|
|
|
|
|
|
|
K |
|
|
1 |
1 |
K |
11 |
2 |
|
- |
|
|
|
|
|
|
|
|
|
T |
|
|
5 |
1 |
T |
20 |
2 |
|
- |
|
|
|
|
|
|
|
|
|
C |
|
|
7 |
1 |
C |
3 |
3 |
|
- |
|
|
|
|
|
|
|
|
|
N |
|
|
3 |
1 |
N |
14 |
5 |
|
- |
|
|
|
|
|
|
|
|
|
E |
|
|
4 |
1 |
E |
5 |
5 |
|
- |
|
|
|
|
|
|
|
|
|
E |
|
5 |
8 |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
N |
|
5 |
9 |
1 |
N |
14 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
E |
|
5 |
10 |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
E |
|
5 |
14 |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
G |
|
7 |
12 |
1 |
G |
7 |
7 |
7 |
- |
|
|
|
|
|
|
|
|
|
I |
|
9 |
2 |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
|
I |
|
9 |
6 |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
|
R |
|
9 |
11 |
1 |
R |
18 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
9 |
I |
|
9 |
13 |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
9 |
- |
- |
- |
- |
- |
ENERGIES |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
K |
= |
2 |
|
|
KINETIC |
|
|
|
- |
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
|
ENERGIES |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
7 |
|
|
Add to Reduce |
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1+5 |
Reduce to Deduce |
1+5+3 |
9+0 |
8+1 |
- |
|
|
|
|
3+0 |
|
|
|
8+1 |
|
|
7 |
|
|
Essence of Number |
|
|
|
- |
|
|
|
|
|
|
|
|
|
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
5 x 6 = 30
TRANSPOSED LETTERS REARRANGED IN NUMERICAL ORDER
K |
= |
2 |
|
|
KINETIC |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
|
ENERGIES |
|
|
|
- |
|
|
|
|
|
|
|
|
7 |
|
|
Add to Reduce |
|
|
|
- |
|
|
|
|
|
|
|
= |
2 |
- |
- |
KINETIC |
- |
- |
- |
- |
|
|
|
|
|
|
S |
|
1 |
15 |
1 |
S |
19 |
10 |
1 |
- |
|
|
|
|
|
|
K |
|
|
1 |
1 |
K |
11 |
2 |
|
- |
|
|
|
|
|
|
T |
|
|
5 |
1 |
T |
20 |
2 |
|
- |
|
|
|
|
|
|
C |
|
|
7 |
1 |
C |
3 |
3 |
|
- |
|
|
|
|
|
|
N |
|
|
3 |
1 |
N |
14 |
5 |
|
- |
|
|
|
|
|
|
E |
|
|
4 |
1 |
E |
5 |
5 |
|
- |
|
|
|
|
|
|
E |
|
5 |
8 |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
N |
|
5 |
9 |
1 |
N |
14 |
5 |
5 |
- |
|
|
|
|
|
|
E |
|
5 |
10 |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
E |
|
5 |
14 |
1 |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
G |
|
7 |
12 |
1 |
G |
7 |
7 |
7 |
- |
|
|
|
|
|
|
I |
|
9 |
2 |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
I |
|
9 |
6 |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
|
R |
|
9 |
11 |
1 |
R |
18 |
9 |
9 |
- |
|
|
|
|
|
9 |
I |
|
9 |
13 |
1 |
I |
9 |
9 |
9 |
- |
|
|
|
|
|
9 |
- |
- |
- |
- |
- |
ENERGIES |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
K |
= |
2 |
|
|
KINETIC |
|
|
|
- |
|
|
|
|
|
|
E |
= |
5 |
|
|
ENERGIES |
|
|
|
- |
|
|
|
|
|
|
|
|
7 |
|
|
Add to Reduce |
|
|
|
- |
|
|
|
|
|
|
- |
- |
- |
- |
1+5 |
Reduce to Deduce |
1+5+3 |
9+0 |
8+1 |
- |
|
|
|
3+0 |
|
8+1 |
|
|
7 |
|
|
Essence of Number |
|
|
|
- |
|
|
|
|
|
|
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
P |
= |
7 |
- |
- |
POWER |
- |
- |
- |
- |
- |
- |
- |
1 |
P |
16 |
7 |
7 |
- |
- |
- |
- |
1 |
O |
15 |
6 |
6 |
- |
- |
- |
- |
1 |
W |
23 |
5 |
5 |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
R |
18 |
9 |
9 |
P |
= |
7 |
|
|
POWER |
|
|
|
- |
- |
- |
- |
- |
- |
7+7 |
3+2 |
5+5 |
P |
= |
7 |
|
5 |
POWER |
|
5 |
5 |
- |
- |
- |
- |
- |
- |
1+4 |
- |
- |
P |
= |
7 |
|
5 |
POWER |
|
5 |
5 |
P |
= |
7 |
- |
- |
POWER |
- |
- |
- |
- |
- |
- |
- |
1 |
P+O+W |
54 |
18 |
9 |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
R |
18 |
9 |
9 |
P |
= |
7 |
|
|
POWER |
|
|
|
- |
- |
- |
- |
- |
- |
7+7 |
3+2 |
5+5 |
P |
= |
7 |
|
5 |
POWER |
|
5 |
5 |
- |
- |
- |
- |
- |
- |
1+4 |
- |
- |
P |
= |
7 |
|
5 |
POWER |
|
5 |
5 |
|
|
|
|
- |
EGYPT |
- |
- |
- |
- |
- |
- |
E |
= |
5 |
- |
1 |
E |
5 |
5 |
5 |
|
- |
5 |
G |
= |
7 |
- |
1 |
G |
7 |
7 |
7 |
- |
7 |
- |
Y |
= |
7 |
- |
1 |
Y |
25 |
7 |
7 |
- |
7 |
- |
P |
= |
7 |
- |
1 |
P |
16 |
7 |
7 |
- |
7 |
- |
T |
= |
2 |
- |
1 |
T |
20 |
2 |
2 |
|
- |
2 |
- |
- |
28 |
- |
5 |
EGYPT |
73 |
28 |
28 |
- |
21 |
7 |
- |
- |
2+8 |
- |
|
- |
7+3 |
2+8 |
2+8 |
- |
2+1 |
- |
- |
- |
10 |
- |
5 |
EGYPT |
10 |
10 |
10 |
|
3 |
7 |
- |
- |
1+0 |
- |
|
- |
1+0 |
1+0 |
1+0 |
- |
- |
- |
- |
- |
7 |
- |
5 |
EGYPT |
1 |
7 |
7 |
|
3 |
7 |
THE LIGHT IS RISING NOW RISING IS THE LIGHT
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
P |
= |
7 |
- |
6 |
PEOPLE |
69 |
33 |
6 |
T |
= |
2 |
- |
4 |
THAT |
49 |
13 |
4 |
W |
= |
5 |
|
6 |
WALKED |
56 |
20 |
2 |
I |
= |
9 |
- |
2 |
IN |
23 |
14 |
5 |
D |
= |
4 |
- |
8 |
DARKNESS |
91 |
28 |
1 |
H |
= |
8 |
- |
4 |
HAVE |
36 |
18 |
9 |
S |
= |
1 |
- |
4 |
SEEN |
43 |
16 |
7 |
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
G |
= |
7 |
- |
5 |
GREAT |
51 |
24 |
6 |
L |
= |
3 |
- |
5 |
LIGHT |
56 |
29 |
2 |
- |
- |
49 |
|
48 |
First Total |
|
|
|
- |
- |
4+9 |
|
4+8 |
Add to Reduce |
5+0+8 |
2+1+1 |
4+9 |
Q |
- |
13 |
|
12 |
Second Total |
|
|
|
- |
- |
1+3 |
|
1+2 |
Reduce to Deduce |
1+3 |
- |
1+3 |
- |
- |
|
|
|
Essence of Number |
|
|
|
T |
= |
2 |
- |
4 |
THEY |
58 |
22 |
4 |
T |
= |
2 |
- |
4 |
THAT |
49 |
13 |
4 |
D |
= |
4 |
- |
5 |
DWELL |
56 |
20 |
2 |
T |
= |
2 |
|
2 |
IN |
23 |
14 |
5 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
L |
= |
3 |
- |
4 |
LAND |
31 |
13 |
4 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
S |
= |
1 |
- |
6 |
SHADOW |
70 |
25 |
7 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
D |
= |
4 |
- |
5 |
DEATH |
38 |
20 |
2 |
U |
= |
3 |
|
4 |
UPON |
66 |
21 |
3 |
T |
= |
2 |
|
4 |
THEM |
46 |
19 |
1 |
H |
= |
8 |
|
4 |
HATH |
37 |
19 |
1 |
T |
= |
2 |
|
3 |
THE |
33 |
15 |
6 |
L |
= |
3 |
|
5 |
LIGHT |
56 |
29 |
2 |
S |
= |
1 |
|
6 |
SHINED |
59 |
32 |
5 |
- |
- |
60 |
|
66 |
First Total |
|
|
|
- |
- |
6+0 |
|
6+6 |
Add to Reduce |
7+3+0 |
3+1+6 |
6+4 |
Q |
- |
6 |
|
12 |
Second Total |
|
|
|
- |
- |
- |
|
1+2 |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
- |
- |
6 |
|
|
Essence of Number |
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
P |
= |
7 |
- |
6 |
PEOPLE |
69 |
33 |
6 |
T |
= |
2 |
- |
4 |
THAT |
49 |
13 |
4 |
W |
= |
5 |
|
6 |
WALKED |
56 |
20 |
2 |
I |
= |
9 |
- |
2 |
IN |
23 |
14 |
5 |
D |
= |
4 |
- |
8 |
DARKNESS |
91 |
28 |
1 |
H |
= |
8 |
- |
4 |
HAVE |
36 |
18 |
9 |
S |
= |
1 |
- |
4 |
SEEN |
43 |
16 |
7 |
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
G |
= |
7 |
- |
5 |
GREAT |
51 |
24 |
6 |
L |
= |
3 |
- |
5 |
LIGHT |
56 |
29 |
2 |
T |
= |
2 |
- |
4 |
THEY |
58 |
22 |
4 |
T |
= |
2 |
- |
4 |
THAT |
49 |
13 |
4 |
D |
= |
4 |
- |
5 |
DWELL |
56 |
20 |
2 |
T |
= |
2 |
|
2 |
IN |
23 |
14 |
5 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
L |
= |
3 |
- |
4 |
LAND |
31 |
13 |
4 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
S |
= |
1 |
- |
6 |
SHADOW |
70 |
25 |
7 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
D |
= |
4 |
- |
5 |
DEATH |
38 |
20 |
2 |
U |
= |
3 |
|
4 |
UPON |
66 |
21 |
3 |
T |
= |
2 |
|
4 |
THEM |
46 |
19 |
1 |
H |
= |
8 |
|
4 |
HATH |
37 |
19 |
1 |
T |
= |
2 |
|
3 |
THE |
33 |
15 |
6 |
L |
= |
3 |
|
5 |
LIGHT |
56 |
29 |
2 |
S |
= |
1 |
|
6 |
SHINED |
59 |
32 |
5 |
- |
- |
109 |
|
114 |
First Total |
|
|
|
- |
- |
1+0+9 |
|
1+1+4 |
Add to Reduce |
1+2+3+8 |
5+2+7 |
1+1+3 |
Q |
- |
10 |
|
6 |
Second Total |
|
|
|
- |
- |
1+0 |
|
|
Reduce to Deduce |
1+4 |
1+4 |
- |
- |
- |
|
|
|
Essence of Number |
|
|
|
THE
LIVING GODS ENERGIES GODS LIVING
DIVINE THOUGHT THOUGHT DIVINE
THE
CREATORS
R LIGHT PERFECT CREATORS I ME I ME I CREATORS PERFECT LIGHT R
3 |
THE |
33 |
15 |
6 |
5 |
ENNEA |
39 |
21 |
3 |
|
Add to Reduce |
|
|
|
- |
Reduce to Deduce |
7+2 |
3+6 |
- |
|
Essence of Number |
|
|
|
.gif)
3 |
THE |
33 |
15 |
6 |
9 |
ENNEAGRAM |
78 |
42 |
6 |
12 |
First Total |
|
|
|
1+2 |
Add to Reduce |
1+1+1 |
5+7 |
1+2 |
3 |
Second Total |
|
|
|
- |
Reduce to Deduce |
- |
1+2 |
- |
|
Essence of Number |
|
|
|
FINGERPRINTS OF THE GODS
Graham Hancock 1995
Chapter Nineteen
Page 153 1 + 5 + 3 = 9
"In Egypt's early dynastic period, more than 4500 years ago, an 'Ennead' of nine omnipotent deities was particularly adored by the priesthood at Heliopolis. 5 Likewise in central America both the Aztecs and the Mayas believed in an all-powerful system of nine deities."
E |
= |
|
|
- |
ENNEAD |
- |
- |
- |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
|
- |
|
|
1 |
N |
14 |
5 |
5 |
|
|
|
|
1 |
E |
5 |
5 |
5 |
- |
|
- |
- |
2 |
A+D |
5 |
5 |
5 |
E |
= |
|
|
6 |
ENNEAD |
43 |
25 |
25 |
- |
- |
- |
- |
- |
- |
4+3 |
2+5 |
2+5 |
E |
= |
|
|
6 |
ENNEAD |
7 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
25 |
|
6 |
ENNEAD |
43 |
25 |
25 |
|
|
|
|
|
20 |
|
|
|
|
|
|
2+5 |
|
- |
- |
4+3 |
2+5 |
2+5 |
|
|
|
|
|
2+0 |
|
|
|
|
|
|
7 |
|
6 |
ENNEAD |
7 |
7 |
7 |
|
|
|
|
|
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
25 |
|
6 |
ENNEAD |
43 |
25 |
25 |
|
|
|
|
|
20 |
|
|
|
|
|
|
2+5 |
|
- |
- |
4+3 |
2+5 |
2+5 |
|
|
|
|
|
2+0 |
|
|
|
|
|
|
7 |
|
6 |
ENNEAD |
7 |
7 |
7 |
|
|
|
|
|
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
1 |
|
4 |
4 |
|
|
|
|
|
|
|
25 |
|
6 |
ENNEAD |
43 |
25 |
25 |
|
|
|
20 |
|
|
2+5 |
|
- |
- |
4+3 |
2+5 |
2+5 |
|
|
|
2+0 |
|
|
7 |
|
6 |
ENNEAD |
7 |
7 |
7 |
|
|
|
2 |
ENNEA = ENNEA
55551 = 55551
ENNEA = ENNEA
THE FAMILY
285614937
THEFAMILY = ATLMEFYHI = THEFAMILY
THE
FAMILY
THEFAMILY = ATLMEFYHI = THEFAMILYI
123456789
THEFAMILY = ATLMEFYHI = THEFAMILY
|
|
33 |
15 |
|
|
|
66 |
30 |
|
9 |
First Total |
99 |
45 |
45 |
- |
Add to Reduce |
9+9 |
4+5 |
4+5 |
9 |
Second Total |
18 |
9 |
9 |
- |
Reduce to Deduce |
1+8 |
|
|
9 |
Essence of Number |
9 |
|
|
|
|
- |
- |
- |
|
|
- |
- |
- |
|
|
20 |
2 |
|
|
H |
8 |
8 |
|
|
|
5 |
5 |
|
|
|
- |
- |
- |
|
F |
6 |
6 |
|
- |
A |
1 |
1 |
1 |
|
|
13 |
4 |
|
|
I |
9 |
9 |
|
|
|
12 |
3 |
|
- |
Y |
25 |
7 |
7 |
|
|
- |
- |
- |
9 |
Add to Reduce |
99 |
45 |
45 |
- |
Reduce to Deduce |
9+9 |
4+5 |
4+5 |
9 |
Essence of Number |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
13 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
12 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
99 |
45 |
45 |
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
9+9 |
4+5 |
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
THEFAMILY = ATLMEFYHI = THEFAMILYI
123456789
THEFAMILY = ATLMEFYHI = THEFAMILY
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
12 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
13 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
99 |
45 |
45 |
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
9+9 |
4+5 |
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
- |
- |
- |
|
|
20 |
2 |
|
|
H |
8 |
8 |
|
|
|
5 |
5 |
|
|
|
- |
- |
- |
|
F |
6 |
6 |
|
- |
A |
1 |
1 |
1 |
|
|
13 |
4 |
|
|
I |
9 |
9 |
|
|
|
12 |
3 |
|
- |
Y |
25 |
7 |
7 |
|
|
- |
- |
- |
9 |
Add to Reduce |
99 |
45 |
45 |
- |
Reduce to Deduce |
9+9 |
4+5 |
4+5 |
9 |
Essence of Number |
18 |
9 |
9 |
THE FAMILY = THEFAMILY = 285614937 = THEFAMILY
THE LIGHT IS RISING NOW RISING IS THE LIGHT
W |
= |
5 |
- |
8 |
WHATEVER |
102 |
39 |
|
W |
= |
5 |
- |
8 |
WHENEVER |
100 |
46 |
1 |
W |
= |
5 |
- |
8 |
WHEREVER |
104 |
50 |
5 |
- |
- |
15 |
- |
24 |
Add to Reduce |
306 |
135 |
|
- |
- |
1+5 |
- |
2+4 |
Reduce to Deduce |
3+0+6 |
1+3+5 |
|
|
|
6 |
|
6 |
Essence of Number |
9 |
9 |
|
W |
= |
5 |
- |
8 |
WEPWAWET |
116 |
35 |
8 |
O |
= |
6 |
- |
6 |
OPENER |
73 |
37 |
1 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
W |
= |
5 |
- |
4 |
WAYS |
68 |
14 |
5 |
- |
- |
24 |
|
23 |
Add to Reduce |
|
|
|
- |
- |
2+4 |
- |
2+3 |
Reduce to Deduce |
3+1+1 |
1+1+3 |
2+3 |
- |
- |
6 |
- |
|
Essence of Number |
|
|
|
LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES
W |
= |
5 |
- |
8 |
WEPWAWET |
116 |
35 |
|
W |
= |
5 |
- |
8 |
WENNEFER |
90 |
45 |
9 |
W |
= |
5 |
- |
8 |
WHENEVER |
100 |
46 |
1 |
- |
- |
15 |
- |
24 |
Add to Reduce |
306 |
126 |
18 |
- |
- |
1+5 |
- |
2+4 |
Reduce to Deduce |
3+0+6 |
1+2+6 |
1+8 |
|
|
6 |
|
6 |
Essence of Number |
9 |
9 |
9 |
WEPWAWET OSIRIS WENNEFER
W |
= |
5 |
- |
8 |
WEPWAWET |
116 |
35 |
8 |
O |
= |
6 |
- |
6 |
OPENER |
73 |
37 |
1 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
W |
= |
5 |
- |
4 |
WAYS |
68 |
14 |
5 |
- |
- |
24 |
|
23 |
Add to Reduce |
|
|
|
- |
- |
2+4 |
- |
2+3 |
Reduce to Deduce |
3+1+1 |
1+1+3 |
2+3 |
- |
- |
6 |
- |
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
- |
|
|
WEPWAWET |
|
|
- |
|
|
|
|
|
|
|
|
|
|
W |
= |
5 |
- |
- |
W |
23 |
5 |
5 |
- |
|
- |
|
|
|
|
|
|
|
E |
= |
5 |
- |
- |
E |
5 |
5 |
5 |
- |
|
- |
|
|
|
|
|
|
|
P |
= |
7 |
- |
- |
P |
16 |
7 |
7 |
- |
|
|
- |
|
|
|
|
|
|
W |
= |
5 |
- |
- |
W |
23 |
5 |
5 |
- |
|
- |
|
|
|
|
|
|
|
A |
= |
1 |
- |
- |
A |
1 |
1 |
1 |
- |
|
|
|
|
|
|
|
|
|
W |
= |
5 |
- |
- |
W |
23 |
5 |
5 |
- |
|
- |
|
|
|
|
|
|
|
E |
= |
5 |
- |
- |
E |
5 |
5 |
5 |
- |
|
- |
|
|
|
|
|
|
|
T |
= |
2 |
- |
- |
T |
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
- |
|
- |
|
8 |
WEPWAWET |
|
|
- |
|
|
|
|
|
|
|
|
|
|
- |
|
- |
|
|
OPENER |
|
|
- |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
- |
- |
O |
15 |
6 |
6 |
- |
|
|
|
|
|
|
|
|
|
P |
= |
7 |
- |
- |
P |
16 |
7 |
7 |
- |
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
- |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
N |
= |
5 |
- |
- |
N |
14 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
- |
E |
5 |
5 |
5 |
- |
|
|
|
|
|
|
|
|
|
R |
= |
9 |
- |
- |
R |
18 |
9 |
9 |
- |
|
|
|
|
|
|
|
|
|
- |
|
- |
|
6 |
OPENER |
|
|
- |
|
|
|
|
|
|
|
|
|
|
- |
|
- |
|
- |
OF |
|
|
- |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
- |
- |
O |
16 |
15 |
6 |
- |
|
|
|
|
|
|
|
|
|
F |
= |
6 |
- |
- |
F |
6 |
6 |
6 |
- |
|
|
|
|
|
|
|
|
|
- |
|
- |
|
2 |
OF |
|
|
- |
|
|
|
|
|
|
|
|
|
|
- |
|
- |
|
|
THE |
|
|
- |
|
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
- |
T |
20 |
2 |
2 |
- |
|
|
|
|
|
|
|
|
|
H |
= |
8 |
- |
- |
H |
8 |
8 |
8 |
- |
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
- |
E |
5 |
5 |
5 |
- |
|
- |
|
|
|
|
|
|
|
- |
|
- |
|
3 |
THE |
|
|
- |
|
|
|
|
|
|
|
|
|
|
- |
|
- |
|
|
WAYS |
|
|
- |
|
|
|
|
|
|
|
|
|
|
W |
= |
5 |
- |
- |
W |
23 |
5 |
5 |
- |
|
- |
|
|
|
|
|
|
|
A |
= |
1 |
- |
- |
A |
1 |
1 |
1 |
- |
|
|
|
|
|
|
|
|
|
Y |
= |
7 |
- |
- |
Y |
25 |
7 |
7 |
- |
|
|
|
|
|
|
|
|
|
S |
= |
1 |
- |
- |
S |
19 |
1 |
1 |
- |
|
|
|
|
|
|
|
|
|
- |
|
- |
|
4 |
WAYS |
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
23 |
ADD |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
2+3 |
- |
2+3 |
REDUCE |
3+1+1 |
1+1+3 |
2+3 |
- |
|
|
|
|
5+0 |
1+8 |
2+1 |
|
|
|
- |
|
- |
|
DEDUCE |
|
|
|
- |
|
|
|
|
|
|
|
|
|
LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES
WEPWAWET OSIRIS WENNEFER
LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES
Results 1 - 10 of about 152 for Wepwawet Osiris Wennefer. (0.22 seconds)
Search ResultsResults include your SearchWiki notes for Wepwawet Osiris Wennefer. Share these notes
Copy and paste this link into an email or IM:
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
I have given the sweet breath of the north wind to Osiris Wennefer as when ... this my name of Wepwawet; I have given praise and have made homage to Osiris ...
books.google.com/books?isbn=0811864898
... - 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 ...
www.philae.nu/akhet/NetjeruW.html - Cached - Similar
-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. ...
gtae.users.btopenworld.com/godsOtoR.htm - Cached - Similar
-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
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 enemies upon the ...
www.drama.uwaterloo.ca/origins.ppt
WEPWAWET WENNEFER WENNEVER WEPWAWET
WEPWAWET WENNEFER WENNEFER WEPWAWET
55751552 5555569 5555569 55751552
WEPWAWET WENNEFER WENNEVER WEPWAWET
WEPWAEWET WENNEFER WENNEVER WEPWAWET
GODISISGOD
WHATEVER WHEREVER WHENEVER WHOSOEVER WHENEVER WHEREVER WHATEVER
THE FIVES HAVE IT NOW HAVE IT HAVE THE FIVES
W |
= |
5 |
- |
8 |
WEPWAWET |
116 |
35 |
8 |
O |
= |
6 |
- |
6 |
OPENER |
73 |
37 |
1 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
W |
= |
5 |
- |
4 |
WAYS |
68 |
14 |
5 |
- |
- |
24 |
|
23 |
Add to Reduce |
|
|
|
- |
- |
2+4 |
- |
2+3 |
Reduce to Deduce |
3+1+1 |
1+1+3 |
2+3 |
- |
- |
6 |
- |
|
Essence of Number |
|
|
|
Daily Mail. Tuesday. March 31, 2015
Page 68
The point of pentangles
ANSWERS TO CORRESPONDENTS
QUESTION
Which culture first used the pentangle and how did it become associated with the occult?
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,
FIVE FACES AND FIVE CORNERS
WELL I NEVER DID YOU EVER
WHO'D A THOUGHT IT.
- |
- |
- |
- |
- |
PYRAMID |
- |
- |
- |
- |
- |
- |
- |
1 |
P+Y |
41 |
14 |
5 |
- |
- |
- |
- |
1 |
R |
18 |
9 |
9 |
|
- |
|
|
1 |
A+M |
14 |
5 |
5 |
- |
- |
- |
- |
1 |
I |
9 |
9 |
9 |
- |
- |
- |
- |
1 |
D |
D |
4 |
4 |
P |
= |
|
|
7 |
PYRAMID |
86 |
41 |
32 |
- |
- |
- |
- |
- |
- |
8+6 |
4+1 |
3+2 |
P |
= |
|
|
7 |
PYRAMID |
14 |
5 |
5 |
- |
- |
- |
- |
- |
- |
1+4 |
- |
- |
P |
= |
|
|
7 |
PYRAMID |
5 |
5 |
5 |
Y RAM MARY MARY Y RAM
- |
- |
- |
- |
- |
PYRAMID |
- |
- |
- |
- |
- |
- |
- |
1 |
P |
16 |
7 |
7 |
- |
- |
- |
- |
1 |
Y |
25 |
7 |
7 |
|
- |
|
|
1 |
R |
18 |
9 |
9 |
- |
- |
- |
- |
1 |
A |
1 |
1 |
1 |
- |
- |
- |
- |
1 |
M |
13 |
4 |
4 |
|
- |
|
|
1 |
I |
9 |
9 |
9 |
- |
|
- |
- |
1 |
D |
4 |
4 |
4 |
P |
= |
|
|
7 |
PYRAMID |
86 |
41 |
41 |
- |
- |
- |
- |
- |
- |
8+6 |
4+1 |
4+1 |
P |
= |
|
|
7 |
PYRAMID |
14 |
5 |
5 |
- |
- |
- |
- |
- |
- |
1+4 |
- |
- |
P |
= |
|
|
7 |
PYRAMID |
5 |
5 |
5 |
- |
- |
- |
- |
- |
PYRE |
- |
- |
- |
- |
- |
- |
- |
2 |
P+Y |
41 |
14 |
5 |
- |
- |
- |
- |
1 |
R |
18 |
9 |
9 |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
P |
= |
|
- |
4- |
PYRE |
- |
- |
- |
- |
- |
- |
- |
- |
AMID |
- |
- |
- |
|
- |
|
|
2 |
A+M |
14 |
5 |
5 |
- |
- |
- |
- |
1 |
I |
9 |
9 |
9 |
- |
- |
- |
- |
1 |
D |
4 |
4 |
4 |
A |
= |
|
- |
- |
AMID |
- |
- |
- |
- |
- |
- |
- |
- |
|
- |
- |
- |
- |
- |
8 |
|
8 |
- |
91 |
46 |
37 |
- |
- |
- |
- |
- |
- |
8+6 |
4+6 |
3+7 |
- |
- |
8 |
|
8 |
|
10 |
10 |
10 |
- |
- |
- |
- |
- |
- |
1+0 |
1+0 |
1+0 |
- |
- |
8 |
|
8 |
|
1 |
1 |
1 |
PYRE AMIDST THE STONE
P |
= |
|
|
7 |
PYRAMID |
86 |
41 |
5 |
P |
= |
|
|
7 |
PHARAOH |
67 |
40 |
4 |
- |
- |
14 |
|
14 |
Add to Reduce |
153 |
81 |
9 |
- |
- |
1+4 |
- |
1+4 |
Reduce to Deduce |
1+5+3 |
8+1 |
1+8 |
- |
- |
5 |
|
5 |
Essence of Number |
9 |
9 |
9 |
T |
= |
2 |
|
3 |
THE |
33 |
15 |
6 |
G |
= |
7 |
|
5 |
GREAT |
51 |
24 |
6 |
P |
= |
7 |
|
7 |
PYRAMID |
86 |
41 |
5 |
O |
= |
6 |
|
2 |
OF |
21 |
12 |
3 |
G |
= |
7 |
|
4 |
GIZA |
43 |
25 |
7 |
|
|
|
|
21 |
First Total |
|
|
|
|
|
2+9 |
|
2+1 |
Add to Reduce |
2+3+4 |
1+1+7 |
2+7 |
|
|
|
|
3 |
Second Total |
|
|
|
|
|
1+1 |
|
|
Reduce to Deduce |
- |
- |
- |
|
|
|
|
|
Essence of Number |
|
|
|
4 |
ISIS |
56 |
20 |
2 |
6 |
OSIRIS |
89 |
35 |
8 |
5 |
ORION |
71 |
35 |
8 |
- |
- |
- |
|
- |
OSIRIS |
- |
|
- |
I |
= |
9 |
- |
1 |
I |
9 |
9 |
9 |
R |
= |
9 |
- |
1 |
R |
18 |
9 |
9 |
I |
= |
9 |
- |
1 |
I |
9 |
9 |
9 |
S |
= |
1 |
- |
3 |
SOS |
53 |
26 |
8 |
- |
- |
28 |
|
6 |
OSIRIS |
|
|
|
- |
- |
2+8 |
- |
- |
- |
8+9 |
5+3 |
3+5 |
- |
- |
10 |
- |
6 |
OSIRIS |
|
|
|
- |
- |
1+0 |
- |
- |
- |
1+7 |
- |
- |
- |
- |
|
- |
6 |
OSIRIS |
|
|
|
- |
- |
- |
|
- |
OSIRIS |
- |
|
- |
S |
= |
1 |
- |
3 |
SO |
34 |
16 |
7 |
I |
= |
9 |
- |
1 |
I |
9 |
9 |
9 |
R |
= |
9 |
- |
1 |
R |
18 |
9 |
9 |
I |
= |
9 |
- |
1 |
IS |
28 |
10 |
1 |
- |
- |
28 |
|
6 |
OSIRIS |
|
|
|
- |
- |
2+8 |
- |
- |
- |
8+9 |
5+3 |
3+5 |
- |
- |
10 |
- |
6 |
OSIRIS |
|
|
|
- |
- |
1+0 |
- |
- |
- |
1+7 |
- |
- |
- |
- |
|
- |
6 |
OSIRIS |
|
|
|
- |
EGYPT |
- |
- |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
|
- |
5 |
1 |
G |
7 |
7 |
7 |
- |
7 |
- |
1 |
Y |
25 |
7 |
7 |
- |
7 |
- |
1 |
P |
16 |
7 |
7 |
- |
7 |
- |
1 |
T |
20 |
2 |
2 |
|
- |
2 |
5 |
EGYPT |
73 |
28 |
28 |
- |
21 |
7 |
|
- |
7+3 |
2+8 |
2+8 |
- |
2+1 |
- |
5 |
EGYPT |
10 |
10 |
10 |
|
3 |
7 |
|
- |
1+0 |
1+0 |
1+0 |
- |
- |
- |
5 |
EGYPT |
1 |
7 |
7 |
|
3 |
7 |
MAGI THE MAGIC SEE THE MAGI
C
THE
MAGIC
ART THOU MAGI THE MAGIC MAGI THE MAGIC AM I
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S
A |
B |
C |
D |
E |
F |
G |
H |
I |
J |
K |
L |
M |
N |
O |
P |
Q |
R |
S |
T |
U |
V |
W |
X |
Y |
Z |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
10 |
11 |
12 |
13 |
14 |
15 |
16 |
17 |
18 |
19 |
20 |
21 |
22 |
23 |
24 |
25 |
26 |
|
|
|
|
|
|
|
|
|
1+0 |
1+1 |
1+2 |
1+3 |
1+4 |
1+5 |
1+6 |
1+7 |
1+8 |
1+9 |
2+0 |
2+1 |
2+2 |
2+3 |
2+4 |
2+5 |
2+6 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
A |
B |
C |
D |
E |
F |
G |
H |
I |
J |
K |
L |
M |
N |
O |
P |
Q |
R |
S |
T |
U |
V |
W |
X |
Y |
Z |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
A |
B |
C |
D |
E |
F |
G |
H |
I |
J |
K |
L |
M |
N |
O |
P |
Q |
R |
S |
T |
U |
V |
W |
X |
Y |
Z |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
A |
B |
C |
D |
E |
F |
G |
H |
I |
J |
K |
L |
M |
N |
O |
P |
Q |
R |
S |
T |
U |
V |
W |
X |
Y |
Z |
E = 5 = E
N = 14 = 1+4 = 5 = 1+4 = 14 = N
W = 23 2+3 = 5 = 2+3 23 = W
LOOK AT THE FIVES
+
THE FIVES
+
THE FIVES
+
=
356 = 140 = 50
=
5
LOOKATTHE FIVES THE FIVES THE FIVES
L |
= |
3 |
- |
4 |
LOOK |
53 |
17 |
8 |
A |
= |
1 |
- |
2 |
AT |
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
F |
= |
6 |
- |
5 |
FIVES |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
F |
= |
6 |
- |
5 |
FIVES |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
F |
= |
6 |
- |
5 |
FIVES |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
30 |
First Total |
|
|
|
- |
- |
2+8 |
- |
3+1 |
Add to Reduce |
3+5+6 |
1+4+2 |
5+0 |
- |
- |
|
- |
4 |
Second Total |
|
|
|
- |
- |
1+0 |
- |
|
Reduce to Deduce |
1+4 |
- |
- |
- |
- |
|
- |
4 |
Essence of Number |
|
|
|
P |
= |
7 |
- |
9 |
PENTATEUCH |
113 |
41 |
5 |
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S
|
PENTATEUCH |
|
|
|
1 |
|
16 |
7 |
|
1 |
|
5 |
5 |
|
1 |
N |
14 |
5 |
5 |
3 |
|
41 |
5 |
|
1 |
|
5 |
5 |
|
3 |
|
32 |
14 |
|
|
PENTATEUCH |
|
|
|
1+0 |
|
1+1+3 |
4+1 |
3+2 |
|
PENTATEUCH |
|
|
|
FIVE BOOKS FIVE
GENESIS EXODUS LEVITICUS NUMBERS DEUTERONOMY
FIVE BOOKS FIVE
G |
= |
7 |
- |
7 |
GENESIS |
78 |
33 |
6 |
E |
= |
5 |
- |
6 |
EXODUS |
88 |
25 |
7 |
L |
= |
3 |
- |
9 |
LEVITICUS |
120 |
39 |
3 |
N |
= |
5 |
- |
7 |
NUMBERS |
65 |
29 |
2 |
D |
= |
4 |
- |
11 |
DEUTERONOMY |
155 |
56 |
2 |
S |
- |
24 |
|
40 |
First Total |
|
|
|
- |
- |
2+4 |
- |
4+0 |
Add to Reduce |
5+0+6 |
1+8+2 |
2+0 |
S |
- |
6 |
|
4 |
Second Total |
11 |
11 |
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+1 |
1+1 |
- |
S |
- |
6 |
|
4 |
Essence of Number |
2 |
2 |
2 |
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S
|
PENTATEUCH |
|
|
|
1 |
|
16 |
7 |
|
1 |
|
5 |
5 |
|
1 |
N |
14 |
5 |
5 |
3 |
|
41 |
5 |
|
1 |
|
5 |
5 |
|
3 |
|
32 |
14 |
|
|
PENTATEUCH |
|
|
|
- |
|
1+1+3 |
4+1 |
3+2 |
|
PENTATEUCH |
|
|
|
PENTATEUCH = 7552125338 = PENTATEUCH
P - E - N - TAT -E - UCH = 7 - 5 - 5 - 212 - 5 - 338 = P - E - N - TAT -E - UCH
P - E - N - TAT -E - UCH = 7 - 5 - 5 - 2+1+2 - 5 - 3+3+8 = P - E - N - TAT -E - UCH
P - E - N - TAT -E - UCH = 7 - 5 - 5 - 212 - 5 - 338 = P - E - N - TAT -E - UCH
P - E - N - TAT -E - UCH = 7 - 5 - 5 - 5 - 5 - 5 = P - E - N - TAT -E - UCH
|
PENTATEUCH |
|
|
|
1 |
|
16 |
7 |
|
1 |
|
5 |
5 |
|
1 |
N |
14 |
5 |
5 |
3 |
|
41 |
5 |
|
1 |
|
5 |
5 |
|
3 |
|
32 |
14 |
|
|
PENTATEUCH |
|
|
|
- |
|
1+1+3 |
4+1 |
3+2 |
|
PENTATEUCH |
|
|
|
|
|
|
|
|
1 |
P |
16 |
7 |
|
1 |
E |
5 |
5 |
|
1 |
|
14 |
5 |
|
1 |
T |
20 |
2 |
|
1 |
E |
5 |
5 |
|
2 |
CO |
18 |
9 |
|
1 |
|
19 |
1 |
|
1 |
T |
20 |
2 |
|
|
|
|
|
|
|
|
1+1+7 |
3+6 |
3+6 |
|
|
|
|
|
G |
= |
7 |
- |
7 |
GENESIS |
78 |
51 |
6 |
E |
= |
5 |
- |
6 |
EXODUS |
88 |
34 |
7 |
L |
= |
3 |
- |
9 |
LEVITICUS |
120 |
48 |
3 |
N |
= |
5 |
- |
7 |
NUMBERS |
65 |
38 |
2 |
D |
= |
4 |
- |
11 |
DEUTERONOMY |
155 |
56 |
2 |
S |
- |
24 |
|
40 |
First Total |
|
|
|
- |
- |
2+4 |
- |
4+0 |
Add to Reduce |
5+0+6 |
2+2+7 |
2+0 |
S |
- |
6 |
|
4 |
Second Total |
11 |
11 |
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+1 |
1+1 |
- |
S |
- |
6 |
|
4 |
Essence of Number |
2 |
2 |
2 |
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 10 = 50
the letter E
According to the data, the most common letter in the English language is the letter E
E typically takes first place regardless of which analysis method is used.
What's The Most Common Letter Used In English?
Thesaurus.com
https://www.thesaurus.com › ways-to-say › most-commo...
Letter Frequencies in the English Language is the letter E
G |
= |
7 |
- |
7 |
GENESIS |
78 |
51 |
6 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
6 |
EXODUS |
88 |
34 |
7 |
|
|
|
|
|
|
|
|
|
|
L |
= |
3 |
- |
9 |
LEVITICUS |
120 |
48 |
3 |
|
|
|
|
|
|
|
|
|
|
N |
= |
5 |
- |
7 |
NUMBERS |
65 |
38 |
2 |
|
|
|
|
|
|
|
|
|
|
D |
= |
4 |
- |
11 |
DEUTERONOMY |
155 |
56 |
2 |
|
|
|
|
|
|
|
|
|
|
- |
- |
24 |
|
40 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
- |
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
|
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
|
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
|
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
|
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
T |
= |
2 |
|
1 |
T |
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
B |
= |
2 |
|
1 |
B |
2 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
1 |
T |
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
U |
= |
3 |
|
1 |
U |
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
L |
= |
3 |
- |
1 |
L |
12 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
|
1 |
C |
3 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
U |
= |
3 |
|
1 |
U |
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
U |
= |
3 |
|
1 |
U |
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
U |
= |
3 |
|
1 |
U |
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
D |
= |
4 |
- |
1 |
D |
4 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
V |
= |
4 |
|
1 |
V |
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
V |
= |
4 |
|
1 |
V |
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
1 |
M |
13 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
D |
= |
4 |
|
1 |
D |
4 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
1 |
M |
13 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
N |
= |
5 |
|
1 |
N |
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
N |
= |
5 |
|
1 |
N |
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
1 |
E |
21 |
3 |
5 |
|
|
|
|
|
|
|
|
|
|
N |
= |
5 |
|
1 |
N |
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
X |
= |
6 |
|
1 |
X |
24 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
|
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
|
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
|
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
G |
= |
7 |
|
1 |
G |
7 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
Y |
= |
7 |
|
1 |
Y |
25 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
I |
= |
9 |
|
1 |
I |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
I |
= |
9 |
|
1 |
I |
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
I |
= |
9 |
|
1 |
I |
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
R |
= |
9 |
|
1 |
R |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
R |
= |
9 |
|
1 |
R |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+8 |
2+0 |
5+0 |
2+4 |
1+4 |
|
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
9 |
2 |
5 |
6 |
5 |
|
9 |
G |
= |
7 |
- |
7 |
GENESIS |
78 |
51 |
6 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
- |
6 |
EXODUS |
88 |
34 |
7 |
|
|
|
|
|
|
|
|
|
|
L |
= |
3 |
- |
9 |
LEVITICUS |
120 |
48 |
3 |
|
|
|
|
|
|
|
|
|
|
N |
= |
5 |
- |
7 |
NUMBERS |
65 |
38 |
2 |
|
|
|
|
|
|
|
|
|
|
D |
= |
4 |
- |
11 |
DEUTERONOMY |
155 |
56 |
2 |
|
|
|
|
|
|
|
|
|
|
S |
- |
24 |
|
40 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
2+4 |
- |
4+0 |
Add to Reduce |
5+0+6 |
2+2+7 |
2+0 |
|
|
|
|
|
|
|
|
|
|
S |
- |
6 |
|
4 |
Second Total |
11 |
11 |
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+1 |
1+1 |
- |
|
|
|
|
|
|
|
|
|
|
S |
- |
6 |
|
4 |
Essence of Number |
2 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S
How many 5s in the word
Technology
=
5
T |
= |
2 |
- |
10 |
TECHNOLOGY |
|
|
|
|
|
|
- |
2 |
T+C |
23 |
5 |
5 |
- |
- |
- |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
- |
- |
2 |
H+O |
23 |
14 |
5 |
- |
- |
- |
- |
1 |
N |
14 |
5 |
5 |
- |
- |
- |
- |
2 |
L+O |
27 |
9 |
9 |
- |
- |
- |
- |
2 |
G+Y |
32 |
14 |
5 |
T |
= |
2 |
- |
10 |
TECHNOLOGY |
|
|
|
|
|
|
|
1+0 |
|
|
|
|
T |
= |
2 |
- |
1 |
-TECHNOLOGY |
|
|
|
- |
- |
- |
- |
- |
- |
1+2+4 |
5+2 |
- |
T |
= |
2 |
- |
1 |
-TECHNOLOGY |
|
|
|
- |
QUO
VADIS |
- |
- |
|
1 |
Q |
17 |
8 |
|
2 |
UO |
36 |
9 |
|
3 |
VAD |
27 |
9 |
|
1 |
I |
9 |
9 |
|
1 |
S |
19 |
1 |
|
8 |
QUO VADIS |
108 |
36 |
36 |
- |
- |
1+0+8 |
3+6 |
3+6 |
8 |
QUO
VADIS |
9 |
9 |
9 |
- |
QUO
VADIS |
- |
- |
|
3 |
QUO |
17 |
8 |
|
5 |
VADIS |
27 |
9 |
|
8 |
QUO VADIS |
108 |
36 |
36 |
- |
- |
1+0+8 |
3+6 |
3+6 |
8 |
QUO
VADIS |
9 |
9 |
9 |
7 |
WHITHER |
91 |
46 |
|
5 |
GOEST |
66 |
21 |
|
4 |
THOU |
64 |
19 |
|
16 |
- |
221 |
86 |
5 |
1+6 |
- |
2+2+1 |
8+6 |
- |
7 |
- |
5 |
14 |
5 |
- |
- |
- |
1+4 |
- |
7 |
- |
5 |
5 |
5 |
QUO VADIS
(WHITHER GOEST THOU?)
By Henryk Sienkiewicz 1895
Page 9
"QUO VADIS ?"
Page 90
"QUO VADIS ?"
Page 99
"QUO VADIS ?"
"GOD"
"GOD"
"GOD"
"GOD"
"GOD"
Page 108
"QUO VADIS ?"
QUO VADIS
RISTORANTE ITALIANO
SMYTHE STREET
WAKEFIELDYORKSHIRE
WAKEFIELD
CLAYTON HOSPITAL
Eye Centre Reception Desk Notice
9/10/2008
"ARE YOU GETTING OUR MESSAGE"
??
WAKEFIELD
ORACLE
September 2008 Front Page
DELIVERED
TO
ALVERTHORPE ARDSLEY KIRKHAMGATE NEWTON HILL OUTWOOD SANDAL
STANLEY ST JOHNS THORNES THORPE WAKEFIELD CENTRE WALTON WRENTHORPE
OF TIME AND STARS
Arthur C. Clarke 1972
Page 81
If I forget Thee, Oh Earth
"He stared into the west, away from the blinding splendour of the sun - and there were the stars, as he had been told but had never quite believed. He gazed at them for a long time marvelling that anything could be so bright and yet so tiny. They were intense unscintillating points, and suddenly he remembered a rhyme he had once read in one of his father's books:
Twinkle, Twinkle, little star,
How I wonder what you are."
DAILY MAIL
Tuesday October 7, 2008
Page 23
".........nursery rhymes and songs such as Twinkle Twinkle Little Star."
Good Morning Starshine
Good Morning Starshine
The earth says hello You twinkle above us
We twinkle below
Good Morning Starshine
You lead us along
My love and me as we sing Our early morning singing song
Gliddy glub gloopy Nibby nabby noopy
La la la lo lo Sabba sibby sabba
Nooby abba nabba
Le le lo lo Tooby ooby walla
Nooby abba naba
Early morning singing song
Good Morning Starshine
The earth says hello You twinkle above us
We twinkle below
Good Morning Starshine
You lead us along
My love and me as we sing
Our early morning singing song
Gliddy glub gloopy Nibby nabby noopy
La la la lo lo Sabba sibby sabba
Nooby abba nabba
Le le lo lo Tooby ooby walla
Nooby abba naba
Early morning singing song
Singing a song Humming a song Singing a song
Loving a song Laughing a song
Singing a song Sing the song song the sing
song song song sing
sing sing sing song
song song song sing
sing sing sing song
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sunshine in
Hair: The American Tribal Love-Rock Musical
1967
is a rock musical with a book and lyrics by James Rado and Gerome Ragni and music by Galt MacDermot
DAILY MAIL
Monday, October 6, 2008
Jonathan Cainer
Page 42
"FIRST CONTACT"
"THE ALIENS COULD HARDLY HAVE CHOSEN A MORE AUSPICIOUS TIME TO HAVE TURNED UP"
SIGNS IN THE SKY
OPENING THE STARGATE
Adrian Gilbert 2000
Annu Heliopolis
Page 160
"Although the original Benben stone disappeared at about the time the pyramids were built, it bequeathed its name to the pyramidions that sat on the top of the pyramids, and also the pyramidal tips of obelisks.12 There was therefore a close etymological linkage between the Benben stone of the early Dynastic Age, the pyramids of the Old Kingdom and the obelisks of the Middle and New Kingdoms. It was tempting to think that in all cases the pyrarnidions represented the same thirig: the 'seed' or semen of Atum, the cosmic creator, made manifest as his offspring Osiris and sent to earth to carry out his mission of civilizing humankind. This being the case the Benben, like the pyramids, was emblematic of Osiris and therefore somehow linked to the stellar religion of Orion.
It was this essentially Osirian theory for the origins and meaning of the Benben that we presented in The Orion Mystery. Yet this interpretation, plausible as it is, is clearly not the whole story. In ancient Egypt, hand in hand with the Osirian cult of the dead, there was a solar cult of the living. The west bank of the Nile, and in particular the pyramid fields, represented the land of the dead, the kingdom of Osiris. However, the east bank, where Heliopolis stood, symbolized the world of the living under the ever-watchful eye of Re, the sun god. Thus while the pyramids symbolized Orion, the star form of Osiris and his place of ascension in the sky, Heliopolis was connected with the worship of the sun god under his varied names of Atum, Re-Heracte and Khepera. When we wrote The Orion Mystery we had neither time nor space to go into all of this in a book that was essentially about the stellar cult of the Old Kingdom. Yet it was clear to me even then that it would eventually be necessary to address the question of the solar aspects of the Egyptian religion too if we were ever to obtain a holistic view. For while Osiris/Orion is clearly of great esoteric interest, the solar focus of most of the temples used by the living, and indeed of the obelisks, is clear for all to see.
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
R |
= |
9 |
- |
6 |
REPORT |
92 |
38 |
2 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
M |
= |
4 |
- |
2 |
MY |
38 |
11 |
2 |
D |
= |
4 |
- |
5 |
DEATH |
38 |
20 |
2 |
W |
= |
5 |
- |
3 |
WAS |
43 |
7 |
7 |
A |
= |
1 |
- |
2 |
AN |
15 |
6 |
6 |
E |
= |
5 |
- |
12 |
EXAGGERATION |
126 |
63 |
9 |
- |
- |
36 |
|
35 |
First Total |
|
|
|
- |
- |
3+6 |
- |
3+5 |
Add to Reduce |
4+0+6 |
1+7+2 |
3+7 |
- |
- |
|
- |
|
Second Total |
10 |
10 |
10 |
- |
- |
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
- |
- |
|
- |
|
Essence of Number |
|
|
|
M |
= |
4 |
- |
4 |
MARK |
43 |
16 |
7 |
T |
= |
2 |
- |
5 |
TWAIN |
67 |
22 |
4 |
- |
- |
|
- |
9 |
First Total |
|
|
|
- |
- |
|
|
- |
Add to Reduce |
1+1+0 |
3+8 |
1+1 |
Q |
- |
|
- |
9 |
Second Total |
|
|
|
- |
- |
|
|
- |
Reduce to Deduce |
|
1+1 |
|
Q |
- |
|
- |
9 |
Essence of Number |
|
|
|
A |
= |
1 |
- |
6 |
ARTHUR |
86 |
32 |
5 |
C |
= |
3 |
- |
1 |
C |
3 |
3 |
3 |
C |
= |
3 |
- |
6 |
CLARKE |
50 |
23 |
5 |
- |
- |
|
- |
|
First Total |
|
|
|
- |
- |
|
|
1+3 |
Add to Reduce |
1+3+9 |
5+8 |
1+3 |
Q |
- |
|
- |
|
Second Total |
|
|
|
- |
- |
|
|
1+3 |
Reduce to Deduce |
1+3 |
1+3 |
1+3 |
Q |
- |
|
- |
|
Essence of Number |
|
|
|
I |
= |
9 |
- |
3 |
IVE |
36 |
18 |
9 |
G |
= |
7 |
- |
3 |
GOT |
42 |
15 |
6 |
A |
= |
1 |
- |
3 |
ALL |
25 |
7 |
7 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
T |
= |
2 |
- |
4 |
TIME |
47 |
20 |
2 |
I |
= |
9 |
- |
2 |
IN |
23 |
14 |
5 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
W |
= |
5 |
- |
5 |
WORLD |
72 |
27 |
9 |
- |
- |
37 |
|
26 |
First Total |
|
|
|
- |
- |
3+7 |
- |
2+6 |
Add to Reduce |
3+1+1 |
1+3+1 |
5+0 |
- |
- |
10 |
- |
|
Second Total |
|
|
|
- |
- |
1+0 |
- |
2+6 |
Reduce to Deduce |
3+1+1 |
1+3+1 |
5+0 |
- |
- |
|
- |
|
Essence of Number |
|
|
|
A |
= |
1 |
- |
3 |
ANY |
40 |
13 |
4 |
S |
= |
1 |
- |
12 |
SUFFICIENTLY |
149 |
59 |
5 |
A |
= |
1 |
- |
8 |
ADVANCED |
54 |
27 |
9 |
T |
= |
2 |
- |
10 |
TECHNOLOGY |
124 |
52 |
7 |
I |
= |
9 |
- |
2 |
IS |
28 |
10 |
1 |
I |
= |
9 |
- |
17 |
INDISTINGUISHABLE |
164 |
83 |
2 |
F |
= |
6 |
- |
4 |
FROM |
52 |
25 |
7 |
M |
= |
4 |
- |
5 |
MAGIC |
33 |
24 |
6 |
- |
- |
33 |
|
61 |
First Total |
|
|
|
- |
- |
3+3 |
- |
6+1 |
Add to Reduce |
6+4+4 |
2+9+3 |
4+1 |
- |
- |
6 |
- |
|
Second Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+4 |
1+4 |
- |
- |
- |
|
- |
|
Essence of Number |
|
|
|
I
SAY
AGAIN
I
ME
LIVING
MAGNETISM
POSITIVE + NEGATIVE
ISISIS MAAT IS IS MAAT ISISIS
I AM THAT EYE THAT EYE THAT AM I
I AM DROWNING ALWAYS DROWNING AM I
HAIL THE JEWEL AT THE CENTRE OF THE LOTUS
1818 ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ 8181
ONE EIGHT THREE SIX 1836 ISISIS 6381 SIX THREE EIGHT ONE
X X X 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 X X X 9 + 8 + 7 + 6 + 5 + 4 + 3 + 2 + 1 X X X
ABCDEFGHIJKLMNOPQRSTUVWXYZ 9 9 9 ZYXWVUTSRQPONMLKJIHGFEDCBA
ISISIS LOVE LOVE ISISIS ISISIS LIGHT 999 LOVE 999 LIGHT SISISI SISISI LOVE LOVE ISISIS
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
18 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
35 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
5 |
|
76 |
22 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
48 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
|
55 |
28 |
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
2 |
|
27 |
9 |
|
|
|
|
|
|
|
|
|
|
9 |
|
|
|
|
10 |
|
133 |
61 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
|
121 |
49 |
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
|
2 |
|
23 |
14 |
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
9 |
|
65 |
29 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+5 |
|
5+8 |
Add to Reduce |
6+2+6 |
2+6+6 |
5+9 |
|
|
|
|
|
|
|
1+4 |
|
1+8 |
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+3 |
Reduce to Deduce |
1+4 |
1+4 |
1+4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
“THE WORLD IS BUILT UPON THE POWER OF NUMBERS”
"Pythagoras, the old master philosopher and mathematician, who lived in the sixth century BC, propounded the theory that nothing in the universe could exist without numbers. He established a Mystery School in Italy when he was 52 years old. He was born in Greece and lived between 582 and 507 BC, much of his life spent in study and travel. His Mystery School taught esoteric knowledge, which included the secret of number and vibration."
“The World is built upon the power of Numbers” ...Pythagoras – 6th century BC.
“THE WORLD IS BUILT UPON THE POWER OF NUMBERS”
T |
= |
2 |
|
|
THE |
|
|
|
W |
= |
5 |
- |
5 |
WORLD |
72 |
27 |
9 |
I |
= |
9 |
- |
2 |
IS |
28 |
10 |
1 |
B |
= |
2 |
|
|
BUILT |
|
|
|
U |
= |
3 |
- |
4 |
UPON |
66 |
21 |
3 |
T |
= |
2 |
|
|
THE |
|
|
|
P |
= |
7 |
|
|
POWER |
|
|
|
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
N |
= |
5 |
- |
7 |
NUMBERS |
92 |
29 |
2 |
|
|
|
|
|
First Total |
|
|
|
- |
- |
4+1 |
- |
3+6 |
Add to Reduce |
2+7+9 |
1+8+0 |
3+6 |
|
|
5 |
|
9 |
Second Total |
|
9 |
9 |
- |
- |
- |
- |
- |
Reduce to Deduce |
1+8 |
- |
- |
|
|
5 |
|
9 |
Essence of Number |
9 |
9 |
9 |
I
ME
NUMBERS
EGYPT PYTHAGORAS EGYPT
THREE FOUR FIVE - FIVE FOUR THREE
PYTHAGORAS OURABORUS PYTHAGORAS
THE GROWTH OF SCIENCE
A.P. Rossiter 1939
Page 15
"The Egyptians,…" "…made good observations on the stars and were able to say when the sun or moon would become dark in an eclipse (a most surprising event even in our times), and when the land would be covered by the waters of the Nile: they were expert at building and made some discoveries about the relations of lines and angles - among them one very old rule for getting a right-angle by stretching out knotted cords with 5, 4 And 3 units between the knots."
"...among them one very old rule for getting a right-angle by stretching out knotted cords with
5, 4 And 3 units between the knots."
CIVILIZATION, SCIENCE AND RELIGION
A. D. RITCHIE 1945
THE ART OF THINKING
Page 39
"The Egyptians could set out a right-angle on the ground,
for building or for land surveying,
by means of a cord knotted at intervals of
3, 4 and 5 units of length."
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
16 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PYTHAGORAS |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4+9 |
|
1+0 |
|
1+3+0 |
5+8 |
4+9 |
|
|
|
|
|
|
|
2+1 |
|
|
|
|
|
|
|
PYTHAGORAS |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+3 |
|
|
|
|
1+3 |
1+3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PYTHAGORAS |
|
|
|
|
|
|
|
|
|
|
|
|
|
THE MISSING NUMBERS IN THE WORD
PYTHAGORAS
THREE FOUR FIVE -
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
16 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PYTHAGORAS |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4+9 |
|
1+0 |
|
1+3+0 |
5+8 |
4+9 |
|
|
|
|
|
|
|
2+1 |
|
|
|
|
|
|
|
PYTHAGORAS |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+3 |
|
|
|
|
1+3 |
1+3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PYTHAGORAS |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
16 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
PYTHAGORAS |
|
|
|
|
|
|
|
|
|
|
|
|
4+9 |
|
1+0 |
|
1+3+0 |
5+8 |
4+9 |
|
|
|
|
2+1 |
|
|
|
|
|
|
|
PYTHAGORAS |
|
|
|
|
|
|
|
|
|
|
|
|
1+3 |
|
|
|
|
1+3 |
1+3 |
|
|
|
|
|
|
|
|
|
|
|
|
PYTHAGORAS |
|
|
|
|
|
|
|
|
|
|
A BRIEF HISTORY OF INFINITY
"The Quest to Think the Unthinkable
Brian Clegg 2003
Page 66
"When dealing with such ratios, they would know that there was a clear relationship in terms of a full unit - so, for instance, in the famous right angled triangle of Pythagoras' theorem, they would think of of the longest side being 5 units long when the other side were 3 and 4..."
The Theorem of Pythagoras 25 Nov 2001 ... Brief description and proof of the Pythagorean theorem by dissection, ... Ancient Egyptian builders may have known the (3,4,5) triangle and ... arc.iki.rssi.ru/mirrors/stern/stargaze/Spyth.htm - Cached - Similar -
Pythagorean Triangles and Triples Jump to The 3-4-5 Triangle: 3 4 5 on graph paper But all Pythagorean triangles are even easier to draw on squared paper because all their sides are ... www.mcs.surrey.ac.uk/Personal/R.Knott/Pythag/pythag.html - Cached - Similar
-3:4:5 triangle definition - Math Open Reference - Sep 23
You could of course use any dimensions you like, and then use Pythagoras' theorem to see if it is a right triangle. But the numbers 3,4,5 are easy to ...
www.mathopenref.com/triangle345.html - Cached - Similar
-The Pythagorean Theorem and the Maya Long Count Various ancient cultures based some of their artwork on the 3-4-5 right triangle, frequently referred to by geometrists as a perfect triangle. Pythagoras is ... www.earthmatrix.com/pythagoras.html - Cached - Similar
-Our Ancient Friend and Brother, the Great Pythagoras The evidence that the particular triangle alluded to in the Monitor is the 3,4,5 right triangle can be derived from the odd comments about Pythagoras' ... www.sricf-ca.org/paper1.htm - Similar
-The 3-4-5 Rule is the Pythagorean Theorem: Set Control Lines for ... The Pythagorean theorem is the basis for the 3-4-5 rule. This simple math equation is a carpenter's tool used to find or verify the squareness of a room or ...
homerenorepair.suite101.com/.../the_345_rule_is_the_pythagorean_theorem - Cached - Similar
-pythagoras For integers m and n, {n2-m2, 2mn, n2+m2}is a pythagorean triangle. For m=1, n=2, you'll get {3, 4, 5}. I'll add a diagram so that this isn't completely ... www.mathpuzzle.com/pythagoras.html - Cached - Similar
-The Pythagorean Theorem First described by the Greek mathematician Pythagoras 2500 years ago, the Pythagorean ... For example: 3,4,5 or 6,8,10 or 9,12,15 or 12,16,20 ... etc ... www.worsleyschool.net/.../pythagoras/pythagoreantheorem.html - Cached - Similar
-pythagoras Pythagoras the 3-4-5 fallacy. ... Traditionally the example used to illustrate the Pythagorean theorem is the 3-4-5 diagram. This is a fallacy, ... www.marques.co.za/duke/pythagoras.htm - Cached - Similar -
PYTHAGORAS = 7728176911 = PYTHAGORAS
1112345677789
123456789
1112345677789
PYTHAGORAS = 7728176911 = PYTHAGORAS
THE GROWTH OF SCIENCE
A.P.Rossiter 1939
Page 15
"The Egyptians,…" "…made good observations on the stars and were able to say when the sun or moon would become dark in an eclipse (a most surprising event even in our times), and when the land would be covered by the waters of the Nile: they were expert at building and made some discoveries about the relations of lines and angles - among them one very old rule for getting a right-angle by stretching out knotted cords with 5, 4 And 3 units between the knots."
"...among them one very old rule for getting a right-angle by stretching out knotted cords with
5, 4 And 3 units between the knots."
CIVILIZATION, SCIENCE AND RELIGION
A. D. RITCHIE 1945
THE ART OF THINKING
Page 39
"The Egyptians could set out a right-angle on the ground,
for building or for land surveying,
by means of a cord knotted at intervals of
3, 4 and 5 units of length."
3 |
|
5 |
THREE |
56 |
29 |
2 |
4 |
|
4 |
FOUR |
60 |
24 |
6 |
5 |
|
4 |
FIVE |
42 |
24 |
6 |
|
|
13 |
First Total |
|
|
|
1+2 |
|
1+3 |
Add to Reduce |
1+5+8 |
7+7 |
1+4 |
|
|
4 |
Second Total |
|
|
|
|
|
|
Reduce to Deduce |
1+4 |
1+4 |
|
|
|
|
Essence of Number |
|
|
|
THE
MISSING
NUMBERS
EGYPT PYTHAGORAS EGYPT
THREE FOUR FIVE - FIVE FOUR THREE
PYTHAGORAS OURABORUS PYTHAGORAS
A
STRAIGHT ANSWER TO A STRAIGHT
QUESTION
?
ARE YOU AN ALIEN AND IF SO ARE YOU FROM OUTER SPACE OR INNER SPACE
?
YES AND YOU
?
1 |
I |
9 |
9 |
9 |
4 |
THAT |
49 |
13 |
4 |
2 |
AM |
14 |
5 |
5 |
11 |
|
145 |
55 |
1 |
16 |
|
213 |
78 |
6 |
3 |
AND |
19 |
10 |
1 |
9 |
|
86 |
32 |
5 |
2 |
AM |
14 |
5 |
5 |
1 |
I |
9 |
9 |
9 |
|
First Total |
|
|
|
4+9 |
Add to Reduce |
5+5+8 |
2+1+6 |
4+5 |
|
Second Total |
|
9 |
9 |
1+3 |
Reduce to Deduce |
1+8 |
- |
- |
|
Essence of Number |
|
9 |
9 |
11 |
|
102 |
48 |
|
2 |
|
21 |
12 |
|
10 |
|
121 |
58 |
|
10 |
|
102 |
57 |
|
10 |
|
117 |
45 |
|
9 |
|
113 |
50 |
|
3 |
|
33 |
15 |
|
9 |
|
95 |
41 |
|
2 |
|
21 |
12 |
|
16 |
|
213 |
78 |
|
12 |
|
115 |
61 |
|
|
First Total |
|
|
|
9+4 |
Add to Reduce |
1+0+5+3 |
4+7+7 |
5+4 |
|
Second Total |
|
|
|
1+3 |
Reduce to Deduce |
- |
1+8 |
- |
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+3 |
|
1+4+8 |
5+8 |
1+3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+3 |
1+3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO
8 |
QUO VADIS |
108 |
36 |
9 |
6 |
VOX POP |
108 |
36 |
9 |
11 |
SORROW |
108 |
36 |
9 |
8 |
INSTINCT |
108 |
36 |
9 |
11 |
DESCENDANTS |
108 |
36 |
9 |
8 |
STARTING |
108 |
36 |
9 |
9 |
NARRATIVE |
108 |
36 |
9 |
9 |
SEQUENCES |
108 |
36 |
9 |
9 |
COMPLETES |
108 |
36 |
9 |
9 |
AMBIGUOUS |
108 |
36 |
9 |
7 |
JOURNEY |
108 |
36 |
9 |
KEEPER OF GENESIS
A QUEST FOR THE HIDDEN LEGACY OF MANKIND
Robert Bauval Graham Hancock 1996
Page 254
"...Is there in any sense an interstellar Rosetta Stone?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
T |
= |
2 |
|
|
|
33 |
15 |
|
F |
= |
6 |
|
|
|
42 |
24 |
|
C |
= |
3 |
|
|
|
129 |
39 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2+0 |
|
2+5+2 |
9+9 |
1+3 |
|
|
|
|
|
|
|
|
|
JUST SIX NUMBERS
Martin Rees
1
999
OUR COSMIC HABITAT I
PLANETS STARS AND LIFE
Page 24
"A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "
Page 24 / 25
"A manifestly artificial signal- even if it were as boring as lists of prime numbers, or the digits of 'pi' - would imply that 'intelli- gence' wasn't unique to the Earth and had evolved elsewhere. The nearest potential sites are so far away that signals would take many years in transit. For this reason alone, transmission would be primarily one-way. There would be time to send a measured response, but no scope for quick repartee!
Any remote beings who could communicate with us would have some concepts of mathematics and logic that paralleled our own. And they would also share a knowledge of the basic particles and forces that govern our universe. Their habitat may be very different (and the biosphere even more different) from ours here on Earth; but they, and their planet, would be made of atoms just like those on Earth. For them, as for us, the most important particles would be protons and electrons: one electron orbiting a proton makes a hydrogen atom, and electric currents and radio transmitters involve streams of electrons. A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' able and motivated to transmit radio signals. All the basic forces and natural laws would be the same. Indeed, this uniformity - without which our universe would be a far more baffling place - seems to extend to the remotest galaxies that astronomers can study. (Later chapters in this book will, however, speculate about other 'universes', forever beyond range of our telescopes, where different laws may prevail.)
Clearly, alien beings wouldn't use metres, kilograms or seconds. But we could exchange information about the ratios of two masses (such as thc ratio of proton and electron masses) or of two lengths, which are 'pure numbers' that don't depend on what units are used: the statement that one rod is ten times as long as another is true (or false) whether we measure lengths / in feet or metres or some alien units"
"A proton is
1,836 times heavier than an electron, and the number 1,836
would have the same connotations to any 'intelligence'"
E |
= |
5 |
- |
8 |
EIGHTEEN |
73 |
46 |
1 |
T |
= |
2 |
- |
9 |
THIRTYSIX |
152 |
53 |
8 |
- |
- |
|
|
17 |
First Total |
|
|
|
- |
- |
|
- |
1+7 |
Add to Reduce |
2+2+5 |
9+9 |
|
Q |
- |
|
- |
|
Second Total |
|
|
|
- |
- |
|
- |
1+7 |
Reduce to Deduce |
- |
1+8 |
|
Q |
- |
|
- |
|
Essence of Number |
|
|
|
THE GREAT PYRAMID
ITS
DIVINE MESSAGE
AN ORIGINAL CO-ORDINATION OF HISTORICAL DOCUMENTS AND ARCHEOLOGICAL EVIDENCES
D. Davidson and H. Aldersmith 1925
Page 279
"The resulting length for the Grand Gallery roof is 1836 P an important Pyramid dimension dealt with later."
HARMONIC 288
Bruce Cathie
1977
EIGHT
THE MEASURE OF LIGHT : I
Page 95
"The search for this particular value was a lengthy one and the clue that led me finally to a possible solution was a study of the construction of the Grand Gallery. The height of the Gallery was the first indication that it was not just an elaborate access passage. Previous measurements made by scientific investigators pointed to some interesting possibilities. "
Page 95
"The value that I calculated for length was extremely close to that of the one published in Davidson and Aldersmith's book, their value being 1836 inches,"
Page 95/97
"A search of my physics books revealed that 1836 was the closest approximation the scientists have calculated to the mass / ratio of the positive hydrogen ion, i.e. the proton, to the electron."
THE TUTANKHAMUN PROPHECIES
Maurice Cotterell 1999
Page194
Anderson's Constitutions of the Freemasons (In3) comments:
", . . the Tillest structures of Tyre and Sidon could not be compared with the Eternal God's Temple at Jerusalem. , ,
there were employed 3,600 Princes, or Master Masons', to conduct the work according to Solomon's directions,
with 80000 hewers of stone in the mountains ('Fellow Craftsmen')and 70000 labourers in all 153600 besides
the levy under Adoniram to work In the mountains of Lebanon by turns with the Sidonians, viz 30,000 being in all 183,600
Page 190
"The holy number of sun-worshippers is 9, the highest number that can be reached before becoming one (10) with the creator. This is why Tutankhamun was entombed in nine layers of coffin. This is why the pyramid skirts of the two statues, guarding the entrance to the Burial Chamber, were triangular (base 3), when the all-seeing eye-skirt of Mereruka contained a pyramid skirt with a base of four sides. The message concealed here is that the 3 should be squared, which equals 9. Freemasons" for reasons we shall see, are said to be 'on the square'."
THE BIOLOGY OF DEATH
Lyall Watson 1974
Page 49
"AS long ago as 1836, in a Manual of Medical Jurisprudence, this was said: Individuals who are apparently destroyed in a sudden manner, by certain wounds, diseases , or even decapitation are not really dead, but are only in conditions incompatible with the persistence life."
THE JUPITER EFFECT
John Gribbin and Stephen Plagemann 1977
Page 122
: "Seventeen 'major historical earthquakes' are referred to in the report all of which occurred since
1836
AUTOBIOGRAPHY OF A YOGI
Paramahansa Yogananda
1946
Book cover comments
"I am grateful to you for granting me some insight into this fascinating world." - Thomas Mann"
"As an eye witness recountal of the extraordinary lives and powers of modern Hindu saints, the book has importance both timely and timeless."
- W. Y. Evans-Wentz, Orientalist
Page 275
"In the gigantic concepts of Einstein, the velocity of light - 1863 miles per second - dominates the whole theory of relativity"
1863 - 1836
GODS OF THE DAWN
THE MESSAGE OF THE PYRAMIDS
AND
THE TRUE STARGATE MYSTERY
Peter Lemesurier 1997
Page 118
"With the entry into the Grand Gallery, all kinds of extraordinary things now start to happen"
while the 1836P" long roof (-code equivalent: 153 x 12)
8 |
QUO VADIS |
108 |
36 |
9 |
6 |
VOX POP |
108 |
36 |
9 |
11 |
SORROW |
108 |
36 |
9 |
8 |
INSTINCT |
108 |
36 |
9 |
11 |
DESCENDANTS |
108 |
36 |
9 |
8 |
STARTING |
108 |
36 |
9 |
9 |
NARRATIVE |
108 |
36 |
9 |
9 |
SEQUENCES |
108 |
36 |
9 |
9 |
COMPLETES |
108 |
36 |
9 |
9 |
AMBIGUOUS |
108 |
36 |
9 |
7 |
JOURNEY |
108 |
36 |
9 |
KEEPER OF GENESIS
Robert Bauval Graham Hancock 1996
Page 254
Professor Sagan then offers a comparison that is highly apposite to our present inquiry. 'Today,' he says:
we are again seeking messages from an ancient and exotic civilization, this time hidden from us not only in time, but in space. If we should receive a radio message from an extraterrestrial civilization, how could it possibly be understood? Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien. Extraterrestrials would, of course, wish to make a message sent to us as comprehensible as possible. But how could they? Is there in any sense an interstellar Rosetta Stone? We believe there is a common language that all technical civilizations, no matter how different, must have. That common language is science and mathematics. The laws of Nature are the same everywhere.3
Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
16 |
|
213 |
78 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
12 |
|
115 |
61 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
4 |
|
56 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
2 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
7 |
|
64 |
28 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
7 |
|
88 |
34 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
10 |
|
130 |
49 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
10 |
|
138 |
57 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
7 |
|
121 |
31 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
5 |
|
41 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5+1 |
|
8+3 |
Add to Reduce |
9+9+2 |
3+9+8 |
4+7 |
|
|
|
|
|
|
|
2+1 |
|
|
|
|
6 |
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
Reduce to Deduce |
2+0 |
2+0 |
1+1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
16 |
|
213 |
78 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
12 |
|
115 |
61 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
4 |
|
56 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
2 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
7 |
|
64 |
28 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
7 |
|
88 |
34 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
10 |
|
130 |
49 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
10 |
|
138 |
57 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
7 |
|
121 |
31 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
5 |
|
41 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5+1 |
|
8+3 |
Add to Reduce |
9+9+2 |
3+9+8 |
4+7 |
|
|
|
|
|
|
|
2+1 |
|
|
|
|
6 |
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
Reduce to Deduce |
2+0 |
2+0 |
1+1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
RE 95 RE
REARRANGED NUMERICALLY REARRANGED
RE 95 RE
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
7 |
|
64 |
28 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
4 |
|
56 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
10 |
|
138 |
57 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
10 |
|
130 |
49 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
7 |
|
121 |
31 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
5 |
|
41 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
16 |
|
213 |
78 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
12 |
|
115 |
61 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
2 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
7 |
|
88 |
34 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5+1 |
|
8+3 |
Add to Reduce |
9+9+2 |
3+9+8 |
4+7 |
|
|
|
|
|
|
|
2+1 |
|
|
|
|
6 |
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
Reduce to Deduce |
2+0 |
2+0 |
1+1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
- |
3 |
SUN |
54 |
9 |
|
E |
= |
5 |
- |
5 |
EARTH |
52 |
25 |
7 |
M |
= |
4 |
- |
4 |
MOON |
57 |
21 |
3 |
- |
- |
10 |
- |
12 |
First Total |
163 |
55 |
19 |
- |
- |
1+0 |
- |
1+0 |
Add to Reduce |
1+6+3 |
5+5 |
1+9 |
|
|
1 |
|
3 |
Second Total |
10 |
10 |
10 |
- |
- |
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
- |
- |
1 |
- |
3 |
Essence of Number |
1 |
1 |
1 |
MATHEMATICS A LANGUAGE OF LETTERS AND NUMBERS
W |
= |
5 |
- |
4 |
WHAT |
52 |
16 |
7 |
O |
= |
6 |
- |
3 |
ONE |
34 |
16 |
7 |
W |
= |
5 |
- |
5 |
WOULD |
75 |
21 |
3 |
L |
= |
3 |
- |
4 |
LOOK |
53 |
17 |
8 |
F |
= |
6 |
- |
3 |
FOR |
30 |
21 |
3 |
T |
= |
2 |
- |
9 |
THEREFORE |
100 |
46 |
1 |
W |
= |
5 |
- |
5 |
WOULD |
75 |
21 |
3 |
B |
= |
2 |
- |
2 |
BE |
7 |
7 |
7 |
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
U |
= |
3 |
- |
9 |
UNIVERSAL |
121 |
40 |
4 |
L |
= |
3 |
- |
8 |
LANGUAGE |
68 |
32 |
5 |
|
|
41 |
|
53 |
|
|
|
49 |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
K |
= |
2 |
- |
4 |
KIND |
38 |
20 |
2 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
L |
= |
3 |
- |
8 |
LANGUAGE |
68 |
32 |
5 |
C |
= |
3 |
- |
4 |
THAT |
144 |
72 |
9 |
T |
= |
2 |
- |
5 |
WOULD |
35 |
8 |
8 |
A |
= |
1 |
- |
2 |
BE |
40 |
13 |
4 |
T |
= |
2 |
- |
14 |
COMPREHENSIBLE |
161 |
71 |
8 |
A |
= |
1 |
- |
2 |
TO |
54 |
27 |
9 |
S |
= |
1 |
- |
3 |
ANY |
96 |
33 |
6 |
I |
= |
9 |
- |
15 |
TECHNOLOGICALLY |
23 |
14 |
5 |
A |
= |
1 |
- |
2 |
ADVANCED |
40 |
13 |
4 |
E |
= |
5 |
- |
7 |
SOCIETY |
48 |
29 |
2 |
T |
= |
2 |
- |
2 |
IN |
49 |
13 |
4 |
W |
= |
5 |
- |
3 |
ANY |
75 |
21 |
3 |
B |
= |
2 |
- |
5 |
EPOCH |
7 |
7 |
7 |
|
|
47 |
|
81 |
|
|
|
85 |
|
|
|
|
|
|
|
|
|
S |
= |
1 |
- |
4 |
SUCH |
51 |
15 |
6 |
L |
= |
3 |
- |
9 |
LANGUAGES |
87 |
33 |
6 |
A |
= |
1 |
- |
3 |
ARE |
24 |
15 |
6 |
F |
= |
6 |
- |
3 |
FEW |
34 |
16 |
7 |
A |
= |
1 |
- |
3 |
AND |
19 |
10 |
1 |
F |
= |
6 |
- |
3 |
FAR |
25 |
16 |
7 |
B |
= |
2 |
- |
7 |
BETWEEN |
74 |
29 |
2 |
B |
= |
2 |
- |
3 |
BUT |
43 |
7 |
7 |
M |
= |
4 |
- |
11 |
MATHEMATICS |
112 |
40 |
4 |
I |
= |
9 |
- |
2 |
IS |
28 |
10 |
1 |
O |
= |
6 |
- |
3 |
ONE |
34 |
16 |
7 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
T |
= |
2 |
- |
4 |
THEM |
46 |
19 |
1 |
|
|
49 |
|
57 |
|
|
|
58 |
|
|
|
|
|
|
|
|
|
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
L |
= |
3 |
- |
8 |
LANGUAGE |
68 |
32 |
5 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
L |
= |
3 |
- |
7 |
LETTERS |
99 |
27 |
9 |
A |
= |
1 |
- |
3 |
AND |
19 |
10 |
1 |
N |
= |
5 |
- |
7 |
NUMBERS |
73 |
28 |
1 |
|
|
19 |
|
28 |
|
|
|
20 |
|
|
|
|
|
|
|
|
|
- |
- |
156 |
|
219 |
First Total |
|
|
|
- |
- |
1+5+6 |
- |
2+1+9 |
Add to Reduce |
2+4+4+4 |
9+8+6 |
2+1+2 |
- |
- |
|
- |
|
Second Total |
|
|
|
- |
- |
1+2 |
- |
1+2 |
Reduce to Deduce |
1+4 |
2+3 |
- |
- |
- |
|
- |
|
Essence of Number |
|
|
|
MATHEMATICS A LANGUAGE OF LETTER AND NUMBER
Signalling - definition of signalling by The Free Dictionary
www.thefreedictionary.com › signalling
Define signalling. signalling synonyms, signalling pronunciation, signalling translation, English dictionary definition of signalling.
1 |
I |
9 |
9 |
9 |
3 |
SAY |
45 |
9 |
9 |
7 |
DECODER |
54 |
36 |
9 |
6 |
DECODE |
36 |
27 |
9 |
4 |
CODE |
27 |
18 |
9 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
5 |
CODED |
31 |
22 |
4 |
5 |
CODES |
46 |
19 |
1 |
- |
CODE |
|
|
- |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
- |
DECODE |
|
|
- |
2 |
D+E |
9 |
9 |
9 |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
- |
DECODER |
|
|
- |
2 |
D+E |
9 |
9 |
9 |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
1 |
R |
18 |
9 |
9 |
CODE DE CODE
C+O D+E D+E C+O D+E
9+9+9+9+9
C+O D+E D+E C+O D+E
CODE DE CODE
GREETINGS
CHILDREN OF THE RAINBOW LIGHT
PEACE AND GOODWILL BE UNTO YOU AND UNTO ALL SENTIENT BEINGS
RA - IN - BOW
- |
THE RAINBOW LIGHT |
- |
- |
- |
|
THE |
33 |
15 |
|
|
RAINBOW |
82 |
37 |
|
|
LIGHT |
56 |
29 |
|
15 |
THE RAINBOW LIGHT |
171 |
81 |
9 |
1+5 |
- |
1+7+1 |
8+1 |
- |
6 |
THE RAINBOW LIGHT |
9 |
9 |
9 |
THE ART OF MEMORY
FRANCIS A. YATES 1979
THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE
JOHN DEE AND THE FAERIE QUEENE
Page 120
"Aristotle in his Ethics defines justice of proportion, an idea which suggests proportion as an ethical quality.As John Dee noted in his Preface to Euclid of 1570: 'Aristotle in his Ethikes ... was fayne to fly to the perfection and power of numbers for proportions / Page 121 / arithmeticall and geometricall.26"
Page 222
EPILOGUE
IF I SAY PERADVENTURE THE DARKNESS SHALL COVER ME: THEN SHALL MY NIGHT BE TURNED TO DAY.
YEA THE DARKNESS IS NO DARKNESS WITH THEE, BUT THE NIGHT IS AS CLEAR AS THE DAY:
THE DARKNESS AND LIGHT TO THEE ARE BOTH ALIKE.
THE DIVINE INVASION
Phillip K. Dick 1981
Page 5
THE TIME YOU HAVE WAITED FOR HAS COME. THE WORK IS COMPLETE;
THE FINAL WORLD IS HERE. HE HAS BEEN TRANSPLANTED AND IS ALIVE.
- Mysterious voice in the night
M |
= |
4 |
|
10 |
MYSTERIOUS |
164 |
47 |
2 |
V |
= |
4 |
- |
5 |
VOICE |
54 |
27 |
9 |
I |
= |
9 |
- |
2 |
IN |
23 |
14 |
5 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
N |
= |
5 |
- |
5 |
NIGHT |
58 |
31 |
4 |
|
|
24 |
- |
25 |
Add to Reduce |
|
|
|
|
|
2+4 |
- |
2+5 |
Reduce to Deduce |
3+3+2 |
1+3+5 |
2+6 |
|
|
|
- |
|
Essence of Number |
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
T |
= |
2 |
- |
4 |
TIME |
47 |
20 |
2 |
Y |
= |
7 |
- |
3 |
YOU |
61 |
16 |
7 |
H |
= |
8 |
- |
4 |
HAVE |
36 |
18 |
9 |
W |
= |
5 |
- |
6 |
WAITED |
62 |
26 |
8 |
F |
= |
6 |
- |
3 |
FOR |
39 |
21 |
3 |
H |
= |
8 |
- |
3 |
HAS |
28 |
10 |
1 |
C |
= |
3 |
- |
4 |
COME |
36 |
18 |
9 |
|
|
41 |
|
30 |
|
342 |
144 |
45 |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
W |
= |
5 |
- |
4 |
WORK |
67 |
22 |
4 |
I |
= |
9 |
- |
2 |
IS |
28 |
10 |
1 |
C |
= |
3 |
- |
8 |
COMPLETE |
89 |
35 |
8 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
F |
= |
6 |
- |
5 |
FINAL |
42 |
24 |
6 |
W |
= |
5 |
- |
5 |
WORLD |
72 |
27 |
9 |
I |
= |
9 |
- |
2 |
IS |
28 |
10 |
1 |
H |
= |
8 |
- |
4 |
HERE |
36 |
27 |
9 |
|
|
49 |
|
36 |
|
428 |
185 |
50 |
|
|
|
|
|
|
|
|
|
H |
= |
8 |
- |
2 |
HE |
13 |
13 |
4 |
H |
= |
8 |
- |
3 |
HAS |
28 |
10 |
1 |
B |
= |
2 |
- |
4 |
BEEN |
26 |
17 |
8 |
T |
= |
2 |
- |
12 |
TRANSPLANTED |
144 |
45 |
9 |
A |
= |
1 |
- |
3 |
AND |
19 |
10 |
1 |
I |
= |
9 |
- |
2 |
IS |
28 |
10 |
1 |
A |
= |
1 |
- |
5 |
ALIVE |
49 |
22 |
4 |
|
|
39 |
|
31 |
|
307 |
127 |
28 |
|
|
|
|
|
|
|
|
|
- |
- |
129 |
|
97 |
First Total |
|
|
|
- |
- |
1+2+9 |
- |
9+7 |
Add to Reduce |
1+0+7+7 |
4+0+5 |
1+2+3 |
- |
- |
12 |
- |
16 |
Second Total |
15 |
15 |
|
- |
- |
1+2 |
- |
1+6 |
Reduce to Deduce |
1+5 |
1+5 |
- |
- |
- |
|
- |
|
Essence of Number |
|
|
|
THE HOURS OF THE HORUS 1980
CHEIRO'S BOOK OF NUMBERS
Circa 1926
Page106
"Shakespeare, that Prince of Philosophers, whose thoughts will adorn English literature for all time, laid down the well-known axiom: There is a tide in the affairs of men which if taken at the flood, leads on to fortune." The question has been asked again and again, Is there some means of knowing when the moment has come to take the tide at the flood?
My answer to this question is that the Great Architect of the Universe in His Infinite Wisdom so created all things in such harmony of design that He endowed the human mind with some part of that omnipotent knowledge which is the attribute of the Divine Mind as the Creator of all.
The question has been asked again and again, Is there some means of knowing when the moment has come to take the tide at the flood?
THE
QUESTION
HAS BEEN ASKED AGAIN AND AGAIN
IS THERE SOME MEANS OF KNOWING WHEN THE MOMENT HAS COME TO TAKE
THE TIDE AT THE
FLOOD
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
Q |
= |
8 |
- |
8 |
QUESTION |
120 |
39 |
3 |
H |
= |
8 |
- |
3 |
HAS |
28 |
10 |
1 |
B |
= |
2 |
- |
4 |
BEEN |
26 |
17 |
8 |
A |
= |
1 |
- |
5 |
ASKED |
40 |
13 |
4 |
A |
= |
1 |
- |
5 |
AGAIN |
32 |
23 |
5 |
A |
= |
1 |
- |
3 |
AND |
19 |
10 |
1 |
A |
= |
1 |
- |
5 |
AGAIN |
32 |
23 |
5 |
I |
= |
9 |
- |
2 |
IS |
28 |
10 |
1 |
T |
= |
2 |
- |
5 |
THERE |
56 |
29 |
2 |
S |
= |
1 |
- |
4 |
SOME |
52 |
16 |
7 |
M |
= |
4 |
- |
5 |
MEANS |
52 |
16 |
7 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
K |
= |
2 |
- |
7 |
KNOWING |
93 |
39 |
3 |
W |
= |
5 |
- |
4 |
WHEN |
50 |
23 |
5 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
M |
= |
4 |
- |
6 |
MOMENT |
80 |
26 |
8 |
H |
= |
8 |
- |
3 |
HAS |
28 |
10 |
1 |
C |
= |
3 |
- |
4 |
COME |
36 |
18 |
9 |
T |
= |
2 |
- |
2 |
TO |
35 |
8 |
8 |
T |
= |
2 |
- |
4 |
TAKE |
37 |
10 |
1 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
T |
= |
2 |
- |
4 |
TIDE |
38 |
20 |
2 |
A |
= |
1 |
- |
2 |
AT |
21 |
3 |
3 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
F |
= |
6 |
- |
5 |
FLOOD |
52 |
25 |
7 |
B |
- |
87 |
|
104 |
First Total |
|
|
|
- |
- |
8+7 |
- |
1+0+4 |
Add to Reduce |
1+1+0+8 |
4+6+0 |
1+1+8 |
- |
- |
15 |
- |
5 |
Second Total |
|
|
|
- |
- |
1+5 |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
- |
- |
6 |
- |
|
Essence of Number |
|
|
|
YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO
8 |
QUO VADIS |
108 |
36 |
9 |
6 |
VOX POP |
108 |
36 |
9 |
11 |
SORROW |
108 |
36 |
9 |
8 |
INSTINCT |
108 |
36 |
9 |
11 |
DESCENDANTS |
108 |
36 |
9 |
8 |
STARTING |
108 |
36 |
9 |
8 |
TONATIUH |
108 |
36 |
9 |
9 |
NARRATIVE |
108 |
36 |
9 |
9 |
SEQUENCES |
108 |
36 |
9 |
9 |
COMPLETES |
108 |
36 |
9 |
9 |
AMBIGUOUS |
108 |
36 |
9 |
7 |
JOURNEY |
108 |
36 |
9 |
KEEPER OF GENESIS
A QUEST FOR THE HIDDEN LEGACY OF MANKIND
Robert Bauval Graham Hancock 1996
Page 254
"...Is there in any sense an interstellar Rosetta Stone?
THE LIGHT IS RISING NOW RISING IS THE LIGHT
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 |
- |
Z |
= |
8 |
1 |
4 |
|
64 |
28 |
1 |
|
|
|
|
|
|
|
|
|
|
1 |
- |
F |
= |
6 |
2 |
5 |
|
72 |
27 |
9 |
|
|
|
|
|
|
|
|
|
|
2 |
- |
S |
= |
1 |
3 |
6 |
|
60 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
3 |
- |
T |
= |
2 |
4 |
5 |
|
59 |
32 |
5 |
|
|
|
|
|
5 |
|
|
|
|
4 |
- |
F |
= |
6 |
5 |
6 |
|
88 |
34 |
7 |
|
|
|
|
|
|
|
|
|
|
5 |
- |
F |
= |
6 |
6 |
5 |
|
49 |
31 |
4 |
|
|
|
|
4 |
|
|
|
|
|
6 |
- |
S |
= |
1 |
7 |
5 |
|
80 |
26 |
8 |
|
|
|
|
|
|
|
|
|
|
7 |
- |
S |
= |
1 |
8 |
7 |
|
93 |
30 |
3 |
|
|
|
3 |
|
|
|
|
|
|
8 |
- |
E |
= |
5 |
9 |
6 |
|
57 |
39 |
3 |
|
|
|
3 |
|
|
|
|
|
|
9 |
- |
N |
= |
5 |
10 |
5 |
|
65 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
45 |
|
- |
- |
41 |
- |
54 |
Add |
|
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
4+1 |
|
5+4 |
Reduce |
6+8+7 |
3+0+0 |
4+8 |
|
|
|
|
|
|
|
|
|
|
9 |
- |
|
|
|
|
|
Deduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce |
2+1 |
|
1+2 |
|
|
|
|
|
|
|
|
|
|
9 |
- |
|
|
|
|
|
Essence |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 |
- |
Z |
= |
8 |
1 |
4 |
|
64 |
28 |
1 |
|
|
|
|
|
|
|
|
|
|
9 |
- |
N |
= |
5 |
10 |
5 |
|
65 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
7 |
- |
S |
= |
1 |
8 |
7 |
|
93 |
30 |
3 |
|
|
|
3 |
|
|
|
|
|
|
8 |
- |
E |
= |
5 |
9 |
6 |
|
57 |
39 |
3 |
|
|
|
3 |
|
|
|
|
|
|
5 |
- |
F |
= |
6 |
6 |
5 |
|
49 |
31 |
4 |
|
|
|
|
4 |
|
|
|
|
|
3 |
- |
T |
= |
2 |
4 |
5 |
|
59 |
32 |
5 |
|
|
|
|
|
5 |
|
|
|
|
2 |
- |
S |
= |
1 |
3 |
6 |
|
60 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
4 |
- |
F |
= |
6 |
5 |
6 |
|
88 |
34 |
7 |
|
|
|
|
|
|
|
|
|
|
6 |
- |
S |
= |
1 |
7 |
5 |
|
80 |
26 |
8 |
|
|
|
|
|
|
|
|
|
|
1 |
- |
F |
= |
6 |
2 |
5 |
|
72 |
27 |
9 |
|
|
|
|
|
|
|
|
|
|
45 |
|
- |
- |
41 |
- |
54 |
Add |
|
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
4+1 |
|
5+4 |
Reduce |
6+8+7 |
3+0+0 |
4+8 |
|
|
|
|
|
|
|
|
|
|
9 |
- |
|
|
|
|
|
Deduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce |
2+1 |
|
1+2 |
|
|
|
|
|
|
|
|
|
|
9 |
- |
|
|
|
|
|
Essence |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 |
- |
Z |
= |
8 |
- |
4 |
|
64 |
28 |
1 |
|
|
|
|
|
|
|
|
|
|
1 |
- |
O |
= |
6 |
- |
3 |
|
34 |
16 |
7 |
|
|
|
|
|
|
|
|
|
|
2 |
- |
T |
= |
2 |
- |
3 |
|
58 |
13 |
4 |
|
|
|
|
|
|
|
|
|
|
3 |
- |
T |
= |
2 |
- |
5 |
|
56 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
4 |
- |
F |
= |
6 |
- |
4 |
|
60 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
5 |
- |
F |
= |
6 |
- |
4 |
|
42 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
6 |
- |
S |
= |
1 |
- |
3 |
|
52 |
16 |
7 |
|
|
|
|
|
|
|
|
|
|
7 |
- |
S |
= |
1 |
- |
5 |
|
65 |
20 |
2 |
|
|
|
|
|
|
|
|
|
|
8 |
- |
E |
= |
5 |
- |
5 |
|
49 |
31 |
4 |
|
|
|
|
4 |
|
|
|
|
|
9 |
- |
N |
= |
5 |
- |
4 |
|
42 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
45 |
|
- |
- |
42 |
- |
40 |
Add |
|
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
4+2 |
|
4+0 |
Reduce |
5+2+2 |
2+2+5 |
4+5 |
|
|
|
|
|
|
1+8 |
1+4 |
|
|
9 |
- |
|
|
|
|
|
Deduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 |
- |
Z |
= |
8 |
1 |
4 |
|
64 |
28 |
1 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
1 |
- |
O |
= |
6 |
2 |
3 |
|
34 |
16 |
7 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
2 |
- |
T |
= |
2 |
3 |
3 |
|
58 |
13 |
4 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
3 |
- |
T |
= |
2 |
4 |
5 |
|
56 |
29 |
2 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
4 |
- |
F |
= |
6 |
5 |
4 |
|
60 |
24 |
6 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
5 |
- |
F |
= |
6 |
6 |
4 |
|
42 |
24 |
6 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
6 |
- |
S |
= |
1 |
7 |
3 |
|
52 |
16 |
7 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
7 |
- |
S |
= |
1 |
8 |
5 |
|
65 |
20 |
2 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
8 |
- |
E |
= |
5 |
9 |
5 |
|
49 |
31 |
4 |
|
|
|
3 |
4 |
5 |
|
|
8 |
9 |
9 |
- |
N |
= |
5 |
10 |
4 |
|
42 |
24 |
6 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
45 |
|
- |
- |
42 |
|
40 |
Add |
|
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
4+2 |
|
4+0 |
Reduce |
5+2+2 |
2+2+5 |
4+5 |
|
|
|
|
|
|
1+8 |
1+4 |
|
|
9 |
- |
|
|
|
|
|
Deduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 |
- |
Z |
= |
8 |
1 |
4 |
|
64 |
28 |
1 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
3 |
- |
T |
= |
2 |
4 |
5 |
|
56 |
29 |
2 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
7 |
- |
S |
= |
1 |
8 |
5 |
|
65 |
20 |
2 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
2 |
- |
T |
= |
2 |
3 |
3 |
|
58 |
13 |
4 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
8 |
- |
E |
= |
5 |
9 |
5 |
|
49 |
31 |
4 |
|
|
|
3 |
4 |
5 |
|
|
8 |
9 |
4 |
- |
F |
= |
6 |
5 |
4 |
|
60 |
24 |
6 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
5 |
- |
F |
= |
6 |
6 |
4 |
|
42 |
24 |
6 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
9 |
- |
N |
= |
5 |
10 |
4 |
|
42 |
24 |
6 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
1 |
- |
O |
= |
6 |
2 |
3 |
|
34 |
16 |
7 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
6 |
- |
S |
= |
1 |
7 |
3 |
|
52 |
16 |
7 |
|
|
|
3 |
|
5 |
|
|
8 |
9 |
45 |
|
- |
- |
42 |
|
40 |
Add |
|
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
4+2 |
|
4+0 |
Reduce |
5+2+2 |
2+2+5 |
4+5 |
|
|
|
|
|
|
1+8 |
1+4 |
|
|
9 |
- |
|
|
|
|
|
Deduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 |
- |
Z |
= |
8 |
1 |
4 |
|
64 |
28 |
1 |
|
|
|
|
|
|
3 |
- |
T |
= |
2 |
4 |
5 |
|
56 |
29 |
2 |
|
|
|
|
|
|
7 |
- |
S |
= |
1 |
8 |
5 |
|
65 |
20 |
2 |
|
|
|
|
|
|
2 |
- |
T |
= |
2 |
3 |
3 |
|
58 |
13 |
4 |
|
|
|
|
|
|
8 |
- |
E |
= |
5 |
9 |
5 |
|
49 |
31 |
4 |
|
|
|
4 |
|
|
4 |
- |
F |
= |
6 |
5 |
4 |
|
60 |
24 |
6 |
|
|
|
|
|
|
5 |
- |
F |
= |
6 |
6 |
4 |
|
42 |
24 |
6 |
|
|
|
|
|
|
9 |
- |
N |
= |
5 |
10 |
4 |
|
42 |
24 |
6 |
|
|
|
|
|
|
1 |
- |
O |
= |
6 |
2 |
3 |
|
34 |
16 |
7 |
|
|
|
|
|
|
6 |
- |
S |
= |
1 |
7 |
3 |
|
52 |
16 |
7 |
|
|
|
|
|
|
45 |
|
- |
- |
42 |
|
40 |
Add |
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
4+2 |
|
4+0 |
Reduce |
5+2+2 |
2+2+5 |
4+5 |
|
|
|
|
1+8 |
1+4 |
9 |
- |
|
|
|
|
|
Deduce |
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
2 |
= |
|
|
occurs |
x |
|
= |
6 |
= |
|
|
occurs |
x |
|
= |
3 |
= |
|
|
occurs |
x |
|
= |
8 |
= |
|
|
occurs |
x |
|
= |
70 |
7+0 |
|
|
occurs |
x |
|
= |
42 |
4+2 |
|
|
occurs |
x |
|
= |
7 |
= |
|
|
occurs |
x |
|
= |
24 |
2+4 |
|
|
occurs |
x |
|
= |
63 |
6+3 |
|
|
|
|
|
|
|
|
|
4+5 |
|
|
4+0 |
|
2+2+5 |
|
5+4 |
|
|
|
|
|
|
|
|
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 14 = 70
LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
5 x14 = 70
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
|
|
H |
|
|
|
|
E |
|
8 |
- |
- |
6 |
6 |
5 |
- |
- |
- |
6 |
- |
8 |
- |
- |
- |
- |
6 |
- |
- |
- |
9 |
- |
- |
1 |
9 |
6 |
1 |
- |
- |
- |
5 |
- |
9 |
- |
8 |
- |
5 |
9 |
5 |
- |
|
26 |
- |
- |
15 |
15 |
14 |
- |
- |
- |
15 |
- |
8 |
- |
- |
- |
- |
15 |
- |
- |
- |
9 |
- |
- |
19 |
9 |
24 |
19 |
- |
- |
- |
14 |
- |
9 |
- |
8 |
- |
14 |
9 |
14 |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
|
|
H |
|
|
|
|
E |
|
- |
5 |
9 |
- |
- |
- |
5 |
2 |
5 |
- |
2 |
- |
9 |
5 |
5 |
6 |
- |
3 |
9 |
6 |
- |
4 |
5 |
- |
- |
- |
- |
5 |
4 |
5 |
- |
5 |
- |
7 |
- |
2 |
- |
- |
- |
5 |
|
- |
5 |
18 |
- |
- |
- |
5 |
20 |
23 |
- |
20 |
- |
18 |
5 |
5 |
6 |
- |
21 |
18 |
6 |
- |
22 |
5 |
- |
- |
- |
- |
5 |
22 |
5 |
- |
5 |
- |
7 |
- |
20 |
- |
- |
- |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
|
|
H |
|
|
|
|
E |
|
26 |
5 |
18 |
15 |
15 |
14 |
5 |
20 |
23 |
15 |
20 |
8 |
18 |
5 |
5 |
6 |
15 |
21 |
18 |
6 |
9 |
22 |
5 |
19 |
9 |
24 |
19 |
5 |
22 |
5 |
14 |
5 |
9 |
7 |
8 |
20 |
14 |
9 |
14 |
5 |
|
8 |
5 |
9 |
6 |
6 |
5 |
5 |
2 |
5 |
6 |
2 |
8 |
9 |
5 |
5 |
6 |
6 |
3 |
9 |
6 |
9 |
4 |
5 |
1 |
9 |
6 |
1 |
5 |
4 |
5 |
5 |
5 |
9 |
7 |
8 |
2 |
5 |
9 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
-- |
|
5 |
|
|
|
|
|
|
|
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
|
|
|
|
|
|
|
5 |
|
|
|
|
|
6 |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
-- |
|
5 |
|
|
|
|
|
|
|
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
|
|
|
5 |
|
|
|
|
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
|
|
H |
|
|
|
|
E |
|
8 |
5 |
9 |
6 |
6 |
5 |
5 |
2 |
5 |
6 |
2 |
8 |
9 |
5 |
5 |
6 |
6 |
3 |
9 |
6 |
9 |
4 |
5 |
1 |
9 |
6 |
1 |
5 |
4 |
5 |
5 |
5 |
9 |
7 |
8 |
2 |
5 |
9 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
|
|
H |
|
|
|
|
E |
|
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 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S
|
|
R |
|
- |
O |
N |
E |
- |
T |
W |
O |
- |
T |
H |
R |
E |
E |
- |
F |
O |
U |
R |
- |
F |
I |
V |
E |
- |
S |
I |
X |
- |
S |
E |
V |
E |
N |
- |
E |
I |
G |
H |
T |
- |
N |
I |
N |
E |
|
|
|
4+0 |
= |
|
|
|
|
|
8 |
|
|
6 |
- |
6 |
5 |
|
- |
|
|
6 |
- |
|
8 |
|
|
|
- |
|
6 |
- |
|
- |
|
9 |
|
|
- |
1 |
9 |
6 |
- |
1 |
|
|
|
5 |
- |
|
9 |
|
8 |
|
- |
5 |
9 |
5 |
|
+ |
= |
|
1+1+2 |
= |
|
|
|
|
|
26 |
|
|
15 |
- |
15 |
14 |
|
- |
|
|
15 |
- |
|
8 |
|
|
|
- |
|
15 |
- |
|
- |
|
9 |
|
|
- |
19 |
9 |
24 |
- |
19 |
|
|
|
14 |
- |
|
9 |
|
8 |
|
- |
14 |
9 |
14 |
|
+ |
= |
|
2+5+6 |
= |
|
1+3 |
|
|
|
|
|
R |
|
- |
O |
N |
E |
- |
T |
W |
O |
- |
T |
H |
R |
E |
E |
- |
F |
O |
U |
R |
- |
F |
I |
V |
E |
- |
S |
I |
X |
- |
S |
E |
V |
E |
N |
- |
E |
I |
G |
H |
T |
- |
N |
I |
N |
E |
|
|
|
|
|
|
|
|
|
|
|
5 |
9 |
|
- |
|
|
5 |
- |
2 |
5 |
|
- |
2 |
|
9 |
|
|
- |
|
|
3 |
9 |
- |
6 |
|
4 |
5 |
- |
|
|
|
- |
|
5 |
4 |
5 |
|
- |
5 |
|
7 |
|
2 |
- |
|
|
|
5 |
+ |
= |
|
1+1+3 |
= |
|
- |
|
|
|
|
5 |
18 |
|
- |
|
|
5 |
- |
20 |
23 |
|
- |
20 |
|
18 |
|
|
- |
|
|
21 |
18 |
- |
6 |
|
22 |
5 |
- |
|
|
|
- |
|
5 |
22 |
5 |
|
- |
5 |
|
7 |
|
20 |
- |
|
|
|
5 |
+ |
= |
|
2+6+6 |
= |
|
1+4 |
|
|
|
|
|
R |
|
- |
O |
N |
E |
- |
T |
W |
O |
- |
T |
H |
R |
E |
E |
- |
F |
O |
U |
R |
- |
F |
I |
V |
E |
- |
S |
I |
X |
- |
S |
E |
V |
E |
N |
- |
E |
I |
G |
H |
T |
- |
N |
I |
N |
E |
|
|
|
|
|
|
|
|
|
|
26 |
5 |
18 |
15 |
- |
15 |
14 |
5 |
- |
20 |
23 |
15 |
- |
20 |
8 |
18 |
5 |
5 |
- |
6 |
15 |
21 |
18 |
- |
6 |
9 |
22 |
5 |
- |
19 |
9 |
24 |
- |
19 |
5 |
22 |
5 |
14 |
- |
5 |
9 |
7 |
8 |
20 |
- |
14 |
9 |
14 |
5 |
+ |
= |
|
5+2+2 |
= |
|
|
|
|
|
8 |
5 |
9 |
6 |
- |
6 |
5 |
5 |
- |
2 |
5 |
6 |
- |
2 |
8 |
9 |
5 |
5 |
- |
6 |
6 |
3 |
9 |
- |
6 |
9 |
4 |
5 |
- |
1 |
9 |
6 |
- |
1 |
5 |
4 |
5 |
5 |
- |
5 |
9 |
7 |
8 |
2 |
- |
5 |
9 |
5 |
5 |
+ |
= |
|
2+2+5 |
= |
|
|
|
|
|
|
|
R |
|
- |
O |
N |
E |
- |
T |
W |
O |
- |
T |
H |
R |
E |
E |
- |
F |
O |
U |
R |
- |
F |
I |
V |
E |
- |
S |
I |
X |
- |
S |
E |
V |
E |
N |
- |
E |
I |
G |
H |
T |
- |
N |
I |
N |
E |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
1 |
- |
- |
- |
1 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
+ |
= |
|
occurs |
x |
2 |
= |
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
2 |
- |
- |
- |
2 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
2 |
- |
- |
- |
- |
- |
+ |
= |
|
occurs |
x |
3 |
= |
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
3 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
+ |
= |
|
occurs |
x |
1 |
= |
|
|
|
|
- |
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
4 |
- |
- |
- |
- |
- |
- |
- |
- |
4 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
+ |
= |
|
occurs |
x |
2 |
= |
|
- |
|
|
5 |
|
- |
- |
- |
5 |
5 |
- |
- |
5 |
- |
- |
- |
- |
- |
5 |
5 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
5 |
- |
- |
- |
- |
- |
- |
5 |
- |
5 |
5 |
- |
5 |
- |
- |
- |
- |
- |
5 |
- |
5 |
5 |
+ |
= |
|
occurs |
x |
14 |
= |
|
7+0 |
|
|
|
|
6 |
- |
6- |
- |
- |
- |
- |
- |
6 |
- |
- |
- |
- |
- |
- |
- |
6 |
6 |
- |
- |
- |
6 |
- |
- |
- |
- |
- |
- |
6 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
- |
- |
- |
- |
+ |
= |
|
occurs |
x |
7 |
= |
|
4+2 |
|
- |
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
- |
- |
- |
- |
- |
- |
- |
- |
7 |
- |
- |
- |
- |
- |
- |
- |
+ |
= |
|
occurs |
x |
1 |
= |
|
- |
|
8 |
|
- |
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
8 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
8 |
- |
- |
- |
- |
- |
- |
+ |
= |
|
occurs |
x |
3 |
= |
|
2+4 |
|
- |
- |
9 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
9 |
- |
- |
- |
- |
- |
- |
9 |
- |
- |
9 |
- |
- |
- |
- |
9 |
- |
|
- |
- |
- |
- |
- |
- |
- |
9 |
- |
- |
- |
- |
- |
9 |
- |
- |
+ |
= |
|
occurs |
x |
7 |
= |
|
6+3 |
|
|
|
R |
|
- |
O |
N |
E |
- |
T |
W |
O |
- |
T |
H |
R |
E |
E |
- |
F |
O |
U |
R |
- |
F |
I |
V |
E |
- |
S |
I |
X |
- |
S |
E |
V |
E |
N |
- |
E |
I |
G |
H |
T |
- |
N |
I |
N |
E |
|
|
|
|
|
|
|
|
|
|
|
5 |
|
- |
- |
- |
5 |
5 |
- |
- |
5 |
- |
- |
- |
- |
- |
5 |
5 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
5 |
- |
- |
- |
- |
- |
- |
5 |
- |
5 |
5 |
- |
5 |
- |
- |
- |
- |
- |
5 |
- |
5 |
5 |
|
|
4+5 |
|
|
4+0 |
|
2+2+5 |
|
5+4 |
|
|
R |
|
- |
O |
N |
E |
- |
T |
W |
O |
- |
T |
H |
R |
E |
E |
- |
F |
O |
U |
R |
- |
F |
I |
V |
E |
- |
S |
I |
X |
- |
S |
E |
V |
E |
N |
- |
E |
I |
G |
H |
T |
- |
N |
I |
N |
E |
|
|
|
|
|
|
|
|
|
|
8 |
5 |
9 |
6 |
- |
6 |
5 |
5 |
- |
2 |
5 |
6 |
- |
2 |
8 |
|
5 |
5 |
- |
6 |
6 |
3 |
|
- |
6 |
|
4 |
5 |
- |
1 |
|
6 |
- |
1 |
5 |
4 |
5 |
5 |
- |
5 |
|
7 |
8 |
2 |
- |
5 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
R |
|
- |
O |
N |
E |
- |
T |
W |
O |
- |
T |
H |
R |
E |
E |
- |
F |
O |
U |
R |
- |
F |
I |
V |
E |
- |
S |
I |
X |
- |
S |
E |
V |
E |
N |
- |
E |
I |
G |
H |
T |
- |
N |
I |
N |
E |
|
|
|
|
|
|
|
|
|
|
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 14 = 70
LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES
5 x 14 = 70
|
occurs |
x |
|
= |
2 |
= |
|
|
occurs |
x |
|
= |
6 |
= |
|
|
occurs |
x |
|
= |
3 |
= |
|
|
occurs |
x |
|
= |
8 |
= |
|
|
occurs |
x |
|
= |
70 |
7+0 |
|
|
occurs |
x |
|
= |
42 |
4+2 |
|
|
occurs |
x |
|
= |
7 |
= |
|
|
occurs |
x |
|
= |
24 |
2+4 |
|
|
occurs |
x |
|
= |
63 |
6+3 |
|
|
|
|
|
|
|
|
|
4+5 |
|
|
4+0 |
|
2+2+5 |
|
5+4 |
|
|
|
|
|
|
|
|
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 14 = 40
the letter E
According to the data, the most common letter in the English language is the letter E
E typically takes first place regardless of which analysis method is used.
What's The Most Common Letter Used In English?
Thesaurus.com
https://www.thesaurus.com › ways-to-say › most-commo...
Letter Frequencies in the English Language is the letter E
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
|
|
|
3 |
|
34 |
16 |
|
|
|
|
3 |
|
58 |
13 |
|
|
|
|
5 |
|
56 |
29 |
|
|
|
|
4 |
|
60 |
24 |
|
F |
+ |
6 |
4 |
FIVE |
42 |
24 |
6 |
|
|
|
3 |
|
52 |
16 |
|
|
|
|
5 |
|
65 |
20 |
|
|
|
|
5 |
|
49 |
31 |
|
|
|
|
4 |
|
42 |
24 |
|
|
|
|
|
- |
|
|
|
|
|
3+9 |
3+6 |
- |
4+5+8 |
1+9+7 |
4+4 |
|
|
|
|
- |
|
|
|
|
|
1+2 |
|
- |
- |
- |
|
|
|
|
|
- |
|
|
|
NUMBER
9
THE SEARCH FOR THE SIGMA CODE
Cecil Balmond 1998
Page 32
5
To Sorcerers and Magicians number FIVE is the most powerful - five is the mark of the pentacle, a five pointed star drawn by extending the sides of a Pentagon. Five surely is in the possession of the occult. And the Pentagon is the geometric figure in which the golden ratio of classical art and architecture is found most.
THE
BALANCING
ONE TWO THREE FOUR
FIVE
NINE EIGHT SEVEN SIX
O |
= |
15 |
- |
3 |
|
34 |
16 |
7 |
- |
1 |
T |
= |
20 |
- |
3 |
|
58 |
13 |
4 |
- |
2 |
T |
= |
20 |
- |
5 |
|
56 |
29 |
2 |
- |
3 |
F |
= |
6 |
- |
4 |
|
60 |
24 |
6 |
- |
4 |
- |
- |
61 |
- |
15 |
Add |
208 |
82 |
19 |
- |
10 |
- |
- |
6+1 |
- |
1+5 |
Reduce |
2+0+8 |
8+2 |
1+9 |
- |
1+0 |
- |
- |
7 |
- |
6 |
Deduce |
10 |
10 |
10 |
- |
1 |
- |
- |
- |
- |
- |
Produce |
1+0 |
1+0 |
1+0 |
- |
- |
- |
- |
7 |
- |
6 |
Essence |
1 |
1 |
1 |
- |
1 |
N |
= |
14 |
- |
4 |
|
42 |
24 |
6 |
- |
9 |
E |
= |
5 |
- |
5 |
|
49 |
31 |
4 |
- |
8 |
S |
= |
19 |
- |
5 |
|
65 |
20 |
2 |
- |
7 |
S |
= |
19 |
- |
3 |
|
52 |
16 |
7 |
- |
6 |
- |
- |
57 |
- |
17 |
Add |
208 |
91 |
19 |
- |
30 |
- |
- |
5+7 |
- |
1+7 |
Reduce |
2+0+8 |
9+1 |
1+9 |
- |
3+0 |
- |
- |
12 |
- |
8 |
Deduce |
10 |
10 |
10 |
- |
3 |
- |
- |
1+2 |
- |
- |
Produce |
1+0 |
1+0 |
1+0 |
- |
- |
- |
- |
3 |
- |
8 |
Essence |
1 |
1 |
1 |
- |
3 |
1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
15 |
ONE TWO THREE FOUR |
208 |
82 |
1 |
4 |
FIVE |
42 |
24 |
6 |
17 |
NINE EIGHT SEVEN SIX |
208 |
91 |
1 |
3 |
|
34 |
16 |
7 |
- |
3 |
|
52 |
16 |
7 |
3 |
|
58 |
13 |
4 |
- |
5 |
|
65 |
20 |
2 |
5 |
|
56 |
29 |
2 |
- |
5 |
|
49 |
31 |
4 |
4 |
|
60 |
24 |
6 |
- |
4 |
|
42 |
24 |
6 |
15 |
Add |
208 |
82 |
19 |
- |
17 |
Add |
208 |
91 |
19 |
1+5 |
Reduce |
2+0+8 |
8+2 |
1+9 |
- |
1+7 |
Reduce |
2+0+8 |
9+1 |
1+9 |
6 |
Deduce |
10 |
10 |
10 |
- |
8 |
Deduce |
10 |
10 |
10 |
- |
Produce |
1+0 |
1+0 |
1+0 |
- |
- |
Produce |
1+0 |
1+0 |
1+0 |
6 |
Essence |
1 |
1 |
1 |
- |
8 |
Essence |
1 |
1 |
1 |
ALWAYS BALANCING IS THAT FIVE THAT FIVE IS BALANCING ALWAYS
ONE TWO THREE FOUR
FIVE
SIX SEVEN EIGHT NINE
15 |
ONE TWO THREE FOUR |
208 |
82 |
1 |
4 |
FIVE |
42 |
24 |
6 |
17 |
NINE EIGHT SEVEN SIX |
208 |
91 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
16 |
|
|
|
34 |
16 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
23 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
|
|
|
58 |
13 |
13 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
29 |
|
|
|
56 |
29 |
29 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
6 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
- |
|
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
|
|
|
60 |
24 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
ONE TWO THREE FOUR |
208 |
82 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
6 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
|
|
|
42 |
24 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
24 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
16 |
|
|
|
52 |
16 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
20 |
|
|
|
65 |
20 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
7 |
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
31 |
|
|
|
49 |
31 |
31 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
|
|
|
42 |
24 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
208 |
91 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+0 |
3+0 |
|
1+6 |
4+5 |
- |
- |
- |
|
32 |
ADD |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+5 |
3+2 |
REDUCE |
4+5+8 |
1+9+7 |
1+9+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
REDUCE |
1+7 |
1+7 |
1+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
ONE TWO THREE FOUR
5 V 5
SIX SEVEN EIGHT NINE
3 |
|
34 |
16 |
7 |
- |
3 |
|
52 |
16 |
7 |
3 |
|
58 |
13 |
4 |
- |
5 |
|
65 |
20 |
2 |
5 |
|
56 |
29 |
2 |
- |
5 |
|
49 |
31 |
4 |
4 |
|
60 |
24 |
6 |
- |
4 |
|
42 |
24 |
6 |
15 |
Add |
208 |
82 |
19 |
- |
17 |
Add |
208 |
91 |
19 |
1+5 |
Reduce |
2+0+8 |
8+2 |
1+9 |
- |
1+7 |
Reduce |
2+0+8 |
9+1 |
1+9 |
6 |
Deduce |
10 |
10 |
10 |
- |
8 |
Deduce |
10 |
10 |
10 |
- |
Produce |
1+0 |
1+0 |
1+0 |
- |
- |
Produce |
1+0 |
1+0 |
1+0 |
6 |
Essence |
1 |
1 |
1 |
- |
8 |
Essence |
1 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
23 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
6 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
- |
|
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
ONE TWO THREE FOUR |
208 |
82 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
6 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
|
|
|
42 |
24 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
24 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
7 |
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
208 |
91 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+0 |
3+0 |
|
1+6 |
4+5 |
- |
- |
- |
|
32 |
ADD |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+5 |
3+2 |
REDUCE |
4+5+8 |
1+9+7 |
1+9+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
REDUCE |
1+7 |
1+7 |
1+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
34 |
16 |
7 |
- |
3 |
|
52 |
16 |
7 |
3 |
|
58 |
13 |
4 |
- |
5 |
|
65 |
20 |
2 |
5 |
|
56 |
29 |
2 |
- |
5 |
|
49 |
31 |
4 |
4 |
|
60 |
24 |
6 |
- |
4 |
|
42 |
24 |
6 |
15 |
Add |
208 |
82 |
19 |
- |
17 |
Add |
208 |
91 |
19 |
1+5 |
Reduce |
2+0+8 |
8+2 |
1+9 |
- |
1+7 |
Reduce |
2+0+8 |
9+1 |
1+9 |
6 |
Deduce |
10 |
10 |
10 |
- |
8 |
Deduce |
10 |
10 |
10 |
- |
Produce |
1+0 |
1+0 |
1+0 |
- |
- |
Produce |
1+0 |
1+0 |
1+0 |
6 |
Essence |
1 |
1 |
1 |
- |
8 |
Essence |
1 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
- |
|
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
23 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
6 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
ONE TWO THREE FOUR |
208 |
82 |
82 |
|
|
|
0 |
4 |
3 |
0 |
4 |
24 |
0 |
8 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
6 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
- |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
|
|
|
42 |
24 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
2 |
0 |
4 |
35 |
6 |
7 |
8 |
27 |
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
24 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
7 |
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
208 |
91 |
91 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+0 |
3+0 |
|
1+6 |
4+5 |
- |
- |
- |
|
32 |
ADD |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+5 |
3+2 |
REDUCE |
4+5+8 |
1+9+7 |
1+9+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
REDUCE |
1+7 |
1+7 |
1+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
34 |
16 |
7 |
- |
3 |
|
52 |
16 |
7 |
3 |
|
58 |
13 |
4 |
- |
5 |
|
65 |
20 |
2 |
5 |
|
56 |
29 |
2 |
- |
5 |
|
49 |
31 |
4 |
4 |
|
60 |
24 |
6 |
- |
4 |
|
42 |
24 |
6 |
15 |
Add |
208 |
82 |
19 |
- |
17 |
Add |
208 |
91 |
19 |
1+5 |
Reduce |
2+0+8 |
8+2 |
1+9 |
- |
1+7 |
Reduce |
2+0+8 |
9+1 |
1+9 |
6 |
Deduce |
10 |
10 |
10 |
- |
8 |
Deduce |
10 |
10 |
10 |
- |
Produce |
1+0 |
1+0 |
1+0 |
- |
- |
Produce |
1+0 |
1+0 |
1+0 |
6 |
Essence |
1 |
1 |
1 |
- |
8 |
Essence |
1 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
- |
|
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
23 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
6 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
ONE TWO THREE FOUR |
208 |
82 |
82 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
|
|
|
42 |
24 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
208 |
91 |
91 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
24 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
7 |
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
208 |
91 |
91 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+0 |
3+0 |
|
1+6 |
4+5 |
- |
- |
- |
|
32 |
ADD |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+5 |
3+2 |
REDUCE |
4+5+8 |
1+9+7 |
1+9+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
REDUCE |
1+7 |
1+7 |
1+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
34 |
16 |
7 |
- |
3 |
|
52 |
16 |
7 |
3 |
|
58 |
13 |
4 |
- |
5 |
|
65 |
20 |
2 |
5 |
|
56 |
29 |
2 |
- |
5 |
|
49 |
31 |
4 |
4 |
|
60 |
24 |
6 |
- |
4 |
|
42 |
24 |
6 |
15 |
Add |
208 |
82 |
19 |
- |
17 |
Add |
208 |
91 |
19 |
1+5 |
Reduce |
2+0+8 |
8+2 |
1+9 |
- |
1+7 |
Reduce |
2+0+8 |
9+1 |
1+9 |
6 |
Deduce |
10 |
10 |
10 |
- |
8 |
Deduce |
10 |
10 |
10 |
- |
Produce |
1+0 |
1+0 |
1+0 |
- |
- |
Produce |
1+0 |
1+0 |
1+0 |
6 |
Essence |
1 |
1 |
1 |
- |
8 |
Essence |
1 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
- |
|
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
23 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
6 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
ONE TWO THREE FOUR |
208 |
82 |
82 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
|
|
|
42 |
24 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
208 |
91 |
91 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
24 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
7 |
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
208 |
91 |
91 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+0 |
3+0 |
|
1+6 |
4+5 |
- |
- |
- |
|
22 |
ADD |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+5 |
2+2 |
REDUCE |
4+5+8 |
1+9+7 |
1+9+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
REDUCE |
1+7 |
1+7 |
1+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
- |
|
19 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
- |
|
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
- |
|
21 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
23 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
6 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
- |
|
24 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
7 |
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
- |
|
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
208 |
91 |
91 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+0 |
3+0 |
|
1+6 |
4+5 |
- |
- |
- |
|
32 |
ADD |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6+0 |
3+2 |
REDUCE |
4+5+8 |
1+9+7 |
1+9+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
REDUCE |
1+7 |
1+7 |
1+7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DEDUCE |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
34 |
16 |
7 |
- |
3 |
|
52 |
16 |
7 |
3 |
|
58 |
13 |
4 |
- |
5 |
|
65 |
20 |
2 |
5 |
|
56 |
29 |
2 |
- |
5 |
|
49 |
31 |
4 |
4 |
|
60 |
24 |
6 |
- |
4 |
|
42 |
24 |
6 |
15 |
Add |
208 |
82 |
19 |
- |
17 |
Add |
208 |
91 |
19 |
1+5 |
Reduce |
2+0+8 |
8+2 |
1+9 |
- |
1+7 |
Reduce |
2+0+8 |
9+1 |
1+9 |
6 |
Deduce |
10 |
10 |
10 |
- |
8 |
Deduce |
10 |
10 |
10 |
- |
Produce |
1+0 |
1+0 |
1+0 |
- |
- |
Produce |
1+0 |
1+0 |
1+0 |
6 |
Essence |
1 |
1 |
1 |
- |
8 |
Essence |
1 |
1 |
1 |
CIRCLE = 50 5+0 = 5 = 5+0 50 CIRCLE
1234 5 6789
ONE TWO THREE FOUR = 208 = 2+0+8 = 10 1+0 = 1
NINE EIGHT SEVEN SIX = 208 = 2+0+8 = 10 1+0 = 1
FIVE THE FULCRUM OF THE BALANCES
5FIVE5
THE SPIRIT LEVEL OF THE LEVEL SPIRIT
1234 5 6789
1 2 3 4 5 6 7 8 9
1 2 3 4 5 6 7 8 9
5
1 2 3 4 5 6 7 8 9
5
55
5
1 2 3 4 5 6 7 8 9
5
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
2 |
|
34 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
4 |
|
28 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
4 |
4 |
|
37 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
4 |
|
28 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
7 |
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
5 |
|
60 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
9 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
4 |
|
28 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
4 |
|
37 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
5 |
|
32 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
14 |
3 |
|
48 |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
4 |
|
26 |
17 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
16 |
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
17 |
4 |
|
48 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
4 |
|
48 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
19 |
4 |
|
47 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7+7 |
|
6+4 |
Add to Reduce |
5+9+4 |
2+9+7 |
7+2 |
|
|
|
|
|
|
|
|
|
2+7 |
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+4 |
|
1+0 |
Reduce to Deduce |
1+8 |
1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
99 = TWILIGHT = 99
TWILIGHT TWO IN ON E LIGHT TWILIGHT
99 = TWILIGHT = 99
LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT
DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK
99 = TWILIGHT = 99
TWILIGHT TWO IN ON E LIGHT TWILIGHT
99 = TWILIGHT = 99
3 |
THE |
33 |
15 |
6 |
3 |
SON |
48 |
12 |
3 |
2 |
OF |
21 |
12 |
3 |
3 |
THE |
33 |
15 |
6 |
3 |
SUN |
54 |
9 |
9 |
14 |
First Total |
|
|
|
1+4 |
Add to Reduce |
1+8+9 |
6+3 |
2+7 |
5 |
Second Total |
|
|
|
|
Reduce to Deduce |
1+8 |
- |
- |
|
Essence of Number |
|
|
|
3 |
THE |
33 |
15 |
6 |
3 |
SUN |
54 |
18 |
9 |
3 |
GOD |
26 |
17 |
8 |
9 |
Add to Reduce |
|
|
|
|
Reduce to Deduce |
1+1+3 |
5+0 |
2+3 |
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
T |
= |
2 |
|
1 |
1 |
T |
20 |
2 |
2 |
- |
- |
|
|
|
|
|
|
|
- |
H |
= |
8 |
|
2 |
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
- |
E |
= |
5 |
|
3 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
- |
- |
- |
15 |
- |
- |
|
|
33 |
15 |
15 |
6 |
|
|
|
|
|
|
- |
|
- |
S |
= |
1 |
|
4 |
1 |
S |
19 |
10 |
1 |
- |
1 |
|
|
|
|
|
|
|
- |
U |
= |
3 |
|
5 |
1 |
U |
21 |
3 |
3 |
- |
|
- |
|
|
|
|
|
|
- |
N |
= |
5 |
|
6 |
1 |
N |
14 |
5 |
5 |
|
|
|
|
- |
|
|
|
|
- |
- |
- |
9 |
- |
- |
|
|
54 |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
- |
G |
= |
7 |
|
7 |
1 |
G |
7 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
- |
O |
= |
6 |
|
8 |
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
- |
D |
= |
4 |
|
9 |
1 |
D |
4 |
4 |
4 |
- |
|
|
- |
|
|
|
|
|
- |
- |
- |
17 |
- |
- |
|
|
26 |
17 |
17 |
8 |
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
9 |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
4+1 |
|
- |
|
- |
1+1+3 |
5+0 |
4+1 |
|
|
|
|
|
1+0 |
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
T |
= |
2 |
|
1 |
1 |
T |
20 |
2 |
2 |
- |
- |
|
|
|
|
|
|
|
9 |
H |
= |
8 |
|
2 |
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
9 |
E |
= |
5 |
|
3 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
9 |
S |
= |
1 |
|
4 |
1 |
S |
19 |
10 |
1 |
- |
1 |
|
|
|
|
|
|
|
9 |
U |
= |
3 |
|
5 |
1 |
U |
21 |
3 |
3 |
- |
|
- |
|
|
|
|
|
|
9 |
N |
= |
5 |
|
6 |
1 |
N |
14 |
5 |
5 |
|
|
|
|
- |
|
|
|
|
9 |
G |
= |
7 |
|
7 |
1 |
G |
7 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
9 |
O |
= |
6 |
|
8 |
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
9 |
D |
= |
4 |
|
9 |
1 |
D |
4 |
4 |
4 |
- |
|
|
- |
|
|
|
|
|
9 |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
9 |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
4+1 |
|
- |
|
- |
1+1+3 |
5+0 |
4+1 |
|
|
|
|
|
1+0 |
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
RE 95 RE
REARRANGED NUMERICALLY REARRANGED
RE 95 RE
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
|
4 |
1 |
S |
19 |
10 |
1 |
- |
1 |
|
|
|
|
|
|
|
9 |
T |
= |
2 |
|
1 |
1 |
T |
20 |
2 |
2 |
- |
- |
|
|
|
|
|
|
|
9 |
U |
= |
3 |
|
5 |
1 |
U |
21 |
3 |
3 |
- |
|
- |
|
|
|
|
|
|
9 |
D |
= |
4 |
|
9 |
1 |
D |
4 |
4 |
4 |
- |
|
|
- |
|
|
|
|
|
9 |
E |
= |
5 |
|
3 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
9 |
N |
= |
5 |
|
6 |
1 |
N |
14 |
5 |
5 |
|
|
|
|
- |
|
|
|
|
9 |
O |
= |
6 |
|
8 |
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
9 |
G |
= |
7 |
|
7 |
1 |
G |
7 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
9 |
H |
= |
8 |
|
2 |
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
9 |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
9 |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
4+1 |
|
- |
|
- |
1+1+3 |
5+0 |
4+1 |
|
|
|
|
|
1+0 |
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
RE |
23 |
14 |
5 |
3 |
THE |
33 |
15 |
6 |
3 |
SUN |
54 |
18 |
9 |
3 |
GOD |
26 |
17 |
8 |
11 |
First Total |
|
|
|
1+1 |
Add to Reduce |
1+3+6 |
6+4 |
2+8 |
|
Second Total |
|
|
|
|
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
23 |
14 |
5 |
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
R |
= |
9 |
|
1 |
1 |
R |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
2 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
- |
- |
- |
14 |
- |
- |
|
|
23 |
14 |
14 |
6 |
|
|
|
|
|
|
- |
|
- |
T |
= |
2 |
|
3 |
1 |
T |
20 |
2 |
2 |
- |
- |
|
|
|
|
|
|
|
- |
H |
= |
8 |
|
4 |
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
- |
E |
= |
5 |
|
5 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
- |
- |
- |
15 |
- |
- |
|
|
33 |
15 |
15 |
6 |
|
|
|
|
|
|
- |
|
- |
S |
= |
1 |
|
6 |
1 |
S |
19 |
10 |
1 |
- |
1 |
|
|
|
|
|
|
|
- |
U |
= |
3 |
|
7 |
1 |
U |
21 |
3 |
3 |
- |
|
- |
|
|
|
|
|
|
- |
N |
= |
5 |
|
8 |
1 |
N |
14 |
5 |
5 |
|
|
|
|
- |
|
|
|
|
- |
- |
- |
9 |
- |
- |
|
|
54 |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
- |
G |
= |
7 |
|
9 |
1 |
G |
7 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
- |
O |
= |
6 |
|
10 |
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
- |
D |
= |
4 |
|
11 |
1 |
D |
4 |
4 |
4 |
- |
|
|
- |
|
|
|
|
|
- |
- |
- |
17 |
- |
- |
|
|
26 |
17 |
17 |
8 |
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
9 |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
5+5 |
|
- |
|
- |
1+3+6 |
6+4 |
5+5 |
|
|
|
|
|
1+5 |
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
1+0 |
|
- |
|
- |
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
23 |
14 |
5 |
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
R |
= |
9 |
|
1 |
1 |
R |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
|
2 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
- |
T |
= |
2 |
|
3 |
1 |
T |
20 |
2 |
2 |
- |
- |
|
|
|
|
|
|
|
- |
H |
= |
8 |
|
4 |
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
- |
E |
= |
5 |
|
5 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
- |
S |
= |
1 |
|
6 |
1 |
S |
19 |
10 |
1 |
- |
1 |
|
|
|
|
|
|
|
- |
U |
= |
3 |
|
7 |
1 |
U |
21 |
3 |
3 |
- |
|
- |
|
|
|
|
|
|
- |
N |
= |
5 |
|
8 |
1 |
N |
14 |
5 |
5 |
|
|
|
|
- |
|
|
|
|
- |
G |
= |
7 |
|
9 |
1 |
G |
7 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
- |
O |
= |
6 |
|
10 |
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
- |
D |
= |
4 |
|
11 |
1 |
D |
4 |
4 |
4 |
- |
|
|
- |
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
9 |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
5+5 |
|
- |
|
- |
1+3+6 |
6+4 |
5+5 |
|
|
|
|
|
1+5 |
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
1+0 |
|
- |
|
- |
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
RE 95 RE
REARRANGED NUMERICALLY REARRANGED
RE 95 RE 95
|
|
|
|
|
|
|
23 |
14 |
5 |
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
|
6 |
1 |
S |
19 |
10 |
1 |
- |
1 |
|
|
|
|
|
|
|
- |
T |
= |
2 |
|
3 |
1 |
T |
20 |
2 |
2 |
- |
- |
|
|
|
|
|
|
|
- |
U |
= |
3 |
|
7 |
1 |
U |
21 |
3 |
3 |
- |
|
- |
|
|
|
|
|
|
- |
D |
= |
4 |
|
11 |
1 |
D |
4 |
4 |
4 |
- |
|
|
- |
|
|
|
|
|
- |
E |
= |
5 |
|
2 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
- |
E |
= |
5 |
|
5 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
- |
N |
= |
5 |
|
8 |
1 |
N |
14 |
5 |
5 |
|
|
|
|
- |
|
|
|
|
- |
O |
= |
6 |
|
10 |
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
- |
G |
= |
7 |
|
9 |
1 |
G |
7 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
- |
H |
= |
8 |
|
4 |
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
- |
R |
= |
9 |
|
1 |
1 |
R |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
9 |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
5+5 |
|
- |
|
- |
1+3+6 |
6+4 |
5+5 |
|
|
|
|
|
1+5 |
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
1+0 |
|
- |
|
- |
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
I |
9 |
9 |
9 |
4 |
THAT |
49 |
13 |
4 |
2 |
AM |
14 |
14 |
5 |
3 |
THE |
33 |
15 |
6 |
5 |
LIGHT |
56 |
29 |
2 |
7 |
BRINGER |
73 |
46 |
1 |
22 |
Add to Reduce |
|
|
|
2+2 |
Reduce to Deduce |
2+3+4 |
1+2+6 |
2+7 |
|
Essence of Number |
|
|
|
THE
BALANCING
I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1
I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
S |
= |
1 |
- |
6 |
STRIKE |
79 |
34 |
7 |
A |
= |
1 |
- |
1 |
A |
21 |
12 |
3 |
L |
= |
3 |
- |
5 |
LIGHT |
98 |
35 |
8 |
P |
= |
7 |
- |
10 |
PROMETHEUS |
19 |
10 |
1 |
- |
- |
12 |
|
22 |
First Total |
|
|
|
- |
- |
1+2 |
- |
2+2 |
Add to Reduce |
2+7+9 |
1+2+6 |
1+9 |
- |
- |
3 |
- |
4 |
Second Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+8 |
1+0 |
1+0 |
- |
- |
3 |
- |
4 |
Essence of Number |
|
|
|
W |
= |
5 |
- |
6 |
WONDER |
79 |
34 |
7 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
W |
= |
5 |
- |
7 |
WONDERS |
98 |
35 |
8 |
A |
= |
1 |
- |
3 |
AND |
19 |
10 |
1 |
T |
= |
2 |
- |
4 |
THEY |
58 |
22 |
3 |
W |
= |
5 |
- |
5 |
WOULD |
75 |
21 |
3 |
N |
= |
5 |
- |
3 |
NOT |
49 |
13 |
4 |
W |
= |
5 |
- |
6 |
WONDER |
79 |
34 |
7 |
- |
- |
34 |
|
36 |
First Total |
|
|
|
- |
- |
3+4 |
- |
3+6 |
Add to Reduce |
4+7+8 |
1+8+1 |
3+7 |
- |
- |
7 |
- |
9 |
Second Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+9 |
1+0 |
1+0 |
- |
- |
7 |
- |
7 |
Third Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+0 |
- |
- |
- |
- |
7 |
- |
7 |
Essence of Number |
|
|
|
THE
BALANCING
I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1
I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
|
PROMETHEUS |
- |
- |
|
|
P |
16 |
7 |
7 |
1 |
R |
18 |
9 |
9 |
1 |
O |
15 |
6 |
6 |
1 |
M |
13 |
4 |
4 |
1 |
E |
5 |
5 |
5 |
1 |
T |
20 |
2 |
2 |
1 |
H |
8 |
8 |
8 |
1 |
E |
5 |
5 |
5 |
1 |
U |
21 |
3 |
3 |
1 |
S |
19 |
10 |
1 |
10 |
PROMETHEUS |
|
|
|
1+0 |
|
1+4+0 |
5+9 |
5+0 |
1 |
PROMETHEUS |
|
|
|
- |
|
|
1+4 |
|
1 |
PROMETHEUS |
|
|
|
|
|
|
|
|
PROMETHEUS |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
P |
|
7 |
|
|
P |
16 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
R |
|
9 |
|
1 |
R |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
O |
|
6 |
|
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
M |
|
4 |
|
1 |
M |
13 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
E |
|
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
T |
|
2 |
|
1 |
T |
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
H |
|
8 |
|
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
E |
|
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
U |
|
|
|
1 |
U |
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
S |
|
1 |
|
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
PROMETHEUS |
|
|
|
|
|
|
|
|
10 |
|
|
|
|
|
|
5+0 |
|
1+0 |
|
1+4+0 |
5+9 |
5+0 |
|
|
|
|
|
1+0 |
|
|
|
|
|
|
|
|
|
PROMETHEUS |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PROMETHEUS |
|
|
|
|
|
|
|
|
|
|
|
|
|
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
|
|
|
|
|
PROMETHEUS |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
S |
|
1 |
|
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
T |
|
2 |
|
1 |
T |
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
U |
|
|
|
1 |
U |
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
M |
|
4 |
|
1 |
M |
13 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
E |
|
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
E |
|
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
O |
|
6 |
|
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
P |
|
7 |
|
|
P |
16 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
H |
|
8 |
|
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
R |
|
9 |
|
1 |
R |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
PROMETHEUS |
|
|
|
|
|
|
|
|
10 |
|
|
|
|
|
|
5+0 |
|
1+0 |
|
1+4+0 |
5+9 |
5+0 |
|
|
|
|
|
1+0 |
|
|
|
|
|
|
|
|
|
PROMETHEUS |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PROMETHEUS |
|
|
|
|
|
|
|
|
|
|
|
|
|
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
|
PROMETHEUS |
- |
- |
|
|
P |
16 |
7 |
7 |
1 |
R |
18 |
9 |
9 |
1 |
O |
15 |
6 |
6 |
1 |
M |
13 |
4 |
4 |
1 |
E |
5 |
5 |
5 |
1 |
T |
20 |
2 |
2 |
1 |
H |
8 |
8 |
8 |
1 |
E |
5 |
5 |
5 |
1 |
U |
21 |
3 |
3 |
1 |
S |
19 |
10 |
1 |
10 |
PROMETHEUS |
|
|
|
1+0 |
|
1+4+0 |
5+9 |
5+0 |
1 |
PROMETHEUS |
|
|
|
- |
|
|
1+4 |
|
1 |
PROMETHEUS |
|
|
|
PROMETHEUS MET ORPHEUS MET PROMETHEUS
|
PROMETHEUS |
- |
- |
|
|
MET |
38 |
11 |
2 |
7 |
ORPHEUS |
102 |
48 |
3 |
10 |
PROMETHEUS |
|
|
|
1+0 |
|
1+4+0 |
5+9 |
|
1 |
PROMETHEUS |
|
|
|
- |
|
|
1+4 |
|
1 |
PROMETHEUS |
|
|
|
ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS
Prometheus - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Prometheus Cached
Similar
In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ...
Prometheus (2012 film) - Prometheus (disambiguation) - Theft of fire - Culture hero
Prometheus
From Wikipedia, the free encyclopedia
This article is about the Greek mythological figure. For other uses, see Prometheus (disambiguation).
In Greek mythology, Prometheus (/prəˈmiːθiːəs/; Greek: Προμηθεύς, pronounced [promɛːtʰeús], meaning "forethought")[1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and gives fire to humanity, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind.[2]
The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back to be eaten again the next day. (In ancient Greece, the liver was thought to be the seat of human emotions.)[3] In some stories, Prometheus is freed at last by the hero Heracles (Hercules).
In another of his myths, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, other Greek deities of creative skills and technology.[4]
In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein (1818).
Contents [hide]
1 Myths and legends 1.1 The oldest legends of Prometheus among the Ancients 1.1.1 Hesiod and the Theogony
1.1.2 Homer, the Iliad, and the Homeric Hymns
1.1.3 Pindar and the Nemean Odes
1.1.4 Pythagoras and the Pythagorean Doctrine
1.2 The Athenian Tradition of Prometheus: Aeschylus and Plato 1.2.1 Aeschylus and the Ancient Literary Aesthetics of Prometheus
1.2.2 Plato and the Philosophical Interpretation of Prometheus
1.2.3 The Athenian tradition of religious dedication and observance
1.2.4 The Aesthetic tradition of Prometheus in Athenian art
1.3 Other authors
2 Religious symbolism in late Roman antiquity
3 The allegorical tradition of the Middle Ages
4 Prometheus in the Renaissance
5 The Post-Renaissance tradition 5.1 The literary Post-Renaissance tradition 5.1.1 Goethe and the Prometheus-Ganymede poems
5.1.2 Percy Bysshe Shelley and Prometheus Unbound
5.1.3 Mary Shelley and Frankenstein: The Modern Prometheus
5.1.4 Prometheus in the Twentieth Century
5.2 The aesthetic Post-Renaissance tradition 5.2.1 Classical music, opera, and ballet
5.2.2 In film
6 Notes
7 References
8 Further reading
9 External links
Myths and legends[edit]
Greek deities
series
Titans
Olympians
Aquatic deities
Chthonic deities
Personified concepts
Other deities
Titans
The Twelve Titans:
Oceanus and Tethys,
Hyperion and Theia,
Coeus and Phoebe,
Cronus and Rhea,
Mnemosyne, Themis,
Crius, Iapetus
Children of Oceanus:
Oceanids, Potamoi, Calypso
Children of Hyperion:
Helios, Selene, Eos
Daughters of Coeus:
Leto and Asteria
Sons of Iapetus:
Atlas, Prometheus,
Epimetheus, Menoetius
Sons of Crius:
Astraeus, Pallas, Perses
The oldest legends of Prometheus among the Ancients[edit]
The four most ancient sources for understanding the origin of the Prometheus myths and legends all rely on the images represented in the Titanomachia, or the cosmological climactic struggle between the Greek gods and their parents, the Titans.[5] Prometheus himself was a titan who managed to avoid being in the direct confrontational cosmic battle between Zeus and his followers against Cronus, Uranus and their followers.[6] Prometheus therefore survived the struggle in which the offending titans were eternally banished by Zeus to the chthonic depths of Tartarus, only to survive to confront Zeus on his own terms in subsequent climactic struggles. The greater Titanomachia depicts an overarching metaphor of the struggle between generations, between parents and their children, symbolic of the generation of parents needing to eventually give ground to the growing needs, vitality, and responsibilities of the new generation for the perpetuation of society and survival interests of the human race as a whole. Prometheus and his struggle would be of vast merit to human society as well in this mythology as he was to be credited with the creation of humans and therefore all of humanity as well. The four most ancient historical sources for the Prometheus myth are Hesiod, Homer, Pindar, and Pythagoras.
Hesiod and the Theogony[edit]
The Prometheus myth first appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony (lines 507–616). He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus. In the Theogony, Hesiod introduces Prometheus as a lowly challenger to Zeus's omniscience and omnipotence.[7] In the trick at Mekone, a sacrificial meal marking the "settling of accounts" between mortals and immortals, Prometheus played a trick against Zeus (545–557). He placed two sacrificial offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in "glistening fat" (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices.[7]
Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus.[8] Prometheus, however, stole back fire in a giant fennel-stalk and restored it to humanity. This further enraged Zeus, who sent Pandora, the first woman, to live with humanity.[7] Pandora was fashioned by Hephaestus out of clay and brought to life by the four winds, with all the goddesses of Olympus assembled to adorn her. "From her is the race of women and female kind," Hesiod writes; "of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth."[7]
Prometheus Brings Fire by Heinrich Friedrich Füger. Prometheus brings fire to mankind as told by Hesiod, with its having been hidden as revenge for the trick at Mecone.
Prometheus, in eternal punishment, is chained to a rock in the Caucasus, Kazbek Mountain, where his liver is eaten daily by an eagle,[9] only to be regenerated by night, due to his immortality. The eagle is a symbol of Zeus Himself. Years later, the Greek hero Heracles (Hercules) slays the eagle and frees Prometheus from his chains.[10]
Hesiod revisits the story of Prometheus in the Works and Days (lines 42–105). Here, the poet expands upon Zeus's reaction to the theft of fire. Not only does Zeus withhold fire from humanity, but "the means of life," as well (42). Had Prometheus not provoked Zeus's wrath (44–47), "you would easily do work enough in a day to supply you for a full year even without working; soon would you put away your rudder over the smoke, and the fields worked by ox and sturdy mule would run to waste." Hesiod also expands upon the Theogony's story of the first woman, now explicitly called Pandora ("all gifts"). After Prometheus' theft of fire, Zeus sent Pandora in retaliation. Despite Prometheus' warning, Epimetheus accepted this "gift" from the gods. Pandora carried a jar with her, from which were released (91–92) "evils, harsh pain and troublesome diseases which give men death".[11] Pandora shut the lid of the jar too late to contain all the evil plights that escaped, but foresight remained in the jar, giving humanity hope.
Angelo Casanova,[12] Professor of Greek Literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic trickster-figure, who served to account for the mixture of good and bad in human life, and whose fashioning of humanity from clay was an Eastern motif familiar in Enuma Elish; as an opponent of Zeus he was an analogue of the Titans, and like them was punished. As an advocate for humanity he gains semi-divine status at Athens, where the episode in Theogony in which he is liberated[13] is interpreted by Casanova as a post-Hesiodic interpolation.[14]
Homer, the Iliad, and the Homeric Hymns[edit]
The banishment of the warring titans by the Olympians to the chthonic depths of Tartoros was documented as early as Homer's Iliad and the Odyssey where they are also identified as the hypotartarioi, or, the "subterranean." The passages appear in the Iliad (XIV 279)[15] and also in the Homeric hymn to Apollo (335).[16] The particular forms of violence associated especially with the Titans are those of hybristes and atasthalie as further found in the Iliad (XIII 633-34). They are used by Homer to designate an unlimited, violent insolence among the warring Titans which only Zeus was able to ultimately overcome. This text finds direct parallel in Hesiod's reading in the Theogony (209) and in Homer's own Odyssey (XIX 406). In the words of Kerenyi, "Autolykos, the grandfather, is introduced in order that he may give his grandson the name of Odysseus."[17] In a similar fashion, the origin of the naming of the "titans" as a group has been disputed with some voicing a preference for reading it as a combination of titainein (to exert), and, titis (retribution) usually rendered as "retribution meted out to the exertion of the Titans."[18] It should be noted in studying material concerning Prometheus that Prometheus was not directly among the warring Titans with Zeus though Prometheus's association with them by lineage is a recurrent theme in each of his subsequent confrontations with Zeus and with the Olympian gods.
Pindar and the Nemean Odes[edit]
The duality of the gods and of humans standing as polar opposites is also clearly identified in the earliest traditions of Greek mythology and its legends by Pindar. In the sixth Nemean Ode, Pindar states: "There is one/race of men, one race of gods; both have breath/of life from a single mother. But sundered aurora collett us divided, so that one side is nothing, while on the other the brazen sky is established/a sure citadel forever."[19] Although this duality in strikingly apparent in Pindar, it also has paradoxical elements where Pindar actually comes quite close to Hesiod who before him had said in his Works and Days (108) "how the gods and mortal men sprang from one source."[20] The understanding of Prometheus and his role in the creation of humans and the theft of fire for their benefit is therefore distinctly adapted within this distinguishable source for understanding the role of Prometheus within the mythology of the interaction of the Gods with humans.
Pythagoras and the Pythagorean Doctrine[edit]
In order to understand the Prometheus myth in its most general context, the Late Roman author Censorinus states in his book titled De die natali that, "Pythagoras of Samos, Okellos of Lukania, Archytas of Tarentum, and in general all Pythagoreans were the authors and proponents of the opinion that the human race was eternal."[21] By this they held that Prometheus's creation of humans was the creation of humanity for eternity. This Pythagorean view is further confirmed in the book On the Cosmos written by the Pythagorean Okellos of Lukania. Okellos, in his cosmology, further delineates the three realms of the cosmos as all contained within an overarching order called the diakosmesis which is also the world order kosmos, and which also must be eternal. The three realms were delineated by Okellos as having "two poles, man on earth, the gods in heaven. Merely for the sake of symmetry, as it were, the daemons --not evil spirits but beings intermediate between God and man -- occupy a middle position in the air, the realm between heaven and earth. They were not a product of Greek mythology, but of the belief in daemons that had sprung up in various parts of the Mediterranean world and the Near East."[22]
The Athenian Tradition of Prometheus: Aeschylus and Plato[edit]
The two major authors to have a distinctive influence on the development of the myths and legends surrounding the titan Prometheus during the Socratic era of greater Athens were Aeschylus and Plato. The two men wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Greek tragedy, while for Plato this centered on the philosophical expression of his thought in the form of the various dialogues he had written and recorded during his lifetime.
Aeschylus and the Ancient Literary Aesthetics of Prometheus[edit]
Prometheus Bound, perhaps the most famous treatment of the myth to be found among the Greek tragedies, is traditionally attributed to the 5th-century BC Greek tragedian Aeschylus.[23] At the center of the drama are the results of Prometheus' theft of fire and his current punishment by Zeus; the playwright's dependence on the Hesiodic source material is clear, though Prometheus Bound also includes a number of changes to the received tradition.[24]
Before his theft of fire, Prometheus played a decisive role in the Titanomachy, securing victory for Zeus and the other Olympians. Zeus's torture of Prometheus thus becomes a particularly harsh betrayal. The scope and character of Prometheus' transgressions against Zeus are also widened. In addition to giving humankind fire, Prometheus claims to have taught them the arts of civilization, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for humankind seems to have been saving them from complete destruction. In an apparent twist on the myth of the so-called Five Ages of Man found in Hesiod's Works and Days (wherein Cronus and, later, Zeus created and destroyed five successive races of humanity), Prometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him.
Heracles freeing Prometheus from his torment by the eagle (Attic black-figure cup, c. 500 BC)
Moreover, Aeschylus anachronistically and artificially injects Io, another victim of Zeus's violence and ancestor of Heracles, into Prometheus' story. Finally, just as Aeschylus gave Prometheus a key role in bringing Zeus to power, he also attributed to him secret knowledge that could lead to Zeus's downfall: Prometheus had been told by his mother Gaia of a potential marriage that would produce a son who would overthrow Zeus. Fragmentary evidence indicates that Heracles, as in Hesiod, frees the Titan in the trilogy's second play, Prometheus Unbound. It is apparently not until Prometheus reveals this secret of Zeus's potential downfall that the two reconcile in the final play, Prometheus the Fire-Bringer or Prometheus Pyrphoros, a lost tragedy by Aeschylus.
Prometheus Bound also includes two mythic innovations of omission. The first is the absence of Pandora's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope (252): "[Prometheus] caused blind hopes to live in the hearts of men." Second, Aeschylus makes no mention of the sacrifice-trick played against Zeus in the Theogony.[23] The four tragedies of Prometheus attributed to Aeschylus, most of which are sadly lost to the passages of time into antiquity, are Prometheus Bound (Desmotes), Prometheus Delivered (Lyomens), Prometheus the Fire Bringer (Pyrphoros), and Prometheus the Fire Kindler (Pyrkaeus).
The larger scope of Aeschylus as a dramatist revisiting the myth of Prometheus in the age of Athenian prominence has been discussed by William Lynch.[25] Lynch's general thesis concerns the rise of humanist and secular tendencies in Athenian culture and society which required the growth and expansion of the mythological and religious tradition as acquired from the most ancient sources of the myth stemming from Hesiod. For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been lost to antiquity. Significantly, Lynch further comments that although the Prometheus trilogy is not available, that the Orestia trilogy by Aeschylus remains available and may be assumed to provide significant insight into the overall structural intentions which may be ascribed to the Prometheus trilogy by Aeschylus as an author of significant consistency and exemplary dramatic erudition.[26]
Harold Bloom, in his research guide for Aeschylus, has summarized some of the critical attention that has been applied to Aeschylus concerning his general philosophical import in Athens.[27] As Bloom states, "Much critical attention has been paid to the question of theodicy in Aeschylus. For generations, scholars warred incessantly over 'the justice of Zeus,' unintentionally blurring it with a monotheism imported from Judeo-Christian thought. The playwright undoubtedly had religious concerns; for instance, Jacqueline de Romilly[28] suggests that his treatment of time flows directly out of his belief in divine justice. But it would be an error to think of Aeschylus as sermonizing. His Zeus does not arrive at decisions which he then enacts in the mortal world; rather, human events are themselves an enactment of divine will."[29]
According to Thomas Rosenmeyer regarding the religious import of Aeschylus, "In Aeschylus, as in Homer, the two levels of causation, the supernatural and the human, are co-existent and simultaneous, two way of describing the same event." Rosenmeyer insists that ascribing portrayed characters in Aeschylus should not conclude them to be either victims or agents of theological or religious activity too quickly. As Rosenmeyer states: "[T]he text defines their being. For a critic to construct an Aeschylean theology would be as quixotic as designing a typology of Aeschylean man. The needs of the drama prevail."[30]
In a rare comparison of Prometheus in Aeschylus with Oedipus in Sophocles, Harold Bloom with more than simple irony has quoted Freud as stating that, "Freud called Oedipus an 'immoral play,' since the gods ordained incest and paracide. Oedipus therefore participates in our universal unconscious sense of guilt, but on this reading so do the gods. I (states Bloom) sometimes wish that Freud had turned to Aeschylus instead, and given us the Prometheus complex rather than the Oedipus complex."[31]
Plato and the Philosophical Interpretation of Prometheus[edit]
Olga Raggio in her study "The Myth of Prometheus" for the Courtauld Institute attributes Plato in the Protagoras as an important contributor to the early development of the Prometheus myth.[32] Raggio indicates that many of the more challenging and dramatic assertions which Aeschylean tragedy explores are absent from Plato's writings about Prometheus.[33] As summarized by Raggio, "After the gods have moulded men and other living creatures with a mixture of clay and fire, the two brothers Epimetheus and Prometheus are called to complete the task and distribute among the newly born creatures all sorts of natural qualities. Epimetheus sets to work, but, being unwise, distributes all the gifts of nature among the animals, leaving men naked and unprotected, unable to defend themselves and to survive in a hostile world. Prometheus then steals the fire of creative power from the workshop of Athena and Hephaistos and gives it to mankind." Raggio then goes on to point out Plato's distinction of creative power (techne) which is presented as superior to merely natural instincts (physis). For Plato, only the virtues of "reverence and justice can provide for the maintenance of a civilized society -- and these virtues are the highest gift finally bestowed on men in equal measure."[34] The ancients by way of Plato believed that the name Prometheus derived from the Greek pro (before) + manthano (intelligence) and the agent suffix -eus, thus meaning "Forethinker". In his dialogue titled Protagoras, Plato contrasts Prometheus with his dull-witted brother Epimetheus, "Afterthinker".[35] In Plato's dialogue Protagoras, Protagoras asserts that the gods created humans and all the other animals, but it was left to Prometheus and his brother Epimetheus to give defining attributes to each. As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilizing arts.[36]
The Athenian tradition of religious dedication and observance[edit]
It is understandable that since Prometheus was considered a Titan and not one of the Olympian gods that there would be an absence of evidence, with the exception of Athens, for the direct religious devotion to his worship. Despite his importance to the myths and imaginative literature of ancient Greece, the religious cult of Prometheus during the Archaic and Classical periods seems to have been limited.[37] Writing in the 2nd century AD, the satirist Lucian points out that while temples to the major Olympians were everywhere, none to Prometheus is to be seen.[38]
Heracles freeing Prometheus, relief from the Temple of Aphrodite at Aphrodisias
Athens was the exception. The altar of Prometheus in the grove of the Academy was the point of origin for several significant processions and other events regularly observed on the Athenian calendar. For the Panathenaic festival, arguably the most important civic festival at Athens, a torch race began at the altar, which was located outside the sacred boundary of the city, and passed through the Kerameikos, the district inhabited by potters and other artisans who regarded Prometheus and Hephaestus as patrons.[39] The race then traveled to the heart of the city, where it kindled the sacrificial fire on the altar of Athena on the Acropolis to conclude the festival.[40] These footraces took the form of relays in which teams of runners passed off a flaming torch. According to Pausanias (2nd century AD), the torch relay, called lampadedromia or lampadephoria, was first instituted at Athens in honor of Prometheus.[41] By the Classical period, the races were run by ephebes also in honor of Hephaestus and Athena.[42] Prometheus' association with fire is the key to his religious significance[37] and to the alignment with Athena and Hephaestus that was specific to Athens and its "unique degree of cultic emphasis" on honoring technology.[43] The festival of Prometheus was the Prometheia. The wreaths worn symbolized the chains of Prometheus.[44]
Pausanias recorded a few other religious sites in Greece devoted to Prometheus. Both Argos and Opous claimed to be Prometheus' final resting place, each erecting a tomb in his honor. The Greek city of Panopeus had a cult statue that was supposed to honor Prometheus for having created the human race there.[36]
The Aesthetic tradition of Prometheus in Athenian art[edit]
Prometheus' torment by the eagle and his rescue by Heracles were popular subjects in vase paintings of the 6th to 4th centuries BC. He also sometimes appears in depictions of Athena's birth from Zeus' forehead. There was a relief sculpture of Prometheus with Pandora on the base of Athena's cult statue in the Athenian Parthenon of the 5th century BC. A similar rendering is also found at the great altar of Zeus at Pergamon from the second century BC.
The event of the release of Prometheus from captivity was frequently revisited on Attic and Etruscan vases between the sixth and fifth centuries BC. In the depiction on display at the Museum of Karlsruhe and in Berlin, the depiction is that of Prometheus confronted by a menacing large bird (assumed to be the eagle) with Hercules approaching from behind shooting his arrows at it.[45] In the fourth century this imagery was modified to depicting Prometheus bound in a cruciform manner, possibly reflecting an Aeschylus inspired manner of influence, again with an eagle and with Hercules approaching from the side.[46]
Other authors[edit]
Creation of humanity by Prometheus as Athena looks on (Roman-era relief, 3rd century AD)
Prometheus watches Athena endow his creation with reason (painting by Christian Griepenkerl, 1877)
Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BC (Diodorus, Herodorus) into the 4th century AD. The most significant detail added to the myth found in, e.g., Sappho, Aesop and Ovid[47] — was the central role of Prometheus in the creation of the human race. According to these sources, Prometheus fashioned humans out of clay.
Although perhaps made explicit in the Prometheia, later authors such as Hyginus, the Bibliotheca, and Quintus of Smyrna would confirm that Prometheus warned Zeus not to marry the sea nymph Thetis. She is consequently married off to the mortal Peleus, and bears him a son greater than the father — Achilles, Greek hero of the Trojan War. Pseudo-Apollodorus moreover clarifies a cryptic statement (1026–29) made by Hermes in Prometheus Bound, identifying the centaur Chiron as the one who would take on Prometheus' suffering and die in his place.[36] Reflecting a myth attested in Greek vase paintings from the Classical period, Pseudo-Apollodorus places the Titan (armed with an axe) at the birth of Athena, thus explaining how the goddess sprang forth from the forehead of Zeus.[36]
Other minor details attached to the myth include: the duration of Prometheus' torment;[48][49] the origin of the eagle that ate the Titan's liver (found in Pseudo-Apollodorus and Hyginus); Pandora's marriage to Epimetheus (found in Pseudo-Apollodorus); myths surrounding the life of Prometheus' son, Deucalion (found in Ovid and Apollonius of Rhodes); and Prometheus' marginal role in the myth of Jason and the Argonauts (found in Apollonius of Rhodes and Valerius Flaccus).[36]
Modern scientific linguistics suggests that the name derived from the Proto-Indo-European root that also produces the Vedic pra math, "to steal," hence pramathyu-s, "thief", cognate with "Prometheus", the thief of fire. The Vedic myth of fire's theft by Mātariśvan is an analog to the Greek account. Pramantha was the tool used to create fire.[50]
Religious symbolism in late Roman antiquity[edit]
The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world; see creation of man from clay, theft of fire, and references for eternal punishment. It is the first of these three which has drawn attention to parallels with the biblical creation account related in the religious symbolism expressed in the book of Genesis.
As stated by Olga Raggio,[51] "The Prometheus myth of creation as a visual symbol of the Neoplatonic concept of human nature, illustrated in (many) sarcophagi, was evidently a contradiction of the Christian teaching of the unique and simultaneous act of creation by the Trinity." This Neoplatonism of late Roman antiquity was especially stressed by Tertullian[52] who recognized both difference and similarity of the biblical deity with the mythological figure of Prometheus.
The imagery of Prometheus and the creation of man used for the purposes of the representation of the creation of Adam in biblical symbolism is also a recurrent theme in the artistic expression of late Roman antiquity. Of the relatively rare expressions found of the creation of Adam in those centuries of late Roman antiquity, one can single out the so-called "Dogma sarcophagus" of the Lateran Museum where three figures are seen (in representation of the theological trinity) in making a benediction to the new man. Another example is found where the prototype of Prometheus is also recognizable in the early Christian era of late Roman antiquity. This can be found upon a sarcophagus of the Church at Mas d'Aire[53] as well, and in an even more direct comparison to what Raggio refers to as "a coursely carved relief from Campli (Teramo)[54] (where) the Lord sits on a throne and models the body of Adam, exactly like Prometheus." Still another such similarity is found in the example found on a Hellenistic relief presently in the Louvre in which the Lord gives life to Eve through the imposition of his two fingers on her eyes recalling the same gesture found in earlier representations of Prometheus.[55]
In Georgian mythology, Amirani is a culture hero who challenged the chief god, and like Prometheus was chained on the Caucasian mountains where birds would eat his organs. This aspect of the myth had a significant influence on the Greek imagination. It is recognizable from a Greek gem roughly dated to the time of the Hesiod poems, which show Prometheus with hands bound behind his body and crouching before a bird with long wings.[56] This same image would also be used later in the Rome of the Augustan age as documented by Furtwangler.[57]
In the often cited and highly publicized interview between Joseph Campbell and Bill Moyers on Public Television, the author of The Hero with a Thousand Faces presented his view on the comparison of Prometheus and Jesus.[58] Moyers asked Campbell the question in the following words, "In this sense, unlike heroes such as Prometheus or Jesus, we're not going on our journey to save the world but to save ourselves." To which Campbell's well-known response was that, "But in doing that, you save the world. The influence of a vital person vitalizes, there's no doubt about it. The world without spirit is a wasteland. People have the notion of saving the world by shifting things around, changing the rules [...] No, no! Any world is a valid world if it's alive. The thing to do is to bring life to it, and the only way to do that is to find in your own case where the life is and become alive yourself." For Campbell, Jesus mortally suffered on the Cross while Prometheus eternally suffered while chained to a rock, and each of them received punishment for the gift which they bestowed to humankind, for Jesus this was the gift of propitiation from Heaven, and, for Prometheus this was the gift of fire from Olympus.[58]
Significantly, Campbell is also clear to indicate the limits of applying the metaphors of his methodology in his book The Hero with a Thousand Faces too closely in assessing the comparison of Prometheus and Jesus. Of the four symbols of suffering associated with Jesus after his trial in Jerusalem (i) the crown of thorns, (ii) the scourge of whips, (iii) the nailing to the Cross, and (iv) the spearing of his side, it is only this last one which bears some resemblance to the eternal suffering of Prometheus' daily torment of an eagle devouring a replenishing organ, his liver, from his side.[59] For Campbell, the striking contrast between the New Testament narratives and the Greek mythological narratives remains at the limiting level of the cataclysmic eternal struggle of the eschatological New Testament narratives occurring only at the very end of the biblical narratives in the Apocalypse of John (12:7) where, "Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven." This eschatological and apocalyptic setting of a Last Judgement is in precise contrast to the Titanomachia of Hesiod which serves its distinct service to Greek mythology as its Prolegomenon, bracketing all subsequent mythology, including the creation of humanity, as coming after the cosmological struggle between the Titans and the Olympian gods.[58]
It remains a continuing debate among scholars of comparative religion and the literary reception[60] of mythological and religious subject matter as to whether the typology of suffering and torment represented in the Prometheus myth finds its more representative comparisons with the narratives of the Hebrew scriptures or with the New Testament narratives. In the Book of Job, significant comparisons can be drawn between the sustained suffering of Job in comparison to that of eternal suffering and torment represented in the Prometheus myth. With Job, the suffering is at the acquiescence of heaven and at the will of the demonic, while in Prometheus the suffering is directly linked to Zeus as the ruler of Olympus. The comparison of the suffering of Jesus after his sentencing in Jerusalem is limited to the three days, from Thursday to Saturday, and leading to the culminating narratives corresponding to Easter Sunday. The symbolic import for comparative religion would maintain that suffering related to justified conduct is redeemed in both the Hebrew scriptures and the New Testament narratives, while in Prometheus there remains the image of a non-forgiving deity, Zeus, who nonetheless requires reverence.[58]
Writing in late antiquity of the fourth and fifth century, the Latin commentator Marcus Servius Honoratus explained that Prometheus was so named because he was a man of great foresight (vir prudentissimus), possessing the abstract quality of providentia, the Latin equivalent of Greek promētheia (ἀπὸ τής πρόμηθείας).[61] Anecdotally, the Roman fabulist Phaedrus (c.15BC - c.50AD) attributes to Aesop a simple etiology for homosexuality, in Prometheus' getting drunk while creating the first humans and misapplying the genitalia.[62]
The allegorical tradition of the Middle Ages[edit]
Perhaps the most influential book of the Middle Ages upon the reception of the Prometheus myth was the mythological handbook of Fulgentius Placiades. As stated by Raggio,[63] "The text of Fulgentius, as well as that of (Marcus) Servius [...] are the main sources of the mythological handbooks written in the ninth century by the anonymous Mythographus Primus and Mythographus Secundus. Both were used for the more lengthy and elaborate compendium by the English scholar Alexander Neckman (1157-1217), the Scintillarium Poetarum, or Poetarius."[63] The purpose of his books was to distinguish allegorical interpretation from the historical interpretation of the Prometheus myth. Continuing in this same tradition of the allegorical interpretation of the Prometheus myth, along with the historical interpretation of the Middle Ages, is the Genealogiae of Giovanni Boccaccio. Boccaccio follows these two levels of interpretation and distinguishes between two separate versions of the Prometheus myth. For Boccaccio, Prometheus is placed "In the heavens where all is clarity and truth, [Prometheus] steals, so to speak, a ray of the divine wisdom from God himself, source of all Science, supreme Light of every man."[64] With this, Boccaccio shows himself moving from the mediaeval sources with a shift of accent towards the attitude of the Renaissance humanists.
Using a similar interpretation to that of Boccaccio, Marsilio Ficino in the fifteenth century updated the philosophical and more somber reception of the Prometheus myth not seen since the time of Plotinus. In his book written in 1476-77 titled Quaestiones Quinque de Mente, Ficino indicates his preference for reading the Prometheus myth as an image of the human soul seeking to obtain supreme truth. As Olga Raggio summarizes Ficino's text, "The torture of Prometheus is the torment brought by reason itself to man, who is made by it many times more unhappy than the brutes. It is after having stolen one beam of the celestial light [...] that the soul feels as if fastened by chains and [...] only death can release her bonds and carry her to the source of all knowledge."[64] This somberness of attitude in Ficino's text would be further developed later by Charles de Bouelles' Liber de Sapiente of 1509 which presented a mix of both scholastic and Neoplatonic ideas.
Prometheus in the Renaissance[edit]
After the writings of both Boccaccio and Ficino in the late Middle Ages about Prometheus, interest in the titan shifted considerably in the direction of becoming subject matter for painters and sculptors alike. Among the most famous examples is that of Piero di Cosimo from about 1510 presently on display at the museums of Munich and Strasburg (see Inset). Raggio summarizes the Munich version[65] as follows; "The Munich panel represents the dispute between Epimetheus and Prometheus, the handsome triumphant statue of the new man, modeled by Prometheus, his ascension to the sky under the guidance of Minerva; the Strasburg panel shows in the distance Prometheus lighting his torch at the wheels of the Sun, and in the foreground on one side, Prometheus applying his torch to the heart of the statue and , on the other, Mercury fastening him to a tree." All the details are evidently borrowed from Boccaccio's Genealogiae.
The same reference to the Genealogiae can be cited as the source for the drawing by Parmigianino presently located in the Pierpont Morgan Library in New York City.[66] In this drawing, a very noble rendering of Prometheus is presented which evokes the memory of Michelangelo's works portraying Jehovah. This drawing in the Morgan Library is perhaps one of the most intense examples of the visualization of the myth of Prometheus from the Renaissance period.
Writing in the late British Renaissance, William Shakespeare uses the Promethean allusion in the famous death scene of Desdemona in his tragedy of Othello. Othello in contemplating the death of Desdemona asserts plainly that he cannot restore the "Promethean heat" to her body once it has been extinguished. For Shakespeare, the allusion is clearly to the interpretation of the fire from the heat as the bestowing of life to the creation of man from clay by Prometheus after it was stolen from Olympus. The analogy bears direct resemblance to the biblical narrative of the creation of life in Adam through the bestowed breathing of the creator in Genesis. Shakespeare's symbolic reference to the "heat" associated with Prometheus's fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans.
The Post-Renaissance tradition[edit]
Mythological narrative of Prometheus by Piero di Cosimo (1515)
See also: Prometheus in popular culture
The myth of Prometheus has been a favorite theme of Western art and literature in the post-renaissance and post-Enlightenment tradition, and occasionally in works produced outside the West.
The literary Post-Renaissance tradition[edit]
For the Romantic era, Prometheus was the rebel who resisted all forms of institutional tyranny epitomized by Zeus — church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton's Paradise Lost, and the divinely inspired poet or artist. Prometheus is the lyrical "I" who speaks in Goethe's Sturm und Drang poem "Prometheus" (written c. 1772–74, published 1789), addressing God (as Zeus) in misotheist accusation and defiance. In Prometheus Unbound (1820), a four-act lyrical drama, Percy Bysshe Shelley rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus (under the Latin name Jupiter), but instead supplants him in a triumph of the human heart and intellect over tyrannical religion. Lord Byron's poem "Prometheus" also portrays the Titan as unrepentant. As documented by Olga Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well.[67] Mary Shelley's 1818 novel Frankenstein is subtitled "The Modern Prometheus", in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge.
Goethe and the Prometheus-Ganymede poems[edit]
"Prometheus" is a poem by Johann Wolfgang von Goethe, in which a character based on the mythic Prometheus addresses God (as Zeus) in a romantic and misotheist tone of accusation and defiance. The poem was written between 1772 and 1774. It was first published fifteen years later in 1789. It is an important work as it represents one of the first encounters of the Prometheus myth with the literary Romantic movement identified with Goethe and with the Sturm und Drang movement.
The poem has appeared in Volume II of Goethe's poems (in his Collected Works) in a section of Vermischte Gedichte (assorted poems), shortly following the Harzreise im Winter. It is immediately followed by "Ganymed", and the two poems are written as informing each other according to Goethe's plan in their actual writing. Prometheus (1774) was originally planned as a drama but never completed by Goethe, though the poem is inspired by it. Prometheus is the creative and rebellious spirit rejected by God, and who angrily defies him and asserts himself; Ganymede, by direct contrast, is the boyish self who is both adored and seduced by God. As a high Romantic poet and a humanist poet, Goethe presents both identities as contrasting aspects of the Romantic human condition.
"Prometheus"
The poem offers direct biblical connotations for the Prometheus myth which was unseen in any of the ancient Greek poets dealing with the Prometheus myth in either drama, tragedy, or philosophy. The intentional use of the German phrase "Da ich ein Kind war..." ("When I was a child"): the use of Da is distinctive, and with it Goethe directly applies the Lutheran translation of Saint Paul's First Epistle to the Corinthians, 13:11: "Da ich ein Kind war, da redete ich wie ein Kind..." ("When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things"). Goethe's Prometheus is significant for the contrast it evokes with the biblical text of the Corinthians rather than for its similarities.
In his book titled Prometheus: Archetypal Image of Human Existence, C. Kerenyi states the key contrast between Goethe's version of Prometheus with the ancient Greek version.[68] As Kerenyi states, "Goethe's Prometheus had Zeus for father and a goddess for mother. With this change from the traditional lineage the poet distinguished his hero from the race of the Titans." For Goethe, the metaphorical comparison of Prometheus to the image of the Son from the New Testament narratives was of central importance, with the figure of Zeus in Goethe's reading being metaphorically matched directly to the image of the Father from the New Testament narratives.
Percy Bysshe Shelley and Prometheus Unbound[edit]
Percy Shelley published his four-act lyrical drama titled Prometheus Unbound in 1820. His version was written in response to the version of myth as presented by Aeschylus (described in the Section above) and is oriented to the high British Idealism and high British Romanticism prevailing in Shelley's own time. Shelley, as the author himself discusses, admits the debt of his version of the myth to Aeschylus and the Greek poetic tradition which he assumes is familiar to readers of his own lyrical drama. For example, it is necessary to understand and have knowledge of the reason for Prometheus's punishment if the reader is to form an understanding of whether the exoneration portrayed by Shelley in his version of the Prometheus myth is justified or unjustified. The quote of Shelley's own words describing the extent of his indebtedness to Aeschylus has been published in numerous sources publicly available.
The literary critic Harold Bloom in his book Shelley's Mythmaking expresses his high expectation of Shelley in the tradition of mythopoeic poetry. For Bloom, Percy Shelley's relationship to the tradition of mythology in poetry "culminates in 'Prometheus'; the poem provides a complete statement of Shelley's vision."[69] Bloom devotes two full chapters in this book to Shelley's lyrical drama Prometheus Unbound which was among the first books Bloom had ever written, originally published in 1959.[70] Following his 1959 book, Bloom edited an anthology of critical opinions on Shelley for Chelsea House Publishers where he concisely stated his opinion as, "Shelley is the unacknowledged ancestor of Wallace Stevens' conception of poetry as the Supreme Fiction, and Prometheus Unbound is the most capable imagining, outside of Blake and Wordsworth, that the Romantic quest for a Supreme Fiction has achieved."[71]
Within the pages of his Introduction to the Chelsea House edition on Percy Shelley, Harold Bloom also identifies the six major schools of criticism opposing Shelley's idealized mythologizing version of the Prometheus myth. In sequence, the opposing schools to Shelley are given as: (i) The school of "common sense", (ii) The Christian orthodox, (iii) The school of "wit", (iv) Moralists, of most varieties, (v) The school of "classic" form, and (vi) The Precisionists, or concretists.[72] Although Bloom is least interested in the first two schools, the second one on the Christian orthodox has special bearing on the reception of the Prometheus myth during late Roman antiquity and the synthesis of the New Testament canon. The Greek origins of the Prometheus myth have already discussed the Titanomachia as placing the cosmic struggle of Olympus at some point in time preceding the creation of humanity, while in the New Testament synthesis there was a strong assimilation of the prophetic tradition of the Hebrew prophets and their strongly eschatological orientation. This contrast placed a strong emphasis within the ancient Greek consciousness as to the moral and ontological acceptance of the mythology of the Titanomachia as an accomplished mythological history, whereas for the synthesis of the New Testament narratives this placed religious consciousness within the community at the level of an anticipated eschaton not yet accomplished. Neither of these would guide Percy Shelley in his poetic retelling and reintegration of the Prometheus myth.[73]
To the Socratic Greeks, one important aspect of the discussion of religion would correspond to the philosophical discussion of 'becoming' with respect to the New Testament syncretism rather than the ontological discussion of 'being' which was more prominent in the ancient Greek experience of mythologically oriented cult and religion.[74] For Percy Shelley, both of these reading were to be substantially discounted in preference to his own concerns for promoting his own version of an idealized consciousness of a society guided by the precepts of High British Romanticism and High British Idealism.[75]
Mary Shelley and Frankenstein: The Modern Prometheus[edit]
The author of Frankenstein: The Modern Prometheus, Mary Shelley, wrote the famous version of her short novel in the 19th century. It has endured as one of the most frequently revisited literary themes in twentieth century film and popular reception with few rivals for its sheer popularity among even established literary works of art. The primary theme is a parallel to the aspect of the Prometheus myth which concentrates on the creation of man by the titans, transferred and made contemporary by Shelley for British audiences of her time. The subject is that of the creation of life by a scientist, thus bestowing life through the application and technology of medical science rather than by the natural acts of reproduction. The short novel has been adapted into many films and productions ranging from the early versions with Boris Karloff to much later versions featuring Kenneth Branagh among others.
Prometheus in the Twentieth Century[edit]
Prometheus (1909) by Otto Greiner
Franz Kafka (d. 1924) wrote a short piece on Prometheus, outlining what he saw as his perspective on four aspects of his myth:
According to the first, he was clamped to a rock in the Caucasus for betraying the secrets of the gods to men, and the gods sent eagles to feed on his liver, which was perpetually renewed.
According to the second, Prometheus, goaded by the pain of the tearing beaks, pressed himself deeper and deeper into the rock until he became one with it.
According to the third, his treachery was forgotten in the course of thousands of years, forgotten by the gods, the eagles, forgotten by himself.
According to the fourth, everyone grew weary of the meaningless affair. The gods grew weary, the eagles grew weary, the wound closed wearily.
There remains the inexplicable mass of rock. The legend tried to explain the inexplicable. As it came out of a substratum of truth it had in turn to end in the inexplicable.[76]
This short piece by Kafka concerning his interest in Prometheus was supplemented by two other mythological pieces written by him. As stated by Reiner Stach, "Kafka's world was mythical in nature, with Old Testament and Jewish legends providing the templates, and it was only logical (even if Kafka did not state it openly) that he would try his hand at the canon of antiquity, reinterpreting it and incorporating it into his own imagination in the form of allusions, as in 'The Silence of the Sirens,' 'Prometheus,' and 'Poseidon.'"[77] Among contemporary poets, the British poet Ted Hughes wrote the a 1973 collection of poems titled Prometheus On His Crag. The Nepali poet Laxmi Prasad Devkota (d. 1949) also wrote an epic titled Prometheus (प्रमीथस).
In his 1952 book, Lucifer and Prometheus, Zvi Werblowsky presented the speculatively derived Jungian construction of the character of Satan in Milton's celebrated poem Paradise Lost. Werblowsky applied his own Jungian style of interpretation to appropriate parts of the Prometheus myth for the purpose of interpreting Milton. A reprint of his book in the 1990s by Routledge Press included an introduction to the book by Carl Jung. Some Gnostics have been associated with identifying the theft of fire from heaven as embodied by the fall of Lucifer "the Light Bearer".[78]
The artificial element Promethium was named with the myth in mind.
The aesthetic Post-Renaissance tradition[edit]
Classical music, opera, and ballet[edit]
Works of classical music, opera, and ballet directly or indirectly inspired by the myth of Prometheus have included renderings by some of the major composers of both the nineteenth and twentieth centuries. In this tradition, the orchestral representation of the myth has received the most sustained attention of composers. These have included the symphonic poem by Franz Liszt titled Prometheus from 1850, among his other Symphonic Poems (No. 5, S.99).[79] Alexander Scriabin composed Prometheus: Poem of Fire, Opus 60 (1910),[80] also for orchestra.[81] In the same year Gabriel Fauré composed his three-act opera Prométhée (1910).[82] Charles-Valentin Alkan composed his Grande sonate 'Les quatre âges' (1847), with the 4th movement entitled "Prométhée enchaîné" (Prometheus Bound).[83] Beethoven composed the score to a ballet version of the myth titled The Creatures of Prometheus (1801).[84]
An adaptation of Goethe's poetic version of the myth was composed by Hugo Wolf, Prometheus (Bedecke deinen Himmel, Zeus, 1889), as part of his Goethe-lieder for voice and piano,[85] later transcribed for orchestra and voice.[86] An opera of the myth was composed by Carl Orff titled Prometheus (1968),[87][88] using Aeschylus' Greek language Prometheia.[89]
In film[edit]
The recent 2012 science fiction fantasy film titled Prometheus by Ridley Scott has a resemblance to the myth largely through a coincidence of name.[90] Of the three principal mythological themes associated with the myth of the titan Prometheus, that is, the eternal punishment, the theft of fire, and the creation of man, it is with this latter theme that the film seems to be at least partially concerned. In the science fiction film, one of the wealthy lead characters in the future spends vast sums of money in order to locate the extraterrestrials who he believes were responsible for the creation of man. His hope is that if he finds his 'creators,' they will be able somehow to extend his life. In this belief he is straightforwardly disappointed.
Benji Taylor writing in an extensive three-part essay on the science fiction film titled Prometheus, published between 22 June 2012 and 17 July 2012, identified the eight key themes in understanding the film as including: "Aliens Seeded Life On Earth," "Insignificance and Futility," "Interwoven Notions of Creation and Destruction," "Parental Issues," "The Nature of the Soul," "Existential Loss," and "Science and Religion."[91][92][93] Of these themes covered in the film, Taylor identifies that only the theme of "Parental Issues" appears to have a general reference point to the myth of Prometheus stating that in the "mythology between the titan Prometheus and the chief Olympian Zeus but on a more global level it's an echo of the tribulation embodied in the Titanomachy -- the archetypal war between parent and child which was the great 'War of the Titans and Olympians' that shook the Greek mythological world to its core."[94]
|
PROMETHEUS |
- |
- |
|
|
P |
16 |
7 |
7 |
1 |
R |
18 |
9 |
9 |
1 |
O |
15 |
6 |
6 |
1 |
M |
13 |
4 |
4 |
1 |
E |
5 |
5 |
5 |
1 |
T |
20 |
2 |
2 |
1 |
H |
8 |
8 |
8 |
1 |
E |
5 |
5 |
5 |
1 |
U |
21 |
3 |
3 |
1 |
S |
19 |
10 |
1 |
10 |
PROMETHEUS |
|
|
|
1+0 |
|
1+4+0 |
5+9 |
5+0 |
1 |
PROMETHEUS |
|
|
|
- |
|
|
1+4 |
|
1 |
PROMETHEUS |
|
|
|
|
|
|
|
|
PROMETHEUS |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
P |
|
7 |
|
|
P |
16 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
R |
|
9 |
|
1 |
R |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
O |
|
6 |
|
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
M |
|
4 |
|
1 |
M |
13 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
E |
|
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
T |
|
2 |
|
1 |
T |
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
H |
|
8 |
|
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
E |
|
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
U |
|
|
|
1 |
U |
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
S |
|
1 |
|
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
PROMETHEUS |
|
|
|
|
|
|
|
|
10 |
|
|
|
|
|
|
5+0 |
|
1+0 |
|
1+4+0 |
5+9 |
5+0 |
|
|
|
|
|
1+0 |
|
|
|
|
|
|
|
|
|
PROMETHEUS |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PROMETHEUS |
|
|
|
|
|
|
|
|
|
|
|
|
|
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
|
|
|
|
|
PROMETHEUS |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
S |
|
1 |
|
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
T |
|
2 |
|
1 |
T |
20 |
2 |
2 |
|
|
|
|
|
|
|
|
|
|
U |
|
|
|
1 |
U |
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
M |
|
4 |
|
1 |
M |
13 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
E |
|
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
E |
|
5 |
|
1 |
E |
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
O |
|
6 |
|
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
P |
|
7 |
|
|
P |
16 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
H |
|
8 |
|
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
|
R |
|
9 |
|
1 |
R |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
PROMETHEUS |
|
|
|
|
|
|
|
|
10 |
|
|
|
|
|
|
5+0 |
|
1+0 |
|
1+4+0 |
5+9 |
5+0 |
|
|
|
|
|
1+0 |
|
|
|
|
|
|
|
|
|
PROMETHEUS |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PROMETHEUS |
|
|
|
|
|
|
|
|
|
|
|
|
|
LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT
DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK
1 |
I |
9 |
9 |
9 |
4 |
THAT |
49 |
13 |
4 |
2 |
AM |
14 |
14 |
5 |
3 |
THE |
33 |
15 |
6 |
5 |
LIGHT |
56 |
29 |
2 |
7 |
BRINGER |
73 |
46 |
1 |
22 |
Add to Reduce |
|
|
|
2+2 |
Reduce to Deduce |
2+3+4 |
1+2+6 |
2+7 |
|
Essence of Number |
|
|
|
THE
BALANCING
I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1
I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
|
PROMETHEUS |
- |
- |
|
|
P |
16 |
7 |
7 |
1 |
R |
18 |
9 |
9 |
1 |
O |
15 |
6 |
6 |
1 |
M |
13 |
4 |
4 |
1 |
E |
5 |
5 |
5 |
1 |
T |
20 |
2 |
2 |
1 |
H |
8 |
8 |
8 |
1 |
E |
5 |
5 |
5 |
1 |
U |
21 |
3 |
3 |
1 |
S |
19 |
10 |
1 |
10 |
PROMETHEUS |
|
|
|
1+0 |
|
1+4+0 |
5+9 |
5+0 |
1 |
PROMETHEUS |
|
|
|
- |
|
|
1+4 |
|
1 |
PROMETHEUS |
|
|
|
PROMETHEUS MET ORPHEUS MET PROMETHEUS
|
PROMETHEUS |
- |
- |
|
|
MET |
38 |
11 |
2 |
7 |
ORPHEUS |
102 |
48 |
3 |
10 |
PROMETHEUS |
|
|
|
1+0 |
|
1+4+0 |
5+9 |
|
1 |
PROMETHEUS |
|
|
|
- |
|
|
1+4 |
|
1 |
PROMETHEUS |
|
|
|
ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
- |
- |
- |
6 |
- |
- |
- |
8 |
- |
- |
1 |
+ |
= |
15 |
1+5 |
= |
6 |
= |
6 |
= |
6 |
|
- |
- |
- |
15 |
- |
- |
- |
8 |
- |
- |
19 |
+ |
= |
42 |
4+2 |
= |
6 |
= |
6 |
= |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
7 |
9 |
- |
4 |
5 |
2 |
- |
5 |
3 |
- |
|
|
|
3+5 |
|
|
|
|
|
|
|
|
16 |
18 |
- |
13 |
5 |
20 |
- |
5 |
21 |
- |
|
|
|
9+8 |
|
|
1+7 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
16 |
18 |
15 |
13 |
5 |
20 |
8 |
5 |
21 |
19 |
|
|
|
1+4+0 |
|
|
|
5 |
|
|
|
|
7 |
9 |
6 |
4 |
5 |
2 |
8 |
5 |
3 |
1 |
|
|
|
5+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
1 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
2 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
3 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
4 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
10 |
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
6 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
7 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
8 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
9 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
1+0 |
|
5+0 |
|
4+1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
7 |
9 |
6 |
4 |
5 |
2 |
8 |
5 |
3 |
1 |
|
|
- |
|
|
- |
|
- |
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
|
|
1 |
|
5 |
|
5 |
3 |
THE |
33 |
15 |
6 |
5 |
LIGHT |
56 |
29 |
2 |
7 |
BRINGER |
73 |
46 |
1 |
15 |
Add to Reduce |
|
|
|
1+5 |
Reduce to Deduce |
1+6+2 |
9+0 |
- |
6 |
Essence of Number |
|
|
|
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
- |
- |
|
- |
- |
|
8 |
|
- |
|
9 |
|
8 |
|
- |
|
|
9 |
5 |
|
|
|
|
|
|
3+9 |
|
|
1+2 |
|
|
|
- |
- |
|
8 |
|
- |
|
9 |
|
8 |
|
- |
|
|
9 |
14 |
|
|
|
|
|
|
4+8 |
|
|
1+2 |
|
|
|
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
- |
|
|
- |
- |
|
|
5 |
- |
3 |
|
7 |
|
2 |
- |
2 |
9 |
|
|
7 |
5 |
9 |
|
|
|
5+1 |
|
|
|
|
|
|
- |
- |
|
|
5 |
- |
12 |
|
7 |
|
20 |
- |
2 |
18 |
|
|
7 |
5 |
18 |
|
|
|
1+1+4 |
|
|
|
|
|
|
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
- |
|
|
- |
- |
20 |
8 |
5 |
- |
12 |
9 |
7 |
8 |
20 |
- |
2 |
18 |
9 |
14 |
7 |
5 |
18 |
|
|
|
1+6+2 |
|
|
|
|
|
|
- |
- |
2 |
8 |
5 |
- |
3 |
9 |
7 |
8 |
2 |
- |
2 |
9 |
9 |
5 |
7 |
5 |
9 |
|
|
|
9+0 |
|
|
|
|
|
|
|
15 |
|
|
|
- |
|
|
|
|
|
- |
|
R |
|
|
|
|
R |
|
|
|
|
|
|
|
- |
|
|
|
|
- |
- |
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
- |
|
- |
|
|
|
|
2 |
|
2 |
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
= |
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
3 |
= |
|
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
5 |
|
|
|
|
|
|
occurs |
x |
|
= |
15 |
1+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
7 |
|
|
|
|
|
|
|
7 |
|
|
|
|
|
occurs |
x |
|
= |
|
1+4 |
|
|
|
- |
|
|
|
|
|
|
8 |
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
1+6 |
|
|
|
- |
- |
|
|
|
9 |
|
|
- |
|
|
9 |
9 |
|
|
|
9 |
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
|
|
|
1+1 |
1+5 |
- |
- |
|
|
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
3+4 |
|
|
1+5 |
|
5+4 |
|
3+6 |
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
|
|
|
|
|
2 |
8 |
5 |
- |
3 |
|
7 |
8 |
2 |
- |
2 |
|
|
5 |
7 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
- |
- |
|
- |
|
8 |
|
- |
|
9 |
|
8 |
|
- |
|
|
9 |
5 |
|
|
|
|
|
|
3+9 |
|
|
1+2 |
|
|
|
- |
|
8 |
|
- |
|
9 |
|
8 |
|
- |
|
|
9 |
14 |
|
|
|
|
|
|
4+8 |
|
|
1+2 |
|
|
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
- |
|
|
- |
|
|
5 |
- |
3 |
|
7 |
|
2 |
- |
2 |
9 |
|
|
7 |
5 |
9 |
|
|
|
5+1 |
|
|
|
|
|
|
- |
|
|
5 |
- |
12 |
|
7 |
|
20 |
- |
2 |
18 |
|
|
7 |
5 |
18 |
|
|
|
1+1+4 |
|
|
|
|
|
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
- |
|
|
- |
20 |
8 |
5 |
- |
12 |
9 |
7 |
8 |
20 |
- |
2 |
18 |
9 |
14 |
7 |
5 |
18 |
|
|
|
1+6+2 |
|
|
|
|
|
|
- |
2 |
8 |
5 |
- |
3 |
9 |
7 |
8 |
2 |
- |
2 |
9 |
9 |
5 |
7 |
5 |
9 |
|
|
|
9+0 |
|
|
|
|
|
|
15 |
|
|
|
- |
|
|
|
|
|
- |
|
R |
|
|
|
|
R |
|
|
|
|
|
|
|
- |
|
|
|
|
- |
|
- |
|
|
|
|
2 |
|
2 |
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
3 |
|
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
5 |
|
|
|
|
|
|
occurs |
x |
|
= |
15 |
1+5 |
|
|
|
|
|
|
|
|
7 |
|
|
|
|
|
|
|
7 |
|
|
|
|
|
occurs |
x |
|
= |
|
1+4 |
|
|
- |
|
|
|
|
|
|
8 |
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
1+6 |
|
|
- |
- |
|
|
|
9 |
|
|
- |
|
|
9 |
9 |
|
|
|
9 |
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
|
|
|
1+5 |
- |
- |
|
|
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
3+4 |
|
|
1+5 |
|
5+4 |
|
3+6 |
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
|
|
|
|
2 |
8 |
5 |
- |
3 |
|
7 |
8 |
2 |
- |
2 |
|
|
5 |
7 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
I |
|
|
|
- |
|
R |
I |
|
|
|
R |
|
|
|
|
|
|
|
|
|
|
PROMETHEUS MET ORPHEUS MET PROMETHEUS
|
PROMETHEUS |
- |
- |
|
|
MET |
38 |
11 |
2 |
7 |
ORPHEUS |
102 |
48 |
3 |
10 |
PROMETHEUS |
|
|
|
1+0 |
|
1+4+0 |
5+9 |
|
1 |
PROMETHEUS |
|
|
|
- |
|
|
1+4 |
|
1 |
PROMETHEUS |
|
|
|
ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS
|
PROMETHEUS |
- |
- |
|
|
P |
16 |
7 |
7 |
1 |
R |
18 |
9 |
9 |
1 |
O |
15 |
6 |
6 |
1 |
M |
13 |
4 |
4 |
1 |
E |
5 |
5 |
5 |
1 |
T |
20 |
2 |
2 |
1 |
H |
8 |
8 |
8 |
1 |
E |
5 |
5 |
5 |
1 |
U |
21 |
3 |
3 |
1 |
S |
19 |
10 |
1 |
10 |
PROMETHEUS |
|
|
|
1+0 |
|
1+4+0 |
5+9 |
5+0 |
1 |
PROMETHEUS |
|
|
|
- |
|
|
1+4 |
|
1 |
PROMETHEUS |
|
|
|
RE 95 RE
REARRANGED NUMERICALLY REARRANGED
RE 95 RE 95
|
|
|
|
|
|
|
23 |
14 |
5 |
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
|
6 |
1 |
S |
19 |
10 |
1 |
- |
1 |
|
|
|
|
|
|
|
- |
T |
= |
2 |
|
3 |
1 |
T |
20 |
2 |
2 |
- |
- |
|
|
|
|
|
|
|
- |
U |
= |
3 |
|
7 |
1 |
U |
21 |
3 |
3 |
- |
|
- |
|
|
|
|
|
|
- |
D |
= |
4 |
|
11 |
1 |
D |
4 |
4 |
4 |
- |
|
|
- |
|
|
|
|
|
- |
E |
= |
5 |
|
2 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
- |
E |
= |
5 |
|
5 |
1 |
E |
5 |
5 |
5 |
- |
|
|
- |
- |
|
|
|
|
- |
N |
= |
5 |
|
8 |
1 |
N |
14 |
5 |
5 |
|
|
|
|
- |
|
|
|
|
- |
O |
= |
6 |
|
10 |
1 |
O |
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
- |
G |
= |
7 |
|
9 |
1 |
G |
7 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
- |
H |
= |
8 |
|
4 |
1 |
H |
8 |
8 |
8 |
|
|
|
|
|
|
|
|
|
- |
R |
= |
9 |
|
1 |
1 |
R |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
|
9 |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
5+5 |
|
- |
|
- |
1+3+6 |
6+4 |
5+5 |
|
|
|
|
|
1+5 |
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
1+0 |
|
- |
|
- |
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
Q |
- |
|
|
- |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
NUMBER
9
THE SEARCH FOR THE SIGMA CODE
Cecil Balmond 1998
Page 32
5
To Sorcerers and Magicians number FIVEis the most powerful - five is the mark of the pentacle, a five pointed star drawn by extending the sides of a Pentagon. Five surely is in the possession of the occult. And the Pentagon is the geometric figure in which the golden ratio of classical art and architecture is found most.
THE
BALANCING
ONE TWO THREE FOUR
FIVE
NINE EIGHT SEVEN SIX
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
18 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
35 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
5 |
|
76 |
22 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
48 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
|
55 |
28 |
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
2 |
|
27 |
9 |
|
|
|
|
|
|
|
|
|
|
9 |
|
|
|
|
10 |
|
133 |
61 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
|
121 |
49 |
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
|
2 |
|
23 |
14 |
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
9 |
|
65 |
29 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+5 |
|
5+8 |
Add to Reduce |
6+2+6 |
2+6+6 |
5+9 |
|
|
|
|
|
|
|
1+4 |
|
1+8 |
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+3 |
Reduce to Deduce |
1+4 |
1+4 |
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
1 |
20 |
21 |
13 |
|
|
|
5+5 |
= |
|
1+0 |
|
- |
|
1 |
2 |
3 |
4 |
|
|
|
1+0 |
= |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
1 |
20 |
21 |
13 |
|
|
|
5+5 |
= |
|
1+0 |
|
- |
|
1 |
2 |
3 |
4 |
|
|
|
1+0 |
= |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
1 |
20 |
21 |
13 |
|
|
|
5+5 |
= |
|
1+0 |
|
- |
|
1 |
2 |
3 |
4 |
|
|
|
1+0 |
= |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
- |
|
|
|
|
occurs |
x |
|
= |
|
- |
- |
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
- |
- |
- |
|
|
|
|
|
|
occurs |
x |
|
= |
|
- |
- |
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
5 |
- |
- |
- |
- |
- |
- |
- |
|
FIVE |
|
- |
- |
- |
6 |
- |
- |
- |
- |
- |
- |
- |
|
SIX |
|
- |
- |
- |
7 |
- |
- |
- |
- |
- |
- |
- |
|
SEVEN |
|
- |
- |
- |
8 |
- |
- |
- |
- |
- |
- |
- |
|
EIGHT |
|
- |
- |
- |
9 |
- |
- |
- |
- |
- |
- |
- |
|
NINE |
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+5 |
|
1 |
2 |
3 |
4 |
|
|
1+0 |
- |
|
|
Q |
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
1 |
20 |
21 |
13 |
|
|
|
5+5 |
= |
|
1+0 |
|
|
1 |
2 |
3 |
4 |
|
|
|
1+0 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
1 |
20 |
21 |
13 |
|
|
|
5+5 |
= |
|
1+0 |
|
|
1 |
2 |
3 |
4 |
|
|
|
1+0 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
1 |
20 |
21 |
13 |
|
|
|
5+5 |
= |
|
1+0 |
|
|
1 |
2 |
3 |
4 |
|
|
|
1+0 |
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
|
- |
|
|
|
|
occurs |
x |
|
= |
|
- |
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
- |
- |
|
|
|
|
|
|
occurs |
x |
|
= |
|
- |
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
2 |
3 |
4 |
|
|
1+0 |
- |
|
|
Q |
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
AUTUMN ATUM AUTUMN
LOOK AT THE 5 FIVES LOOK AT THE 5FIVES LOOK AT THE THE 5FIVE5 THE 5FIVES THE 5FIVES
- |
|
|
|
- |
|
|
|
|
- |
1 |
|
18 |
9 |
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
1 |
|
23 |
5 |
|
|
|
|
|
|
8 |
|
81 |
45 |
|
|
|
|
|
|
- |
|
|
|
- |
|
|
|
- |
|
1 |
|
9 |
9 |
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
1 |
|
20 |
2 |
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
1 |
|
18 |
9 |
|
|
|
|
|
|
2 |
|
18 |
9 |
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
2 |
|
23 |
5 |
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
1 |
|
4 |
4 |
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
2 |
|
38 |
20 |
|
|
|
|
|
|
|
FIRST TOTAL |
|
|
|
|
|
|
|
|
3+1 |
ADD TO REDUCE |
3+5+2 |
1+7+2 |
1+1+8 |
|
|
|
6+5 |
4+5 |
|
SECOND TOTAL |
|
|
|
|
|
|
|
|
|
REDUCE TO DEDUCE |
1+0 |
1+0 |
1+0 |
|
|
|
1+1 |
|
|
ESSENCE OF NUMBER |
|
|
|
|
|
|
|
|
R |
= |
9 |
- |
5 |
RENEW |
65 |
29 |
2 |
I |
= |
9 |
- |
5 |
INTER |
66 |
30 |
3 |
C |
= |
3 |
- |
13 |
CONNECTEDNESS |
140 |
50 |
5 |
- |
- |
21 |
- |
23 |
First Total |
|
|
|
- |
- |
2+1 |
- |
2+3 |
Add to Reduce |
2+7+1 |
1+0+9 |
1+0 |
- |
- |
3 |
- |
5 |
Second Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
- |
- |
- |
3 |
- |
|
Essence of Number |
|
|
|
What is a 'neener' - WikiAnswers
wiki.answers.com › ... › Idioms, Cliches, and Slang
Meaning of 'Neener' Neener Neener is an expression that most Americans aged 40 or under are probably familiar with. Following is a typical example of usage: ...
Where does "neener neener neener" come from? - Straight Dope ...
boards.straightdope.com › ... › Main › General Questions
28 Nov 2000 - 12 posts - 10 authors
You all know the song. "neener neener neener" This melody usually has improvised lyrics, aimed at the subject of some ridicule. But where ...
neener - Wiktionary
en.wiktionary.org/wiki/neener
Grizzy shouted. She ran up to some old Grouch ladies. She stuck her tongue out at them. She blew a great big razzberry at them. "Neener, neener, neener!"...linguaphiles: Neener-neener
linguaphiles.livejournal.com/1509243.html
28 Mar 2005 - Is the childhood taunt 'neener-neener' always considered an insult, or is there a use that's not an insult? Any ideas about its origins? Thanks.
neener,neener, pumpkin eater - definition and meaning
https://www.wordnik.com/.../neener,%20neener,%20pumpkin%20eater
neener,neener, pumpkin eater. Define; Relate; List; Discuss ... These user-created lists contain the word 'neener,neener, pumpkin eater'. Nyah, nyah, nyah.
Dubya Pee'z Geekology Cogitation Manual
books.google.co.uk/books?isbn=1456729314 Robert Tracy - 2011 - Fiction
Double yellow lines mid-road reside multiple instances directly underneath ancient Voreign hot rod belly sections. 32... “NEENERNEENER NEENER NEENER"
|
|
|
|
- |
|
|
|
- |
|
- |
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
1 |
|
18 |
9 |
|
|
|
|
|
|
|
- |
|
|
|
- |
|
- |
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
1 |
|
18 |
9 |
|
|
|
|
|
|
|
- |
|
|
|
- |
|
- |
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
1 |
|
14 |
5 |
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
1 |
|
18 |
9 |
|
|
|
|
|
|
|
- |
|
|
|
- |
|
- |
|
|
|
|
|
NEENER NEENER NEENER |
|
|
|
|
|
|
|
1+5 |
|
1+8 |
|
1+8+3 |
1+0+2 |
1+0+2 |
|
2+5 |
|
|
|
|
|
NEENER NEENER NEENER |
|
|
|
|
|
|
|
|
|
|
|
1+2 |
|
|
|
|
|
|
|
|
|
NEENER NEENER NEENER |
|
|
|
|
|
Show more results from wikipedia.orgWhat is the Most Commonly Used Letter in English? 25 Oct 2010 ... The most commonly used letter in the English language is the letter “e”. This is the case in the general language, in fiction and ...
www.wisegeek.com/what-is-the-most-commonly-used-letter-in-english.htm -
THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"
THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"
TH5 MOST COMMONLY US5D L5TT5R I5 TH5 55GLISH LA5GUAG5 IS THE L5TT5R "5"
THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"
285 4612 36446537 3154 352259 95 285 5573918 31573175 91 285 352259 "5"
THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"
Herbert S. Zim, in his classic introductory cryptography text "Codes and Secret Writing", gives the English letter frequency sequence as "ETAON RISHD LFCMU GYPWB VKXJQ Z", the most common letter pairs as "TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO", and the most common doubled letters as "LL EE SS OO TT FF RR NN PP CC".[1]
"ETAON RISHD LFCMU GYPWB VKXJQ Z"
THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE
IS
THE LETTER
E
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
NEENER NEENER NEENER
555559 555559 555559
NEENER NEENER NEENER
Neener Neener - Ask.com Where did the children's taunt "neener neener neener" c...? Thanks for the question, Mark! It's a hard one: I don't know its origin but ... it is a ...
www.ask.com/questions-about/Neener-Neener
Topic: Neener Neener
Not finding your answer? Try searching the web for Neener Neener
Answers to Common Questions
What does Neener-neener mean?
A childish taunt or jeer pronounced with a nasal sneer, for lack of a more intelligent retort to someone else's jeer or taunt, usually from a peer. Sometimes sung to the tune of "Ring-Around-the-Rosy" for really driving the point ...
http://www.urbandictionary.com/define.php?term=Neener-... See entire page »
What is neener neener?
Any four-year-old could tell you this! Neener Neener is a taunt, usually used with “You can’t catch me.
http://www.bloggymommer.com/2007/06/ See entire page »
Could this be the definition of "Neener, neener?
I realize there are a lot more facts to this situation but, from what you have said, it makes me think of the old saying: "You made your bed. Now you're gonna have to sleep in it". Calling it a "neener, neener" sounds as...
http://answers.yahoo.com/question/index?qid=2008071419... See entire page »
Answers to Other Common Questions
Where did the children's taunt "neener neener neener" c...?
Thanks for the question, Mark! It's a hard one: I don't know its origin but ... it is a children's taunt and also grown-ups use it. Here's an example: "I do find Ashcroft's grandstanding annoying, however, as well as his absurd a...
http://en.allexperts.com/q/U-S-History-672/Origin-child...
When was the last time you Neener Neener Neener'd someone?
prolly when i stole their candy muahaa
http://answers.yahoo.com/question/index?qid=20090612211...
Where does "neener neener neener" come from?
The tune is (or should be) "Ring around the rosie". "Neener" is a more modern variant of "Nah nah". "Nah nah" was used in place of the lyrics either because kids couldn't remember the lyrics or perhap...
http://boards.straightdope.com/sdmb/showthread.php?t=48...
What does neener-neener-neener mean?
Neener-neener is slang for a childish taunt or jeer pronounced with a nasal sneer...
http://www.chacha.com/question/what-does-neener&%2345%3...
What does Neener-Face mean?
Someone who thinks they are a pirate, and are cute. Has to have both qualities. No creeps.
http://www.urbandictionary.com/define.php?term=Neener-F...
What does Section Neener mean?
This is when an older sibling teaches a younger sibling to attack an individual or multiple individuals the attacks are triggered with the phrase "section neener" the origins of the name are unknown and there are no recorded insta...
http://www.urbandictionary.com/define.php?term=Section%...
Search ResultsAnswers.com - What is a 'neener'Idioms and Slang question: What is a 'neener'? Meaning of 'Neener' Neener Neener is an expression that most Americans aged 40 or under are probably familiar ...
wiki.answers.com › ... › Idioms and Slang - Cached - Similar
Mystery Solved: The Origin of ' Neener- Neener ' [Archive ... 11 posts - 5 authors - Last post: 26 Jan 2007http://www.mtannoyances.com/?p=386 Mother Tongue Annoyances Origin of 'Neener Neener' Hello. Today we'll address the slang interjection ...
acapella.harmony-central.com › ... › The Political Party - CachedGet more discussion results
Neener Neener - Ask.com Where did the children's taunt "neener neener neener" c...? Thanks for the question, Mark! It's a hard one: I don't know its origin but ... it is a ...
www.skinnysushi.com/2011/04/neener-neener/ - CachedUrban Dictionary: Neener-neener A childish taunt or jeer pronounced with a nasal sneer, for lack of a more intelligent retort to someone else's jeer or taunt, usually from a peer....
"The Piper at the Gates of Dawn"
Piper at the Gates of Dawn: Pan, Kenneth Grahame and Wind ...http://www.strangehistory.net › 2015/04/06 › piper-at-t...
6 Apr 2015 — The story is quickly told. Otter has lost his son and Rat and Mole get in their boat and row through the night to look for him. Just before the ...The Piper at the Gates of Dawn ; Year Published: 1908 ; Language: English ; Country of Origin: England ; Source: Grahame, K. (1908). The Wind in the Willows. London ...
THE WIND IN THE WILLOWS
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
T |
= |
2 |
1 |
3 |
|
33 |
15 |
6 |
|
|
|
|
|
|
|
|
|
|
W |
= |
5 |
2 |
4 |
|
50 |
23 |
5 |
|
|
|
|
|
5 |
|
|
|
|
I |
= |
9 |
3 |
2 |
|
23 |
14 |
5 |
|
|
|
|
|
5 |
|
|
|
|
T |
= |
2 |
4 |
3 |
|
33 |
15 |
6 |
|
|
|
|
|
|
|
|
|
|
W |
= |
5 |
5 |
7 |
|
113 |
41 |
5 |
|
|
|
|
|
5 |
|
|
|
|
- |
- |
23 |
- |
54 |
Add |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4+1 |
|
5+4 |
Reduce |
6+8+7 |
3+0+0 |
2+7 |
|
|
|
|
|
1+5 |
1+2 |
|
|
|
|
|
|
|
|
Deduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce |
2+1 |
|
1+2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence |
|
|
|
|
|
|
|
|
|
|
|
|
|
THE PIPER AT THE GATES OF DAWN
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
T |
= |
8 |
1 |
3 |
|
33 |
15 |
6 |
|
|
|
|
|
|
|
|
|
|
P |
= |
7 |
2 |
5 |
|
64 |
37 |
1 |
|
|
|
|
|
|
|
|
|
|
A |
= |
1 |
3 |
2 |
|
21 |
3 |
3 |
|
|
|
3 |
|
|
|
|
|
|
T |
= |
2 |
4 |
3 |
|
59 |
32 |
5 |
|
|
|
|
|
|
|
|
|
|
G |
= |
7 |
5 |
5 |
|
52 |
25 |
7 |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
6 |
2 |
|
21 |
3 |
3 |
|
|
|
3 |
|
|
|
|
|
|
D |
= |
4 |
7 |
5 |
|
42 |
15 |
6 |
|
|
|
|
|
|
|
|
|
|
- |
- |
35 |
- |
25 |
Add |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3+5 |
|
2+5 |
Reduce |
2+6+6 |
1+2+2 |
3+2 |
|
|
|
|
|
|
1+2 |
|
|
|
|
|
|
|
|
Deduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce |
1+4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence |
|
|
|
|
|
|
|
|
|
|
|
|
|
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
5 x 6 = 30
"The most common letter in the English alphabet is E."
THE PIPER AT THE GATES OF DAWN
TH5 PIP5R AT TH5 GAT5S OF DA55
THE PIPER AT THE GATES OF DAWN
|
|
33 |
15 |
|
|
|
66 |
30 |
|
9 |
First Total |
99 |
45 |
45 |
- |
Add to Reduce |
9+9 |
4+5 |
4+5 |
9 |
Second Total |
18 |
9 |
9 |
- |
Reduce to Deduce |
1+8 |
|
|
9 |
Essence of Number |
9 |
|
|
|
|
- |
- |
- |
|
|
- |
- |
- |
|
|
20 |
2 |
|
|
H |
8 |
8 |
|
|
|
5 |
5 |
|
|
|
- |
- |
- |
|
F |
6 |
6 |
|
- |
A |
1 |
1 |
1 |
|
|
13 |
4 |
|
|
I |
9 |
9 |
|
|
|
12 |
3 |
|
- |
Y |
25 |
7 |
7 |
|
|
- |
- |
- |
9 |
Add to Reduce |
99 |
45 |
45 |
- |
Reduce to Deduce |
9+9 |
4+5 |
4+5 |
9 |
Essence of Number |
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
13 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
12 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
99 |
45 |
45 |
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
9+9 |
4+5 |
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
12 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
13 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
99 |
45 |
45 |
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
9+9 |
4+5 |
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
- |
- |
- |
- |
A |
1 |
1 |
1 |
|
|
20 |
2 |
|
|
|
12 |
3 |
|
|
|
13 |
4 |
|
|
|
5 |
5 |
|
|
F |
6 |
6 |
|
- |
Y |
25 |
7 |
7 |
|
H |
8 |
8 |
|
|
I |
9 |
9 |
|
|
|
- |
- |
- |
|
|
- |
- |
- |
9 |
Add to Reduce |
99 |
45 |
45 |
- |
Reduce to Deduce |
9+9 |
4+5 |
4+5 |
9 |
Essence of Number |
18 |
9 |
9 |
FIRST CONTACT 1980
GOD WITH US AND US WITH GOD
3 |
|
26 |
17 |
|
4 |
|
60 |
24 |
|
2 |
|
40 |
4 |
|
|
Add to Reduce |
|
|
|
|
Reduce to Deduce |
1+2+6 |
4+5 |
1+8 |
|
Essence of Number |
|
|
|
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
|
- |
|
6 |
|
- |
|
9 |
|
8 |
- |
|
1 |
|
|
|
2+4 |
|
|
|
|
|
- |
|
15 |
|
- |
|
9 |
|
8 |
- |
|
19 |
|
|
|
5+1 |
|
|
= |
|
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
|
- |
7 |
|
4 |
- |
5 |
|
2 |
|
- |
3 |
|
|
|
|
2+1 |
|
|
|
|
|
- |
7 |
|
4 |
- |
23 |
|
20 |
|
-` |
21 |
|
|
|
|
7+5 |
|
|
1+2 |
|
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
|
- |
7 |
15 |
4 |
- |
23 |
9 |
20 |
8 |
- |
21 |
19 |
|
|
|
1+2+6 |
|
|
|
|
|
- |
7 |
6 |
4 |
- |
5 |
9 |
2 |
8 |
- |
3 |
1 |
|
|
|
4+5 |
|
|
|
|
|
9 |
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
- |
|
|
|
|
- |
2 |
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
- |
|
|
|
|
- |
|
|
|
3 |
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
5 |
- |
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
|
- |
|
8 |
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
- |
9 |
- |
|
|
- |
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
4+5 |
|
- |
|
|
|
|
9 |
|
|
|
|
|
|
|
4+5 |
|
|
|
|
4+5 |
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
7 |
6 |
4 |
- |
5 |
9 |
2 |
8 |
- |
3 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
- |
|
6 |
|
|
9 |
|
8 |
|
1 |
|
|
|
2+4 |
|
|
|
|
|
- |
|
15 |
|
|
9 |
|
8 |
|
19 |
|
|
|
5+1 |
|
|
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
- |
7 |
|
4 |
5 |
|
2 |
|
3 |
|
|
|
|
2+1 |
|
|
|
|
|
- |
7 |
|
4 |
23 |
|
20 |
|
21 |
|
|
|
|
7+5 |
|
|
1+2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
- |
7 |
15 |
4 |
23 |
9 |
20 |
8 |
21 |
19 |
|
|
|
1+2+6 |
|
|
|
|
|
- |
7 |
6 |
4 |
5 |
9 |
2 |
8 |
3 |
1 |
|
|
|
4+5 |
|
|
|
|
|
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
- |
|
|
|
- |
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
- |
|
|
|
- |
2 |
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
- |
|
|
|
- |
|
|
3 |
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
5 |
- |
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
- |
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
- |
|
8 |
|
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
- |
9 |
- |
|
- |
|
|
|
|
occurs |
x |
|
= |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
- |
|
|
|
9 |
|
|
|
|
|
|
4+5 |
|
|
|
|
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
6 |
4 |
5 |
9 |
2 |
8 |
3 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
"The virgin will conceive and give birth to a son, and they will call him Immanuel" (which means "God with us"). “Behold, the virgin shall conceive and bear a son, and they shall call his name Immanuel” (which means, God with us).
Matthew 1:23 "The virgin will conceive and give birth to a ...
biblehub.com/matthew/1-23.htm
The Meaning of Immanuel, God with Us
www.orlutheran.com/html/immanuel.html
And this very special Christmas name, as Matthew tells us, means "God with us." Jesus Christ is Immanuel, "God with us," and I'd like to share why this is so ...
Matthew 1:23 "The virgin will conceive and give birth to a ...
matthew/1-23.
“Behold, the virgin shall conceive and bear a son, and they shall call his name Immanuel” (which means, God with us). New American Standard Bible "BEHOLD ...
Christ Emmanuel or God with Us - Grace Gems!
www.gracegems.org/W/e1.htm
"They shall call His name Emmanuel, which being interpreted is, God with us. ... give birth to a son, and they will call him Immanuel– which means, 'God with us.
Isaiah 7:14 Explained - Immanuel God With Us
www.bibleanswerstand.org/immanuel.htm
This study is aimed at finding the true meaning of Immanuel in Isaiah 7:14. ... texts for the deity of Jesus Christ because of the words, “Immanuel,” (God with us).
Why wasn't Jesus named Immanuel? - GotQuestions.org
www.gotquestions.org/Immanuel-Jesus.html
by S. Michael Houdmann - Jesus was God making His dwelling among us (John 1:1,14). No, Jesus' name was not Immanuel, but Jesus was the meaning of Immanuel, "God with us.
Words Around "Emmanuel" in the English Dictionary
"The word Immanuel/Emmanuel means, "God with us." It conveys the idea of God come down in the flesh, mingling alongside mankind, subject to their brutality, while extending his love in bringing their redemption."
GOD WITH US AND US WITH GOD
|
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
G |
= |
7 |
|
3 |
|
26 |
17 |
|
|
|
|
|
|
|
|
|
|
|
W |
= |
5 |
|
4 |
|
60 |
24 |
|
|
|
|
|
|
|
|
|
|
|
U |
= |
3 |
|
2 |
|
40 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
1+5 |
|
|
Add to Reduce |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce to Deduce |
1+2+6 |
4+5 |
1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
- |
- |
- |
|
|
|
|
|
|
- |
- |
- |
|
|
= |
7 |
|
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
6 |
|
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
1 |
|
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
2 |
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
8 |
|
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
1 |
|
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GOD WITH US |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
1+2+6 |
5+4 |
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GOD WITH US |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
- |
- |
- |
|
|
|
|
|
|
- |
- |
- |
|
|
= |
5 |
|
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
7 |
|
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
7 |
|
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
1 |
|
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
1 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
= |
3 |
|
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GOD WITH US |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
1+2+6 |
5+4 |
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GOD WITH US |
|
|
|
|
|
|
|
|
|
|
|
|
|
GOD WITH US 123456789 987654321 US WITH GOD
EHT NAMUH 1973
AFRICAN NIGHTMARE
1975
SPECTRE OF FAMINE
A
HISTORY OF GOD
Karen Armstrong
The God of the Mystics
THE
BOOK OF CREATION
"THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY
THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE
AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED
THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF THE ALPHABET IS GIVEN A NUMERICAL
VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS
REARRANGING THEM IN ENDLESS CONFIGURATIONS
THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS"
THE UNIVERSAL SOLDIER 1971
